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Sorry to have kept you all waiting, so we will resume the show. Now let's move
on to the next performance. Today's third lecture is about how the rhythm action
of Hi-Fi Rush was born. The lecture will be given by Word Game Works director
John John Hanas, programmer Yuji Nakamura, and animator Koichi
Hatakeyama.You are welcome to film, record, record, or post this lecture on
SNS.In addition, park videos and materials are welcome. It will be published on
the official website and official YouTube channel at a later date. Thank you very
much, Mr. Johanas, Mr. Nakamura, and Mr. Hatakeyama. [Music] [Applause]
Hello, everyone. Thank you for coming here. Now, I will write about the content
of this lecture. I would like to talk a little bit about how the rhythm action of hi-fi
radio was born.There may be some members of Congress who don't know this,
but hi-fi radio is a 3D action game where your accent is created. It's an action
game where the whole world is synchronized to the rhythm. It's more of an
action game than a rhythm game. It was announced in January and released
soon after, but it actually took almost five years to develop. I would like to talk
about the most important moment of the day.Before we start the actual
production of the game, we are able to recreate a high concept with a small
number of people. That's what I want to talk about. If you're here today, I'd like
to share our experience and approach with you. Well, first of all, I'll give you a
little introduction. The first thing I'll do is say 13 words. I've been working there
for about 2 years, and at first I was working as a planner, and ever since that
breakout hit with additional content, I've been in charge of projects as Reactor,
and Hi-Fi Rush was my first new IP project. My name is Nakamura, and I'm
participating in the prototype development for the first time, so I'd like to talk a
lot about that. Thank you very much.Hi, my name is Koichi Hatakeyama.I've
been with GameWorks since 2010. It's been 12 years since I've been a member
of the organization, and I'd like to mainly talk about animation this time, so I'd
like to thank you for your understanding.There are three big topics for today's
lecture, so it's a bit difficult. I'll explain reconciliation first, but I'll mainly explain
the first part.In the first place, I explained the concept of Hi-Fi Rush and the
outline of the game, and before we started the prototype, Doi was aiming for
play as the goal. I'll explain what that means, and the next point will be
explained by Mr. Nakamura, but once you've finally decided on what you're going
to make, how do you go about making it, how do you create a prototype of
what will become this Hi-Filas? So, of course, I'm going to ask them to explain it
using the engine's functions.In the end, they've been experimenting with a lot
of things, doing trial work, and how they're using UFO to connect it to the
production of the main story. To be honest, the programming and text types are
often more involved in play, so I'll ask them to mainly talk about the game.The
first person will be me, and the city will explain Conzetto. Well, after completing
the development during cycling, I created a proposal for the concept that I wanted to create, gathe
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What I want to do is a presentation of the content, but to put it very simply,

this word is representative, and it's actin gain, which means that everything in
the world moves in time with the music, and that your actions become part
of your memory. It's important to synchronize the game in a way that makes
it feel like a rhythm action game. I wanted to make it, so I died and told the
leaders, so in conclusion, it looks very interesting as an ID, but is it really
possible to do it? Action Train is better. Can you express it in a way? Well,
everyone has a chance. So we decided to give it a try, so we decided to make
a prototype, and then it was decided that we would be making a prototype
for Hi-Fi Rush, and at that time we called upon the Pooflav concept. But
mainly, not only the company, but also the head office's Bezelda, I wanted
to show them a little bit and talk about how we can create words that we've
never created before, and the purpose of that is that it's important. I decided
at the beginning that I wanted to create the basic equipment, and then when
I explained the rest using the processing machine, I mentioned rhythm action,
but everyone had a slightly different idea of what ismax meant, so to be
honest. Since it was a bit abstract, we decided to make it more concrete.So
when it came time to create a prototype, we immediately decided to use
Anguiar Arrangement 4 to create a prototype, so Ryu was honest. It's simple,
but at that time, ghostwire TOKYO, which was released last year, was
