Two-and-a-half years is a very long time. Whether it be for a relationship, a job, or even live support for an MMORPG, it is a major milestone that should create feelings of real accomplishment in anyone who achieves it. This month, Phantasy Star Online 2 NEW GENESIS (PSO2 NGS) turns two-and-a-half, and the team behind the game is releasing some seriously new content that is designed to lure back old players and initiate new ones into Planet Halpha in PSO2 NGS.

I was lucky enough to be given the opportunity to conduct a SECOND (yes, SECOND!) email interview with Phantasy Star Online 2 New Genesis’ series producer, Yuya Kimura, where we talked about his career at SEGA, the upcoming Super Genesis Festival, and more.

You can check out the latest on Phantasy Star Online 2 at the official website, on Twitter, on Twitch, on Facebook, on Instagram, on YouTube, and on Discord.

Operation Rainfall: Could you please introduce yourself?

Yuya Kimura: My name is Yuya Kimura, and I’m the series producer of Phantasy Star Online 2 NEW GENESIS (NGS) at SEGA.

OR: You’ve been at SEGA for 21 years, per our last interview in June 2023. Can you tell us one or two of your favorite personal memories worked at such a historic video game company?

YK: I’ve had a pretty unique career over my 21 years here, focused entirely on the development of the Phantasy Star series.

Although there are people who have worked for the same game company for more than 20 years, it is rare in the industry for a creator to work continuously on the same series of titles over all that time. Being involved with the series for so long has given me a lot of happy memories. For example, I’ve heard several stories of people who met and got married because of the series, and I sometimes meet parents with children who play the series as a family. There have also been cases where new SEGA employees played a title I was involved in when they were young—and it was that title that inspired them to become a game developer, and now they’ve actually joined SEGA and are involved in the same title. That’s really a priceless joy that I couldn’t have experienced without having worked for SEGA for so long.

Yuya Kimura is the series producer for Phantasy Star Online 2 NEW GENESIS ver.2 (Image courtesy of SEGA).

OR: Phantasy Star Online 2 NEW GENESIS ver.2’s December 2023 update is focused on new and returning players for the game’s two-and-a-half year anniversary. Why did you decide to focus this major year-end update about making the storyline more accessible to those types of gamers?

YK: In June 2023, the game was upgraded to Phantasy Star Online 2 NEW GENESIS ver. 2 and new elements such as Creative Space and Portable Holograms were implemented that attracted new players and brought back returning players. However, the battle content for core users released from August onwards had a high barrier to play. In addition, many people who played the content felt that the rewards were not commensurate with the difficulty level or playtime. For those reasons, some people gave up playing midway through.

In response, we made adjustments in October and November, including easing the Join Conditions to make them easier to meet, rebalancing rewards, and implementing a boost campaign. As a result, we believe that the game is stabilizing, still slowly but at a better clip than before. In addition, in December, we will be making NGS easier to play than ever before by further easing requirements and revamping rewards. We hope this will bring back inactive players and entice new users to try NGS.

The latest update for PSO2 NGS ver.2 really has a focus on making the game more accessible to players. (Image owned by SEGA).

OR: What kind of changes does The 2½ Year Anniversary Campaign: Super Genesis Festival have to make it so players can experience the storyline more easily?

YK: First, I would like to say that NGS has become really easy to play as of Dec 6, 2023, on a permanent basis, unrelated to the ongoing Super Genesis Festival campaign. To make it easier to catch up with the top players, there’s a permanent +300% boost to EXP Earned in Combat Sectors up to a certain level. Also, just by leveling up, you’ll get pre-enhanced equipment appropriate for your level. Until you reach the highest level, you’ll have no real problems with your equipment. Plus, in NGS, you can set up a Sub-Class in addition to your Main Class. Previously only 50% of the EXP you earned with your Main Class was applied to your Sub-Class, but now that’s been bumped up to 90%.

The latest chapter of the story is Chapter 6. We’ve eased back on the overall difficulty of progressing through the story—as a reward for completing Chapter 5, for example, you get a huge amount of the in-game currency, N-Meseta, as well as tons of avatar items. This lets you quickly push ahead with your adventures while enjoying fashion and other aspects of the game.

Regarding fashion, the period during which you can edit your body shape and other elements of your character’s appearance at the Salon for free after creating a new character has been extended to 72 hours of log in time, a significant increase from the previous 5-hour total. We also have a convenient feature where 15 days of Material Storage is automatically granted after finishing the tutorial.

During the Super Genesis Festival campaign period, we’re running a Use the Salon to your heart’s content! Campaign, and distributing a free Color-Change Pass (x15), Material Storage Use (15 Days) (x1), and more, making it even easier to jump in and play. It’s really the perfect time for new players and ARKS who have been away to come and play NGS.

OR: Also, what new content can veteran players expect in The 2½ Year Anniversary Campaign: Super Genesis Festival?

YK: First of all, overall, there will be more opportunities to obtain the 10-star Flugelgard weapon series. These will be added to some quests that did not previously drop them and drop rates will increase in quests where they already drop.

In early December, the popular Standing Quest: Leciel Exploration will be expanded with new elements and upgraded rewards. Then in mid-December, Dark Falz Aegis, previously only available as an Urgent Quest or Trigger Quest, will make its debut as a Standing Quest in an enhanced, powered-up version.

All of these are challenging, but since a 10-star weapon is included in the drop rewards, we encourage you to give them a try.

“Being involved with the series for so long has given me a lot of happy memories.”

OR: During this timed event from December 6, 2023 through January 24, 2024, there are rewards players can earn. Can you tell us a bit more about what kind of rewards gamers can expect when they participate in it?

YK: In addition to what I just mentioned about the Super Genesis Festival Campaign, from Dec 6-19, 2023 we will be running a Super Treasure Scratch campaign, where twice the usual amount of Treasure Scratch tickets can be earned in Daily Tasks and Treasure Scratch tickets will be added as drops in all Urgent Quests. Plus, during this period, you’ll be able to complete Urgent Quests twice.

In addition, starting on Dec 20, 2023, a new feature called the Reward Box will be added where, by completing the target Daily Tasks, you’ll be able to earn lots of popular past Weapon Camo and avatar items. It works like a Scratch Ticket, but in box format—that means items are never duplicated after being obtained, and, if you take the time, you can be sure to get all of the items.

There will be more campaigns and other ways to get your hands on a variety of rewards from Dec 27, 2023. Details will be announced in the NGS Headline broadcast on Dec 26, 2023.

The just-added 10-star Flugelgard weapon series in PSO2 NGS ver.2. (Image owned by SEGA).

OR: One of the biggest surprises for me in this announcement is that there will be an increase in drops for the 10★ Flugelgard series that was released as part of the November 15, 2023, patch. What kind of increase are we talking about? Do you mean that it will be spread across more events, or are drop percentage rates increasing? If we are talking percentage drop rate, can you give us an idea of how significant of an increase it is?

YK: The upward revision of the drop rate is permanent from Dec 6, 2023 and is not limited to the event period.

Regarding the increase in the drop rate, we’ve made it even higher than the Drop Rate +100% boost campaign that we had in November for a variety of content.

OR: Along those lines: How do you determine what the drop-rate percentage for items should be when you’re releasing new content?

YK: The number of drops and number of equipment for the newest weapons are checked daily, and if the actual numbers of drops and equipment are lower than the number of drops and equipment that the development staff had expected before the release, the number is revised upward, as is happening in this case.

OR: At the start of November, a new anti-cheat tool by Wellbia was implemented into Phantasy Star Online 2 NEW GENESIS ver.2. Can you talk a bit about your efforts to combat cheating in Phantasy Star Online 2 NEW GENESIS ver.2, and how does SEGA and your team handles people who are caught cheating in the game?

YK: Since the game launched, we have always devoted a lot of time and money to anti-cheat measures. However, while I do apologize, I am unable to give you any specifics about our countermeasures, because that information may aid rogue users in creating new cheat methods. If you are found to be cheating or otherwise violating our Terms of Service, we will ban your account for either a certain amount of time or permanently, depending on the severity of the offense.

OR: When we last talked in June 2023, Creative Space was going to be released as part of Phantasy Star Online 2 New Genesis ver.2. What has player feedback been like since it was released, and do you have any plans to enhance it as part of the future roadmap?

YK: We have received a great deal of positive feedback since we first announced our plans to implement Creative Space, and we feel that we have exceeded our own expectations with the very positive response we have received. We’ve also had lots of requests for things to be added, and [we] are working to respond to these as soon as possible.

Creative Space is recently added content that lets you shape everything from the terrain to the music playing in your own unique slice of the game. (Image owned by SEGA).

OR: As we wrap up this interview, do you have any last words for people looking forward to The 2½ Year Anniversary Campaign: Super Genesis Festival?

YK: I would like to thank all the ARKS out there for playing NGS.

To express our gratitude, for the first time ever for the PSO2 series, we are currently holding a half-anniversary celebration called the Super Genesis Festival. As I mentioned earlier as well, we are running extensive, fabulous campaigns over the year-end and New Year’s holidays. These campaigns will offer tons of advantages not only to current players, but also to new players and those returning after a break, so we hope everyone will take this opportunity to play NGS.

I want to thank Yuya Kimura for participating in a second interview with us here at oprainfall about PSO2 NGS!

Are you excited about the Super Genesis Festival? What kind of fashion do you hope to wear in the game?

Let us know in the comments below!

The post INTERVIEW: Yuya Kimura Talks about PSO2 NGS’s Super Genesis Festival appeared first on oprainfall.

DragonCon is known for having pretty much every fandom under one room, and that includes having a wide range of voice actors and actresses from video games, anime, and other mediums appearing to host panels, sign autographs, and take pictures with fans throughout Labor Day weekend. I was able to participate in a roundtable panel with Variety Radio Online and Moana Nui Podcast during this year’s DragonCon to interview both Erica Mendez and Lucien Dodge about their careers.

You can find out more about Lucien Dodge at his official website and on X.

You can find out more about Erica Mendez on Twitch, on Instagram, and on X. You can also check out our prior interview with her from 2017.

You can find out more about DragonCon on their official website, on Twitter, on Facebook, on Instagram, on Pinterest, and on Discord. 

You can also buy a membership for next year’s DragonCon here.

This interview has been edited for content and clarity.

Operation Rainfall: My name is Quentin H., with Operation Rainfall.

Variety Radio Online: Michelle Moreland, with Variety Radio Online.

Moana Nui Podcast: Anita Riggs, with Noana Nui Podcast.

Erica Mendez: Hi! I’m Erica Mendez. I’m a voice actress who works in Los Angeles.

Lucien Dodge: My name is Lucien Dodge, and I am also a voice actor – sometimes script adaptor, voice director – who works in Los Angeles.

OR: I’m going to open up with a question for you Lucien: Fate/strange Fake -Whispers of Dawn- was released just a few short weeks ago on Crunchyroll, and you voiced Lord El-Melloi II during the 55-minute anime special. This special is unique because it is the first TYPE-MOON anime to be developed simultaneously for both Japanese and English voices instead of the English voice acting coming later on.

Can you talk a bit about what your experience was like working on this simultaneous production? Did you ever work alongside with Daisuke Namikawa, the Japanese voice actor for Lord El-Melloi II, on this production to ensure a uniform approach to the character?

LD: I did not work with Daisuke Namikawa, unfortunately. I would love to meet him – I’ve been hearing his work for awhile since I’ve been playing the character of Waver [Velvet]. So, funny about that project: even though it was more of a simultaneous production, I would say as far as our work was concerned, it was fairly similar to a typical anime dub. In so far as, most the animation was pretty much locked in, and we were still recording in the traditional fashion as we preview the animation with the Japanese performance – so that’s about the closest that I really got to collaborating with Daisuke. I would hear his voice first, and then we would lay our track on top of it.

But, pretty much 99 percent of the animation was finished and locked in, so there [weren’t] too many differences honestly from working on that project and your typical anime dub, I would say.

Lucien Dodge voiced Lord El-Melloi II in the just released Fate/strange Fake -Whispers of Dawn- anime special.

VRO: So, I’m going to skirt a bit different, and this is a question for both of you. Welcome to DragonCon, and as you can see, it’s very fan-based and you guys are probably getting fans from every different area of your experience. But: you also, as a voice actor, have to sometimes dig deep for a new voice, right? So all the characters you’re seeing here at DragonCon: is there inspiration in being able to pull from how unique the fans are here?

EM: I guess, like, maybe not intrinsically. But when you’re thinking about characters in general and doing auditions for them, you take people you know in real life and kind of take their voices and maybe fit – if it’s an interesting voice you heard or a funny voice you heard – you kind of take that and work it into a character somehow. Even if it’s somebody you can’t really think of how you heard them or where you heard them. It’s just something that you’re like ‘[o]h, I remember this, maybe see if I can use this for something.’

LD: Something that’s pretty cool is that you’ll see cosplayers add their own unique spin on a certain character, or maybe they’ll take two different characters and they’ll kind of super collide them, like do a cross-over between the two. And sometimes, as voice actors, we do something similar where we might have two different impressions or characters that we like, and we think ‘[o]h, what would happen if we sort of mesh them together?’ So in that sense, maybe there is a little bit of creative inspiration or borrowing of that creativity from each other. Very cool to see.

MNP: Like she said – welcome to DragonCon. Both of you are in positions that pretty much everyone I know wants to be in. How was it breaking into the industry – especially with you Erica, being Mexican American? I know sometimes there are challenges getting into the field. How did you guys get into it? Was it difficult or easy?

EM: I think, luckily for me, especially for voiceover – not to say it’s not hard for some people – but for me, it was pretty easy. I don’t think it was ever taken into account that I was Mexican-American. I think they just heard what I did, and were like ‘[o]kay, this is what we need.’ I broke into the industry mainly because I do young boy voices pretty often, and I guess they needed that at the time. They’re like ‘[w]ell, yours are good, so let’s bring you in for this’ after I auditioned for a particular studio for a while.

So thankfully, it was not too difficult for me, and I’ve been able to sustain that momentum throughout my career. And yeah, it’s a hard question to answer, because I feel kind of privileged in a way because of various reasons. But I know it is hard for some people and it shouldn’t be, you know? Everybody should be treated equally and given fair opportunities to work – especially in voiceover, because you don’t need to look a certain way, you know?

LD: I think it certainly wasn’t easy, by any means. I think for just about everyone, regardless if you have extra hurdles or obstacles in your way, it just tends to take a long time. It takes years of training, takes a lot of time to build up a body of work or trust with clients, with casting directors – to have them bring you in on stuff. It takes a long time to get some kind of momentum in your career going, where you’re working enough that you can sustain some sort of living doing this. If you’re lucky – and that’s not a guarantee by any stretch. So, in that sense, it is definitely challenging and there are no guarantees.

But, for me, this was always the dream, and is something I’ve wanted to do for a long time and [I] worked very hard to do. So, whether it was hard or not, it didn’t really matter. I was going to do everything I could to make this happen. So, I wouldn’t have it any other way.

OR: You both did an interview with TheOASG in 2016 [and] Erica, I want to follow-up on a question with you. You were asked “[w]hich dubbing recording method do you find better to work with: pre-lay or ADR (Automated Digital Replacement)?” You seemed to highlight some cons of ADR about how you work separately from other voice actors, and you stated that “I like pre-lay because I get to work alongside my friends, and also VAs I look up to as well.”

Having been on the other side of the booth since then in the seven subsequent years, does that answer still hold true? Or how have your views on each method changed- if at all?

EM: I think, in general, I just like working. It’s hard to fully pick one or the other. Pre-lay is nice though, because you do get to work with other people. Whereas, in anime for dubbing, you’re working alone. Granted, you have the engineer and the director there, and if you know them really well, it makes it a very comfy environment, which is really nice. But it is just nice to be able to bounce off of other people organically. I guess, I don’t know if my answer [has] necessarily changed just because of other work I’ve been doing now – mainly directing and script adapting – but I feel like every genre of voiceover always has its new challenges. Maybe I’ll like one more one day, one more the next day. But, I wouldn’t change what I’m doing in general for the world. And I just love working. Anything I can do, I enjoy.

MNP: To pivot a little bit: video games. I know you’ve worked, Erica, with SQUARE ENIX. How was it working for a Japanese video game company? What were the differences between working here for voiceovers and for SQUARE ENIX.

EM: It’s not too much different, actually. I don’t necessarily work with companies directly. Sometimes, they’ll send representatives to look on in the sessions to make sure things are like, the character’s going according to the description of the character they’ve sent. Or, to make sure scripts are working well and so on, so forth. Just to make sure the director has like, good information about what’s going on in the world. A lot of the time, we’re working on these games as they’ve being developed in Japan. So, they’re getting information as they get it from Japan.

The people that we work with – because [Lucien], you’ve worked on some SQUARE [ENIX] games before – we work with our people that are kind of mediators between the Japanese branch and the US branch. ‘Cause all companies usually have a US branch here as well. But it’s not too much different, I mean, working on the games that I’ve worked with for SQUARE [ENIX] than working with any other game company, really.

OR: [Lucien], you voiced Elliot Craig in The Legend of Heroes: Trails of Cold Steel series since the first game and into The Legend of Heroes: Trails into Reverie. After the second entry, the localization company changed from XSEED to NIS America. Can you talk a bit about what it was like voicing the role during the changeover, if there were any changes in how you were asked to bring the character to life, and if you had to reapply for your own job?

LD: No, I did not – luckily. That does happen in our industry. But luckily, I did not have to reapply to be the voice. By that point, we had established the world and the sounds of the characters to the point where we were basically trusted to carry it on from that point. I don’t recall there being too many bumps along the road during that transition. Typically, with any recording studio, you have the voice director, who is interacting with the clients and they’ve being kind of the in-between and facilitating the information. So, any oddness – they’re basically there to smooth out the process for the actor.

Any rough patches in that road, in that transition, wasn’t really felt – so much as I’m aware – as the actor. Sometimes, you might hear in the background different voices from the clientside talking to the voice director, but the voice director is kind of translating and getting their help in the process [to] move it along for the actor and keeping things going. And again, we had already established the world and the sound of the character by that point. And we’re basically allowed to just continue the work we’ve already established. In that sense, it was pretty smooth sailing.

Lucien Dodge has voiced the role of Elliot Craig (on right) in The Legend of Heroes franchise since the beginning. (Image owned by NIS America).

VRO: As a woman in the industry, women [have] come a long ways in the past 10 years. Do you still find anything challenging in the voiceover for women in the industry, and has it opened doors to empower you to open doors for others in the industry?

EM: I think for most of what I do, which is anime dubbing, because of the nature of anime – I feel like there are a lot more women roles and we can voice young boys as well. So, there’s more opportunities in that realm. But I’ve had an agent for the last few years, so I get to potentially work on things that are the boarder scope of the voiceover field. And I’ve noticed that it can be harder, especially for commercials. I’ve actually been on a hold for a couple of commercials where they’ve also had a male option that they are looking for, and usually when I’m on a hold, they’ll be like ‘okay, we’ll maybe put you in for this job but the client is still deciding what they want.’ And then in most cases, it’ll be ‘[o]kay, they decided to go in a different direction’ which is typically either they’re looking for a different voice type than mine or a male voice. I know in one case, they decided to go with a male voice. I feel like that can be hard sometimes and very disappointing, but it’s kind of the nature of things, I guess, unfortunately. But you do hear a lot of commercials with women in them. I’ve just been in very unfortunate situations in that aspect.

I guess, I don’t know. I can’t really do anything on the voiceover side, obviously, for directing and adapting scripts. I think it’s nice to have someone with a female voice, a fem voice, to be able to write properly for fem characters. So I try to do my best with that. ‘Cause, sometimes, you get people – like Lucien does script adapting as well – and he may be better at the male voice, the masculine voice, because he’s lived that way.  Maybe fem characters are a little harder for him to portray, because he hasn’t lived that life himself, so he doesn’t know how they talk exactly. It’s nice to be, like, able to do the best I can with just making sure things are appropriately said for certain characters that I might understand better than someone else. And then if I don’t know, then I research. So stuff like that. As far as directing goes – I feel like there are a lot fewer directors that are female or fem based, and so I just adding one more to the number in that aspect.

OR: Real quick – what has y’all’s experiences been like at DragonCon this year?

EM: It’s been great. I’m not used to multi-genre cons as much. I do a lot of anime cons, so it’s nice to see the different, way different variety and a lot of the programming and all that.

LD: Yeah, a tad overwhelming at first. ‘Cause this is my first, and was not quite sure what I was stepping into. Very impressive.

EM: It’s been so nice. It’s been great.

LD: Yeah, very, very cool.

Everyone: Thank you.

What are your favorite voice roles of Erica Mendez and Lucien Dodge?

Did you attend DragonCon this year and attend any of their panels?

Let us know in the comments below!

The post DragonCon Panel INTERVIEW: Erica Mendez & Lucien Dodge appeared first on oprainfall.

At DragonCon 2023, I sat down with Dino Andrade and Connor Andrade. A father and son pair who has a great variety of experience as voice talents – even competing for roles on occasion – they have voiced everything from various Marvel and DC properties to assorted anime shows and movies and even to a brand-new podcast called Jump Leads. I participated in a two-journalist panel to talk with both of them about their careers, their experiences at DragonCon, and more.

You can check out Dino and Connor Andrade at their official website. You can also follow Dino Andrade at his official X account.

You can find out more about Dragon Con on their official website, on Twitter, on Facebook, on Instagram, on Pinterest, and on Discord. 

You can also buy a membership for next year’s Dragon Con here.

This interview has been edited for content and clarity.

Operation Rainfall: My name is Quentin H., and I am with Operation Rainfall.

Downtown Hott Radio: I am Walil Archer, nice to meet you. I’m getting some behind the scenes [filming]. 

OR: Do you mind briefly introducing yourselves?

Dino Andrade: My name is Dino Andrade, I’ve been a voice actor since the mid-’80s. Probably what I’m best known for is numerous characters in World of Warcraft – High Tinker Mekkatorque, Professor Putricide, Fungalmancer Glop – I’ve been part of Warcraft for 14, 15 years now. And I’m also the Scarecrow from Batman: Arkham Asylum, Speedy Gonzalez for the new Looney Tunes, I’ve been Pop from Rice Krispies [imitates Pop] “Snap, Crackle, Pop! Rice Krispies!” I’ve done radio, campaigns for the Los Angeles Dodges [and] Delta Airlines – I’ve been at this for quite a while.

And this is my son, Connor. Connor is Baby Grizzly for We Baby Bears for Cartoon Network. He’s also been Toddler Groot for Marvel – for Spider-Man: Maximum Venom. He’s been on The Casagrandes, and he premiered in an independent feature called Samsam where he played a Martian by the name of Sweat Pea. I was a villain in that movie, the Marthial – so we worked together on [Connor’s] first thing, and that was pretty cool.

Connor Andrade voiced Baby Grizz in Wee Baby Bears for two seasons.

OR: In a 2013 Comikaze interview with Fanversation, you said that you are “someone who is both Meisner trained and trained at the Groundlings” and that you’re “very improv oriented.” The Groundlings are known for their improv, sketch comedy, and live performances since 1974, and the Meisner acting technique focuses on the actor engaging with their acting partner.

A lot of times with voice acting though, it is just you in the booth and you’re responding with pre-written lines to another person’s pre-recorded lines as you also try to match mouth flaps on the screen. Does your background with the Groundlings and the Meisner Technique apply also to voice acting, and if so, how have you utilized it in your career?

DA: ABSOLUTELY it does! [laughs] When talking about matching lip flaps – you’re talking about dubbing, like working on anime or live action dubbing, so on. Oftentimes, what is written on the page for the dubbing, when we go to actually record it, it doesn’t actually match all of the lip flap. And so we’ve got to very, very quickly come up with a different line, different read, add words, subtract words, etcetera. And that’s where that training comes in, because you have to think on the spot and you can’t just be sitting there going “Ahhh, umm, I don’t knowwwww, I didn’t have time to prep this.” You have to be able to come up with stuff – we can be really collaborative.

When it’s not dubbing, and you’re doing original animation, it is extremely helpful, because you never know what you’re going to wind up doing on the fly. For example, if you’re working on video games, you’re often not given the script in advance. So you don’t really know what you’re recording until you get into the booth, and you won’t have time to prepare – you have to do what my good friend Dave Fennoy said, what he calls ‘instant acting.’ So improvisational techniques and all that work that all the Meiser – all of that comes to a head, all of that comes right in there, and so, yes: absolutely. Absolutely.

A lot of Meisner’s based upon what they call the ‘magic as if,’ where you perform something as if this or as if this, and so on. Those things get you from A to Z very quickly, so when voiceover – we’re oftentimes flying by the seat of your pants that it is, oh boy, so helpful. So Meisner, Groundlings – all of that was huge, huge for me.

OR: I want to follow-up on your video game work.

You voiced the Scarecrow in 2009’s Batman: Arkham Asylum. One of the most interesting parts of the development process, as Paul Dini – the game’s writer discussed in a 2009 interview with the Telegraph – was that Rocksteady knew within five minutes of their first development meeting that they wanted to use voice talent from Batman: The Animated Series to reprise various roles. You also said in a September 2015 interview with 91.8 The Fan that you auditioned for the Scarecrow and the Joker, and that they were specifically looking for someone who could do Mark Hamill’s Joker.

When you tried to book this job – and even when you were actively recording the lines – did Rocksteady also want you to imitate the Scarecrow from B: TAS? How did you find your own version of the Scarecrow for this game?

DA: I was not asked to match what was done in the series. I was just given the audition copy, and an image of what the Scarecrow looked like. The concept of the Scarecrow for me came out of that image – it was like, it was basically acting from the outside in. It was like putting on a costume and seeing how I felt with the costume. And what it was, was seeing the gloves, and seeing the needles coming out of the gloves. And when I looked at that, I just imagined what it would be like if those needles went into my hands and through the arms and across the chest – this kind of rictus band.

As I began to feel that, I began to get [slowly transitions into the Scarecrow’s voice as he stands, leaning forward with his arms outstretched at an angle behind him] an idea of what it was the voice would sound like. And that was where I found it. [goes back to his normal voice] And in fact, most of the game was recorded with me in this position. They actually had to re-mike me, because that’s how I felt it. So, it was all about a feeling that I got, that came from the photo that was sent, the picture that the design arc of the Scarecrow.

Dino Andrade voiced the God of Used Book Markets in The Night is Short, Walk on Girl. (Image owned by GKIDS).

OR: One of my favorite roles by you is when you voiced God of Used Book Markets in The Night is Short, Walk On Girl and when you explain how all books are interconnected. Can you talk a bit about your experience with that movie? Did you ever get to meet Tomihiko Morimi, the author of the original book?

DA: I did not. I did not, because that was recorded during the height of the pandemic, and so it was recorded from my home studio.

So, I basically had the English director, Stephanie Sheh – on a screen, via Zoom, and I’m recording from home. And all I could see were just my scenes. And let me tell you: That sequence, because I’m saying all these titles in rapid fire with Japanese names, in order, we had to write all the names phonetically as opposed to trying to get me to understand how to say, because it was just too fast. So, everything was spelled phonetically for me, because that sequence, I’m like: ‘This connects to that, this connects to this, this connects to that, boom, boom, boom, boom, boom.’

And that just took forever to record, and we just went line by line by line to get the timing. Because, of course, being anime, I’m also having to match the lip flaps. So it’s not just a matter of saying it quickly and as if I knew what I was saying, it’s also got to fit in that space.

And that was, boy – that was, Ooooof. [laughs] I am very proud of that. When we played back the finished thing, wow!

“But DragonCon is about us geeks. And that’s what I love about it. It is our Halloween, our Mardi Gras, it’s us celebrating us.”

OR: You voiced additional Bidoof in last year’s Pokemon short, Bidoof’s Big Stand. What was the booking process like? After all, Bidoofs can only say their name.

DA: Bidoof!

It’s funny, those are things that are a little past my time. For people who don’t know, this keeps you young. I am two weeks away from 60 – [Connor’s] siblings are all in their 30s, I was born September 16, 1963 when The Outer Limits premiered. So, these were not characters from my childhood, right? The characters from my childhood were things like Gumby. I grew up a disciple of Ron Sterling and Gene Rodenberry and Ray Bradberry, and these folx. So, when I got the audition copy, there was no nerves on my part of ‘Oh my god, this huge franchise! I need to be part of it!’

It was just something I knew my kid knows what it is, but I’m just going to create the character as I see. And when I saw [Connor imitates Bidoof] Bidoof, Bidoof! [goes back to normal voice] – exactly – and it wasn’t until after I did it that people went ‘Oh my God!’ and I didn’t know, I just approached it as an actor as I would approach anything. I suppose it is like that for Star Trek – if I got this thing on Star Trek, I’d be going ‘Oh my God!’ you know. I just approached it as an actor and looked at the little character, and thought ‘[w]hat might this sound like?’ and did it. It was only until later that people were like ‘[d]o you know what this is?!” [and I replied] “Not really?” And I was like “Ohhhhh! That’s cool! Yeah, I have heard of that, I know what that is.”

Dino Andrade voiced additional Bidoof in Bidoof’s Big Stand.

OR: [Connor], I have a question for you.

Connor Andrade: I didn’t do it!

OR: Your dad posted on X, previously known as Twitter, that you’ve beaten him out for voice acting gigs. What’s that like for you?

CA: I have?

DA: It was Wee Baby Bears, son. Remember? They did the kids and they opened it up to adults – so we were both reading for Grizz.

CA: That was all – 2018? 2020?

OR: 2020, I think.

CA: 2020 – I barely remember that, I mean, when I think of Wee Baby Bears, I think of going into the booth. My vague memory of being there with the audition company was [deadpan voice] ‘Another audition, yay.’ [returns to normal voice] not expecting to get it for two years. I totally forgot that dad had read for it and doing it with adults at all. I had no idea.

DA: You had to understand that when we hit the pandemic, we were essentially out of work for only a couple of weeks before studios realized ‘Wait a moment, for animation, that can all be done from home.’ These animators had computer stations at home – there are actors who have studios at home. And we were one of those actors who had a full studio at home. So all the sudden, we were just inundated with auditions for everything, because we could work. It was just that blur of ‘[h]ey, there’s this show son, we’re reading for the same part! Haha, good luck!’

CA: And now I’m on the show for two years! Sadly, there is no season three.

DA: It doesn’t look like it.

CA: Warner Brothers did the whole thing – and no season three.

DA: Maybe they’ll change their minds, but we’ll find out. The point is: It was all part of a blur, and it was a lot of joking, you know, as we’re going in and out of our booth at home. ‘Look, we’re reading for the same thing! Ha ha ha.’ But there was no ‘Darn it! Or HA HA!’ It was just a day in the life.

OR: Question for both of you – we are here on Sunday of DragonCon 2023. What has your DragonCon experience been like for this year so far? I know for you [Dino], this is not your first DragonCon.

DA: No, this is about my 15th. I was coming to DragonCon for at least five years before I was ever invited as a guest – because this is my favorite convention. I love DragonCon. I’ve also been to San Diego Comic Con many, many times. But it’s a completely different environment. San Diego Comic Con is about the shows, about the movies, about the books, about the comics – about all of those things that we geeks are into. But DragonCon is about us geeks. And that’s what I love about it. It is our Halloween, our Mardi Gras, it’s us celebrating us. And that’s what I love about it, because I think of myself as a geek who made it, right? I grew up loving great works of imagination, I loved science fiction and fantasy – I wanted to be part of it. And now I am, and have been for quite a long time.

