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« Last post by theplottwist on November 07, 2024, 09:07:21 AM »
Thank you for conducting that interview, dude. Great job!
Quote
14.(If possible, I would also like to know the origin of the name Shanoa. Some people online speculate that the name "Chat Noir" comes from the French name for a black cat, "Chat Noir." Is there any truth to this rumor?)
SHUTARO: That rumor is correct. I think we talked about this at the time of development. The name was given to me by the player Dotter. We called pixel artists "dotters." This is the person who drew Shanoa in the game.
« Last post by Dongled on November 07, 2024, 06:07:08 AM »
(こんにちは、みんな!私は、2000 年代のいくつかの悪魔城ドラキュラ ゲームと Bloodstained: Ritual of the Night の敵プログラマー、シナリオライター、ディレクターである飯田周太郎氏にインタビューを行いました。彼は、このインタビューをオンライン フォーラムに投稿して、原文の日本語と翻訳された英語でも読めるようにしてほしいと考えています。私は Google 翻訳を使用し、さらに Shutaro のチームの誰かに翻訳の調整をしてもらいました。)
Hello, everyone! I have just conducted an interview with Shutaro Iida, the enemy programmer, scenario writer and director of some of the Castlevania games from the 2000s as well as Bloodstained: Ritual of the Night. He would like me to post this interview on an online forum so people can also read it in it's original Japanese and the translated English. I used Google translate, in addition to getting some adjustments from someone in Shutaro's team on the translations.
このインタビューは私のYoutubeチャンネルでも公開される予定です。 (This interview will also be available on my Youtube channel.)
1. まず、どのようにしてコナミに採用されたのか、そして「セクシーパロディウス」のようなタイトルに取り組んでいた初期の頃はどのようなものでしたか? (First, how did you get hired by Konami and what was it like in those early days working on titles like "Sexy Parodius")
SHUTARO: I submitted a program work and was accepted. This is exactly the case with ``Sexy Parodius'', which was a port from the arcade when it was new. I also helped out a busy team. Even with new titles, I wanted to be involved in the project from beginning to end, with only mid-partial help. At this time, I was not involved in game design.
2. 最初の『悪魔城ドラキュラ』タイトルは『哀しみのアリア』でしたが、どのようにして伊賀チームと仕事をするようになったのですか? (Your first Castlevania title was "Aria of Sorrow," how did you come to work with Iga's team?)
SHUTARO: 他プロジェクトで「Symphony of the Night」のゲームデザインをされた古川さんと一緒に仕事をしてゲームデザインの基本を教えていただきました。 それがきっかけでIGAさんと一緒に仕事をすることになりました。 古川さんが退社されたこともあり「Aria of Sorrow」では当時のディレクターがゲームデザインを私に自由にやっていいと任せてくれました。 私はプログラムもしながら、プレイヤーの仕様、ソウル、敵、ギミック、アイテムなど構成の全リストを作成。 それらをどう使ってどうクリアするか、というゲームデザインをこのタイトルで初めてしました。調整、配置も私がしました。 バロールは私が考えて初めて実装された(プログラムも私なので実装した)ボスだったりします。 作品が好評だったこともあり、その後の作品でもゲームデザイン、そして企画立案、世界設定、ストーリーと仕事が増えていくことになります。
SHUTARO: SHUTARO: I worked with Mr. (Toshihiro) Furukawa, who designed the game, Symphony of the Night, and taught me the basics of game design. That's how I decided to work with IGA. Due to Mr. Furukawa's resignation, The director at the time gave me free rein to design the game. While I was programming, I created a complete list of player specifications, souls, enemies, gimmicks, items, etc. This is the first time I've designed a game that focuses on how to use them and how to clear the game. I also did the adjustments and placement. Balor is the first boss that I thought of and implemented (I also programmed it, so I implemented it). Because the work was well-received, I ended up doing more work on subsequent works, including game design, planning, world setting, and stories.
