A Phoenix Wright: Ace Attorney - Justice For All | Trials and Tribulations / Gyakuten Saiban Fansite *Pant-Pant-Pant* en-us Sat, 05 Sep 2015 12:14:21 EDT Sat, 05 Sep 2015 12:14:21 EDT Wooster Croik 3rd Ace Attorney in Joypolis case announced! SuperAj3 Thu, 03 Sep 2015 02:05:54 EDT SEGA's official twitter just posted that from the 17th of September (Thursday) the new Joypolis exclusive Ace Attorney case will be available at the theme park. <br />[center"><img src="https&#58;//pbs&#46;twimg&#46;com/media/CN9N2U8UEAA7DBu&#46;png&#58;large">[/center"><br />The preview image shows off Phoenix, Edgeworth, Maya and Desiree DeLite (From Trials and Tribulations) and a new character in the background.<br /><br />Source: <!-- m --><a class="postlink" href=""> ... 0411010048</a><!-- m --><br />Joypolis PDF: <!-- m --><a class="postlink" href=""></a><!-- m --><br /><br />UPDATE: A little more info thanks to Famitsu! (Thanks to Ash for the summary!)<br /><!-- m --><a class="postlink" href=""></a><!-- m --><br /><img src="http&#58;//www&#46;famitsu&#46;com/images/000/087/574/l_55e7dbee387ea&#46;jpg" alt="" /><img src="http&#58;//www&#46;famitsu&#46;com/images/000/087/574/l_55e7dbee456f1&#46;jpg" alt="" /><br /><br><br><strong>Quote:</strong><table border='0' cellspacing='0' cellpadding='3'><tr><td bgcolor='#EFEFEF'><font color='#000000' size='-2'>Summary: What happened during the fight scene of the two actresses? The one holding the key to this case is DON Kogyoin, ruler of the entertainment world, but is he an ally or enemy? The final episode in Gyakuten Saiban in Joypolis.<br />Recurring characters: Desirée Delite.</font></td></tr></table><br> Takumi: &quot;Looking forward to Ryuu's next adventure&quot; Bolt Storm Thu, 03 Sep 2015 00:39:15 EDT While the news of the day is mostly AA6-focused, today was also the final DGS DLC. As part of that, Takumi provided a special message for the players:<br /><br /><img src="http&#58;//i&#46;imgur&#46;com/eaf8OC2&#46;png"><br /><br />&quot;London, at the turn of the 20th century...<br />I hope you enjoyed your great turnabout voyage.<br />The team is looking forward to the day we can meet you again in Ryuunosuke's next adventure.&quot;<br /><br />While this isn't quite enough to say we got two AA sequel announcements in 48 hours - after all, this was written before the game went on sale - it is pretty close!<br /><br />But until that day comes, Takumi leaves us with this:<br /><br /><img src="http&#58;//i&#46;imgur&#46;com/bd2Ajzk&#46;png"> Ace Attorney 6 - Official JP site open, TGS details Bolt Storm Wed, 02 Sep 2015 21:16:41 EDT <a href="http&#58;//www&#46;capcom&#46;co&#46;jp/gyakutensaiban/6/" target="_blank">http&#58;//www&#46;capcom&#46;co&#46;jp/gyakutensaiban/6/</a><br /><a href="http&#58;//www&#46;capcom&#46;co&#46;jp/tgs/ttl_gs&#46;html" target="_blank">http&#58;//www&#46;capcom&#46;co&#46;jp/tgs/ttl_gs&#46;html</a><br /><br />[center"><img src="http&#58;//i&#46;imgur&#46;com/UOncZb7&#46;jpg" alt="" /><br /><br /><img src="http&#58;//i&#46;imgur&#46;com/mNZG02L&#46;jpg" alt="" />[/center"><br /><br />AA6's official website has been opened, along with an associated TGS page, giving us clean art and screenshots for the first time!<br /><br />While there's no particular new info on the site, the TGS page notes there will be a playable demo and live-streamed stage shows, as well as the traditional Special Court skit video.<br /><br />Additional, slightly oversaturated screens from 4Gamer:<br /><br /><br><br><strong>Quote:</strong><table border='0' cellspacing='0' cellpadding='3'><tr><td bgcolor='#EFEFEF'><font color='#000000' size='-2'><img src="http&#58;//i&#46;imgur&#46;com/yLXlJh3&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/MOW1LpZ&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/N9469r5&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/Rfrow1P&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/8gdCRPN&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/doHl1Ur&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/5UaUMjP&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/8IxFqGQ&#46;jpg" alt="" /> <img src="http&#58;//i&#46;imgur&#46;com/dWqv8fw&#46;jpg" alt="" /></font></td></tr></table><br> Ace Attorney 6 in Famitsu 9/3/15 - full scans Bolt Storm Wed, 02 Sep 2015 11:22:54 EDT Boy, seems like we can't go a few months without a Famitsu around here these days. Full scans for AA6!<br /><br />[spoiler=Scans"><img src="http&#58;//i&#46;imgur&#46;com/YCaBeca&#46;jpg" alt="" /><br /><img src="http&#58;//i&#46;imgur&#46;com/ZRcdvuZ&#46;jpg" alt="" /><br /><img src="http&#58;//i&#46;imgur&#46;com/idJdeqV&#46;jpg" alt="" /><br /><img src="http&#58;//i&#46;imgur&#46;com/2NLwslI&#46;jpg" alt="" /><br /><img src="http&#58;//i&#46;imgur&#46;com/YKQQ15T&#46;jpg" alt="" /><br /><img src="http&#58;//i&#46;imgur&#46;com/JrlmjxD&#46;jpg" alt="" />[/spoiler"><br /><br />Adding info to this post as I translate (with an assist from hoso_boso.)<br /><br />As previously announced/leaked, AA6 takes place in a foreign country which Phoenix visits &quot;for a certain goal.&quot; While there, the old Wright luck kicks in and he finds himself wrapped up in a certain case when his tour guide is arrested. Phoenix goes to see the trial, but when he sees there's no defense attorney and the judge is relying on things like an &quot;oracle of spirits&quot; (insert your own Zelda joke here) to hand down a guilty verdict immediately, Phoenix objects and takes the defense's bench.<br /><br />Character-wise, that tour guide's name is Bokuto Tsuani (boku to tsua- ni -&gt; &quot;On a tour with me&quot;), a young energetic monk-in-training. Once he gets on the topic of tours, he can't stop, but that's not much use for him in the trial. Also appearing is the mysterious, strong-willed woman in the art above; the magazine states she is neither a witness nor a prosecutor nor a judge, but rather a &quot;fourth role&quot; in the courtroom and this game's &quot;key person&quot;, like Athena in AA5. (To be very clear: it does <i>not</i> say she's Phoenix's partner, just reuses the &quot;key person&quot; term.)<br /><br />As for trials themselves, as previously shown, the courtroom has a large “water mirror” which plays a part in a new system they’re keeping under wraps. The magazine also seems to suggest there may be other small changes from the usual courtroom antics. This new system will be playable at TGS 2015. What's more, during the interview Yamazaki explains that in this country, there are prosecutors, but no defense attorneys - the court system relies on a 'certain thing' to work without them.<br /><br />In the interview, the developers discuss how the game's theme is a &quot;courtroom revolution&quot; and how they felt Phoenix was in a position where he didn't really have anyone who could match up to him in Japan, so that was part of the reason they moved him into the wider world. They also hope that trials in a court where the usual &quot;rules&quot; don't play will help give a sense of urgency to the game that they couldn't get in just a plain Japanese trial.<br /><br />With regards to the game overall, the developers heard a lot of complaints that AA5 was too easy due to the many hints characters gave, so they're aiming to let the player enable/disable hints on their own, and to avoid direct clues like in AA5. And while development's still fairly early on, they hope to make a game to surpass the previous entries, and to &quot;betray the player's expectations - in a good way!