Devil May Cry 5, Resident Evil 2 Remake Directors special – toco toco
Regarding content, this is what I always tell my team. If the player loses, when he is attacked and killed, it is not okay if he throws the controller. This means the game wasn’t made properly, The player won’t think it’s his fault
but that it’s because of the game, which is not good. When the player reaches game over,
or when the player takes damage, we should make it so that he feels he is the one responsible. This is what we insist on. There are plenty of tricks for making this happen. There’s collision detection, the hit box’s size.
We make sure to adjust these. Capcom is a company that takes
action in games seriously. It’s been drilled into me since I first started. When I was young, there were
plenty of legendary animators. I received comprehensive training in regards to action. We’re a company that is very particular on details, we’ve been taught that since working
on the first Resident Evil, that it’s really about details. That’s something that people on the dev teams
really seemed to enjoy. I saw this and thought it was a nice workplace, I kept that in mind when working on later titles, It was even more so the case on Resident Evil. There are many people with strong personalities, everyone does what they like, But what makes Capcom special is that in the end,
it all comes together. When I was in junior high school,
there was an arcade machine in front of a toy shop, it had SonSon on it, a Capcom game. I got into it. I had also started to play other games. At the time, there was the Family Basic, where you could program
by plugging in a keyboard to an NES. I started programming using that,
after which I enjoyed making games. I was playing Megaman as well, I realized that Capcom’s action games were good, which is why I ultimately applied
to Capcom and started working there. Back in elementary school,
I would go to the arcade with friends, it was my first contact with games. I got hooked, then I bought a NES. The trigger was when I got a MSX2 computer
in junior high school, I learned that you could make games on it. This is how I learned to program
and started doing things by myself. At first, I started because I liked games,
then I actually got into programming. Then in high school my parents
bought me an X68000 computer, I would make games on it.
This was my gateway to becoming a programmer. At the time, I was amazed by Street Fighter,
which was the most popular game out there so it made me want to work at Capcom. Ikeda entered the company the same year as me. Since then we have worked on the same games
more than half the time. We’ve played fighting games together
ever since we entered the company, We know which characters we use. We play a lot of games together. He’s really a partner I can trust. I recently started to play fighting games with Matt, he has played a lot of games ever since
he was a child as well, so he can play retro games without any issue. He was feeling genuinely bitter. I couldn’t pull off the Shinku Hadoken! – Double K.O.
– I thought I won so I released the stick. Ah, this doesn’t work…! When I first started at Capcom,
development was split between three departments, I was assigned to the arcade department. The first game I worked on was Quiz & Dragons, It was a game made for overseas
and I was in charge of the Japanese arcade port. My second game was Quiz Tonosama no Yabou 2, I handled the quiz questions
and the algorithm for them to appear. I worked on difficulty levels or adjusting phrasing. This was during my first six months in the company. After that, there was Street Fighter.
It was Street Fighter Classic at the time. The project was a remake of the original Street Fighter. I was asked if I wanted to do it. I gladly accepted, which is how I entered
the fighting game team. Originally, what I wanted to work on
was games that immersed you. entering full universes made of polygons.