already using the Angnu engine and was already under development, so the
system team was wondering if there were any adjustments to be made to
the engine. If you're going to make a proper game, you don't want to add too
much to the two engines, so buy Ann Arrangement Force.However, the
team told me that it was quite easy to make a prototype. The reason for this
is that it is easy to create a mode with a small number of people and without
specialized tools, and the engines I used before were quite difficult to plan
and web designers needed to have the programmer create the healing
power. I was only able to do the bare minimum, and this allowed me to try out
a little bit of what I wanted to do in an intensive way, which turned out to be
a really good approach.The first hi-filS prototype was done by just the two of
us. I basically managed the planning and how the initial ideas were
implemented, and the rest was the web design, but in the end I was the one
who directed the project. I did almost everything, and on the programming
side, Mr. Nakamura created the basic system, and I had him come up with
more complex things like player play and gimmicks that I couldn't create. This
is my first time playing this game, so I don't have any experience, so I made
Actin Gain.I have no experience, and Mr. Nakamura had a little experience,
but it seems like this.There are almost no deep action games. It would be
great if you could give me a sound system.I had never created a sound
system before, so I thought it was very important to establish some rules first, so I decided on t
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Since there was no one there, I'm going to ignore the bezel completely.And the
second thing, instead of the vision, let's just focus on the groove on the gain
plate.Well, I think it's a bit similar, but that groove... There are times when
things overlap and end up going one way or the other, but this is a Bijuro car.I
looked carefully and decided on whether or not it was going to convey what I
really wanted to convey.If I did that, I would have to decide which way to go
through the game. When it comes to planning, I think that I need to specify the
various rules and systems that are needed, and since I have been studying
music for a long time and have been playing music regularly, I used that logic
to develop high-fidelity music. I made the RUSH rules concrete, created 5 big
points, and prepared materials.What I'm going to show you now is not
something I prepared for this purpose, but I actually took pictures of it as it was
in the original proposal. The first rule I decided on was that I absolutely needed
a system that would synchronize with music.At that time, I called it the rhythm
synchronization system, but I later created it, but I called it that.The purpose
was to do everything. I thought it would be impossible to build something that
would suit my ears, but I thought that I needed a system that could internally
look at the absolute music data and automatically tune it to the countryside.Then
I decided to make something like that. I thought it was absolutely necessary to
have something that would automatically reduce costs, even if it wasn't a
feeling.So, for this purpose, we had prepared this concept of "only" or
"combined boxes", but we had to cancel it. This was used as a technical
term.It was a cat, but to be honest, I didn't understand that word at the time,
so I just said, ``Only'' and ``Only,'' which means I don't have a lot of musical
knowledge. If there is a person, when listening to a song normally, it is often
1234. If the power is 1234, the most obvious point is the timing of the beat C
pump timing, especially that it must be matched absolutely. I thought that that
backbeat and that eighth note off-beat were absolutely important, but I have to
calculate that as well, but the moderation is the most important point. The next
point is that you have to use the music to determine the flow of the play.In this
case, the enemy's actions are written, but as a project, everything has to match
the music. If that's the case, then the main cause will be the battle, but if the
enemy's actions, background actions, and events all move according to the box,
you can also decide the pace of the player's play. For example, if the enemy
attacks in time with Haku, the player has to check and do it well.It was a road
drama where the enemy would attack in time. I decided that the next rule was
to make the player's chords feel like a rhythm action game.I wanted to make it
feel like this game is not a rhythm action game, but that I, as a user, am playing
a rhythm action game. This was the point I had the most trouble with, but when
you think of action games, the player has a lot of freedom and a lot of fun, but
when you think of music games, it's often the opposite. There were things I had to do to match the