&quot;<br /><br />And that's about it! We'll see more at TGS. Capcom France Twitter: No plans for DGS in the West Bolt Storm Tue, 01 Sep 2015 22:50:56 EDT I guess bad news comes with good more often than we'd like.<br /><br />Via Twitter:<br /><br /><a href="https&#58;//twitter&#46;com/capcom_france/status/638738807010029568" target="_blank">https&#58;//twitter&#46;com/capcom_france/status/638738807010029568</a><br /><br /><br><br><strong>Quote:</strong><table border='0' cellspacing='0' cellpadding='3'><tr><td bgcolor='#EFEFEF'><font color='#000000' size='-2'>KTOUKTOUTENCAPS ?@ktouktou 11h11 hours ago<br />@capcom_france Génial ! Mais en ce qui concerne Dai Gyakuten Saiban (dans le passé) vous avez aucune info ?<br /><br />Capcom France ?@capcom_france 11h11 hours ago<br /><b>@ktouktou Malheureusement le titre n'est pas prévu pour sorti en Occident.</b></font></td></tr></table><br><br /><br />Essentially, the rep is replying to a question about DGS with &quot;Unfortunately, there are no plans to release the game in the West.&quot;<br /><br />Of course, this could be a PR rep guessing from their current knowledge, but it doesn't look good. And given the Capcom European Twitter accounts were quick to confirm AA6 this morning, it seems like they're at least somewhat in the AA loop. Gyakuten Saiban 6 (3DS) teased in Famitsu, playable at TGS L~A Tue, 01 Sep 2015 05:06:52 EDT <b>Update 2:</b> <a href="http&#58;//www&#46;shacknews&#46;com/article/91084/ace-attorney-6-announced-for-3ds-confirmed-for-western-release" target="_blank">western release confirmed</a>!<br /><br /><b>Update:</b> Official site and clean logo. Site will have info added on 9/3 (Famitsu's release date.)<br /><br /><a href="http&#58;//www&#46;capcom&#46;co&#46;jp/gyakutensaiban/6/" target="_blank">http&#58;//www&#46;capcom&#46;co&#46;jp/gyakutensaiban/6/</a><br /><br />Holy smokey... Gyakuten Saiban 6 announced for the Nintendo 3DS, teased in the usual weekly Famitsu preview. No details for now, except that the staff will have Motohide (Producer) and Yamazaki (Director). The game will be playable at Tokyo Games Show (September 17-19), where players will be able to try out the new systems and get goodies.<br /><br />TGS will have:<br /><br />- playable demo (with stickers for players trying out the game)<br />- stage events (most likely livestreamed)<br />- Special Court video<br /><br /><img src="http&#58;//i&#46;imgur&#46;com/e1xF3f7&#46;jpg" alt="" /><br /><br />Source: <!-- m --><a class="postlink" href=""></a><!-- m --> CEDEC 15 Ace Attorney presentation (scripting) summary Ash Fri, 28 Aug 2015 09:40:55 EDT CEDEC 15, or Computer Entertainment Developers Conference, was held between August 26 ~ 28 in Yokohama and one of the lectures was &quot;Making of a 3D Adventure With A Demonstration of the Ace Attorney Script System,&quot; led by KIMOTO Masahiro (Capcom Production Studio 4 planner). Premium members of Nico Nico Douga can still see the presentation through time shift (<a href="http&#58;//t&#46;co/4aUtpY8g4k" target="_blank">here</a>), but both <a href="http&#58;//www&#46;famitsu&#46;com/news/201508/28087129&#46;html" target="_blank">Famitsu</a> and <a href="http&#58;//ameblo&#46;jp/gsfun/entry-12066828079&#46;html" target="_blank">hosoboso</a> have posted a report on it, which I'll summarize here. Click on the Famitsu link for pictures.<br /><br />The presentation starts with an introduction of Kimoto and the Ace Attorney series. The main topic is scripting, explained here as simple programming. With Ace Attorney, the conversaion of scenario to final product goes roughly as follows.<br /><br />1) The scenario writer writes the scenario according to specific rules. <br />&gt;&gt; For example, the person speaking is always marked with a &quot;?&quot;.<br /><br />2) The scenario is converted to script by programmers to include all the correct flags/so it runs as a game.<br />&gt;&gt; At this stage, the game can be 'played', but the characters just stand there as they're talking.<br /><br />3) &quot;Stage directors&quot; add &quot;direction&quot; commands.<br />&gt;&gt; From BGMs to SEs, from the text speed to the wait between lines and other effects like flashes, they're all added at this stage. This is what makes the game look like Ace Attorney. Note that &quot;stage director&quot; is just a term used in this presentation. In Ace Attorney, this job is done by planners.<br /><br />4) Output to executable data<br /><br />Up until Ace Attorney 4, the script commands were just added right next the scenario. An example is the command &quot;w10&quot;, which stands for &quot;show this line for 10 seconds&quot;. But this method was labor-intensive (and you had to memorize all those commands), it resulted in a lot of input mistakes and it was also a hassle whenever the scenario changed. From Ace Attorney Investigations 2 on, they basically made a Ace Attorney scenario/script editing tool based on Excel. Commands can be selected from a pull-down menu and also warns them when there's an error. The program als included a localization tool, allowing for entering English while looking at the Japanese and also capable of outputting the data for an English version.<br /><br />The scenario -&gt; script converter tool is capable of automatically adding set commands during the convertion (i.e. certain camera movements or setting the correct text speed). Because the scripts for AA games are so large, the script is split in over 500 files (making it easier to oversee/correct). Setting the correct flags for evidence/story flags etc. for each of those files would be a lot of work, so they also have preset scripts, as well as tools for taking over the &quot;metadata&quot; of the previous files/scenes so the files/scenes flow into each other.<br /><br />From Ace Atttorney 5 on, the games became 3D, so new elements like characters coming in from the side or the background were introduced, as well as camera movements. This is also handled by the script commands. With DGS, they also had to do the eye movements of the characters.<br /><br />At the end of the presentation, Kimoto demonstrated how it worked (with DGS characters), starting with a bare scenario and slowly adding things like music with script commands until he had the final scene.<br /><br />Q&amp;A (some of questions)<br /><br />Q: Any command mistakes that happened during localization?<br />A: There are tools for converting the commands and comparing the commands across the versions. Because of the character count in English, there'll always be differences though.<br /><br />Q: What if motions are added/removed? How are changes shared among the team?<br />A: The exact duration of each motion is set, so as long as that doesn't change, the designers can just update their data and everything will update along with it. There is a tool to search for the scenes with certain motions. When motions or commands change, it also updates automatically, so no problems there. Happy 1000000 posts henke37 Mon, 17 Aug 2015 13:43:03 EDT We just reached a milestone here on the forum: one million posts. Takumi X Ishii (999 producer) discussion interview Ash Fri, 31 Jul 2015 07:15:44 EDT A very long interview discussion between Takumi and <a href="http&#58;//www&#46;animenewsnetwork&#46;com/encyclopedia/people&#46;php?id=83403" target="_blank">Ishii Jir?