But this is [Connor’s] first! So, go head, tell them what you think about DragonCon?

CA: [My] first time going on a plane, never been on a plane before! But since this was Georgia, and we’re in California, we had to hop onto a tube and go ‘[w]heeeee!’ up in the air. Get off the plane, we’re in Atlanta and I’m ‘[t]his doesn’t feel different?’ And the weather happens, and it’s raining and we’re inside a cloud in our hotel room.

The con itself – way more different costumes, there’s someone dressed up as Clippy from Microsoft, if you’ve never seen that.

DA: What was the giant pink thing you saw?

CA: Yeah! Kirby! There was a giant, inflatable, fluffy Kirby. It was hilarious. You could hug it, it was fluffy but inflatable, so you could squish it. The main atrium thing of the Marriott – it’s amazing. I wish I could have been there when the carpet was still there. The Walk of Fame – we were on the Walk of Fame in a booth. People walked by, you can wave to people and say ‘[h]ello, cool costume!’ It was fun. Everything is in different buildings, which I am not used to. The googly eyes are everywhere, which is funny. It’s very unique, very different. I really like how different and big it is. It is bigger than Comic Con.

OR: To wrap up the interview – I see you’re wearing a Jump Leads shirt. What can you tell us about that?

DA: Jump Leads is a comedy sci-fi podcast. It is an original story – Season One runs six episodes, and it is something that I co-produce with a gentleman by the name of Ben Paddon, who also wrote the episodes and stars in them. I also am a cast member through almost all but one episode. Connor’s also in the show. I also directed a number of the episodes – I directed episodes one, two, and six.

And this is just something that we did out of our love of science fiction and comedy, and wanted to create our own content. So, we made it [and] we’re very, very proud of it. People can go to JumpLeads.zone or anywhere podcasts are available. And we’re currently working on Season Two. It’s very funny, it’s good stuff.

Dino Andrade and Connor Andrade are involved in Jump Leads, a comedy sci-fi podcast that is currently gearing up for Season Two. (Image owned by Jump Leads).

OR: Any idea when we should expect Season Two?

DA: It’s actually being written right now. So, we’re probably not going to start recording until towards the end of this year or the beginning of next. Because, we don’t have any corporate overlords saying: ‘[g]et it done NOW!’ So we’re really taking our time to do a great job with the writing. But it’s something we’re very, very proud of. We’ve gotten great responses to it. And it’s just a lot of fun, a lot of fun.

Jump Leads!

CA: Yeah!

OR: Thank you very much, I appreciate it!

What are your favorite roles of Dino and Connor Andrade?

Have you given Jump Leads a try yet?

Let us know in the comments below!

The post DragonCon 2023 INTERVIEW: Dino Andrade and Connor Andrade appeared first on oprainfall.

In a lot of ways, the PokéDollar in Pokémon GO stops with Michael Steranka. He is the Live Game Director for Pokémon GO over at Niantic, Inc., and he is one of the people in charge of pulling off Pokémon GO Fest each year in multiple cities across the world.

I was able to sit down with him during Pokémon GO Fest 2023 in New York City to talk about everything from the current meta in Pokémon GO‘s PVP, how Pokémon GO Fest locations are selected, the introduction of Vivillon and Meltan into Pokémon GO, the limitations placed on remote raid passes, routes, and more.

You can see my thoughts on this year’s Pokemon GO Fest: New York City here.

You can follow Michael Steranka at his official X account.

You can also find out the latest happenings in Pokémon GO at the official website, on X, on Instagram and Facebook, and on YouTube. 

Finally, you can follow Niantic Inc. on their official website, on YouTube, on Facebook and Instagram, on X, and on TikTok.

This interview has been edited for content and clarity.

Operation Rainfall: My name is Quentin H. with Operation Rainfall, and you are?

Michael Steranka: I am Michael Steranka, live game director for Pokémon GO.

OR: We are here in Randall’s Island Park in New York City for Pokémon GO Fest 2023. There are a lot of people who are ticketed for this event and there are debuts of new shiny Pokémon. Are the shiny rates boosted for this [in-person] event? Or not?

MS: They definitely are. Players who are here in New York City, both on Randall’s Island and the rest of the city – as long as you have a ticket, you’re definitely going to enjoy some nice shiny Pokémon coming out of this event.

OR: You recently released a new feature called “Ready to Raid.” What have the testing results been like for it? Will it be expanded to one-and-three star raids, so solo players don’t have to wait the full time to run the easily-soloably one-star raid by themselves?

MS: The results have been really positive so far. Obviously, with a feature like this, we really want to monitor the impact that it has on our servers, but we also want to make sure that qualitatively, players really enjoy the feature and it’s not causing some unintended UX challenges for folx. That’s why we soft-launched it in a couple of markets earlier this year.

We also made it available for all of our in-person GO Fests – Osaka, London, and now New York [City] – and we’re happy to say that things have been really, really positively received on this front. So no news to explicitly announce on the global rollout of this, but things are looking good – let’s just put it that way.

“I don’t have anything to share on the Paldean Pokémon specifically, but just know that with a new generation comes new Pokémon, and with new Pokémon comes new shakeups.”

OR: Let’s talk about Pokémon Worlds last weekend. It wrapped up in Yokohama this last weekend, and I’m going to give you some statistics from it. Out of the top 32 competitors: 28 ran Medicham, 21 Lanturn, and 20 Altaria. Each of those top 32 players ran at least one of the three, and 12 players ran all three.

You’re a Legendary [ranked] player yourself in every season, which you [again achieved and] announced on X fairly recently. The meta is pretty well defined right now, and you just saw that at Yokohama. How does Niantic view this type of meta? Is there a desire to shift this meta at all? Should I bother competing in League if I don’t run Medicham with maxed out XL candy?

MS: Yeah, great question.

We take a look at the metagame in PVP as something that is always fluid. We never want it to get stale, we never want it to always boil down to the exact same Pokémon for everybody. So, every season in Pokémon GO, we try to release major move changes – whether that’s adjusting the parameters of existing moves, giving new moves to new Pokémon, or even launching new Pokémon that can shake things up quite considerably. When we look at the breakdown of teams at the World Championships, there definitely was a high concentration of certain Pokémon in a lot of teams – particularly Medicham, which was prevalently used.

I personally don’t think that’s necessarily a bad thing. When you look at other Pokémon competitive games, like the VGC and whatnot – in years past, you’ve seen things like Landorus being pretty much on every single player’s team. There’s ways that Pokémon can help centralize and solidify metagames, and that often times is what you kind of want when you’re designing these things ‘cause it gives you something to counter, right? The metagame that you can counter.

If a game is waaaaaaay too distributed, that can actually lead to a little more unhealthy team building dynamic, where you have no idea what you’re trying to build against and what you’re trying to build for, versus having a little bit of coalescence around some key strong Pokémon.

That being said, if you look at the top two teams – that placed first and second – there’s actually 12 unique Pokémon that were brought across those two. So, it does allow for quite a bit of diversity and play, even in the current meta. That being said, we are definitely going to have a pretty big shakeup next season, as I alluded to on steam at the World Championships.

Pokémon GO Grand Finals at Pokémon Worlds 2023 in Yokohama, Japan. 

OR: With [Pokémon:] The Trading Card Game, they rotate out expansions, so you’re literally dropping new set of cards [in]. With the video game, The Pokémon Company has been on a yearly release schedule for quite awhile now, and they rotate out the entire game. You really can’t just drop all the Pokémon in Pokémon GO though.

MS: Yeah, you can’t drop all the Pokémon, and we also never wanted [you] to feel like you invested so much of your time and resources into a Pokémon and then it gets completely nerfed out of the metagame. When we make big shifts, we typically are trying to make other Pokémon more relevant, and we never want something to fall from the top three usage to the bottom 100 in the game. But GBL is very different from something like the World Championships.

The World Championships series – you are allowed to bring almost every Pokémon that has been released in the game, but in GBL, we give players a lot more opportunities for creative teambuilding by having condensed metagames. Things like Evolution Cup or Catch Cup – the different Leagues you can participate in as well. So hopefully, across all of those different things, players find that they’re able to come up with really fun, unique teams and still find success in the GO Battle League.

OR: Follow-up: When you’re introducing a new Pokémon, such as Paldeas Pokémon in September, how important is PVP when designing the move and TM pools, spawn rarity and all that? Everything else that goes into releasing a new Pokémon – where is PVP[‘s importance]?

MS: We don’t think that every single Pokémon released needs to be a top performer in PVP, but every time we release a new batch of Pokémon, it is an opportunity for us to take a look at that and determine ‘[d]o we need some sort of shakeup right now?’ I don’t have anything to share on the Paldean Pokémon specifically, but just know that with a new generation comes new Pokémon, and with new Pokémon comes new shakeups. It’s not just going to be the move changes that we make at the start of the next season. You’ll see Pokémon get introduced throughout the season, new moves being introduced through Community Days that will also keep things fresh through the course of the three months.

Paldeas Region Pokémon will be coming to Pokémon GO in September 2023.

OR: When you’re introducing a new generation of Pokémon, what type of access does The Pokémon Company give you? For example, with Pokémon Scarlet and Violet, did you have access to that slate of Pokémon to get a jumpstart on them before those games came out? Or are y’all playing catchup?

MS: We have a really tight collaboration with The Pokémon Company out in Tokyo. I can’t really speak to the nitty-gritty about how early or late we get access to upcoming Pokémon, but I am happy to share that nothing is an afterthought, right? We work very, very closely. There’s nothing that goes out in Pokémon GO that The Pokémon Company isn’t aware of. We work very closely with them on all facets of the game. Whether that’s the release cadence of new Pokémon, or how we’re spec’ing out new features in the game, to what kinds of live Ops we’re building on an on-going basis. So it’s much more of a tight-knit collaboration than you might expect.

OR: Meltan, and its evolution [Melmetal], was a Pokémon GO initial release. What was that experience like working with The Pokémon Company for that?

MS: That was, honestly, one of my favorite things I’ve had the pleasure of working on in my entire time with Pokémon GO. It was the special tease that we were able to do during the Chikorita Community Day. At that point, we had never introduced a new Pokémon in Pokémon GO before, and so it was a huge opportunity to surprise players. Many players thought it was actually a glitch at the time – ‘[w]hat the heck is this thing we’ve never seen before, it doesn’t have a name?’

After the Chikorita Community Day wrapped up, Meltan started to appear everywhere before anyone had ever seen it. If you tried to catch it, it would turn into Ditto unfortunately. *laughs* But it was such a fun tease that it was a really delightful moment for players. You know, I hope we can do more [of it] in the future.

Meltan requires 400 candies in order to evolve into Melmetal, and both debuted as a Pokémon GO exclusive Pokémon. The art above shows multiple Meltan surrounding its evolutionary form. (Image owned by The Pokémon Company).

OR: Was introducing a brand-new Pokémon the Pokémon Company’s idea to bring to the game, or was it y’all approaching them to bring it in?

MS: As I mentioned, we have such a tight collaboration that we’ll do brainstorms that it’s not necessarily one company to the other, but something that we jointly bring to life.

“I hope that even you can agree that when you’re able to meet the community, to come out to a GO Fest like this, these are experiences that no other game can provide.”

OR: Let’s talk routes: How’s that going for you?

MS: Routes has been such a truly Niantic mission-centric feature. It’s one of the hardest features we’ve ever built, because – as you can imagine – there are so many considerations that go into what types of routes get approved to be put into the game. We want to make sure that they’re interesting, that they’re safe, that there’s no abuse going on from player-to-player anytime there’s a UGC component added to things.

So, the rollout has definitely been one that we wanted to not take lightly, and we wanted to make sure that the initial set of routes out in the game are quality ones that we can stand by. And now we’re really starting to ramp up and make sure that there’s a broader set of routes out in the world that anybody can participate in.

OR: What criteria does [Niantic] look at when they reject a route or when they approve a route or later revoke it? What kind of things trigger that?

MS: To be honest with you, that’s probably not one that I can answer with authority. I haven’t been as heavily involved in the production of that feature and the moderation set there. That might be something I have to pass on, I’m sorry.

Routes, a new feature in Pokémon GO, allow players to design and set up walking paths for other players to follow throughout the community. (Image owned by Niantic, Inc.).

OR: For those of us who cannot make routes yet, like yours truly, and don’t live in an area where there are routes, have you explored ways for us to get cells?

MS: Zygarde cells?

OR: Yes, Zygarde cells.

MS: As of right now, Zygarde cells will be exclusive to routes. Definitely hear the challenges that players might face if you don’t have access to routes where you currently live. We’re trying to expand the access to be able to create routes. That’s something that’s only going to spread further and further. So [we] definitely ask for some patience as we get the system solidly in place. The rollout is not something we want to take lightly, right? We definitely don’t want there to be bad routes or unsafe routes or routes with descriptions or points that could harass other players or things like that.

I know that it maybe has been rolling out a little more slowly than some players might be hoping for, but just know that’s because we’re taking it very, very slowly and we want it to be a good experience once you do have access to it.

Zygarde Cells (as seen above), which tie into the recent Pokemon GO Special Research “From A to Zygarde”, allows Zygarde to change from one form to another inside Pokemon GO. (Image owned by Niantic, Inc.).

OR: You did an interview back in May 2023 with ZoëTwoDots, and you said: “We believe that by having these experiences that you have to go out to fully enjoy, you’re able to enjoy the game and the world around you so much more than any other video games can provide.”

You addressed the issue that I’m about to bring up on The Battle Catz Podcast last month with remote passes and XL candy, but I want to expand beyond that with the Pokédex and raids: I live in an area where there is not a Pokémon GO community, and I have to travel 40 minutes to raid. This [Pokémon GO Fest] is the first time that I’ve raided in several months. I otherwise have to depend upon Remote passes to participate in raid hour. I’m fairly limited in what I can do when it comes to catching new Legendary Pokémon – and even the Niantic Campfire app is incredibly limited within my area.

Looking at that quote that you gave in that May 2023 interview, how should I be able to fully enjoy the raid aspect of the game and hope that I can get a second shiny Uxie? Because I organized my own raid in September when the [Lake] shinies came out in New Zealand and England – and I cannot do that now. How do you balance your aspirational beliefs against my practical gaming experiences?

MS: That’s what it is, right? It’s a balance at the end of the day. I guess what I would say to that is that we made an explicit decision to not remove remote raid passes from the game, right? You are limited in how many you can do per day, but based upon the raid rotations that we have and how long they are available for, my hope is that players are still able to engage with that aspect of the game.

But yeah, we did make the call to put limitations in place, because what we saw was that ended up being the primary way a lot of players were playing Pokémon GO, and it was just antithetical to what we believe this game is intended to do. We really stand by that. I hope that even you can agree that when you’re able to meet the community, to come out to a GO Fest like this, these are experiences that no other game can provide. And that’s where we really see the strength of Pokémon GO and that’s what we want to continue to lean into as we develop the game further.

OR: A feature that is incredibly useful is that you can ‘lock’ a Pokémon from being traded by pressing the Star icon on the top right. Have you considered a feature to custom lock a Pokémon from being purified, leveled up, traded, etc – so, say, a certain journalist cannot accidentally purify a second shadow Pokémon while playing half-asleep one evening?

MS: *laughs* That’s actually really funny. I did another interview yesterday where the exact same feature was suggested. This is definitely one that I’ll bring back to the team. Everything, unfortunately, is subject to prioritization and what we do in terms of a quality-of-life feature like that takes away from resources that can be used to build a brand-new system in the game, as an example.

So, no promises that that will be specifically addressed, but hearing it twice in two days is something that I want to make sure that I take back to the team.

Continue Onto Page Two To Find Out About Implementing Vivillon, Michael’s PVP Teams, and how Niantic Selects Sites for Pokemon GO Fests! ->

The post Pokémon GO Fest 2023 INTERVIEW: Michael Steranka (Niantic) appeared first on oprainfall.

After the first full day of FINAL FANTASY XIV FAN FESTIVAL 2023-2024, the media present at the event were lucky enough to have a sit-down discussion with Naoki Yoshida, the producer and director for FINAL FANTASY XIV Online, to talk about the upcoming expansion DAWNTRAIL, ask about the game’s development process, and discuss ideas for potential future content (including playing older FINAL FANTASY titles inside of FINAL FANTASY XIV Online!), and more.

Here is a truncated (for now, at least!) summary of the panel discussion:

Famitsu: You mentioned the theme color for DAWNTRAIL is gold; could you tell us what kind of guidance you provided to Mr. Yoshitaka Amano when you asked him to create the illustrated logo?

Yoshida-san said that when they were discussing with Amano-san about the illustrated logo, he told Amano-san the theme was adventure, and that they want to capture that feeling of excitement about seeing uncharted territories as the Warriors of Light go by sea to the new continent. Plus, there is a major palace landmark in the area. Further, when Amano-san was working on the logo, he was working on it in black-and-white. They wanted Amano-san to create the illustration and then scan it in as digital data so that they didn’t lose the delicate elements of his work. The team then applied the gradiates afterwards. He further explained that he did tell Mr. Amano that the expansion’s theme color will be gold, and that he did ask him to include a rainbow in there. The FFXIV team also takes inspiration from Amano-san’s work too.

Sektor.sk: ENDWALKER brought an end to the story we’ve been following since the beginning of FFXIV. DAWNTRAIL starts a whole new story. Do you already have an idea of how vast this story will be and how many more expansions will develop it?

Yoshida-san explained that it wasn’t necessarily their intention to create one long, continuous story. What they do is foreshadow certain elements, and then try to tie up the loose ends through the successive expansions that are released. With DAWNTRAIL, they will continue doing that and whether the story from DAWNTRAIL goes on as long as the one between Hydaelyn and Zodiark did depends on player response. He said he also has enough ideas to fill two expansion packs, but he can’t tell what ideas he has at the current time.

Areajungones: Were you inspired by any specific cultures in the real world to create the regions featured in DAWNTRAIL?

Yoshida-san explained in a short answer: ‘Yes’, but he wants to keep it as a surprise for when they reveal more information at a later time.

IGN Brasil: What will be the features in DAWNTRAIL that will help old players to get back to the game or even bring new players to the adventures in this new area? How can they avoid getting lost in the current lore and get up-to-date to play DAWNTRAIL?

He said that this question gets asked whenever a new expansion is announced. He said that older content isn’t ‘old, old’, and they continually add new content to it and it is all very story-based. Plus, players can use NPCs to push through the story content instead of playing with other players. He compared it to a TV series as a season six that people can want to jump into, but he has made it so that the first season (presumably A Realm Reborn) is still relevant and so people should start with that.

Image courtesy of SQUARE ENIX.

GLHF: The way that Fan Fest rolls out development staff like rockstars is pretty unique, what do you and the development team feel like at events like Fan Fest, where you will so often be stopped and asked for photos, et cetera?

Yoshida-san said that they don’t necessarily treat developers like rock stars when they bring them out and that their job is to make games and not be rock stars. He believes that developers are not meant to be out in front like that and he sees comments on the livestreams commenting about his age and weight. He also said it was important to understand what the players want, the developers are making, and what the media is interested in reporting helps to create an understanding that keeps the game interesting and that allows them to keep updating the game.

He is flattered when people stop him and ask him for photos. He likes to accommodate as long as there is time, and people are fine with him being a middle-aged man. He talked about two photo experiences: at the first North American FAN FEST experience, he was picked up princess-style in one photograph, and in Japan, one girl asked to pick him up and ‘back drop’ him like in a wrestling-move. He finally did caution that there was a photo he once took with a Free Company that was uploaded to social channels, and everyone but his face was obscured. He asked people to show their faces and to show that they are having a good time.

Eurogamer Germany: Are any crossovers between FFXIV and FFXVI planned?

Yoshida explained that he is unable to divulge on it now, but they are hoping they can say within the calendar year.

Operation Rainfall: Patch 5.3, released on August 11, 2020, overhauled a lot of the main scenario quests and duties from A Real Reborn. Can you talk about what it was like revisiting that content and deciding what to keep, what to remove, and what to revise? Is there content you wish you would have kept after all?

Yoshida-san explained that there wasn’t anything he wishes he could have kept after all. He explained that when they were shaving down the content, there were multiple ways to assess what should be removed: First, they researched what content players decided to drop out of and then pinpoint that. Second, there were quests the development team felt they had done too much on and wanted to rein it back. Finally, they looked at the different NPCs, the quests they gave and their role with the lore. Based upon that, they would decide what NPCs could go away, and that was the hardest task.

Easy Allies: Would you consider implementing cross-regional Data Center visiting, or even a cross-regional Data Center Duty Finder queue system?

The technical aspects of being able to travel between the different data centers is built, but they want to spend more time figuring out if it is okay to open the ‘floodgates’ for everyone to intermingle because they don’t have enough information to see how intra-data center is utilized. Yoshida-san said he has had many discussions with his server engineer about how to make it work, including recently, and they keep having to have more meetings to discuss it. They don’t want to give up on the idea.

Frandroid.com: After Variant and Criterion Dungeons, do you plan on working on more 4-player endgame content like this? What was the feedback so far and does it mean we won’t have new 72 players content in the future (big fan of Bozja here)?

Yoshida-san explained that they would like to continue releasing more content in that format, and they will listen to feedback to reflect into the game. They still want to enhance the content they are offering in Variant/Criterion dungeons, and they will implement more content in that kind of format. As for content like Bozja and Eureka, they still want to do content like that and they will continue to come up with new challenges.

Image courtesy of SQUARE ENIX.

MMOS.com: Ideally, I’d love to buy FINAL FANTASY I and put it in an Arcade cabinet in my house. Being able to put the first few FINAL FANTASY games in FINAL FANTASY XIV would be amazing, even if it was in the cash shop only. Can we ever expect something like this?

Yoshida-san said that they’ve been trying to attempt this since a year-and-a-half ago. With the FINAL FANTASY Pixel Remaster series, they thought it would be cool to play it in your estate or at the Gold Saucer, and they’ve tested it out. They realized that the Pixel Remaster games are playing on a ‘middleware’, and they would have to build another system inside of FINAL FANTASY XIV Online to play the middleware to play FINAL FANTASY Pixel Remaster. He half-jokingly, half-seriously, asked for a ‘super programmer’ who can build Pixel Remaster in FINAL FANTASY XIV Online to apply to SQUARE ENIX Japan to build this.

He explained that FINAL FANTASY XIV Online is like a ‘theme park’ for FINAL FANTASY games, and so he would like to include it. Finally, he said the question stated ‘paid shop only’, and he didn’t want to be called out later on for why it was on the Mogstation. He said that maybe they could consider that FINAL FANTASY I-III COULD be free, but they can’t give everything away for free.

Inverse: Have you thought about expanding FFXIV into other mediums, like anime or a TV series? Would you like to see that personally?

Yoshida-san stated that if he is allowed to be the overall supervisor/director, then he would love to have a FINAL FANTASY XIV Online television series. He explained that he is the producer/director of FINAL FANTASY XIV Online, he is the head of Creative Business Unit Division III, and a SQUARE ENIX board member, and he doesn’t think that he can also direct a TV series.

He said they are ‘quite open’ to offers from other parties to do a spin-off movie, anime, or TV series. Interestingly, he said they have been approached in the past, but due to the pandemic, nothing has been followed through to ‘concrete’ discussions.

He said he is concerned that if a project is approved, it won’t destroy the image the players have of FINAL FANTASY XIV Online and he wants to ensure that it is of high quality.

Are you excited about the upcoming DAWNTRAIL expansion?

What do you hope to see announced at the live Letter from the Producer this morning on Day 2 of the FINAL FANTASY XIV FAN FESTIVAL 2023-2024?

Let us know in the comments below, and in the meantime be sure to check out my FINAL FANTASY XIV Online cooking series: Cooking Eorzea!

The post FINAL FANTASY XIV FAN FESTIVAL 2023-2024 (Naoki Yoshida) Media Panel Discussion appeared first on oprainfall.

Disgaea 7: Vows of the Virtueless is a strategic RPG title that takes place in the world of Hinomoto, where the days of noble warriors are ending and two characters — Fuji and Pirilika — find themselves having to team up against the world around them. The latest entry in the Disgaea franchise also comes loaded with new features such as Jumbification, Item Reincarnation, and more character classes than ever before.

I caught up with Shunsuke Minowa, the director of Disgaea 7: Vows of the Virtueless, after trying out a demo of the upcoming title that I will be sharing my impressions of later this week. During our interview, we talk about the game’s new features, where the story ideas come from, what he sees of himself in this title, and more.

You can find out more about NIS America and Disgaea 7: Vows of the Virtueless at the official website, on Twitter, on Facebook, on Instagram, on YouTube, on Twitch, and on Discord.

Disgaea 7: Vows of the Virtueless will be released for Nintendo Switch, PlayStation 4 and 5, and on PC (Steam), on October 3, 2023.

This interview has been edited for content and clarity.

Operation Rainfall: Hello, my name is Quentin H. with Operation Rainfall, and you are?

Shunsuke Minowa: My name is Minowa, and I am the director of Disgaea 7.

OR: Could you briefly tell us what Disgaea 7 is about?

SM: This series — the Disgaea series — has been around 20 years, and this is the newest installment in the series. And this one was really about getting back to the [series’] roots and creating a very Disgaea-like Disgaea game.

OR: You mentioned this in a few interviews you’ve done so far — about going back to the roots. Can you explain why you chose this approach versus like Disgaea 6, for example?

SM: Actually, Disgaea 6 was a big influence on this — because the goal of that one was to get new fans. As a result, for example, we had to curtail some features like the leveling feature or the number of characters. So we had to reduce some features, squeezed things down a bit to make them accessible for new fans. But as a result, our existing fans were missing some features that they’d seen in previous games. So we wanted to correct some of those things we did in Disgaea 6 and focus on the features that our fans expect.

“The fun of Disgaea is in leveling your characters, making them stronger, and the strategy that goes into that.”

OR: In Disgaea 7, you have two main characters — a first for the series: Fuji and Pirilika. Can you talk about these two characters a bit, and why you chose to have two main characters instead of just one, like in prior entries?

SM: Fuji was envisioned as a very classic ‘demons’ demon,’ who embodies all the characters up until now like a typical Disgaea protagonist, but with an interesting caveat of being in a bushido-themed world. So the interplay of his demonic nature with the bushido world is one interesting thing. But the contrast: Pirilika is very, very optimistic, [and] has a very rosy-tinted view of the world. So the idea was to have this strong contrast between the two characters and that’s why we had two [leads].

Fuji and Pirilika are the two protagonists of Disgaea 7: Vows of the Virtueless. (Image courtesy of NIS America.)

OR: Why have two characters that embodies these characteristics, instead of just one that embodies these characteristics or just bounces off of secondary characters?

SM: One point is that it did make for making scenes easier — writing the story. Also, by splitting it, you can further emphasize that difference: You can really say this character is all about the ‘good,’ this character is all about the ‘bad.’ So, it really emphasizes the dual nature of this game.

OR: Disgaea 7 has 45 different classes available for people to play with. You introduced four new classes in this game. How did you develop them to find their own niche to both stand on their own when there are so many options already out there, and yet also complement the already-existing gameplay and world?

SM: Starting with the 41 previous characters: these ones have been in previous games, so that was really a matter of revisiting them, right? So we had something to build on — we weren’t starting from scratch. For the new ones, for the development process, we can break it down into two categories: There’s the upper-level ones like the Big Eye and Maiko. They lend themselves to people who want to 100% the game and really get into it. And then there are the lower-level ones, the Zombie Maiden and Male Bandit.

A big thing here is the comparison and contrast: We like to contrast female and male characters. For example, we have a Male Zombie but now we have a Zombie Maiden. We have the Bandit versus Female Thief. So there’s a contrast and having a good array of different strengths of characters. So that’s how we make them ‘pop,’ so to speak, by going in a direction we haven’t before and by focusing on those contrasts.

This is one of the new jobs in Disgaea 7: Vows of the Virtueless. (Image taken by author from a developmental build, and it may not represent the final product.)

OR: Can you explain what ‘Jumbification’ is, and what the development process [was] in balancing it into the gameplay?

SM: As you just saw in your playthrough — movement is sometimes a sticking point in SRPGs. So one big feature in how to address this in the Disgaea series is lifting and throwing. That’s a great way to deal with tricky movement, so we wanted to double down on it, essentially. We’re already adding new battle features, and we thought this was a great chance — maybe we can create a way to attack without moving at all, plus it just looks great, right?

So this really came from a discussion with the designers. We already had these 3D models, and so we said: ‘So even if we blow them up to huge proportions, they will still look great, right?’ So this lended itself to the exact game mechanics I was already envisioning. This time, it was really easy to combine the 3D with this vision I already had, and that’s where Jumbification came from. And adding onto that, we added these Jumbo abilities — so when you’re Jumbified, you can have these fun attacks, do more damage, to make battle even simpler and more fun and quicker and be more exciting.

You can make any character on your team (including Prinny!) into a Jumbo character to fight with. (Image taken by author from a developmental build, and it may not represent the final product.)

OR: In a May 31, 2023 interview with Push Square, you said “[i]n Disgaea 6, unlimited use of auto-battle resulted in a loss of the series’ original replay value and enjoyment of raising characters” and so “[i]n this game, we have implemented a cost for using auto-battle and made it possible for players to save that cost by making smart choices.” In another interview with Siliconera, you also stated that upon reviewing fan feedback, we “came to the conclusion that we must address the following things” that included “remove or improve auto-battle.”

Can you please elaborate on that auto-battle cost and how players can save that cost? What other options did you evaluate in how to revamp the auto-battle system? Was actually removing auto-battle ever seriously evaluated?

SM: So actually, it was sort of 50-50 on the total removal. Initially, some people wanted to leave it in a partial format, and some people wanted to do away with it. So there were three options: one was to cut it, one was to introduce the new cost mechanic, and one was to leave it as it is. So those were the three basic ways of addressing the feedback we received.

The fun of Disgaea is in leveling your characters, making them stronger, and the strategy that goes into that. We realized that AI battle came in conflict with that — so the idea to balance those two concepts was to introduce this cost. The basic structure was that at the end of battle, you gain one unit of ‘Poltergas,’ is what they call it in English. By spending that unit, you can run an auto battle. The way you use it effectively and economically is by getting your demonic intelligence involved. For example, you can cut three turns down to one turn. So you want to combine the auto-battle features with this new cost mechanic so you use your Poltergas wisely and get the most bang for your buck while also keeping that strategic leveling element.

OR: I want to follow up on that comment about how the fun of Disgaea is leveling your characters. Disgaea 6 shook up the EXP formula for the series by granting the characters shared EXP only after a map is completed, which allows a player to level their characters more evenly. Yet in Disgaea 7, the EXP system reverted back to granting individual EXP during battle. Can you talk about that formula reversion, and why you chose to go back to the prior method?

SM:  It’s got to do with the same reason that we increased the generic character classes again. It’s the same thing with the leveling — we want you to have the same connection with the characters. We want you to feel like ‘I’m leveling this character!’ and you’ve got that fun, personal connection with all those individual characters.

