Although we were working with limited time, we selected several things that we thought should be improved and will be updating these in a day one patch. Noriyoshi Fujimoto: We received a lot of feedback from people who played the demo. Has the team been able to address any of the feedback they received as Balan Wonderworld approaches launch? The game’s demo was met with a mixed response. These are quite challenging, and if you can clear them, there are some wonderful costume actions waiting to be discovered. Just to give one example, once the player completes all twelve chapters, an extra act (stage) will be unlocked for each chapter. Īre there any special costumes that require players to complete challenges or gather collectibles in order to unlock them? Ah, but I definitely wouldn’t use it for anything bad. The additional rule that it can only be used for five seconds at a time adds an interesting angle and makes it fun to just imagine and think how you could use it. There are characters that can turn invisible in the world of films, anime and manga, and it’s one of the powers that I think would be cool. Noriyoshi Fujimoto: Probably the Invisible Man, a costume that allows you to turn invisible for just five seconds. If you could use one costume in the real-world, which would it be and why? It was challenging to balance and think of the pros and cons for every action. Additionally, if we made one costume action particularly good when we were adding unique characteristics to the over 80 different actions, the player would just keep using that one same costume. Noriyoshi Fujimoto: While it was interesting and enjoyable to design costumes with appearances that seem to intuitively match the action, it was also quite difficult. How challenging was it for the team to make sure that they each felt unique from each other? There are more than 80 costumes in the game. If anything, the part that took time was making sure I had a good understanding of the overall flow of the game and the underlying message of the story myself. When composing the themes for each stage, I incorporated key motifs that I picked out from background and character art by the designers as inspiration. Ryo Yamazaki: It was both challenging and fun to try and portray a different world and atmosphere for each stage. Was it challenging to come up with different musical moods and soundscapes based on these? The team really liked the first demo I produced, and I was given relatively free reign following that.Įach world is born from someone’s heart and emotions. I worked with these keywords as a starting point for the demo reel. Initially, the keywords were fairly broad, like “mysterious musical” and “a world like the Cirque de Soleil”. Ryo Yamazaki: I joined the team when it was decided that we would be creating an internal pre-production version. However, when I actually played it myself, the impression I got was more exhilarating and active, like winter sports, so I reworked the music from scratch.Īt which stage of the process did you start to compose the music for the game, and how much direction were you given by the team? When I first started working on the music for this stage, I thought it would have quite a dark atmosphere, sealed away in ice and deep, falling snow. Ryo Yamazaki: I like the snowscape in Chapter Eight: The Lady Too Scared to Love. I enjoy the actions that allow you to float through the sky, and I like the mysterious atmosphere and aesthetic of whales swimming in the sky. Noriyoshi Fujimoto: I like the world of Chapter Four: The Boy Who Would be One with the Wind. Aside from the main character’s story, the experience is the same regardless of the protagonist chosen.Įach Chapter will transport players to a different world. While Leo and Emma’s stories differ, there are no differences in the stories of the cast featured in the twelve chapters. Noriyoshi Fujimoto: Balan Wonderworld features the stories of the protagonists, Leo and Emma, and their innermost worries, alongside the stories of the starring cast members of the twelve chapters.
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