</a> was posted on <a href="http&#58;//www&#46;famitsu&#46;com/news/201507/31084755&#46;html" target="_blank">Famitsu's site</a>. Ishii worked on famous sound novels and other adventure games like <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a> (supervision), <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Nine_Hours,_Nine_Persons,_Nine_Doors" target="_blank"><i>Nine Hours, Nine Persons, Nine Doors</i></a> (producer), <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2010/09/blog-post&#46;html" target="_blank"><i>TRICK X LOGIC</i></a> (producer) and <i>Time Travelers</i> (director). The interview is about adventure games, how it is to lead game development projects, writing game scenarios and even has little hints about what Takumi wants to do in the future in terms of games.<br /><br />Also: this took a lot longer than I thought and I sorta lost interest halfway through, so it's probably full of little mistakes, but I really don't feel like checking everything again... Still, a more than interesting read, I think.<br /><br /><b>Do you write scenarios all by yourself? Or not?</b><br /><br /><b>Mr. Takumi, I heard this was the first discussion interview you had with a fellow game creator…</b><br />Takumi: That’s correct. But I’ve talked with mystery writers before (laugh)<br />Ishii: Mr. Takumi has the image of a writer, never appearing in the spotlight (laugh)<br />Takumi: I met Mr. Ishii a couple during the development of <i><a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/12/to-switch-witch&#46;html" target="_blank">Professor Layton VS Ace Attorney</i></a>, at Level-5.<br />Ishii: We did meet a couple of times, yes.<br /><br /><b>Was that the first time you met?</b><br />Ishii: I think the first time was at a party at the Tokyo Game Show*. It was a bit after the release of <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a>. We met there.<br /><font size="85">(*Translator’s note: the way <i>Game Show</i> is written implies it’s the Tokyo Game Show, but the dates don’t really match, as <i>428</i> was released after TGS.</font><br />Takumi: That was the first time, yes. I was interested in <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a> and I remember the first time I became aware of Mr. Ishii was when I saw his name in the staff list.<br /><br /><b>When you first met, did you also know about the titles of each other’s works?</b><br />Takumi: We both work in the genre of adventure games, so I had read some of his articles and it didn’t feel like it was the first time we met. Because it was as if I already knew him, our “encounter” was rather natural. We were on the same wavelength, so nothing of feeling nervous or anything. Mr. Ishii led the talks, so we had a pleasant talk.<br />Ishii: We both had things we wanted to ask the other. “How do you write (your scenarios)?”, or “With how many people do you write?”, things like that.<br /><br /><b>Both of you are scenario writers, so I assume you understood each other well?</b><br />Takumi: But there are always multiple writers contributing to Mr. Ishii’s games, so to me it still wasn’t quite clear what Mr. Isii’s role was.<br />Ishii: I talked about that I couldn’t write a scenario by my own and why. “If I’m the only writer, I might turn into the bottleneck of the project and that’s a lot of pressure” I don’t want to become the bottleneck… If my work hits a stop, I’ll have 10, 20 people waiting for me. It depends on the company, I think, but for most of my projects, I did the work of producer and director mostly on my own. So I also had to manage the financing.<br />Takumi: So you were both producer and director.<br />Ishii; Most of the time. Marketing was elsewhere, but I was put in charge of managing the development costs, so that was a lot of work. And then Mr. Takumi told me he had no management authority, and I thought that would be so nice.<br />Takumi: To be honest, it would be more than I could handle (laugh).<br />Ishii: I think that there are a lot of cases where it is best to keep those functions separate.<br />Takumi: You might be right. It changes the things you focus on.<br />Ishii: Now I’m a freelance writer, so I can concentrate just on what I write and my way of working has changed completely.<br />Takumi: That sounds really good.<br />Ishii: I became a freelance writer partly because I didn’t want like being a producer.<br />Takumi: Really? I always thought that you wanted to oversee the whole project, like a producer.<br />Ishii: Actually, it was the other way around. If I say I only want to do what I want to do, I might sound like a child, but the higher you go as a creator, the less opportunities you get to actually write yourself.<br />Takumi: In my case, I’ve somehow made it to veteran status, but even now I’m still doing one single job on the development floor.<br />Ishii: So there’s the culture of the fuction of a creator being protected. But that culture differs per company.<br />Takumi: A friend from university is working at a different company, but when I met him for the first time in a long while and was given his new business card, I saw a high function on it and realized he had climbed up quite high. When I look at my own card, it just says director, and I sometimes think “it’s still the same old”. But then again, Capcom doesn’t have a lot of detailed function titles. <br />Ishii: That’s what surprised me. I thought you’d be managing the complete <i>Ace Attorney</i> series. But it did click with me when I saw you were focusing solely on direction and scenario writing. I’m halfway through <i>Dai Gyakuten Saiban</i>, but I can feel it’s really a Takumi game.<br />Takumi: It might be actually quite unique that they let me do it like this. I’ve been asked why I don’t oversee all the titles, the complete series as one big project, but personally, I want to get as much involved as possible with one game. I am really grateful they allow me to do so. If the range of my work would widen, I’d have to change my way of working. <br />Ishii: I have the feeling that people who want to focus on creative work, leave their companies. But there are also people who look over the creators, taking over the management functions from them.<br />Takumi: To us, it’s really important to have people who know the development floor on the top.<br />Ishii: Looking at Capcom from an outsider’s view, you do look like such a company. &quot;Because the people up high protected me when I was on the development floor, I’ll look over those there when I’m at the top&quot;. You have a company which allows their people to concentrate solely on their creative work.<br />Takumi: I am incredibly grateful for that. Personally, that is also the only shield I have, so I’m also afraid for if it’d all break down and I’d be left with nothing.<br />Ishii: It is kinda like how freelance writers work. You only concentrate on the creative process. There might have other business activities, but there’s zero of that for me or Mr. Takumi. I think that you actually are more like a freelance writer than me. Like a novelist or scenario writer.<br />Takumi: I’m really hopeless all on my own. I’m always helped by those around me. I think I might not have even been able to find this place today if they just set me loose in this big Tokyo all on my own (laugh). But I can make videogames, so I can sorta pretend I’m an adult person.<br />Ishii: I heard you had your word processor tuned?