"FF14" "YORHA: DARK APOCALYPSE" Graphic Interview Part Parts -Each boss is overtaking crystals!?

　An interview project that delves into a crossover content "YORHA: DARK APOCALYPSE" with "Final Fantasy XIV (FFXIV)" and "Nier" series from an interview with a graphic team.Following the first part, which asked for the design concept and production process of the entire content, the second part is currently patch 5.We delve into the points of each boss of the "Duplicate Saleta factory ruins" and "doll Tachino military base" that can be played at 3 times.

　Click here for the article in the first part: "FF14" "YORHA: DARK APOCALYPSE" Graphic Interview "Nier" world newly built with craftsmanship

The design of "Duplicate Saleta Factory Ruins" is built on three themes

―― From here, I would like to see from the “duplicate Saleta factory ruins”, the first installment of “YORHA: Dark Apocalypse” for individual designs.What was the design concept of this dungeon?

Mr. Yoshiki Takanashi (hereafter, title abbreviation): The theme of "abandoned factories covered with trees" and "standard abandoned factories" are divided into upper, middle and lower layers.It feels like I got it from Yokoo first.I received an order to show how it changes from the former to the latter as I go to the back.

--I see.Certainly, it was a design that made you feel the early atmosphere of "Nier Automata (hereinafter, Automata)".And the boss 1 is a multi -joint type and commander, but the player of "FFXIV", who does not play "Automata", thinks, "This is definitely an enemy that appears in" Automata "."When I played "Automata", some people were surprised that "I didn't come out!"I think it was an original, but it was original, and it was a design that matched the world view of "Nier", but what kind of image is the boss created?

Shinya Ichida (hereafter, title omitted): This is also a comment from the art staff.The concept is "a robot soldier sleeping alongside the road leading to archeological sites."I designed it with the image that something like an old drum can turn into a robot.It was first reported by Yokoo that "with the rules that do not use the tertiary curve", and it was designed in the art according to the rules there.

　In fact, the details of the design concept around that were talked about on the development blog of Platinum Games, who developed "Automata", and I used it very much.

――It was seen from the same perspective as the player (laughs).

Ichida: I was very packed with information (laughs).

――I had the impression that the boss, not only the silhouette, but also the attack effect, it faithfully reproduced the “automata”.

Ichida: That's right.The theme was that the expressions that seemed to be "FF" were not used as much as possible this time, and the original work was reproduced as much as possible, so we reproduced the explosion as much as possible and reproduced one explosion.

――The most impressive is the red bullet, which is often called “salmon”, but was it produced with “eye copy”?

Ichida: In fact, there are not many resource data in effects.Because it depends on the game engine, the basics are that there is no data, so it is reproduced while watching the video.

――It said that it was handicrafted to a “Nier” salmon -like feeling.

Ichida: I think it was like "this is it" (laughs).

-The next is the hobs of Boss 2, but this is a bit different from the previous "FFXIV" battle in the form of "fighting the field" rather than fighting the boss.I think this was quite closely related to the Enemy's design and the background design, but what kind of way was it?

Takanashi: This is a battle created by all sections in cooperation.Talking with the character section and motion section, I make various trials and error, such as "I move it here on the background (BG) side, so put the character data here ...".

Yuji Mitsuishi (hereafter, title omitted): You divide the actor into three and, "I want you to put it in where to put it."The rest is, "I want you to make this size this because it matches BG."

――It was also impressive that the floors rotated around (laughs).

Takanashi: 3 The alliance is different gimmicks.

――The gimmicks are different depending on the alliance, so it was "different from what I learned when I cleared it before!"That's why there is a gimmick that hits the fifth time (laughs).From the beginning, was the concept of moving the stage dynamically and moving?

Ichida: That's right.Since the battle planner wanted to fight the room itself as a boss, for example, the arm part was drawn closely, such as whether it was a character control or a BG side control.

――Certainly, if it is such a complicated structure, you will be wondering which area is in charge.

Ichida: Still, it is a battle that has been trial and error to which sections will handle which section will handle which section.

――In this room, when the floor becomes an angle at the time of rush, there is a place where the robot's face is lined up, which is very impressive.Are there any commitment points in design?