3. あなたは『Lament of Innocence』のようなゲームで敵のプログラマーとしても活躍しました。 2D ゲームと比較して、3D プロジェクトに取り組む際に直面した課題は何ですか?
(You also worked as the enemy programmer for games like Lament of Innocence. What were the challenges you faced working on a 3D project as compared to a 2D game?)
SHUTARO: I was a mid-participant. My personal issues, or rather, my impressions when I participated, were that the game cycle was monotonous, and that the level design could have made better use of 3D. I also felt that there was a problem with the camera, and when I participated, I made a proposal to change the level design, but the project was already well underway, so the idea didn't go through. At the time of his participation, Leon was only able to perform the same attack three times, and was not a hero who could perform a wide variety of actions. So I suggested some actions and asked them to add some. Perfect Guard and Combo are specifications that I suggested and had them add. After that, I thought about the specifications of the bosses and added more enemies, but I didn't really do anything that would qualify me as a game designer. As a programmer, my schedule was quite flexible. I remember being a little jealous because the schedule for "Aria of Sorrow" was much tighter comparatively.
4. あなたが携わったすべての悪魔城ドラキュラ ゲームの中で、お気に入りのものはありますか? (Of all the Castlevania games you've worked on, do you have a favorite?)
SHUTARO: DS2作目の「Portrait of Ruin」です。 ゲームデザインだけでなくキャラクター世界設定も含めて初めて私が考えたストーリー設定が作品になったので思い入れがあります。 といっても「Aria of Sorrow」や「Dawn of Sorrow」でも一部のセリフや主人公はカレー好きなど勝手に入れた設定はありますし、フレーバーテキストも私が書いています。 漫画ネタも好きでよく入れていました。ユリウスモードも原作は私ではあるのですが本編のストーリー設定をしたことが嬉しかったと記憶しています。 キャラクターだとやはりシャノアが気に入っています。 蒼真は生んだキャラというより育てたキャラですが、ジョナサンやシャノアは私が生んだキャラだと言えるからです。
SHUTARO: ``Portrait of Ruin'' is the second DS game. I have a lot of feelings for this project because it was the first time that the story setting that I came up with, including not only the game design but also the character world setting, became a work. That said, even in ``Aria of Sorrow'' and ``Dawn of Sorrow,'' there are some lines and settings that I added arbitrarily, such as the main character liking curry, and I also wrote the flavor text. I also liked manga stories and often included them. Although I wrote the original work for Julius Mode, I remember being happy that I had set the story for the main story. As for the character, I really like Shanoa. Soma is a character that I developed rather than a character that I created, but I can say that Jonathan and Shanoa are characters that I created.
5. コナミで働いていて一番楽しかったことは何ですか? (What was your favorite part of working at Konami?)
SHUTARO: 制作という意味では「Dawn of Sorrow」のユリウスモードを作った時は楽しかったです。 「Aria of Sorrow」のユリウスモードは思いつきで作りましたが、このモードは前もって私が考え、話もこんな感じでやりたいとIGAさんに伝えていました。 実はプログラムは私一人で1週間くらいで作りました。 システム1日、キャラ一人1日、ボス1日、調整1日くらいです。 最後はチームでデバッグするのですがチームの何人かは本編よりも好きと言ってこのモードばかり遊んでいました。
後は2chの見ていた板にスレが立ったことでしょうか。
SHUTARO: In terms of production, I had fun creating Julius mode for "Dawn of Sorrow." I created the Julius mode in "Aria of Sorrow" on a whim, but I had thought about this mode in advance and told IGA that I wanted the story to be like this. Actually, I created the program by myself in about a week. It took about one day for the system, one day for each character, one day for the boss, and one day for adjustments. In the end, we debug the game as a team, and some of the team members played this mode all the time, saying they liked it more than the main game.
After that, a thread appeared on the board I was watching on 2chan.
6. どのようにして敵のプログラマーからディレクターに転身したのですか? (How did you make the transition from Enemy programmer to Director?)