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We were aiming to make it easy to play without sacrificing the

responsiveness of the controls, but we wanted it to suit Haku.It's a bit
contradictory, but the concept is based on piano chords. No matter when I
do it, I always call it impact.I thought it would definitely feel good if the
action matched with white and it hit, so I put a lot of emphasis on this.So
after that, I'll talk about it before. Many of the action games are quite
accurate, and there are also many games that are a little difficult to play, but
I think it will be even more difficult to play Pacers by making them feel
white, so I'd like you to play the game more carefully. We decided to make
it as simple as possible. To be honest, from the beginning we also thought
about excellence, ease of play, and the low price of the lacquerware. The
fourth thing was the music. It is absolutely necessary to have a cause-and-
effect relationship between the player's actions and the fact that this world
moves in time with the music.If you don't really integrate yourself, you will
probably end up with a disjointed image, but depending on the player's
actions, it will always be musical. At that time, we called it a rhythm
response, but for example, when the player is standing, a sound is
generated, and if that combo continues, the song will change. Depending
on the player's actions, the music will change. It is absolutely necessary to
have a structure for the stage to change.The system needs to respond.I
had already imagined from the beginning that in the last part, it was
necessary to sew Mencius to match the white.In order to immerse yourself
in the rhythm, you need to have a pair. It doesn't necessarily mean that the
shoe will press as you wear it, so it's a bit of a plus or minus.If it's a little
delayed or a bit of a push, but the impact feels good when it fits the box,
it's all detailed and various animations. Rather than creating a partner, I
thought it would be absolutely necessary to extend or shorten the animation
in some way, but this is a pretty thin line, and I decided to focus on it from
now on. I think Mr. Nakamura and Mr. Hatakeyama will talk a lot, and it
wasn't a 5-page document, but I don't know, there were probably dozens
of pages of material behind it, but there was a lot of information, and this is...
I gave it to him normally, so I asked Mr. Nakamura if I could give him this,
and he said, ``Maybe this isn't too strict,'' and I didn't want to hear any
excuses, so I just said, ``Thank you,'' and I dealt with it. Yes, I left it to
you.Actually, I worked on it myself, but I'm going to talk a little bit about a
hi-fi-like prototype, but I don't think I'll be able to convey it well unless I first
show you what it actually is, so it's quite long. However, I have prepared a
summary video for you, so please take a look at it once. However, if you
look at it, you'll see that there are a lot of similarities with the final game, so
I'll let Mr. Nakamura explain in more detail how he got here. I'll give it to
you. Now, from now on, I'd like Mr. Nakamura to explain the system that he uses to match the
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I decided to start by creating a basic system that can retrieve song information.The
name was mentioned earlier, but it's called Rhythm Synchronization System
RSS.RSS is sound middleware used in words. This is a manager class that
compiles information that can be obtained from Wise and allows it to be handled
by the app. To create RSS, we first asked our sound programmer to create Word
Music Manager, a plug-in that retrieves information from Wise. From there, the
information was sent to the RSS of the manager class on the application side, and
the information was then passed to dedicated components and various group print
node delicates.The information that can be obtained from RSS is the BPM novel
of the BP song at the time of the prototype. The rest is each half note, quarter note,
eighth note, 16th note, and the start and end of the song.Based on this information,
I decided to match the animation and gimmick to the music.First, I adjusted the
animation to the speed of the song. I would like to introduce a method to match the
speed of the animation to the speed of the song.I used a method of changing the
playback rate.The speed of the animation was based on 120BPM.If it is 120BPM, it
will be the same. If it is 140BPM, it will be about 1.1666666 times. The
reason why I set the standard to 120BPM is because at 120BPM, one beat is 0.5
seconds and in a 30 FPS animation, 15 frames are 1 night, which makes it easy to
calculate.Actually, playback using BPM Here is the rate reflected in the player's
standby motion. This is the base speed of 120 BPM. Next is the case of 140 BPM.