Takanashi: The area there is a room that imagined a place to inspect and dismantle the mechanical creatures.It is designed according to the concept, such as something like a belt conveyor or something like an arm.After the last clear, the hole opened and fall down was also made with the image of discarding.

――In fact, the lines in the battle were also "abnormalities were detected."And Boss 3 is an Engels that also appeared in "Automata", but I think this was one of the best "super huge" bosses in "FFXIV".In a sense, it's a boss that fights the background.

Ichida: It's huge at a level that can be said to be a background.However, I had to do various actions and techniques as a character, so I had to create everything in a possible way.I think it is a boss that was quite difficult.

――It is not just a background, but a well -modeling is made and exists.

Ichida: This is the largest size of the characters that have been made with "FFXIV".

――In the raids so far, there were huge bosses such as the dark clouds of the “Crystal Tower: Dark World”, but it is still a size that exceeds that.

Ichida: It is much higher than that.The character group was also struggling.

――I was happy to be able to fight because Engels would only be “automatic”.The battle with saw (Marx) was also reproduced well.

Ichida: I'm honored to say so (laughs).

Mitsuishi: Like Marx and Engels, when I saw the data provided by the "Automata" team, I was able to get back.

一同：（笑）

Mitsuishi: First of all, I was worried that this really works with FFXIV.In order to actually drop it into the specification of "FFXIV", it is necessary to adjust the amount of content resources in each section, such as planners or BGs, so we will consult and design the character specifications.I did it.

　As a result, the number of polygons was reduction to about one -fifth, and the texture size was dropped to the standard bosthrassy enemies size.Nevertheless, the character data size is top class in "FFXIV", but it depends on the content resource adjustment, so it depends safely.

　In addition, when implemented at first, it was a special BG environment with a gray background with white powder, so the whole look flat and has a lack of three -dimensional effect.The person in charge adds shading information on the occlusion map (indirect lighting of objects, such as indirect lighting of objects) to exaggerate the huge and three -dimensional effects with texture.That's a point where I had a hard time.

―― “Automata” was fixed to create a huge camera angle, but “FFXIV” is looking up at the player at all, whether or not it is horizontal.Because it is different, it is difficult to direct the three -dimensional effect.

Ichida: That's right.Normally, you can direct the angle, but in the case of "FFXIV", it is necessary to keep the flatness of a certain level of more than a certain level.Among them, I am struggling to see what kind of production I will put in.

　For example, Engels has adjusted the silhouette to look a little wide -angle, slightly expanding the shoulder width than the original data.The data side is incorporated in such adjustments to express the hugeness.

――It was impressive here, the dynamic production of the stage destroyed on the way, and the production of climbing up the body after defeating.Does climbing that body use a battle model as it is?

Takanashi: That's completely replaced with a BG model.The person in charge said that it was the most difficult BG model as a separate data with the defeated shape.The data itself is quite large as a background.There is also a background that the BG side poses and the motion at the time of defeat is adjusted accordingly.

――It is an element related to BG, but the expression of white powder dancing from the area just before Engels is impressive.Some players have considered that this powder is a salt related to the E -Ending (Shinjuku End) and "Nier Replicant" of "Drag on Lagoon (DDD)".How about that?

Takanashi: As I said at the beginning, it was Yokoo's order that "I want the last phase to dance white powder."

―― I see (laughs).But maybe white powder, for example, whether to make it like snow or iron powder, was it quite troublesome?

Takanashi: That's right.In the original order, she wrote only "something like white powder", so what is this? (Laughs).

一同：（笑）

-And the last boss 4 is a battle with 9s: multi -legged tank subordinate, but at the end of the battle, the tank and the flight unit split and bombed, and the boss was impressive.

Ichida: This boss has proposed about three rough designs to Yokoo when designed on the art side.It is a humanoid, it is a type that gets on it, it is a little massive, or something close to the design of the implemented tank.These are the art.

Ichida: Under such circumstances, Yokoo received a suggestion, "You can put more playfulness and more playfulness."

――If you look at it again, the undercarriage part follows the form of a mechanical life form.

Ichida: That's right.There is a rule that you always have a face.

