Do you have info on commissions in general? such as 2dmvs, songs, etc. Anything released by the devs about stuff like what it takes to commission artists for content that’ll be used ingame, how long in advance the creator that’s being commissioned has to be contacted, have there been any rejected/remade commissioned songs, etc etc.
I’m particularly wondering if there’s disclosed info about the song Order Made and any other commissioned songs that had the Sekai version vocaloid tuned by the producer, because how would the game’s management arrange for that?
Here's some stuff I know
Most of this is taken from the Corocoro producer interviews, and you can find them all here. I mainly just skimmed them for trivia, but they're worth a read and there's probably some stuff I missed.
According to devs, the process of commissioning and producing songs can take around 8 months, though according to individual producers, the production of the song (not including recording vocals and mixing) can take anywhere between days and about a year. Producers are given a story summary, along with some words and phrases that staff would like to be reflected, and then given free reign on the rest (though management does oversee things)
In addition, event plot outlines have to be finished by the time the producer is commissioned for the event song, although this definitely didn't seem to be the case earlier on in the game, as you'll see further down this post.
According to Project Message vol.15, earlier commissions would have their SEKAI version Virtual Singer picked based on the producer. This is why Nijiiro Stories has two Virtual Singers, as staff decided that MEIKO and KAITO fit the image of OSTER Project best.
Both TONDEMO-WONDERZ and Showtime Ruler had their first drafts scrapped. Tondemo was because Sasakure didn't like his early drafts, but Showtime Ruler's first draft was rejected by staff because they didn't think the style was right.
Surii actually made two versions of Kagirinaku Haiiro e. He asked staff to pick which one they preferred and that's the one in the game.
DIVELA wrote two songs before Tenshi no Clover
Depending on the artists, the song can take a matter of days to compose, or months. For example, DECO*27 composed needLe in 3 days, but it took Giga 6 months to finalise Ready Steady.
Here's an interesting one. Karasuyasabou looked at fans talking about WxS stories to help him with writing the lyrics to Showtime Ruler, alongside reading the stories himself. He describes the song's lyrics as being "written with the fans".
There's a bit of a grey area in how things were handled early on. For example, DECO*27 mentions in his Corocoro interview that he was given character illustrations and he talked about story, suggesting that he was given something to work with there. However, PinnochioP mentions only being given the prompt of "abandoned theme park" and some character designs, and NayutalieN mentions only being given character designs because things weren't set in stone at the time (I think NayutalieN was approached very early).
So yeah, MORE! JUMP! MORE! was written with no knowledge of story. NayutalieN was informed of things as they progressed, but it was still vague details that he was given. Also mentioning fragments of feelings in the lyrics was a complete coincidence.
OSTER Project mentioned in her interview that On A Holy Night, This Singing Voice had not been completed when she was commissioned, so she also worked from very vague details.
40mP was another producer who was approached long before release
SEGA specifically asked 40mP for a song with a "serious story" but "not too dark" (same link as above)
Meanwhile, HachiojiP was advised to add classical elements to RAD DOGS fit the event story
Ayase was contacted long before the release of the game as well, despite his song not releasing in-game until quite a while after release.
Ayase also was given the privilege of choosing what unit he got to make a song for. He chose VBS because he thought they fit hit vibe most and because he thought they were cool.
Police Piccadilly was requested to make a song that wasn't "too agressive or over-the-top"
Aqu3ra was given a bit more free will though, and was just told to make their comm sound how they wanted it to
They also made two demos, and after consultation with staff, chose one of the demos to finalise
TOKOTOKO was told to make "a song that would be exciting in live performances". As you can probably tell at this point the prompts received can vary greatly between producers.
there's not a huge amount of information outside of the corocoro interviews, and they've only done up to Yuukisan (Mirai) so far, so there's limits on how much i can tell you. Also not every song got an interview, so now Nulut, no Mafumafu, no Neru unfortunately. I suggest to keep an eye out for new interviews if you're interested; they seem to be going at a pace of one or two per month.