“So, I actually am not very good at SRPGs. I think they can be a pain sometimes, with some of those mechanics. So for me, what was so great about the Disgaea series is that they make those mechanics fun and that there is a lot of depth to those mechanics.”

OR: Bonus Gauges are gone, and instead there are chests awarded based upon completing certain objectives, like completing the battle in a certain number of turns, taking damage only a certain number of times, etc. Can you talk about this gameplay mechanic, and how you developed it? How did you choose what conditions to set per map?

SM: The reason we focused on this rewards system format actually had to do with the auto battle. You’re not just trying to lower the cost — again, we’re trying to provide more challenges, more engagement for the player. So, while you’re focusing on clearing the stage, you also can focus on things to clear in the stage. Like it’s objectives within objectives. That also increases, I think, the play merit, and also — for example — if you’re playing normally, you check off maybe one or two. But if you’re really focusing, you can get everything. So it increases the play value and the depth of the play objectives.

OR: One of the things that has been ever-growing in the Disgaea franchise is the ‘power creep,’ for lack of a better phrase. For example, in Disgaea 6: Defiance of Destiny, the level cap is 99,999,999, and you can dump hundreds of thousands of points into different stats. Yet, in Disgaea 7, you move away from that to a much lesser 9,999 level cap — we saw all [this] in the demo. Can you talk a bit about that?

SM: This has been something for a lot of the games in the series — we like to always experiment with adding features or removing ones to change things up. That was just for Disgaea 6 that we did this 99 million [level cap], and so we thought ‘Okay, let’s go in a different direction’ because it was a little tricky to balance when it got that big — it was hard to manage those numbers. So we thought ‘this one, we will go in a different direction.’

Disgaea 7 rolled back the ‘power creep’ from prior games. (Image courtesy of NIS America.)

OR: Now, this is the first time you’ve directed a game, correct?

SM: Yes.

OR: I believe you were a programmer previously on Disgaea 4 and 5?

SM: Yes.

OR: Can you talk a bit about what it is like stepping up from being a programmer, which handles one specific part of the game, to helming the entire project?

SM: The fun part, for example, as a programmer, is that you get to focus in on your area and speak with the director about it. But as the director, what is interesting is that you have the bigger picture in mind at all times, and you’re juggling things — for example, you’re balancing the gambling aspect or the leveling aspect. And you’re focusing on how we can pick the best of all these different areas, instead of just drilling down, you’re trying to raise everything at once and have that bigger image.

OR: Donald M. Murray once wrote: “All my writing — and yours — is autobiographical.” What of yourself do you see in Disgaea 7?

SM: Are you talking about more the mechanics or the story?

OR: It’s whatever — what of yourself do you see in Disgaea 7?

SM: So, I actually am not very good at SRPGs. I think they can be a pain sometimes, with some of those mechanics. So for me, what was so great about the Disgaea series is that they make those mechanics fun and that there is a lot of depth to those mechanics. And so, for me, that is something I really wanted to focus in on and make even better — making not-so-much-fun stuff, fun.

OR: You also mentioned something about story — do you see something about the story in yourself?

SM: I really like these ‘David and Goliath’ stories — the giant killers. I wanted a small but powerful character. So, I talked with the writers, and the result of that was Ao and Suisen.

OR: Can you talk a little bit about any DLC prospects for Disgaea 7?

SM: One kind of conceptual level where the DLC is a little bit different this time is that before, we would have the same DLC characters from the same game appearing as a set. But this time, we thought it would be interesting to combine different characters from different games into new combinations, and that provided some interesting new scenes as a result.

OR: To someone who has never picked up a Disgaea game before and is interested in trying out Disgaea 7, what do you have to say to them?

SM: As I’ve mentioned before, this game is so much about going back to the roots and rediscovering that Disgaea-ness of Disgaea. So if someone plays this game, they will be able to have a retrospective of the entire series, and in a sense, just by playing this game, they can experience the whole series up to now and see what makes it so great.

OR: Thank you.

Disgaea 7: Vows of the Virtueless will be released for Nintendo Switch, PlayStation 4 and 5, and on PC (Steam), on October 3, 2023.

Are you excited for Disgaea 7: Vows of the Virtueless? What classes are you hoping to play as?

Let us know in the comments below!

The post INTERVIEW: Disgaea 7: Vows of the Virtueless’s Director Shunsuke Minowa appeared first on oprainfall.

One of the most venerable SEGA titles, Phantasy Star Online 2 New Genesis, is on the cusp of releasing a major new update to the game in just a few days. With new content ranging from being able to create your own personalized spaces, new outfits, and even cel shading graphics, Phantasy Star Online 2 New Genesis ver.2 is bringing quite a bit of new content to this online game.

I was lucky enough to be given the opportunity to conduct an email interview with Phantasy Star Online 2 New Genesis’ series producer, Yuya Kimura, about a variety of topics ranging from the path to bringing PSO2 to North America, the collaboration process with other IPs, about the content coming in the upcoming ver.2 update, and more.

You can check out the latest on Phantasy Star Online 2 at the official website, on Twitter, on Twitch, on Facebook, on Instagram, on YouTube, and on Discord.

Phantasy Star Online 2 New Genesis ver.2 is being released on June 7, 2023!

This interview has been edited for content and clarity.

Operation Rainfall: Could you please introduce yourself?   

Yuya Kimura: My name is Yuya Kimura. This year marks my 21st year working at SEGA. I’ve been involved with the Phantasy Star series ever since joining the company. I planned and launched PSO2, and served as its director until the service began. Afterwards, I oversaw the development and operation of PSO2 as the series director for around nine years, and I am currently the series producer for PSO2 New Genesis.

OR: Do you play Phantasy Star 2 Online New Genesis in your spare time? If so, can you tell us a little bit about what your gameplay experience is like? What do you like to play or do for fun outside of PSO2 NGS?

YK: I would rather keep the focus on the team and the game instead of my own personal play style.

OR: You were the Quest Director and one of the scenario writers for Phantasy Star Universe and its expansion, Phantasy Star Universe: Ambition of the Illuminus that was released between 2006 and 2007, and for which online service ended in 2012.

The main protagonist, Ethan Weber, a GUARDIAN named Karen Erra, the PSU theme song “Save This World”, and other callbacks appeared for a limited time in Phantasy Star Online 2 in 2016 for PSU‘s 10th anniversary. What was it like revisiting these characters and Phantasy Star Universe‘s music as a series producer for the 10th anniversary event when you had originally helped to shape PSU and these character’s stories back in 2016?           

YK: As I joined the Phantasy Star Online Episode 1 & 2 team during its operational phase, Phantasy Star Universe (PSU) is the first title in the Phantasy Star series that I was able to join in the initial development phases, before the service began. This makes it one of the more memorable games in the series for me.

I wanted to implement content from PSU in PSO2 as a collaboration with myself, as I was serving as the series director at the time. I was in charge of designing which characters and content would be implemented, as well as creating NPC characters such as Ethan and Karen.

Over time graphics have evolved greatly since PSU, so I was really happy to have Ethan and Karen appear on game screens once more, and I was deeply moved by reactions for players who enjoyed the nostalgic feeling of that time.

“Player feedback and opinions are collected through posts to official support channels and comments on various social media platforms.

[…]

During weekly meetings, the team of directors and I discuss and decide on the responses and methods regarding these matters.”

OR: One of the unique aspects of Phantasy Star Online 2 and Phantasy Star Online 2 New Genesis is that the game frequently had crossover events with various intellectual properties that are owned by SEGA (such as Persona and Project DIVA) and non-Sega titles such as The Legend of Zelda: Breath of the Wild and FINAL FANTASY XIV Online.

Can you talk about how SEGA and non-SEGA collaboration events are developed to keep these events true to their original franchise roots while integrating them into Phantasy Star Online 2 and subsequently in Phantasy Star Online 2 New Genesis? How do you go about deciding which IPs to include within the game, and how involved are the IP owners/developers in co-developing or signing off on the crossover content?

YK: In deciding which IP to collaborate with, we consider IP that have a high affinity with the PSO2 series and its players. Most of the time we will propose the project to the IP that we wish to collaborate with. For mutual collaborations, sometimes we get the offer from the other party and then we launch the project. Once we’ve decided to move forward with the collaboration, we create a detailed plan for the content to be distributed and supervise it. We also have the created content supervised in detail before it’s distributed, including the detailed text level and the content of the announcements beforehand.

OR: Phantasy Star Online 2 was originally released in Japan back in July 2012, and a Western release was only announced at Microsoft E3 2019 Press Conference. Can you talk about the lengthy delay in bringing Phantasy Star Online 2 to the Western audiences, and what the internal decision process was like that led to the ultimate decision to bring the game over? Did you ever consider not releasing the game for Western audiences?

YK: Actually, for a time we had considered expanding into the North American and European regions immediately after the release of the Japanese version. But, at the time, we were unable to establish an operations system outside of Japan, and after the Japanese version was released, we found that the development and operation was far more difficult than we’d imagined. So, we ended up putting it on hold. Afterwards, we established a cooperative system with management companies in each Asian region and launched the service in 2014, but we were still out of our depth, so unfortunately the service ended after about three years.

Development of the overseas version stagnated once again after the Asian service ended. But when it was decided that development of NGS would move forward, and that the service would be offered simultaneously in both Japan as well as globally, we decided to launch PSO2 in North America in April 2020, and afterwards launched the game globally in August.

Phantasy Star Online 2 collaboration content has appeared in titles such as Gravity Rush 2 for costume and item packs as well. (Image owned by Sony).

OR: One of the hallmarks of Phantasy Star Online 2 New Genesis is the various types of Scratch Tickets where you can win various fashion, hairstyles, and more from. Can you talk about how you design and develop the various items that are constantly being added in the game that players can win through Scratch tickets?

YK: Primarily, I, as the producer, along with the item director and game designer, create content plans and communicate them with the art team. The art team then refines the details while consulting with the planners about concepts and decides who will be responsible for creating the design based on the plan. The design work may be done by internal or external staff.

Initially, three rough design proposals are presented and discussed with the art director and planners to narrow it down to one proposal, which is then used as a basis for the finalized drawing.

Once the drawing is finalized, the items director determines color changes and decoration specifications, and puts in a request to the modeler to create the item. The art team and item department director supervise the completed model, make final adjustments, and then finalize it.

For outfits, it takes approximately 8 to 10 months from the planning stage to release.

“In August we plan to release end content quests that will have a significant amount of random elements, designed for party play, and will encourage multiple attempts.”

OR: The new Slayer class, which uses a Gunblade weapon, was just released in Phantasy Star Online 2 New Genesis in April 2023. Can you talk about the class, and what it was like developing it? What has the player response to the Slayer class been like so far, and how do YOU personally feel about it?

YK: This class has been designed for skilled players who can fully utilize the technical controls and can combo their attacks to unleash even stronger attacks. Not only does it incorporate elements such as switching Photon Arts and multiple counters, but it also makes the movement and Active Skills of the Photon Arts themselves easy to understand, so we hope that many players will give it a try.

Since its release, we’ve received a lot of positive feedback from many players about how satisfying the action is. I’m very happy to hear that.

Phantasy Star Online 2 New Genesis’ newest class, Slayer, utilizes Photon Arts and gunblade weapons to take down enemies. (Images owned by SEGA).

OR: What can you tell us generally about the new Ultra Evolution update? Why did you decide to title it Ultra Evolution?        

YK: Ultra Evolution was a temporary name. The official name at launch will be PSO2 New Genesis ver.2, so I will skip this question.

OR: One of the biggest changes in the [PSO2 New Genesis ver.2] update is the upcoming Creative Space and Connect System. Can you talk about what Creative Space is, including about what are Genesis Points, and how the Connect System will encourage social gameplay?

YK: The Creative Space is a crafting zone that gives our players a high degree of creative expression. Players can freely combine Build Parts such as building materials and furniture to create houses and buildings, and edit the terrain to create beautiful landscapes.

Genesis Points are a new in-game point system, obtained by using the Creative Space and playing its related tasks. Players can use these points to purchase Build Parts and items that would be useful in battle, such as Capsules.

The Connect System is a feature that links the parts that have been arranged in the Creative Space. Using this system, players can create their own obstacle courses and mini-games. In this way, players can create their own gameplay experiences and share them with others, enabling a truly creative and social playstyle unique to NGS.

With the new Creative Space content, players can create and customize their own personalized areas in Phantasy Star Online 2 New Genesis! (Images courtesy of SEGA).

OR: There is a new enemy type coming in the [PSO2 New Genesis ver.2] update. Can you tell us about it, and how the development team created a new type of enemy that was not merely a retread of prior content in the game?

YK: The new enemy race is called “Starless”. To create more challenging battle content after the major update, we have designed them to be clearly superior entities compared to the previous enemies, such as the DOLLS.

Following the update, they will appear in the open field, but some Starless enemies will specifically appear as targets to be defeated in future high-difficulty content.

OR: You’re also introducing cel shading [in] the [PSO2 New Genesis ver.2] update. Where did the idea to introduce these alternate graphics scheme come from, and how is it being implemented into the game? Will players still be able to use the classic graphical style?

The character creation system evolved greatly from PS02 in NGS. As we were considering how to further advance and evolve the system and that’s when we began considering cel shading implementation. Generally speaking, games that use cel shading had planned for that from the start, so they create dedicated game systems and assets for it. Since we’d be introducing this later on in NGS, honestly I felt that implementing cel shading would be impossible, so I asked the lead development staff at the time to experiment with it while expecting that it wouldn’t be possible. However, the dev team researched it over a long period of time while also working on their normal dev duties, and at some point made a presentation of their experiment results. After that, we decided to introduce it together with ver.2.

Cel shading is an optional function, so you can toggle it on or off at any time in the Salon.

Cel Shading is being introduced in Phantasy Star Online New Gensis ver.2 update! (Image owned by SEGA).

OR: In the NGS Headline video, dated April 25, 2023, you discussed how Phantasy Star Online 2 New Genesis is managed: the PR/management staff are in charge of relaying new information to players, and the developers and yourself “focus on game development and keeping up to speed on the reactions and opinions of players.” You also discussed how you had originally intended to deliver regions, weapons, and classes at a quicker pace with the launch of PSO2 NGS than what ultimately happened.

Can you talk about how you gather those reactions and opinions of players to analyze? Is there a specific feature players have asked for that stood out the most for you? How do you balance integrating what players want in the game with the development timeline that you already have planned out?

YK: Player feedback and opinions are collected through posts to official support channels and comments on various social media platforms. Dedicated staff, including Hiro Arai, compile and summarize this feedback. The development team also checks posts and social media daily to gather relevant reactions and opinions for consideration. During weekly meetings, the team of directors and I discuss and decide on the responses and methods regarding these matters. We also review the progress of implementing improvements and adjustments that were previously decided upon. For cases where progress has been made in terms of addressing certain issues, we may consult with Hiro and the operations staff to inform users about the direction through the Headline program or on Twitter, and sometimes Hiro himself checks on the progress.

However, the speed at which improvements and adjustments are actually reflected in the game varies and cannot be generalized. It depends on the complexity and urgency of implementation. Simple changes can be reflected within two or three months, while more challenging ones may take six months or more. Furthermore, since these developments were not originally planned, we have to decide whether to prioritize them based on how urgent the changes are, which may lead to delaying or reducing our original development plans. Generally, we develop content that will be released six months to over a year in advance. If it’s something that’s difficult to do but not very urgent, even if we have accepted the requests or opinions, it may take a year and a half to two years or more for them to be implemented.

OR: What updates for endgame content, not including for fashion, are coming in [PSO2 New Genesis ver.2]?

In August we plan to release end content quests that will have a significant amount of random elements, designed for party play, and will encourage multiple attempts. At the same time, we are also planning to release ultra-difficult quests geared towards party play, such as the Duel Quests that are available now, that features one very powerful boss fight.

“Even though it’s already been two years since NGS was released, compared to other online games, NGS has been designed to make it easy to catch up to players, even if you’re new.”

OR: The ARKS Ship Casino has yet to make an appearance in Phantasy Star Online 2 New Genesis. Is that a feature that players can expect to eventually return?

YK: We do not have any plans to implement the PSO2 Casino in NGS. Even if we were to transfer it over into NGS as-is with very minimal changes to the functionality, making it playable in NGS would be far more difficult and time-consuming than players might expect. As the Casino is still playable in the PSO2 blocks, rather than try to transfer over an experience that already exists, we’d like to focus on implementing new and unique gameplay experiences.

OR: To someone who hasn’t played Phantasy Star Online 2 New Genesis before and is thinking about starting the game with the upcoming [PSO2 New Genesis ver.2] update, what do you have to say to them?

YK: Even though it’s already been two years since NGS was released, compared to other online games, NGS has been designed to make it easy to catch up to players, even if you’re new.

Also, the centerpiece of NGS ver.2 is the Creative Space, which can be played after clearing the tutorial and the prologue, which should take less than an hour. As such, I believe that ver.2 is a great opportunity for players to give the game a try.

I want to thank SEGA for helping to set up this email interview!

Are you excited for the ver.2 update? What kind of Creative Space do you want to create?

Let us know in the comments below!

The post INTERVIEW: Yuya Kimura Talks Phantasy Star Online New Genesis ver.2 appeared first on oprainfall.

At GDC 2023, I sat down with Ana Ribeiro, the creator and director of the Pixel Ripped franchise; Ricardo Justus, the founder and CEO of ARVORE Immersive Experiences; and then later on David Lowey, the senior director of games, sales, and distribution at Atari. In the second part of our two-part interview, we talk about how ARVORE recreated the 1970’s Atari Sunnyvale Studio, what sets Pixel Ripped 1978 apart from prior games in the series, and more.

If you missed Part One of our interview, you can catch up here first!

You can wishlist Pixel Ripped 1978 on Steam and on PlayStation now.

I also demoed Pixel Ripped 1978, and you can check out my thoughts on it here.

You can visit Atari at their official website, on Twitter, on Facebook, on Instagram, and on YouTube.

You can visit ARVORE at their official website, on Twitter, on Facebook, on Instagram, and on Discord.

You can find out more about Ana Ribeiro on her Linktree and about Pixel Ripped on its Linktree.

This interview has been edited for content and clarity.

Operation Rainfall: One of the features touted about this game is that you can revisit an authentic recreation of the Sunnyvale Atari studio in VR. How did you go about re-creating that studio? Did you ever talk to any of the old Atari employees from that time?

Ricardo Justus: Yeah, they gave us access to some of the Atari employees to talk to. They showed us a lot of pictures of the office. We based the colors – we designed that sort of cubical space for the purpose of the gameplay, first, because it needs to serve the purpose of the gameplay. Again, it’s not supposed to be a history lesson. But we used all the colors of the actual office, what it actually looked like to try to recreate it.

Ana Ribeiro: The desk, the cubical. The walls-

RJ: And they did give us access to talk to some ‘OG’ people. And also, like I mentioned, access to consoles that weren’t released and were prototypes and in production cartridge lookalikes.

AR: They had the arcade team working inside the office [too]. So I was like ‘cool’, and I asked the sound designer ‘[c]an you do some sound of arcades in the background?’ And that’s something I didn’t know that [Atari] had the arcade team working in the office. We did a big change after we signed with Atari in the office. The computer – it was like ‘Ah, we can use the Atari computer!’ and so we changed to that. I think it has been fun.

“This is, I think, the biggest difference in this game- that we’re giving players the opportunity to go inside [Atari and Atari-like] games, to explore, and [Pixel Ripped 1978] became a much bigger game because of that.”

OR: Can you get up and walk around the office and check it out?

AR: No. You can, illegally [but] there’s nothing there.

RJ: Beyond a little bit, there is nothing there. The idea is that the real life portions are still static. You’re still sitting down, similar to the other Pixel Ripped games. You’re [only] moving around inside the 3-D game. But you do go to different places.

AR: If you leave the chair, you’re going to see an empty office.

RJ: You go through her childhood home – I’m not going to spoil other places, but her dorm room in her college. In the office, it’s her cubical but the cubical changes as well as the game evolves.

ARVORE re-created the Atari Sunnyvale Office in Pixel Ripped 1978. Your fellow Atari coworkers will attempt to distract you while you are trying to play various video games. (Image courtesy of ARVORE).

OR: I want to follow up on something – you kept saying that this is not a ‘history lesson’. Why did you choose deliberately to not make it like a ‘love letter’ as historically accurate as possible?

RJ: It is a love letter, but Pixel Ripped has always been more about the feeling and nostalgia than doing a pixel-perfect recreation. For us, the appeal is not – if you want to play those games, you can play those games. There is literally a VCS console. You can buy it and play those games. There is an Atari 50, which is just launched and is a great history lesson. That’s not the intention of Pixel Ripped. Pixel Ripped is about the memories that we loved [while] growing up. It is a bit of rose-tinted goggles of ‘[h]ow do we remember these games?’ So we do embellish them a little bit – we’ve always done that. If you look at Pixel ’89, no GameBoy game looked like that. But if we put a legit GameBoy game there, it probably wouldn’t have that much appeal with modern audiences. We have rose-tinted goggles when we look through the past.

AR: There are many design decisions that we make. Atari wouldn’t play music in a loop. The memory was an issue. So you don’t have music looping through the whole thing. We tried to make it, as much as we can, as close to the system. But if people cannot understand [for example] that it is the same bear inside the game [that you were playing outside of it] – then these are a little higher graphics and resolution. We wanted to look exactly like it, and we were really careful. But if something goes against the design or narrative, we chose making a better game. Bump up the realism a little bit to make a better game.

RJ: We’re trying to make a better game. We’re trying to invoke the past, and that feeling. It’s always been a balance of ‘[h]ow do we invoke that and still keep it cool and fresh and funny and fun and engaging?’ while respecting the past. We’re not disrespecting the past, we’re trying to recreate it in all that context and not just emulating. We could easily put in the games in there. We had access to the games, we could put Atari games inside the game. But that’s not what we’re trying to do. It’s not supposed to be a game emulator.

AR: It’s difficult choices we make in every game we do. We always prioritize ‘[o]kay, let’s make it legit and if we get to a point that it’s better for the game, it’s better for the narrative’, then we do a decision as a team and we talk about it. Even the joystick with two buttons – I was super worried about it: ‘Can we put two buttons on the joystick of Atari? But it’s the original, we want to keep the one button.’ So, we worry about even putting two buttons on, and it was a big thing. And we talked to Atari. We are concerned and aware, but we need the freedom to do some things that wouldn’t happen in an Atari game.

RJ: We prioritize the gameplay and the fun. Immersion and the feeling of nostalgia. We consider it very much a love letter to the past, even if it is an effective memory and a sort of embellished vision of the past.

[At this point, Mr. Justus had to leave the interview for another meeting]

OR: This is the third game in the “Pixel Ripped” franchise: There was first Pixel Ripped 1989 and Pixel Ripped 1995. What can fans of those prior games expect to see in this newest franchise entry?

AR: I’m really excited to answer this question! In 1989 and 1995, it’s all about a game within a game – you’re playing the ‘game’ while being distracted in the ‘real world’. We didn’t want this game to be the same – we wanted to keep it so [it still is] Pixel Ripped, but we wanted to innovate. There was a feature cut from 1995, and it was a big thing for the team. We had planned to give you the ability to go into the [game] world in first-person. And then we had to cut this from the game. And it was a really difficult time for the team: ‘[o]h, we’re cutting this and we’re so excited about it.” When we released 1995, many reviews were like ‘[o]h this game is great, but I wish we could be dodging in first person. I love being inside the game world, I wish I could walk around, explore the game world, talk to NPCs, go inside the houses, do some combat, choose some powers.’

We were reading those reviews and we were like ‘[w]e know, we wanted to do it too!’ And so, it was a big wish from the team for a long time – and from the fans. And in the previous games, you’re passively there – just watching things. So, we made sure when we started this game, we were like ‘This is going to be the main thing of this game.’ Because we don’t want it to be cut out. This is, I think, the biggest difference in this game – that we’re giving players the opportunity to go inside [Atari and Atari-like] games, to explore, and [Pixel Ripped 1978] became a much bigger game because of that. We had the platformer game, and the VR world – and now you can explore in first-person. And it was a hard thing to do. Pixel Ripped is famous as [being playable while] seated as a comfortable VR experience. So doing the first-person walk as a first-person shooter and combat – it’s a hard choice for us, because we don’t have the time to focus on just the first-person game. We’ve got all the other games inside of this game.

We’re concerned: ‘[w]hat if players, when we release this game, [find] walking to be too much?’ But we tried to make combat that is comfortable and not too heavy like an accurate first-person combat game. It’s more about ‘I’m exploring, does any NPCs have things to do that are fun?’ It’s easy, and I think the coolest thing about this game, also, is a mechanic I wrote.

The first mechanic I made about Pixel Ripped, when it was a student project – which gave the name of the game, 10 years ago – this mechanic is [that] you can break the world into pixels.  The whole world is made of pixels, and imagine you can cure an animal [by] dropping pixels on them. You save those pixels, and you can add pixels to other objects. So that’s the moment you add the pixels to the bridge. This is the first mechanic of the game, and I am happy that we can finally use it. When we started the game, I was looking back into the files and I drew a picture of this mechanic and I was like ‘[o]h my God, I never used this! Let’s use this, this is so cool!’ And it’s the name of the game, and we finally used it.

The biggest power of Dot- Dot has [is] the pixels inside of her. This is also something we wanted to use, because it’s innovative of the franchise, it’s not just about being the shooter – so you can effect the world as Dot by adding pixels to objects, adding movement, and fix some stuff. You gain three powers in the game – Dot powers.

I’m really excited!

“I want to make a game for my own audience- people who like to sit down and enjoy the experience.”

OR: When is Pixel Ripped 1978 going to be released, and for what platforms?

AR: We don’t have the date – but we can say Summer this year. We are now in beta, so we are going to feature freeze and polish [it] really soon. For sure, it’s going to be on PlayStation VR2, Steam VR, Quest 2 – all major platforms.

OR: One thing I noticed while playing – how did you decide upon the locomotion for the game?

AR: Yeah, the locomotion – we have a teleporting option that you can choose in the game. We’re still polishing, still working. Many people prefer going without [teleportion], so we leave it deactivated. It’s a challenge for us, because it is the first game that we’ve done with first-person movement. Pixel Ripped was always static [before]. Teleport is old now, but we need it because some people are new to VR and people get dizzy. We were watching the testing – a few people, really few, maybe 20 people – used the teleport. So we’re still deciding what is best, but it is pretty standard that we’re not innovating [locomotion], we’re doing something standard. The first games – they were adventure style, they were not like the big shooters like Population – I love Population – but, Pixel Ripped isn’t that. We had to do a lot of QA – that’s where we are now, QA, QA, QA. A lot of testing to improve the most that we can.

While you’re inside the various Atari and Atari-like games, you can move around freely. While your’re back in the ‘real world’, however, it is a seated experience. (Images courtesy of ARVORE).

OR: It’s different than previous [entries] in the series.

AR: Yeah, we worried that sometimes – we have these combat ideas and we’re like ‘Oh, let’s make it so you have to do this, and you have to do powers, and move around.’ Our audience – I just want to sit down and play a game, I want a challenge. I played Beat Saber 10, maybe 15 minutes and I’m tired. I feel like I wanted to make a game that is also accessible.  Not many people can be standing around a bunch of stuff. Sometimes, there’s a boss battle that you’re throwing a lot of paper. And we create this feature where you can use the trigger to throw stuff.

Because, we’re like, ‘[n]ormal people would be tired throwing stuff’. I want to make a game for my own audience – people who like to sit down and enjoy the experience. I have many people say ‘I love that I can sit down and play a VR game.’ There are a lot of games where people are standing and stuff. It’s like ‘[c]ome on!’, [especially] when it’s a long game. It also [fits] the narrative and is immersive. You’re playing the game like you used to play – we play sitting down, so it helps with immersion.

We just worry that when we start testing, a lot of people in the real world are sitting down while playing the game. A lot of people, when it goes to the alternate world and they start walking around, they start walking around in their office. And it’s a confusing design choice, because we’re making one world that you move in. And that’s an expectation that we are aware that people have, because while you’re moving in one world you’re not moving in the other one.

I want to put something [in the office] that if you look [outside of boundaries of your walled cubicle], you’re ‘Hey, you’re not supposed to be over here!’ while we’re working on the next Pixel game and we close the curtains. I would like to do something fun like this [for] people walking around, sneaking and looking where they are not supposed to be.

[David Lowry had entered during Ms. Ribeiro’s prior answer and sat down with us.]

OR: Could you introduce yourself, please?

David Lowey: I’m David Lowey, I’m with Atari, I run PR and distribution.

OR: To someone who may not have picked up the Pixel Ripped franchise before and this is the first time they are picking it up, what do you have to say to them?

AR: Go for it. If you want to be transported back in time, have a blast – Pixel Ripped is going to blow your mind. It’s a fun experience, and there is comedy – it’s a chill experience. We know that the main audience is around 35 to 40, but every age enjoys this game. It’s a game made for gamers, to celebrate video game history. It’s to celebrate also to be a gamer. There’s many things that all gamers relate to, like trying to play a game on the TV and your brother is in front of the TV. So yeah, I would say: ‘Pick it up, you don’t have to play the previous Pixel episodes.’ You can play Pixel Ripped 1978. It’s not out yet, so you can play Pixel Ripped 1995 and 1989 on Quest, PlayStation VR, and Steam VR.

It’s a different game – it’s kind of niche. So, if you want to try something different in VR, and you don’t want to do too much exercise – it’s really chill trip back in time with history of gaming.

DL: It’s a franchise. And franchise don’t get that way if the core of it isn’t good. There is something about the first game that led to the second game. I know part of this is just Ana’s vision that goes back to the original assignment in school, but also the success has led to the opportunity to do even more and explore different things. Not only different periods of time, but different elements of gameplay, and it’s sort of fun being part of that, certainly for us. And we know it will go on beyond us, but we’re glad that we have this moment [with them].

AR: Such a great fit.

DL: Super fun.

AR: It’s just perfect. Like, a perfect match.

OR: Thank you.

You can wishlist Pixel Ripped 1978 on Steam and on PlayStation now.

What do you think of Dot’s powers, and are you excited to see Atari’s Sunnyvale Office from the 1970’s?

Let us know in the comments below!

The post GDC 2023 INTERVIEW: Pixel Ripped 1978 (Part Two) appeared first on oprainfall.

At GDC 2023, I sat down with Ana Ribeiro, the creator and director of the Pixel Ripped franchise; Ricardo Justus, the founder and CEO of ARVORE Immersive Experiences; and then later on David Lowey, the senior director of games, sales, and distribution at Atari. In the first part of our two-part interview, we talk about how ARVORE’s partnership with Atari came about, what classic Atari games are included in Pixel Ripped 1978, and more.

You can wishlist Pixel Ripped 1978 on Steam and on PlayStation now.

I also demoed Pixel Ripped 1978, and you can check out my thoughts on it here.

You can visit Atari at their official website, on Twitter, on Facebook, on Instagram, and on YouTube.

You can visit ARVORE at their official website, on Twitter, on Facebook, on Instagram, and on Discord.

You can find out more about Ana Ribeiro on her Linktree and about Pixel Ripped on its Linktree.