It is played at approximately 1.16667 times the speed. It may be a little hard to
understand, but yes. Playback according to BPM In this way, by changing to red,
it is now possible to match one animation to the rhythm of multiple songs. However,
since atmospheric and movement animations are connected from various actions,
it is difficult to know when to play them. I don't know if it will start, so I changed the
starting position of the atmospheric and moving animations so that they would
always match the music.I got the current song position from RSS and set it as the
starting position of the animation. Since the standby was a one-measure loop
animation, it is necessary to obtain the current timing of one measure.For example,
if the current position is on the third beat between novels and novels in the song,
then 1 bar based on 120BPM. The section is 2 seconds long, so you only need to
start half of it from 1 second.In fact, the Animation Blueprint is implemented like
this.The text is a bit small, so it may be difficult to read. However, the vacuum play
rate is the playback rate according to the BPM of the song.The properties at the
bottom of the idol animation playback position are set to the number of seconds to
calculate the animation playback position from the current song position.By setting
these, Now you can actually playback according to the timing of the song.Next, I
would like to explain how to use RSS on Blueprint.For actors, add a dedicated
rhythm synchronization component. Then, set the desired timing for novels, haku,
etc. in the component properties.It's a little hard to see in the image, but in the
image, I set it so that you can receive notifications for the timing of quarter notes.This component is Be
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It registers itself in RSS as shown in the image below. Then, it receives

notifications of information such as hak from RSS and calls its own event. An
example of event implementation looks like this. This is an event of an actor
created in a test. This event is executed at the timing of each hack, and the
actor is expanded on the 1st and 3rd beats, and restored on the 2nd and 4th
beats. The expansion itself does not do anything special. So, if you actually place
these actors on the level, it will look like this. [Music] As you can see, it expands
at the 1st beat and the 3rd beat and returns to 200 meters and 200 people. I think
you can see what's going on. [Music] Yes, next, you can't use components. In
Level Blueprints, UIs, etc., we have prepared a group print node so that you
can get the timing. This thing called set sync event directly sends RSS This is a
node that registers an event and has it called from RSS at a specified timing.The
actual implementation example looks like this.This is a test event that is called
at the timing of 2468 of a backbeat eighth note and plays SE.It's a little hard to
see every time. Sorry for the inconvenience, but with this sink type, you can set
the timing novel and wear when you want the event to be called.Furthermore,
you can make detailed adjustments such as start tags and call tags.Using these
functions, the level designer at the time I asked John, who was also the director,
to conduct an experiment where the gimmick was to move UI events in time
with sound. I would like him to introduce the details of the experiment above.
When I received the new OSS event, I started doing some experiments to see
how the world was moving in time with the music.In the beginning, even though
I knew the timing star timing, the movements were correct. I started experimenting
by preparing animation curves in various Henriots to make them feel white or
musical.For example, as you are reading here, I created variations such as
pull, heater, and paos. For example, if you are making a lot of motions, for
example, it will match the timing of white and hit the top, or the hit-up will
become white and then it will start to move a little, and it will really feel like a
sign car and naturally. I tried things like going up and down and hitting the top
for a little while, and then I experimented to see which one would be easier for
Haku to understand or convey musically. I'm not going to show you all of them,
but I'm going to show you some example sentences.The first one, which ended
up being pretty much in the final version of that game, has a background that
stretches up and down to match the timing of the white coat. I decided to shorten
it.This is about once in each novel, I added an animation card for the movement
in the second beat and the first pack.I also changed the color.So, next time, I
will often see it in the game. However, regarding the disappearing scaffolding, I
also tried changing the animation plus color by matching the boxes.I was also
wondering which animation would be easier to clearly see when it is appearing
or returning. As I said earlier, I needed to do some thinking, and what I can do
now is to do something about the UI, and let's move according to the UI data that will be added to
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This was also included in the final game, but it was a 30-frame animation
for each night that was thin and looped all the time, so I thought I'd use this
as a reference for the game. I've implemented a concept here that will make
it work.In the end, I've adjusted the camera tools and the UI to make the
player feel like the Atami head of the novel. I also tried to get the UI to start
the animation, and the final pencil I created looked like this. I was able to
experiment with switching. During that time, I was building a battle system
for the players.Here, I would like to mainly introduce the player's attacks.As
I explained earlier, Normal animations could be handled by changing the
playback speed using BPM, but attack actions need to be matched to white
regardless of the input.With no knowledge of making music games, I started
thinking about how to match attacks to the rhythm. I was in charge of timing
the beat of the octopus's attack, and it was the part that took the most time
in the prototype. Yes, I had the premise that the timing for the second half to
hit = the impact to match the wear, so I first set the wide-area impact to 100.
