Enemy Design in Bayonetta 2 (Pt.2)

BAYONETTA 2

Filed: Bayonetta 2, Games

Hello everyone. Bayonetta 2 director Yusuke Hashimoto here again.

I’ve taken some time out from watching and re-watching the Japanese Bayonetta 2 TV spot to bring you some more info on the game.

While the first post on enemy design focused on angels, this time I would like to discuss a brand new enemy type making their debut in Bayonetta 2: demons.

Unlike the strict hierarchical structure of the angels, demons subsist in a brutal dog-eat-dog world. For their appearance, I tried to avoid the cliché sinister look and go for something more inorganic, almost robotic.

 

Hideous
Hideous

Its appearance evokes a feeling of “hatred given form”. I designed it as a beast that prowls around Inferno, looking for prey. Unlike its angelic counterpart Acceptance (centaur), I feel like the design for this one came together (relatively) quickly.

 

Fury
Fury

It can slow your movement by shooting you with magic energy shot from its eye. The key concept for its design was “paralyzing gaze”. I gave its attack easy to understand ON / OFF states by having it open up to reveal the eye.

 

Pain
Pain

This character is about the same level of the angel Beloved in terms of strength. My goal for the design was to add something fresh to the battles by going as far from a regular humanoid shape as possible. I also just thought it would be cool to have an enemy that transformed from a tombstone. I love the unique way the animation staff got him to move. He is quite a formidable foe.

Let’s take a look at slightly different kind of enemy:

 

Golem
Golem

I’m sure this name will sound familiar to fans of the first game. Neither angel nor demon, this enemy can change its shape to adapt to battle.

Now I would like to introduce some of the demons that have forged contracts with Bayonetta.

Let’s start with one of the most iconic Infernal Demons from the first game:

 

Gomorrah
Gomorrah

Expanding on the design from the first game, this time we show its whole body.

Thanks to the incredible work of the modeling artists, Gomorrah was able to make the change from ally to terrifying giant boss character.

Next we have a demonic dog who has stolen Gomorrah’s place!

 

Labolas
Labolas

It’s born with faces on both hands and feet. As I designed it, I imagined how they would fight over food…

Next is a horse demon with a giant blade attached to its head!

 

Diomedes
Diomedes

In addition to this guy, there are a variety of other demons that make their first appearance in Bayonetta 2. Of course, you can’t discuss demons without also mentioning the new “Umbran Climax” system. When using Umbran Climax, the demon that is summoned with each attack depends on the weapon you have equipped. Equip your favorite weapon and give it a try. Exactly how will each demon appear? You’ll just have to play and find out!

By the way, one of the demons was actually designed by a very special guest collaborator named Eiichi Shimizu. Some of you may know him from his artwork in the manga series Kurogane no Linebarrels and ULTRAMAN. The enemy he designed is visible in the E3 2014 trailer (see 0:50)

 

Also, Check out his blog to see his awesome rendition of Bayonetta!

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Bayonetta 2 Nintendo Direct!

BAYONETTA 2

Filed: Bayonetta 2

We’ve finally reached one month before the game’s release. Hope you’re ready for some fast paced climax action!

Did you happen to see the special Bayonetta 2 Nintendo Direct last week? For those who missed out, catch up here:

If you don’t know, Nintendo Direct is a semi-regular news info reel showcasing some of Nintendo’s up and coming titles. Sometimes it tackles multiple titles at once; sometimes it only focuses on one. Last week, there was a 30 minute Direct all about our very own Bayonetta 2.

This Nintendo Direct was hosted by the game’s director, Yusuke Hashimoto, and… none other than myself, the producer, Akiko Kuroda! Hashimoto, being a seasoned media vet, seemed pretty chill in front of the camera, whereas I’m sure I looked like a nervous wreck. Anyway… that’s neither here nor there. This Direct covered all the bases, starting at Bayonetta 2’s basic gameplay and ending with a few new reveals. Whether you preordered the game months ago, or you’re still undecided about making a purchase, I think this Bayonetta 2 special will have some pretty cool info for anyone who tunes in.

This Bayonetta 2 Direct actually had something never before seen in any previous Nintendo Direct: a small slice of live gameplay commentary. We had some script to help us out, but just some. Honestly, it was almost all ad-lib.