Please return Friday for Part Two of our interview!

This interview has been edited for content and clarity.

Operation Rainfall: My name is Quentin H. with oprainfall, and you two are?

Ricardo Justus: I am Ricardo Justus, and I am the CEO and co-founder of ARVORE, the studio behind Pixel Ripped.

Ana Ribeiro: I am Ana Ribeiro, the creator and creative director of Pixel Ripped.

OR: Can you just briefly tell us what Pixel Ripped 1978 is about?

AR: It’s a love letter to the history of gaming. It’s the third episode in the series – we’ve released two games. The first was 1989, which was about the GameBoy [and] 1995, which was about Nintendo versus Sega Genesis, 16-bit, the release of PlayStation One. And 1978 – it’s about the origins of the series, how Pixel Ripped’s world was created. So we had to be in the Atari-era. This was the first time that we actually partnered with a big company. So, we are doing it with Atari. We are referencing – not just homages – we have Atari cartridges such as Food Fight on the Atari 2600. So these episodes – you are actually playing as the creator of Pixel Ripped [who is] a developer who works inside of Atari.

Pixel Ripped is all about you playing a 2-D game while you are being distracted and influenced by the world around you in VR. Different from other episodes, we did this game much bigger – for the first time, you’re able to go inside the game in first person and interact with NPCs, have combat. This is super exciting because we’ve wanted to do this for a long time, and we’re final able to because of this partnership with Atari. Not just using their IP – but to make a bigger game. When Ricardo met them, we were already one year in development of this game. We were able to, with the investment, have another year of development in the game. And with many features that were cut, we were able to put it into the game.

So, in comparison to the previous episodes, which were around three hours-ish, this one is around five to eight hours, depending on the player.

RJ: There is a lot to explore. There are a lot of Easter eggs, a lot of things to find.

“Atari gave us a significant amount of creative freedom. They let us play around with their games and do glitched versions and stuff like that. And even talk about the crash, which is a major plot point of the game.”

OR: And we’re going to touch on that in just a moment. You mentioned a partnership with Atari. How did that start, and what has it been like working with Atari?

RJ: Like she mentioned, we were one year into development. This was last year – I was at the DICE Awards, because we were nominated for our previous game – the game we launched in 2021. I was there for the event, and I sat down. It was a very serendipitous connection.

We were already one year into development, we had the teaser ready, we were ready to announce it. We were planning to launch it last year. And then I sat down for lunch at a table at DICE, and people with Atari T-shirts sat down in front of me. I said ‘[a]re you from Atari?’ and it was Wade Rosen, the CEO of Atari. We started talking. I said ‘I gotta show you the game we are making.’ And I was initially asking them if we could license the IPs, if we can actually use the consoles and the brand and all of that – and the games. And he was like ‘[t]hat’s easy, but we want to actually publish the game.’ They are now doing a lot of game publishing and are bringing back classics and such as that. And I said ‘[y]eah, let’s talk’ and the conversation evolved from there.

And we cancelled our announcement plans, obviously, and that actually, through their partnership, added a year extra of development on top of what we were already doing. We were just doing Pixel Ripped homages to the titles. It was still ‘Atari,’ in our world, but [by] a different name. And now we’re able to reference Atari, and on top of that, they gave us a lot of references. They showed us what an in-production cartridge looks like, they gave us access to a list of games – even games that were in production that were never launched-

AR: -and posters-

RJ: -and logos-

AR: -the office-

RJ: -the Atari computer on your desk [that] you use. All that cool stuff. We just incorporated all that and made [the game] much bigger and cooler.

Pixel Ripped 1978 takes place across the 1970’s as the third entry in the Pixel Ripped franchise. (Photo courtesy of ARVORE Immersive Experiences.)

OR: One of the biggest surprises for me is that you choose the year 1978. To provide context for the readers: that is after the September 1977 launch of the Atari VCS and two years before Atari obtained a license from Taito to develop a home version of Space Invaders that launched Atari into the atmosphere. Why the year 1978 and why VR?

RJ: So, this game actually takes place – it’s different from the other Pixel Ripped – because there is time travel. If the story wasn’t multidimensional and complicated enough, we added time travel to the game. The game actually spans from ’72 to ’83. The sections in the office take place in ’83. The game goes through the entire Atari era up until the crash. So – we chose ’78 for the title because it invoked that kind-

AR: -that is a bit spoiler if we say exactly why, because you travel a lot. You travel many years, and the whole plot is that you’re going back in time to fix the memory of the developer-

RJ: -Satalord is corrupting the memories of the creator of Pixel Ripped, and you’re going into different stages of her life across the seventies that inspired Pixel Ripped. There’s a big significance of ’78 in that context, that decade also invokes that aspect of it.

AR: Yeah, it’s really important that – we can’t really say why, it’s a big spoiler. But it’s not the year that you spend the most [in]. Like in the previous Pixel Ripped, you spend entirely in that year, in 1995 [and] in 1989. In this one, you go through so many years. It’s the first game in that we are doing time travel, and other dimensions.

RJ: And Pixel Ripped is not a history lesson. It is about invoking an era. ’89, we were invoking the end of the 8-Bit era and GameBoy and all of that. But the year is just to set your expectations. In ’95, we condensed all of 16-bit which was actually the end of that era. ’95 was the launch of the PlayStation. We condensed all that. We’re taking some liberties to put you back in those periods. But in this game, there is actual time travel where you’re jumping into different points of the 70s and early 80s.

AR: There’s even an adventure game at some point. Video pinball in ’72. An RPG-

RJ: -yeah, there’s a level with RPGs because Dungeons & Dragons was born in 1974. So, we’re touching on all of that and the name has a significance once you’ve played the game. But it’s more about invoking the era.

Pixel Ripped 1978 takes place both in the ‘real world’ and inside a ‘video game world. (Images courtesy of ARVORE Immersive Experiences.)

OR: What games are included to be repaired, and how did you select which games to include?

AR: *laughs* That was hard to select.

RJ: There’s games you actually play Pixel Ripped to find versions of, there’s games you go in, there’s games we’re referencing new Pixel Ripped-ified versions of. But a lot of the Atari classics are in there like Pong, Break Out, Centipede-

AR: –Missile Command, Asteroids, Haunted House, Food Fight, Crystal Castle–

RJ: -Revenge is a big one. There’s a bunch of references. There’s even small references to non-Atari games at the time.

AR: Like we did in the previous games.

RJ: We just touched on, because we couldn’t not reference certain games of the time. But we’re trying to invoke all of this, but we’re not trying to emulate these games. This is sort of a Pixel Ripped alternate history of it, where Pixel Ripped is an Atari classic. So, we’re playing around with this. And that was one of the benefits of this partnership; Atari gave us a significant amount of creative freedom. They let us play around with their games and do glitched versions and stuff like that. And even talk about the crash, which is a major plot point of the game.

AR: Yeah, a feature – what he said about choosing the games – it was really hard for us because, also, we tried to choose games that fit with the narrative because we didn’t know about Atari until the game was one year in development. We had these missions where we had characters, NPCs – before, we had characters that kind of looked like this person, and there were not many characters in the Atari era [that were] recognizable characters. So, we kind of looked and tried to find the most interesting and charismatic characters of those games, and mentally, the one that stood out was from Crystal Castle, [Bentley] Bear – so we have this world to go into, and they [encounter] Bear. So, we actually created cartridges from games set in those worlds. You grab a cartridge – imagine you own an Atari, and you are doing a sequel from those games. We didn’t want to just copy.

RJ: We also tried to transcend – there’s a Centipede cartridge you play around [with].

AR: The glitch ones – we chose the ones that kind of fit with the gameplay, because there is a moment where your friend – the one with the donuts [in the demo] – she asks you to fix some bugs and comes for each mission with a broken cartridge – like [she comes with] Food Fight, and Food Fight is broken. And we felt Food Fight was great, because we actually have to throw pizza to cure the bugs.

RJ: The bugs actually come out in pixel art fashion out of the screen, and you’re actually throwing pizza. So, you’re actually throwing food in Food Fight. It’s very meta.

AR: In Centipede, we also made [it] with bugs. It’s kind of like ‘What if these games were broken with bugs?’ Atari was supercool: ‘Can we break your games and put bugs in them?’ And the three games we chose were Haunted House, Food Fight, and Centipede–

RJ: -for the bugs portion.

AR: The games, I feel like – we wish we could have done all of them. Missile Command, we tried but it didn’t really fit. We have to do this VR gameplay while playing the game, but all those games are referencing posters or dialogue.

RJ: There’s a reference to lots of games. Some of them we touched gameplay aspects, some of them we referenced with gaming.

AR: Some of them we went deeper. Definitely made sure we used them up, because there were so many classics. And the posters were amazing- the art from Atari at that period was incredible. It was an honor to be able to use those posters.

You can check out Part Two here now!

You can wishlist Pixel Ripped 1978 on Steam and on PlayStation now.

Have you played either of the prior Pixel Ripped titles? What do you think of the upcoming title set in the 1970’s?

Let us know in the comments below!

The post GDC 2023 INTERVIEW: Pixel Ripped 1978 (Part One) appeared first on oprainfall.

One of the best-known visual novel series comes from the Science Adventure universe that has illuminous entries such as STEINS;GATE. In the newest entry by Chiyomaru Shikura, ANONYMOUS;CODE takes place in 2037 where a digital society is at an end and Pollon Takaoka meets a mysterious girl named Momo while he is also trying to save the world.

During GDC 2023, I caught up with Yu Namba, the localization producer from Spike, Chunsoft, Inc. for their latest mainline entry. During our time together, we discussed how ANONYMOUS;CODE is being localized, how translating computer graphics and onomatopoeia are approached, and more.

You can find out more about ANONYMOUS;CODE at the game’s official website.

You can also check out other Spike Chunsoft titles at their official website, on Facebook and Instagram, on Twitter, and on YouTube.

You can wishlist ANONYMOUS;CODE now on Steam.

This interview has been edited for content and clarity.

Operation Rainfall: Hello, my name is Quentin H. with oprainfall, and you are?

Yu Namba: I am Yu Namba, localization producer from Spike Chunsoft[, Inc.]

OR: What is ANONYMOUS;CODE about, and how does it fit into the larger Science Adventure universe?

YN: It’s about this guy- a hacker- who gains the ability to ‘save his state’ in real life and later load that state, so that he can go back in time and [redo what he experienced before] for a different outcome.

ANONYMOUS;CODE is the latest entry in the Science Adventure franchise. (Image courtesy of Spike Chunsoft).

OR: Let’s expand on that: at Anime Expo 2022, Chiyomaru Shikura appeared in a special video message announcing ANONYMOUS;CODE and said -in writing- that “[t]he game is full of distinguished hackers” and “[t]he system screen of your game console is no longer a safe zone!” Can you please explain a bit more about this?

YN: I mean, he is the mastermind behind pretty much the entire Science Adventure series, so it is difficult for me- just a localizer- to get his full understanding of everything he has worked on. But one aspect about this game is the protagonist’s ability to save and load. But the way how it works in the game is that the player gets to ‘nudge’ the protagonist, telling them when to make that save or do a load and whatnot. So it’s a meta, I guess, where the player intervenes with the story of the protagonist directly.

OR: Let’s get to the point: will the English localization of ANONYMOUS;CODE have all the same content as the original Japanese PlayStation 4/Nintendo Switch release?

YN: Nothing has been censored. Text-wise or graphically.

” However, I believe that visual novels have their own strengths and difficulties when localizing. There are pretty pictures and whatnot, but it’s mostly about storytelling in mainly text- with voice, of course.”

OR: How long has Spike Chunsoft been working with MAGES. and Chiyomaru Studio on the localization effort?

YN: It started back in 2021.

OR: Can you talk with us a little bit about what the localization process is like for a title such as ANONYMOUS;CODE?

YN: I can only talk about ANONYMOUS;CODE, but we went with a tagteam [of a translator] and an editor. We reached out to a gentleman by the name of Andrew Hodgson, also known as Andrew ‘Steiner’ [Hodgson], who’s done the translation of STEINS;GATE. Him having extensive knowledge of the series as a whole- we thought it would be an ideal choice as a translator for this title, since it does have references to other titles of the series.

OR: This isn’t Spike Chunsoft’s first time localizing an entry in the Science Adventure series, with the company having most recently localized Robotics;Notes DaSH. What lessons, if any, did Spike Chunsoft learn from localizing prior titles into this latest entry?

YN: If we’re talking about authenticity and integrity of the title within the series, [a big point for us was to go with a specific translator to handle the localization.] On top of that, for the integrity of the localization itself- not about the series, but the actual quality of the text and voice that’s been localized- we had other pairs of eyes take a look at everything we worked on to try to get everything correct.

ANONYMOUS;CODE is a visual novel set in the future. (Image courtesy of Spike Chunsoft).

OR: One of the most highly praised aspects of Spike Chunsoft’s localization of Robotics;Notes DaSH was that there were more CGs -computer graphics- that were localized into English than before. Does Spike Chunsoft intend to translate all of the CGs into English this go around? Can you also talk about the process of translating and localizing CGs, like when there are elements such as ‘handwritten notes’ that the player would encounter to keep it true to the original Japanese version?

YN: Graphic elements-wise, in ANONYMOUS;CODE, players will really quickly pick up that there are graphic overlays simulating how a person would access their AR without the use of any peripherals. This is made possible in a fictional future of 2037 where the game takes place. You can just think and contact your friends with a message or a video call or whatnot. You can access search engines and look something up really quick, and you’ll see the results in your vision.

But all those components, in the original game, are Japanese, right? So, we worked together with MAGES. to make them into English. Not just to keep the content the same, but in some places, make sure that it reads better in English than in Japanese. You know how in Japanese, some things are written vertically? English elements didn’t look good in that perspective. So, we requested that it be redesigned so it could be horizontal. Most of the things- they were really happy to oblige. I think people would have small, if not no, issues while looking at the graphical representations in the game.

Some of the story within ANONYMOUS;CODE is told through comic-book like scenes. (Image courtesy of Spike Chunsoft.)

OR: How are y’all approaching onomatopoeia sounds within the game?

YN: There are [scenes where the game progresses in] a comic book-style. It was actually the translator, Andrew Hodgson, that suggested that the onomatopoeia within those scenes be localized as well. We approached MAGES. with the idea, and they said that they would see what they could do. And the end result, as you can see a little bit in the trailer already, looks awesome.

OR: Spike Chunsoft has localized a bunch of titles in the past ranging from visual novels [such as] 428: Shibuya Scramble, YU-NO: A Girl Who Chants Love at the Bound of this World, and ANONYMOUS;CODE. How is it different localizing an adventure video game such as the recently published AI: The Somnium Files – Nirvana Initiative versus a visual novel such as ANONYMOUS;CODE?

YN: That is hard, only because I only joined the company recently. I don’t have previous experience with any of the [other] Spike Chunsoft titles from the localization standpoint. However, I believe that visual novels have their own strengths and difficulties when localizing. There are pretty pictures and whatnot, but it’s mostly about storytelling in mainly text- with voice, of course. So, you really have to depend on how good that story text is localized for people to not veer off from their attention- like, [while] reading the story. There’s a lot that can happen for people to go that way, and certain phrases that may be awkward or things that may not translate well if directly translated from Japanese to English when a Western audience reads those. So we took extra caution to have the language as palatable to the Western audience as possible.

OR: When should players expect ANONYMOUS;CODE to be released?

YN: We are going to have the game out on September 8th, so not too far away. Half a year from now?

OR: On what platforms will it be released on?

YN: We will have it on PlayStation 4, Nintendo Switch, and also on Steam.

OR: To someone who may not have played any prior games in the Science Adventure universe, can they pick up ANONYMOUS;CODE and enjoy it, or would they be better off playing prior entries first?

YN: For myself, this was the very first time I’ve played a Science Adventure game from start to finish. I did have a little knowledge about STEINS;GATE, but that was it. I really enjoyed the game, and it also made me want to know more about the other titles in the series. I strongly recommend people to pick up this title- especially since it has English voice! And if you guys like this title, then I would love for everybody to pick up other games as well.

OR: Thank you very much!

Have you played any game in the Science Adventure Universe? If so, what is your favorite entry so far?

Let us know in the comments below!

The post GDC 2023 INTERVIEW: ANONYMOUS;CODE appeared first on oprainfall.

During this year’s Game Developers Conference in San Francisco, I had the opportunity to talk with Kazutaka Kodaka (creator/writer of the Danganronpa series) about his upcoming title, Master Detective Archives: RAIN CODE. 

Master Detective Archives: RAIN CODE is a lucid-noir detective adventure starring a detective-in-training named Yuma who is trying to solve mysteries in a city where it is always raining. Set to be released on June 20, 2023, for the Nintendo Switch, Master Dective Archives: RAIN CODE is coming out with both a standard edition and a “Mysteriful Limited Edition” that includes a plush, an art book, a steelbook, a soundtrack, and a physical game copy inside of a decorative box.

You can learn more about Master Detective Archives: RAIN CODE at the game’s official website.

You can also follow Katzutaka Kodaka at his official Twitter account. 

This interview has been edited for content and clarity.

Operation Rainfall: Hello, my name is Quentin H. with Operation Rainfall, and you are?

Kazutaka Kodaka: [I] am Kazuktaka Kodaka, scenario writer of RAIN CODE.

OR: What is Master Detective Archives: RAIN CODE? Can you tell us a little bit about the game?

KK: It is a game where the Master Detectives solve mysteries and they will solve these mysteries through the ‘Mystery Labyrinth’. They find paths through the dungeon by solving those mysteries.

OR: Master Detective Archives: RAIN CODE has you [reuniting] with several of the people involved in the Danganronpa series: Jun Fukuda, Takekuni Kitayama, Rui Komatsuzaki, and many others. How is it working with these people, and others, again on a new IP?

KK: They know their hobbies, likes, and [dislikes] with each other- so they can share their ideas with me.

“[I’ve] been thinking that the gameplay is something isn’t like one of those elements that shows the scenario. Most of the games are- the gameplay, scenarios- are made for the gameplay. But [I] want to take the opposite- where the gameplay is for the scenario.”

OR: An interesting plot device that you return to time and time again with the works you create is ‘amnesia’. For a pair of examples: in your interactive film adventure Death Come True, Makoto Karaki wakes up with amnesia and in your light novel, Danganronpa Zero, Ryoko Otonashi has anterograde amnesia. Now, in Master Detective Archives: RAIN CODE, you utilize that again with Yuma, who is “an amnesiac detective-in-training”.

What is it about amnesia that has repeatedly appealed to you across your career so far? Why did you choose to keep returning to it in each of your works, and was there a specific influence in media for you to do so?

KK: By making the protagonist having amnesia, the players could have a connection with the protagonist. Together, they could see the story together.

Yuma’s partner in Master Detective Archives: RAIN CODE is a Shinigami that only he can see. The Shinigami changes appearance based upon whether you’re in the Mystery Labyrinth or in the city where it perpetually rains: Kanai Ward. (Images courtesy of Spike Chunsoft).

OR: You said in a pair of November 28, 2021 Tweets that you’ve been working on Master Detective Archives: RAIN CODE since Danganronpa V3, which would mean that you’ve been creating this title since 2016 [and] you also said that you would like to make it a culmination of the detective mystery games that you’ve been making for over ten years.

How has this game and it’s scenario evolved since you started working on it while you were still at Spike Chunsoft, and how are you making it a culmination of the genre you’ve been creating for over a decade now?

KK: For Dangonronpa, [we] wanted to have the scenario in 2D. By having it in 2D, it could be…cheaper, I guess? [We] just wanted to create a fun game with less ‘stuff’. When [we] were creating a new game in 2020, [we] thought: ‘[We] won’t be able to create a new game with the same method as Dangonronpa’. So [we] wanted to create a new genre of the mystery game, that will have a 3D world, so that it will be different from the passive 2D mystery games.

OR: In a 2020 video interview with Archipel Caravan, you were asked: “What do you pay attention to the most in game creation”. You said: “One more aspect is to make games whose existence is meaningful. I don’t want to make something that looks like another game, or seems taken from something else. I pay attention to why the game is being made.” How is Master Detective Archives: RAIN CODE meaningful, and why is this particular game being made?

KK: [I’ve] been thinking that the gameplay is something isn’t like one of those elements that shows the scenario. Most of the games are- the gameplay, scenarios- are made for the gameplay. But [I] want to take the opposite- where the gameplay is for the scenario. For RAIN CODE, [I] wanted to create [a place where] you go through the dungeons and solve mysteries. [I] wanted to create [where] the players can have more understanding of the scenario when they do the mystery dungeon gameplay and solving those mysteries. [I] think, for RAIN CODE, players can feel as if they are riding on a Disneyland attraction while they are solving mysteries.

OR: You used to write a regular column series for Weekly Famitsu titled “Total Despair Kodaka”. In your first column for the week of August 21 to 28, 2014, you wrote about how you wanted to become a filmmaker and how you studied film in school. How has this educational background influenced how you write and create video games?

KK: [I] really don’t know if it has had much of an influence. [I] don’t feel that this experience has affected [my] scenario writing. For RAIN CODE, there are many cutscenes that are like film parts- and because [I] learned about filmmaking, I could say something about [that]. And even for music, [I] can say something about it. [I’ve] even worked at a game shop, so I have knowledge about game making so [I] could say things I want to say.

As you explore the Mystery Labyrinth, you will play various minigames as you unravel the various murder mysteries. (Image courtesy of Spike Chunsoft).

OR: Donald M. Murray once wrote: “All my writing -and yours- is autobiographical.” What of yourself do you see in Master Detective Archives: RAIN CODE, and how does this game show who you truly are as a person?

KK: [I] know that my works are fiction, I don’t really put much of my knowledge or [my] experience in games. Instead of having [my] own experience, I put in more elements from the things I like.

OR: What kind of things?

KK: The atmosphere is taken from Tim Burton- I put whatever I like into this game.

OR: You’ve been teasing everyone with how Tookyo Games has been working on an indie game since you launched the company, with most notably during an interview with Famitsu back in August 2021 where you suggested that you wanted to make a game that could not be released on a home console, but would be something instead could be distributed onto a CD-ROM and distributed to fans who come to an event.

Do you have any updates about what kind of indie game that you’re thinking about?

KK: There are making games, but we cannot release or announce it right now.

Master Detective Archive: RAIN CODE takes place in Kanai Ward: a stylish, colorful city where it is always raining. (Images courtesy of Spike Chunsoft).

OR: I had to ask! To those who are looking to pick up Master Detective Archives: RAIN CODE, what do you have to say to them?

KK: [I] think that out of all [my] games, this is the best one. But it’s really hard to explain without spoilers. So players will definitely play it, they will find out how fun it is. Going back to the first question: it will be a mystery game, so many players who don’t play mystery games will enjoy RAIN CODE.

Are you excited for Master Detective Archives: RAIN CODE’s upcoming June 2022 release? 

What do you think of Kanai Ward and Yuma?

Let us know in the comments below!

The post GDC 2023 Interview- Master Detective Archives: RAIN CODE appeared first on oprainfall.

Dragon Con, with all of its many themed tracks that range from puppetry to urban fantasy and filk, has something for everyone to enjoy. At this year’s Dragon Con convention (which had 65,000 attendees), I sat down with voice actor and streamer Sean Chiplock. Known for a variety of roles in video games such as Genshin Impact and The Legend of Zelda: Breath of the Wild to anime titles such as JoJo’s Bizarre Adventure: Golden Wind and Re:Zero, Sean Chiplock has established himself as a premiere talent within the voice acting industry.

In Part Two of a two-part interview, I (along with Senpai Project), talk with Sean Chiplock about what it was like to revisit Revali and Teba for Hyrule Warriors: Age of Calamity and as Spade/Dail for Freedom Planet 2, his favorite junk food, and more.

If you missed out on Part One, you can check it out here.

You can follow Sean Chiplock on Twitter to discover all of his upcoming projects and join his streaming community on Twitch.

You can find out more about Dragon Con on their official website, on Twitter, on Facebook, on Instagram, on Pinterest, and on Discord. 

You can buy a membership for next year’s Dragon Con here.

This interview was edited for content and clarity.

Operation Rainfall: What was it like returning to the roles of Revali, Teba, and Deku Tree in Hyrule Warriors: Age of Calamity in 2020?

Sean Chiplock: A huuuuuge difference in terms of confidence and overall performance quality. The first time I recorded for Revali and Teba, I was – pardon my French – scared shitless. Like I mentioned before, the risk of people looking at it the same way that they did the unofficial CD-i games- or should I say the non-canon CD-i games. The fact that Revali was a character that I really struggled to find the right tonality for at first – he frustrated me so much that I had a mental breakdown. The confidence was stronger when we came back to do the DLC for Breath of the Wild, and by the time Age of Calamity came around – I was homed in. I understood the characters, I understood the lore of the world, which was something that I didn’t have when I came in for Breath of the Wild. I was doing it fresh, I was doing things as we went along.

So, the confidence was at an all-time high, and during Breath of the Wild, I was trying to repeat lines to get back into character. In Age of Calamity, I was ‘now I am Revali, now I am Teba, now I’m Revali talking to Teba.’ It was seamless, and it was definitely the game- it was one of the ones I streamed because I wanted to hear the final project. That was the game where I no longer heard myself performing as these characters, I just heard the characters saying their stuff. And that was such a cool moment for me – I was already excited to play the game, because I – everyone’s got a bit of a Dynasty Warriors fan in them. Everyone’s got a day where you just want to and plow through 300 enemies with a special attack. But to get to do that with my own characters and get to watch my characters get to do sick combos across entire swathes of enemies? It was so good. [laughs] At least until Revali uses the ice ability – [imitates Revali] ‘Cool down!’, and I’m all ‘Really? That’s the best you can come up with? You’ve had a hundred years to think about something witty, and you decided to go for the most basic of jokes?’

It was a very distinctive difference, but a very positive, uplifting one. And I would say that anyone who plays Age of Calamity and listens to those characters will be hearing me at my best at those roles.

Sean Chiplock returned to voice Revali in Hyrule Warriors: Age of Calamity. (Images owned by Nintendo).

OR: I think you mentioned in a 2018 interview that Teba was particularly important to you because of the way that you voiced that character.

SC: Yes. So obviously, as you might imagine, voicing a major – I don’t know if you can call Teba a major character, but because he is one of the required people if you’re doing the four major dungeons, he is more important than a lot of the other characters in the game. So, the fact you’re doing it for a first-party launch title on one of their most successful consoles to date, and you think about all the awards the game won – there’s a little bit of pressure behind that. But the reason why Teba is so important to me is because he is a case where – there are often times where we’ll audition for a character, and the client says, ‘I really liked this take – we’re going to tweak this, or if you can give us a little more of this or a little less of this.’ Teba was a case where we’ve been doing recording for Revali and Deku Tree and they were like ‘Hey, we have one other bird, we’re wondering if you can do a voice that is distinct – that is different enough from these other two.’ I said, ‘Show me the scene, I’ll take a look.’ So they described him, they showed me the sample scene, and I immediately went ‘I have an idea, I know what I want to do for him.’

Are either of you, by chance, familiar with Bedfellows? Not the live action film, but the animated series? There’s two characters that I play in that – [imitates Fatigue] ‘One of them is Fatigue – he’s very high pitched and very effeminate, and so gay in terms of being happy the entire time’ and [imitates Sheen] ‘the other is Sheen, and he’s just angry, just always yelling, he’s always upset about something.’ But Sheen’s voice comes from a place of anger. I said, `What if I take the [imitates Sheen] ‘anger and frustration that Sheen has’, and [imitates Teba] ‘I just made it bitterness instead – worry and concern for your family, or something like that?’ Kind of like furrowing your brow or something. And that was the voice approach I took for Teba.

So, it was the fact that I effectively told Nintendo: ‘I got this, trust me.’ I did the performance, the person in charge of approving it or not goes ‘Yep, that works for us.’ Like, how many people can say that they’ve basically told Nintendo ‘Sit tight, I got this,’ show their bravado, and have Nintendo go ‘Yep, no changes, we’re good to go forward?’ That’s crazy! That’s crazy – and [in] a game as well-renowned as that, that’s why he’s so important to me. I’m sure anyone in the voice acting industry dreams of that experience where they’re with a high-profile client and puts forth the notion that they know exactly what they’re doing, and then proves it simultaneously and the client saying, ‘We’re completely happy with that.’

Especially on a project or franchise that hasn’t been officially voiced before. I don’t know what’s going to top that. Like, I’m searching for that, I’m constantly challenging myself, but it’s unreal.

“The general rule of voice acting is that if we’re allowed to talk about it, then we already have been, because the one thing we want to be able to do is discuss the thing that we’ve been sitting and waiting for months or even years.”

OR: You are also voicing a role in Freedom Planet 2, which is scheduled for release on Steam in the next couple of weeks. 

SC: Really? It’s finally coming out?!

OR: It’s streetdated for September 13, 2022. 

SC: I had no idea – it’s been years since I recorded for that, I’m a little scared if I’m going to approve of my own performance by now.

OR: Can you tell us a little bit about what it was like returning to the role of Spade and Dail?

SC: It’s been several years, so I don’t remember much of it. I do know that they had more of a budget – they actually flew me to Texas for a one-day session. It was actually very brief – I think I flew into Texas at like 11 P.M. the previous night, recorded at 10 A.M. the next day, and then flew out at 3 P.M. I wasn’t even there for 24 hours.

It’s hard to say – I think this is the question that I don’t really have a good, thorough answer to. They had a better budget, so they were able to do the recording process to what you would typically expect with us taking turns in a booth. In the first game, we were all doing it on our own home setups. It was very much an ‘indie project’ sort of thing. But when it found its footing – I don’t want to say take it more seriously – but they were able to embrace more of the consistent production processes that you would expect from a project like that.

And after I recorded, it was really just a matter of waiting. So, I’m actually very glad that it is coming out soon, I hope people enjoy it! I know the team behind it is incredibly passionate. I’ve seen their growth through the years, and I am someone that believes that a lot of the content that we fondly remember is created when passionate people come together to work on a single thing together. I’m very hopeful that all of the years will be worth the wait.

Sean Chiplock voiced Spade (above) and Dail (below) in both Freedom Planet and Freedom Planet 2. (Images owned by GalaxyTrail).

OR: Do you have any other projects in the pipeline that you can share with us?

SC: The general rule of voice acting is that if we’re allowed to talk about it, then we already have been, because the one thing we want to be able to do is discuss the thing that we’ve been sitting and waiting for months or even years. I think there’s still a project that I recorded like three years ago that I haven’t heard about. I’m almost convinced that it is dead in the water at this point.

You know, I got to announce recently that I am in the new Star Ocean game that is coming out – Star Ocean: The Divine Force. I voice Gaston Gaucier, which I already told people on Twitter: ‘If you are someone who enjoys me from a more intense performance, this is definitely a role that you’re going to want to pay attention to.’ I’m trying to think of what else is coming out that I’m allowed to talk about…See, this is why I had access to my IMDB. Mostly, what I tell people is stay tuned on my Twitter, stay tuned on my Twitch, because as soon as I am allowed to announce these things, I do and I talk it up all the time.