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Today on stream, Impulse told us how he sleeps in Bdubs’ bed in the monolith a lot when he’s working on his shop, so I thought “okay I can work with that”
——
“Ah yes, my favorite time of day- when it’s not day at all! Time to schweep!” Bdubs proclaimed to the open air, maybe to himself in a mirror, idk. He was working hard on the expansions to his monolith, and night was approaching. Bdubs flew over to his bedroom, which was dark except for a single candle. He took off his mossy cloak and pulled on some cozy pajamas, humming to himself, and got into his comfy bed.
Well, tried to get into his comfy bed. He’d pulled back the blankets to find a dark figure already in it.
“AHH! What- who-”
The shape turned over, and Bdubs grabbed the candle to hold it over-
“Impulse?”
“Hi Bdubs.” Impulse murmured, still half-asleep from the sounds of it. He rubbed his eyes and squinted at Bdubs. “You woke me up.”
“Impulse! Why are you in my bed? It’s- why are you in my house?” Bdubs asked, waving around the candle as he spoke.
“Well, okay, I was working on my shop and it got all dark out and I didn’t have a bed so I just came here.” Impulse pulled the blanket back up to his chest. “It’s so cozy.”
“Yeah, but it’s my bed! Get out!”
“Nooooooo!” Impulse whined, turning over so he wasn’t looking at Bdubs. “We can share.”
“Get- no! It’s a single bed, Impulse!”
“We used to have our Minecraft beds next to each other in double life!” Impulse countered. Bdubs could literally hear the frowny-face emoji in his voice.
Bdubs sighed, putting down the candle so he could rub his face with his hands. He peeked through his fingers to stare at the silly man in his bed.
“For goodness sakes.” Bdubs muttered. He then reached for the broom he’d been sweeping with earlier and shoved the bristles into Impulse’s face. “Get. Out. You. Foolish. Dwarf!”
Impulse woke again and tried to fight back against the broom and failed miserably. “Ow! Ow! Fine! Geez! A man can’t even sleep in another man’s Minecraft bed anymore! What kind of world do we live in?” Muttering and cursing, Impulse got out of the bed and stumbled around for a few seconds before grabbing Bdubs’ mossy cloak off the wall and just kind of collapsing onto the floor with it over him like grass on a mountain.
“You’re kidding me- Impulse! Get out!”
But Impulse was already fast asleep, so Bdubs just rolled his eyes with a chuckle, put down the broom, and got into bed.
“Alright, alright. Good night, Impulse.”
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The shortness of today's entry leaves me plenty of room to imagine Mina shut up in her room reading Jonathan's diary. It really mirrors the reader's experience beginning Dracula.
Of course, Mina is reading handwritten pages of shorthand. The reader is given the clarity and distance of plain English text. The form encapsulates the difference in relationship to the story. For a reader picking up a horror novel, they've opted in for the safe thrill of fictional terror. For Mina, it's real, tragic, and personal. But both know from the beginning that something terrible must happen, only not what it will be. Both can experience the dramatic irony of the early warnings from locals and signs things are not quite right long before Jonathan could.
Mina reads the whole journal at once. For Dracula Daily readers this is very different from the slow, suspenseful crawl of the updates. But it is very likely for a reader tackling the novel in the usual manner to be drawn into reading quickly to see what happens next.
On the other hand, Mina at least knows Jonathan survives his ordeal, undercutting that tension. Although if a reader has been spoiled, is familiar with adaptations, or has read the novel a decade ago and dimly remembers a few plot points (hello) it could be the same. And I have no idea how much a reader in 1897 might have known going in; it would be interesting to see how the book was marketed.
And of course Mina reading the diary brings her closer than any other character to knowing what the reader knows. She didn't see the full course of Lucy's illness, but she saw the beginning in Whitby, plus the shipwreck and surrounding events. She could really start putting the pieces together.
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