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10 things we learned from The Creation of FINAL FANTASY XIV: Shadowbringers.

 

The Generation of FINAL FANTASY XIV: Shadowbringers movie documentary gives a fascinating look behind the scenes of the critically acclaimed growth.
Across seven episodes, the show looks at all, from writing the narrative to building the conflicts. It is filled with interesting insights and anecdotes direct by the programmers.
Here just 10 of those things it has taught us:

Get FINAL FANTASY XIV: Shadowbringers on the Square Enix Store

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Access FINAL FANTASY XIV: Shadowbringers on PlayStation Store

1. The authors wanted to challenge basic assumptions of dark and light
Traditionally, darkness and light are presented in a given manner in fiction, and this was true of ffxiv world status Online. Even within the game’s development team, light equaled darkness and justice equaled evil.
For Shadowbringers, Producer and Director Naoki Yoshida desired to challenge and subvert these assumptions.

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He says:”When folks think of Light, they believe of something beautiful, righteous and just; something that is pretty to look at, unstained and untainted, but that is not always correct.
And if you take a look at Darkness, there’s beauty in it – there’s a line of dialog that talks about how it’s the nighttime sky that permits the stars to become beautiful.”
The First was significantly influenced by the real world
Shadowbringers moves out the action of Hydaelyn into a whole new realm: The First. It might appear a fantastical setting, but many of the areas you explore were profoundly inspired by actual places.
By way of example, on a business trip to Saudi Arabia, the team took the opportunity to see the desert and take some pictures while they were there. The plan and textures of Amh Araeng take many direct cues from this reference substance.

Making the Everlasting Light look exactly right took attempt… and traveling
How do you create light feel oppressive? This was one of the greatest visual design challenges for your Shadowbringers devs, and it required a lot of thought and time to make the light feel right.
Every element of the weather states was believed. By way of instance, Wallpaper Artist Masato Shida functioned on the clouds and moved to some lengths to make them as great as he could.
“I decided I wanted to depict clouds that felt like it had some thickness to them,” he recalls. “To do this, I chose to take reference photos of different types of clouds.
I actually travelled out of Japan to Guam to shoot pictures of the different clouds , and they were very rich, thick clouds. It was these I used and modified to create exactly what you see in the match.”
Now that’s dedication!
4. When it comes to Shadowbringers style, capes have been in
Due to the way ffxiv data center split Online is set up, the group is not really able to create cloaks and capes. They’d declared this publicly before, and also stressed it to the art team.
However, you’ll see that new equipment for your Red Mage includes what seems suspiciously like… a cape. That’s because Character Concept Artist Ayumi Namae created an idea to make something that looked like one.
Although there was an opportunity it would not look right, Character Artist Yuji Yamazaki and team chose to roll the dice and see what they can perform.
He states:”While it might not have looked very realistic in comparison to a real cape, there was a notion there for us to fudge it!
I believed about the performance we have in our clothing designs and informed Ms. Namae that while I could not create any promises, I could see a way to give it a go that may get the job done.”
By borrowing from additional’flowing’ elements like skirts or hems, Mr Yamazaki managed to make a similar impact with cloaks. They don’t move on their own such as a true cape does, but it mimics the effect pretty brilliantly.
5. The critters were designed to highlight the game’s subjects
The programmers of Shadowbringers desired the animals of The First to play to the themes of subverting the conventional job of light vs darkness.
This was really challenging, but the outcomes of this approach can be viewed clearly from the Sin Eaters. Their stark white coloring refers back to traditional representations of mild, but it additionally fees unnatural and visually striking, which makes it possible for the layouts to have a lot of impact.
In among those pivotal early scenes in Shadowbringers players experience a Sin Eater. Lead Character Concept Artist Yusuke Mogi explains how the layout also intentionally subverts traditionally peaceful iconography:
“She has wings evocative of a white dove, a monster that is traditionally representative of calmness.
So it makes it interesting because you’ve got these white-winged creatures and then in comes this depraved Warrior of Darkness slashing and beating them”
6. The Voidwalker manager was designed as a bracket
The Voidwalker boss which looks as part of the Eden’s Gate raid is one of the most striking bosses in Shadowbringers, but it was not initially designed to become one.
When Mr Mogi got the request, he believed it was meant to be a mount. Because of this, his first design was just like a bird, laying down so gamers can climb on top to ride.
When the developers implemented it as a boss fight, and standing vertical no less, it had been rather a surprise to the artist!
Some of the sound asks were… unconventional
We have previously mentioned figuring out how to portray the transformation of a person into a Sin Eater was a pretty tricky task, but there is one often overlooked element that was particularly challenging.
The horror of this shocking transformation is driven home by the sound, but the developers who worked on the scene had to compete with some quite unusual leadership.
“The instruction we received regarding the sound was essentially’pretty vomit’, which resulted in the person assigned to applying the noise being understandably confused!” States Sound Designer Move Kinuya.
“Well, ultimately we were able to find out a solution that appeared to work for everyone, but I do recall there were quite a few tricky areas when working on it.”
So if you’ve ever wondered what fairly vomit seems like, now you know.
The gremlin from the opening cinematic was voiced by a man hiding in a cupboard
The entire world of ffxiv data centres on the internet is filled with bizarre creatures, and many need some kind of distinctive voice. It’s up to the audio team to create them, but sometimes even they may be flummoxed.
The gremlin in the opening cinematic to Shadowbringers is just one such instance. Sound Director and Composer Masayoshi Soken delegated the job of producing its voice into a junior member of the group, who tried different things but nothing else seemed to work.
Mr Soken remembers that:”At the end, as a last-ditch effort, he moved home on the weekend, took a hand recorder and went to his closet to discreetly record what he thought a gremlin may seem like, while trying to not disturb the rest of his loved ones . It was amazingly good!
“We did alter the voice quite a bit of course, but it’s my colleague’s voice which we used.”
9. The behavior of Trust System NPCs is characterized by their personalities.
When developing the Trust system, it was significant to the group that each NPC’s personalities shone through – not just in their dialogue and appearance but in their activities too.
This was shown to be quite hard, and the team has to think long and hard about how to emphasize the particular traits and quirks of all the AI itself. Each character needed to behave in a way that was consistent with the way they had been portrayed in FINAL FANTASY XIV Online up to now.
Fight Fight Designer Masaki Nakagawa supplies an example of how this works in practice:

“Though Alisae gets the ability to use the Vercure healing magics, it feels like her character would skew towards implanting strikes and just really have her step in with the treatment spells once the healer is having difficulty.
“Attempting to show these nuances within the AI system was definitely a struggle.”
How did the NieR raid show come about? Thank steak and wine
It is a cooperation with NieR series Producer Yosuke Saito and Director YOKO TARO, it but how does something like that even get started?

“Simply put, I personally wanted to do anything together with Saito-san and YOKO-san, so I encouraged them out for supper with no kind of context,” says FINAL FANTASY XIV Online Producer and Director Naoki Yoshida.
“We went and ate some delicious steak and after opening about two bottles of red and white wine every day, I decided to ask’would you like to focus on something with me? ”’
YOKO TARO adds:”We’re very drunk at the moment, so I really don’t have any recollection of what happened.”