The last couple of months have been the convention gauntlet, I have been doing a lot of work behind the scenes. So that’s basically my answer: ‘Hey, I’m not allowed to talk about anything coming down the pipeline, but there is a lot of stuff coming down the pipeline.’ I’m someone who doesn’t like to rest on his laurels for long, I am always trying to grow, trying to show clients that I am capable of more than they already know me for. And there’s a lot of exciting stuff due to come out – so just stay tuned, and if nothing else I hope I get to pleasantly surprise you. The number of times people are ‘Wait, you’re in this and you’re in this</i”> and you’re in this too?! What aren’t you in that I enjoy?!’ I kind of like that element of surprise, so let’s find out together!

OR: To people who want to get into voice acting, but may not know where to start – do you have any advice?

SC: There’s three sites in particular that I give to people. The first one is very obvious: You ask yourself ‘What do I want to be?’ The answer is: iwanttobeavoiceactor.com. That’s the first site – it’s written by Dee Bradley Baker, it has so much information regarding the industry – I should probably go back and see what new stuff he’s posted. I tell everyone: ‘If you’re just starting out, you should not even be saying words into a microphone until you’ve read that website front to back.’ It’s about giving yourself as much info and starting knowledge as possible, so that you are asking pointed questions that will help you find the next step of what to take, rather than just throwing a bunch of questions out there that are already available online in triplicate.

The second one I usually recommend is either Voice Acting Mastery or Voice-Over Voice Actor. Just warmup sites, interviews – it’s about figuring out or listening to interviews of other actors and how they found their way into the industry. Everyone’s path is going to be a little different. Some will have a big breakthrough, some will get referred into the industry, some will start from the bottom doing walla or bit roles. Some people will come from a live-action background. Some people come from an anime background. So, finding a story that meshes with you or that you identify with may help you figure out ‘Okay, here’s how I’m likely to be to get my foot in the door.’

And the third one is voiceactingclub.com. Back in the heyday, like the early 2000s, 2010s, there were three different voice acting communities and I think two of them are still around. But Voice Acting Club, to my knowledge, is the one where the people who were the aspiring voice actors of 10 to 15 years ago are now the moderators and admins of the site doing the same thing for today’s amateur voice actors. So, you’ve already got that ‘passing of the torch,’ even though we’re still actively working – we’re now able to share our experiences and knowledge with those who may not know anything and are trying to be as prepared as possible.

It’s also because Voice Acting Club specifically eschews fandubs. Try not to focus on them, because they don’t want people’s portfolios to be clogged up with them. So having a bigger focus on independent animations, on original projects, is a much better avenue for making early connections with future studios, future clients, future peers and colleagues. I strongly recommend all of those sites that I mentioned, because I figure- what I tell people is that whether a good or bad habit, practicing that habit will make it a firm one. So, it’s important to make sure that the habits you’re cementing are good ones rather than bad ones, and knowledge and preparation are your biggest allies when it comes to cementing good habits right off the bat.

“‘Mikey, listen – you don’t have to bow your head. Just have a heart that cares for others.’

I love that quote because […] you don’t have to bow your head, just have a heart that cares for others. It means that you don’t have to be subservient to other people, you just have to recognize when it’s not your time in that moment, understanding when it’s someone else’s turn to be in spotlight.”

Senpai Project: Favorite movie?

SC: The Pagemaster, which is not even a movie – it’s like a 47-minute library advertisement. At this point, I just have to say The Pagemaster – because when I took a film video interpretation class in my first year in college, everyone got asked what their favorite film was, and they were like ‘The Great Escape, Casablanca, Dr. Strangelove,’ and I’m just here saying ‘The Pagemaster’ and I could just hear the snickers behind me because I was sitting in the front row. So you know what? I’m tripling down! The Pagemaster’s a good film, and if you hated it, it is because you hate books and you’re [an] uneducated man-child or woman-child or non-binary-child. I don’t judge.

SP: I don’t hate it, but I was forced to watch it in class.

SC: It’s good, isn’t it? It has Tim Curry, and Tim Curry is amazing! How can you rag on a movie that has Wanda Sikes and Tim Curry?

SP: Favorite series of like a book, or a series-

SC: Mega Man Battle Network – Oooo. Mega Man Battle Network or Etrian Odyssey. Mega Man Battle Network was – it was a gem of its kind. Just the way that they – I remember reading an interview where they were like ‘we didn’t really have anything to base off of, so we kind of had to mish-mash a couple different genres together,’ and it came out so well. It’s such a well-designed game, it’s so aesthetically interesting. But Etrian Odyssey was a game that I got introduced to during a failed My Little Pony convention – no, like, the organizers ran off with the money and it got shut down in the middle of day two. Like, that bad.

But it’s what introduced me to the world of first-person dungeon crawlers, and I was instantly hooked. Almost spoiled – but Etrian Odyssey revitalized interest in wizardry style games in the West, and it’s like the leader of its kind, but it stopped with the 3DS. A new game hasn’t come out since. So, I love Battle Network for its aesthetics, but is the perfect mix of strategy with your team composition but just unfair enough that it’s not unreasonable. We all know about RPG tropes where status ailments work on enemies that don’t need it, but they don’t work on the bosses that you could use it for. Etrian Odyssey has status ailments and body part binds that have side effects. They not only apply to bosses – every boss is weak to at least one of them – they are pretty much mandatory if you want to have a fighting chance. And so, it’s just so genuinely difficult in a fun way, that it’s unforgettable for me. So I would say – between the two – I would actually have to lean to Etrian [Odyssey] because there has been nothing like it since.

SP: I definitely will have to try it out. I have played Battle Network, it is great.

SC: Battle Network – I love it. I love the way that you put your folder together. I used to make a big deal out of how fast I could beat the boss time trials. The postgame in Battle Network 3 was one of the most exciting that I’ve ever done. There is so much to do.

Sean Chiplock voiced both Sheen and Fatigue (as both seen in the above episode of The Bedfellows).

SP: Favorite quote that you stand by – that you love.

SC: I stole it from Draken in Tokyo Revengers. I have to do it in his voice – him and Mikey are in the hospital. They’re not in the hospital, they’re visiting because of someone who got collateral injured because of a fight that their gang was in. And the girl’s parents are there as well, and they try to apologize. And the parents are like ‘We don’t want anything to do with you, don’t talk to us, don’t interact with us.’ And Mikey, Draken’s partner, is about to chew them out – ‘Hey, we’re trying to apologize, won’t you listen to us for a damn second?’ And Draken talks him down – [imitates Draken] ‘Mikey, listen – you don’t have to bow your head. Just have a heart that cares for others.’

And I love that quote because – repeating it in [my] normal [voice] – you don’t have to bow your head, just have a heart that cares for others. It means that you don’t have to be subservient to other people, you just have to recognize when it’s not your time in that moment, understanding when it’s someone else’s turn to be in spotlight. I think of an example, we’re at this big event, maybe a big line of people for a guest next to me or they’re interested in talking with them – not interrupting that, not getting in the way. Not ruining their moment. But that doesn’t mean I have to ignore who I am or pretend to be someone I’m not. It’s about being respectful that everyone has their own life that they’re living, everyone has their own moments to shine. And it’s important to recognize when it’s not your time at that specific moment.

So, I just think that’s really meaningful, because it’s that careful balance of being yourself without intruding on other people’s lives at the same time.

SP: Favorite junk food?

SC: I’ve actually cut out a lot of junk food, just because of age and because – my diet has changed over time, and I really enjoy having a lighter body and I don’t want to start gaining weight because of eating a lot of junk food. Different foods are good at different times. There’s times where I’m craving Goldfish, there’s times where I’m craving cherry pie layer bars, because their tartness is really nice. I’m trying to see what qualifies as junk food!

I used to enjoy Sour Punch Straws, but they now choke me because they are so sticky and dry at the same time. I need a moment to think about this, that’s the best question, that’s a good last question because it’s one that I haven’t immediately had an answer for!

Favorite junk food that I really enjoy…this is hard. This is really difficult, ‘cause I’ve been really addicted to- have you heard of those Go Go apple juice packages that you squeeze? I’m addicted like hell to those right now, they are so good. But they’re healthy – I don’t qualify those as junk food.

Alright, it’s a mix. My thing – you know the Ferraro Rocher chocolate balls? I don’t eat them by themselves. I will make a bowl of oatmeal, and after I pour in the milk, I will put two to three of them, usually the sea salt chocolate, in the bowl and then in the microwave and then microwave it, so when it’s done, the balls are starting to melt and fuse into the milk. And then I mix it together, and because of the thickness of the chocolate, it helps bind the oatmeal together. So you get this nice – chunky doesn’t sound like a good word – but you get this nice, thick oatmeal that has hints of sea salt and a chocolate flavoring to it. And it’s so good. It turns a breakfast into a dessert, as far as I am concerned.

That’s the answer – wait – have you guys been to San Jose? Next time you go to San Jose – have you guys been to the Signia by Hilton San Jose, on Market Street? They have the best raspberry cheesecake that I have ever had. I’m a big fan of cheesecake, I didn’t know hotel food could be that good. It was phenomenal. It was so good, the following day, I brought a colleague back, swearing up and down how good it was. She had one bite of it, and then posted on Twitter: ‘He wasn’t lying.’ I converted her instantly.

So a very good cheesecake? Instantly on my list of faves.

OR/SP: Thank you so much.

You can buy a membership for next year’s Dragon Con here.

I want to thank Sean Chiplock for agreeing to sitting down to speak with me and Senpai Project at Dragon Con 2022.

Have you seen The Bedfellows or eaten an amazing cheesecake in San Jose? Tell us all about your experiences with either or both below!

The post Dragon Con INTERVIEW: Sean Chiplock (Part Two) appeared first on oprainfall.

Dragon Con, with all of its many themed tracks that range from puppetry to urban fantasy and filk, has something for everyone to enjoy. At this year’s Dragon Con convention (which had 65,000 attendees), I sat down with voice actor and streamer Sean Chiplock. Known for a variety of roles in video games such as Genshin Impact and The Legend of Zelda: Breath of the Wild to anime titles such as JoJo’s Bizarre Adventure: Golden Wind and Re:Zero, Sean Chiplock has established himself as a premiere talent within the voice acting industry.

In Part One of a two-part interview, I (along with Senpai Project), talk with Sean Chiplock about working with Nintendo, his favorite place to be in the world, about bringing Pirate Cat Captain Nattanya in La Pucella Ragnarok, and more.

You can follow Sean Chiplock on Twitter to discover all of his upcoming projects and join his streaming community on Twitch.

You can find out more about Dragon Con on their official website, on Twitter, on Facebook, on Instagram, on Pinterest, and on Discord. 

You can buy a membership for next year’s Dragon Con here.

This interview has been edited for content and clarity.

Operation Rainfall: My name is Quentin H. with Operation Rainfall. On Twitter, you said that you’ve “never been to an event of this size as a hosted professional before now,” so I have to ask: while we are only in day two of Dragon Con, what do you think of the event so far and have you been able to see anything yet?

Sean Chiplock: Wait, this is day two? They don’t call the Thursday before ‘day zero’? Oh, my goodness, so was there actual paneling and programming?

OR: Yes. 

SC: Oh, I had no idea! I was used to events like Anime Expo where Thursday was like ‘day zero’ and the Friday, Saturday, Sunday are the event – they had eventually expanded to five days. So now it’s even bigger than I expected it would be. Well, to be perfectly honest, this is the first time that I’ve been to an event of this size. And I’m having that small-fish-in-big-ocean kind of feeling. Cons have certain themes, and I am definitely getting that ‘live action – I wouldn’t say medieval Ren faire,’ but kind of like a sci-fi element of this kind of con. You see a lot of people who are in stuff like Walking Dead, Space Ghost. And someone who has a pretty heavy background in video games and anime, I’m still trying to suss out how well I fit in with that atmosphere. So most of this weekend, I’m probably going to be doing interviews or my panels or sitting at my table – for two major reasons.

One is for my wife’s amazing candles that she handmakes from scratch. She is actually doing a Dungeons & Dragons themed line. Check out her website, go to Batwix Candles on Etsy. Anyway, I love supporting her because she never gets the chance to come with me to these events. But also, just to get a sense of how many people are going to show up and because when I come to these conventions as a guest, I’m being paid to be here. They are putting me up, they are paying me for my food. So, I wouldn’t call it ‘obligation,’ but I have a genuine personal interest in creating memorable experiences for other people. I can’t really do that if I’m off galivanting and doing my own thing versus being at my table where people can see me, some of whom may not have the opportunity otherwise. It sounds very lazy – that I’m not going to leave my table outside of dealer den hours – but it is because I want to show how much I appreciate the opportunity to be here.

Sean Chiplock brought to life multiple characters in The Legend of Zelda: Breath of the Wild. One of these was Revali, the Champion of the Rito and pilot of Divine Beast Vah Medoh, who was later released as an Amiibo. (Image courtesy of Nintendo).

OR: You said in a January 2018 interview with Cat With A Monocle that the people who hired you at Nintendo for [The Legend of Zelda:] Breath of the Wild “were really big on finding/recruiting individuals who were truly invested in the work” and that “Nintendo clearly has a company vision that focuses heavily on teamwork being the core foundation to a great project.” Could you elaborate a bit more about this and the booking process for Revali, Teba, and Deku Tree?

SC: So, there is a story behind this. The only character I was originally cast as in Breath of the Wild was the Great Deku Tree. Which I find very funny, because out of the three characters I ended up playing, I would consider the Great Deku Tree to be – it’s weird to say this word – but the weakest performance overall. Not by much, but just the fact that you’ve got just a natural higher pitch to my voice, and [imitates Great Deku Tree] ‘I’m bringing it all the way down.’

In the middle of production, they were trying to test out some voices. And they were like ‘Hey, I’ve got this other character named Revali, would you like to do a sample read for him?’ And I was ‘Of course, I am always down for a challenge.’ So they show me the work in progress cutscene, and I see this beautiful bird-man in all his feathery glory, and I start squeeing like a schoolgirl. Unashamedly, I am standing in front of it, literally balled hands to my face going “Eeeeeeee, eeeeee, eeeeee!” I was so happy. What I didn’t know was that on the other side of the glass, the person directing me, who’s not affiliated with Nintendo, is on a live Skype call with at least two to three higher-ups from Nintendo who were listening in. So these – I’m going to mentally imagine they were in suits and nice ties, even though they were probably in casual Friday gear – these folks from the ‘Big N’ are listening in to this 25, 20-something year-old man just losing his mind over how gorgeous a bird-man looks. But I like to think that it played into their casting decision, the voice fit and I could tell that I have to imagine they might have listened to that and been like ‘We really like this person, he’s invested and engaged that they care about the product more than just the potential paycheck that it’s worth.’

And Nintendo has always struck me as a company that is very team-oriented. I would have to go back to remember specific articles, but I remember them specifically saying that they don’t really take well to team members who try to take lone-wolf credit like ‘I’m the reason this project did well, it’s because of me that it got the notoriety it had.’ And that’s kind of the same reason I didn’t try to pitch myself as the best Champion or anything – it’s everyone coming together to create a great product as a team. But yeah, that’s pretty much where it falls in regards to that. So, I’m very glad that my passionate outbursts helped me potentially book the role. But more so, I’m glad that Nintendo entrusted me with several voiced characters in a franchise that is historically known for not being voiced. Most people ask, ‘How did it feel to be in a Legend of Zelda game, how exciting was it?!’ For the first six months after the game came out, I was holding my breath: ‘Do people like it? Do people hate it? Do they think it’s the worst thing since the CD-i games that won’t be named?’ Good experience overall.

“The crazier, more animated, more exaggerated the character is, the more I thrive in that kind of role, whereas nuanced, down-to-earth, realistic characters have been a struggle point for me for a long time. I’m continuously getting better, since I recognize it as a weakness.”

Senpai Project: Hello, my name is Javier, and I am from the Senpai Project. These are the top 20 questions that were picked-

SC: Ooooh, lightning round!

SP: Yeah, lightning round. One-hundred questions, and out of the 50,000 followers we have – they picked these top 20. So, I’m going to just give you 10, and then go back to asking more questions [by Operation Rainfall]. The question is: ‘Favorite food’?

SC: Japanese curry. There was a place called ‘Curry House’ that got forcibly shutdown in February 2019, and no other curry place has made curry like they did, and I have been searching ever since.

SP: Favorite fruit?

SC: Ooooooh. I don’t have starfruit [often] enough for it to count, but I would say raspberries. Because if you get really good raspberries that are in season that are just the right amount of tart, they are unlike anything else.

SP: Favorite color?

SC: I used to be a ‘green’ kid. I used to be a ‘forest green,’ I have The Legend of Zelda shirt with the green and the Triforce. But now I’m very much a ‘blue.’ When I check my wardrobe, at least half my shirts are blue.

SP: Favorite place in the USA?

SC: Favorite place in the USA…There was this place called Great Wolf Lodge – I’m sure you guys have heard of it. It’s kind of a combined waterpark [and] hotel. They have one in Anaheim, even though it doesn’t really work because it is a rustic-cabin themed place. But we went to one in Michigan, and you stepped out on the balcony – you could look over this big lake with this line of trees on the side. It was probably the most magical experience I’ve ever had at a hotel or resort-type place.

Probably also the Kalahari in the Wisconsin Dells, because I was there for [Daisho Con], and I got responsibly destroyed on their mixed drinks.

SP: They actually got bought out by ColossalCon.

SC: I heard!

SP: Favorite social media that you like to use?

SC: I mean, I almost reject a lot of social media, because I see it as a necessity for my career, but I try not to tie myself too much to the expectations of others, because they aren’t the ones casting me in projects. I want to say I enjoy Twitter, because I use it more often than anything else. But it is hard to say that I have a favorite, because it is a way to keep people up to date.

If anything, I would say Twitch, because at least with Twitch, I get to interact with my community live, we get to comment on the things that I’m playing. With Twitter or Instagram, it feels like you’re just throwing stuff in the void so that people will comment on that. That disconnect – I’m not really a big fan of.

Sean Chiplock has voiced characters ranging from Rean Schwarzer (The Legend of Heroes franchise) and Diluc (Genshin Impact) across his voice acting career. (Images owned respectively by Nihon Falcom and by  Shanghai miHoYo Network Technology Co., Ltd.).

OR: Do you find it more difficult to voice more emotive characters like Rean Schwarzer from The Legend of Heroes franchise or more subdued and stoic characters like Diluc from Genshin Impact? How do you approach these wildly diverse roles?

SC: Stoic is the harder one. I was always the energetic kid growing up. I had blatant ADHD – I would say it went into remission, but it never went fully away. I’m very expressive. I use gestures a lot. The crazier, more animated, more exaggerated the character is, the more I thrive in that kind of role, whereas nuanced, down-to-earth, realistic characters have been a struggle point for me for a long time. I’m continuously getting better, since I recognize it as a weakness. I would say within the last year alone, I have made great strides in playing more stoic, subdued, calm characters that don’t raise their voice a lot.

Rean actually [is] a big part of that, because he has grown through the four games, he’s changed – almost become more despondent or, like, glazed over what he has been subjected to and what he’s had to deal with. But I like that it always presents a new challenge for me. I don’t know if either of you are familiar with [Aegis Rim:] Thirteen Sentinels – I’ve been streaming that on my Twitch recently. We’re about halfway, 60 percent of the way through it. Just listening to all my colleagues doing all these personal performances that are not hype-anime was kind of a turning point for me.

There’s actually a very brief but very funny story where I was in the middle of stream like ‘I need to start studying this, I need to listen – repeat some of these lines just to ingrain what it is like doing a softer performance.’ The next week, I had an audition that asked for [a] grounded, theatrical performance, and I borrowed from what I just had been hearing on the streams, and I booked a role on it. So, it was cool to be able to take from my colleagues and learn, and then immediately adapt it into something that booked me new work.

OR: Let’s talk about that a little further. You have a new project that was just released two days ago, La Pucella Ragnarok, on Steam where you voice various monsters, a Dark Lord member, Barsom, and Pirate Cat Captain Nattanya. 

SC: I have to try to remember what his voice was! I’m grateful that I work often enough that sometimes, the projects mesh together. [imitates Nattanya] ‘But I want to assume he does a little bit of a pirate voice, while also doing the nyaaaa!’ Something like that.

Sean Chiplock brings Pirate Cat Captain Nattanya to life in the brand-new remake of the PlayStation 2 classic, La Purcelle: Tactics, in La Pucella Ragnarok. (Image owned by NIS America).

OR: Can you tell us a little bit about this game, and what it was like working voicing a role that was previously done by none other than Cam Clarke on the PlayStation 2’s La Purcelle: Tactics?

SC: So, I’ll be upfront: I don’t know much about the game itself. Like, I know that it’s within the same vein as DisGaea – the same graphical style. I know it’s also technically the first Western localization and release of a remake of a game that came out in Japan. So, I’ve done my background research. That’s about as much as I know about the game.

I didn’t know that he was originally voiced by Cam Clarke, but that’s what makes it so funny. Because Cam has always been kind of like this peripheral idol of mine. It’s weird to say idol – I would say inspiration of mine. Because I grew up on Tales of Symphonia, that was my first Tales game. I remember him distinctly as Kratos [Aurion] in that. Back during the AIM days, I used to role play Tales of Symphonia characters and I roleplayed with a guy who roleplayed as Kratos. Like, that was showing my age right there – talk about roleplaying on AIM chat.

So, when I heard him as Instructor Neithardt in Trails of Cold Steel I, it was one of the first people to speak in the game, and I’m like ‘Oh my God, Cam Clarke is speaking to me! And I’m voicing the protagonist, I’m voicing the main character!’ So now it just feels like we’re slowly getting closer to that point of singularity where we converge and diverge again, but I’m going to have like swapped bodies with him. Maybe Cam Clarke is just an immortal spirit looking for a new vessel to take over so he can achieve immortality, and I’m the unwitting victim. So Cam, my body is ready! Please give me your skill! [laughs]

SP: Favorite place in the world?

SC: This sounds super kawaii-desu-ne-weeaboo, but going to Japan for Comiket was crazy. I visited in 2016, thanks to a friend who goes there for shopping and reselling, and we decided to time it for Comiket. Just all the experiences – the food festivals, the fact that you could walk down Akihabara and there would be some sort of food stalls. Like fresh teriyaki that you could get – it was incredible. Comiket itself was crazy. It was like Anime Expo, but way more organized. There’s a story I love telling people about how at one point, I was moving down an aisle, just completely shoulder-to-shoulder crowded. And I go to move forward, and I feel my upper body start to move back. And the force of the people moving in the opposite direction was so strong, that it was deliberately shoving you back, even though you were trying to go in the opposite direction. It was dangerous in that heat too. The fox village, everything that I got to do there was so fun. I would definitely want to brush up on my Japanese before I went back.

Oh! Probably the deer village in Nara. I’m a huge sucker for animals, I love zoos, I love cats, I love dogs. I love interacting with animals in general. So, the fact that you could just buy biscuits for the equivalent of two dollars in the United States and have an entire horde of deer show up and start doing their bowing actions to you is unlike anything else. It’s cool to watch on video, it is unreal to see and experience in person.

That was not a lightning round answer!

SP: Favorite anime?

SC: Favorite anime…For comedy, would probably Daily Lives of High School Boys or Komi Can’t Communicate. I really love the visual use of timing on that – it is fantastic. For action, I’m a big fan of both versions of Fullmetal Alchemist. I feel like they have their own merits for different reasons. And I swear this isn’t because I voice the main character, but Re:Zero for, at the time it was released, was on a whole other level. Just the way it deconstructed the trope, the quality of performances – in both sub and in dub – the overall visual animation. Anime is thriving right now, but at least back then, Re:Zero was a very special project for me.

SP: First game you ever played?

SC: First game I ever played was Mega Man 6, that I remember, on the NES. It was that or RBI Baseball, but who talks about a baseball game as being their first one? Sorry to the baseball fans out there! It was definitely Mega Man 6 on the NES – and on the Game Boy, it would have been probably – the earliest I can remember – is either Pokémon Blue version or The Legend of Zelda: Link’s Awakening. Link’s Awakening was the big one that I played over and over and over again. Most people will say A Link to the Past on SNES, but I never actually played that. The first time I did that was when they did A Link Between Worlds, which was basically the spiritual successor.

But Link’s Awakening – I would sing the music to myself. I would play it on the car rides with the streetlamps only showing up every three seconds or something like that. That was the classic.

“I also enjoy [streaming] because, even as a professional, I have always wanted to kind of break down that professional/amateur barrier. Like ‘Guys, even though you hear me all the time, I’m not above you in any way. I’m not special, I’m just another human being who happens to have a public career.’”

SP: Favorite boardgame?

SC: Mancala, because my brother and I never played it correctly. Never, ever, ever. I could describe all the different ways we played it, and I guarantee you [that] none of them were the correct way.

SP: Favorite spot in the house or apartment?

SC: Normally, I wouldn’t have an answer for this. My wife and I got our first home in February. It’s not fancy, but it is a house in California of all places. But thank my career for that, because it took every single job I’ve ever done to afford it. We really liked this L couch that the family living there before us had, and of course, they took it because it was a really good couch.

So, one of the first things we did was go out to Living Spaces and get a Sierra couch of our own. It’s a three-part couch – one side, two-sided, and the chaise. I knew it was a good purchase because my wife is usually the one who gets upset at me for falling asleep on the couch instead of the bed, but in the time that we’ve owned it – she herself has fallen asleep on the couch at least a double-digit number of times. And one of the sides is located directly underneath one of the A/C vents. So, when you’re lying there, and the A/C kicks on, and you feel the cold air blow straight down on you – which is also something we didn’t have for the 10 years I lived in the apartment: A/C. I lay under there and I’m like ‘Nope, I’m done, I’m not moving. I’m stuck here. It’s like a cat on my lap.’ So that’s my favorite spot in the house – [on] that couch, it is so comfortable.

OR: You brought to life Guido Mista on JoJo’s Bizarre Adventure: Golden Wind. What was it like working with Crunchyroll on a simulcast production, and can you quickly take us through what the weekly production schedule [and what it] was like, knowing that the show was going to air one hour after the Japanese broadcast?

SC: I think I was vaguely familiar with the fact that it was going to air one hour after the Japanese broadcast, and I was already familiar with the concept of simuldub because I know that Funimation started it but it got popularized when people were like ‘Oh, Funimation has got the lead on us by doing this!’ But on my end, the only thing that really resulted in was having to set aside one day each week to record that episode or the next couple of episodes. I think in most cases, it was one episode because they would only get that script one week in advance.

By then, I found it kind of funny – Crunchyroll had already worked with me previously via Re:Zero. But after Re:Zero, I thought it was going to be the kickstart of me voicing a lot of major anime roles. And then there was this dead period for a couple of years until JoJo’s Bizarre Adventure happened. So Crunchyroll had already worked with me by then, I like to think that they trusted my work ethic and my work quality. But outside of that, it was pretty par for the course. They would provide the scripts to the dubbing studio, which was Bang Zoom! [Entertainment], and then Bang Zoom! would set up the recording session with me, and then we’d knock it out.

Probably, the only major difference was the fact that while we started in-studio, the pandemic happened before [the show] was over. So, the entire second half of that show, to the best of my knowledge, was done remotely. But even then, a lot of voice acting is pretty translatable or – I’m trying to think – is lateral. You can move it laterally – if you’ve got the right equipment, if you’ve got the right space, you can practically do it wherever. It seems boring, but I kind of like how consistent the recording process is for stuff. I don’t go to Nintendo’s HQ and record for Nintendo. I don’t go to SEGA’s HQ if I record for SEGA. We go to a lot of the same studios, and it’s a lot of the same process. But that’s part of what lets them do so many projects in a given year, because the process is streamlined.

In Crunchyroll’s weekly simuldub series, JoJo’s Bizarre Adventure: Golden Wind, Sean Chiplock voiced Guido Mista on the top left. (Image owned by Crunchyroll).

OR: Let’s expand a bit upon this – you mentioned the pandemic. You really started Twitch streaming during the pandemic. 

SC: I was a pandemic baby when it came to Twitch streaming!

OR: Can you tell us a little bit about how your experience with Twitch has evolved since you started streaming?

SC: Just to give people listening a quick lowdown: I have always been vaguely interested in streaming, but the two main excuses I gave myself were ‘I don’t have the time, and I don’t have the space.’

Well, the pandemic gave me the time, so I decided to figure out if I had the space. And it kind of just worked out. I’d like to think it gave people something to look forward to in a time when a lot of us weren’t sure what the future was going to hold.

I have had half-joking, but half-very seriously let my community know that it’s not fun anymore, it’s just a job. But I mean that jokingly. It is fun, with how busy my career has gotten, there have been many times where I’m like ‘I literally would not have time for these games if I wasn’t forcing myself to have that time via stream.’ But I definitely saw that, at some point, it went from being a way for me to get rid of boredom by broadcasting what I was doing and letting other people comment on it, to develop a sort of community. It’s true what they say: You just end up growing this personalized community of people, of inside jokes, of people whose lives you’ve impacted. And then it becomes almost like Stockholm Syndrome, where you can’t pull yourself away because you want to stay involved in these people’s lives. You want to continue to share your experiences. The folx that stick around really enjoy [my] content, and so [I] feel this sense of obligation of providing for them.

I also enjoy it because, even as a professional, I have always wanted to kind of break down that professional/amateur barrier. Like ‘Guys, even though you hear me all the time, I’m not above you in any way. I’m not special, I’m just another human being who happens to have a public career.’ And for me, the streaming is a great way to talk about my experiences – I’m recording the projects, I’m playing a game I also voiced in – it’s a way for people to see the process of practicing as a voice actor. I’ll often mock dub all of the lines if they’re not voiced. It results in the most ridiculous stuff!

A lot of games these days have audio playback, where you can go into the log and playback lines. Which has resulted in me immediately looking for any case where a line starts with ‘but.’ And if there is a long enough pause after that – you can go to the VODs to find this – I will go into the audio log and I will transpose lines so that I can replace a word with ‘but’ and play it back. So there was like a line in 13 Sentinels where it’s like ‘The only thing inside BJ’s suit is his body’ or something like that. And of course, I timed the line – ‘The only thing inside of BJ’s suit is his butt!’ [laughs] And I’m waiting for someone to do a supercut – or a ‘superbutt’ in this case. It’s just the perfect mix of ‘I’m a professional’ and also ‘I’m here to have some fun’. So that’s what the streams are all about: ‘Here, enjoy some games that you may or may not be interested in,’ ‘enjoy the finished project of stuff that I’ve voiced in, even if you don’t want to spend money in it,’ and ‘Hey, let’s memelord along the way as well.’

You can check out Part Two of my interview with Sean Chiplock here!

What do you think of Sean Chiplock’s voice acting roles? Are there any that have surprised you so far? Let us know in the comments below!

You can buy a membership for next year’s Dragon Con here.

The post Dragon Con INTERVIEW: Sean Chiplock (Part One) appeared first on oprainfall.

Dragon Con, with all of its many themed tracks that range from puppetry to urban fantasy and filk, has something for everyone to enjoy. At this year’s Dragon Con convention (which had 65,000 attendees), I sat down with Samantha Inoue-Harte and Brian Holder to talk about everything animation and anime-related, voice acting and voice casting-related, about running a small POC-owned business, and more.