This is what I wanted to make. That wish was granted right after Street Fighter Zero, as I was assigned to Star Gladiator, it was set to be Capcom’s first polygon-based fighting game, I was made director sometime afterwards and it’s a position that I have kept ever since. I worked on Rival Schools, Power Stone,
then I did Capcom vs. SNK. I started helping on the PlayStation versions as well. I helped out on Auto Modellista,
then on Resident Evil Outbreak, I wanted to work on an Action RPG
that used online in some way. I was working on design docs for that project. and as I was following through with that, my boss at the time asked if anyone could help on Devil May Cry 2. Nobody was available,
so he asked me to do it. As for the RPG project I had, I was close to the point
where I could go on a research trip to Mexico. But I put the project on hold and came over to help on Devil May Cry 2. From there, I worked on Devil May Cry 2, 3, 4,
DmC Devil May Cry then Devil May Cry 5. In the end I never distanced myself
from the Devil May Cry series. Actually, after making the 3rd, I was thinking of asking someone else to the direct the 4th. But since it was a new platform, I was asked to make it
as I had the experience, which is how I got onto the 4th. After that, we decided to pause the series for a while, so I got to pull out my Action RPG project
after ten years, and made Dragon’s Dogma. This was the first time for Kadoi to act as director, so I joined the team taking on a support role. My role was to handle overall project management,
I was also looking at the game. I would look at the game with Kadoi
and support on quality check. Kadoi would handle the more
detailed parts of the game, such as game balance, this is how we defined our roles. Indeed, I had freedom on the key aspects,
where I did what I wanted. Of course, at some point you have to ask for the opinions of others, as for the directions from the company,
I was relying on Anpo, who took good care of me. – This is a hard part. I never could escape from here.
– You can actually escape. Oh you can, there’s an opening. We have worked together since the first Resident Evil, – I was a game designer, while Anpo was a programmer.
– I was a programmer… – After that…
– After that, we were assigned to different teams. – We worked together again on Resident Evil… 5 I think?
– It was 5 yes. – During 5, we worked together, I was directing.
– He was directing at the time. – At the time, I entered mid-development to help out.
– He came to help me out. – Then we worked back together on Revelations 2.
– That’s right. I worked on Resident Evil 1, CODE: Veronica, Outbreak, 5, 6, Revelations 2, then RE2, it’s 7 titles in total. As I continued working on the series, I realized that
I couldn’t quite point out what makes a Resident Evil. Sometimes I just think that Resident Evil is
what creates the greatest sense of horror. Resident Evil 7 was made to really push
the boundaries of fear, It was way more out there
than what we were working on at the time. We were surprised it could go this far, so from there we added even more gore, I think Resident Evil 7 contributed to
how we raised the level of horror. Also Resident Evil 7 was really going back
to the roots of the series, it took in mind the feedback from the players
and tried to implement it in the game. We kept that in mind for RE2 as well,
really keeping the player into consideration. Everyone feels fear differently. I couldn’t just stop with that I thought was scary
I had to raise the bar for others. For the planners who enter the Devil May Cry team Ghosts ‘n Goblins and Ghouls ‘n Ghosts
are always available to play in the office, so I ask them to play those games
and write a report about it if possible. What did they feel when playing, where did they die, what did they feel at that point. I want them to sort out those thoughts, and feel them. We often talk about that. Ghosts ‘n Goblins and Super Ghouls’n Ghosts
are rather difficult. They are hard but I don’t feel
that the game balance is bad. As we are working in the field of pure action games, I think that everyone has to understand
that feeling in order to go forward. Retro games are simple for that. It’s easy to draw a chart to explain
what led to that feeling, it’s simple for me to do so,
I play a lot of retro games myself. I enjoy unraveling those simple causal relationships. Ah, this made me go back! – The boss is next.
– It’s coming. – It’s so hard to beat.
– You have the worst weapon for it too… This is how it goes I guess. – Sorry.