SHUTARO: 前作「Aria of Sorrow」でゲームデザインとメインプログラムをしたこともあり、DS1作目の「Dawn of Sorrow」の最初はIGAさんと私の二人しかいない状態で企画を進めていました。
話はIGAさんが考え、私がゲームの仕様をスタートからエンディングまでほぼ全要素をこの時期に一人で考えました。 (ちなみにタッチペン魔法陣は後から入れてくれと言われて断ったのですが、どうしてもということで嫌々入れました)。 私の考える遊びの展開にIGAさんが話を合わせてくれることも多く、今思うと楽しい時間だったと思います。 IGAさんにそれでいこうと許可を貰った後にチームが結成されました。 その時にディレクターが来たのですが、そこまで私のアイディアで決まった後だとどうしても私が全体の指示を出す事になりました。 実質的に私がディレクションをする状況になっていたのです。 DS作品は、この後の作品も私の企画で作る事になったため、結果同じように私はメインプログラマという立場のまま実質的にはディレクションもする状況でした。 立場だけが後から遅れてきた感じです。 ただ表向きはディレクターではなかったので「Dawn of Sorrow」「Portrait of Ruin」でイラストを文美先生から変更するということに相当苦情を出しましたが譲ることになりました。 こちらもディレクターよりアートディレクターが仕切っていました。今でもこの時のアートディレクターにお会いすると当時の文句がでてしまいますね(笑)。 当時の会社ではディレクターがゲームデザインやディレクションをしておらず、今でいうプロジェクトマネージャーをしているチームが割とあったこともあります。 ディレクターという立場と役割が一致しないチームがあった時代でした。 クレジットも適当な場合があり「Order of Ecclesia」のクレジットに載っているアシスタントディレクターは制作に関与していない本当にアシスタント業務をしていた方だったりします。
SHUTARO: I worked on the game design and main program for the previous game "Aria of Sorrow". At the beginning of the first DS game, "Dawn of Sorrow," IGA and I were the only two people working on the project. IGA came up with the story, and I came up with almost all the game specifications from the start to the ending by myself during this time. (By the way, I was asked to add the stylus magic circle later, but I refused, but I reluctantly added it because it had to be done.) IGA often agreed with my idea of how to develop the play, and now that I think about it, I think it was a fun time. After getting permission from IGA to go ahead with it, the team was formed. At that time, the director came, but since my ideas had been decided so far, I had to give overall instructions. In effect, I was in charge of directing the project. As for the DS works, the subsequent works were also planned by me, so I was essentially in the position of directing them while still being the main programmer. I feel like my position has been delayed. However, I was unsatisfied about the fact that the illustrations for Dawn of Sorrow and Portrait of Ruin were changed from Ayami Kojima, and complained quite a lot, but since I was not officially the director I had to give in. This decision was made by the art director rather than the director. Even now, when I meet the art director from that time, I can't help but complain about what happened back then (lol). At the time, the company did not have a director in charge of game design or direction, and there were quite a few teams where the director was what we would now call a project manager. It was a time when there were teams whose roles did not match the director's position. The credits may also have been thrown together without much consideration, and the assistant director listed in the credits for "Order of Ecclesia" may actually be someone who was not involved in the production and was actually working as an assistant.
7. あなたが携わった 3 つのニンテンドー DS タイトルのうち、『オーダー オブ エクレシア』は『悪魔城ドラキュラ 2: シモンズ クエスト』 (ドラキュラ 2: ノロイの封印) に似ていると感じました。これは意図的な選択だったのでしょうか? (Of the 3 Nintendo DS titles you worked on, Order of Ecclesia felt similar to Castlevania 2: Simon's Quest (Dracula 2: Noroi no Fuuin). Was this a deliberate choice?)