We also got to show off some of the game’s co-op mode, Tag Climax. Believe it or not, this was actually the first day Hashimoto and I ever played 2-player together. Of course, we’ve worked together on the game so long that we should be a natural pair by now. At least, you’d think… well, maybe you should just watch the video and see for yourself.

It should go without saying, but there’s so much more you can convey through video about a game than with just words. It was a fun experience that I’m excited to try out again. As always, keep checking out the blog here for more insight on the making of Bayonetta 2.

If you’ve got any other questions about the presentation, just contact me on Twitter:

Don’t be shy about messaging me in English, I’ll just bug  for a translation! See you again!

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Enemy Design in Bayonetta 2 (Pt. 1)

BAYONETTA 2

Filed: Bayonetta 2

Hey everyone. My name’s Yusuke Hashimoto, the director of this game. Recently, I keep hoping someone will make a Bayonetta Amiibo for me.

I’d like to talk about enemy design, which is something I handled since the original Bayonetta.

Deciding on enemy designs in Bayonetta 2 was… not an easy process.

Why? Well—

-I have to design and be the director at the same time.
-I used too many good ideas in the first game.
-Now I have to come up with angel AND demon enemies.

I’ve got enough work as it is, so I’m baffled as to why I volunteered to be a designer. You get some crazy courage the first game you direct.

Anyway, let’s introduce a few of the enemies in this game. We’ll start with a few ideas I had for the original but didn’t have room to fit in.

Valiance

kubinashi

 

We call this guy Headless for short. I wanted him to have a powerful, solemn, sacred look to him, but also kinda be an idiot. The sword with the face on it is his actual body; the rest is just controlled by the sword. When I designed him I thought maybe the body holding the sword could be destroyed and replaced indefinitely, as long as the sword remained intact.

Next, we have the Magic Angel, who uses his staff to cast spells.

Enrapture

mahou

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I designed this character thinking it might be interesting to have someone who could change things up in battle by raising his allies’ attack power and healing other angels. With those two done, I’d hit the bottom of the idea bank I had from the first game.

To be honest, I feel like I put every creative idea I had in the first game. So, if the original’s enemies were good, why not just bring them back in the sequel and change them up some? Later I realized just how boneheaded of an idea that was. The more we developed the game, the more it became clear that a newly designed Bayonetta fighting not newly designed enemies was boring. As the director of the game, I wanted Bayonetta to fight something different. I had some trouble coming up with ideas until I realized—I should step away from using just the human frame as a base. That’s when I finally hit on something—our Centaur Angel.

Acceptance

uma

 

As you can tell from the picture, his concept is part human, part horse. He’s one of the more common enemies in the game.

In Bayonetta 2, dodging the enemy’s attack to activate Witch Time and then attacking relentlessly is central to gameplay. In order to accomplish this, it’s important to give enemies an outline and attacks that will be easy for the player to see (I assume this should go for more than just action games like Bayonetta, as well). So, for this game, we left the easiest “tells” that come with a human based design, but took some liberties with the new horse form, like putting his face on his stomach. We guessed Bayonetta’s attacks would likely land there, and it’d be fun to see what kind of reactions he’d make. I also tried to design his armor and accessories to give him a bit more of a “leveled up” appearance than the most common enemy in the original, Affinity (this is Bayonetta 2, after all).

I usually don’t keep my rough sketches, so I can’t really show you the process of how I went from human to horse, but I can say he’s probably the character I spent the most time designing. A lot of the other team members think he looks pretty big to be a common weak enemy, but I’m pretty happy with how he came out.

After finishing this enemy, the door was opened to completely revamp some angel enemy design. The next angel I worked on was this heavy armor guy.

Urbane

tecq

 

 

 

 

 

 

 

 

 

 

 

I wanted this enemy to convey two things to the player through his design: he’s a power type, and has some kind of elemental attribute. So, I bulked the frame up on the top and gave him iron balls for both of his hands. In the game, he has a fire version and an ice version.

Next, let’s introduce Belief. This enemy’s been around since the premiere trailer.

Belief

muchi

 

His concept was to make him asymmetrical so it would be easier to understand how he attacks. After I started designing Belief, I realized the first Bayonetta doesn’t really have any asymmetrical enemies, so it was relatively easy to draw him and think up attacks.