You can see everything that Samantha Inoue-Harte has been involved with on IMDB.

You can also follow Brian Holder on Twitter. You can also follow his company, LazuArts Entertainment, at their official website, on Facebook, on Twitter, and on Instagram.

My guests recommend that you check out joining the International Entertainment Partnership, a 501(c)(6) organization that focuses on the entertainment industry around the world, for free. They also recommend that you check out both Lion Forge Animation and Frost Giant Studios when you get a chance.

You can find out more about Dragon Con on their official website, on Twitter, on Facebook, on Instagram, on Pinterest, and on Discord. 

You can buy a membership for next year’s Dragon Con here.

This interview was edited for content and clarity.

Operation Rainfall: My name is Quentin H. with Operation Rainfall, good afternoon. Could y’all please introduce yourselves?

Samantha Inoue-Harte: Yes! My name is Samantha Inoue-Harte. I’ve been working in the anime/animation industry since 1997. Started off as an animator, worked at Little Wolf Entertainment, did some work at Powerhouse Animation Studios for about six years. [I] started my own animation studio, Seiko Animation, back in 2005. Started working with different Japanese anime studios as partners on several productions and started development, writing, pitch productions. [I] worked in animation on the Japanese side of things, and then I started doing voice acted in the late ’90s – I don’t exactly remember what year it was, it was either ‘98 or ‘99. I did about eight years for ADV Films, also known as AD Vision Films. I did a lot of casting for them, handled scheduling for walla, did voice acting for them, did a lot of translation on the spot.

I did a lot of work for voice training for the voice actors on how to pronounce the different Japanese words in a way so that ‘Sakura’ doesn’t sound like ‘Sakuuuurah,’ or ‘Naruto’ like ‘NarUtoh.’ I tried to help the voice actors sound authentic in that sense. And yeah, now, I’m a producer, I do anime production – I do consulting. I’ve consulted for Disney, did some consulting for Nickelodeon, helped out different studios on getting projects done and getting different anime studios to work on their projects for American audiences, things of that nature. So I’m all over the place. I’m like that kid Mickey from Kix cereal commercial – ‘Get Mickey, he’ll eat anything!’ It’s like, I’m that character, where they’re like: ‘Get her, she’ll do anything!’ So yeah. [laughs]

Brian Holder: Hello everyone, my name is Brian Holder. I am an actor, a voice actor, casting director, and business owner. My background for acting came in 2013-2014 when I started applying to voiceover gigs on Newgrounds and small indie websites that were doing video games. I made a couple of them that I’m too embarrassed to mention, because that was some of my early work. [laughs] And some mobile games that were interesting, but fun. And that’s how I got my foot in the door as far as acting. I went into anime recently and [I] started doing voiceover work for background characters and small bit parts for characters for anime [like] One Piece, [The] Heike Story. I’ve done some for a couple isekai animes that have come out recently, as well as doing some voiceover work for some Korean anime that I have casted [for] too.

I’ve done live-action work for popular TV shows like CW’s Texas Walker Ranger, [The] Marvelous Mrs. Maisel, and I am going to be in a couple of feature films further down the line. For my voiceover work in video games, I have done voices for Pirate 101, I’ve done voices for Wizard 101 for KingsIsle Entertainment, as well as doing some voiceover work for DC Online and DC Universe – which one of the main characters will be revealed in the near future.

And also, I own my own business with my own partner Nicholas Markgraf. We own LazuArts Entertainment. We are one of the first black-owned and POC-owned dubbing studios in the United States. We focus on casting and building a wider range to POCs as well as bringing more POCs into the anime and video game industry and entertainment industry where, in other cases, they are usually snubbed out. I, and my partner too, want to bring that to the table to get POCs into the anime industry as well as cast a more diverse background for our future projects.

“I love teaching. I love being able to help people create projects from start to finish. When they get to be accomplished and work in the studio, I admit- it brings a tear to my eyes sometimes, because I’m like ‘That’s my baby!’”

OR: From 1995 to 2008, you taught animation in Texas, and you started up your own animation studio in Cedar Park.

SH: Wow, you did a deep dive!

OR: Do you miss teaching, and what were the biggest changes to how you taught animation during that time period?

SH: Wow, okay. I’ve been teaching animation for a long time – and voice acting for a long time. I’m actually really surprised; I think you’re one of the first people to ask about that. So, there was a school that I taught out in Cedar Park that was mainly targeted for young children and homeschooled families, because animation is one of those industries where as long as you have the art skills – we’ve seen young animators starting in the industry as interns as young as 15. Actually – it’s kind of interesting how a lot of my students from 1995, even on the college level – there’s students of mine at different animation studios like Rooster Teeth Productions. One of the kids I used to teach over at ACC was Sam Deats, and he is one of the directors of Castlevania over at PowerHouse.

One of the differences in how I’ve taught, when it comes to teach younger children ages 10-15 – they are more accepting of information. So, they are kind of like sponges. It’s like you just sit there and say ‘Okay, to create a new keyframe, you hit F5.’ And they take you at your word, and they do it. When you’re teaching at a college, and you’re like ‘Okay, in order to create a new keyframe, you’re gonna hit F5 on your computer,’ and they’ll sit there and be ‘Well, ya know, actually, there’s another hotkey that you can hit and here’s the alternative.’ It’s like, ‘I don’t care, do this. This is the way we do it in the studio, and you’re actually making it harder.’ And you end up having to argue sometimes with adults. With adults, I have to dumb it down a little because then I have to break it down into the 12 principles of animation and then we’ll use Richard Williams’ The Animators’ Survival Handbook as the core book that we would use, or the Preston Blair Animation book. We’ll take each of those exercises and incorporate those into homework assignments.

When teaching adults, it’s a little more of an ‘I have to showcase my skill, because there’s always going to be somebody who is going to challenge me.’ Like, I’m a girl, it’s a male-dominated industry – I started working in animation where I was one of three women in Texas doing animation. And so, having a woman walk into the office and say ‘Okay, we’re going to be doing pillowcase animation, squash-and-stretch.’ And there’s always that one dude in the class who will sit there and challenge me on the spot. That’s something where I have to sit there and showcase my animation skills and shut them down. I don’t have to do that with kids. With kids, they will just be like ‘Oh, what are we doing today?’ ‘Oh, we’re going to do this – here is step-by-step.’ And they’ll be like ‘Okay!’ and then they’ll do it. And they blossom and have these amazing animations, and you’re just like ‘Wow, that is great!’ Whereas, with adults, a lot of times, we’ll have the situation where I’ll be like ‘For this animation, we’ll have 15 frames’ and they’ll do three. And I’ll be ‘Hey, man, that’s not quite a full animation. This assignment is that you have to do 15 drawings.’ And I have to challenge them to do work.

So, I do find that a lot of my younger students have progressed and started working in the animation studios, and I’ve got some students that worked on The Dragon Prince, which is an Emmy Award-winning animation for Netflix. I have several animation students who’ve worked with Aspyr on multiple video games. I’ve got a couple of students who’ve worked over at BioWare. And they’re all from the younger group. But as far as the adult groups, a lot of them – life would get in the way, and animation would become more of a hobby in that sense. There is a huge difference in mindsets. I guess what you can say is that having to change my teaching style based on the mindset of who that it is that you’re dealing with is what I have to do when educating.

One of Samantha Inoue-Hart’s students, Samuel Deats, has taken the reigns for animation by being the creative director for both Castlevania and Castlevania: Nocturne. (Images owned by Netflix).

OR: Do you miss teaching regularly?

SH: I do! I love teaching. I love being able to help people create projects from start to finish. When they get to be accomplished and work in the studio, I admit – it brings a tear to my eyes sometimes, because I’m like ‘That’s my baby!’ And I do have this mindset where it’s like ‘If I’ve taught you animation at some point, you’re always going to be the little person that started off.’ ‘How do I flip this paper?’ It’s like, to do flipping animation – I’m doing the physical action right now, this is flipping, and this is rolling – I don’t have kids, I have cats, but to me, it’s like having these students actually work in the studios.

I walk into the studios and I’m like ‘Oh, dude, you’re here!’ It happened to me on the set of Alita Battle Angel. One of my students was working on Alita Battle Angel, and he called me up ‘Hey! I’m going to be on set, I’m going to be doing this!’ And I was like ‘Oh my God, you’re my baby!’ So I went over to his computer, and I was looking over his stuff, and I was like ‘Okay, you need to add more frames here.’ And he was like ‘Okay, yes, ma’am.’ And he started adding more frames. I do kind of get that mother hen sort of thing on me, and I miss it a lot.

“What LazuArts likes to do – we actually present, or I like to present, the top five candidates to the client so they can have a say in the pick for the lead of a certain project.”

OR: You also started liaison work for Funimation and animation studios in Japan when Funimation began creating original programming in 2008. Can you talk a little bit about what this work entails, and your experiences with that?

SH: You’re one of the few people I know that’s heard of that! So me and my business partner, Paul Alvarado-Dykstra, and our lawyer at the time, we approached Gen Fukunaga and Adam Zehner at Funimation – Fukunaga is the president of Funimation. We were like ‘Hey, you guys want to start original animation production – that’s what we do. We work together with the Japanese animation studios, primarily Gonzo, and a lot of the folks at Production IG and Bones and all that. If you want help making those connections, let’s work together.’

Unfortunately, there are times when you have clients or partners who are very money-conscious. We had multiple projects that were either public domain or pre-existing IP – I cannot discuss the IP, they are very, very well known. We had been working on one Sci-fi project in particular and had been working with the original creator. It’s part of the big, top Sci-fi IP out there and we were working with several Hollywood people on that. And we had scripts, we had the model designs for the ships, Gonzo was all on board to get it done, and Gen Fukunaga actually announced it at the studio. Everyone at Funimation knew about it, and I was like ‘Well, you can’t really announce anything until you sign the contract.’ Unfortunately, they didn’t sign the contract on that project, and they didn’t sign contracts on a lot of other projects. So unfortunately, the creator was like ‘It’s taking too long, I’m getting a better offer somewhere else’. So that project unfortunately went away. I could say more, but that might give away what title it is.

Instead, what Funimation opted to do – they wanted to go the route of working with a video game studio on their IP, and creating anime movies. So, they wanted to ride on the coattails of a video game. And I was ‘Well, if you’re going to ride on the coattails of a video game, and that video game fails, what’s going to happen with that animated movie?’ So, we locked horns too much, and we walked away, and I just went on my own and started to do production on my own instead.

OR: You went and built your own dubbing studio in 2021 during the pandemic, and you also cast the roles for it. How do you balance being the co-owner of the studio and casting the roles that your studio records? Do you ever feel like you have to sacrifice more of one position to fulfill the other?

BH: Fortunately – and I’ve had a lot of people say ‘They don’t like casting’ – I’m one of those few people who love it, and I try to organize it using Excel and Outlook to essentially filter out actors and also have a short list of ‘go to’ reliable actors. But at the same time, for one of our first films that I casted, SEOBOK: [PROJECT CLONE] – which was a Korean live-action film – needed an English dub, we had a pretty diverse cast of people. I remember we had close to 700-plus auditions for that film. It was our first project ever, and I had to go through 700-plus different auditions. But at the same time, [I was] working as the co-owner and emailing back and forth with the client as far as getting the pricing right for the project and paying the actors appropriately, and finding more work for the studio [with] future projects. And at the same time, for myself, also auditioning and acting and running a full-time job too.

You have to schedule everything. So, for me, scheduling is very important – especially for casting. Typically, after the workday and going to the gym and eating dinner, I sit down behind my computer and all I do is listen to auditions on and on and on and on and on until like three or four in the morning. [I] start filtering out ‘Okay, these are the top out of 700-plus people, this is the top 100’ and start narrowing it down lower and lower and lower until we get to the top five for each role. What LazuArts likes to do – we actually present, or I like to present, the top five candidates to the client so they can have a say in the pick for the lead of a certain project. This gives the client ‘Oh, we don’t want to just leave it all in your hands, we want to know who the lead is going to be for the thing that we are paying you to dub.’

Brian Holder casted roles for SEOBOK: PROJECT CLONE as part of LazuArts Entertainment.

OR: I hope you both have been enjoying Dragon Con this year – I know this isn’t your first time coming to Dragon Con. Are you both loving it?

BH: Yeah, I am really enjoying it. My favorite thing about it is really hanging out with the fans and the staff and just people that I’ve met before last year. Hanging out, having dinner [or] lunch with them, and just talking to them.

SH: Dragon Con is kind of like family to me. All the staff are always so sweet, and what I like about Dragon Con is that even though the convention ends on Monday, I still chat with everyone. Mainly through messenger, but it’s like we’ll be geeking out about Alita: Battle Angel stuff or chatting about this and that or the other. It’s kind of like Dragon Con doesn’t end for me at the end of the con, and so I don’t have to worry about con depression.

OR: Thank you very much, both of you.

You can also buy a membership for next year’s Dragon Con here.

Have you checked out any of LazuArts Entertainment’s or Saiko Animation’s works before? Did you attend this year’s Dragon Con event?

Let us know in the comments below!

You can read my Dragon Con interview with Nolan North here.

The post Dragon Con INTERVIEW: Samantha Inoue-Harte/Brian Holder appeared first on oprainfall.

Dragon Con, with all of its many themed tracks that range from puppetry to urban fantasy and filk, has something for everyone to enjoy. At this year’s convention (which had 65,000 attendees), one of the most well-known voice actors in the video game industry, Nolan North, stopped on by to sign autographs and participate in panel discussions. If you aren’t quite aware of who he is, then all you need to know is that he not only voices Ghost in the Destiny series and Nathan Drake in the Uncharted games, but he also played Dr. Chris Ramsey on Port Charles for the show’s entire run.

On one of the last days of this year’s con, I (along with reporters from Culture Slate and The Direct), caught up with Nolan North to talk about his lengthy career in the acting and voice acting industries, his foray into voicing the Uncharted audiobook adaptation, and what he thinks about his first visit to Dragon Con.

You can follow Nolan North over on Instagram, on Twitter, and on TikTok. 

You can find out more about Dragon Con on their official website, on Twitter, on Facebook, on Instagram, on Pinterest, and on Discord. 

You can also buy a membership for next year’s Dragon Con here.

This interview has been edited for content and clarity.

Nolan North: Hi, it’s September 4th, 2022, interview: Nolan North. Take One. There is no take two. [laughs]

Operation Rainfall: You took over the role of Ghost from Peter Dinklage in Destiny: The Taken King expansion. Can you talk a little bit what it was like recording new dialogue and re-recording old dialogue for a role that Bungie publicly disclosed that they recast not due to Mr. Dinklage’s performance but due to availability? Were you expected to approach the role like how Mr. Dinklage had [previously] voiced it?

Nolan North: It was [a] very, very interesting set of circumstances. It was the only time that I had been called for what they said was a ‘paid audition,’ which is like an actor’s dream. There is no such thing- they actually brought me in, but they didn’t tell me when I went in there that they were looking to recast the role. They just wanted to work on this character, this AI character. I had no real previous knowledge of Ghost and Destiny very much, even though my youngest played the game incessantly. I went in and said, ‘My son plays Destiny, what are we doing?’ They said, ‘We’re just talking about this character, and we’re trying to find this voice.’ And we were talking about it, and I had no idea. So, I went ahead, and we finally found a voice that worked [imitates Ghost’s voice] and we got down to it and we were sitting here in this kind of area. 

And at the end of it, they said ‘thank you, and now we are going to tell you what is going on.’ I said, ‘What do you mean?’ They said that if this goes forward and is approved, this is going to replace Peter Dinklage. And I was like ‘Oh, is that who does Ghost?’ And they said ‘Yeah.’ And I literally remember going ‘How does he do that? He’s in Northern Ireland shooting.’ They go ‘It’s kind of why you’re here. And the internet and everyone is all ‘Oh, because of his performance.’ Peter Dinklage is a brilliant actor, but if you’ve ever been to Northern Ireland, it is full of sheep, grass, and wind. It’s really, really hard- I’ve been in Belfast one time, and I had a driver taking me around, and he drove a lot of the people from Game of Thrones. Some of them would be picked up at 2:30, 3 in the morning to drive three hours to the location where they would have to sit in a makeup chair for another 3-5 hours. You just can’t get things done, because this is my bread and butter, sometimes Bungie will call and [say that] we have to pick up some lines by Friday. It is just not going to happen with Peter and the schedule he had at the time.

It wasn’t anything having to do with anybody’s performance; I was happy to step in. I did not- this is the good news- the scary thing is that after we did Taken King and it was received really well, I was like ‘Great, I’ll be happy to go on.’ And they were like, ‘Next, we’re going to actually have you’ – they set up a bunch of sessions- ‘to go back and replace his dialogue.’ I’m 51 years old, and I had no idea that that could be done. I was like ‘There’s a disc, and the voices on the disc when you put it in-’ and they were like ‘It’s a live game.’ I said, ‘Are you telling me that you can replace-?’, and they said ‘Yeah, you’re going to record all of the lines and then one day, on a Friday, we’re going to update the system and he’s out and you’re in.’ And all I could think about was ‘Hang on kids, welcome to Uncharted starring Peter Dinklage as Nathan Drake someday.’ And he’s going to be like [imitates Peter Dinklage] ‘Hey, I’ve got your back.’

I had no idea that you could do that in a live game! That you could take years of a performance over different games and one day someone can go ‘Nyah! Let’s do something different.’ Terrifying technology, and it keeps me on my toes to try to do the best that I can. But it’s been a blessing, and I think Peter’s okay with it because he’s doing just fine, so I am glad for Peter’s success because it is one of the few times that you’ve replaced an actor because they are becoming too successful to continue the job because they’re not available. So, cheers to Peter.

Nolan North has voiced Ghost, the ever-present companion to the Guardians, since The Taken King expansion of the original Destiny game. (Image courtesy of Bungie).

Culture Slate: So, here’s a weird one for you- when you were filming Port Charles, what was your favorite episode?

Nolan North: So, you do know that we did over 250 episodes over five years? *laughs* 

First of all, it’s been nice here at Dragon Con- Port Charles was very successful on the East Coast. I’ve been up in New England, New York, Philadelphia, in the Atlantic area or down in Tampa- wherever I go, people go ‘I remember you in Port Charles!’ Sometimes, they bring up a picture from when I was 26 years old, and I go ‘What happened to me?!’

What was my favorite episode…

There was an episode with Eddie Albert Jr. that I did. He played Charles Heston’s son in the original movie Midway, and I was a big fan of the movie and I couldn’t believe I was working with him. And he played the girl’s father- he was Doctor Devlin, a big, famous surgeon. But I got to work with him one-on-one, and we were both kind of shady characters. And just working opposite him was a lot of fun. There honestly so many memories from that show that it is hard to just pick one.

Culture Slate: That’s totally understandable- my grandmother used to watch it all the time when I was a kid, so I figured that I had to give something back to her.

Nolan North: You know, my grandmother was a big fan of soap operas, and I remember when I was coming home one time- I never had aspirations to be an actor- and I was coming home one time to watch Tom and Jerry or some cartoon I wanted to watch, and she was watching her stories. And I said, ‘These are stupid’, and she said ‘Don’t knock them, you’re going to be on one of these someday. Watch.’ And her name is Hazel- we used to call her ‘Witch Hazel’- and I was like ‘No I’m not, I’m going to be a baseball player.’ She said ‘Nope, you’re going to be on one of these and you’re going to take care of that Roman character for me. He’s a bad guy.’ [OR Note: Roman Brady was a character on Days of Our Lives.] And I got a laugh. 

Years later, Roman was played by a guy named Wayne Northrup. When I got to Port Charles, the dressing rooms went down by alphabetical order- Julie Pinson, Nolan North, and right next to me was Wayne Northrup. He was on the show, I think he played Rex…something. I don’t remember. [OR Note: Rex Stanton.]

“But it was a blast, and that’s where I found [Nathan’s] voice [for the Uncharted audio book]. I just wanted to go a little younger, honor that Tom was playing in his twenties- he is in his twenties.”

The Direct: Uncharted 4 used to be a very different game, and you’ve spoken on record about some of the things that were different. One of them was how Cutter used to have a big role. He was one of my favorite characters in [Uncharted] 3, and when I got to what was released, Cutter wasn’t in it at all. I was wondering if you could shed any more light on what Cutter is doing.

Nolan North: So you know, we only got so far in the game, but there was a big heist. I don’t know if I am supposed to talk about it, but the franchise is kind of shutdown, but there is really no controversy or big story or big drama. The only thing I remember- Graham McTavish, who plays Cutter- a dear, dear friend of mine. It was some of the funniest stuff that I have ever been in and in what Graham did. And Graham was a very gruff exterior. He plays really tough characters and preachers and saint of killers and outlanders. He’s now the head of the guard in the new House of Dragons. He’s a sweetheart though, funny, smart, and so, so funny.

All I remember is there was- we had done some stuff, we had mo-capped everything, and it was a big heist scene that they actually had in Uncharted 4. But it just played out differently. And Cutter in the scene- all I remember- I am sorry to be vague, but Cutter insisted that he would be in disguise. They were terrible, I don’t know if it was a nose or he had teeth. He’s just talking very funny, and we couldn’t get through the scene. Remember, this isn’t just VO but full body motion capture and we’re doing it just like a film. And we couldn’t get through it. And I do remember one line where he turned to Sully. He says ‘Do you want a disguise?’ and he goes “No!”. [Then he goes] ‘How about a ‘mustáge’?’. [Sully] goes ‘I have a ‘mustáge’.” And he paused, and Graham goes ‘You want a better one?’ And I just remember it was that kind of humor- it was a little more of a caper, that kind of pulp. It was funny. That’s what I remember. And you should know- Graham McTavish was [Zoran] Lazarević in Uncharted 2. He and I became so close that Amy Hannig wrote him as Cutter for Uncharted 3, and that was one of the reasons. So I like to tell Graham that if it wasn’t for me being such a kind, good-hearted person taking on his friendship then it wouldn’t have happened. And he tells me [imitating McTavish’s Cutter] that ‘I’m an idiot.’ 

That’s another great line that he did in Uncharted 3– When they’re going through and he [is supposed to go] ‘Lead on, McDuff’, he goes ‘It’s ‘Lay on, McDuff’. We had written it as ‘Lead on’, and he goes ‘It’s Lay on, McDuff.’ And we go ‘What?’ And he goes ‘It’s lay on- shut up.’ And we get through the squeezing through of this thing, and when we get out I kind of adlib ‘Who’s McDuff?’ And we thought ‘Haha.’ We finish the scene, and Graham just stopped, looked, [and said] ‘Is there no bottom to your ignorance?’ And Amy’s over there laughing, ‘Yeah, that’s in.’ People sometimes think we’ve done all kind of improv. Amy wrote 95 percent of it or more, she wrote it all. But every now and then, we throw something out and sometimes it made it into that: ‘Who’s McDuff?’ ‘Is there no bottom to your ignorance?’ Just said it, it’s one of my funniest. I told you I would give you short answers!

Nolan North voices Nathan Drake, the protagonist of the Uncharted franchise who continually gets into-and-out-of, trouble all around the world. (Image owned by Naughty Dog).

Operation Rainfall: You voiced the 2022 audiobook of the Uncharted movie. What was it like voicing the written adaptation of Tom Holland’s adaptation of a character you’ve been bringing to life since 2007, and how did you end up finding the voice you ended up using for Nate? It’s not quite like the voice from the games, and it’s not quite like Tom Holland’s [voice].

Nolan North: That’s kind of interesting- you noticed that. 

Operation Rainfall: I bought the audiobook.

Nolan North: It’s better than the movie. *laughs* You know, the one thing is- it’s always those people [who are like] ‘Did you read the book? The book’s better than the movie.’ It does go a little deeper though, there’s more time. When I did my cameo and went to Barcelona- we did the cameo for the film, and they were planning publicity and what they were going to do around it. And then they called me, and they said they wanted me to do the audio[book] version. And I was ‘Yeah, that’d be cool. I’d want to do that, that’d be fun.’ Mostly because I wanted [imitates Antonio Banderas] to do my Antonio Banderas- which I did. And doing a lot of female Australian [accents]. 

But it was interesting, because the audiobook has so much more time- it’s Moncada’s father, you understand why [Santiago] kills him. But Moncada has two scenes: you meet him and then you kill him in the movie. And I was ‘Oh no, that doesn’t make sense’, because you find out what he was doing, and it just goes a little more in depth. It was very rewarding, and I had never seen the script. They offered me, when I did the cameo, to see the script and I said ‘Nope, I want my popcorn and I want to see it for the first time. I don’t want that.’ And then they hired me to do the book, and I’m like ‘Oh! Well, I know what’s going to happen.’

Funniest part about reading that novel- the novelization- was doing my own cameo. It was the first time that I realized ‘Well, it made the film’- number one, there’s never a guarantee. But I wanted to do Nate, but all I did was just my voice. But I just placed it [imitates Nate in the audiobook] a little higher, a little younger- ‘Sully, what are we doing?’. So, rather than [imitates Nate in the game series] ‘No, no no. Oh, crap. No no no! Oh crap!’ So it was somewhere, just- first of all, when you’re doing that many different voices like Chloe and Moncada, and I kind of want to do my- because I grew up in New England near Boston, my mom’s from Boston- so I kind of knew Wahlberg and what he was doing, that kind of do him with a little bit of an edge to it for Sully, [imitates Mark Wahlberg] ‘because everyone wants’ to do [Richard] McGonagle, but you can’t do that Sully. But it was a blast, it was hard though. Hats off to people who read books, because there’s an engineer listening going ‘Let’s stop for a second, take a break, because you start to drone when you’re reading the story.’ 

But it was a blast, and that’s where I found the voice. I just wanted to go a little younger, honor that Tom was playing in his 20s- he is in his 20s. And fortunately, I can just get up there a little higher, and it’s my voice, but if you ever want to go higher in your register [then] take a deep breath and just talk. Because that’s where you stay higher, and when you let it go, you can relax, and you can be lower. If you want to impress a girl- [lowers his vocal register humorously] then stay down low. 

Culture Slate: What made you make the decision to go from a visual medium like television/film to voice acting, mostly, in video games and novelizations?

Nolan North: I had children, I needed to pay for them. I was doing theatre in New York, and I moved to LA. I did Port Charles– that was my first real job. I did little things here and there, but that was my first series regular for five years. And not even five seasons, it’s five years because those shows shoot year-round. And every day, five days a week- it was crazy. So, when that ended, you do a CSI Miami and do JAG. I did Big Love and Six Feet Under for HBO. And just little bit parts. And every actor thinks ‘Well, I’ll just jump on the next big series, and I’ll be on my way! I’ll get my Law & Order, I’m going to do this.’ And those things don’t happen. In the meantime, I do have a family. And Jon Lindstrom actually, who was Kevin in Port Charles, friend of mine said ‘You know, you always used to make us laugh at those voices. You should talk to my voice over agent.’ And I did, and [I] signed on with her. She was my agent up until she just retired a few months back, and I’m still with that company that we were at. 

I never- I always did both. I did seven seasons of Pretty Little Liar, I just got so busy, and it just started to snowball. It’s so much fun, and it’s rewarding. On camera stuff, I am what I look like. But I can be anything in voice over. I can be Nathan Drake, I can be Viking Beaver in Breadwinners for Nickelodeon, I am Blaze in [Blaze and the] Monster Machines, I can be Superman or Superboy or Green Lantern or whatever I’ve done- [imitates Deadpool] ‘Deadpool, let’s go baby’. All these different characters- and it’s just so much fun. So, I leaned into it. And especially with kids, I had friends who would do series and I kind of be a bit envious until I realized that they were in Atlanta or Toronto or New York or Vancouver. Six, seven months, missing birthdays and different things. I was home at night for dinner. I didn’t miss soccer games or football or plays that my kids did. It was important to me- and I remember that I was offered a show that shot out of state, it was just a guest star. It was not going to be a career builder, and I remember thinking ‘I’m going to go down there for a week and lose money, whereas if I work these three days here’- I was booked like a Tuesday, Thursday, Friday, I’ll never forget this- ‘I’ll make three times what I would doing that show for a week.’ And I went ‘Well, that just doesn’t make sense, and I would miss different things.’ I’d miss soccer practice, ballgames. I just made that decision. And now that they’re in college and they’re older, I’ve actually started doing more of that again.

And just opening myself to- I did a great independent film we shot last year. I don’t know where it’s going to go, but it’s a great script, no money, shot up in Michigan, but it was a great script and great people to work with, and I was happy to do it. I like doing all that stuff, but that’s why I leaned into [voice acting], and now I kind of look back and I’m trying to find the next thing. I am at a great point of my career where, you know, I don’t need anything. It’s ‘What fulfills me?’ My thing, and this is for any business- I want to work with people that are friends of mine, people I like, and take roles that are challenging and interesting, and find something that’s fun. Or something terrible that pays me a fortune- let’s do that too! ‘Here’s a terrible show, but we’ll pay you too much money.’ That’ll do it for one season, and we’ll all go to the Caribbean! Who wants to go to Cayman [Islands]? Arms up!

“It’s a blast, and if you haven’t- anybody who is listening- never experienced Dragon Con, put it on your bucket list. It’s something to behold.”

The Direct: Uncharted is obviously one of your biggest things, but then more recently, you did The Avengers. So, I wanted to ask- what was your difference in experience [between] those two games, and also those two projects got very different reactions from fans. How does a positive reaction or a really negative [one] play into your experience with the part?

Nolan North: Doesn’t affect my experience at all, is the short answer for that. My experience is before the game even comes out. The difference between the two is that Nathan Drake is the lead character, not only am I doing all the scenes but I’m doing all the motion capture work. The running, jumping through fire, rolling, shooting- every game set move, I’m doing that. I’m in everything. With Avengers– love playing Tony Stark, Iron Man. I mean, how cool is that? We used to joke ‘Oh, it’s Nathan Drake in Mach 4.’ It was a different character, a different kind of style. But it was an ensemble cast. So, it’s like being Iron Man- Robert Downey, Jr. in Iron Man or in The Avengers. It’s a different dynamic when you’re sharing it with everybody else. A lot of fun on set to be working with Troy [Baker], Travis [Willingham], Jeff [Schine], Laura [Bailey], and everybody. It was a blast, but it just [is] different. You don’t feel as much responsibility like you’re the main guy, you know. A little more time for goofing around.

And I think the reaction had nothing to do with performances or anything. From what I understand, and I’m not knocking anybody, they had a lot of problems with the mechanics of the game. And that’s what I’ve read. It’s not an indictment of the studio or anything, it’s what I’ve read. I think what happens is people have to understand- I could go out and give the best performance of my life. If the game isn’t a good game, no one’s going to play it. You can give a great performance in a bad movie, and people will go ‘Ah, the movie sucked, but wasn’t Philip Seymour Hoffman amazing in that?’, whatever. In a game, it’s a game first. As actors, we got to put our ego aside and go ‘The game has to be good.’

The one exception, in my knowledge, was Deadpool. It has simple mechanics and fights and everything, but it was so funny and ridiculous. And they just- people didn’t even realize it, they wrote a song that was supposed to be in it called F U Legal. And it wasn’t ‘F’. And it was literally to their legal team who kept saying ‘You can’t do this, you can’t do that.’ And Deadpool did this whole song and dance number, and it was one of the funniest things I’ve ever read. And the guys who wrote that were hysterical. 

