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Sword Art Online | Fractured Daydream - PS5/Series/Switch/PC - 2024 |

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Close Beta per Variant Showdown rimandata a data da destinarsi ma comunque entro il mese

tanto non ci sono rientrato :sadfrog:
 

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Finalizzate le date della Close Beta di Variant Showdown
Gruppo 1: dal 17 al 21 Giugno
Gruppo 2: dal 24 al 28 Giugno


niente di allarmante come previsto il rimando:gogogo:
 

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Live Gameplay dalla Closed Beta da Dengeki Online in compagnia dei produttori per Variant Showdown in 6 ore
 

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Disponibile l'aggiornamento 2.0.2 per Integral Factor che aggiunge l' 87° Piano e il livello di difficoltà "Maniac" per i dungeon

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Visual e Primo Trailer per "Matricaria" Secondo DLC Storia per Lycoris in estate 2022
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Nuovo personaggio "Log" e tipo di arma "Ascia e Scudo"
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Ultima modifica:

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Sword Art Online: Alicization Lycoris uscirà anche per Switch. La data di rilascio non è ancora stata confermata:



 

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Disponibile l'aggiornamento 2.0.3 per Integral Factor che aggiunge gli "anelli" come nuova tipologia di equipaggiamento e un nuovo evento Raid Boss "Starry Kobold Lord"

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Disponibile il DLC Storia "Blooming of Matricaria" e l' [Aggiornamento 3.01] per Lycoris che aggiunge "Scudo & Ascia" come arma e relativo skill tree ed incrementa il Level cap. a 199 ed il Level cap. delle armi a 99 (le eroine di Fatal Bullet e Hollow Realization e Kureha, Zeliska, Premiere e Tia in arrivo prossimamente)

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Fonte: Dengekionline
 

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terzo messaggio dal producer Takeuchi per Variant Showdown
Opening sneak peak
Layla art design

Post unito automaticamente:

Trailer per la Collab di Integral Factor con la serie "Tales of"
 

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Disponibile l'aggiornamento in app alla versione 2.0.5 per Integral Factor che aggiunge il 91° Piano, la seconda parte del Banner dedicato alla collab con la serie "Tales of" e materiali per la trasformazione delle armi della "Yasha Integral Series"

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Aperte preregistrazioni WW, poster per il TGS e nuovo trailer per Variant Showdown

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Disponibile l'aggiornamento 2.0.6 per Integral Factor che aggiunge il 94° Piano

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Dal Live-stream del TGS
mostrata la modalità PvP per Alicization Lycoris e clip per il capitolo storia dedicato a Premiere, Tia, Kureha e Zeliska

rivelato che Integral Factor riceverà il 99° piano ad Ottobre ed il 100° entro l'anno con in arrivo un nuovo personaggio "Notte"

mostrata l'intera intro per Variant Showdown con la canzone "Answer" cantata da Eir Aoi
 

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Disponibile l'aggiornamento 2.0.7 per Integral Factor che aggiunge il 99° Piano

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Annunciato SAO: Last Recollection per PC e Console (PS5, Xbox Series, PS4, Xbox One) nel 2023
 

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Disponibile l'aggiornamento 2.0.9 per Integral Factor che aggiunge il 100° Piano, il supporto a Google Play Games su PC, un nuovo evento Raid Boss "Aincrad", Banner per i compleanni di Sanya e Strea, materiali per il terzo livello di trasformazione delle armi della "Yasha Integral Series"

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Intervista e retrospettiva a Reki Kawahara, Kazuma Miki, Takasuke Futami e Tomohiko Takeuchi per il 10° anniversario
――The anime celebrates its 10th anniversary this year, and the game will celebrate its 10th anniversary next year. First of all, please tell us your frank thoughts about that.

Futami P: We've been talking about the SAO game plan itself since around 2010. For consoles we've made 6 titles + 1 ("Accel World vs Sword Art Online: Millennium Twilight"), but when I think about it now, I'm amazed that we were able to make it at such a high pace... In the 2014 release "Hollow Fragment" interview, I said that I wanted to make the "Alicization" arc, and I'm glad that I actually made it to "Alicization Lycoris". I am extremely happy to be involved in an IP that has lasted for 10 years.

Takeuchi P: I have been involved in the project since the launch of the app game "Code Register", which started service in 2014, and I am mainly creating app games. Since Integral Factor, we have been expanding to overseas markets, and it has received a great response both domestically and internationally.

Mr. Miki: In terms of merchandising, games with original works also have a fan item aspect. The market had been showing signs of shrinking since then, but it's quite rare for a hit to be said to be 10 years old next year, and there aren't many other titles like this. I think that a game with an original work is aimed not at people who buy it because it's fun as a game, but because it's a merchandise. However, I think the SAO games have been going on for 10 years because they are supported not only by people who love SAO, but also by people who love Bandai Namco Entertainment's games.

