Square Enix unveiled a new trailer for Final Fantasy XVI in the latest release of the PlayStation State of Play. It was the highlight of the upcoming RPG and the trailer revealed that Final Fantasy XVI will be released next summer.
research game I spoke with the show’s creator, Naoki Yoshida, who is also the director of Final Fantasy XIV, about the new “Dominance” FFXVI trailer, including the return of license to the center, Eikons, boss fights, and more.
research game: Final Fantasy has a history of experimenting with various combat systems on the new main characters and Final Fantasy XVI seems to be doing the same thing, with a lot of focus on mainstream action to date. How did the band create this type of battle, and how did it come to be seen by warlord Ryota Suzuki (an artist whose history includes Devil May Cry 5, Dragon’s Dogma, and Marvel vs. Capcom 2)?
Naoki Yoshida: You asked me about the battleship, and then replied that, in order to support the complete transformation of the Final Fantasy series, we decided that instead of building the previous Final Fantasy weapons, we changed our look. real events. And so, as soon as we had that idea, and we got in there, it became easy for our commander and our military commander, Ryota Suzuki, to take control and bring something settled on the job.
In the war, we not only provided a great man, Clive, a powerful army and skill from the Final Fantasy summons, but we also allowed him to go through the shows in real time, to deal with these real-time demonstrations. [This allows] It has powerful combos as well as smooth, beautiful games that look great at the same time.
An example of this as you saw in him [Dominance] A caravan with one Garuda skill where you raise an enemy in the air and when you are in the air Clive can swap with the Titan and use one of the Titan’s skills to blow the enemy down. This type of continuous change and change of action and integration to create these unique combo… all depend on the different styles of the players. There are a lot of changing rooms for this type of property that Clive owns and the player finding a home similar to their play is one of the most exciting features of our system.
Many of the developers we have in our development team [Creative Business Unit III] He had no experience of making a game of action. It was very difficult for us. For the former talented Ryota Suzuki to join our team, it has seen the progress of our development, from military systems to hand-drawn animations and everything that has touched his hands, has changed and become something more than we ever imagined. . We are very, very, very happy to be with you.
GI: Throughout the trailer, there are health barriers that are at the top of the screen, either in civil or civil wars or in the wars of ICON vs ICON. What is happening to them, and should they remind us of the fighting?
Yoshida: As for the health bar and UI, I saw a lot of comments on the group discussions after the trailer was released about how the UI is like a fighting game. When we first made the game we had Clive vs Smaller Enemies or our Eikon vs Eikon battles, while we were making it we did this without a computer interface. But we found out that this drive was a bit confusing – we needed more. That said, we did not want the window to be full, so after much deliberation and experimentation, we created a … in the trailer, and it looks like a wrestling match with something we ended up with.
All designs of Eikon vs Eikon games, however, must be unique, and in reality, we do not use the same system twice. Each battle is unique in its game, so we’re doing something crazy.
For example, perhaps Eikon vs. Eikon, if you have Eikon A vs. Eikon B, then this battle reminds us of a 3D shooter. While Eikon vs Eikon is different, it is like a professional fight, and perhaps one-third of it is Eikon vs Eikon turning the whole area into a battlefield. Again, we no longer use these systems and every battle of Eikon vs Eikon is unique and will change in every battle. For these reasons, and because wars are different in nature, the UI must change in each battle. As a result, you will notice a slight difference in the UI between these battles. However, we had to cut a lot of the cart because it could be a scam and we didn’t want to have it.
So you ask, “Well, if you hid some UIs, why didn’t you hide all the UIs as HP bars? Why did you leave them?” on the UI, people start saying, “Oh, this is so obvious, this doesn’t work in real time.” We wanted to show that what you saw in the trailer was real, so we decided to leave some of the UIyo.
GI: Many players are thrilled with the prospect of having one Final Fantasy player from the makers of FFXIV behind the scenes. What, if any, training, structures, systems and methods of storytelling from FFXIV can fans expect in FFXVI?
