Under Night In-Birth Wiki

Serizawa, Yoshihara and Narita

This interview with the developers was published in the Start-up Navi when it released about a month after the original UNDER NIGHT IN-BIRTH had just started operating in the Japanese arcades.



The Road to the "Hollow Night"...
The development team behind this game will reveal the unknown details behind the creation process. We will be touching various topics from the initial pitches, the characteristics, to the concept of battle balance. A must-read for the fans. What are the upcoming developments....!?

Planner: Serizawa Kamone

The planner behind UNDER NIGHT IN-BIRTH. He works on plotting and programming attack motions.
He is the supervisor of the game balance and responsible for the fine tuning.

Planner / Designer: Yoshihara Seiichi
The designer of UNDER NIGHT IN-BIRTH. He works on character designs, illustrations and pixel animation. The world setting for this game has been in making since Yoshihara's school days.

Director: Narita Nobuya

The representative of FRENCH-BREAD. He is the producer and director of UNDER NIGHT IN-BIRTH and works on assisting the production. The world setting of this game in based on Yoshihara's original idea, but reorganized by the talks he had with Narita.

--First I'd like to ask you to explain what lead you to begin developing this game.
NARITA: The talks about creating an HD game (*1) have been going in for a while, but the trigger was the project proposal Yoshihara pitched. I remember us talking about development time for this game being about a two years. Looking back, I think we gave the first information to ARCADIA magazine a little early. *laughs*
SERIZAWA: At the earliest stages of development, I was still busy with the balance adjustments for the version update of "Melty Blood" (*2). I only participated in development after the matter regarding balance adjustments had been completed.
YOSHIHARA: When it comes to the HD visuals, we really needed to pour a lot of effort into the graphics. I drew out Linne as a test to demonstrate the level of detail for the project proposal. All the characters and the world setting for this game are products from my school days. I really enjoyed designing stuff for this game. Within our staff, the game was referred with a project name: "Yoshihara Fighting". *laughs*
NARITA: When I saw the initial proposal, I was like "HD is nice and all, but when is this going to be complete?". *laughs* The project was filled with lots of first-time experiences for us, and I was pretty anxious if everything was going to work out.

--I'm surprised to hear such a grand world setting is from Yoshihara's school notes. Who was the first character you proposed for the game?
YOSHIHARA: It was Linne. This character was taken straight from my notebook without changing the design at all. Yellow has always been her color.

--In the editorial department, the nickname "Linne-chan" is very popular. There was a meeting to decide which writer took care of her parts and it nearly turned into a fight *laughs*. What about the protagonist, Hyde?
YOSHIHARA: The original idea for his design was already pretty much set, but after talking with Mori (*3) from Arc System Works, I decided to make him look a bit more "like a protagonist" and redesigning him took some time. When you compare him to the original idea, it's like he's almost a completely different person. By the way, on the planning stage we called the game "VOID RED". It was a name related to Hyde. There were also a few other titles before we settled to "UNDER NIGHT IN-BIRTH".

--What kind of idea was behind creating Merkava?
YOSHIHARA: The biggest reason is that I personally love characters with that kind of look. Not exactly creepy-cute, but a being with obviously mysterious appearance and a bizarre fighting style. He's type that will look really cool when you see him in action. That was my goal.
NARITA: When we were creating "Melty Blood", Yoshihara was the one who strongly appealed that we should add Nrvnqsr=Chaos. He might not look like Merkava, but they share the same type of coolness that comes from a suspicious appearance.

--Was Yoshihara also the one who though up all the Special Attack names? Hyde's attack names left a big impression with their "chuunibyou" (?) feeling.(*4)
YOSHIHARA: That's right. The characters names also come from the setting that I use as a base. There were some names that felt too old-fashioned and were changed.
NARITA: I wonder if the player's will be able to remember all of Hyde's attack names? Only a true fan can write the kanji-version as well. *laughs*

--I get the impression that the story and world setting have been planned out carefully. Was there something you were being particular about when this game is releasing on the arcades?
NARITA: The original world setting that Yoshihara provided was really complicated. However, we adjusted both volume and vectors of the world in order to express it well within an arcade game. It's a brand-new story which requires quite a lot of explanations, but it's not allowed to become tedious, so the explanation need to have a good tempo. Yoshihara has the mentality of a designer, so his sensitive expressions *laughs* took a lot of time until the whole team understood it. Until the very late stages of the development, the team was really puzzled about "how do you express the Glittering Darkness?" *laughs*
YOSHIHARA: I'm truly sorry about the trouble I caused. *laughs*