Mr. Kawahara: If the first season of the anime and the first console game, "Infinity Moment", didn't go well, I don't think the SAO anime or games would have continued for 10 years. I would like to take this opportunity to thank both staff once again. Ten years ago, most light novel based games were visual novels. In the midst of all this, I'm surprised that you tried to release a serious RPG, and I'm also surprised that you managed to create a game of that volume. When I think about it now, I wonder why they were able to make such a game.

Futami P: As you say, most light novel based games at that time were visual novels games, about 20,000 to 30,000. It was a big hit, selling 100,000 to 150,000 copies. However, "Infinity Moment" has sold about 250,000 copies. The reason why we decided to make it a 3D RPG is the result of thinking about how to maximize the appeal of the original work.

The first season of the anime, directed by Tomohiko Ito, was very good, so the game had almost no anime setting, and I think it was a youthful challenge to make a title that would live up to that, which led to a good result.

Mr. Kawahara: Was "Infinity Moment" a PSP exclusive?

Futami P: It was an exclusive.

Mr. Kawahara: That's why the number of sales is impressive.

Futami P: Yes. I think it was a great number because it was only in Japan.

Mr. Kawahara: Actually, I used to play it on my PSP, and it was fun as a game. It was fun just hunting wild boars in the field. I thought that the foundation as an RPG was very well done. I think it was because of lot of players enjoyed "Infinity Moment" that we had the decade that followed.

Futami P: At that time it wasn't as big as it is now, and it didn't take four or five years to make one. The year after "Infinity Moment," we released "Hollow Fragment," and the year after that we released "Lost Song."

――When you proposed making SAO an RPG back then, what was the reaction inside the company?

Futami P: At that time, people in the company kept asking me, "Will it sell?" When the limited edition of "Infinity Moment" sold out immediately, Kawahara-sensei innocently tweeted, "I'll ask Futami-san if we can resell the limited edition." (laughs)

Mr. Kawahara: You can't increase the number of limited editions (laughs).

Futami P: That's right (laughs). It was tough, but when I managed to increase the number, the number of reservations increased due to the favorable reception, and when I saw that number, the mood within the company changed.

Mr. Kawahara: At that time, I thought that Futami-san would come out of nowhere with about 10,000 copies (laughs).

――What kind of thoughts do you have when creating original characters for games?

Futami P: The most important thing in home video games is "who will be the heroine this time and how will you help them?" The player becomes Kirito in the game, so I think about what kind of heroine I would want to help if I were the player, and I make suggestions in line with the theme of the story. Of course, there are exceptions like "Fatal Bullet" where you are the main character.

――What exactly does it mean to match the theme of the story?

Futami P: For example, in the latest work "Alicization Lycoris", the theme was "desire for approval", so I thought of a heroine image that best expresses the desire for approval. I consulted with Mr. Miki and Mr. Kawahara, and at first I thought an integrity knight would be good, but I suggested a character called Medina.

To put it simply, Medina has a role that takes Eugeo's place. Eugeo has had Kirito and Alice since he was a child, but after they left him, he had quite a hard time. We have based the character of Medina on that. She plays the role of Eugeo, who didn't meet Kirito from the beginning.

If she had met the three of us in a different way, I think she would have grown differently.

――At that time, what kind of talks did you have with the original team?

Futami P: I always discuss with Miki-san not to overshadow the heroine. I especially remember when I thought about Strea, the heroine of "Infinity Moment", but at that time there weren't many older characters in "SAO", so She became an older sister character. Philia seems to start out as a red player (criminal), Rain is the older sister of Seven, and so on. I'm aiming for an experience that can't be done in the original as much as possible.

Mr. Miki: Mr. Futami's focus is the niche. "Is this okay, Mr. Futami?"

Takeuchi P: My way of thinking isn't that different from Futami, but I think about the character's behavior first, and then think about his appearance before making a proposal. For example, Koharu, the original character of Integral Factor, was created as a partner for himself (the player) to conquer Aincrad. I thought it would be better not to put in too many flashy elements in order to get people emotionally involved with the character as someone who will always be there for them, so I settled on black hair and a look that dares to exclude too many noticeable features.

――Are there any original characters that you had a hard time completing?

Mr. Miki: I was more picky about the setting than the characters. Original characters are created for the game from their backgrounds, so unless they're too inconsistent with the original, they don't get NG. If anything, we tend to give NGs for things like "this kind of setting is difficult to create with the level of technology in SAO"

Also, in order to make characters who didn't originally appear in the original work appear, the chronological order is arranged. For example, I asked him to come up with a convincing reason to include Leafa and Sinon in Aincrad. I remember being confused about that part.

――Then, which of the titles did you find difficult to put together in that setting?

Futami P: The best would be "Alicization Lycoris".