<br />Takumi: It hurts when I type too much on the keyboard, so I had it finetuned to get the most efficiency out of the least number of typing. But I only write mystery stories, so when I write e-mails on something else, the automatic word conversion always comes with something horrible. “Congratulations with your bloodstain*”. The usual stuff in this business.<br /><font size="85">* (TN: Kekkon (??), “blood stain” is a homophone to kekkon (??), “marriage)).</font><br /><br /><b>Something only adventure game creators have to deal with (laugh)</b><br />Takumi: Whenever I read interview articles with Mr. Ishii, I always sense he’s very well-versed in the topic. Sometimes it’s an analytical story about classifying the types of adventure games, and I can really feel his love for adventure games. When I look back at my own history with the genre, I think I was of the generation of the <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/PC-8000_Series" target="_blank">PC-8001 or PC8801</a>, somewhere around then. <br />Ishii: Actually, I made my own PC game when I was 19 or 20.<br />Takumi: I played an adventure game called <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Mystery_House" target="_blank"><i>Mystery House</i></a> when I as in elementary school.<br />Ishii: A bit after that. The command-style games, right.<br />Takumi: That was great. And then the Famicom was released, but my parents wouldn’t buy one for me, so my “game history” hit a blank for about ten years then. The last I played were <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Pac-Man" target="_blank">Pac-Man</a>, <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Mappy" target="_blank">Mappy</a> and <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Xevious" target="_blank">Xevious</a>. Then I entered university and one time I played a game at a friend’s place for the first time in a long time, and I was utterly impressed when the credits rolled. Mr. Ishii, did you also play and create adventure games in that period?<br />Ishii: There was a time where I stepped away from adventure games, but I came back because of sound novels. I was really surprised. At the time, I had the feeling adventure games were being absorbed into RPGs. When <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Dragon_Quest_%28video_game%29" target="_blank"><i>Dragon Quest</i></a> was released, I even thought that adventure games weren’t needed anymore, as RPGs could have all the drama. And then the sound novel <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Otogiris%C5%8D" target="_blank"><i>Otogiris?</i></a> was released and I was immensely impressed and was also convinced in the possibilities of the game grammar. Abroad, there’s also the game <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Spaceship_Warlock" target="_blank"><i>Spaceship Warlock</i></a>. Pre-rendered CG were moved on layers and it was full-voice in English. If a game like this can be made, then adventure gamers can change, I thought and here I became convinced of the technical possibilities. Novel games are different from a game like <i>Ace Attorney</i>, as they have bad endings and I felt so much potential in those moments when you replay the game and see how the story has changed completely. I then started to read up on what sort of games were released and what they were about and became interested in finding out how sort of ideas lay behind them.<br />Takumi: Yes, they are completely different. My games are in the core always just linear, single-road stories, but sound novels have multiple endings and the stories change.<br />Ishii: Until [">iAce Attorney[/i">’s release, I thought that the linear adventure game had its limits. For example, a game like <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Resident_Evil" target="_blank"><i>Biohazard</i></a> (<i>Resident Evil</i>) also has puzzle solving and is quite like an adventure game. But then <i>Ace Attorney</i> was released and surprised me. You know, I actually changed my plans for <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Kinpachi-sensei" target="_blank"><i>Third Year B Class’s Kinpachi Sensei – Stand Behind The Legendary Teacher’s Desk!</i></a>, to have one story resolved and then follow with the next: it was <i>Ace Attorney</i> that made me do that. I was also thinking about the platform then, and I had even thought about following <i>Ace Attorney</i>to the DS. I’ve been keeping an eye on Mr. Takumi since then. <br />Takumi: <i>Ace Attorney</i> is an adventure game, but beneath that layer, it’s a mystery. A story about solving a case, should really only consist of one beautiful logical road. I had considered scenarios that would split off into multiple ones, but it just would be different from what makes a mystery story fun. Also, I want the players to enjoy the feeling of solving the case with their own deductive powers. As I’m talking about this now, I think that’s the reason why I never did use multiple route scenarios. For me, <i>Ace Attorney</i> is in the end a mystery game.<br />Ishii: There are mystery games with multiple route scenarios, but they tend to become meta-fiction, or science-fiction-esque.<br />Takumi: That would be our big predecessor of mystery games, <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2011/08/blog-post_30&#46;html" target="_blank"><i>Kamaitachi no Yoru</i></a>, right? A fusion between mystery and sound novels.<br />Ishii: The major mystery games are <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2012/01/blog-post_06&#46;html" target="_blank"><i>Portopia Serial Murder Case</i></a>, <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2011/08/blog-post_30&#46;html" target="_blank"><i>Kamaitachi no Yoru</i></a> and <i>Ace Attorney</i>, I think. Anymore?<br />Takumi: It might sound strange, but while I love mystery fiction, I don’t really focus on mystery games. Adventures I like are <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Myst" target="_blank"><i>Myst</i></a> and <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Another_World_%28video_game%29" target="_blank"><i>Outer World</i></a>. They aren’t really mystery games, but they do let you enjoy the taste of mystery.<br />Ishii: <i>Ace Attorney</i> is at the heart, a very conventional mystery story. Because of that the characters really come to life, and there are some really tricky scenes. With <i>Ace Attorney</i>, I also think the level of interactivity for the player is really high.<br />Takumi: Thank you. I knew very little about game grammar when I joined the industry, so I might have gone the right direction exactly because I knew nothing about other adventure games. I keep saying I like adventure games, but I haven’t played that many actually…<br />Ishii: You limit your story settings a lot, I think?<br />Takumi: You mean the courtroom?<br />Ishii: Not just the courtroom, but all the things around that too. I guess it becomes like that when you make a mystery story filled with varied characters.<br />Takumi: In principle, mystery fiction have a tendency to have a large cast. For example, when you have serial murder case, you have a lot of victims, and also suspects. But <i>Ace Attorney</i> is about cornering the culprit, so we can get away with the least possible characters. You might already know who the murderer is right from the beginning, but I’s always about how you’re going to trap them. <i>Ace Attorney</i> is a mystery game without all the stress of a normal mystery story. I made the characters to be full of impact, so they’re easier to remember.