--Were some things in the world setting you changed from Yoshihara's initial setting to fit better into a fighting game?
NARITA: The original setting only had few female characters, so I made requests to increase their number. The character in Orie's position was originally a male.
YOSHIHARA: Yuzuriha was also designed after Narita requested more female characters. There were also many designs that ended up completely scrapped. Some didn't fit into the world setting, some didn't work as a fighting game character... Those were what ultimately decided the roster.
SERIZAWA: Hilda hasn't really changed since the initial plan.
YOSHIHARA: That's right. Some of her expressions are different, but the overall feeling hasn't changed.
NARITA: It was difficult to create Hilda's moves, because of her big hairdo and tight clothes. We learned this the hard way after seeing the actual animations. *laughs*
--Could you please tell us about what you were being particular about when creating an HD fighting game.
YOSHIHARA: Making sure the graphics were accurate. Another thing was to make sure the character's size and reach was appropriate as the fighting took now place on a wide screen. I didn't want the characters to have any actions where they were forced to curl up. At the earlier stages, I thought up various long reaching attacks for the HD wide screen and almost every character ended up with attacks that reach for the full screen. The scythe that Gordeau wields was originally really huge and reached any place on the screen, so I had to make it smaller. *laughs* It's still plenty long though.

--What were you being particular about when tuning the fighting game aspects?
SERIZAWA: There were all kinds of attempts to incorporate Yoshihara's setting and characters into a format that fits into a fighting game.
There were even some that were created all the way into a test phase only to be judged as not suitable for a fighting game. As for the fighting game balance, we aimed to create something that was pleasant to play. There are some characters that changed greatly from Yoshihara's original concept. For example, originally Hyde was supposed to protect a little girl during fights. It was really difficult to incorporate and that's how we ended up with his current style.
YOSHIHARA: Originally, playing as Orie meant controlling three different objects: Orie herself, Thanatos and a coffin. When we actually tried to play her in this state, it felt really inappropriate for a fighting game. The hurdle for picking Orie would have been way too high. That's why we settled on her current form.
SERIZAWA: Orie is visually a very conservative character, so I wanted her gameplay to be gentle for the players. We also made sure to insert some functions that the hardcore players will appreciate, so I'd be happy if you tried her out.

--Were there anything you did to give a similar feeling or to differentiate this game from your well-known title, "Melty Blood"?
SERIZAWA: We were pretty conscious to differentiate the two series. We've added many moves to Melty Blood, but the main tactics revolve around the vertical movement that comes from the use of jump. In this title, the importance of grounded battle is huge. There are some characters who are strong when attacking from midair, but we've incorporated various elements to the spacing game, like good anti-airs and pokes.

--Hyde's anti-air attack is really powerful, so figuring the play style with him was quite easy. Every character has some outstanding attacks that are going bewilder the opponent. Were you taking these into consideration when balancing the game?
SERIZAWA: That's correct. The performance of characters' attacks is usually set to the stronger side. There are attacks that can be countered when you're prepared and then there are those that have serious risks involved. There's a lot of practice to reach that level, but until then you can enjoy the pleasant feeling of getting the Special Moves come out correctly.

--When talking about characters with difficult fighting styles... Merkava and Carmine pop into my mind. What are your thoughts?
SERIZAWA: For me, it's characters that you have difficult time to understand their main way to attack. Yuzuriha is tuned to be technically hard to use, but I was surprised to see several people managed use her on a pretty high level during the loketests
YOSHIHARA: I also would love to use Seth, but he's pretty difficult *laughs* Linne is pretty easy to use, so she's currently my main.