Mr. Miki: Either "Alicization Lycoris" or "Infinity Moment". In "Infinity Moment," there was some confusion about the idea of introducing characters who didn't appear in Aincrad, but once we had created a system to make such characters appear, we could have them appear in subsequent titles in the same way.

However, "Underworld", the stage of "Alicization Lycoris", was not a game world like the past, but a virtual world created by a national plan. So I couldn't use the game-like method I used to. So I had a hard time thinking about how to introduce characters that originally didn't appear.

Futami P: "Hollow Realization" was also quite difficult. we had to redo the project once. I really wanted to start all the way from the first layer of 《Aincrad》, but it became impossible, so I made a new game. Also, when the project for Integral Factor went smoothly, I complained, "Why are you so kind to Producer Takeuchi!?"

Takeuchi P: There was (laughs).

Mr. Miki: I'm going to be a bad guy again, so I'll explain properly (laughs). That's because the business style of consumer games, which initially costs money, is different from the business style of app games, which are initially free to play and are based on whether they can continue to operate. Also, I think that there is a big difference between consumer and app games in terms of play styles, such as how much players sit down and play. I don't think we can meet the expectations of consumer players if we don't make things that are thoroughly explored, so we're changing our approach.

Futami P: It was also difficult when we tried to introduce Sachi in Hollow Fragment. All the staff at the site said, "I can't do it." The reason is because I thought that if Sachi was alive, Kirito would definitely stop aiming to beat Aincrad and continue to protect Sachi.

Then Miki-san sent me an email and suggested that I use the special novel "The Day After" from the 9th volume package in the first season of the "SAO" anime as a basis for the story. This bonus novel is about Asuna meeting Sachi's ghost in the new Aincrad and I was asked "Please write a scenario similar to this one, Futami-san.". When I was asked to write a similar scenario, I thought to myself "Myself?". It was really tough back then. Miki-san and I made the scenario around 2:00 in the morning.

――What kind of cooperation do you have with the anime production side?

Futami P: As for the world, we have a lot of freedom in the game, but we share the original costumes and settings with the anime production side, and we use what we can. Of course, there are times when the animation uses the settings we made.

――For production reasons, there may be situations where one of you has to create the settings first, but how do you deal with that?

Futami P: For example, we were involved in the production of the in-game UI for the 1st and 2nd seasons of the anime as advisors. The boss of the 91st floor of Aincrad, "Chaos Drake", which appeared in the movie "Ordinal Scale", was modeled after the monster on the 92nd floor of "Infinity Moment" by Director Ito. As for the maps, we've been allowed to create our own original maps. Even in such cases, we share the material. We also provided character modelling for the Sword Skill experience attraction at the "SAO - The Ex Chronicles" event in 2019, as well as modelling used for the live performance at the Yuna event in Ordinal Scale.

――How are the casting decisions made when dubbing is done prior to the anime?

Futami P: Regarding Eugeo and Alice, who came out in the game ahead of time, the recording of the anime was also done behind the scenes, and we were proceeding at the same time with Mr. Kawahara checking it. In "Infinity Moment," Sinon from "GGO" appears, but Miyuki Sawashiro was already decided to play the role of Sinon at that point, and the drama CD was also included, so there was no particular problem for me.

――Are the voice actors for the original characters decided by the game side?

Futami P: We decide after consulting with the sound on the game side. Misawa (Sachika) was appointed as the role of Strea in "Infinity Moment" because Misawa (Sachika) is a character that appears in "A Certain Magical Index" and "Accel World" that Miki is involved with. Because you were acting. She appears at the same time as "SAO", so I talked about how it would be interesting to use her. Yui Ishikawa has been appointed as Philia in "Hollow Fragment". I like "Attack on Titan" and I'm a fan of Mikasa, so I asked Mr. Ishikawa, who plays Mikasa, to work with me (laughs). In addition, it feels like there were times when opinions that came up from the game production site were reflected.

――Who is your favorite original game character?

Takeuchi P: Koharu from Integral Factor is in the Hall of Fame. Thanks to this, the character has become very well accepted by players, and some players have even commented angrily when Kohar is in tears or in danger in some scenes.

Then there is Layla from Variant Showdown. We try not to give too much advance information about her, and the way she appears we don't actually know whether she is friend or foe. She will unravel her personality to the players, so we look forward to seeing how she develops and is accepted in the future.


Futami P: I like all of them, but the one that left the biggest impression on me was Philia from Hollow Fragment. As I mentioned earlier, I asked Yui Ishikawa to voice her and was present at the recording, and she gave a wonderful performance. I made a lot of revisions to her Philia's lines and actions, so it left quite an impression on me.

――What kind of things do you have in mind when incorporating the settings of the original work into the game system?

