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MILGRAM Hallucination Booklet Translation pt.1 (Yamanaka and DECO*27 Interview)

Context: This interview was from a booklet handed out at the MILGRAM Hallucination live show on the 21st January 2024 (if you want a copy you can buy it here) This translation was made possible by the generosity of @maxpawb sharing images of his booklet with me This translation is mostly my own, but @maristelina helped me with some sections. Now without further ado:

Q.01 Introduce Yourself. I'm Takuya Yamanaka. I'm the creator/planner/screenwriter for MILGRAM. I'm DECO*27. I work as the music producer for MILGRAM. I like Hatsune Miku.

Q.02 What reactions from the guards have been the most surprising so far? Yamanaka: There are a lot of guards that were born overseas, aren't there? Even though it's created with rather Japanese sensibilities, overseas audiences didn't seem to mind at all. Though the countries and sensibilities are different than what I anticipated, votes have become more multifaceted, it's very interesting, isn't it? DECO: To forgive or not forgive the prisoners what do you do, whether it goes as you expected or the result turns out to be quite the opposite, its fascinating. Maybe your nationality affects the kind of criteria you use to make judgements? I've been thinking about something like that.

Q.03 Is there anything you didn't imagine would happen at the start of the trial? Yamanaka: I didn't write it with a large overseas audience in mind, because from the start I wasn't worrying about popularity at all, I simply didn't think I'd be watching over so many guards. Milgram was developed as a more underground project, but it's popularity is a good surprise, isn't it. DECO: There were more people who got into MILGRAM without already caring about my music than I imagined, it was surprising. I feel like MILGRAM has spread further beyond than what I thought it would. I'm very grateful!

Q.04 So far, what's made you the happiest? Yamanaka: Everything. As a creator it brings me great joy to see a work that existed in my mind, take shape and be enjoyed by so many people. Other than that, because I also love the characters I've birthed, seeing all the guards talking about them and sharing their thoughts, both positive and negative, has to be the best feeling. DECO: It makes me happy to see lots of people analysing the meanings I put in my songs! The theories get pretty close to the truth too, I think... the power of all the guards is really cool.

Q.05 So far, what has been the most challenging? Yamanaka: Because I have to change the script in accordance with the audience's decisions, I can't create the entire story in advance. Furthermore, as of the second trial, there aren't only individual character storylines, the prisoner's verdicts begin to emerge and they influence each other. That is to say, I can't start writing until after everyone's results are out. Willingly subjecting myself to doing something this unreasonable, is what I feel is difficult for me. But because DECO*27 is also going through the same hell, we're holding on to some semblance of sanity. DECO: The story changes in accordance to all the guards' choices, and the music has to be written to match. I think this is harder for Yamanaka-P, who writes the script, than it is for me... But though its tough, I feel its really worthwhile, It makes me really happy to be able to communicate with everyone through my songs!

Q.06 Do you have any regrets like "I wish I had done it differently back then!"? Yamanaka: I've thought it over quite carefully, but there's nothing in particular. I think everyone involved in the project is giving it their all and its a really passionate environment. DECO: Nope! I've been able to put all the things I've thought of into my songs.

Q.07 Which prisoners are the easiest to write dialogue/music for? Yamanaka: If I had to pick one, it'd be Fuuta. He's the type of person that's pretty easy to write because his brain never shuts up. Other than him, Yuno and Shidou are relatively academic kids in theory, so they're easy to write because they're very clear when it comes to what they want to convey. [TL note just because its funny, the idiom Yamanaka uses is lit. "There is barking in the inside [of Fuuta's] head] DECO: It went smoothly for all of them!

Q.08 Which prisoners are the most fun to write dialogue/music for? Yamanaka: Muu's lines were the very fun to write~. I'm fascinated by her approach to life and can't help but envy how fun it must be to behave like that. Yuno and Amane are my runners up. I enjoy writing the kinds of characters who plainly state their ideas and speak eloquently. DECO: Mahiru! From the start writing about the relationships between men and women has been what you might call my forte, its enjoyable to make. I feel like this is also why I find Yuno easy to write for.