Nolan North voiced Deadpool in the self-titled 2013 PlayStation 3, Xbox One, and PC title. (Image owned by High Moon Studios).

The Direct: Did you sing it?

Nolan North: We did. I don’t remember, and I won’t, but it never made it into the game. And High Moon Studios was shut down the second that thing went gold. [OR Note: High Noon Studios is currently owned by Activision.] So I don’t know! I don’t know the ins and outs of the- I am hoping Marvel will let me- I want Marvel to let me do a Deadpool 2 game. I want to shoot it, I want to direct it, and I want to do it the same style as Uncharted. I want to do a very narrative-driven game, and hopefully get Ryan Reynolds to come in and do a cameo. 

Operation Rainfall: Real quick- what has your experience been like at Dragon Con this year?

Nolan North: Dragon Con has been amazing. It is- I’ve never really experienced it like this, it is an absolute party. There are so many people, and we did a great Twisted Toonz panel last night at 8 o’clock, and it was so much fun. I’ve had people coming up today saying ‘We were partying in our hotel room, and everybody quieted down. We were laughing and watching it in the hotel rooms.’ So, there is streaming up there, I didn’t know that. People who couldn’t make it down there, but we finished, and we had to walk through the hotel to the other hotel, and there’s just bridges and people everywhere, and it’s just packed. It is thumping music and you’re like ‘This is- the energy is like no other con that I’ve been at.’

And it makes me wish that I wasn’t here signing and doing stuff. Just put me in a Nathan Drake costume and let me run around- ‘You look just like him!’ ‘Yeah, I know right?’ And it’s so great after what we’ve gone through with the pandemic and everything to see people out, having a good time. Masked or unmasked, whatever, it’s just a party. I guessed it was over three hotels, and it’s over seven. Seven hotels.

I mean, and Saturday, Georgia’s playing Oregon, downtown Atlanta was hoppin’. I can only imagine what the people who live downtown, waking up one day, going ‘Ah, Chewbacca is out front of the building.’ ‘Oh my God, take your pills Laurie.’ It’s a blast, and if you haven’t- anybody who is listening- never experienced Dragon Con, put it on your bucket list. It’s something to behold.

Operation Rainfall/Culture Slate/The Direct: Thank you.

You can also buy a membership for next year’s Dragon Con here.

What is your favorite role that Nolan North has voiced or acted in? Are you planning on coming to Dragon Con next year?

Let us know in the comments below!

The post INTERVIEW: Nolan North Talks Destiny, Uncharted, & Dragon Con appeared first on oprainfall.

During this year’s Pokémon GO Fest celebration in Seattle, I met up with Humberto Kam, Niantic, Inc.’s director for Global Live Events. During our interview, we talked about everything from how a venue is selected for a Pokémon GO Fest, what we can expect for the Finale event taking place in August 2022, to his favorite Pokémon and more.

You can find out more about Pokemon GO Fest 2022 on the official event website, on Twitter, on Instagram, on Facebook, and on YouTube.

You can also find out more about Niantic, Inc. on their official website, on Twitter, on Instagram, on Facebook, on YouTube, and on TikTok.

Tickets are on sale NOW for Pokémon GO Fest 2022: Sapporo, and you can check out my review for Pokémon GO Fest 2022: Seattle here.

This interview has been edited for content and clarity.

Operation Rainfall: My name is Quentin H., with Operation Rainfall, and you are?

Humberto Kam: I am Humberto Kam, the director of live events for Pokémon GO.

OR: We are in Seattle today on Day 2 of the Pokémon GO Fest 2022: Seattle. This is the first in-person event that y’all have had since the pandemic started.

HK: We’ve had a couple of events – a Pokémon GO Safari Zone: Seville earlier in the year, and we had an event in England last year as well. But this is our first [Pokémon] GO Fest since the pandemic. 2019 was the last time we had an in-person Pokémon GO Fest. So, this year, we’re packed with a global event, including Berlin, Seattle, and Sapporo – we had Berlin a couple of weeks back.

OR: What has it been like to put together this event since the pandemic started?

HK: Honestly, it has been a lot of fun. Just getting out, flexing those muscles again, figuring out ‘[h]ow do we create a physical experience for people, [how] do we enhance the game experience?’, which is obviously at the center of things. My background is in inspirational design, so it was really great to marry those two again. When we pivoted to virtual events in the past two years, we had a lot of great learnings, and we found that we were able to reach so many more players than those that are able to come to the physical locations.

For this year, we decided ‘You know what? Let’s take the best of the pandemic, which was the global event, and bring back the live events.’ So, we have a five-part series, starting off with the global event in June, then Berlin and now Seattle, then we’re going to have Sapporo in a couple of weeks and then a finale event that is brand new this year to cap things off on August 27.

“[We’re] trying to give the trainers who are so into the game a reason to come celebrate with us.”

OR: How do you go about designing one of these events for in-person gameplay?

HK: We have a game design team, and they really look at what Pokémon are desirable for our audience, what they are looking for that they might not be able to have available because they are regional Pokémon. We also love to see what big Pokémon – whether it is a mythical or a legendary – that they can bring around. And this year, we introduced the Ultra Beasts into the game. So, at that point, we started to build the event around that.

We created an experience, and then married it with a physical place. We figured out what kind of habitats we can create, and then started to work with artists to create these amazing physical environments for people to explore and have fun and take photos with Pokémon in – these whimsical environments that can only happen at a GO Fest event.

OR: Now this Pokémon GO Fest is split into two sections – the morning session right now is the Park experience, and this afternoon is the City experience. Can you talk a little about that?

HK: Honestly, one of our goals as a company is to get people to explore. We’re looking at the Seattle Center – we want to make sure that the number of people here have a great experience. And so maybe we can take a little bit of time to break up the group into two, or break the experience up into two, and have people go out and explore. There are so many players who aren’t from Seattle, so let’s expand it and bring the game out into the city.

There are different biomes that trainers could visit during Pokémon GO Fest 2022: Seattle, including Electric Garden (above) and Dreamy Mindscape (below). (Images taken by author.)

OR: If you go out, you will see that there are different biomes in the area. How did you go about designing and building each individual biome?

HK: So, we started off with a theme, for example – the Electric Garden. We wanted to know which Pokémon would be a good fit for that. Then we worked with our agency to actually create pieces that compliment what is already there. When you look at the Seattle Center, at the Electric Garden installation, it’s already there and it is so fantastic and spectacular that it became a natural centerpiece for us to enhance and build around.

For example, the fountain here is such an iconic part of the experience for visitors in the Seattle Center, and we thought “how can we make it a little different, a little special for visitors who come here for the first time or for visitors who come here weekly to play?’ And that’s where the idea came to turn it into an oasis- we have a home for Pokémon like Lapras to live in.

OR: There is a Pokémon here that has been catching a little bit of buzz online – the Snorlax with a cowboy hat. Can you tell us a little bit about that?

HK: We always try to find something a little special that is unique to the events. And when it came to this assignment, it was funny – we had a hundo Snorlax, perfect stats, spawn in Berlin. And literally, we saw people running out and [we] were like ‘What is going on?’ And someone just yelled ‘HUNDO SNORLAX WITH A COWBOY HAT!’ We were done here; we did our job. *laughs* But there were ways to take something really loved, like a Snorlax, and find ways to get people excited about it. He is loved as he is – but [we love] any way we can find a new way to present him to our trainers.

Cowboy Hat Snorlax made an appearance at Pokémon GO Fest 2022. (Image taken by author.)

OR: Panpour, Pansage, and Pansear – those are regional Pokémon that are appearing at this Pokémon GO Fest. I know, because I just caught them. Were you involved in helping to choose those regionals to appear?

HK: I personally wasn’t, but the game designers look to see what we can bring to the event. They also look at which shinies might make a good debut at an event. That’s when we said “okay, let’s bring all of them here and let’s introduce, specifically here, the Panpour shiny.” So, we had a Panpour shiny debut.

[We’re] trying to give the trainers who are so into the game a reason to come celebrate with us. But yeah, the game designers are always so passionate and dig into the data and look into the different chunks of what is popular or what hasn’t made an appearance in a certain region for a long time – just to make sure that the experience is fresh and exciting for everybody.

OR: As a practical matter, how far back did you have to start planning this event?

HK: Well, after this, we are going to take a big, long nap and then plunge into 2023, if that gives you an idea. Honestly, it is a rather large effort – everything from game designers to our ops team to if we have to design a new feature, working with the different vendors. Things take a little bit of time [and] they ramp up significantly over the last six months. We are taking copious notes about what is working, and what people like or don’t like, so that we can use that right away at next year’s event.

In conjunction with the Pokémon GO expansion for the Pokémon Trading Card Game, you could learn how to play the card game at Pokémon GO Fest 2022. (Image taken by author.)

OR: Something that came out recently with Pokémon Trading Card Game is that it is now linked to Pokémon GO the mobile game, and you can in fact learn to play the card game here today. Could you tell us a little bit about the connection between Pokémon GO and the card game at this event?

HK: To be honest, it is something that my predecessor, Michael Steranka, started. He started working with the Pokémon Company and their trading card group a long time before this event. They are great partners, and when we decided ‘[y]ou know what? The cards are going to be coming out at this time and the Pokémon Company is international but is based out of Seattle,’ so we reached out and said, ‘[w]e’ve got GO Fest coming up, so let’s find a way to collaborate and introduce our players to the larger Pokémon universe and so fans of the card game could learn more about the Pokémon GO too.’

It’s a great partnership, and we are excited to have them here, as you can see. So, we have the cards for sale, and people can learn how to play the game. So, it is a great fit.

“We want to make sure that all of the players can play well.
…
We want to make sure that people [at Pokémon GO Fest] can get the best possible experience.”

OR: What is something unexpected that, as you’re planning one of these events or running these events, that has happened to you?

HK: One thing that was very [much] a happy surprise when we were thinking about this stuff was when I got a call from one of our colleagues, and he said ‘you know what? We might be able to bring the Team GO Rocket hot air balloon to the event.’ *laughs* So it was like ‘[o]kay?!’ And then next thing you know, we’re trying to find a place for Team GO Rocket to touch down, and hopefully this afternoon the balloon will be making an appearance in the Mercer Garage just across from the Dream landscape.

So that’s one of those – we didn’t have it planned, it wasn’t something, but we had the opportunity to bring Team GO Rocket and we were like ‘[l]et’s go for it!’ So, there was a little bit of scrambling there, but it was absolutely worth it. The balloon went up yesterday, and I was grinning from ear to ear. Those unexpected things, honestly, just delight people and you have to be open to that kind of stuff [and] maybe not be as strict to the plan as you were a year ago.

Team GO Rocket’s balloon makes an appearance in Seattle, Washington during this year’s Pokémon GO Fest 2022: Seattle. (Image owned by Niantic, Inc.)

OR: Do you play [Pokémon GO] yourself?

HK: Yes.

OR: What team are you?

HK: I am Team Instinct. So, I just reached level 39, and so I now am trying to get to level 40. I have gotten my fair share – I understand that Team Instinct gets a little bit less love than some of the other ones, but it’s great. Part of my interview process – every time I was asked ‘[d]o you play the game, what level are you? Do you play PVP, what kind of team are you running?’

Honestly, it just speaks to the culture that we just want to make sure that people are passionate about the game, and we actually bring that trainer perspective to the meetings so it isn’t just about ‘how can we make this work?’, but it’s about ‘[W]hat is good for the trainers, what will get them excited?’ My predecessor is level 50, and he is just excited about the game now as when he started with the company five years ago. That dedication to the game translates to, hopefully, a much better experience for our trainers. We’re fans too.

Trainers could take their photo with a giant inflatable Jigglypuff in the Cloud Sanctuary area at the Seattle Center. (Photos by author.)

OR: Do you have a favorite Pokémon, and if so, who?

HK: Garchomp, he is my boy. He was a Community Day, and I wasn’t too familiar with him. I caught him, and he was actually the first one to let me do well in PvP and he just became my boy. I love it when I have the buddy feature on, and he brings a gift. It’s a tough-looking Garchomp who goes ‘[H]ey! I found a pinecone for you!’ It just makes me laugh. How about you?

OR: Mawhile is my favorite Pokémon and has been for quite a while. The dark/fairy [type].

HK: What gen?

OR: Ruby/Sapphire gen. He has an amazing Mega Evolution. 

HK: That was introduced in Pokémon GO in the last six months.

OR: Did you ever think about bringing Mega Evolutions in for [Pokémon GO Fest]?

HK: To be honest, that wasn’t something we really considered for this event. We always look at all of the things we have. We kind of kept it, honestly – we just wanted to flex our muscles back for our first year back and not bite off too much. But the Mega Evolutions – they have been wildly successful from what we can tell, and the players really, really enjoy it. Part of it was, to be honest, to make sure that the experience was as good as possible for our guests and when it comes to connectivity and stuff like that, that the raids are a little challenging. They are absolutely part of the game, and we want to make sure that they are – but we tread lightly just because of the productivity around that.

We want to make sure that all of the players can play well. For example, in this particular one, we are not allowing people to invite people to the raid here just because it really becomes a performance issue. We want to make sure that people here can get the best possible experience.

The Oasis turned the International Fountain at the Seattle Center into a Pinap Berry-inspired experience. (Image taken by author.)

OR: Speaking of performance issues – it is little bit amazing how you have this many people in one place [who can play Pokémon GO]. And with one exception, yesterday, you managed to not have any connection issues so far. How do you make that happen?

HK: We actually have people on staff whose entire job is to make sure that doesn’t happen. That people don’t have issues- obviously, we can’t prevent everything. But we have staff that work very closely with carriers, including Verizon who is a partner here. We deploy extra bandwidth, so it’s part of our plan and it’s part of the very first day – part of the criteria for choosing a venue is looking at connectivity and how great it is.

OR: What other criteria do you look at for a venue?

HK: In the past, it has been about creating – for example, Berlin. The site was fantastic and beautiful, it was a large park, very green. It just invited exploration. So those places that can one, accommodate the number of players we have, and also have a way that feels inviting and conducive for exploring. The other thing is that we want to make sure that it is successful. We have a player base from all over the world, so we want to make sure that trainers can get to the destination and that it is not hard to get to. We’re doing Seattle, and in the past, we’ve done Chicago. Those are big cities with easy access to them, so that’s another consideration.

OR: Is there anything you’re excited about coming to Pokémon GO that you can tell us about?

HK: There is so much that I am excited about.

The Finale is going to be fantastic. We are doing it for the first time. The Ultra Beasts have been making appearances here and there in each of the events, and it is all coming to a head in the finale. We have a great list of Pokémon that will be making an appearance, so it will be quite an exciting time.

Niantic, Inc. provided a dedicated area for trading and for arena-style battling during Pokémon GO Fest 2022: Seattle. (Images taken by author.)

OR: A lot of the content this past year has been tied to Pokémon Sun/Moon/Ultra Sun/Ultra Moon and the Alola Region. We’ve done missions for all four of the island guardian deities, and it seems like this story theme has been shifting to the Ultra Wormholes. Will all of that be concluded with the Finale?

HK: We are missing Professor Willow, so we hope so! *laughs* He has quite the fan base, and they are quite upset that he is missing. So yes, we hope to have this story come to a happy end.

OR: How can players participate in the Finale?

HK: Tickets will be available soon, so people who will get the details on that. But if you’ve already bought a ticket for the Global Event, you’re not going to have an issue and you won’t have any additional purchases for that. But if you happen to have missed that, it will be for sale for $10.99 in the App Store, and that’s all you have to do. And you’ll be able to hopefully play with your friends and family as you join in for the Finale.

OR: What dates are the Finale happening on?

HK: The Finale is happening on August 27.

OR: Thank you!

Did you attend Pokémon GO Fest in Berlin or Seattle? Are you planning on attending this weekend in Sapporo? 

Tickets are on sale NOW for Pokemon GO Fest 2022: Sapporo.

Let us know in the comments below!

The post INTERVIEW: Niantic, Inc. Talks Pokémon GO Fest 2022 appeared first on oprainfall.

It’s funny how much I had grown to love cooking. After travelling back to the East Coast for two weekends in a row and having company from Seattle visit me, cooking fell to the wayside and I barely did anything involving it. And surprisingly? I honestly missed it. There is something very familiar to gathering together ingredients, reading through the recipe, and plotting on how I am going to make a different dish every week.

Cooking Eorzea has become surprisingly important to me, even beyond it being a way to help me cope with being broken up with and being in California. I genuinely like making things with my own hands and then serving them to people I like. I am starting to close in on the half-way point of this column series, and I am going to be very sad when Cooking Eorzea is finished.

Thankfully, I am nowhere close to that point yet! And if you’ve stuck around with me for this long…thank you. Seriously. I mean it.

If you’ve missed an installment of Cooking Eorzea, you can check out all the prior recipes here.

Recipe of the Week

For this week’s Cooking Eorzea, I made the 27th recipe: Walnut Bread. Coming out of the Black Shroud region of Eorzea with a ‘Medium’ rating, I was excited to make the final bread recipe of The Ultimate FINAL FANTASY XIV Online Cookbook.  Here is what it’s supposed to look like!

Image courtesy of Insight Editions.

Featured Ingredient of the Week

Photo by author.

This week’s Cooking Eorzea Featured Ingredient of the Week is…Maple Cream! This ingredient is made from maple syrup that is heated up, then cooled down and beaten until it is smooth. It was surprisingly thick, and was actually creamy (like the name), though I had to stir it quite a bit when I first opened it before I could use it.

My Cooking Attempt

For my first Cooking Eorzea attempt in a couple of weeks, let’s take a look at the ingredients that I ended up using for Walnut Bread:

Photo by author.

The first thing I did was to take a stick of butter and place it in a microwavable-safe bowl to melt down. Instead of burning my hand like I did a few weeks ago, I left it ALONE in the microwave for a while after it was done to cool down.

Photo by author.

While the butter cooled, I turned my attention to the walnuts. I turned the stovetop to medium-hot and added the walnuts to the pan to toast.

Photo by author.

Once the walnuts were toasted, I added them to my spice blender, and I attempted to grind them out. However, the grinder started to overheat, and I ended up having scrape what was blended out of the blender before I ruined it.

Photos by author.

I got out my industrial-sized blender, and I dumped all of the walnuts into it and I had to blend repeatedly to get all the walnuts grounded up.

Photos by author.

I then picked through the ground-up walnuts in the blender, pulled out the individual chunks still in there, and ground them up in the spice blender. The below picture is the final grounded walnuts.

Photos by author.

I then added the bread flour, the salt, and the sugar together in a bowl with the ground walnuts…

Photo by author.

…And I blended it all together with a slotted spoon.

Photo by author.

In a separate bowl, I combined lukewarm water with the yeast, and I blended it all together.

Photo by author.

I then added in the maple cream and the melted butter.

Photos by author.

I then whisked all of the wet ingredients together.

Photo by author.

I then added half of the dry ingredients into the wet ingredients, and I blended it all together.

Photo by author.

Once that was blended, I added in the rest of the dry ingredients, tried to whisk it together, failed, and I started to blend the dough together by hand in the bowl.

Photo by author.

I moved the dough to my silicone mat and I kneaded it for five minutes. The yeast had clearly started to activate, as the dough was very stretchy and was clearly (somewhat) growing as I worked it with my hands. As I kneaded the bread, I kept picking out small fragments of walnut that was never quite grounded fully down.

Photo by author.

I then greased a bowl with olive oil, added the dough to the bowl, covered it, and let it rest and grow for the next two hours.

Photos by author.

After two hours, the walnut bread dough had definitely grown.

Photo by author.

I put the dough onto the silicone mat again, and I punched it before kneading it for a few minutes.

Photos by author.

I then coated the loaf pan with olive oil, rolled the dough into a loaf roll that would fit the pan, and placed said walnut bread dough roll into the loaf pan.

Photos by author.

I then covered the loaf pan with a kitchen towel, and left the walnut bread dough to rise for an hour.

Photo by author.

While the dough was rising again, I preheated the oven.

Photo by author.

After an hour had elapsed, I lifted the kitchen towel off of the filled bread pan.

Photo by author.

I placed the bread pan in the oven for 25 minutes, and then pulled it out and covered it with aluminum foil so that I could place it back in the oven again without burning the walnut bread crust.

Photos by author.

After letting it bake for another 25 minutes, I pulled it out and measured the temperature of the bread. Unfortunately, it was too low, so I stuck it back in the oven. I had to repeat this process two more times.

Photos by author.

Finally, the bread came out at the correct temperature, and I placed it on a cooling rack for an hour.

Photos by author.

And here is the final Walnut Bread dish for this week’s Cooking Eorzea!

Photo by author.

After taking this photo, I sampled the (still warm) Walnut Bread. And honestly? I was quite surprised that I didn’t really taste the walnuts or the maple cream. It was a very good bread, don’t get me wrong, but I was surprised at how the unique flavors didn’t really come through in the bread. It was also quite heavy, which was to be expected with the ground walnuts and the bread flour.

Afterword

I am making this recipe again as an ingredient for next week’s Cooking Eorzea column! When I make it again, I definitely am going to work on grinding down all of the walnuts in the blender from the get-go, and I will definitely leave it in the oven longer after I cover it with aluminum foil, so I don’t have to keep pulling it out and putting it back in again. I am excited to see how round two turns out of it!

This is where I start with the ‘thank yous’ every week. I want to thank Victoria Rosenthal for writing The Ultimate FINAL FANTASY XIV Online Cookbook. I also want to thank the staff over at Insight Editions for giving me permission to use the photos from their book to show how these recipes are actually supposed to look. Furthermore, I owe Brandon Rose a special thanks for creating the logo for this series on short notice. You should check him and his works out over on Twitter.

Finally, I want to thank both Hiromichi Tanaka and Naoki Yoshida for producing FINAL FANTASY XIV Online in both iterations of the game.

Next Week

Next week’s Cooking Eorzea recipe is La Noscean Toast, in which I integrate the Walnut Bread recipe into making! I am excited to try making this Walnut Bread recipe again, so please be sure to turn in next week to see how it turns out!

Have you ever had issues grinding up walnuts? What do you think of maple cream?

Let us know in the comments below!

The post Cooking Eorzea Week 24: Walnut Bread appeared first on oprainfall.

At the yearly Games Developer Conference held in San Francisco, you can meet a wide variety of people and companies who are in the video game industry. These people range from AAA publishers and hardware manufacturers to college students who are just entering the industry and indie veterans. One such person I met was David Banner, who is one of the people in charge of an indie award-winning developer/publisher called Wales Interactive. During GDC, Mr. Banner agreed to do an interview with me post-show about Wales Interactive, what goes into creating and publishing FMV/interactive movies, and about the company’s upcoming titles, such as Sker Ritual.

In Part Three, we discuss the inspiration behind Maid of Sker and Sker Ritual, all about the gameplay of Sker Ritual, and more!

If you missed out on Part One or Part Two of this interview, please check them out!

You can find out more about Wales Interactive on their official website, on Instagram, on YouTube, on Twitter, on Twitch, and on Discord.

You can also try out a demo of the latest game by Wales Interactive, Sker Ritual, on Steam through June 30, 2022.

This interview has been edited for content and clarity.

Operation Rainfall: Maid of Sker – why did you develop a game that is based on famous Welsh hymns such as Calon Lan, Suo-Gan, and Ar Hyd Y Nos?

David Banner: Ar Hyd Y Nos means ‘all though the night’ in English. Calon Lan means ‘pure of heart’, and Su-Gan means ‘lullaby.’ As creators you always use inspiration from around yourself, the area you’re from, the memories from where you’ve grown up. Five Dates has to do with Wales in the sense that [you learn about] Welsh culture – the writer, Pual Raschid, is from London, and everything is very authentic because it is about that journey. Even though the stories are made up, that is why it feels authentic, because it comes from the right place. For us, as a Welsh developer, we thought to reflect from where we are from. Even locations in Maid of Sker are from just down the road from where the office is. Sker Point is a real place, you can go to it, and you can see the real Sker House – which looks nothing like our Sker House, by the way. They’ve chopped all the trees and there is no forest. But we use reference points that exist for us, and they are real places. They might not look like the places we’ve created.

The story – you know when there’s an old folkstory or scary story, and every state has the same sort of story but the name of the person might change? So in Wales, ‘Maid of Sker’ is a real story, but in every different town, the name changes and what it is called: it isn’t ‘Maid of Sker,’ but it is a story about an old Welsh song about Elisabeth Williams and a farmer who didn’t think her boyfriend was good enough, and so he locked her in a room and she was supposed to have died of a broken heart. It’s a sad story, right? So we thought that would be great to base a horror game around and expand, using our imagination. So our story diverts from that reality to what we feel about those characters – what her boyfriend would do if she didn’t turn up, and she’s writing to him. That’s the starting point – she has written him a letter.

And then, of course, the Welsh music is coming back to being savvy. Music licenses is really expensive, and we wanted to have a song that we all knew – a Radiohead song, Creep. But it cost too much money for us to use. So, all our music is done in house by an in-house musician. So what we did do was some research, and we knew that there were a lot of Welsh hymns and songs which are really catchy tunes, even if you don’t know all of the words. There’s a real hook to them. But they aren’t in copyright, so you [can] do your own version of them. And they aren’t horror songs. So we thought that in any good thing, if you juxtapose something pretty against something ugly, then you have something. So it became obvious that the emotions in those songs, against the horror background, would transform it into something else. You don’t have to know what all the words are, because the song and the emotion in it sets the scene. They are normally sung in a man’s voice in Wales, so we hired a female singer, Tia Kalmaru. She did a great rendition. Gareth Lumb did the arrangements of the songs. But it added more depth to the thing, and then it is authentic. We are from Wales, and it is really old songs that were written a long time ago. Like Walt Disney used to do – ripping off old Celtic fairy tales – so we’re just tapping into our culture.

So Sker Ritual, even though it isn’t a sequel, is using the same characters. It isn’t an out-and-out horror story. It is essentially an FPS. There is a story mode we built into it. But again, we are game designers – we like playing a lot of ‘gamey’ games. So what we’ve always done as a company [is] we will do some action things and then take a break. If you look back at our history as a company, we’ve done the same thing every time. After we did Don’t Knock Twice, we did Time Carnage. So it’s not the only thing we’re doing, but what we’ve done is use the characters we’ve created in Maid of Sker so our team knows who they are and what they are, so that even though there is a story, we know where the story is set and the timeline. It’s as if we already know the characters and we’ve introduced them. So it’s a familiar thing for us, and we only have to worry about making a really good game. A lot of the team are fans of CoD [OR Note: Call of Duty] Zombies. CoD Zombies is really expensive – you have to buy the base game and then buy this [expansion]. So we identified: ‘Why can’t we make our own version?’ We had two reference points: CoD Zombies and BioShock. 

We literally are having fun making something we can, we are having the live demo at the moment which has gone well. For us, it is something we’ve always done. When you’re in a narrative loop, it’s more about puzzles and there are scripts, and technically, Maid of Sker looks the way it does because we did a lot of work. Everyone thinks it is Unreal, but it’s not – It’s Unity, because the art team spent a lot of time making it look good. It’s never about just the barebones of a game engine, it is about what you’re trying to do with it and make your own. So we literally made Unity look like our own. All the shade work we’ve done, light work we’ve done – we don’t have teams of hundreds of people optimizing the AI program. We’re constantly punching way above our weight for the work we do and the complexity of it. 

“We’re learning about servers and lobbies and matchmaking and all of that – as well as making a good game. So during the [Sker Ritual] demo, we are finding out lots of stuff that we didn’t know about.”

OR: What do players have to look forward to with Sker Ritual? Do they have to have played Maid of Sker first in order to enjoy Sker Ritual, or can it stand on its own?

DB: It stands on its own. If you have played Maid of Sker, there will be characters and stuff that will stand out and the environments. There is a Miracle system in there, so there isn’t just the usual perks, [and the system] can be as sophisticated or lowkey as you want it to be. So there is a lot of depth to the gameplay. And it is mission-based as well. So as you go along the episodes, there is a story. If you want to play the story, there will be a story which expands upon Maid of Sker. I don’t think we’ve ever talked about when it is set – but it is set 18 years after Maid of Sker. In the chaos, there is a mission with a point to it, there is a reason why you’re trying to kill lots of Quiet Ones. It doesn’t mean that we won’t do a sequel to Maid of Sker, by the way. Just because it is in the same world doesn’t mean that it replaces what could happen in Maid of Sker II. It just means that we’ve had great success. You know the films and all are connected – the film is the connection for our work, the way that we promote them together. So with Maid of Sker, we just felt that it just needed a buddy, really. So even though it is not Maid of Sker II, it is in the same world. 

There will be people who will hate Sker Ritual because they loved Maid of Sker. We did an extra mode for Maid of Sker, which led to this – an action mode. We had done all of the narrative stuff, at the start. But we wanted to do a bit of free DLC where after the game was over, then you could run around with guns and shoot Quiet Ones with a limited story. So that mode essentially became its own game, because it was so much fun to play that we evolved that and we can revisit Maid of Sker. We talk about it as if they are real characters, like Abraham or Elisabeth Thomas. It’s easy to do that. But there’s something new, there’s always something we’re planning, because we have to evolve. We gotta keep moving. But at the moment, that is something which we will take a slightly different direction with the Maid of Sker brand.

OR: Is there multiplayer in Sker Ritual? 

DB: Yes! You can play it in single player, but it is one to four players co-op. I was watching – the demo just went live, and we were watching streams yesterday of people and you can really see them fool around. It’s the same thing, they are chatting on strategies, but there’s things to pick up and learn. It’s really nice to see that there is a lot more depth mechanically than they expected, because the story mode isn’t fully in the demo. If you want to be the one in your group to go off and do that, you can. But equally, with [how] these co-ops tend to be, one or two of you can get on with doing the tasks or whatever the strategy is for it. We’ve done local multiplayer, we’ve never done online multiplayer before as a company. So that is a step up, technically, so that’s another way of us challenging ourselves. We’re learning about servers and lobbies and matchmaking and all of that – as well as making a good game. So during the demo, we are finding out lots of stuff that we didn’t know about. The early tests are good, but until we stress test it, we don’t know how we can improve.

Sker Ritual takes place in the same universe, but later on, from Maid of Sker and falls in the FPS genre. (Images owned by Wales Interactive).

OR: You mentioned a moment ago a ‘Miracle System.’ Could you elaborate upon that, please?

DB: Yes, it is Richard Pring’s baby. He was playing an unrelated game, which had it’s own upgrade system, [Hades]. Richard is a big fan. He thought it was cool and thought about how to integrate it into an FPS, because the two themes of Maid of Sker are science and supernatural. When we designed the game, all the way through Maid of Sker was a bit of science – even though it was made-up science – and a bit of supernatural and trying to work that out.

So in Sker Ritual, we wanted to use science and supernatural [again]. Upgrades – perks – are science. The weapons upgrade because some of the Celtic monsters that we introduce – they have their own abilities that you are harnessing like fire, ice, water, earth. It’s the same thing. So what we do is that this is a different way to upgrade your weapon – a supernatural way. We use that system to upgrade your weapon’s abilities. So you have a fire weapon when you have an ice one, if you have the right Miracle. Different magical abilities that you pick up through the game. And then there is the perks, using machines to buy stuff.

