Saga NieR - Drakengard

[LionHeart881]

A me non piace il chara design //content.invisioncic.com/a283374/emoticons/rana.png

 

[MFP093]

Damn i 60fps. Che poi diciamolo, sarebbe già stato sbalorditivo fosse andato a 30 fisso, per un gioco di Taro.

 

[|Ryuuku]

piango

 

[Reinbach]

Riassuno delle info svelate durante la dimostrazione.

The gist of the story is that aliens invaded heart and deployed machine life forms to the surface. Mankind was exiled to the moon, but create androids to fight on its behalf.

The story isn’t only about war. There are so many things going on, and Taro Yoko would like gamers to find out what it all means when they clear the game.

The team is working towards a global simultaneous release in early 2017.

Most of the battle mechanics are finished, and they’re being fine tuned to make them more fun. The team is working on the RPG elements and on the story cutscenes.

The survey held at the NieR concert, fans expressed appreciation for the music of the new game.

9S isn’t really a close friends with the protagonist 2B, they’re more like acquaintances. 2B is a battle-type android, while 9S is a scanner-type. The way they control when you play them is slightly different due to their abilities. Their movements are about the same, though.

A2 is the prototype. Her relationship with the others and, and the reasons why her clothes are ripped will be revealed within the game’s story.

The blindfolds are actually goggles, and the androids can see a lot of different things through them. The reason why A2 doesn’t have them will also be revealed in the story.

You “may or may not” be able to control A2. It’s still a secret.

The game is set in the distant future of Earth, so there will be ruins blended with the environment. Buildings are taken over by overgrown nature.

The recently release artwork was designed by PlatinumGames. They havd done a lot of work to translate it into game assets.

You’ll be able to configure the buttons on the controller.

You can lock on targets, differently from the first game.

The bullet barrages will return from the first game, and will happen in many different locations and situations.

The atmosphere that supports the game is really crucial to the franchise. The team is working on bringing it back from the first game with lighting, texture and more, but also to surpass it with the new game.

Today Square Enix showcased a resistance camp, where you’ll find NPCs, and this is an example of the RPG elements of the game.

You will be able to buy and sell items.

There will be sub-quests.

You’ll be able to upgrade weapons.

The peculiar camera work of the first game will return in the new one.

It’ll be possible to fight within the resistance camp.

The team tried really hard to give the game a similar feel to the first NieR.

Even if it’s developed by PlatinumGames, the game still includes RPG elements and the team is working really hard on them.

Outside of the resistance camp, there’s an area of ruins. It’s the main area similar to the plains in the first NieR.

In the ruins there are plenty of machine life forms to fight.

You can assign each of the two weapons freely to square and triangle. You can have an additional set of weapons and you can freely switch between them.

So far the sword, greatsword and gauntlets have been announced, while the pod take care of long range attacks.

If you lock on to an enemy the pod will automatically fire on that target.

The R2 button allows you to evade. You can evade by jumping or in any direction you like with the analog stick.

If you dodge with the right timing, it’ll be a perfect dodge. When you do that, you can launch a special attack.

Controls are actually pretty simple and anyone should be able to handle them.

You can attack while gliding with the pod.

There are a lot of areas in the map that you can jump on and explore, including many ledges that you can climb on.

You have to change your strategy depending on the enemies you fight.

There are also flying enemies.

Large enemies are protected by armor plates that you need to break.

http://www.dualshockers.com/2016/06/16/platinumgames-ps4-exclusive-nier-automata-gets-ton-of-new-info-on-gameplay-story-and-more/

 

[Konata]

Temevo fosse diventato full hack'n'slash mentre invece somiglia al primo Nier :claudia:

 

[Aivirth]

madò la ost, il gameplay, l'ambientazione :gouki:

 

[HP 9999]

The R2 button allows you to evade.


If you dodge with the right timing, it’ll be a perfect dodge. When you do that, you can launch a special attack.

Da come hanno affermato, spero che abbiano ripreso il gameplay da Bayonetta. //content.invisioncic.com/a283374/emoticons/250978_ahsisi.gif

 

[Zio Name]

The R2 button allows you to evade.
If you dodge with the right timing, it’ll be a perfect dodge. When you do that, you can launch a special attack.

Da come hanno affermato, spero che abbiano ripreso il gameplay da Bayonetta. //content.invisioncic.com/a283374/emoticons/250978_ahsisi.gif

E da ventordici titoli Platinum, vedi MG Rising //content.invisioncic.com/a283374/emoticons/rJjoqET.gif

 

[HP 9999]

E' l'ultimo loro action che ho giocato. :gaf2:

 

[Reinbach]

Su Famitsu c'è un articolo su 4 pagine, con moltissime immagini.