Here’s a new angel that kind of takes the place of the manta angel, the underwater enemy from the first game.

Fidelity

sakana

 

Bayonetta 2’s initial location is Noatun, a coastal city full of rivers and lakes, so I wanted to create an enemy that could behave and move differently in and out of water.

Last, we have one of the bosses of the game, the Dragon Angel!

Glamor

ryu

 

Since we have a dragon angel in the first game (Fortitudo), my biggest concern for this character was to have him look and behave differently.

Well, I thought I might get into some demon designs here too, but I’ve talked long enough already, so let’s save that for next time. See you again!

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Lighting in Bayonetta 2

BAYONETTA 2

Filed: Bayonetta 2

Hi! I’m the lead background artist for Bayonetta 2, Shohei Kameoka. This is my first time writing for a dev blog, so I’m a little nervous. Bear with me. Okay, let’s get started.

One of my duties for Bayonetta 2 was to take care of all the lighting, water, air, and other indefinite objects in the world environments. Out of all those I spent the most time on lighting, so I thought I’d share a little on what kind of work I did.

In Bayonetta 2, many of the environments have a water theme, so I really wanted to make water in the game look beautiful. I tried to come up with some key concepts for water and worked off of the following: transparent, shining, clean, cool, something you would want to feel, something you would want to dive into. Then I thought about how I could use those words to choose the right lighting for water.

Transparent, clean, and shining all convey something clear, with a strong light shining on it. Cool, something you would want to feel, something you would want to dive into… to me, these all seem related to temperature. So, combining those two ideas, you’d probably picture a bright, sunny environment. I used that image as my guide.

Well, words can only say so much, so let’s explain with some pictures.

blogLT_0

1) This is a stage with no lighting. There are no shadows and everything feels 2-dimensional.

blogLT_1

2) Here’s just the lighting of the stage. You imagine the shape and depth of the shadows, and the structure of the buildings, and give it light. You can, of course, walk around and check the map out, so you get to see if you missed a spot.

blogLT_2
3) This is the first image blended with the second. At this point, we’re almost finished.

blogLT_3
4) Finally, we add the finishing touches. We adjust some colors, and give it some glare to strengthen the light’s presence.

I think I was able to give a sunny feel to this place, wouldn’t you say? The light reflects off the water and gives it a nice shimmer. As the sun is shining strong, the water also appears very transparent. It’s summer in Japan now… and all of a sudden I want to go for a swim.

Okay, well that’s my talk on lighting! Bayonetta 2 contains a lot of environments that contrast with this one, so see and try to think about how we used lighting in other places as you play! Thanks, see you again!

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Giving Effects an Edge

BAYONETTA 2

Filed: Bayonetta 2

Hi, my name is Koji Tanaka, I am the Visual Effects Lead for Bayonetta 2. Recently I’ve taken up walking to get some exercise.

Let’s start by discussing what the effects section actually does. The short version is, we make the fire, the smoke, the heavy rain, and the snowfall. We make the visual effects for each move and magic attack. Our job is important for setting the tone for the game, giving it the right atmosphere, and the right feel.

For this entry, I’d like to talk about the battle VFX we made for Bayonetta 2.
Bayonetta is a series where you fight, fight, and fight some more. To get the most out of the game, it’s best to fight groups of enemies building one combo on the other. Every time you execute a combo, there are effects that go with it. There’s actually a little more thought put into balancing these effects than you might think. What I mean is, there’s an ironclad rule that effects should never hide a player’s motion. That may seem like a no-brainer, but it’s actually not so easy. We want battles to be exciting and have lots of stunning effects, right? So we tend to get carried away. If we add too much, though, you’re unable to see your character and the game becomes unplayable. As the player, your eyes should be on the enemy and your own character, not the effects. That being said, if we start being too safe making effects, battles are boring.

In the end, we decided to make over-the-top effects that would fade out nice and quick, with just a hint of the effect lingering behind. In other words, we tried to give them an edge. Rather than giving the effects too much screen time, we chose to give them a brief, brilliant appearance, leave an impression in the player’s mind, and then have an echo remain, to still give the effect some presence in the battlefield.

Look, maybe a movie will speak louder than words.

Here’s an effect before giving it an edge.


*This video was taken from a build of the game that may differ with the retail version.

Now, with an edge:


*This video was taken from a build of the game that may differ with the retail version.