SHUTARO: 上記作品をあまり意識はしていませんが、この作品で私の掲げたテーマは「ステージクリアタイプとの融合」と「硬派」であることでした。 「Order of Ecclesia」の思い出なのですが、グリフシステムがなんとなく見えてきた時、 「どんなグリフがあるのかを考えるのは私でいいけど名前を考えるのは苦手だから他の人がやってくれないでしょうか?」とチームに確認しました。 その時、チーム員の何人かは「名前くらいこっちでつけますよ」と言ってくれたのですが結局誰も手伝ってくれなかったので私は結局一人でグリフに名前を付ける事になりました(笑)。
SHUTARO: I wasn't particularly conscious of the above works, but the themes I set for this work were "fusion with stage-clearing type" and "hardcore." I remember working on "Order of Ecclesia." When the glyph system was starting to take shape, I asked my team, "I'm fine with thinking up what glyphs there are, but I'm not good at coming up with names, so could someone else do it?" At that time, some of my team members offered to give the glyphs a name, but in the end no one helped me, so I ended up naming the glyphs by myself (laughs).
8. 『悪魔城ドラキュラ』シリーズの伝承や正典について、ファンの間で多くの議論が交わされています。 1800 年代にいくつかのゲーム (悪魔城ドラキュラ 64、レガシー オブ ダークネス、サークル オブ ザ ムーン) が正史から削除されたことを考えると、オーダー オブ エクレシアを 1800 年代に舞台にすることに懸念はありましたか? (There is a lot of talk between fans about the lore and canon within the Castlevania franchise. Considering that several games were removed from canon during the 1800s, (Castlevania 64, Legacy of Darkness and Circle of the Moon,) was there a concern with having Order of Ecclesia take place during the 1800s?)
SHUTARO: 私がこの設定を考えてIGAさんに話した時、「外伝ぽい」と少し懸念をもらいました。 しかし私は「外伝ぽくても面白ければいいのではないでしょうか」と押し切って許可を頂きました。 「Portrait of Ruin」ではストーリープロットを分業しましたが、「Order of Ecclesia」ではストーリープロットを(意見は貰いましたが)私が一人で書きました。 そのため、話や演出が私の趣味に寄っています。 話でも結構やりたい放題やったという罪悪感もあったのか、IGAさんの「外伝ぽい」を後から気にしてだと思うのですが正確な年代をぼかしました。
SHUTARO: When I thought about this setting and talked about it to IGA, he expressed some concern that it felt like a side story. However, I pushed through and got permission, saying, ``Even if it's like a side story, it's fine as long as it's interesting.'' For ``Portrait of Ruin,'' we divided up the story plot, but for ``Order of Ecclesia,'' I wrote the story plot alone (although I received input). Therefore, the story and direction are more in line with my tastes. I guess I felt guilty about doing whatever I wanted in the story, or I was worried about IGA's "gaiden-like'' feel, but I blurred out the exact year.
9. 『悪魔城ドラキュラ 破滅の肖像』のシナリオライターとしてのプロセスについて少し教えていただけますか? (ラビリンスのギャラリー)。それについて伊賀氏と直接協力しましたか、もしそうならどのような方法でしたか? (Can you tell us a little about your process as scenario writer for Castlevania: Portrait of Ruin? (Gallery of Labryinth). Did you work directly with Iga on that and if so, in what way?)