– It’s hard… – It’s cruel, really…
– It’ cruel, very cruel. Generally, I like bookstores. I often come here when I am out of ideas. I look at book titles, in order to
pick up keywords and find inspirations. I try to find new things or to combine two keywords
to see if it can bring something new. I may seem like a strange person
from the shop’s perspective, but I really go back and forth. Junkudo is really big, it holds publications
from all genres. I can gather information from a wide set of materials. It’s really useful. We made sure the game kept elements of the original. It’s a remake,
and we did this for the remake of the original as well. so we changed certain parts in order
to make it feel fresh. However, if done wrong, it would affect
the positive aspects of the original game. I devoted myself so that would not happen, when I would be testing the game,
I would think of the interesting aspects of the original. and act so that players could feel
them accordingly when playing. I remember the original game
included not only horror, but also an adventure part,
with fun puzzles and riddles to solve. It wasn’t action, but adventure. We wanted to recreate that. We worked together on the level design, making it so the player could wander before finding items, then think and solve the puzzles. We wanted to make it a fun Resident Evil in that sense. As we started to make Devil May Cry 3,
we recollected our thoughts. It was about a universe and a design
that makes you think of death. It was originally based on Dante’s Divine Comedy, which holds a strong religious connotation. We interpreted that religious aspect
as something that could link to death, and created a universe
that would make the player reflect on that. Whether through Dante, Nero or V, we wanted to make the player feel “cool” by having them control these characters, and act as their avatars looking cool in the game space. This is very important and something we want to keep. If you could simply launch cool combos
just by repeatedly pressing the same button, then the player wouldn’t feel a part of the action. But by providing him the freedom of using different techniques in the timing of his choice, then the player finally starts to feel that he is cool. This is what I think Devil May Cry is about. First, there was Devil May Cry 1, I didn’t make that one, Kamiya made it. What surprised me the most about the first game, was that it felt that any story could fit within that genre. Tell a story via cinematics,
and then have the game. In that sense, it was quite epoch-making for me. Obviously, I didn’t know at the time
that I would end up making the sequels. Then I started helping on
Devil May Cry 2 mid-development. It was hard for me as we had to wrap up
the game in very short period of time, it presented a lot of difficulties. I think that we owe ourselves
to deliver games that we feel are 100%, but for me it didn’t feel that way. In the same way as Resident Evil
gave birth to Devil May Cry, I took the freedom of making what I wanted, apologizing ahead if it didn’t turn out
to become a Devil May Cry, this is the approach I took for the third game. Dante was a young Dante, in the first game we saw Dante
as someone who couldn’t lose. He wouldn’t fall, because he’s a hero. However, I rather liked to see heroes
fall and then get back on their feet, which is why I decided to start the game
with Dante having his arm cut off by his brother. Starting from Devil May Cry 3, I think the game
and the characters started taking a different turn. This was also a title where as Capcom
we tried new things in terms of game creation, I always say “Mochi ha Mochi-ya”, It is a Japanese expression
that means that we should leave things to specialists, that they give the best results. For example, looking at an action performance,
I would go and ask advice from an action film director. For a scenario, go ask a scriptwriter. If I can just share what I want to make, specialists from each field will take care of putting it together. This process is deeply ingrained in movie making,
however that wasn’t the case in games. It is the first time we implemented it. Then for Devil May Cry 4, at first I didn’t want to make it, but it was a new hardware,
so in the end I was asked to take on the project. For me, it is the first game where we had a plan laid out
and the game sold exactly according to plan. It was the first action game of a new platform,
many new players would play the game. Devil May Cry 3 had already gone
as far as possible in terms of action. It would be difficult gathering
new players by going that same route. So I thought we had to have a new main character, or have an opening scene
where tons of characters on screen. It was important to have a scene that would really move
players who had just bought that new console. We calculated everything down to the last detail. and sure, there were some aspects
that dissatisfied the players, the fact that you had to traverse back over
previous levels during the latter half of the game. well, it turns out the budget was similar to
what we had on Devil May Cry 3, creating the game in the same way would have meant we would have run out of budget, and also we wouldn’t have been able to ship in time. This is why we took on the challenge, we felt that if we combined that approach with a tight scenario to match, we’d be able to create an amazing game within budget. In the end, we made Devil May Cry 4
really according to a plan, sales were also close to what we had estimated. When we discussed on how we wanted
to make Devil May Cry 5, I first talked to team members
who worked on the previous games. The first goal was to show the world what
we think a proper action game should be. I used to go to Nipponbashi two to three times a week,
back when it was full of Famicom shops. At the time NES, then PlayStation games