I decided to set a standard for matching.By making the length from the start
of the high range to the impact one beat long, if you start the attack at the
timing of the ash, the latter half will hit on the next beat.High Fire At Rush,
the animation was created at 30FPS, so it became necessary to prepare an
animation that would hit the second half at 15 frames from the start of the
wide area. However, at this point, there were no animators on the team, so
we created the animation using store assets. After purchasing it, I decided
to use UFO's Anime Montage feature to adjust the animation.Most of the
animations I purchased took a long time to hit in the latter half, so I set the
animation to hit just before the attack was launched. I have prepared an
animation in which the second half hits the 15th frame by adjusting the
playback speed of each segment.In the image example, the part just before
the second half hits is 0.8x, and the hit part is 1.65x. The second half started
to hit on the 15th frame. During prototype development, this ability to cut out
only the desired part of the animation was very useful. We prepared an
animation to start testing by making adjustments using the animation
montage. Now let's use these to move on to the actual box matching. When
I first started experimenting with foil matching, I used this punch and kick
animation. I treated the punch as a jack attack and the kick as a strong
attack. This is the unadjusted version, so I would like to explain how I tried
to match this puncher kick to the beat. [Music] The concept is to match the
impact to the foil, regardless of the input. The length from the start of the
standard wide area I explained earlier to the impact is one night, so if the
input matches 100, the impact is also white.The problem is that the input
did not go well. This is the case when the time input is different from 100.
Therefore, I decided to speed up the animation according to the time from the input to the nex
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Now you can adjust the impact to 100 regardless of the input, but with this,
when the time until the next 100 is extremely short, the animation speed
becomes too fast as shown by the green arrow. To solve this problem, if the
time between exhales on the next beat is less than an eighth note, we also
slowed down the animation using the next beat as an impact. Animation
based on timing By slowing down and speeding up the beats, we were able
to create beats that fit the concept.We were able to achieve what we had
envisioned during the Edo period, but the action felt slow and took a long
time to impact, making it difficult to feel. I couldn't find anything good about
it. From here on, I started doing various trials and errors regarding the white
matching of the trade. I would like to briefly introduce the contents of the
various trials someday. There was an opinion that it would be better to do
it, so I tried that method.It's no different from a normal action game, without
automatically adjusting the speed of the animation.It feels like there's no
need to do it, though. It didn't go well.Next time, I tried to have the second
half hit immediately after the input using the same process of adjusting the
input.I implemented it so that the impact came at a speed of approximately
16th to 32nd notes from the input. I tried this one. It felt good when I was
pressing it. There were times when I tried it, but it was difficult to create
animations and combos using only attacks that hit immediately after pressing,
so I decided to give up on this one. Next, I tried 1. If I have a long night, I
try to mix in short-duration eighth note animation attacks. I tried it, but the
notes to measure the timing like in a rhythm game were not displayed, and
the timing of eighth notes was very difficult. It was difficult and I ended up
feeling like I was hitting repeatedly, so I couldn't get a good feeling out of it.