Q.09 Which prisoners are the hardest to write dialogue/music for? Yamanaka: Overwhelmingly, Haruka's dialogue takes me the longest to write. I have to use the parts of my brain that I wouldn't normally use to figure out how to not just directly convey what he wants to say. DECO: None of them!

Q.10 What's your favourite combination of characters? Yamanaka: Amane and Shidou. They're on completely different wavelengths about everything, and the best part is that there's no getting around it. My second pick might go to Yuno and Muu. They don't get along at all so their fights are never just superficial squabbling. DECO: I always like the interactions between Es and the prisoners. I'm liking how over the course of the voice drama interrogations, Es seems to be gradually coming to understand the prisoner's humanity. Especially Es + Mahiru!

Q.11 Do you want to be friends with any of the prisoners? Yamanaka: Shidou and Kazui. I like the idea of being friends with professional people. I think that people who choose to go into something specialized, its clear they have a kind of resolve and that's charming, isn't it? DECO: Yuno! I feel like she'd be easy to talk to. She seems like she's used to friends who maintain a good distance from each other. [note: while 'good' here can mean a fair amount of distance, in Japanese relationships the concept of boundaries is also built into the idea of distance, so in English you might talk about someone who is a close friend but still has good boundaries, but in Japanese this is someone who has the 'right amount'/ちょうどいい of distance from you, so this could mean Yuno doesn't have any close friends or that Yuno is just a good friend because she isn't going to turn up to your house unexpectedly and eat all the food in your fridge]

Q.12 Do you want to date any of the prisoners? Yamanaka: I love all of my characters a lot, but, well... how should I say it... I don't think I would date any of them. [TL note: I had to shift the wording to be more natural in English but the Japanese Q is more like 'which prisoner would you want to be your boy/girlfriend?' curse english for not having an exact equivalent to koibito, so Yamanaka's answer is more like 'I think would break up with all of them' its a nominal difference but my friend said to mention it bc its funny] DECO: I'm sorry.

Q.13 What's your favourite line/phrase? Yamanaka:

[Scene from Muu's first voice drama Crying B, TL taken from MILGRAMMER]

Es: Judging from your facial features, are you what they call “half-Japanese”? [lit. haafu/Half] Muu: Yeah… I’m biracial. [lit. daburu/Double]

It would have to be that wouldn't it? I got goosebumps when I wrote it it. DECO:

"It's not my fault"

I think that single phrase was able to represent Muu's character really well, if I do say so myself.

Q.14 Are there any prisoners that you think its good they're in MILGRAM? Yamanaka: All of them. Without these 10 people, this Milgram would be a complete failure. DECO: Without these 10 people, MILGRAM wouldn't exist!

Q.15 Is there anything the guards aren't aware of yet? Yamanaka: Of course, there may be some minor details, but I don't think there are any major points missing. The mysteries have already disseminated, I feel the full picture will be clearly revealed if the theories and wild speculations, which have been shared around the world, come together. As expected. DECO: There are! I hope you look forward to the gimmicks I wanted to put in my songs that will come out in the third trial!

Q.16 Is there anything you haven't been able to do up to now, but you want to try doing after this? Yamanaka: I want to do a stageplay. Every performance would be a different story set in Milgram. If anyone reading this is involved with stage productions, please contact me. [I can't find it now but I swear a while ago Yamanaka tweeted something similar like "I'm interested in doing stage adaptations of Caligula Effect or MILGRAM, if anyone is involved with stage production please contact me" I hope he does it, a MILGRAM stage play would be awesome] DECO: Fortunately, I'm already doing everything I want to do! Writing the trial 3 songs couldn't be more fun.