The Quiet Ones are still in Sker Ritual, though this time you are not going to hold your breath. You are going to be having scares, because [fighting them is] your mission [from] the start. There is a female voice telling you to do stuff again – and it is up to you whether you trust her or [not]. We’ve already planned four episodes, so they will all have different end bosses and a continuous story, but at the end of every episode, you are achieving something in the story and in the bigger story. For people who wanted a bit more depth than just a shooter, that’s who we are doing it for. It was very important for us – if you log on and there is no one in the lobbies, it operates as a one-player game. We made sure that [the game] scales based upon how many players, everything is still designed to work for one player. If you’ve got multiple players, then you can do things faster. We kept that in mind, because so many multiplayer games fail because they assume the audience is going to be there. We’re planning for whatever happens – even on console, if there is nobody in the lobby, you are playing a single player game. But hopefully, if it goes well, there will be a community that we will try to hold.

We are not Call of Duty in terms of budget or skill, but it is really fun to play. I know it sounds like ‘yeah, whatever,’ but it is a nice game to play. We are still developing it, and there are loads of stuff that we are doing that are not even in it yet. We were expecting lots of things to go wrong [with this demo], but it hasn’t. The feedback has been mainly about tweaks and things that they would like to see in it – extra content, which is what we wanted. So some of the stuff is already on the list and some of it [we go] ‘Oh! That’s cool!’. We might go to Early Access, we might not – we have to see how the demo goes, and readjust then. But this is the first time that we’ve unveiled it and connected servers.

I’ve been testing it on the Steam Deck, and through various bad internet connections to test latency. Really boring stuff, but stuff we all take for granted as gamers because it is just there and framerate drops or ‘why can’t I find anybody?’ and things like that. Timers, and lobbies – the thing we had was that it is a co-op game for four, and if you haven’t got any friends, then you can pick ‘Quick Game’ and it will find somebody to play with. The extra thing was if you fill a lobby with four, it goes straight into a game. If you’re waiting – how long do you wait? It’s things that developers, if you’ve never come across it, have to [decide]. I want to play, I don’t want to wait for a lobby, and I am happy with just two players – I want to play now. So little things like that – we are on a journey of learning at the moment.

OR: What platforms will Sker Ritual be released on, and do you have a target release date?

DB: It’s coming to PC to start with. Essentially, we are going to make Episode 1 to 4. We’ve already designed a linear game. Depending on the community, we can add more DLC. But if we were to execute it, it would be a one-player game. That will be released literally before the end of the summer. Might be Early Access depending on the demo. But console will be Q1 [2023]. But because of the multiplayer nature, we have to stress test it on PC first because we’ve never done one as a company before. We’re really good at publishing multi-platform console games. For this one, we got to slow down a bit while we make sure that we have the underneath correct on how it deals with stuff, because that is unknown to us.

A player costs us money – we got to pay for the server, so we gotta work out the business of it as well. The demo is free to play, the base game won’t be free to play. We’ve got to work out what it is – and from these early stats, how much per player it costs. There are really boring stuff that you don’t think of that we have to. It’s exciting, for the team, it is the first multiplayer online game that we’ve made. And then watching other people play, not just one [at a time], with four people running around trying to break it or making jokes. So that’s a different experience for us.

“[Making video games is] all that I know now – making something from nothing and selling it, and collaborating with people who have the skills to make it happen. I couldn’t do it on my own, I need to have a team.”

OR: Do you anticipate cross-platform co-op for Sker Ritual?

DB: Yes, if we can, we will. Xbox is a natural for us – not going to say it is earlier, but there is a natural synergy to releasing on PC and on Xbox. Whether we will be focusing on next-gen platforms – we will probably aim at them to start with. Still, the userbase that have PlayStation 4 and Xbox One [are also important]. But because we have made something that is higher level performance-wise, we need to hit it because there is a lot more everything. More AI, more particles, more everything. I was surprised at how optimized it was, but it still does lag in places. That’s what really slows down console – with PC, you turn down the settings. With console, if you know it works on one iteration of console, then it works on all of those consoles. There are some things that may not work across all platforms, so we have to work that out [when] we port those things. 

Sker Ritual has up to four players at one time in co-op gameplay. (Images owned by Wales Interactive).

OR: Final question. What is the best piece of advice you’ve ever received in your career for someone who wants to get into the games industry?

DB: That’s a broad one. The reality of it is, there is more opportunity than there ever was, but it is still about opportunity and your initiative. I was an artist who wanted to try to make a living in the games industry and I became a designer doing art. But I made that happen, it didn’t come to me. My enthusiasm and will – I basically used lots of initiative and wrote to lots of games companies. So what we have now is that we have easier access to games companies, and there will be a lot more competition. But I would say that I’ve never seen a time in the game industry that has so many jobs being advertised. And the great thing now – back in the ’90s, people thought you had to be a programmer. But they expanded it to ‘you can be a programmer, but you can be an artist.’ And now you can be an accountant, you can be tech support. There are so many different jobs in the gaming industry that if your passion is games, you don’t necessarily have to be the person making or promoting the games. You might be the person supporting the making of games. That initiative is still important to figure out where you fit in the games industry, that initiative – whichever that is, I suppose.

In 2020, just before the pandemic, my university, De Montfort University, which is in a place called Leicester, England – they honored me with an honorable doctorate. So I became, which is funny, a doctor of technology. I’m not the guy to fix anything technically – but when I turned up, they said that they wanted me to do a speech. Silly me, I thought it would be in a small room but it was on a 360-degree stage with all of the people graduating and families there. And they wanted me to make it inspirational. So the advice I gave was based on games – and it is exactly what it is I do. I play video games, I explore the map, I don’t always go down one route [because] you get the bigger rewards going off the maps sometimes. And the other was that life is not a single-player game, you’re going to need that support network sometimes throughout your career of friends or family or whatever. So I used the analogy of what we do in video games, the life lessons to be learned. It went down well.

The reality of it is – I love working in the games industry, and I have for 27 years. I haven’t lost the passion for it, because I have evolved with very different skills than where I started. It’s all that I know now – is making something from nothing and selling it, and collaborating with people who have the skills to make it happen. I couldn’t do it on my own, I need to have a team. And that is the fun of making something – you’re on the precipice of failure. I think Sker Ritual is my 50-something game that I’ve made. They aren’t all massive, but I’ve made a lot of stuff, and I enjoy making stuff and problem solving. Especially when I’m doing stuff and people say ‘Don’t do that stuff’ – that’s the kind of stuff that I then do. When people say no, it makes me want to do it more – which is a weird thing to have, but that is the indie way. Trying not to fall, trying to carve out unique niches.

OR: Thank you very much for talking with me.

A very special thank you to David Banner for taking the time to talk with me about all things Wales Interactive. I sincerely appreciate you taking the time to chat with me.

Have you tried out the demo for Sker Ritual? Let us know in the comments below!

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It’s time for a really special piece: an interview with the developers of Good Luck Baby! Following our coverage earlier this month, this writer had a few questions regarding the staff involved and the direction of the game. Fortunately, the duo were really kind and ready to answer my questions regarding their promising yuri title. Ahead will be a ton of questions regarding their beginnings, their last title and the current title. There will be tidbits about the story, characters, and so much more. If you like what you see, please consider visiting the Kickstarter page here, and their Twitter here. I want to take a moment and thank Noodletub Games for the opportunity to get this interview done. Let’s get on with the questions, shall we?

Operation Rainfall: It’s always exciting to have a developer come on for an interview. May I kindly ask you introduce yourself to our readers?

OSENA: Thanks so much for having us! We’re Noodletub Games, and we’re a two-woman team of indie devs comprised of a writer and a programmer specializing in yuri-only games. I’m Osena, the programmer and general stuff-doer. Besides crying in code, I handle character design, most in-game graphics, and the social media side of things.

CAT: And I’m Cat, the writer for Noodletub! I come up with all the stories, character ideas and responses to longer emails, reviews or messages that we get. It’s a real pleasure to be doing this interview, so just to echo that again, thank you so much for having the both of us!

OR: Before we get into current stuff, I want to ask about the team itself. The first campaign I saw from you was the ever-so colorful Love Bakudan a couple years back. Before you got on that rollercoaster, how did you two decide that you were going to try this game development thing for yourselves?

CAT: To be honest, we just really got the itch to be able to put our own creative works out there in the world. We’ve both been interested in the idea of making games for a long time, as far back as 2013, which was the year we came up with our first game’s idea, THE GHOST OF YOU. That was originally going to be an RPGMaker game, but at the time we both had a lot of other commitments going on, which meant we couldn’t really work on it full-time as we wanted.

OSENA: Yeah, that about sums it up. We’re both super creative, like we’re always thinking up wild new characters and ideas in the middle of the night, or while doing other things, so having an outlet for all of that energy is pretty cool. It’s even cooler knowing people like the weird stuff we come up with!

CAT: For sure. On top of that, I think we both just got kind of tired of getting queer-baited by other instances in mainstream media, so we wanted to just make things that were out-and-out girls falling in love with each other. It’s very gratifying to be able to see your own creations out there in the world and seeing other people’s opinions on them, so once we actually bit the bullet and made a game, it was pretty much something we knew we wanted to do as a full-time career from that point on.

OR: When I got my hands on Love Bakudan, it was this colorful yet so down-to-earth girls’ love story that was absolutely unique in presentation. I have to know where the motivation to craft this story, with all its charming tidbits, come from and does it share any similarities with your current campaign?

OSENA: First of all, thank you for the praise! We’re both super happy that you enjoyed the game so much. Love Bakudan was actually two previous game ideas of ours that got combined into the smutty adventure it is today. There was one that was a NSFW visual novel about a girl running a bookstore. It wasn’t a dirty bookstore, but there were pretty ladies fawning over the shop owner, so that part stayed intact. The second game was also set to be NSFW, but super shameless; it basically had no plot and was about picking up girls at a bar in Tokyo. Characters like Sei, Yuki and Himeko were formed in that version of the project though, which is weird to think of now!

CAT: Yeah, it’s really strange to think of any of the Love Bakudan girls outside of what it went on to become. It’s definitely gone on to touch people’s hearts in ways we never expected. We’re very happy with the finished product as it definitely works better as a single entity. So, I guess in summary, the motivation came from a desire to see as much girls’ love as possible in one game, but to actually put a pretty big plot behind it.

OSENA: As for similarities to Good Luck Baby! … well, it technically takes place in the same continuity as Love Bakudan! Kasumi is actually Sei’s relative. There’ll probably be a few sneaky little references in there, but other than loose connections, it’s a story unlike any of our previous ones in terms of content.

OR: On the subject of current campaigns, you’re back on the crowdfunding trail with Good Luck Baby!. What can you tell us about this campaign that’s doing well over there on Kickstarter?

CAT: To be honest, we are totally shocked by how well Good Luck Baby! has gone on to do. I mean, getting the funding within 24 hours was absolutely beyond anything we would have ever dared to imagine. It’s interesting to have seen it blow up in such a way. I think that the plotline this time really seems to resonate a lot with various different people, especially with the themes of finding your own family out there in society. I think sometimes you just want to read something that has a good mystery to it, but also manages to make you feel the warm fuzzies that we think come with this story.

OSENA: We must have a good luck baby of our own watching over us or something, because the response really has been mind blowing. It continues to be, too! We get messages every day from people telling us that they can’t wait to play it, which never stops being a humbling and touching experience.

CAT: I absolutely agree. The reception this time has been very different to Love Bakudan, where with that campaign, it was mostly quite clinical questions people would ask us – what platforms it would come out on, what certain rewards meant, etc. But with this one, we get a lot more of people’s heartfelt feelings. It’s honestly been a dream come true so far.

OR: There’s a lot to digest here so let’s start with the characters. Hifumi is perfect, Kasumi is breathtaking, Oda is cute, Saki could beat me up and I’d be happy. My list of compliments could go on and on. How did you two approach the character designs this time around?

OSENA: Aah, again, thank you!

CAT: Yeah, thank you very much for the kind words! I’m sure Saki would be thrilled to hear such a thing. With regards to the character designs, as Osena previously said, she comes up with all of them. I think generally we just really like to come up with characters that we personally feel look good together. One thing I will say though is that the design for Hifumi is intentionally supposed to be quite subtle when compared to a more bombastic, colourful girl like Kasumi. Hifumi is a girl who feels as though her life is incredibly ordinary, so we wanted her design to reflect her personal feelings.

OSENA: She’s pretty, isn’t she? I like Hifumi-chan a lot, too. The way I typically approach character design is like Cat said, really: these girls are going to inevitably be paired up, so I try to put a lot of thought into who’ll look good together and making them distinct. Complimenting colours, or conveying attitudes is important. Like for example, Saki is pretty monochromatic in design – even in full-colour – to reflect her more grey moral compass compared to the bright main characters. She’s also inspired by wolves, since she’s a loner with a bad bark.

OSENA: I’m not the best at art, but our artist, @mpmrpjb, has done a fantastic job of taking the rough drafts and conveying the designs as we envisioned them. We just wanted to give her a shout-out as she’s definitely a big reason that Good Luck Baby! has already begun to succeed in the way that it has!

OR: I’ve been staring at the Kickstarter page for a fair bit now and I’m starting to notice something interesting. There’s arcana on all the character bios. Is this a clue for what’s going to happen in the story or am I simply overanalyzing?

CAT: You’re absolutely right! We tried to pick Arcanas that would reflect each individual character and their roles in the story. With Hifumi and Kasumi, obviously The Moon and The Sun go together in harmony; Oda is, well, the Good Luck Baby, so Wheel of Fortune reflects him nicely! All of the Arcana were chosen deliberately for their individual meanings, so it’s really cool that you picked up on that!

OSENA: Good eye! There might be a subtle hint or two more on that page to do with roles and the story …I won’t say anything else though!

OR: Another thing I noticed while browsing was that you responded to a comment on the campaign stating that Good Luck Baby! will be a completely work-safe game. Seeing how Love Bakudan was 18+, it certainly surprised me. Is this a case of just wanting to try something different or was there more to it? In addition, the little pervert within me wonders if there’s a chance we could see 18+ content for the game at all, whether now or further down the line.

OSENA: Good Luck Baby! is set to be totally work-safe for a couple of reasons, but the biggest one being that we’re eventually aiming for a home console release with this project. With that goal in mind, we wanted to keep the contents pretty clean – I’ve heard Nintendo is pretty hyper aware of content that could hurt their profit margins during their review period, for example. We actually considered trying to make a “clean” edit of Love Bakudan for potential console release, but if you start removing every reference to sex in that game, there wouldn’t be any game left! So it’s been left on the cutting room floor for now. There won’t be any NSFW for Good Luck Baby!, but we’ll definitely go back to dabbling in new and unrelated 18+ yuri games sometime in the future.

CAT: We just really enjoy writing 18+ content too much, to be honest with you.

OSENA: Yeah, no shortage of ideas for that here…

OR: A lot of times people cite crowdfunding as this super intimidating process to do even once. You two are doing it a second time and doing well, might I add. How do you compare your experience with both campaigns? What’s your advice to developers contemplating crowdfunding?

CAT: Oh, yeah. It’s super intimidating. I mean, you never know how people are going to respond to something you’re putting your heart and soul into, but honestly my advice? Just go for it. You have literally nothing to lose and everything to gain. I think it’s something that has not only shown that there is an audience for the stories we love to put out there, but it’s also just really re-affirming to have people show their faith in you putting out something that they want to enjoy. I think the sense of sheer satisfaction totally outweighs any sense of intimidation, but that’s not to say it’s not slightly terrifying.

OSENA: We went into the Love Bakudan campaign totally blind; at every turn we were like, “what? A cover? A pitch? They want all this stuff?!” But that experience helped make the setup for our second campaign much smoother. Putting yourself out there never stops being nerve-wracking, no matter what you’re working on. In a way, the Kickstarter is like a mini project in and of itself; writing up the pitch, making a bunch of graphics, fine tuning it over and over and over again… The advice I’d personally give is: don’t be afraid to reach out to people. I still kinda wanna puke every time I send off an email to a website or blogger, but you’d be surprised at the amount of love you’ll receive!

OR: A couple hopefully easy questions to end the interview: what do you see as the best part about making games like Love Bakudan and Good Luck Baby!?

CAT: Definitely that we get to make completely original and thoroughly yuri-centric stories, for sure. I’m always of the opinion that if you want to share something with the world, then you just should. The best part is getting to create these worlds and breathe life into them, especially with the help from people on Kickstarter who enable us to actually make these things. It’s incredibly stressful to actually begin making and developing games, but at the same time, there’s no better feeling in my book than seeing something you wrote and helped create actually come to life.

OSENA: 100% agreed. Once the game finally starts to come together – all of the art is in place, the story’s wrapped up, the UI and font and everything is looking just right, and no bugs are gonna ruin this moment – it’s a feeling unlike anything else. It’s like seeing a baby walk for the first time, a really special feeling I could never really put into words. Chasing that high is the gamedev experience, I think.

OR: Lastly, and thank you for your time, is there anything you want to tell our readers, potential backers, fans that already backed you?

CAT: I think for people that have already backed us as well as long-time fans, thank you so much. I don’t think we could ever put it into words just how much this means to both of us, or how simply life-changing it is that we get to be lucky enough to call this a career. It affects so much more than just someone you see on Twitter who happens to be making a game. I mean, both of us are individual people with real lives and families and stuff that we want to support and look after, so to be able to have an actual way of doing that through a medium we love is incredible.
For people who may not have backed yet or are just hearing about us for the first time, I sincerely hope you have enjoyed reading our candid thoughts in this interview and that it’s made you interested in seeing what we’re all about.

OSENA: Thank you for the opportunity, seriously! I’ll definitely echo Cat’s grateful sentiment; it’s truly a dream come true to be able to share our stories with the world, and for the world to enjoy them as much as we do creating them. We’re only a tiny little two-dev team, so every comment, every tweet, every piece of fanart and every well wish goes straight to the source. So thank you all from the very bottom of my heart! Good Luck Baby! is a story the both of us have wanted to tell for a long time, so I hope that people who are hearing about us for the first time and longtime fans alike join us on this.

The post INTERVIEW: Good Luck Baby! appeared first on oprainfall.

At the yearly Games Developer Conference held in San Francisco, you can meet a wide variety of people and companies who are in the video game industry. These people range from AAA publishers and hardware manufacturers to college students who are just entering the industry and indie veterans. One such person I met was David Banner, who is one of the people in charge of an indie award-winning developer/publisher called Wales Interactive. During GDC, Mr. Banner agreed to do an interview with me post-show about Wales Interactive, what goes into creating and publishing FMV/interactive movies, and about the company’s upcoming titles.

In Part Two, we discuss how players can be happy no matter what ending they achieve in a game from Wales Interactive, how it was filming interactive movies/FMVs while in COVID pandemic lockdown, what it is like attending film festivals as game developers, and more!

If you missed Part One of my Wales Interactive interview with David Banner, then you can check it out here.

You can find out more about Wales Interactive on their official website, on Instagram, on YouTube, on Twitter, on Twitch, and on Discord.

You can also try out a demo of the latest game by Wales Interactive, Sker Ritual, on Steam through June 30, 2022. In Part Three of our interview, David Banner and I talk all about Sker Ritual, so please be sure to come back for that!

This interview has been edited for content and clarity.

Operation Rainfall: With how FMVs and interactive movies are, not everyone will see all of the available endings or even more than maybe one or two endings. How do you make sure that people come away feeling ‘satisfied’ with their gaming experience, no matter what ending they may achieve?

David Banner: What we’ve found – and again, when we first started doing this, we didn’t plan them to be social things; we were making solo entertainment experiences – what we observed over the first one released in 2015-16, over the years, these games were communal. What happens, especially when there is more than one ending or more than one path – say people play the [game] and get an unsatisfying ending, you find they are using other people to watch the film again and telling the story in a different way. Sometimes, you want them to fail on their first try because you want them to go again. And of course, [due to] the mechanics of the game and achievements, people do go again anyways. What we’ve found is that people enjoy watching them on stream.

When we did the [Carmarthen Bay Films Festival] the other week – we had never done it before, Twitch streaming and stuff, but that was interesting because we didn’t know that it would work. But it’s still the same thing, just a pile of people in the audience and there are discussions because we put in a screener mode that is a ‘push pause’ mode. That is so we can discuss what’s happening. The interesting thing about the ‘Netflix generation’ is how they binge watch. It’s interesting, though – say there are weaker shows that people watch on different platforms, you got your phone on and you’re looking at Facebook or whatever, and I might have my Switch on. We have so many screens open that we are not reading it all. With Stranger Things, I wouldn’t watch on a [different] screen as I am totally invested. So the interesting thing is that we would pause our entertainment and chat with other people, and so it’s designed around the idea of experiencing a story and not watching it all in one [go] and enjoying it, but chatting with other people about it. And that’s part of the entertainment as well.

So it just allows you to experience it in a different way than sitting in a dark cinema for three hours, hollering at parts you really enjoy, and then getting up at the end. You can watch [these games] at your natural pace with people or on your own, and enjoy having discussions while you’re watching them. That’s a multiscreen. When I was a kid, there were four TV channels and if you wanted to watch a show, you had to watch it the only time it was on, and now we are in a world where you can watch what you want when you want it. And equally, there is so much content that we are all distracted – if something doesn’t have our attention, then we are doing all of the things and are on our own devices at the same time multitasking. 

“So, what you’re trying to do is make the thing you’re trying to make, make the best to your ability, and try to find people who like what you do and are willing to part with money for it.”

OR: To shift gears – Who Pressed Mute on Uncle Marcus? was filmed simultaneously in lockdown in London and Los Angeles. How was it coordinating filming in wildly different time zones?

DB: It’s actually two different people [writer and director] for Who Pressed Mute on Uncle Marcus?, right? Essentially, they were new to it. So it’s the same as anything to them – it was strange, really: the fact that some of the talent wasn’t even on the same timeline, so they basically had to just slide the schedule based upon who was acting. It was done really well – when it was all connected together, with all of the tight Zoom films we do, you get the feeling that they are actually talking to each other, which shows you how good the writing and direction is, because they are not physically in the room with the person they are talking to. They are [instead] talking to the director who is directing them.

Even for Night Book, another game with a different writer and director – [the lead actor] was based in Paris. So again, it’s the same sort of thing. They are afraid initially of trying it, but they experiment with stuff – even posting them stuff that the actor [uses] in their role, props and such. Things like that take more time, because they have to be packaged up and sent before the director’s time with them. But again, that’s technology helping us. And then there’s the language of technology – of Zoom or Facetiming. Those ones were because COVID didn’t allow us to not do that, but equally – you picked stories that accepted that sort of setup. Actually, Ten Dates is back in real life for the sequel just because we could. So you’re not locked on a screen now. You’re seeing people in real life environments and having dates. Again, that’s the idea for us. We could have played it safe and done the same thing again, but we moved on because we could.

OR: With Five Dates and Who Pressed Mute on Uncle Marcus? filming in lockdown in people’s homes, what was it like directing and shipping equipment? How were the logistics done for that versus filming on location in Wales?

DB: Well, for us, we don’t do any of that. For Uncle Marcus, Five Dates, and Night Book, our production partner, John Giwa-Amu – a Welsh indie filmmaker – his team really handled that. Together, we identified the writer and director we were going to use. If they are new, we have to educate them in what interactive thing we are making and how we are going to make it. But we have several good line producers. I talked to the directors [about] what we need, and then we make a gift box of goodies to be sent. Sometimes it can be camera equipment, posters, props. But equally, in Five Dates, we sent them iPhones. We went up a level. But again, most actors have never done their own makeup. Because it was so unknown and during lockdown and they couldn’t work anyway, it was something they embraced. Something creative and unusual came out of it anyways. And that’s the thing – you never quite know what will happen.

In Five Dates, everyone we show it to is expecting it to be rubbish and for them to take the piss after it. And even in the cinema, everyone expected it to be awful. And it was so funny to see them getting sucked into it. And that’s the nice thing – it comes down to the writing, direction, acting, production, the tech that drives it – it is a real collaborative effort. It was always meant to be like that, even the edits that come after the fact. So the sort of innovation of working with actors that are not physically there is something that has physically evolved over the last two-and-a-half years, and the crew had never done it before so it was trial and error, really. And the by the third one, the boxes had become standard. Making sure of what they had already and what they didn’t have already.

Costume-wise, for something like The Complex, we had a costume designer designing some of the clothes. Some of them were bought, some of them needed to be made because they didn’t exist yet. And that’s something that’s obvious for a production team. But for Zoom, you’ve got to work with what they’ve got, but there will be some bespoke stuff that they need for the production, especially for 3D drawings and such that need to be generated and sent.

The Shapeshifting Detective, also by the same development team behind Who Pressed Mute on Uncle Marcus, is a supernatural FMV murder-mystery title released in 2020. (Images owned by Wales Interactive).

OR: The Infectious Madness of Doctor Dekker is different from Five Dates or Who Pressed Mute on Uncle Marcus? because it was developed by another studio, D’Avekki Studios, who Wales Interactive later co-developed The Shapeshifting Detective alongside. When Wales Interactive is not developing the game themselves, what role do y’all play with helping other studios in developing their own titles?

DB: The funny thing is that Tim and Lynda Cowles, the creators of [The Infectious Madness of] Doctor Dekker and the writers of [The] Shapeshifting [Detective], they went on to do Murderous Muses as their next thing. But I suppose the role we paved with them, creatively, because we pay them royalty checks – we’ve made them self-sufficient. It’s the indie dream, isn’t it? The collaboration happened – we get on really well, actually – but the reality is that they don’t really need us anymore. The games that we represent still sell well because of the body of work we’ve got.

What we have done creatively is help them create a sustainable business by creating a revenue stream that is more constant than if they were on their own. Outside of that, it’s just trying to do what we’ve done for ourselves: make them self-sustaining, so we’re not going around to all the publishers to make our thing. We literally can do what we want where we want it, which is a nice thing to do after years of fighting to make that happen. So we try to pass on that knowledge, because the games industry is so competitive. If you think you can compete in with any indie, you’re a fool, because the likes of Epic, Rockstar, EA, whatever – the reality is that our games are in stores and they just got featured on the front of Steam, and [when] you see the games around it, that’s who we are competing with. So that means that as indies, cross-collaboration is great, especially when sharing skills and knowledge. And of course, we’ve advised them on a lot of business-related stuff: how to set up things, tax advice, even the boring stuff that you don’t see. It’s not necessarily about the creative stuff, it’s about the other side that you don’t see when you’re just buying the games and [going] ‘Oh, I like this, I don’t like this.’ They are just human beings using their skills to make entertainment, and hopefully find an audience. 

The indie community is great. I love going to the shows because I like going to parties and meeting other developers, some of whom I’ve known for years and some I’ve just met – swapping stories, pats on the back, and whatever. That camaraderie in the gaming industry is unusual from my experience in animation because you’re competing against everyone else for work [in animation], but when you’re releasing a game, you’re competing with every other game being released on that day and have been released years and years ago. 

So, what you’re trying to do is make the thing you’re trying to make, [to] the best to your ability, and try to find people who like what you do and are willing to part with money for it. And that’s what success we’ve had for the last 10 years.

The Complex is an award-winning interactive movie that tells the two of two scientists trapped with limited air in a laboratory after a bioterrorist attack takes place in London. (Images owned by Wales Interactive).

OR: Before we close out this interview talking about Maid of Sker and Sker Ritual, let’s talk about film festivals. What has it been like going to film festivals, and where did you get the idea of submitting to them?

DB: The film festival thing was – we got an email in early 2019 from the Busan International Film Festival in South Korea. They basically said ‘we like what you do, will you come to our festival?’ We were like ‘Is this a scam?’ So after a few emails back and forth through Google translate, it turns out that one of the organizers was a fan of some of the things that we’ve been doing, and they asked us to go over there. So we never thought we would go to the Busan International Film Festival, to be honest – we didn’t know what it really was [but] apparently it is the Cannes Film Festival of Asia. I’ve been to the Tokyo Game Show, I’ve been to E3, GDC, Cologne [OR Notes: Cologne is where Gamescom is held], I’ve been around the world to game shows. I’ve been to PAX. I’m pretty well traveled to game events, and I love them. But the film ones, because we didn’t really think of ourselves as filmmakers, we’re making video games … that was the first time someone really sort of recognized us for making film.

So we went over there, [and] it was brilliant. We went to Seoul for a few days and then traveled down the bullet train to Busan. We did a talk there with the international language of pointing. It was just great to see that, even though we were a tiny part of the Busan International Film Festival, the fact that they recognized our body of work was really nice. That was one of the first indicators to us of ‘Hold on for a minute, maybe we should look into putting our work out into different film festivals.’ Unfortunately, the pandemic hit in 2020. The Complex was going to be in the Belgian and the Dutch film festivals – it was going to be in a lot of film festivals. And of course, COVID hit and there was no film festival. That sort of killed the momentum. The Complex ended up getting nominated for seven British film festival awards, and it won three of them. But we didn’t get to go, we got [told] in an email. So it was winning an award and not getting to go on stage and chatting with people. It wasn’t the same as in an email. But what we found out was that [our] work was starting to get recognized, and it was still an uphill cause – the film industry really doesn’t know what interactive movies are and definitely don’t know what an FMV is. Hence, why you have the shift in terminology.

At the Carmarthen [Bay Films] Festival, we had four films nominated there. I think it was one of the first film festivals ever to have interactive movies. Our work, when it qualifies, will be entered. Carmarthen [Bay Films] Festival, which is Welsh, has filmmakers from all over the world. There’s a guy is from LA but he is from New York originally, and he had a documentary about cycling. He came to talk to us, because it blew his mind what we were doing, because as a filmmaker – they don’t have the indie business model in film. They are there, hoping to get discovered by showing their film. It isn’t monetized. His day job was that he works for a successful show as an editor, and he is telling me that this is his passion. It’s his idea that if he gets discovered, someone might give him the reins to make a thing. But obviously in the games industry, we can, if we want, take it all the way to market and find an audience without having loads of money. Yes, there is YouTube for films, but they are there to get selected because the festival gives them a seal of approval, and if they get enough seals of approval, it validates their [film], I suppose?

For us, I suppose, we’re trying to validate our films, but they are not linear films. They are films you can enjoy multiple times and change out [the experience]. When we sell [these films] as games – they are games as well – the medium is film rather than cutscenes or what Telltale Games did [for their games]. We’re using film because Wales has a lot of film industry production companies because lots of Netflix shows, Doctor Who, [Amazon] Prime, Disney+ – they just finished filming literally down the road from us. So, it’s ‘hold on a minute, Wales is one of the places to go to film anything in the world. Surely, we should tap into that because if we’re having all the best people making these things with our low budget, it’s going to make our stuff better.’ It’s not a surprise, because we are collaborating with better [film] people that have experience. 

What do you think of the role of interactive movies/FMVs in film festivals, and how these games operate outside of the traditional film festival funding structure? Let us know in the comments!

Please return tomorrow for Part Three of my interview with David Banner of Wales Interactive. We will be talking about Maid of Sker and all things Sker Ritual!

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