SHUTARO: 「Dawn of Sorrow」の後IGAさんから、またソウルで作って欲しいと言われたのですが、私は「今はもうソウルの新しいアイディアがない」と言って断りました。 また悪魔城20周年だったこともあり、どうしても鞭キャラを主人公にしたかったことも断った理由でした。 断った企画の代わりに私は「世界大戦で復活する悪魔城、ジョニーの息子と女魔法使いが絵画の世界を冒険」、といったこのゲームの企画を立案しました。 その時に考えたやりたい話の展開をIGAさんに話して、後からアートディレクターにも話に参加してもらいました。 メインキャラクター達を提示してそこで話し合って設定を足してもらったりしました。 特に私は名前を考えるのが苦手なため、何人かのキャラクターは名前を付けてもらいました。 「Portrait of Ruin」はMSXの「魔城伝説2 ガリウスの迷宮」という私が好きなゲームの影響を受けています。 同じMSXの「王家の谷2 エルギーザの封印」というゲームも好きでした。 このゲームはピラミッドが出てくるのですが、悪魔城でもピラミッドを出したいという私の欲求が絵画の世界で冒険に繋がります。 漫画ネタなどもそうなのですが私は割と自分の好きなものを出すタイプのようです。
SHUTARO: After that (Dawn of Sorrow), IGA asked me to make it in Seoul again, but I refused, saying, ``I don't have any new ideas for Seoul anymore.'' Another reason I turned it down was because it was the 20th anniversary of Akumajou, and I really wanted to have a whip character as the main character. In place of the project I had rejected, I came up with a project for this game: ``Johnny's son and a female wizard go on an adventure through the world of paintings in a devilish castle revived during World War II.'' At that time, I told IGA about the development of the story that I had in mind, and later had the art director participate in the discussion. I presented the main characters and had them discuss and add settings. I'm not particularly good at coming up with names, so I had some characters named for me. ``Portrait of Ruin'' is influenced by a game I like called ``Magical Castle Legend 2 Galius' Labyrinth'' on MSX. I also liked the game ``Valley of the Kings 2: The Seal of Elgiza'' on the same MSX. Pyramids appear in this game, and my desire to have pyramids in Castlevania leads to an adventure in the world of paintings. This goes for comics as well, but I seem to be the type of person who puts out what I like.
10. Bloodstained のいくつかの質問...どのようにして Bloodstained に取り組むようになったのですか?伊賀さんは『悪魔城ドラキュラ』の監督を意識して監督を依頼したんですか? (Some Bloodstained Questions...how did you come to work on Bloodstained? Did Iga ask you to direct considering you directed on Castlevania?)
この質問には、飯田周太郎氏に代わって五十嵐幸治氏が回答した。
This question was answered by Koji Igarashi instead of Shutaro Iida.
IGA: When we became independent, we had decided that we would create titles aimed at the user base of the games we had created up until now. Then, of course, it becomes the ``Castlevania'' layer. At that time, I asked SHUTARO, who I trust most, to direct it, so I was very conscious of that.
11. 『悪魔城ドラキュラ』と比べて、『ブラッドステインド: リチュアル・オブ・ザ・ナイト』の監督で避けたかったことは何ですか? (What was something you wanted to avoid with directing "Bloodstained: Ritual of the Night" as compared to Castlevania?)
SHUTARO: I wasn't consciously trying to avoid it, but If I had to decide, it would be to make Miriam's personality different from Shanoa. Shanoa is the last female protagonist and my favorite character, so I asked IGA to pay attention to her. For the game, IGA and I came up with the theme of "adventuring at the edges without changing the core.'' This theme was based on the idea that even though we would handle the game design and settings, the development itself would be handled by an external company. However, although I am no longer involved in the programming at all, I personally handled not only the instructions but also the important parts of the level design, adjustments, and placement, just like in previous works. Maybe you like to do things yourself that you can do directly. After that, I wanted to create something that felt like the old days, so I worked on it.