Takeuchi P: There are game restrictions, so we can't just leave it as it is, but what we're careful about is that even though the name is the same as the original work, it doesn't end up being something else. In "Variant Showdown", there is a function called a switch that is familiar from the original, but that appears in "Sword Art Online The Movie - Progressive - Aria of the Starless Night (hereafter, Aria of the Starless Night)". I decided the specifications based on Mr. Kawahara's commentary tweet about the switch.

At that time, the Sensei explained about offensive switches and defensive switches, and I used that as a reference and put it into the switches of Variant Showdown. One of the strategies is to switch the character you control with your allies and repeat attacks in succession. That's right. Also, the behavior of repelling the enemy's attack is dropped as a defensive switch. As a team, we are conscious of properly interpreting this switch.

Futami P: I cherish the experience of reading the original SAO when making games. However, if you go too far according to the setting, the customer will get angry. When I was working on Infinity Moment, Kawahara-sensei said to me, "I want you to eliminate the sword skill recovery time."

Mr. Kawahara: When I play games, I want to use sword skills repeatedly (laughs).

Futami P: So, in "Lost Song" set in "Hollow Fragment" and "ALO", we implemented a system where sword skills can be canceled and connected. It is a form that makes use of Mr. Kawahara's point that if you follow the settings too much, it will not be pleasant as a game play.

Mr. Kawahara: The frustration of the recovery time after a sword skill. I think it was great to be able to relive what the original Kirito and the others are feeling. But in the actual game it's really hard... I experienced more pain than I could have imagined.

Futami P: Also, "Infinity Moment" has auto-attack combat, and players who have played MMO's accepted it normally, but players who entered the anime said, "This is not "SAO". "They said. Every time I struggle to figure out how to translate the game systems that appear in SAO into real games.

Mr. Kawahara: From the perspective of people who have been playing MMOs at that time, auto attacks were rather standard, and normal attacks were something you couldn't do yourself. But I got the feeling that people who started the game would want to do normal attacks themselves.

Futami P: After all, "SAO" is a full-dive game. I assumed that they wouldn't say something when I was in a pseudo-MMO, not even full dive, and they did (laughs). I was prepared to be criticized for introducing Leafa and Sinon. However, after 10 years of continuous work, I feel that technology has finally caught up with what I want to express.

――What do you think is the charm of "SAO" that can be expressed only because it is a game?

Takeuchi P: I think it's the ability to draw aspects of characters that aren't drawn in anime. There are times when conversations occur due to combinations that are unique to the game, but I think it would be interesting to see conversations between characters who don't have conversations in the anime.

――Due to the length of the anime, it's difficult to have conversations between the sub-characters, but it's nice to be able to pick up on that in the game.

Takeuchi P: For example, there are scenario events where Kibaou is the main character and the story progresses. There are also people who like Kibaou, so I think they are enjoying that part.

Futami P: Isn't it something that the player can relive the story of Kirito helping the heroines of the story? Moreover, you can interact with each heroine as Kirito, not just as in the original. I think that's the only appeal of the game.

――I would like to ask Mr. Futami and Mr. Takeuchi. What is the one thing that you "respect" when making a game based on the original work, not just "SAO"?

Takeuchi P: Earlier I said that the appeal of the game is that you can make various characters appear. And I don't think you should intentionally demean a specific character.

――It's difficult to handle characters. Some people are dissatisfied with different interpretations.

Takeuchi P: In addition, we actively try to include characters that don't appear frequently in the anime. For example, in Integral Factor, there are many characters that appear in a single scenario, so we let various characters appear, and even make them the main characters of the scenario.

Futami P: I cherish the experience of reading a novel and the experience that can only be experienced in a game. We place great importance on how we can give the player the experience of becoming Kirito. For example, in Infinity Moment, the ending changes depending on who you clear Aincrad with. It is up to the player to choose who to play as Kirito.

Also, in Alicization Lycoris, players can choose who they want to add to their party, but that also means choosing who they want to create their own story with. I am conscious of the degree of freedom as a game like that. Also, what would you like to see if you were a fan? do you want to experience Is it the same as the original, is it a battle experience, is it a new story, and so on. The method of providing works varies depending on the work, but we are aiming for an experience that can only be done here.

――Are there any games that influenced or referred to when creating the "SAO" game?

Futami P: When I made "Infinity Moment", I used "Final Fantasy XI" and "Final Fantasy XIV" as a reference. In terms of our title, we also refer to “.hack”. Also, when making "Fatal Bullet", I was influenced by "Borderlands" and "Lost Planet". Of course, I don't mean to refer to the game design, I'm talking about the image of the play feel. I also refer to "Diablo" as a hack and slash element.

Takeuchi P: In my case, I don't refer to specific titles, but I often refer to trends in similar app titles. If there is universally, there are titles that I refer to for BGM and songs. When I was making the battle music for Variant Showdown, I listened to a lot of hot battle music from the SaGa series. After that, I refer to the consumer ``SAO'' game series that Futami is in charge of, and I sometimes incorporate the relationships between characters and how to draw them.