Did that make it easier to understand? Originally we were making VFX similar to the first video, but it interfered with gameplay too much. So we visualized taking effects in a new direction, and came to where we are now. It might sound like a subtle difference, but that subtlety is important. You’ll realize that when you’re stringing combos together. The more manic the battle, the more this method works.

That’s something you’ll just have to play and see for yourself, though. When you feel the sweat in your hand as you grip the controller, I think you’ll get it. I look forward to the moment when you do! Bayonetta 2 is an action game where every department devoted time and thought on how to put together the most satisfying kind of action game possible. I hope you can see that for yourself when it comes out. Each day we’re getting closer to its release! Until then, keep visiting here and checking our blog out!

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Cities and Waterways

BAYONETTA 2

Filed: Bayonetta 2

Hello, my name is Hiroki Onishi. I was the lead environmental artist for Bayonetta 2.

A large section of Bayonetta 2 takes place in Noatun, a city filled with waterways and rivers. In order to design Noatun, we traveled to Italy and Belgium to see cities that fit this aesthetic up close. The trip ended up being more rewarding than we could’ve imagined.

title

 

Our journey began with a 12-hour flight from Kansai to Brussels. We planned on visiting Bruges and the Cathedral of Our Lady first, but when we arrived, we heard the Royal Palace was currently open to the public, so we rearranged our schedule to make that our first stop.

belgium1

The Belgium Palace

belgium3

In Game

The Royal Palace was perfect for helping us figure out the some of the game’s grander architecture. A lot of the places we visited prohibited photography, so we were thrilled that the palace allowed cameras as long as the flash was off. It was a great start to the trip. The building we created for Bayonetta 2 ended up being a little more stylized than we originally planned, but I’m happy with how it turned out. I think its impact on the player is stronger than before. Look forward to seeing it in the game.

chapel1

Church of Our Lady

Can you see the color reflected on the floor from the stained glass in the picture above? These kinds of antique glass have a high transparency that clearly reflects color onto walls and floors when hit with sunlight. This photo was taken in the Church of Our Lady in Bruges. If the sunlight is too strong, only white will be reflected, but if it’s too weak, the colors will blur and be indiscernible. If you don’t have the correct amount of light, the phenomenon won’t occur. We saw several cathedrals on our trip, but this was the only time we were able to catch light reflecting on the floor. I saw this and thought… I really want to recreate how beautiful this is in a game. It ended up being everyone at Platinum’s favorite location inside the cathedral in Bayonetta 2. It’s nice to be able to just turn on a game and see it any time I like.

chapel2

In Game

After we were done in Belgium, we moved on to Italy. Our time in Italy provided two breakthroughs to Bayonetta 2’s environments.

The first were these stone walkways. The picture below was taken in Florence–notice how thick the stones are and how the road curves upwards in the middle so rain will naturally flow down to the waterways on the side. On narrow roads with no waterways, the path slopes inward, so the water will collect in the middle.

We designed several paths like this for Bayonetta 2. In an action game, it’s more beneficial to the player in battle to have the camera looking downward, so the ground will usually take up a significant portion of the screen. Therefore, we put a lot of emphasis on making these textures look realistic. I think if Bayonetta really did fight here, she’d probably get her heel stuck between two rocks in the road.

firenze1

Florence

firenze2

In Game

Our other major takeaway was the tiled roofs. Most of the roofs in Italy are made with orange bricks that turn white or black when aged. Only bricks that have been newly thatched are orange. Houses that didn’t regularly repair their roofs would have nothing but white bricks. However, if you look from the distance, the city’s buildings look like they are covered in a uniform layer of orange. Our hotel in Venice had bricks low enough that you could stick your hand out of the window and reach up and touch them. They must have been considerably aged, but they felt sturdy and held in place surprisingly well. In Japan, there are places that try to imitate European style by selling pre-aged, multi-colored bricks, but after going to Italy, it terrifies me that Japanese people probably don’t understand how different the real thing is.

firenze3

firenze4

Florence

The cities in Italy were full of flowers—the terraces on buildings would usually be decorated with colorful flower arrangements. I assumed this was done for tourism, but when I asked someone, they told me everyone grows them because it’s easy. They’re mostly geraniums that need to be watered or looked after very little. It’s true, we were in the city taking photos from early in the morning until late at night, but I never saw anyone watering anything. When I came back to Japan I bought some geraniums myself to see if they really were that easy to take care of. They were all right when it was still warm out, but every last one died in winter. Maybe Japan isn’t the most welcoming climate for them.