were released almost every week, I would go there to gather new information. Now, it is at just the right distance from where I live. There aren’t as many Famicom shops
as there used to be, but I come here by habit when I am thinking. There are many retro games in this shop, once you come in you have
that 8-bit music that is playing, it’s like a tranquilizer, it has this a soothing effect. I don’t really buy things, but I like the atmosphere. I like a lot of things. What I like is games, plastics models and sports. Sports aside, you can find everything in Nipponbashi. For plastic models, there are plenty of shops
where you can dig through, I would go on new release days, sometimes I would hop in a taxi and come during
lunch break with younger members of the team, then I would make them carry bags full of stuff
and come back to the office. I come here often. As for retro games, I reached a point
where I can now buy any game I like, but as a student I was really poor, I had a part-time job, and on the day I would get paid, I would go straight there to buy games with my friends. I would pick up each game,
thinking “this game for this much!?”, as I looked for the best bargains the shop had to offer. Regarding Game Tanteidan, at this point I’ve gathered
most of the games I wanted at a reasonable price, now I come to check whether
they don’t have rare games at an incredible deal, Also I gather information
from the internet or from my friends, to see if there isn’t an interesting game
that I missed on my radar, if there’s a game that I don’t have I would look for it, however expensive games can easily run
for hundreds of dollars, I don’t go that far, instead I look for games
that are at an affordable price, games that are lesser known but that are really fun. This is what I do now,
I have made some amazing finds in the past, I try looking for those again. I really think of it as a dream land. I am starting to age, I am 48 years old now, I am starting to think about how many games
I’ll still be able to make on the front lines as a director. I want to hit a home run, hit it out of the park. I think I have made some base hits,
but I want to hit a home run out of the park. There are many games among many genres
that I want to make, there are always about 4 or 5 projects
that I could start on right away. I want to match that with the company
and the members I work with as well in order to hit that home run. – You don’t notice that.
– You really don’t. Yet another one of our gamescom stories. – Shall we order? Drinks.
– I think I’ll have beer. – Cheers!
– Cheers! – Did you have any worries working on the remake?
– Worries? The biggest was that we didn’t want to betray fans. People say that the balance turned out really well. – That’s the feedback I am the happiest with.
– Yes you really worked hard on that, right? – Yes you went all over, mastering the secrets.
– You have to. – How many times did you do it?
– I did it until I found it good. How many in total? I must have done the portable safe about 1,000 times. For that one, if you press in succession
it is pretty easy to unlock right? – You shouldn’t think right?
– If you learn the sounds it becomes easier actually. – If you feel the rhythm.
– Right, if you go with the rhythm you can unlock it. – But if the placement is bad it can be difficult.
– There are times when it’s really hard yes. – It seems people who speedrun memorize it that way.
– You lose time there indeed. I didn’t expect so many people
would be doing speedruns. I thought people would stop
after one or two playthroughs. Quite a few people do many, many runs. On Resident Evil 7, there are a lot of people
who cleared the game so many times. Indeed, there are people who cleared it multiple times. That type of “replayability” is visible. We knew that people played
through the original multiple times too, so we kept that in mind, making the 2nd run
just a bit easier by not changing the passwords. Alternately, players don’t know the best route
on their first playthrough. We made it so they could discover
a better route during each playthrough. – We had the idea of changing the safe’s code each time.
– That was too much! There are the wooden boards as well. – Optimizing them.
– Yes at first you don’t really know how. – By playing multiple times, you find the right use.
– Right. When these three were making Devil May Cry 2,
I was pursuing my action RPG project. I wanted to go to Mexico and Machu Picchu
for research, I was planning on that trip. I got the approval and started thinking
about Mexico already. The action RPG I was thinking of at the time… Actually, we had made Dungeons & Dragons on arcade, we also made the 2nd one, Shadow Over Mystara. At the time, we were looking to work
with the PlayStation 2 graphics, we thought they were beautiful at the time. We wanted to use the full specs of the PlayStation 2
to do a remake of Dungeons & Dragons. We were thinking of that with Funamizu,
my boss at the time. In the end, that… What we aimed for actually wasn’t
just making the 2nd game as it was, we aimed for something in between
Resident Evil and Resident Evil 2. The original game came out in a context
where it was released after Resident Evil 1. Resident Evil 1 had gone a bit too much into horror, so Resident Evil 2 was more about making it
broader and more accessible. This time, Resident Evil 2 comes after
Resident Evil 7, so the context is different. Resident Evil 7 was well received,
with people who were looking for more horror, so upon releasing Resident Evil 2,
we thought of making it lean towards Resident Evil 1. I talked with Kadoi, so we aimed
for a game that was a bit more difficult, this is how it ended up like this. It is something we did on purpose,
this is why some people thought it was harder. There was that meaning of
having a sequel to that difficult Resident Evil. In the remake, we wanted to make it feel
more like survival horror than the original. – Make it more of a sequel to the first.