―― Even with the same mechanism, the design direction is different from the mechanism of the “FF” series like the magic armor.

Ichida: Sometimes it doesn't use a tertiary curve, so it has a pretty simple shape, but it was an important point to create detailed details.

――In the battle, there was a gimmick in which the flying unit bombed. Is there a background design point?

Ichida: The point of bombing is that the flying unit flies while bombing, but it is one of the gimmicks as a game to determine where the aircraft comes next while looking at the explosive and airplane trajectory.It is.

　At first, the emphasis was on expression, so I couldn't make a judgment because the game intention was not transmitted.I have repeated many take to leave a game -like expression and a "knier" expression.It was one of the most difficult actions.

The gimmick of looking at the action itself and dealing with the action itself is not a sign of "FFXIV", but in the game as much as possible, not as possible.The aim is to play with a picture.

――It was a gimmick that I saw in the initial dungeon of “Shinsei”, and it was fresh because it was not much recently.In that case, the stage itself is assumed that the player will move endlessly, so is it a rather simple structure?

Takanashi: That's right.By the way, this place is created under the development of "Engels' graveyard", and it feels like the debris of Engels in the distance can be seen fluffy.For the time being, it was inside the abolished factory, so Yokoo -san had an order saying, "Don't feel outdoors."In addition to the order, the staff in charge is based on the theme of "Imperial Scenery" and created it independently.

"Doll Tachino Military Base" pouring all the resources of the staff

――Continue, let's talk about the second “doll Tachino Military Base”.The first thing that impresses is the dropped bunker trace that can be seen at the start, but was it decided from the beginning that it started with a cut that would make this bunker look bigger?

Takanashi: This time, not only on the raid side (inside the content) but also on the field side, the crater and bunkers seemed to change from the field side.As a result of considering that, I wanted a landmark -like big object.

　So I created a temporary model of crater and bunker on the BG side and discussed with the art section.As a result, it became "cool if such a thing was placed in a sloppy", and it was a flow that proceeded in the direction of making the bunker trace larger.

――When you get off from such an impressive hill, the boss 1 of the boss 1: 813P: base defense unit equipment will begin, but it is still a gimmick in a gimmick, which is often incapable of fighting if you are careless.I thought that it would be close to the Raijin Sid fighting in the monastery Obonne, a monastery of "Return to Iverse", in terms of the image of "Return to Iverse", such as various attacks from the center, but what kind of image this is modeling and design.Was it done?

Ichida: The design of this boss is original, and first of all, it is landed on an expression that does not give a sense of incongruity even if it appears in the original in the form of the original design.I am quite conscious of reproducing the impression of the original effect that appears in "Nier" as much as possible.

―― The expression that a safe zone was generated where the light overlapped was also fresh.

Ichida: That's right.Anyway, it is a boss with many new expressions.

――I think the fans of Yokoo's work become “oh” is a gimmick “Ending Noga” that passes through the gaps between the effects that spread from inside to the outside.There are many voices saying, "Is it an effect of the boss battle at the E -ending of" DDD "like the white powder?"

Ichida: That's right.The planner specified that "I want this expression to use the effects around here", and I reproduced it while "eye copy".

-The next is 2 bosses 724-772P: reinforced flight unit [A-LPHA] [B-ETA] [C-HI], but it has a design like a VTOL machine.I think this will be the original, but are there any design points?

Mitsuishi: As a character, we were initially working as designed, but it was necessary to fix the model according to the battle project.There is a vertical missile hatch on the upper part of the aircraft, but it was a design that did not open at first.However, it was "I need to launch a missile in a battle," and fix it so that the hatch opens.

　After that, the vertical take -off and landing engine will also rotate, so we adjust the length while working with the motion group so that the assisting engine on it does not come into contact with other models.In addition, there is something like a missile launcher under the wings, but the missile is also stored beautifully, and the person in charge is particularly particular about it, such as being able to fly it as a model.I was making it.

――If you look at that kind of mechanism, you want a figure and plastic model (laughs).The mechanical design requires a cool appearance, but it also demonstrates that it is not possible when it actually operates.

Mitoshi: At the stage of design in the art section, it designs such a gimmick and designs it.However, there are various problems, such as interfering with the part when actually motion, so it feels like adjusting the design while changing the design.