――Are there any elements that you wanted to include but couldn't, or any ideas that were rejected?

Takeuchi P: Since "Integral Factor" is an MMORPG, there are other players around, but I had an idea to switch between them, but I gave up due to technical problems. With mobile, the communication environment is not constant, and the environment of the terminal is different depending on the player, so it was difficult to synchronize, and even if I intended to switch, there was a possibility that the display from the other player could not keep up. So I limited the switch to Koharu.

Futami P: That's the scenario for "Infinity Moment." Actually, Kirito was supposed to be the final boss, but it was rejected. Based on the idea of an "Aincrad created by Kirito who couldn't save Asuna" I proposed that Kirito would be waiting at the end, but Kawahara-sensei and Miki-san said, "We don't want Kirito to suffer any more pain". Please don't make me think."

――Next year will be the 10th anniversary of the SAO game, and I believe that many things have happened during those 10 years. Do you have any tidbits you can say now, or any side stories related to game production?

Takeuchi P: I remember talking to Futami about making Koharu fall into darkness. It's a story about him coming back as a blond haired man after something really painful (laughs). At that time, he thought, "I wonder if that's possible," but in the end he didn't do it. He didn't want to end up making a certain number of people sad by doing that, so he sealed it off, but he might do it someday (laughs).

Futami P: I've been thinking a lot about how to turn "Ordinal Scale" into a game. But it's difficult... I think it was a very happy 10 years since we were able to turn Alicization into a game. is.

――Is there anything you would like to ask the original team from the game production side?

Futami P: I would like to ask Kawahara-sensei, until what age do you plan to have Kirito appear in the SAO series? The recent series has grown quite a bit, but how long will readers be able to enjoy Kirito as an adventurous player?

Mr. Kawahara: In the title "SAO", I would like to write everything that Kirito wants to write while he is still a teenager.

Futami P: Then what about Kirito, who turned 22?

Mr. Kawahara: I may write about that somewhere, but I don't think it's a work titled "SAO"... Because I don't want to get too real. I can write about how to go on to higher education, but I don't want to write about realistic things like finding a job.

Takeuchi P: In the end, what kind of person is Akihiko Kayaba for Kirito? Kayaba is the one who trapped Kirito in the death game, but on the other hand, he is positioned as a big presence for Kirito, so I wanted to ask how it really is.

Mr. Kawahara: Even in the original work, nothing is clear about that, and I can't give a clear answer until I'm writing about it. However, from what I feel at this stage, many people important to Kirito died in SAO, so I think he has hatred for Kayaba.

At the same time, Kirito feels that if he could have done better, he could have saved everyone. Well, it's a heroic conceit. I think there is probably a sense that by hating Kayaba, you are diluting your own responsibility.

And one more thing, if the situation were different, I would have done the same thing as Kayaba, and I think I can understand what Kayaba wanted to do. Creating a true different world and eventually dying there is the ultimate game creation that no game creator has ever been able to do, so of course it's an ethically unforgivable criminal act.

At this stage, I want to hate it, but I can't hate it. However, in the future, if Kirito and Kayaba go head-to-head in the original, I don't know what will happen.

――This is a bit early, but do you have any plans to turn "Progressive" into a game? If you were to turn it into a game, what would you like to do?

Futami P: Is it a game adaptation of "Progressive"...I see. How do you draw Kirito and Asuna in the gaps in the original work? As a fan, I'm really looking forward to seeing what happened.

The game will be celebrating its 10th anniversary next year, so middle and high school students who were watching anime and games at that time will be around 24-28 years old. I was about the same age as you when I planned the SAO game, so from now on, I'm just going to create a foundation for the younger generation to think, "My! Mine!" I want to!

Takeuchi P: We were trying to recreate a part of "Progressive" with "Integral Factor", so it might be possible to strengthen the elements of "Progressive". However, at the moment, "Integral Factor" is quite far ahead of "Progressive", so I will continue to think about how to incorporate that element. I would like to take in as much as possible the "progressive" elements that have been difficult to reproduce until now.
――The original team is in a position to supervise the game, but what is the supervision system?

Mr. Kawahara: The good thing about the game is that you can go on adventures with characters you can't meet anymore in the original, and I like that. That's why I basically say "It's okay" to such a setting, but Mr. Miki and Mr. Tatsuya Kurusu, who I'm asking to supervise, say "Hey hey" (laughs). As the original author, it's pretty loose (laughs).

Mr. Miki: Kurusu-san has been working with Kawahara-san on SAO since before he debuted, and he is also an illustrator who draws map illustrations for the original novel. When it comes to SAO, he's the second most knowledgeable person after Kawahara-san. I check the game scenario with Mr. Kurusu, but only when there is something that Mr. Kurusu doesn't understand, I ask Mr. Kawahara with pinpoint accuracy.