I tried various things, but I couldn't find a good solution. Because it was a
prototype, I honestly went back to the original concept. However, the
problem with the initial concept of the action not being pleasant remains, so
we have to think about how to improve it. There were two main problems:
In order to solve the animation problem, we decided to ask our in-house
animators to create the animation.At this point, the director came up with
an idea and decided to make a punch. We decided to stop using the drum
and kick and instead use the guitar as an action. Regarding the animation
production part, the animator Hatakeyama will explain in detail later.The
second issue is the length from input to impact. However, we solved this by
adding feedback at the time of input.When the impact input was set to 100,
we added controller vibration, effects, and SE.This made it possible to feel a
pleasant feeling even at the time of input. The next video shows gray
matching of a prototype that solved these two problems.This is a wide-area
white matching that matches the impact to the frame regardless of the
input.The first shot is when the input matches white, and the second shot is dark. When it was
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It may be a little difficult to notice, but the animation speed changes between the
second attack and the slash.The animation speed changes until the moment the
attack hits, and from then on it goes back to normal. I set the playback speed
[Music] Regarding the corner alignment here, in the main story we added a few
more detailed adjustments and functions, but basically it works as it is.Even
before this animation was completed, the animator side From now on, I would
like to ask the animators to take turns and introduce the various hardships that
they faced. I would like to explain how the development of the prototype using
UE4 led to the production of the main story.Thank you very much.First of all,
let me explain the situation at the time. I was working on a different project, and
I had only heard through rumors that they were making a rhythm game, but
before I heard the outline, I had already heard the word "rhythm game" and
thought it was a smartphone game. I didn't think it would have any action
elements, but as I listened to John's detailed outline of the project, I realized
that it was different from what I had imagined, with a high level of action. You'll
start to realize that you want to make something, and in that way you'll start
participating in the project in earnest, but first you'll need to do some preliminary
preparation. Since the purpose of the prototype version was to create it in
advance, we had to keep the player's appearance the same as the mannequin
and continue to create new animations. However, if we were to use Unreal's
mannequins as they were, we would have to change the axis direction,
hierarchy, etc. in-house. Since the specifications of the joints we were using
were different, we knew in advance that there would be problems such as
unusable tools, so we started by replacing the model with a mannequin that
matched the joint rules used in-house. If you replace it, you won't be able to use
the existing animation because the joints are used differently.Also, until an
animator came in, I was making games using animations purchased from the
asset store, but now all of a sudden... If we rewrite all the animations to the
original ones, the game that we have created up to this point will be broken, so
in order to create an environment where we can add new animations while
keeping the shape the same, at this stage we changed the animations that
were previously on UE4. We replaced all of them with animations that matched
the in-house specifications for the joints.We now have an environment where
we can create new animations while maintaining the existing game, and from
there we can move on to creating animations. The part that John and Nakamura
couldn't go any further and couldn't even verify was the part of creating an
animation that matched the white color and creating an animation that would
intuitively feel the rhythm.Well, I did the action myself. Although I had experience
participating in a game project, I had no experience creating a game that placed
such importance on rhythm, so I started searching for what kind of animation
would suit Haku in the first place. Let's move on. First of all, we will create the basic atmospheric m
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We're going to talk about numbers, but since we were producing at 30FPS on the
TCC tool, we're talking about a 30FPS base.The one you see on the screen is
the original animation before the changes, and this is the prototype version. This
will be the final animation for the final product version. I had heard from John that
he wanted the game to have a pop feel, so at this time I wanted to create the
feeling of the metronome needle touching and the up and down movement. I
remember trying to make it stronger and emphasizing that sense of rhythm when
I created it, and just by replacing the retreat, the atmosphere of the game
completely changed, and it became a stepping stone for me to solidify my image.