――In the production, the attack, which three aircraft rushed side by side, had a considerable impact.As a mechanical thing, it is a production of an iron plate (laughs).

Ichida: That's romance (laughs).The planner was like "I want to do this!"

――After the boss 2, you will enter the bunker and the atmosphere will change drastically.When I walked on free search, I was overwhelmed by the greatness of its construction.

Takanashi: In the original, the hangar is the same, and the corridor of the bunker and the 2B room are almost expressed in the side view, so the staff in charge is quite troublesome if it is reproduced in a normal state.It's a place.However, if you make it a tremendously wide corridor in accordance with the specification of "FFXIV", it will be completely far from the original image.

　In this case, the original work is included in the head of a loving staff who created a 2B room, so it is a trial and error, such as "I should do this", and see it in the original.He made these maps from the perspective of a camera.

――Is that the bunkers themselves are not just walking, as well as walking.

Takanashi: It's a crash and broken, so it's already broken (laughs).So the movement was slipping smoothly.

――In the original, I was not bothered by the structure because it was in outer space in outer space, but when I had gravity, it was good to understand only after slipping.After passing through the aisle, it will be a battle with the boss 3 in the command room, 905p: a heavy landing battle unit equipment, but here you need to judge the gimmick by looking at the boss as well as the surrounding walls.Did the BG group design be designed by the symbols displayed on that monitor?

Takanashi: That's right.After that, the "Automata" team made a request that I wanted the monitor to express this.

――You made a trial and error to achieve both the “kneer” and the ease of understanding as a gimmick.After a stick -like mark is displayed, a straight effect attack is activated.

Takanashi: Yes.I had many designs in the art section.

――This battle is a structure that fights not only the boss but also the entire battle area, such as attacking from the center and attacks from the surrounding walls, but this is a boss 2 of the “Duplicate Saleta Factory Ruins”.Like Hobbus), do you feel like you made it in cooperation with other sections?

Takanashi: The gimmick of the laser in the center is made by remodeling the data of "Automata" by the BG side.

Ichida: The images reflected there and hammer appearing during the battle are effect expressions, so the effect group also participates and has a close meeting with "Which part should be in charge here?"

――By the way, in this battle, the operator 21O appears on the monitor, but is there a character model?

Ichida: I have an image from the "Nier" team and use it.

――Is it a little different from the original color?

Takanashi: That's right.It is processed as a monitor expression.

――If you talk to the story, it seems that there are many parts that are made beyond the boundaries of each team's area, but there are not many such cases in the previous “FFXIV”.Is it?

Ichida: This time, it has become beyond the specifications that I had expected of "FFXIV" ... (laughs).

一同：（笑）

Ichida: In order to express it, it seems like each section is dispersed, but the strengths are brought to each other and exceeds the limit.It was a little difficult if I didn't do that.

――Is it a crystal of the efforts of development staff beyond the limit of technology.In a sense, "YORHA: DARK APOCALYPSE" is made of "over technologies" (laughs).

Ichida: Maybe (laughs).

――After the last alienship, we will fight the fusion doll Tachi, but first of all, please tell us the highlights of the alienship itself.

Takanashi: In the original, it was a place to battle on the side view, so it is designed so that you can see which camera can be seen.In "FFXIV", we fight on the place where we were fighting in the original, so we can not easily see the original part, but in fact there are chairs where aliens were sitting down.

　After that, there is a cut scene where the shutter is opened in the original and the remnants of an alien mother ship can be seen in the back, but in the original, the only cut scene was a battle, but in "FFXIV", a battle while looking at the debris at the open place.I made it possible.

　This is a form from the BG staff to say, "Let's tribute to this."In addition, it was necessary to make a large scale of the area itself, so it was difficult to differentiate from the area so far.

――The design of the boss itself was quite surprising.It seems that this is a tribute to the scene where the original machine life form is united, but it was quite difficult in terms of expression, such as the fact that such a model gathered and became one.

Mitsuishi: No, the modeling staff had a very painful feeling (laughs).

一同：（笑）

Mitsuishi: I think it was the most difficult asset of the raid content so far.Since the whole body was composed of Android, I was working on a daunting work of paste one by one when producing a hypoligon model.