Q.17 Represent "MILGRAM" in one word. Yamanaka: 『人』 "People" DECO: 『噓』 "Lies" [This one is both simple and interesting so as a preview I'll share how akka and DMYM answered] akka: 『幻』 "Illusions" DMYM: 『信』 "Faith"

Q.18 Give a brief comment about the future of "MILGRAM". Yamanaka: There have already been plot developments that I personally wish I didn't have to write. The guards have all chosen a very intense path. It's frightening. I've also been ready to obey these choices since the start of MILGRAM, so I think we all should enjoy this story that can only be told once together. DECO: I've already started writing the prisoner's songs. It's hell. Please prepare yourselves. Q.19 A message for the guards. Yamanaka: Thank you for always looking after the prisoners. Milgram is a work that involves the participation of everyone, including yourself. The thoughts you had, the actions you took, the joy, and resentment you felt towards this prison, all this became a part of Milgram too. I would like you all to please live healthily in your realities alongside Milgram. DECO: Thank you for your hard work as guards. Although MILGRAM is full of troublemakers, we would be grateful if you could continue to watch over us for a long time to come. We will do our best to meet your expectations.

[A link to part 2 will be posted here when its ready]

(Japanese transcript under the cut)

Q.01 自己紹介を。山中拓也です。ミルグラムでは企画・原作・脚本をしています。 DECO*27です。 MILGRAMのサウンドプロデューサーを務めています。初音ミクが好きです。

Q.02 これまでの看守たちからの反応で驚いたことは？ Yamanaka: 海外にもたくさんの看守が生まれるていったことですね。とっても日本的な感性で創っているので、海外ウケとかきにしていませんでした。やはり国が違うと感性も違うものだと思うので、より多面的な投票がされて、とても面白いですね。 DECO: 囚人が赦すor 赦さないのどっちになるか、と自分で予想していたりもしたのですが、結構それが逆の結果になっていることがあって興味深ったです。もしかして国民性で判断基準が違ってくるのかな？とか考えたりしました。

Q.03 審判開始時点では思い描いていなかったことはあるか？ Yamanaka: 海外ウケ気にしたことないと書きましたが、そもそもウケ自体あまり気にしていなかったので、シンプルにこんなにたくさんの看守の方に見守っていただけるコンテンツになるとは思っていませんでした。もっと、アンダーグラウンドで展開するつもりだったんですが、嬉しい悲鳴ですね。 DECO: 想像以上にDECO*27を知らない方にもMILGRAMを観てもらえたことに驚きました。自分の思っていた以上にMILGRAMが広がったなと感じています。ありがとうございます！

Q.04 これまでで一番嬉しかったことは？ Yamanaka: 全部です。自分の脳内にしかなかった作品が、形になり、たくさんの人に楽しんでもらえること自体がクリエイターとしては大きな喜ぶです。あとはやはり僕は自分が産んだ登場人物のことが大好きなので、プラスでもマイナスでも看守の皆様が彼らについて語って、想いをぶつけてくれいることが最高に嬉し��です。 DECO: たくさんの方に自分が音楽に込めた意味考察してもらえた嬉しいです！かなり正解に近い考察もあって、看守の皆さんのパワーすごいな…と思っています。

Q.05 これまでで一番大変だったことは？ Yamanaka: ユーザーの選択によって、シナリオを変更をするので、あらかじめ制作することができないということです。しかも二審からは個人のストーリーラインだけでなく、他の囚人の結果による影響も出てくる。ということは全員の結果出てからじゃないと制作できないということです。そんな無茶を勝手に自分でやりはじめて、勝手に自分で大変な思いをしています。同じ地獄をDECO27も味わっているので、なんとか正気を保っています。 DECO: 看守の皆さんの選択に応じてストーリー変化し、それに合うように音楽を書くことです。これは僕よりもシナリオを書く山中Pのほうが大変だろうな…と思いますが…大変ではありますがとてもやりがいをかんじていますし、曲を通じて皆さんとコミュニケーションが取れていることが嬉しいです！

Q.06　「今思えばやっておけばよかった！」のような後悔はあるか？ Yamanaka: よくよく考えてみたんですが、特に無いです。制作に関わる全員がベストを尽くしてくれているとてもアツい現場だと思います。 DECO: ないです！思いついたことはすべて楽曲で出力できています。

Q.07 シナリオや音楽の制作がスムーズな囚人は？ Yamanaka: 一人あげるとすればフータでしょうか。頭の中でわんわん言ってるので、かなり書きやすいタイプです。あとはユノや、シドウあたりの比較的理論的で偏差値高めな子たちは何が伝えたいかが明確なので書きやすいです。 DECO: みんなすんなりでした！