--Seth definitely is difficult. He's the type that has unique movements to confuse the opponent, so playing him requires a lot of fast inputs.
SERIZAWA: Unlike Hyde, Seth was made with the intention to make him look cool. He has a really high degree of freedom in his playstyle.
Seth doesn't have just a single Special Attack that's his main tactic. Instead, you have to wield all his moves to make sure the opponent can't catch you. It looks really appealing once you've mastered his movements.
NARITA: I actually would like use Yuzuriha, but she is so difficult *laughs* The game is made to be easy-to-play, but it definitely isn't lacking in stuff that fighting game fans love. I think it's pretty difficult to add all kinds of aspects into a fighting game. Lately, the most advanced stuff in fighting games is so amazing I can hardly follow it. *laughs*

--Our writers were paying a lot of attentions to how fun it was to create new combos. Several characters could do really devastating combos. Everyone had always taken pictures of the damage values they could achieve and posted them on their work PCs before leaving from work. *laughs*
SERIZAWA: Chain Shift, huh. That system really expands the range of play. I'm excited to see how far does the research take the article writers and the players. There are many unique situations and attacks that can be cancelled, so I'd appreciate if you continued your research.

--About the GRD Gauge which brings distinctiveness to this game... What kind idea was it born from?
SERIZAWA: It was implemented as a system to give reward to the player who was playing "well". Actually, the GRD gauge also increases when you defend yourself well. The offensive aspects of fighting games keep on getting more intense all the time. On the other hand, it's very rare that the game itself gives recognition to the players for being good at enduring the offensive rushes.

--You've taken beginners into consideration by implementing the Smart Steer system. It also seems to be a hint on what kind of combos to do.
SERIZAWA: It's made so that you can combo by just mashing the button, but... It also makes you think that if you used a different move in the middle of it the damage might have increased. I'm very much of an omnivore when it comes to fighting games that I play. Every time I start a brand-new fighting game, I notice that figuring out the combos takes a lot of time. The longer it takes, the gloomier you start feeling... That's why we added Smart Steer. It shows the most basic combo where you start incorporating different kinds of combo parts.

--During these 8 months since the reveal to the launch, you've vigorously held loketests (*5). How was the reception of the game? Also, were there any opinions that were applied into the final build?
SERIZAWA: During loketests, we got a lot of opinions about the very core game balance. Of course, I've read all the feedback and we're considering what can we apply to the game. There could be people who played the game and got their opinion adopted into the game.
NARITA: Lately the players who participate in loketests have gotten very greedy about their "investigation", so it would be very wasteful not to go though their opinions. Of course, we can't just apply all the opinions, but most of the opinions we received have been very helpful.

--I think it's very charming part of this game how you can challenge again immediately after losing. Where did the idea for this very speedy tempo come from?
NARITA: We got the idea from the great masterpiece called "Akatsuki Blitzkampf" (*6). I think there are people who get very impatient when the time before you can challenge again is long. It also works well with the new "Serious 10 matches" format that has become popular recently.
SERIZAWA: When you're playing more seriously, the desire for an instant rematch increases at the same time. If the Start button doesn't accept commands, you end up losing all that excitement before the rematch. *laughs*

--It might be a bit early to talk about his, but what are your plans to expand the game's world setting into other media formats? Books or Drama CDs for example?
NARITA: We do not have any plans at the moment. If the players so desire, I'm sure we can think of some way to expand the game's story. I can only say that sequels are only possible with the help from our fans, so please give our game a try *laughs*

--Are there any plans for further updates or a sequel?
NARITA: It all depends on how people like the game. Various characters and settings are still sleeping within Yoshihara's notebook. If we ever get to make a sequel, I'm sure we can make more of them to appear.

--Finally, please give our readers a message if you would.
YOSHIHARA: The delusions from my school days serve as a base for this game. We are about to release it into the world, but I was feeling half happy and half worried about the reception. However, those feelings were blown away when I saw the players actually playing our game. I hope that those who still haven't tried our game yet, could give it a chance. Thank you.
SERIZAWA: This is a completely original game, so I'm looking forward to seeing the different type of play. Tournaments and other events are ahead, so I'm doing my best support them the best I can. Please look forward to it.
NARITA: I want to apologize for making the players wait so long after the announcement. Those players who kept waiting for all this time have my gratitude. This project has taught me about the struggle that comes when creating a completely original title. I'd be happy if this worked as a repayment for everything the arcade game industry has done to us during the years. There are still many things we want to accomplish and we'll keep on working to realize them, so please continue your support.