――Is it fused one by one one by one!?

Mitsuishi: Yes, I want you to look at high heels (laughs).Everyone is posing neatly.If you pay attention, I think each body is unique and interesting.

Ichida: At the time of production, I was doing a lot of work, and I had to express the scenes that can be displayed at once, so I have to express a mountain -like model with dolls gathered on the BG side.I got it.And while moving it, this time, such as gathering the dolls on the character side there, we attack the limit that can be displayed with each other, and it looks like there are so many.

　In addition, the dolls coming down from the sky are returned to the moment they disappear outside the screen, and they seem to continue to descend.I'm attacking all the limits, and when I show the back side, it feels like "that?" (Laughs).

一同：（笑）

―― In the Yoshi P walk, Mr. Yoshida was impressed again, saying, "How are you making this?"

Ichida: The staff has been developing for a long time, and it has the skills that can be used up to the last minute of the specification limit, so it seems that it can be done that far.

――You are not only doing it with a single team, but also to attack the last minute using all resources of BG groups, character groups, and effect groups.

Ichida: It's just barely (laughs).

――But it was worth it, and the BGM was combined with “FFXIV” and “Nier”, and it was a very impressive battle.

Ichida: Thank you.

Some of the elements have been reproduced by implementing new functions ...

――After, I would like to ask if you have any attention points for dungeons and boss except for the rest of the thing.

Takanashi: There is a command room in front of the boss at the “Doll Tachino Military Base”, but at first it was planned to battle in the command room.However, when I tried to battle here, it was twice as large as it was, and it was a shape with a desk and terminal there.

　As expected, this would be useless, and the planner and the BG group had changed to the inside of the monitor and went inside with a room in the back of the monitor.Therefore, the command room itself is left as a place where you can enjoy walking freely, leaving the original scale.

――When I first played, I was surprised that the back was open."Eh, this is open," (laughs).

Takanashi: That's right (laughs).Also, when traveling in the area, I grabbed it in the pod and moved, but there was no idea in the original "duplicate Saleta factory ruin".It was planned to be in other raids, such as falling from a high place naturally from a high place or sliding the roots of the tree.

　As a result, "I can't manage it" and blasted (brainstorming) with the planner.rice field.It was popular with players, so through the "YORHA: Dark Apocalypse" series, "If there is such a height difference, it is a pod", which is a general -purpose movement method (laughs).

――Especially in front of the boss 2 of the “Doll Tachino Military Base”, it is a fairly dynamic moving production.

Takanashi: If you do not make a good production in a normal fall, then it will cost you to make something like a wooden root or slope along it.As a result, the pod became a minion, so I think it was good to include it.

――By the way, is the pod reduction to the “FFXIV” specification?

Mitsuishi: That's right.In addition, since the use varies depending on the scene, when using it for movement, it is a simple version without internal gimmicks, and in the minion, a model with gimmicks for unique actions is prepared.

――Are there, tanks will appear in the “Duplicate Saleta factory ruins”. Is there any point in this design?

Mitsuishi: There are many operating sites like other transplanted assets, such as the round head of machine weapons, so I had a hard time dropping them into the implementation specifications while leaving that area.

Ichida: After the tank battle, it is quite difficult to implement a scene where 2P boarding and leaving the flight unit.I tried to reproduce the expression in the original, where the color changed the moment I got into the flight unit, but I couldn't do it because of the specification of "FFXIV".

　So I focused on implementing a new function, but in the actual play, when the boss battle is over, everyone goes ahead and I feel like I haven't seen it much.(smile).

一同：（笑）

―― After defeating the boss, everyone will move to the next area in a hurry.

Ichida: That's right.That's why I wonder if it's in the middle of the aisle.The motion group has been implemented with a lot of trouble, so I'm glad if you can take a closer look at this opportunity.

――After, it will be a different topic from the dungeon, but patch 5.Furniture inspired by the "duplicated Saleta factory ruins" can be used on the housing in 3, and the housing of people full of "Near love" has become a hot topic.

Takanashi: I saw it in the Yoshi P walk.Even though the 2B room did not have dedicated furniture, it looked firmly like that.