flower1

Santa Margherita Ligure

flower2

Venice

I saw something interesting when I was in Venice. Can you see the picture below, and how the knobs are close to the middle of the door? When I asked why, I was told it was because older locks were made separately from handles, and it was hard to fit both in the same place. The picture below wasn’t the exception; a lot of doors in Venice looked like this. They seemed like they’d be tricky to open.

door

Venice

venezia2

venezia1

Venice

venezia3

In Game

I think the most challenging thing we faced after our trip was conveying how important water was to the everyday lives of the city’s inhabitants. In Venice, there were no roads for cars to run on, because there were no cars—everything was handled by boats. There were no gates in the rivers to make sure travel was simple. Even refrigerators and laundry machines were carried to houses on small boats before being loaded up on push carts. We had to carry all our equipment on a boat to our hotel, and then drag everything along bumpy stone paths. It was a new experience for all of us, and it gave us some slight culture shock. Yet I think it was things like these that gave Venice a unique artistic quality that was interesting to express in the game. If anyone from Venice were to play the game and actually relate with our depiction of the citizen’s daily lives, I’d be honored.

Going abroad provides new experiences, information, and teaches you to view things in a broader, different way than before. Even outside of work, I still make an effort to travel abroad every year. If anything, just because I learn so much from it. I actually still haven’t traveled anywhere in Asia outside of Japan, but I hope I’ll eventually have the chance to. Thanks for reading all the way to the end!

 

 

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At E3

BAYONETTA 2

Filed: Bayonetta 2

Hi everyone. My name is Akiko Kuroda, and I’m the producer for Bayonetta 2 and the Wii U port of Bayonetta. This is actually my first job as a full-fledged producer, so being given two titles was quite a sudden crescendo to climax action. I’m doing my best to make sure both games are as amazing as they can be.

As far as technical talk goes, I’ll leave that to the other staff. For my entry, I’d like to discuss my trip to the industry’s biggest gaming expo, E3. Similar to last year, we brought a playable demo of Bayonetta 2. This year we were able to announce the Wii U port of Bayonetta, and that it will be sold packaged with Bayonetta 2, which met with a very positive reaction (Thank you to everyone who showed their enthusiasm. Wait just a little longer guys!).

kuroda_1

Here’s a pic of one of our stations in Nintendo’s area. The wicked witch was very popular!

Hashimoto and I had a very important reason for attending this year’s E3. We were there to promote. Media journalists from around the world gather at E3, and it’s our job to make sure they leave with a story that makes gamers happy. Luckily for us, a lot of the media wanted to hear us talk about Bayonetta and Bayonetta 2. I’m sure a lot of their articles have already gone up by now. Have you had the chance to read any of them?

We were asked all sorts of questions. A favorite question of mine was, “Most games fall back on a hero rescuing some helpless female character. What were your reasons to have Bayonetta feature a strong female protagonist?” This was more a question directed toward the Bayonetta series rather than just Bayonetta 2. There were people who doubted the choice of a female protagonist ever since we first revealed the original game’s development. Our internal team, on the other hand, didn’t mind. We just thought it would be interesting to have the main character be a witch. From there, we expanded on the concept: instead of thinking about how a female protagonist would limit us, we thought about what we could do because Bayonetta was female. Of course, a likeable character is an important thing, but to us, getting the controls right is always top priority. I’m sure there might be fans out there that have some reluctance towards playing as a female, but we’re confident that we’ve made Bayonetta look and feel as great as any PlatinumGames character should.

We also had some questions about the Touch Controls we implemented for the Wii U GamePad. We were able to show the controls in action at E3 and how easy it can be to perform huge combos with some simple Touch Controls. The Touch Controls really give the game a unique new feel and it only takes a simple tap to switch over. We’re sure there are some hardcore action fans who think they don’t need them, but we recommend you try it out at least once. You might be surprised.

Of course we got questions about the possibility of Bayonetta 3. You guys are so impatient. Bayonetta 2 isn’t even out yet! But yeah, we’d love to make 3 if we could…

In addition to the regular media runaround, this time Nintendo also held a special streaming event called Nintendo Treehouse Live*, and we got to take part.