Key Words

1: HD /Short for "high definition". Term is used to refer image quality that has at least 720 scanning lines and an aspect raio of 16:9. In the recent years, most of the fighting games have moved to 16:9 aspect ratio. Because of this, the distance from corner of the screen to the other corner has become longer. The tuning of this distance is difficult, but a very important factor in the development of a fighting game. If the distance is too long, the tactics involving "throw moves" have a tendancy to become too strong. When wanting to spice up the close range combat, balancing it with the character's size and speed is a typical solution.

2: "Melty Blood" / A fighting game co-developed by two doujin circles "Watanabe Production" and "TYPE-MOON" which first appeared during the Comic Market that was held on December 2002. Afterwards, Ecole Software released "Melty Blood: Act Cadenza" for the arcades. Later titles of the series have been released mainly for the arcades.

3: Mori from Arc System Works / Mori Toshimichi who works on a fighting game developer & publisher "Arc System Works". He has taken part in the creation of "Guilty Gear" and "BlazBlue" series. Mori is a multi-creator who does both world creation and character designing. His representative work includes the "BlazBlue" series which is known for a huge amount of story included in a fighting game.

4: "Chuunibyou" / Net slang that means the embarrassing delusions from teen years.
During the recent years, it has been a popular way to "spice up" characters in both anime and games. The most extreme delusions can start to seem cool. A set of secondary readings for words is one of the typical expressions of "chuunibyou". For example, Earth = "Stella" and Deep red = "Scarlet".

5: Loketest / Short for a "location test". It means a trial period when you people can try an arcade game out before it officially releases. For fighting games, the feedback received after a loketest is applied to further polish the title. Also, playing in the loketest means a huge advantage when the game actually releases. There are also many who participate to study the characters fighting styles and abilities. UNDER NIGHT IN-BIRTH held its loketest around the Tokyo area. The staff have been polishing the game until the release date, so the final version will be quite different from the loketest version that people might've played.

6: "Akatsuki Blitzkampf" / A fighting game created by a doujin circle "SUBTLE STYLE".
It was released in the arcades as "Akatsuki Blitzkampf Ausf. Achse". Although it was their first doujin game, the offense and defense of battles was very polished and balanced. The game gathered a lot of passionate fans. A sequel that inherited the world setting of Akatsuki Blitzkampf was released to the arcade system "NESiCA X Live" under the name "En-Eins: Perfekte Welt". Serizawa was impressed by the fast response of the rematching, and tuned it to work like that in UNDER NIGHT IN-BIRTH.



プランナー 芹沢 鴨音氏

「UNDER NIGHT IN-BIRTH」プランナー。技に関わるプロット&プログラミングを担当。

プランナー / デザイナー   吉原 成一氏
「UNDER NIGHT IN-BIRTH」デザイナー。キャラクターデザインやイラスト、ドットモーションを担当。

ディレクター   なりた のぶや氏
フランスパン代表。「UNDER NIGHT IN-BIRTH」のプロデューサー&ディレクター。制作進行を担当。


なりた  HD(*1)のタイトルを作りたいという話は内部で前々からあり、その企画案を吉原が上げてきてくれたのがきっかけですね。開発期間は約2年というところでしょうか。アルカディアさんに第一報を出したのは、ちょっと早すぎるタイミングだったなと今になって思っています((笑)。
芹沢  僕が開発の初期は、「メルティブラッド」(*2)のバージョンアップに うキャラクター性能の調整などをしていました。本腰を入れて参加したのはこの調整に伴う案件が落ち着いてからですね。
吉原  HDとなるとやはり、キャラクターのグラフィック面に大きな力を注がなければならないので、試しに僕の方でリンネを書いてみて「ここまでやれます」ということを企画の時点で出させていただきました。本作のキャラクターや世界観は、僕が学生時代にためておいたものを形にしたものなので、デザインなどを含めて、楽しく進めることができましたね。社内では、”吉原格闘”というプロジェクト名でよばれていました(笑)。
なりた  最初にその企画案を見たときは、いやお前HDはいいけど、いったいこれいつ完成すんだよと恐ろしいものを感じましたね(笑)。ウチにとっては初の挑戦になることばかりだったので、プロジェクトの走り出しは不安でいっぱいでした。