Yoshida: So Final Fantasy XIV was built as an MMORPG from the ground up, while Final Fantasy XVI was built as a gameplay from the ground up, so from the ground up, you will have very different ideas. MMORPGs, as you know, are long-term – you gather long-term experiences to keep users engaged.
On the other hand, single play is much more than, I think you can say, instant gratification. They are runners, they hit you with emotion. That emotion is put into a small package. So in view of this, you might think that Final Fantasy XIV, perhaps from a systematic point of view, would not have much effect on Final Fantasy XVI. However, one of the most unique features of Final Fantasy XIV is the type of communication that the development team has with the community, [and] Increased back-and-forth communication between the development team and the community. Over the past 11 years, socializing with the community has given us a lot of valuable information on what you know fans want and expect from this list. So having an 11-year experience helped us and allowed us to take some of the ideas and incorporate them into the production of Final Fantasy XVI.
GI: Recently, the Mainline Final Fantasy game relied heavily on the modern era, with a strong emphasis on combining technology and magic, but FFXVI really feels like an old or old FF. How did the team get to this point and time to prepare for the game?
Yoshida: The answer to this is very simple: it seems there are a lot of important members in it. [Creative Business Unit III] I really enjoyed the Final Fantasy and fiction of ancient Europe fiction – including me – and we wanted to make a game with those ideas. In making this game, we wanted to look at the shape, the high-quality of the old Europeans, and combine it with our unique idea that we had, and then take it all in and try to explain this with modern technology and design. something very interesting.
As you know, the Final Fantasy series is well-known, or well-known, for being different from everything else on the list. However, after doing a recent survey, we found that most users have found that most recent Final Fantasy games [games] We seemed to be stuck in that vision, so we wanted to use it as an opportunity to go back and try something different; Not just for us, but in anticipation of the future of Final Fantasy and upcoming activities, we wanted to try something and perhaps show that the series can go in different directions instead of looking at one.
As soon as we launch the second trailer, we are preparing for the third trailer to roll out this fall. In this trailer, we hope to take a look at the world, stories and stories, and hope to give the players more experience, to show how the story will turn out and what will happen next. For that to happen, that’s how it will fulfill the world.
GI: You are obviously a very busy person with FFXIV, but now you are making FFXVI. What is it like to work on a single-player FF and what is it like to lead Creative Business Unit III on this project?
Yoshida: It doesn’t matter what my job is. Being a sports manager or any project, the pressure is always great. There are always a lot of people and money involved in this. You know, at Final Fantasy XIV, I am a producer and director. However, this time on the 16th, I am the only one making it. In that sense, it is a very heavy burden on my shoulders.
It’s Final Fantasy XVI being the last part of the series, which means all eyes are on us as everyone looks to see what kind of game they’re going to be, and a lot of pressure goes to play. sir. And again, with all these difficulties not for the producer, it falls very much, as I said, director, Hiroshi Takai, or director of war, Ryota Suzuki, or director and filmmaker, Kazutoyo Mihiro, or I fell. Being a landscape guide and helping me identify national traditions and things like that, there are a lot of challenges for us. And as a producer, it is my job to make sure that coercion is not too affected by the people who work for me. Being able to enter and do this type of interview and talk to the media and ensure that the necessary information gets there so that goods do not fall into the public domain. It’s something I can do, again, to remove that burden from them and for me, it’s easier than being the way out.
Once again, I was greatly honored when the company approached me and [Creative Business Unit III] We were asked to lead the final Final Fantasy. But again, this opportunity would not have been possible without the time we spent on Final Fantasy XIV with the voice of the users and the voice of the TV that covered us. That is why I want to thank you for giving us the opportunity to make the final game of Final Fantasy.
To learn more about Final Fantasy XVI, check out the Dominance trailer and Enjoy the beauty of these new graphics. Then read on how to do it I’m happy for the Kaiju-type battles that it seems to give us, then check out Game Informer Rating for each major Final Fantasy game.
What impresses you most about Final Fantasy XVI?