*One by one, developers introduce their titles on a live broadcast across the web.

Nintendo’s goal for the event was to present titles with a more real, at-home approach instead of just deliver something scripted. There was some prep before we went on, but most of the talk was Hashimoto doing ad-lib.

To refresh your memory, Hashimoto, director of Bayonetta 2, was the producer of the first game. Back during its development, he traveled around the world doing countless press interviews, so he’s a pretty seasoned media veteran. He can improvise and go along with each situation without ever missing a beat. That means I was left to mostly sit quietly and play the game. Still, I had to be able to show off anything he would mention at the drop of a hat, so it required some level of skill… okay? (I actually hurt my right hand before the event from practicing too much… lol)

kuroda_2

Believe it or not, you don’t really get the chance to convey what you want about the game, or show it to your fans in such a direct way so often, so it felt great to be able to take part in Treehouse Live, and I hope to be able to do more events like it in the future. Also, as a game fan myself, it was pretty cool to see Miyamoto-san and Tezuka-san (Yoshi’s Woolly World) up so close! I heard 60,000 people tuned in to hear about Bayonetta 2. Normal numbers for attendees at a conference stop around the 100s, so it’s hard for me to even imagine that large of a crowd.

If you haven’t seen our Treehouse Live presentation yet, you can check out a digest of it here:

You’ll get to see what we included in our E3 Bayonetta 2 demo, as well as other info we only made public there!

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I was able to score a shot of Miyamoto-san playing some Wii U. I’m just now realizing we were in the same seat with the same controller!!

Most of my work at E3 was media interviews and Nintendo’s event, but if I get the chance later, hopefully I can share even more. We’ve only got three more months until Bayonetta 2’s release as well, so keep checking here as we reveal more new information.

I spent a lot of time at the Nintendo booth during E3, but that meant being able to meet Miyamoto-san, Code Name: S.T.E.A.M.’s developers, MonolithSoft’s Xenoblade Chronicles X team, and talk about a lot more I can’t elaborate on! I also got to meet Aonuma-san, the current producer of the Zelda series, and thank him for letting us borrow Link’s costume. His reply was, “Anytime you have any other interesting ideas, let me know!” I’m holding you to those words, Aonuma-san…

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Here’s a pic of me and Tezuka-san. Yoshi’s Woolly World definitely takes the cake for cutest game at E3 2014.

P.S. I’ve been making some character-themed bentos on my twitter (@pg_kuroda). Have you been checking them out? I made a special bento for this blog: the Masked Lumen from Bayonetta 2.

omake

Who is this guy? Well, you’ll just have to wait and find out.

I’d say follow me for more Bayonetta 2 info, but my twitter’s mostly in Japanese, of course. Follow me anyway!

Thanks for reading my blog! See you again!

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Figuring Out Damage Motion

BAYONETTA 2

Filed: Bayonetta 2

Hello everybody! I’m the lead motion designer for Bayonetta 2, my name is Takaaki Yamaguchi. I’ve been making motion in action games for over ten years now. That fact is starting to make me feel old.

Anyway, let’s talk about what a motion designer does. We discussed this back in our old Bayonetta blogs as well, but basically, we give movement to anything in the game that requires motion. We end up playing an important role in several areas of the game—making sure all the characters don’t look like they’re stumbling around, getting the main character’s controls to feel right, making enemy movement easy to understand, and so on.

Working on a sequel, it was our job to carry over the feel of the motion from the original Bayonetta, and make it even better. For this blog, I’d like to talk specifically about damage motion for enemies. You know, that motion you see when you land a huge deathblow on an enemy and they get knocked back and explode or whatever. You might have never thought that deeply about it, but for an action game, getting the right reaction out of the enemy after you’ve pulled off a killer combo is absolutely critical. Do a slack job and the thrill of battle will turn into a total letdown. Enemy damage motion is something I’ve always regarded as highly important in the games I’ve worked on. I always am asking myself if there’s not something new I can try to create more satisfying combat than before.

My challenge to myself for Bayonetta 2 was to create the right enemy motion for each attack. We had plenty of enemy reactions that would change depending on what attack Bayonetta performed, but I wanted to take this further for Bayonetta 2. It’ll probably be easier to understand if you just see it, so take a look at the videos below.