<br /><br /><b><i>Ace Attorney</i> according to Mr Ishii’s analysis?</b><br />Ishi: As I was playing <i>Dai Gyakuten Saiban</i>, I was impressed at how you made the game as a piece of entertainment. You just said you play few games, so I guess it’s the power of your writing?<br />Takumi: I don’t know if it’s my writing, but I really like mystery fiction, and it was my dream to make a mystery game I too would like. But the game concept plan I wrote when I entered Capcom was not of a mystery game, but some sort of puzzle game (laugh).<br />Ishii: The sense of balance in the text and the lines in <i>Ace Attorney</i> is amazing. It might be the alluring taste of mystery, but to pull that off at that size… I assume coming up with the stories is always a trouble. About good and bad adventure games it can be simply said that you fall asleep with bad adventure games (laugh). But <i>Ace Attorney</i> has great pacing, and actually keeps you sharp. I also focused on that with <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a> and at the time, I said that “a good adventure game becomes like a rhythm game”.<br />Takumi: I see, so you paid attention to rhythm in <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a>.<br />Ishii: Yes, very much so. <i>Ace Attorney</i> keeps a certain rhythm with its sound effects, right? That is really amazing. I wish more people would do it like that (laugh).<br />Takumi: I’m glad you say that. From sound effects to the timing of the text, everything in <i>Ace Attorney</i> is set to come up at 1/60 frames, but now I think about it, doing that actually took a lot of time. At the time, I couldn’t find other adventure games that did the same. I simply didn’t possess the “common sense” of game making, so it became like that.<br />Ishii: Also, the characters in <i>Ace Attorney</i> do a real <i>manzai</i> comedy act. I call it passing around the ball. In a game, you can go to a location when you select it and the story will proceed, but seeing it as a drama story, there are situations where you need to explain something at that location, thingsc like that which I all passing the ball. But I can’t just pass the player the ball because I need to do so. In <i>Ace Attorney</i>, the rhythm of ‘passing of the ball’ is not done just the tuning of the text and the explanation segments, but also includes giving attention the characters themselves. I think that’s the reason why the series has so many fans. As the Japanese title, <i>Turnabout Trial</i>, implies, each story ends with everything being turned upside down, and I think the game pulls this off perfectly with a great balance to each story.<br />Takumi: Thanks (laugh). Everything you just mentioned about <i>Ace Attorney</i>: you’re completely correct. The thing I’m most scared off is that people get bored by my games, so that’s what I pay most attention to. About that… I can’t talk about it in detail because it’s something for us people behind the scenes, but as a fellow game creator you managed to notice this quite correctly (laugh)<br />Ishii: As a creator it’s something you really should notice, right? (laugh)<br />Takumi: I’ve been writing game scenarios for a long time now and I have a lot of rules for myself, but I guess that fellow writers also notice that. I’m quite happy to hear you talk about it now. It’s quite nice to see someone understanding what you yourself think is important. <br />Ishii: This is what happens when you have two creators in an interview discussion…. But what I just said was quite the maniacal topic (laugh).<br />Takumi: But I think that details like that are very important.<br />Ishii: That’s what I want to focus on.<br />Takumi: I see you have given it a lot of thought.<br />Ishii: I really like doing that.<br />Takumi: When people look at your work, you learn to look again at what you’re doing and there are times when you notice new things, so I’m very grateful. Bythe way, talking about something invented in sound novels, there’s the zapping system. I want to make a real zapping game too one day.<br />Ishii: <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2015/06/playback&#46;html" target="_blank"><i>Ghost Trick</i></a> was a game you made with a loop cycle, right?<br />Takumi: True, but it was the game mechanics that formed the main idea for that, not the story.<br />Ishii: Zapping was a fantastic idea I think, having to redo your choices as a premise. Having multiple choices and in combination with narration and other elements, telling a mystery story from multiple points of view. Talking about mystery fiction, lately tricks like that have been quite common, if they’re not whodunits. I would be delighted if a mystery creator would make a game like that. I had something like a mystery plotline in <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a>…<br />Takumi: <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a> wasn’t a mystery game at the core?<br />Ishii: It was mostly suspense. There might have been mysteries, but it wasn’t a mystery story… For example, the culprit is one of ten people and you play the game as you zap between the ten of them, but you play the game doubting whether one of those ten you’re using might not be the culprit.<br />Takumi: I see. But I really feel a lot of potential behind the zapping system.<br />Ishii: With simple choice systems, it’s usually like cul-de-sacs, and the concept of loops appears to keep the multiple stories all together. When you finally get there, there are just minor changes. But with a zapping system, you can pursue new possibilities by using multiple points of view to solve something, but the costs also become higher. And not everyone has the means to make a high-cost product. But there is definitely a lot potential there.<br />Takumi: To those actually making the games, I think it’s probably hard to keep the feeling of all the persons involved in the zapping system apart, as well as the flow of information between the routes.<br />Ishii: But as you’re writing there’s also a lot you discover, which is fun.<br />Takumi: I’ll think about it.<br />Ishii: What about doing a bonus scenario to try out?<br />Takumi: I think the calorie rate is too large for just a bonus scenario (laugh)<br />Ishii: When you want to pull off a narrative trick, the first part is where the writers must show his best. Mr. Takumi’s works don’t really feature narrative tricks, so the players won’t expect one, I think. There’s your chance (laugh). Getting back on-topic, a zapping system with just two POVs wouldn’t make for a really good game. A problem for A would be solved by B. If you have A, B and C, then it suddenly becomes a lot more like a game. A problem for A can be solved by B or C. If you have five of them, then you have four choices and if you add in an option for a time-frame, then the game becomes a lot more interesting. With seven POVs, it’s still doable for the human brain to process all of this. With eight, the brain just can’t keep up. The reason why the possibilities in <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2013/12/sophisticate&#46;html" target="_blank"><i>City ~ Crossroad of Fate</i></a> felt limitless was because they had eight POVs. For <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a>, we kept it at seven on purpose.<br />Takumi. I see. Actually, I also perform magic. You know the trick where you conjure up a pigeon from a hat? There the number seven is also the point: seven pigeons is the smallest number that conveys the impression of “a lot” to the public. There might be something to the number seven.