吉原  リンネですね。このキャラクターは、高校のときにノートに書いたキャラクターそのままといっていいようなデザインで、黄色いのもこのころからです。

吉原  ハイドについても、デザインは原型は僕の世界観の中にあったんですが、アークシステムワークスの森さん(*3)にご相談させていただいたときに、もっと主人公っぽくしようと決めたことで、何度もデザインを書き直しています。初期案と比べると、全く別人になっていますね。ちなみに、企画段階でのタイトルは”ヴォイドレッド”だったんです。ハイドにちなんだタイトルですね。現在の「UNDER NIGHT IN-BIRTH」というタイトルに決まるまで、ほかにさまざまな案がありました。

吉原  ああいう見た目のキャラクターが好きだというのが大きいですね。キモカワイイというわけではないですけど、明らかに不思議な見た目をしていて、闘い方は猟奇的というイメージを膨らませたんです。うまく使えば、格好いいと思われるようなキャラクターを目指して作りました。
なりた  吉原は、「メルティブラッド」シリーズを作る際にも、ネロ=カオスを出しましょうよと強くアピールしていたんです。メルカヴァとは見た目は違いますが、怪しさを感じる格好よさは通じるものがありますね。

吉原  そうですね。キャラクターのネーミングなども元になる設定から引き出してきたのですが、ちょっと今風ではないなと感じたものについては、新たに考え直しています。
なりた  ハイドの必殺技名、プレイヤーの皆さんは覚えてくれますかね。漢字まで書けるようになれば、本物だと思います(笑)。

なりた  吉原が最初に提示してくれた世界観はかなり複雑なものだったんですが、格闘ゲームの中で表現するということで、ベクトルとボリュームを調整していきました。新規のストーリーなので説明を重視した上で、冗長にならないようになどテンポとかも意識しましたね。吉原はデザイナー気質なので、センシティブな表現(笑)を開発陣の共通認識に待って行くまでが大変でした。「眩き闇」ってどう表現するんだ!?とか終盤まで揉めていました、ね?(笑)
吉原  その辺は、ほんとすいません(笑)。

なりた  最初の設定では、女性キャラクターが少なかったので、増やしてほしいという要望を出しましたね。オリエの立ち位置に当たるキャラクターは、もともと男性だったんです。
吉原  ユズリハも女性キャラクターを増やす際にデザインしたものですね。デザインを書き上げてから没にしたものも多いんですよ。世界観に合う合わない、格闘ゲームの中で動かしやすいかどうかといったところでキャラクターを決めました。

芹沢  ヒルダについては、最初の案からそれほど変わっていないですよね。
吉原  そうなんです。表情の違いなどはありますが、あの雰囲気は変わっていません。
なりた  ヒルダは盛り髪と身体の線が出る服装のせいでアクションを作るのが大変でしたね。動作を作り始めてから思いしらされました(笑)。

吉原  グラフィックをち密に作ったことと、ワイド画面になることで、闘いのフィールドが広がるので、キャラクターの大きさやリーチの長さのチューニングでしょうか。キャラクターは縮こまった動作がイヤだったのと、ワイドなHD画面に合わせて思いっきり横へと伸びる攻撃を描いていたら大半が全画面攻撃みたいになっちゃって初期は大変でしたね。ゴルドーが振り回す鎌は、最初ものすごい大きさで届いてしまうぞということで小さくなりました(笑)。それでも十分に長いですけどね。

芹沢  吉原の考えたキャラクター設定を、どう格闘ゲームというフォーマットに落とし込んていくかという際に、いろいろな試みをしてみました。中には、テスト的に動かせる段階まで作っておきながら、これは格闘ゲームには合わないという判断を下したものもあります。格闘ゲームのバランスとしては、遊んでいてそう快感のあるものを目指しました。最初の吉原のコンセプトとは大きく変わったものもありますね。例えば、ハイドは最初の設定では、女の子を守りながら闘うという設定だったんですけど、ちょっと落とし込むのが難しそうだなということで、今の形になっています。
吉原  もともとオリエは、本体、タナトス、棺の三つの要素を動かすキャラクターでした。それで実際に動かしてみたら、ちょっとこれは格闘ゲームとしてどうなのかとか、オリエを選ぶ人にとってハードルが上がり過ぎないかということを検討した結果、現在のような形に落ち着きました。
芹沢  見た目が正当派なので、使いたいという人にとって優しいキャラクターにすることにしたんです。上級者が使っても遊べる要素も入れているので、やり込んでもらいたいですね。