Quando arrivate in fondo alla schermata, ricordatevi di passare alle pagine successive per vedere tutto! //content.invisioncic.com/a283374/emoticons/Gab3.gif

http://www.famitsu.com/news/201606/23109072.html

Qui ci sono anche 4 scan del Dengeki, ma sono ben poco cosa rispetto all'articolo sopra.

Spoiler

 

[Koyomi Araragi]

8-4 to Handle Localizing NieR: Automata

http://nichegamer.com/2016/07/04/8-4-handle-localizing-nier-automata/

Square Enix and Platinum Games’ upcoming action RPG, NieR: Automata, has typically seen fans gushing over its presentation, combat, and of course – its extraordinary themes courtesy of creator Taro Yoko.
However, some fans have been cautiously optimistic about the games localization, as previous games pioneered by Yoko-san have seen English adaptations for western audiences rife with changes and cut content. Now, we have confirmation 8-4 is handling the game’s localization, via Metro:

“As for localisation, the team working on it is called 8-4.They actually changed a lot from the original script to fit the different regions,” said NieR: Automata director Taro Yoko. 8-4 is known for localizing games such as the original NieR, Drakengard 3, and Azure Striker Gunvolt, with the former having more adult dialogue cut, and the latter seeing its English release having lots of dialogue cut, or random pronouns thrown in.

“That’s because there’s a lot of concepts or ideas that only really the Japanese audience would understand. And so the localisation team really went in and made it so that the English native speakers will really enjoy the game.”

“So it’s a little bit different from the original Japanese game, but it was really created in a way so that the players from the different regions will have fun. There’s people in that company that really love the world we’ve created, and that is why they have really taken care in creating this localisation.”

What could this mean for the game’s English release? Unfortunately, we probably won’t know how much content has been altered or cut until the game ships next year.

How do you guys feel about a game being altered for non-Japanese audiences? Sound off in the comments below!

:morris82:

 

[Reinbach]

How do you guys feel about a game being altered for non-Japanese audiences? Sound off in the comments below!

Dipende da come viene alterato, ma di solito non è proprio una cosa che mi fa gridare di gioia... :morristend:

Una traduzione parola per parola di solito non funziona per niente bene, i giochi vanno localizzati, secondo me. Ma ci vuole misura.

 

[Oxidian]

How do you guys feel about a game being altered for non-Japanese audiences? Sound off in the comments below!Dipende da come viene alterato, ma di solito non è proprio una cosa che mi fa gridare di gioia... :morristend:

Una traduzione parola per parola di solito non funziona per niente bene, i giochi vanno localizzati, secondo me. Ma ci vuole misura.

Mettono a tutti i personaggi un corno in testa e li fanno andare a quattro zampe.

 

[Reinbach]

Sul developer blog ufficiale, è stato postato un lungo post relativo al gioco.

Game Design – Takahisa Taura

What you see here is a test level where we check characters’ animations to make sure they’re ready to go in the game. We also use this level to try out visual effects, like the sword arc you can see above, as well as special effects like clouds of dust, explosions and more.

In an action game, the response time between when a player pushes a button and when their attack is performed has to feel great. To improve this response time, we use a special tool to fine-tune when each animation can be canceled into other actions, and occasionally even make subtle adjustments to their total speed. We have to be careful, though – if the animators catch us changing the speed too much, they get pretty mad…

After a bit of tweaking, we try it out and see how it feels. Then we tweak again, and test again, then tweak again, then… It’s repetitive work, but all this testing is essential to make NieR: Automata feel exactly as it should. Sometimes we end up spending an entire day just working out the perfect way to position enemies in a single fight scene!

It’s absolutely critical to start with a solid premise, then playtest again and again to make sure you’re staying on track. Passersby usually assume we’re just playing games all day, never suspecting how much blood, sweat and tears it takes…

They’ll never understand our struggle.

Animation – Takayuki Muranaka

Here you can see an attack animation for 2B in progress. In this attack, she uses both her sword and that large melee weapon on her right hand. 2B has a sense of elegance that we try to capture in all of her animations. It’s not enough for main characters’ animations to just look good – they have to feel good in players’ hands, too.

Here’s a common situation: You’re patting yourself on the back for making an animation that looks super-cool and flows really nicely. Then, you put your perfect animation into the game engine and try controlling it, and it dawns on you that it’s too slow, too clunky. With tears in your eyes, you go back and cut away huge parts of your magnificent creation until it finally feels good.