<br />Ishii: Narrative tricks are extremely effective when used in simple-and-straight mystery stories, but I don’t think you use them?<br />Takumi: Just a little. Recently, I looked up what kind of mystery stories people like and found a list on the internet of recommended books, but a lot of novels with narrative tricks were all high up. I was very surprised.<br />Ishii: It’s a really effective technique. <br />Takumi: I wonder. Narrative tricks work best if they’re utilized very sparingly, among a greater number of normal mystery stories. True, they can give you a great surprise, personally, I want people to also enjoy normal detective stories, where you connect all the carefully laid out hints.<br />Ishii: Narrative tricks are particularly effective on beginning mystery readers.<br />Takumi: Narrative tricks should be very delicate topics, as they break down the moment you know about them in advance, but lately, people actually focus on that. When the marketing slogan says “A Baffling Surprise At The End!”, you can be sure it’s a narrative trick. I’m kinda worried about the lack of sensitivity, as well as about our society which seems OK with that lack of sensitivity (laugh).<br />Ishii: (laugh).<br />Takumi: As a writer, it’s important to try out new things and I have thought about whether I should change my style. But there are so many forms of entertainment now, so I think it’s also okay if a new game comes out every one or two years, and people think “Ah, it’s been a while. I want to have enjoy a bit of that familiar taste again”. <br />Ishii: So <i>Ace Attorney</i>’s elements of pure entertainment are performed by the neatly directed scenes.<br />Takumi: I’m really grateful Capcom is allowing me to make my game. The first we made with seven people in ten months.<br />Ishii: That’s an amazing speed. I also think it’s great the younger generation can easily play the games through 2014’s <i>Ace Attorney Trilogy</i>.<br /><br /><b>What do you focus at when writing a scenario?</b><br /><b>Asking this question as a player: if you have made a great mystery, is there a dilemma that the player must also solve that mystery?</b><br />Takumi: No dilemma at all. <i>Ace Attorney</i> is a mystery to be solved, and I think the best mystery is one that can be solved nicely. But I can’t have people predicting the complete story right from the start, so I need to control the flow of information very carefully, and it’s the prosecutor, and the witnesses, who have this important task. In that sense, trials are a really convenient system (laugh). Prosecutors for example might need to hide evidence, calling it part ot of their “strategy”. Anyway, I am happy when I see people are happy by solving my mysteries. But sometimes I have to cry because of experienced mystery readers who present their evidence having read my moves two, three steps ahead (laugh).<br />Ishii: (laugh)<br />Takumi: It always comes up when I talk to experienced players. &quot;I presented this there, but it said I was wrong…&quot;<br />Ishii: It’s bad to be impatient.<br />Takumi: I feel bad when knowledgeable people point these things out.<br />Ishii: I don’t think you should be. If you take short cuts, the story will suffer. Because that’s there people understand you’re taking this route, whether it’s solving a mystery or just enjoying playing the game.<br />Takumi: Whether you are experienced with mystery fiction or not, everybody needs to be able to solve the story and have fun, so getting the balance right is difficult. It can’t be too simple or too difficult. And that’s something I can only do based on my instincts.<br />Ishii: You are doing everything you can with the scenario.<br />Takumi: The cross-examination parts of <i>Ae Attorney</i> are easy to play game-wise. Trials are a bit like games, progressing according to a set of rules, and it’s easy to present that as mechanics. A special bit of know-how for this game.<br />Ishii: For sound novels, know-how of novels or films is easy to implement.<br />Takumi: True. With <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Otogiris%C5%8D" target="_blank"><i>Otogiris?</i></a>, the sound alone was enough to scare me. It made a big impression on me, having never experienced that in a game before.<br />Ishii: The sense of person responsible for the branching was more important than the main scenario. Especially for it to be fun as a game.<br />Takumi. True. In <i>Ace Attorney</i>, you can investigate the evidence in the crime scene, but if the text is boring, you feel like wasted time on that, right? I need to make people think that “investigating is fun, so they’ll investigate more”, so in a way, that might be even more important than the main story.<br />Ishii: Those not in the industry might be underestimating branching, but if we don’t work harder on the branch routes than on the main story, users will not be satisfied.<br />Takumi: Precisely. With <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a>, did you first make the main story and then think about how to branch out from that.<br />Ishii First we thought about the ending of the main story. Then came the branches and the bad endings. But because of the system, the player will always first see the branch routes and the bad endings. That’s why the quality of those segments needs to be as high as of the main story. And we also needed to be very careful about the information you see in the branch routes, because they would connect back to the main story as hints. It was okay to have hints in the branch routes, so we controlled information by putting the hints in the branch routes, instead of the main story.<br />Takumi: And you did that with multiple people?<br />Ishii: Yes.<br />Takumi: That’s amazing. I’d think that controlling the flow of information can only be done by one person.<br />Ishii: If you don’t split up the work, it becomes surprisingly small. Splitting up work has the positive point everything is decentralized. Everyone goes their own way, in a good meaning of the saying, and there’s diversity. Especially with a game like <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/09/blog-post&#46;html" target="_blank"><i>428 ~ In A Sealed Shibuya</i></a> with various scenarios and characters.<br />Takumi: It looks difficult to keep it all consistent.<br />Ishii: It might seem amazing, but it worked out.<br />Takumi: Really?<br />Ishii: Of course, we had an obligation to keep the game consistent (laugh). There are people who can do their work or not, but if you have those who can in your team, then the whole struggle is all over.<br />Takumi: You won’t understand that unless you have made a game. There are times when you think someone can do the job, but it turns out they can’t. I might be a bit narrow minded, so eventually I end up doing it myself. It also goes the other way around though.<br />Ishii: I think I’m not one to easily acknowledge other people, but there are times when you let someone do it and it turns out good. There are always people you think won’t make it, but who manage to rise above that. Those people are not like me, so I let them write things that need to be different.<br />Takumi: I think it’s amazing you can leave it up to others.<br />Ishii: You'll have your own ideas or answers, so when it’s not 100% like that, it feels not right, I guess? When the director is like that, then there’ll always be only that single answer left. Rigidness like that will cause atrophy with the staff, thinking only one answer is correct.