芹沢  差別化するところは意識しましたね。「メルティブラッド」シリーズでは、キャラクターの技などは追加されたものの、駆け引きの主となるのはジャンプを駆使した縦の動きにしていたんです。今作は、地上戦の比重を重くしています。中には、空中からの攻めが強いキャラクターも居るのですが、対空迎撃やけん制技といった、地上の駆け引きにつながる要素を多く組み込んでいます。

芹沢  そうですね。基本的には、技の性能は強めにしてあります。きっちり対策すれば反撃できたり、リスクを与えられる技もあるのですが、そのレベルに行くまでは、必殺技を出していて気持ちいいという感覚を味わえるかと思います。

芹沢  武器となる要素が分かりにくいキャラクターかもしれませんね。ユズリハなども難しめに作っているんですが、ロケテストでかなり高いレベルで使いこなしている方が数人いて驚きました。
吉原  僕もセトを使いたいんですけど、難しいんですよね(笑)。リンネは使いやすいので、今のところ自分のメインキャラクターです。

芹沢  セトは、ハイドとは違った格好良さを持たせているんですよ。いろいろなことができる自由度の高いキャラクターですが、この技が主力というタイプではなく、バランス良く技を使い分けて相手に的を絞らせないという闘い方ですね。使いこなせるとかなり見栄えがいいですよ。
なりた  僕も実はユズリハが使いたいんですけど、難しいですね(笑)。とっかかりとして遊びやすい作品ですが、ガチな格闘ゲーマーにとってはやり込み要素も欠かせないので、そういった部分を詰めていくのは大変だろうなぁと思っています。最近の格闘ゲームのやり込みには、僕はもう付いていけそうにないですね(笑)。

芹沢  チェインシフトですね。遊び幅のあるシステムなので、攻略ライターさんやプレイヤーの皆様の研究でどこまで伸びるか楽しみです。チェインシフトのかかる技、かかる状況というのは独特なので、いろいろと調べてもらえればと思います。

芹沢  これは、良いプレイをしたプレイヤーへのご褒美的な要素として導入しました。実は、GRDゲージは上手な防御をした場合にも上昇するんですよ。格闘ゲームって、攻めがどんどん進化していっている半面、それを凌ぐというところをゲーム側には認めてもらえることが少ないと思うんです。

芹沢  連打するだけでコンボが出来ますが、ここはもしかして違う技で追撃すればもっとダメージを伸ばせるのでは?と想像してもらえるような作りにしています。僕はいろいろな格闘ゲームを遊ぶ雑食系ゲーマーなんですが、完全新作の格闘ゲームはやはり、コンボを見付けるのが大変なんですよ。その期間が長いとモヤモヤしてしまうかなと思い、スマートステアは応用コンボのヒントになるパーツを組み込んでいるものが多いです。

芹沢  ロケテストではゲームバランスにかかわるコアな意見が多かったです。もちろん、それらには目を通して、採用するかどうかの検討を重ねています。ロケテストで遊んでいただいて、意見を採用されていると思う方が居るかもしれませんね。
なりた  最近のロケテストのプレイヤーは「調べる」ということにどん欲なので、そういった方々の意見は見逃すともったいないものも多いですよね。全部採用するというわけではないですけど、参考になるご意見を多くいただきました。

なりた  「アカツキ電光戦記」(*6)という、偉大な作品の参考にさせていただきました。負けた後に乱入できない時間が長いとやきもきする方も多いと思うんです。最近流行の、”10戦ガチ”といった対戦形式にも生きるのではないでしょうか。
芹沢  ガチでやり込んでいる人ほど、負けたらすぐに乱入したくなると思うんです。そこでスタートボタンを受け付けてないと、ちょっと冷めてしまうかなと思ったんですね(笑)。

なりた  今のどころ予定はありませんが、皆様から要望があれば、何らかの形でもっと物語に触れられるものも考えたいですね。続編などについては、今のところ皆様のご声援次第としか言えませんのでぜひよろしくお願いします(笑)。

なりた  こちらも、皆様の反応次第です。まだまだ吉原の中にはいろいろな設定やキャラクターが眠っているようなので、続きになるものを作るとなると、当然そういったキャラクターが登場することになりそうですね。