As an animator first and foremost, there’s a lot you can’t help but want to leave in. But you’re not making a movie here – you’re making a game, and it has to be tight and responsive. The truest sign of a skilled game animator is their ability to make something great with the number of frames they’re given.

Here we’re working on an animation for the boss robot you saw in the E3 2016 trailer. This boss came with some special directions from the designer in charge of mechanical characters: She has a lot of joints that can only bend back and forth in one direction, giving her believably robotic movements. For example, in her shoulders alone there’s a detailed division between parts that can only turn one way, and parts that can only turn the other way. This robotic joint structure applies to this character’s entire model, as well as other robots in NieR: Automata.

As a result, the controllers that drive this boss’s animations are quite a bit more complex than they appear at first glance.

Character Modeling – Kazunori Tazaki

Character models are animated through a system of joints that we call “bones.” Each of these colorful lines is one of the boss’s bones. She has 364 bones in total – 249 in her body, plus another 115 in cloth details like her cape and dress. The metal skirt that makes up her lower body is collapsed in this view, so it’s covered by her cloth dress

The trickiest part is properly controlling the movement of her cloth details. Robots tend to look bland and lifeless when they aren’t moving, so making her cape flow in a somewhat exaggerated, almost heroic manner helps her look more dynamic. It was harder than we expected to keep her metal skirt from sticking out from under the cloth dress when she moves! The more we tried to fix it, the more her dress stretched out to its limits. It took a lot of time and effort to keep her dress shaped properly.

Enemy Concept Art – Hisayoshi Kijima

It took three different designers to arrive at the character you see now: One made the original concept, another made the full rough design, and a third (that’s me!) added all the additional details. I also worked on the designs for the other machine lifeforms you’ll find in NieR: Automata, making sure they have an appropriate amount of visual detail. I also check over all these designs with an eye towards what configurations and mechanical details would make for the best possible 3D character models.

Like all the machine lifeforms in NieR: Automata, this character is made of rough, raw metal. Keeping her consistent with similar characters while also giving her a uniquely feminine atmosphere was pretty tough!

Environmental Concept Art – Kazuma Koda

I made this concept art of an abandoned city by painting over a screenshot of the area as it looked in the unfinished game. Environmental concept art like this serves as a solid guideline for the team that makes all the environmental models. I originally painted this cityscape with much darker colors – though the weather was always pretty nice! In the end, I decided that it didn’t match the overall feeling of NieR: Automata very well, so I brightened it up to what you see here.

Here’s a distinctive landscape! Rows and rows of nearly identical housing units stretch across the desert as far as the eye can see. To be honest, I’m not crazy about having to draw the same thing out over and over again like this in 2D, so I started making this piece by digitally placing models of the buildings in 3D space and painting over that. To keep it consistent with the overall game world, I brightened the scene up and toned the colors way down until it’s nearly monochromatic.

Sound Design – Masato Shindo

In a tight, closed space, sounds don’t echo very much. In a wide open room like the one above, though, echoes last longer. Echoes also change depending on the materials that make up an area: They’re louder when you’re surrounded by metal than when you’re surrounded by dirt, for example. Each area you explore in a game needs its own reverb settings to get these echoes just right.

In all our previous projects, we sound designers made individual settings for echoes to fit the exact shape of each area in the game. However, since NieR: Automata takes place in a more open world, it would take a massive amount of work to do it that way. We’re aiming to cut down on all that effort while creating a realistic soundscape for the game by using a system that can manage echoes on the fly.

This system sends signals out into the area around the player, and these signals provide information that helps determine how much reverb to use – what the walls are made of, how big the room is, and so on. The green dots in this image are the exact spots where these signals hit, but you won’t see them when you play NieR: Automata. They’re just there to help us debug the dynamic echo system!

http://www.dualshockers.com/2016/07/15/nier-automatas-developer-blog-reveals-ton-of-info-on-development-process-and-challenges-faced/

 

[Konata]

Good stuff:buemi:

 

[Konata]

Domani alle 15:20 ci sarà uno streaming di ign su Nier Automata

 

[Damocle]

oh cool un altro premio per completare la demo //content.invisioncic.com/a283374/emoticons/1.gif

- - - Aggiornato - - -

nier su pc

 

[Konata]

Annuncio: Arriva anche su steam

 

[Zio Name]

nier su pc

Wait. What?

 

[Damocle]

Wait. What?

arriva su steam