12. Bloodstained の開発は、一部のアップデートを除いてほとんどラップされています。辞任する前に、Bloodstained 2 での取り組みについて何かあれば教えていただけますか?後任となる監督はいたのでしょうか? (Bloodstained's development is mostly wrapped aside from some updates. Before stepping down, what can you tell us, if anything, about your work on Bloodstained 2? Did you have a director in mind to take over?) SHUTARO: 「Bloodstained」はブラッドレスモードまで私がディレクションおよびゲームデザインをしていますが、その後のパッチやDLCは基本的に開発会社のディレクターにお任せしています。 「Bloodstained 2」ではほぼ全要素を私は既に提示しており、割と詳細な部分もすでに指示をだしているのですが、後任は分担する事になるでしょう。 ただゲームはアイディアだけでは面白くならず、どうゲームに落とし込むかで決まると思っていますので、そこは残されたメンバー達が頑張ってくれると信じています。 私は既にストーリープロットや脚本も終わらせていますが、設定はIGAさんにもかなり共有しているので、なんとかしてくれると思います。
SHUTARO: I've been in charge of direction and game design for Bloodstained up until the Bloodless mode, but I basically leave subsequent patches and DLC to the director at the development company. I have already presented almost all of the elements of "Bloodstained 2" and have already given instructions on even the most detailed aspects, but my successor will likely divide the responsibilities up. However, a game is not interesting just by having an idea.; it depends on how you put it into the game, so I have confidence that the remaining members will do their best in that area. I have already completed the story plot and script, and I have shared a lot of the settings with IGA, so I think he will be able to figure it out.
13. もしもう一度『悪魔城ドラキュラ』ゲームを作ることができたら、夢のシナリオ/ストーリー/キャラクターは何ですか?それはノンリニアですか、それとも古典的なリニア スタイルのゲームに似ていますか?次に、『Demon Castle War 1999』というゲームはあなたが計画していたものだと私は知っています。開発はどこまで進んだのでしょうか? (If you could create a Castlevania game again, what would be your dream scenario/story/characters? Would it be non-linear or more like the classic linear style games? Secondly, I know the Demon Castle War 1999 game was something you were planning. How far along, if at all, was development on it?)
SHUTARO: 「1999年」は私というよりIGAさんや古川さんの設定で構想程度しかありませんでした。 私とはこんな感じでやりたいですね、くらいの話を良くしていました。 もし、もう一度悪魔城を作れるのであれば、この「1999年」か「Harmony of Despair2」が作りたいです。 二つともアイディアのいくつかは話してあったりしますが具体的にはなっていません。
SHUTARO: “Demon Castle War 1999" was set up by IGA and Furukawa rather than me, and was only a concept. We often talked about how we would like to do things like this. If I could make Castlevania again, I'd like to make either ``1999'' or ``Harmony of Despair 2''. Both have talked about some ideas, but nothing concrete has been done.
14. できればシャノアの名前の由来も聞きたかったです。ネット上では「シャノア」という名前は黒猫のフランス語名である「シャノワール」から来ているのではないかと推測する人もいる。この噂には真実はあるのでしょうか? (If possible, I would also like to know the origin of the name Shanoa. Some people online speculate that the name "Chat Noir" comes from the French name for a black cat, "Chat Noir." Is there any truth to this rumor?)
SHUTARO: That rumor is correct. I think we talked about this at the time of development. The name was given to me by the player Dotter. We called pixel artists "dotters." This is the person who drew Shanoa in the game.
They'd probably milk it and make two different collections: one with the N64 games and the other the PS2 ones, each having one of the bastard 3D games (Judgment and, I dunno, Krazy Kart Racing) as a bonus.
If they they go this route maybe they could do Judgment Remastered with 64/LOD as bonuses. IDK, I'm not sure an N64 Collection by itself will be a big marketing draw UNLESS they throw in some bonus that turns heads ala Haunted Castle Revisited.
« Last post by LuxKiller65 on November 04, 2024, 05:58:39 PM »
just make the adventure rebirth playable on something else than a 2006 wii where the game has been downloaded for which some sellers are asking 300+ usd
« Last post by Abnormal Freak on November 03, 2024, 09:03:48 AM »
They'd probably milk it and make two different collections: one with the N64 games and the other the PS2 ones, each having one of the bastard 3D games (Judgment and, I dunno, Krazy Kart Racing) as a bonus.
It's a shame we didn't get The Arcade on Wii U. HD graphics with MotionPlus controls.
« Last post by Reinhart77 on November 02, 2024, 10:13:47 PM »
yeah, they seem to be doing” bad” games, so Legends would be a great one to redeam haha. i do actually want to see a Vampire Killer that runs a little smoother more though.