――Is there anything that surprised you or that you learned for the first time in relation to game production?

Mr. Kawahara: It's the amount of scenarios. I've heard for a long time that the amount of game scenarios is amazing, but when I actually go around to supervise it, I'm surprised, "Did you write this by hand?" The standard number of pages in Dengeki Bunko is about 250-300 kilobytes (100,000-120,000 characters) in terms of word files. However, the scenario of the game is 3 to 4 mega. More than 10 volumes of Dengeki Bunko! Moreover, in the case of full voice, all the characters are recorded... I feel overwhelmed when I think about how many days it will take.

Futami P: Matsuoka-kun (*Voice actor Matsuoka Yoshitsugu-san), who plays Kirito, has a really tough time.

Mr. Kawahara: That's right. For example, in Alicization Lycoris, how many words (*one line is called one word) did you record?

Futami P: We should have recorded about 15,000 to 20,000 words. For the adventure game I was in charge of, My Little Sister Can't Be This Cute for PSP, it's around 5,000 to 8,000. Come to think of it, there are a lot of Kirito. Matsuoka-kun interacts with a variety of characters, so there are a lot of lines for each scene, and each heroine speaks individually, so the number of lines increases as the game progresses. For the other cast members, even the main ones are about 1,000 to 2,000, and if there are no character-main scenarios, about 500. Even in the recording of the game, only Matsuoka-kun has a lot of schedules. I really appreciate Mr. Matsuoka. If you look at consumer and app together, it's an image of new recordings every few months.

――What do you struggle with as an original team when making a game?

Mr. Kawahara: I leave the main supervision work to Mr. Miki and Mr. Kurusu, and I am prepared to check what they are interested in. This is because I want to enjoy the game as a player, so I'm selfishly saying this.

Mr. Miki: You mentioned your name earlier, so it might be a good idea for Mr. Kurusu to answer as well.

Kurusu: I 'm Kurusu. thank you. As Mr. Kawahara also said, supervising a game requires a lot of material.

――How long does it take to supervise?

Kurusu: I don't get it all at once, but I watch it several times. Scenarios come up at speed. It's amazing to think that there are people who actually write that ....

――Are there monsters, props, art, etc. that will be supervised in addition to the scenario?

Kurusu: Yes. If there are images, I will check them, but I don't think I have said anything about them.

――Does that mean that what Bandai Namco Entertainment makes is highly accurate?

Kurusu: That's right. I think that the designs created with the game originals are also made with respect for the image of the original work. The original is the original, and Bandai Namco Entertainment has drawn it well. There was only one time when I gave a bad review, but it was about "GGO" being the title of the stage and "ALO"-like fantasy clothes coming up. There was a time when I asked him to make it a little more futuristic and closer to GGO.

Mr. Miki: Kawahara and Mr. Futami said at the beginning, it's usually better to make an adventure where you read through the scenario without breaking the original setting. It's easier to process if it's like a so-called love adventure, and the original side won't be confused. Because you only need to describe it in text, so it's like a novel in a sense.

However, if you try to turn "SAO" into an action RPG, the hurdles go up. How to implement a sword skill, or what to do with the <Detail Focusing System>, it would be a mess if you actually tried to do it. But Bandai Namco Entertainment is trying to take on that challenge. It's difficult for the original author to supervise the scenario, but I think it's more difficult for the game production side.

Also, I think we are quite picky about checking things in detail. I think that Bandai Namco Entertainment's efforts to respond to that are also considerable. With supervision, the scenario production process increases by about 1.5 times. I think it would be difficult because I should be able to produce it faster without supervision.

Takeuchi P: But I don't think it's too difficult. After all, it's precisely because you're supervising and watching it that it's a part of 'SAO'. In addition, the development period includes the supervision period, so there is no awareness that the production period will expand due to supervision.

――Do you have a favorite title in the SAO game series?

Mr. Kawahara: I think I have a special feeling for "Lost Song". I just liked it as a game. But the one I've played the longest is "Fatal Bullet". The bullet line and bullet circle in the original "GGO" edition were, so to speak, a convenient system for Kirito, who fights with light swords, to avoid bullets in a gun-based game. I thought it would be impossible in terms of the game system to turn this into a game. If you can see the bullet line, you can avoid it.

However, when I played "Fatal Bullet", the bullet line and bullet circle functioned properly as a game system. Because of the bullet line, you can feel a sense of danger that you are being targeted.

Mr. Miki: For me it's "Integral Factor". The concept of aiming for the 100th floor of Aincrad with the original protagonist is a challenge. You can't control Kirito, and the main character's partner isn't Asuna, but the original heroine Koharu. I thought it was interesting that the original characters were the main characters.

――Are there any scenarios or systems that impressed you?

Mr. Miki: It's a co- sleeping event. It's absolutely included in every title, and I think it's amazing that it covers all the heroines so as not to betray all the fans.