<br />Takumi: That’s a sharp observation.<br />Ishii: It probably depends on the type of the team, but when you, as the director, have an answer already, I think a working method where people propose ideas and the director selects the fun parts out, is difficult to maintain. The idea will be done by someone else, so you might feel it’s wrong. The person being told will also feel bad. It’s not good for the team. I don’t like that. So I came up with the method of not giving any answers, and just letting things go just before I would have any concrete ideas. If the person I asked comes up with his own answer and it’s good then I will give up on my own ideas, even if it’s not on the same line as what I had initially thought. If I hadn't settled on it in my mind yet, this is the best way. Ever since I decided to leave everything halfway through in my head, my work has become a lot easier. <br />Takumi: I understand what you’re saying, but I find it amazing you can actually do that in real-life.<br />Ishii: You can’t even have ideas about it halfway through. When you settle on a idea, it becomes more costly to get rid of it. <br />Takumi: I see. It’s completely different from how I work. But my working method does have the problems you point out. There is no one correct way to work, so it might be good to try out different things.<br />Ishii: I worked like for a long time like that, but it got a bit boring, so now I’m a freelance writer.<br />Takubmi: To be honest, I also work like this because I can only make one game every X years and I am not allowed to fail. Because of that, I want to get out there having done as much as possible by myself. That has it plus moments, but also brings risk. One of my seniors, a director, said I need to be careful not to get all too satisfied with myself, writing and making my own games.<br />Ishii: It depends on the strength of your character, I think. For example, if you’re busy making a game for 2 years, you see the answer in front of you in your mind, right? I don’t think I can keep up working for two years on something I already know how it’ll look like in the end… With my method, even I don’t see everything, so I become impressed as we make the game. “It’s become like this”, “we pulled this off?!”, I want to have these uncertain elements in the development cycle.<br />Takumi: I understand. But development will always include uncertain elements.<br /><br /><b>I’m surprised the two of you make games so differently.</b><br />Takumi: Mr. Ishii and I are of different types, I’ve come to think. But both of us have something we want to make, and I think we’re only different in how we arrive at our answers after that. I’m looking for purity and I go in, prepared for a bit of friction to preserve that. The team is like that.<br />Ishii: I think a lot of creators are like Mr. Takumi. I’m afraid that everything comes to a still stand if I’d do it myself and fuss over everything, so I let things go. I’m actually afraid that the whole development would break down if I don’t do that. I have the feeling that Mr. Takumi is the one who’s able to balance things right and that I’m the one being imbalanced here.<br />Takumi: Producing is something I let the producers do. In that sense, I think Ishii is the better-balanced one.<br /><br /><b>Having heard your discussion, I’d like to see a collaboration between the two of you.</b><br />Ishii: It’d turn into a fight, I think (laugh)<br />Takumi: With development on <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;jp/2012/12/to-switch-witch&#46;html" target="_blank"><i>Professor Layton VS Ace Attorney</i></a>, I had Mr. Hino decide on the direction we’d go, and have me let me do my things on the development floor. We did that on purpose.<br />Ishii: It was left up to you.<br />Takumi: If you have to control towers, the development floor will become chaotic.<br />Ishii: Which of us will write the scenario, which of us will do directing…<br />Takumi: It would make me sick (laugh). But there’s a chance something amazing would be made. There are mystery writers who work together too. I wonder how mystery writing duos do their work.<br />Ishii: I once heard that the best combination would be that one would be responsible for the mystery plot and one would do the story around that.<br />Takumi: I see. You’d really need a fateful encounter for that.<br /><br /><b>Once again this question: what do you focus on when writing a scenario?</b><br />Takumi: Showing something new in terms of mystery fiction.<br />Ishii: The scenario is something for the players to enjoy, so I try not to leave too much if my own impression on the work.<br />Takumi: I’m often asked what the theme of the story is, but I hardly think about a theme. With <i>Ace Attorney</i>, it sometimes hinted at it at the end, but that’s because as I write, I feel the story will end up that way and it’s something I arrive at in the end. When I’m writing, I’m concentrating solely on writing a mystery story.<br />Ishii: I have never thought about themes neither.<br />Takumi: You too?<br />Ishii: My theme is “fun”.<br />Takumi: A theme is something to satisfy the player at the very end. If you have a theme that sticks with the player, their satisfaction also rises.<br />Ishii: It’s much more important to have all the fun elements connected.<br />Takumi: Precisely. That’s why I try to avoid things like bad endings or dark ways to end a story.<br />Ishii: I have the same. By the way, personally, I’m hoping for something completely new, like with <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2015/06/playback&#46;html" target="_blank"><i>Ghost Trick</i></a>.<br />Takumi: In the end, I’m just a staff member at Capcom, so I can’t decide on my own projects like that. So I want to do my best with what comes my way. <a href="http&#58;//ho-lingnojikenbo&#46;blogspot&#46;nl/2015/06/playback&#46;html" target="_blank"><i>Ghost Trick</i></a> also took six years from the initial plan to completion.<br />Ishii: It took that long for it to become true?<br />Takumi: Projects are really part of fate. They have to do with what I want to do, what the company wants to do, and what the consumers want.<br />Ishii: Do you have any interest in head-mounted displays?<br />Takumi: I have. I actually tried it out for the first time just recently and I’m still surprised by it.<br />Ishii: It might be a good fit for a mystery.<br />Takumi: True. I want to try something with that, because I was really impressed by it. Takumi Special Interview Ash Thu, 23 Jul 2015 09:43:03 EDT <a href="http&#58;//www&#46;capcom&#46;co&#46;jp/dai-gyakuten/miryoku/m06&#46;html" target="_blank">A very long, and very informative interview</a> with Takumi was posted on the <i>Dai Gyakuten Saiban</i> website. A part of it was already posted in the Capcom Legends column (and my translation of it is <a href="http&#58;//forums&#46;court-records&#46;net/viewtopic&#46;php?f=31&amp;t=31241" target="_blank">in this topic</a>), but this is the complete interview and is easily double, maybe three times as long and informative. It deals with Takumi's career at Capcom before <i>Ace Attorney</i>, about making the first couple of AA games and of course DGS (also on creating the DGS characters) and even fandom outside Japan!<br /><br />Have I mentioned it is a really, really long interview? =_=<br /><font size="85">?????