吉原  この作品は僕が学生のころの妄想がベースとなっており、こういった形で世に出せたことをうれしく思う半面、受け入れていただけるか心配でもありました。しかし、実際にゲーセンでプレイしてくれている方たちを見て、そんな気持ちも吹き飛びました。まだの方も、ぜひ遊びに来てくれるとうれしいです。
芹沢  完全な新規タイトルですので、いろんな方のプレイが見てみたいですね。これからも大会やイベントなど、皆様と一緒に盛り上げていけると思いますので、よろしくお願いします。
なりた  発表から長らくお待たせしてしまい本当に申し訳ありませんでした。そして待ち続けていただいた皆様ありがとうございます。今回はオリジナルで物を作る苦労を思い知らされましたが、何とかお世話になってきたアーケード格闘ゲーム業界に少しでも恩返しになっていれば幸いに思います。まだまだやりたいことは多く、これからも引き続き頑張りますので、ご声援よろしくお願いします。

Key Words

1: HD / high definitionの略語。高精細度の意。720ライン以上の走査線数かつ、画面アスペクト比が16:9のものを指す。近年、2D格闘ゲームのほとんどが16:9の画面比率となっており、これにより、画面両端の距離が長くなっているものが多い。2D格闘ゲーム制作では、この距離のチューニングも繊細かつ難しい要素となる。距離が遠過ぎる場合は、「投げ」の戦術が強くなる傾向が強く、接近戦や攻めの要素を色濃く出したい場合はキャラクターの大小や動きの速さでバランスを取ることが多い。

2: 「メルティブラッド」 / 2002年12月のコミックマーケットが初出となる2D格闘ゲームで、かっての同人サークル「渡辺製作所」と「TYPE-MOON」が共同制作した。後に、エコールソフトウェアから、「メルティブラッド アクトカデンツァ」がアーケードタイトルとしてリリースされ、移行のシリーズ作品はアーケード中心にリリースされている。

3: アークシステムワークスの森さん / 2D格闘ゲーム「ギルティギア」シリーズ、「ブレイブルー」シリーズなどで知られるゲーム制作・販売会社アーク システムワークスの森利道プロデューサー。作品の世界観からキャラクターデザインまでをこなすマルチクリエイター。代表作として知られる「ブレイブルー」シリーズは、格闘ゲームとしては過去に類を見ないストーリーのボリュームと設定の奥深さで多くのファンを獲得している。

4: 厨二(病) / 思春期にありがちな痛々しい妄想を指すネットスラング。近年のゲーム、アニメ業界では、この厨二病要素をキャラクターの”味”として押し出す傾向も強く、突き抜けた痛々しさは、かえって格好良く見えてしまうことがある。地球「ステラ」や、深紅「スカーレット」といった、漢字にカタカナのルビを振るというフォーマットは、厨二病の典型的な表現であるといえる。
5: ロケテスト / ロケーションテストの略。アーケードゲームタイトルの稼働前に、試験的にプレイできる環境をゲームセンターなどに設置すること。格闘ゲームでは、開発中の作品をロケテスト版としてプレイしてもらい、そこで得られた意見をフィードバックして調整をするというケースも多い。また、ロケテストでプレイしておくと、本稼働時に圧倒的なアドバンテージを得られるため、対戦や技性能の調査を重 する参加者も多い。「アンダーナイトインヴァース」は、東京都を中心に何度かロケテストか実施されたが、稼働直前まで制作陣の熱心な調整が続いていたため、テスト版と本稼働版ではキャラクターの性能が大きく異なる。

6: 「アカツキ電光戦記」 / 同人サークルSUBTLE STYLEが制作した2D格闘ゲーム。「アカツキ電光戦記Ausf. Achse」がアーケードゲームとして稼働。同人ゲーム初のタイトルながら、練り込まれた攻防のかけひきが存在し、熱狂的なファンも数多く存在した。「アカツキ電光戦記」の世界観を引き継いだ、「エヌアイン完全世界」が、ゲームセンターのアーケードゲーム配信システムNESICA X LIVE(ネシカ クロスライブ)で配信中。「アンダーナイトインヴァース」の乱入レスポンスの良さは、芹沢氏がこの作品で感銘を受けたことから、現在の形にチューニングされた。


Translation: Sourenga



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