Lulcielid
Eyes of the Lord
- AKA
- Lulcy
In lulzy news, there's been a petition on Change.org for a couple of months to petition SE to reboot FFXV and remake Versus XIII "as it was intended to be." The funniest bit is right here:
"More specifically we would like to see Tetsuya Nomura; the former director and Kazunari Nojima; the former story drafter, appointed again in order to achieve the maximum fidelity on the original Versus gameplay and story direction."
lol-ingtoinfinity
In lulzy news, there's been a petition on Change.org for a couple of months to petition SE to reboot FFXV and remake Versus XIII "as it was intended to be." The funniest bit is right here:
"More specifically we would like to see Tetsuya Nomura; the former director and Kazunari Nojima; the former story drafter, appointed again in order to achieve the maximum fidelity on the original Versus gameplay and story direction."
lol-ingtoinfinity
Interactive music is common in AAA games, but in games like ‘Final Fantasy’ that always have a strong melody line and musical progression, it doesn’t go well in the same way. Square Enix worked to make an intelligent music system called “MAGI”, that allows composers to create music in any tempo or measures and has customized sync points to make it interactive while remaining epic. In this talk, the sound team behind ‘Final Fantasy XV’ will share how they created actual music data in their proprietary authoring tools, and issues they faced during implementing them such as synchronization with game scene and looping, fading, etc.
“When we first sat down to re-plan the project that’s Final Fantasy XV, we really looked at which elements we need and should use and could do to create that kind of unique gameplay experience that we wouldn’t really get anywhere else. It was a very in-depth discussion about what elements to keep and what to throw away or change. We felt because the theme we’re trying to handle here with the story is such a massive epic tale, we really couldn’t fit all of that into the game that we had the time to make. So we wanted to show the essential things to get the best story across, which is where we decided on that—that’s reflected in the final form of the game.
“It’s not that we don’t need to show the Niflheim invasion to get the story across, but because that episode is something that would take up so much effort and time that rather than force it into the game, we started up its own separate project independently, and that’s the tale we wanted to tell with the film. That’s why we moved that to Kingsglaive. From a story perspective we’d have to have both the game and the film, both of these together in one package, but realistically that’s not something we could have done in one game, it’s too much.
“It’s very similar to the kind of decision we had to ask ourselves, OK do we spend another six years to develop that whole complete package as one game or do we spend three years to do it in the way that we’re doing now? I think, it really doesn’t affect it which one you get to see—from a story perspective whether you see it as part of the game or through the film, and how we tell that story is not such a thing which is affected by that choice. We really are confident that we’ve made a really great experience with that. We felt the most important thing we needed to depict through the game was that idea of traveling together with these comrades and watching them all grow and develop as people emotionally at the same time. We really have gotten that in there, so from a story perspective I think we've done the best we can."
Speaking with Game Informer, director Hajime Tabata says the narrative direction was entirely intentional – namely the important events that happened off-screen. “It was for the players to experience the story through Noctis’ eyes,” he told the magazine. “The world and the events that Noctis sees are merely things that are seen through his eyes. We didn’t want to create a comprehensive and perfectly balanced story in this game. Instead, we placed importance on the main characters and for the player and Noctis to share the same experience when we tell the story.”
With this sort of narrative design philosophy in hand, Tabata said it was only natural to increase the proportion in which the main characters are depicted. “It’s not that we decreased the role of the side characters,” he explained. “Focusing on many characters in the game means that the allocation given to the main characters will decrease. Instead of creating a comprehensive and perfectly balanced story, we placed greater importance on the four main characters and strived to depict a world seen from their perspective.”
Another topic fielded by Game Informer touched on the later chapters of the game, where things become a lot more linear. This again, according to Tabata, was intentional.
“Based on calculations that the development time and cost would double if the latter half of the game was to be an open-world environment as well, we had already planned to make the latter half more of a journey by vehicle. The structure of this title – to create memories while traveling in the open-world environment during the first half of the game, then have the story move forward linearly using the train in the latter half of the game – was designed and intended to be that way.”