That's good. Next, let's move on to creating the movement animation. What you
see is the movement animation that we used at the beginning. In the movement
animation, we thought about where to base the movement animation to match the
shoes. When it was placed on the ground, I thought it would be difficult to step on
it, so I decided to think about it based on that.Next, there are animation creation
rules unique to this game, but in the case of the loop animation, the length of the
loop is also 100. If it doesn't match, the point of the motion you want to match will
shift, so you need to divide the animation by the number of frames that match the
white, such as 15 flares and 30 frames.The original animation was 17 frames in
one loop, so First, I prepared a loop animation made in China, which gave a
similar impression.I also decided to prepare an animation with one loop of 30
frames for comparison.If I only set the length to 30 frames, the animation would
have felt drawn out. Although it ended up being a long animation, I felt that even
if I packed the animation into 15 frames, it would be too busy and the animation
would not feel like a box, so I decided to make the base 30 frames and make the
extended parts more sharp. I decided to solve the problem by listening to it, and
the resulting animation is shown here.The final product version of the animation is
shown on the right.Well, waiting and moving are relatively smooth. However, the
part that took the most trial and error, and I will explain next, is the attack
animation part.The part of matching the kit frame to the shoes was done by John
and Nakamura through trial and error. So I tried making some patterns according
to the rules, but even when I tried changing the animations and playing, I couldn't
get the animation to feel good. Nakamura explained earlier that the reason for not
appearing is because the timing of the hit, which is a feature of this game, is set
to match the timing of the hit, and even a light attack takes about 15 frames from
the button input. I thought that the problem was due to the lack of responsiveness
due to the poor response, so I thought that maybe I could solve the problem by
adding some type of movement with a large change at the beginning of the
animation, so I did some trial and error. At the beginning, I was thinking about
charging at the beginning of the animation and then attacking, but in the beginning,
there were many ideas that I didn't even need to show to the director, so I just
made the animation and tried it out. There are a few points to keep in mind when retaking an animati
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The theme of the animation was fixed. One of the things was to create a motion
design in which the silhouette changed dramatically immediately after the motion
started, and to ensure a sufficient number of frames to make it memorable.Also,
this time, the motion was more moving than usual. I especially tried to make it
look sharp and exaggerated to make it look bigger.For this animation, I tried to
twist the poses as much as possible without making them look strange. When I
was creating the animation, I tried to repeat the onomatopoeia in my head and
was conscious of whether it felt right or not.Also, the timing of landing on the
ground during a jump was artistically correct. The easiest part to imagine is
when I was making it, I felt that it was easy to grasp the timing, so I adjusted it
to the timing and interweaved it into combos at important parts.So it was more
than I thought. This exaggerated expression is the same in this production, and
many of the animation designs take advantage of it.Well, over the past few
years, I've had many opportunities to create realistic animation, but if it wasn't a
high-fidelity rush project, I wouldn't be able to adapt it. I think it was a good
experience this time because I gained knowledge that I didn't have before, such
as expressions of animation. Yes, as Mr. Hatakeyama explained, I created
various types of animation in the fundamental project of animation. Finally, we
were able to make the controls feel more comfortable, and with a few wrinkles
in the controls, we were able to achieve the feeling that the attacks felt more
comfortable.Then, we really had a standard combat system completed.That Jack
attack is 1 As of now, the attack has increased to 200 as a pack, and since then
I've been able to gradually increase the number of things that can be done by
combining them.In particular, I can feel the hit at the end of that animation, and
I think it would be nice if there was a little bit more. I was inspired by that, and
then I thought about the final finish, or what we call BTS in the Diet, and added
that as well.In the prototype version, I went all the way to the end with a
mannequin, and after the prototype was finished, I designed the character. So,
after the character design was done, I talked with John about whether or not we
should change the direction of the animation design that we created in the
prototype version, but we decided to keep the direction as it is and move
forward as is. So, as you can see in the video, the one on the left is the prototype
version of the combo, and the one on the right is the product version.The brush-
up of the animation itself was quite good, but the major direction itself was at the
time. I think you can see that it hasn't changed. Well, if it were a game with an
atmosphere like Psycho Break, it might not have been possible to do trial and
error like this time without design, but this time I did it to some extent. Since we
were able to inherit the player's animation during the prototype version, I think
there were some aspects that were easier to do in the actual production.To
conclude, I'd like to summarize it from director John.Okay, then the final version.