Q.08 シナリオや音楽の制作が一番楽しい囚人は？ Yamanaka: セリフを書いていて一番楽しいのはムウですかねぇ~。こんなふうにふるまえたち人生楽しいだろうという憧れすあります。次点でユノやアマネでしょうか。思想がはっきりしてて、弁の立つタイプは書くのが楽しいです。 DECO: マヒルです！自分が元々男女間の関係性を描くのが得意ということもあって、楽しく制作しています。そういった意味ではユノも書きやすいなと感じます。

Q.09 シナリオや音楽の制作に苦労する囚人は？ Yamanaka: 圧倒的にセリフを書くのに時間がかかるのはハルカです。彼が伝えたいことを、伝わらないようにする調整に普段は使わない脳を使います。 DECO: いないです！

Q.10 お気に入りの組み合わせはあるか？ Yamanaka: アマネとシドウ。すべての要素が噛み合わなさすぎて、どうしようもないところが良いです。次点でユノとムウかもです。表面的なケンカにならないだけでかなり気が合わないので。 DECO: エス対囚人の絡みは須く好きです。ボイスドラマの尋問によって段々とエスが囚人の人間性を掴んでいく様が気に入っています。特にエス��マヒル！

Q.11 囚人を友達にするなら誰か？ Yamanaka: シドウとカズイ。友達にいてほしい職業の人たちです。なにかのスペシャリストを選択する人たちというのは、何かしらの覚悟が決まっている人だと思うのでそれだけで魅力的ですね。 DECO: ユノです！話していて気楽そうだなと感じます。お互い良い距離感を保てる友達になれそう。

Q.12 囚人を恋人にするなら誰か？ Yamanaka: 僕は登場人物のことを全員最高に愛してますが、まぁ、なんというか、全員やめとこうと思います。 DECO: ごめんなさい。

Q.13 お気に入りのセルフやフレーズは？ Yamanaka: 「その顔立ち、ハーフというやつか？」「うん...…ダブル」ですね。書いてて鳥肌でした。 DECO: 「悪くないもん」 1フレーズでムウのキャラクターを上手に表現できたなと我ながら思っています。

Q.14 ミルグラムにいてくれてよかった、と思う囚人は？ Yamanaka: 全員です。この10人でなければ、このミルグラムになっていないので。 DECO: MILGRAMはこの10人がいなければ成立しません！

Q.15 看守たちにまだ感づかれていないことはあるか？ Yamanaka: もちろん、些末な部分はあるかと思いますが、大きいところだとないんじゃないですかねぇ。既に問題はバラまいたし、世界中に発信された考察や妄想を組み合わせたらきっちり全貌が明らかになる気がします。さすがです。 DECO: あります！第三審で僕が楽曲を通じてやりたかったギミックが出てくるので楽しみにしていてください！

Q.16 今できていないが、今後やってみたいことはあるか？ Yamanaka: 舞台がやりたいです。毎公演、コンセプトの異なるミルグラムで行われる舞台。舞台制作に関わる方が、読んでおられましたら是非山中まで。 DECO: 有り難いことに、やりたいことは全部やれています！第三審の曲を書くのが楽しくてしょうがないです。

Q.17 「ミルグラム」を一文字で表せ。 Yamanaka: 『人』 DECO: 『噓』

Q.18 今後の「ミルグラム」について一言。

Q.19 看守たちへメッセージを。 Yamanaka: いつも囚人たちのことを世話してくださってありがとうございます。ミルグラムとは、参加する皆さん自身を含めてミルグラムという作品です。この監獄に対して感じた思い、起こした行動、喜び、憤り、それらすべてが作品の一部になります。是非ミルグラムと共にある皆さんの現実を健やかに生きてくださいませ。 DECO: いつも看守としてのお勤めご苦労さまです。曲者ばかりのMILGRAMですが、これからも末永く見守っていただけると幸いです。期待に応えられるよう、尽力してまいります。

#milgram #terrified for trial 3 but we ball

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