Futami P: It's hard to come up with ideas for co-sleeping events. In the first game, "Infinity Moment," only Asuna had such a scene, but it was fully implemented from "Hollow Fragment." It's hard to make something that surpasses the previous work... I feel like I'm somehow twisting it out every time.

Mr. Kawahara: I think the person who did the best was the original protagonist of "Fatal Bullet". I think this was quite a challenge, but it was also accepted by the players. I think Kirito Mode was a last resort, but with this, we can meet the needs of people who want to play with Kirito. I honestly want to praise the fact that I was able to play the SAO game so naturally with the original protagonist.

Futami P: Thank you. Kirito mode certainly feels like a last resort.

Mr. Kawahara: If the original protagonist sleeps with Asuna and the others, it feels a bit strange. However, the system of co-sleeping is the greatest tradition of SAO games. I would like players to be included as well.

――Who is your favorite original game character?

Mr. Miki: I'm Premier-chan who appeared in "Hollow Realization". It's the most light novel-like, or rather, the social misfit is cute. As a character, he is a child who has to be taken care of because he is quite edgy. From the stage of the scenario, I thought it would be interesting to say that she wants to be Kirito's mistress, like a light novel heroine.

Mr. Kawahara: If it's a female character, it's Rain from Lost Song. Her setting and personality are cute, and her original sword skill, Thousand Rain, is strong. There are various SAO games, but this is my favorite move among all the titles.

The male character is Itsuki from Fatal Bullet. I like trickster-like characters who don't know if they're enemies or allies, but I find it hard to deal with them, so I don't put them in my novels. Speaking of trickster-like characters in the original work, I think Kikuoka is barely there. That's why I like Itsuki's fighting style.

――I think a lot has happened in the last 10 years. Last time I asked you what you can say now, but do you have any other tidbits other than games?

Mr. Kawahara: It's not related to game production, but I paid over 500,000 yen for Glee's Endworld. Well, I also charge for other app games released by Bandai Namco Entertainment (laughs).

Mr. Miki: Every time I make a game, I receive a proposal three or four years before release, but I sometimes wonder if the original series will continue when the game is released. I convey that concern to Bandai Namco Entertainment, but Bandai Namco Entertainment has been doing it for a long time. By the way... if we make a new title now, it will be released around 2025! Will Bandai Namco Entertainment still do it?

Futami P: No comment, please (laughs).

Mr. Kawahara: Again, this has nothing to do with games, but it's a great opportunity... Hololive's VTuber worked on "SAOVS", and Sakura Miko appeared as a guest on "Kawahara Reki Channel", but I didn't ask for either! By the way, what is your suggestion?

Takeuchi P: We were surprised too (laughs). The reason why we hired everyone from Hololive as a capture group for "SAOVS" was the idea of a young member of the app team. With content that has been going on for 10 years, young readers are getting more and more, so the aim is to think about VTuber as a new point of contact that will get them interested, including those people. It just so happened that Aqua Minato also liked and knew about SAO, so she picked it up.

Mr. Kawahara: I was also very happy, but the feeling of surprise was bigger than that.

――In the previous article, we asked “what the game production side would like to ask the original team”, but this time, could you tell us what the original team would like to ask the game production side?

Mr. Kawahara: The game will celebrate its 10th anniversary next year.

Futami P: Kawahara-sensei started "Progressive" in the middle, didn't he? That's why our hearts are pounding, thinking that this may never end (laughs).

Mr. Kawahara: Our current goal is to reach the 25th floor, but now (as of October 2022) it's the 8th floor.

Futami P: As long as the original work continues, we would like to keep in touch for 10 or 20 years. As for me, I am currently looking for a successor.

Takeuchi P: In the early days of Integral Factor, we were creating fields for layers that were only available in the original work at the time, but when the theatrical version of Progressive came out, I didn't understand. Since the layer setting came out, I would like to reproduce it again. Also, there were things that I couldn't do due to the performance limits of smartphones at the time, but since technology has progressed, I would like to recreate Aincrad and ALO with today's technology.

――To wrap things up so far, please give a few words to the fans who have been following many developments in the original work, anime, and games for many years.

Mr. Miki: I don't think anyone thought that the "SAO" game would last 10 years, but here we are. are you all watching? I will continue to stand! Thank you for your support. And even though Bandai Namco Entertainment is a company with a lot of personnel changes, there are many producers who have been with us for many years, which is also helpful. It seems that if you become a famous producer, you won't be able to transfer, so I hope that Producer Takeuchi will be able to do the same. Futami-san, you're already there (laughs).

Takeuchi P: I think that the position of the 10th anniversary of the game is to have expectations for the development of the game after the 11th year. First of all, we will run towards the upcoming 10th anniversary of the game so that everyone can look forward to it. The "SAO" game production team is also very layered, and there are many members other than myself and Producer Futami, so I hope you can see how they develop.