– Yes, the 2 that follows the first. We wanted to make a remake of
Dungeons & Dragons using online features. We wanted people to show off
their armor online and make this the main selling point. It was hunting monsters, getting those materials, and making that equipment to show off online. It was what we were talking about with Funamizu, Nakae, who entered Capcom the same year
as I did, directed this. I pursued a solo-player RPG idea, keeping in mind
the remake idea of Dungeons & Dragons. it was a solo-player online but not fully so, an online game that could be played
as if you were offline. But I wanted to make it as fun as an online game. After we were done with Devil May Cry 4,
I felt that I had made a game that sold well, so I could make the game I wanted next. So I submitted my deck, it got accepted
and became Dragon’s Dogma. – It took 10 years..
– If it started after Devil May Cry 2 yes. – 2002 so a bit less than 10 years, 7-8 years.
– I held the idea for about 8 years. One possibility is that looking at game history, for example our generation has been
around games since we were children. We now have children ourselves,
IPs are rejuvenated accordingly, in order to reach those younger audiences. The content is made to reach both generations. Especially from the parent’s perspective, there’s this way of dealing
with your child’s centers of interest. This is not seen only in gaming,
but also in cinema or music. With the IPs that we have,
we hit on both nostalgia and novelty, I think Resident Evil 2 is the perfect example. I believe that angle holds many possibilities,
in the transmedia field as well. Did you know that Sakura was in Rival Schools? – This comes from a ruse I used as a director.
– A ruse… For a completely new title,
it is quite risky to sell these new characters. I went to see Funamizu, my boss at the time, asking him whether we could add in Sakura,
making her a student at the same high school. She could be in the same class. If we do so, it will be easier for players
to get into the game. I begged him, after which he agreed. – This is how I played it to add Sakura.
– Well played! – That was the right move.
– You have to play everything under your sleeve. The Shun Goku Satsu that uses the “Spring”
character came from us originally. That’s right. I couldn’t read that character at the time. I didn’t know the word Shun Goku Satsu either. If I could do anything I wanted,
I would do a Japanese style GTA. It really should be set in Japan. It doesn’t have to be like Yakuza and such,
but I think it would be good if it were set in Japan. – If you do it, it should be in Osaka.
– Right! Like “get out of here!”. See someone running away from the cops
and go after that guy. What do you think though?
About setting the game in Japan. I don’t think there’s something quite like it.
A lot of it is in America. It can be either modern Japan,
or set in the Edo or Sengoku period. – That could right work as well.
– Yes, I find it interesting. I have some many stories about Rival Schools, as I previously said,
you could only show three characters on screen. However, there was a character named Hyo,
who had an “Darkness Illusion” attack. Where he would come attacking from both sides. So you need to have one more on screen,
which the hardware couldn’t handle. It would be four characters in total,
but we could only manage three. so we faked it, it was 60 FPS, so the character model would teleport
between the two spots every frame. – I still have the full motion data.
– I thought it was genius. Usually, in order to save space,
you let the software interpolate between frames. but the data had a pose stored in each and every frame. Right, it took a lot of space right? It took a lot of space,
and it couldn’t be used for screenshots either. – Right, you’d only see one character in screenshots.
– You’d be exposed. So we superposed two screenshots
on top of another for this.