This is Bayonetta:

This is Bayonetta 2:

What’d you think? It’s easy to focus on Bayonetta, but if you watch the enemy in both videos, you’ll notice it plays the same motion for each attack in the first video, while in the second, the enemy’s reaction changes based on the kind of attack being performed.

This is just one example from the game, but each little detail like this I think really added up to make a great feeling game overall. Doing a little research, I realized that the enemies in Bayonetta 2 have an average of 3.5x the number of reactions as those in the original.

Well, I could keep writing and posting videos about how this game feels, but obviously there won’t be any way for you to know until you’ve actually put the controller in your hands and are playing the game yourself. If I’ve driven anyone’s curiosity, please try playing the game after its release.

Until next time!

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The Bayonetta 2 Developer’s Blog Begins!

BAYONETTA 2

Filed: Bayonetta 2, Games

Hi, this is Bayonetta 2’s director, Yusuke Hashimoto. How are you?

E3 2014 is finally here, and as attendees are trying out our new playable Bayonetta 2 demo, we have even more exciting information to share with you today.

First, take a look at our newest trailer!

 

 

Adding to the bow and arrow we saw in our previous trailer, this newest trailer reveals a set of flamethrowers and one absolutely huge hammer. What did you think?

We also see more of the mysterious boy in this trailer—he seems to know something about the Gates of Hell? Then we take a peek into Inferno itself, see some enemies that definitely aren’t angels, and hear some concerning words from Rodin. Will Bayonetta be able to save the soul of her best friend Jeanne from the grips of Inferno?

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We’ve also learned more info on the game’s release date—Bayonetta 2 will be heading to the US in October 2014!

Every copy of Bayonetta 2 will come with a special Wii U version of the original Bayonetta! See how amazing Climax Action can feel playing with touch controls on the Wii U GamePad! This exclusive Wii U version will also contain a special set of costumes hand-picked by the original game’s director, Hideki Kamiya himself! From hardcore action fan to complete novice gamer, this Bayonetta is guaranteed to be a thrill ride.

All right, let’s bring the discussion back to Bayonetta 2.

Now that the official teaser site is up (http://bayonetta2.nintendo.com/), expect to be getting regular updates of exciting info right up until the game’s release. Be sure to bookmark it! We’ll be posting developer blogs with making of videos and other behind the scenes info you can’t find anywhere else right here, so don’t forget to keep checking us out as well!

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Next blog:

We’ll hear from the director of the original Bayonetta’s Wii U port, Isao Negishi. See what he has to say about how we’ve powered up the Wii U version, the thought process that went into Kamiya’s new costume selection, and a whole lot more. Stay tuned!

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Hanami!

Platinum Games

Filed: PlatinumGames

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Last week PlatinumGames held its annual company-wide hanami party. Although the name literally means “flower-viewing,” in reality hanami events are really an excuse to spend time together in the warm spring air, eat delicious food, and enjoy adult beverages. We accomplished all these things last Friday!

Overview

Timing the date for hanami is notoriously difficult. A single week can decide whether you get a view of beautiful pink petals, or bare branches. Although we missed full bloom by a couple days, thankfully the trees in Osaka Castle Park were still a sight to behold.

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The high-rises of downtown Osaka are juxtaposed with the castle. Going to work every day in the futuristic Umeda Sky Building, it is easy to forget we are so close to this historical landmark.

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Hanami gives everyone a chance to mingle with people from around the company, free from the constraints of their office seating plan. Here are Hideki Kamiya, Kenji Saito, and Yusuke Hashimoto; the three directors share a lively chat with their colleagues.

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It is considered poor manners in Japan to make others pour their own drinks. Everyone makes sure their colleagues’ cups stay full and, if they’re lucky, will get the same treatment in return.

Pouring

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As expected, President Minami sits surrounded by the rest of the company. Employees take turns kissing his ring and pledging their allegiance for another year. (Just kidding, but everyone is expected to say hi and share a drink or two.)

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It is the job of first and second year employees to set up the party before the senior employees arrive.

Before

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After

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After the hanami, employees drop all flower viewing pretenses, and head to bars to keep the party going. Recharged, we are back in the office on Monday to keep doing what we love: making games!

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