In the end, I gave a brief explanation of what I had created.In the end, it took about a year to develo
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But Mr. Hatakeyama also helped out, and I was able to complete the section using
sound BFX with a little spot-on help, so most of what I made was paid for, even
though it only took about 10 minutes to play. Honestly, it's structured so that it's a
bit repetitive, so there were quite a lot of people playing it one after the other.The
most important thing is that it's a rhythmic vaccine that emphasizes play, and I really
conveyed what I wanted to do. That's the conclusion I came to.It wasn't just the
members of the team who said they didn't know anything about the project, but
they immediately understood.Especially at the head office, they had no idea what it
was going to be like. Suddenly, I was paid for it, and it became clear that it was so
much fun that it became a topic of discussion within the company, and then I was
given the OK to participate in the actual production.This turned out to be a huge plus,
but this prototype... Now that Rhythm Max is finally in a really solid state, we've
been able to implement some financial play, so for example, there's a system where
the timing of attacks is a club, and BTS and the Diet haven't explained it yet, but
Paris. We have a special tap system in place, and by the time we were working on
the actual production, we had become quite capable of starting with a landing start,
so what we learned this time was the most important thing. The last thing I want to
do is what I want to do, but if you're talking about how to approach something when
you're making a prototype, what I'm learning here is that if you're trying to create
something new, be sure to narrow down what you want to do. It may seem like
common sense that the most important thing is to concretely convey the fun of it,
but I think it's something we often forget. Honestly, with modern engines, you can
do anything. In the end, deciding what to do and what not to do is very important at
the beginning, and it is common in surgeries to spend a lot of time looking at things
that are not necessary after all.Well, in my explanation, there is one thing that is
quite amazing. I had the idea and compiled a lot of materials, but as you can see,
there was a lot of trial work involved, so no matter how much I had already thought
of the concept and thought it was perfect, it was always a matter of execution and
error. Even for professionals, there are always things that need to be calculated
properly, so I would like to explain to you that the most enjoyable thing about using
the Unley engine is that even a small number of people can produce something with
a high degree of precision. Besides, the trial work time is short, so it's an
environment where it's easy to try out various things and experiment, so I kept
thinking that if I couldn't make this prototype, the game probably wouldn't work.
Well, I've explained it many times, but I worked so hard to refine the prototype of
the game that there are many places that are quite similar to the final game, and
it's especially refreshing to see the reactions of those users. I've put these exact
locations into the game, so I'll make a comparison video at the end, so please take a
look. [Music] [Music] [Music] [Applause] [Music] [Applause] [ [Music] [Applause]
[Music] Yeah, when I was watching it, I noticed that there were a lot of scattered
spots, and I felt like it could have been made better by just adding a little bit of graphics, but no... Well,
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Thank you very much for giving it to me.I wonder if I have some time.I
have QNA time, so if I have it, that means this.So, from the first Q&A, I
have 0 experience with UE4. However, the prototype seemed to be of
very high quality. How did you study it? If you have any recommendations,
I'd love to hear them, but basically both are the same. I looked it up on
Google and couldn't find anything special about it.Also, I think it's because
it's a company, but there was another project going on next door, so if
you have any trouble, go there. I asked a few questions, so this may
not be very helpful. You can read it. I'm sorry if I mention the next one
later. How long will it take for the prototype to reach the state shown in
the video? How many people did it take?As I said earlier, one year is
an exaggeration, but in reality it took about nine months, and if you
include the sound and VFX, there were about six people, but not all of
them were always there, but the members were always there. It's just
me and John, and other than that, we sometimes get help for a week or
two for a month.The next step is to use UE's control links to create
procedural animations and other things. Did you make any fine
adjustments in the editor? Unfortunately, I didn't do that this time, so I
would like to do it the next time I have a project.Next, I will modify the
engine when making a prototype. As for this, during the prototype
stage, we shared the engine with the neighboring project Ghostwire
Tokyo, so we didn't modify the engine at the prototype stage, so we
didn't make any changes to it.Yes, the last one is the prototype. Did you
use anything from the marketplace to save time?I might be using the
wrong word, but when it comes to store sets, I used the ones from the
marketplace in the beginning. I haven't used any of the following. Yes, I think that's all th