Futami P: First of all, congratulations on the 10th anniversary of the anime. And we are preparing various things for the 10th anniversary of the game. Kawahara-sensei's novel allowed me to expand the world so far, and I also got to know players from around the world through this title, so I think it was a very emotional 10 years.

From now on, we'll also have to build on our strengths, make "SAO" a title that can be continued for the next 10 or 20 years, pass it on to the next generation, and take on the challenge of improving the environment on the ground. I hope that the game platform will continue to provide an environment where everyone can enjoy it for a long time. We will tell ourselves that the 10th anniversary is not the goal, but the starting point, and we will aim even higher, so please continue to support us!

Mr. Kawahara: Once again, congratulations on the 10th anniversary of the game. I am truly grateful to the original author for continuing this work for such a long time. However, if you look at it from a different perspective, it also means that Mr. Futami, Mr. Takeuchi, and other game creators have devoted their ten years to the flame of "SAO", which is the most fat as a creator.

In addition, Niwa-san from Aniplex, Miki-san from Straight Edge, and Oosawa-san from Egg Farm have invested a considerable amount of their lives into SAO. I feel like However, since I've come this far, I can't throw water on the flames, so I want to continue to make the flames bigger and burn more people's lives. I hope that the readers and viewers reading this will continue to jump into the flames of "SAO" that will continue to grow!



Sneak peek per lo Skull Reaper e dettagli per i contenuti post Lancio di Variant Showdown

After the official release, the Battle Arena Event 《The Gleam Eyes》Battle will be held!
Earn rewards by accumulating event points!
After the《The Gleam Eyes》Battle, the 《The Skull Reaper》Battle will be held!
The featured rewards will be ability cards with pictures of Asuna and Kirito that can combine into 1 picture!


 

Razgriz

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E la saga continua ma, confesso che gradirei un titolo dedicato solo ad Accel World^^
sto leggendo le ultime interviste direi che questo titolo fa decisamente luce sul ritardo degli ultimi DLC di Lycoris, tra cambio di engine dal phyre ad unreal (graficamente non c'è differenza ed un pò deludente ma sono altri gli acciacchi a cui ovviare) ed i paragoni con un secondo cd di FF7 come contenuti (avranno soppesato a lungo l'idea tra semplice dlc e nuovo titolo), ma questo credo sarà proprio il titolo finale per il gamerverse andando ad adattare l' Underworld War con i dovuti riarrangiamenti, cadendo bene bene per il 10 anniversario dei giochi, non me l'aspettavo proprio sopratutto dopo l'annuncio di Synduality e che Futami avesse dato per la serie e fosse con tutte le scarpe nel nuovo progetto, immagino abbia imparato a fare multitasking tra i vari team quando ne usciva uno all'anno:asd:


ps: come mi aspettavo la battle royale mode di variant showdown sarà un due contro due da arcade game e non una robba alla fortine :asd:
 

Geddoe

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sto leggendo le ultime interviste direi che questo titolo fa decisamente luce sul ritardo degli ultimi DLC di Lycoris, tra cambio di engine dal phyre ad unreal (graficamente non c'è differenza ed un pò deludente ma sono altri gli acciacchi a cui ovviare) ed i paragoni con un secondo cd di FF7 come contenuti (avranno soppesato a lungo l'idea tra semplice dlc e nuovo titolo), ma questo credo sarà proprio il titolo finale per il gamerverse andando ad adattare l' Underworld War con i dovuti riarrangiamenti, cadendo bene bene per il 10 anniversario dei giochi, non me l'aspettavo proprio sopratutto dopo l'annuncio di Synduality e che Futami avesse dato per la serie e fosse con tutte le scarpe nel nuovo progetto, immagino abbia imparato a fare multitasking tra i vari team quando ne usciva uno all'anno:asd:


ps: come mi aspettavo la battle royale mode di variant showdown sarà un due contro due da arcade game e non una robba alla fortine :asd:

Ormai ho accettato il fatto che non mi rimetterò mai del tutto in pari con i titoli a tema SAO :sard:
 

Razgriz

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Ormai ho accettato il fatto che non mi rimetterò mai del tutto in pari con i titoli a tema SAO :sard:
ma tu non inizi nemmeno:trollface: comunque mi sa che farò finta di aver battuto l boss finale di HR e questo natale almeno uno tra Lycoris e Fatal Bullet me lo gioco che li ho già nella libreria di steam (in realtà qualche oretta su FB l'avrei anche fatta ma non mi ha preso, è che mi secca la poca libertà e dover gestire le munizioni in pratica:dsax: come personaggi e scrittura sembra 10 passi avanti però), poi ho perso il save di Integral Factor e ho dovuto reiniziare (adesso sto anche meglio di prima salvo i pochi materiali per gli upgrade)
 
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