――It was the same silhouette when viewed from the side.

Takanashi: When viewed from a distance, I am glad that everyone enjoyed it as it was.

――I would be happy if a furnishings that could reproduce the bunker, for example, appeared in the future ...

Takanashi: I can not say that I will do it here, but if you can continue to give such a voice, I will tell the person in charge.

――By the way, is the implemented furniture used as it is for BG as it is?

Takanashi: This is made for the housing.

"YORHA: DARK APOCALYPSE", which made "FFXIV" "break through"

――In this summer, as a 7th anniversary project, Famitsu.We conducted a questionnaire on COM, but "YORHA: Dark Apocalypse" became a very response content, such as the top of the favorite battle content in it became the "duplicated Sareta factory ruin".What are you glad to have expanded and produced this content?

Ichida: The required hurdles were extremely high, but as a result of the combination of everyone's power, I was able to create something that exceeded the original upper limit, such as the “over technologies” mentioned earlier.By acquiring the power to make more than ever, I think that these expressive power can be used in future main stories.

　You can also aim for higher expressions even after the continuation of "YORHA: Dark Apocalypse".In that sense, it was good to produce this content because it expanded the limit or expanded the expression of "FFXIV" more than ever.

――In the seven years ago, I wonder where the limit of “FFXIV” is.Even if you take one graphic expression (laughs).

Ichida: Originally, the limits should have reached a long time ago.It is still growing (laughs).I think that we can still do our best, or we can continue with high motivation.

Mitsuishi: I think it's very rewarding that the players are highly evaluated and that they accept their graphics without discomfort.We produce high -level graphics every time, and as Ichida said, the skills of the creator are growing steadily.

　Next, I feel that there is a system that can be produced no matter what design is ordered.Regarding the design of boss enemies, I think that the workers' efforts will arrive directly to you while feeling nervous and expecting that the next thing will come next, so I think that we can work on the production with rewarding.。Of course, there are also fans of "Nier" on the spot, so I hope that they can focus on development with the same feelings and perspective as the players.

――Is there quite a lot of young people on the site?

Mitsuishi: That's right.Some are young, and some veteran staff are 10 to 20 years now.Young children are motivated, such as "You can make such a game while in the" FFXIV "team.""FFXIV" is a long -term content, so you can enjoy it quite a bit in the sense that you are involved in another title.

――In the staff, this crossover was fresh.

Mitsuishi: It's irresistible for those who like "FFXIV" and also like "Nier" (laughs).In that sense, the tension on the site is high, and I would like to continue working on content production.

Takanashi: If you like "Nier" and those who like "FFXIV", you will be happy, and I am really happy to hear the response.The staff in charge feels that it is fun to be able to make a completely different SF -like worldview among the ordinary fantasy as the production side.I also made it while thinking about how to fuse the difference in the world view.

　There was also an over -technique expression earlier, but it is certainly difficult.But I guess this high reputation was given because I was able to make it exciting and enjoyed.I'm glad there.

――By the way, is the number of people participating in content production more than other content?

Ichida: The number of people itself is assigned to each content, so I don't think it will change so much.

―― For example, it is not more common than “the desired garden eden”.

Ichida: I try not to lose the balance there.I think the rest is heat!

―― Like the Alliance Raid so far, this time it was a crossover with the “Nier” series different from “FF”, so it was a content that felt the heat of the creator even more as a player.Also, as a fan, "Nier Replicant Ver will be released in April next year..1.22474487139...I want you to include the elements.I wonder if there is no possibility because the song is included ... (laughs).

一同：（笑）

――So, I don't think you can say anything about the sequel yet, but please give me an enthusiasm message.

Ichida: We have everyone play and are surprised to be surprised or "Ah!?"

――I'm the story of Yokoo in the Yoshi P walk, I'm prepared for the story that the story is a big development, but I hope that the content itself will be shocking.The third Allianth Raid was usually difficult (laughs).

Mitsuishi: The character section is also involved in the first and second and seconds and content production, but we will do our best to make visual impact on the third installment!

――I hope that new characters will come out!

Takanashi: I hope you can mobilize the manpower again and make the third one.

--Thank you for today!