</font><br /><br />Q: First, I want to ask you about your career after you joined Capcom. What games were you involved with until <i>Ace Attorney</i>?<br />A: I joined Capcom in 1994, so this is my 21st year. Memories of when I joined…… First I learned about development in a place called the “training room”. Talented people would get picked from there to join development teams. There were 12 of us of my year in the consumer division alone, and all of them got picked for teams like <i>Biohazard/Resident Evil</i> and <i>Breath of Fire</i>, and so half a year passed and then a year…… I stayed until the very last watching over my seat in the training room (laugh)<br />Finally, I was picked for a team, and the first game I got to work at was <a href="http&#58;//capcom&#46;wikia&#46;com/wiki/Gakkou_no_Kowai_Uwasa&#58;_Hanako-san_ga_Kita!!" target="_blank"><i>Gakkou no Kowai Uwasa Hanako-san ga kita!! / Scary Rumors at School – Hanako-san is here!!</i></a> (1995). And would you believe it, together with the fighting game <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Street_Fighter&#58;_The_Movie_%28home_video_game%29" target="_blank"><i>Street Fighter Real Battle on Film / Street Fighter the Movie: The Game</i></a>, <i>Hanako-san</i> was one of the very first PlayStation games Capcom made…… But I’ve heard nobody talking about any remakes or ports of the game, so it’s really an “elusive” product (laugh).<br /><br />Q: ……It might because of copyright issues [Translator’s note: <i>Hanako-san ga Kita</i> was a licensed game"><br />A: So I joined the <i>Hanako-san</i> development as a planner. The genre was supposed to be something like horror or ghost stories, but they made me, the new kid who knew absolutely nothing of the game concept, the planner, so the game turned into a rather “strange game” that sometimes showed signs of trying to make the player laugh. The director was also busy with other projects, so I made the game rather freely in secret (laugh).<br /><br />Q: (laugh)<br />A: And then there was a two, three year blank. This was a period where we kept coming with new plans, which also kept falling apart. The plans went everywhere, from a “music game” to “an educational game”, and I also came up with a project for a “detective game” which would be the protype for <i>Ace Attorney</i>. My boss at the time quit, and I was picked up by the producer of the <i>Biohazard</i> team, and thus came to join <a href="http&#58;//residentevil&#46;wikia&#46;com/Capcom_Production_Studio_4" target="_blank">Production Studio 4</a> (as it was called at the time).<br /><br />Q: I heard you were also involved with development on <i>Biohazard 2</i>?<br />A: I was involved with the prototype of <i>Biohazard 2</i> (<i>Resident Evil 2</i>, which never was never released. It’s known inside Capcom as <a href="http&#58;//residentevil&#46;wikia&#46;com/BIOHAZARD_1&#46;5" target="_blank"><i>Biohazard 1.5</i></a>. At the time, we were working on the plans of <i><a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Dino_Crisis" target="_blank">Dino Crisis</a></i>, but because the development of <i>Biohazard 2</i> was in trouble, our team was temporarily disbanded, and I joined the other team for three months. They just needed more people. I am not sure how much I helped though. After that, they stopped development on <i>Biohazard 2</i> for a while anyway. They remade it right from the start and it became a big hit. Unfortunately, the part we worked on wasn’t preserved. Doesn’t really matter though (laugh).<br /><br />Q: And after that, you were put in charge of the <i>Dino Crisis</i> series.<br />A: Right. They made me director of <i>Dino Crisis</i> (1), but now I look back, I don’t think I even knew what it meant to be a “director”. Because of that, I put the team in confusion, and was fired as the director…… (laugh). They made me a planner and I was responsible for the stages in the first half. I felt frustrated at that, of course. But looking back at it now, I think it was something necessary. They then decided to make <i>Dino Crisis 2</i> and for some reason, they made me director again. I have no idea whether the producer was extremely kind, or just forgetful (laugh). Anyway, I reflected deeply on what myself during the development of 1, and changed my way of working and thinking. I was also helped by the fact it was a sequel and somehow completed the task. Even now I still quite like 2 as a game, and I won’t ever forget the second chance they gave me. Also, the script was handled by <a href="https&#58;//en&#46;wikipedia&#46;org/wiki/Flagship_%28company%29" target="_blank">Flagship</a>, a Capcom subsidiary, but I learned a lot about scenario creation, like 'simply' ordering a scenario, and that really came in handy when I made the scenario for <i>Ace Attorney</i> later.<br /><br />Q: I see. All these experiences came together when you create <i>Ace Attorney</i>. So after <i>Dino Crisis 2</i>, you finally came up with your plans for <i>Ace Attorney</i>.<br />A: “We’ll give you half a year to go make whatever you want,” I was told. Like I explained, when I first started on <i>Dino Crisis</i>, I knew absolutely nothing about dinosaurs--I couldn’t even see the difference between a tyrannosaurus and a velociraptor—but I guess this was a little bonus for me having done my best on the <i>Dino Crisis</i> series for three years. At the time, there were several of these projects, meant as training grounds for the young staff, to create new games with small teams and budgets. One of them was <i>Ace Attorney</i>. We didn’t make it in six months and finally finished it in ten. But even so, I think that’s a great record.<br /><br />Q: <i>Ace Attorney</i> was first released on the Game Boy Advance, but how was it working on new hardware?<br />A: Actually, it was initially scheduled for the Game Boy Color, but around that time we started hearing rumors of this new piece of hardware coming, the Game Boy Advance, and they showed it to us. It was still before the actual release, so we didn’t get the actual unit, but just the boards, but the screen looked amazing and the whole team was impressed by it. Development on <i>Rockman/Megaman.EXE</i> was already ongoing, and they showed us some footage and it made an impact on us. I thought that this was perfect for a title like <i>Ace Attorney</i>.<br /><br />Q: The first <i>Ace Attorney</i> was a small project of just 7 people. I heard it was a hectic job, with people dropping out during development and such.<br />A: Yes. It was a team comprising of new people with little experience on the job, and even though there were just the seven of us, we made a lot of trouble (laugh). But we were just making this game somewhere hidden away in the corner of the company, so there was no pressure at all, and we could work rather relaxed. We were all young and we poured our all into it (without thinking about what our limits would be), but now I think about it, I’m amazed just two people managed to create all the graphical assets and two programmers did the whole thing. And I on my turn was the planner, scenario writer and the director in one. I could not have imagined that this game would be going on even now.<br /><br />Q: The <i>Ace Attorney</i> series is now one of the main series of Capcom, but I heard you had a lot of trouble while making the sequel.<br />A: Obviously, there had been no talk at all about a sequel while we were working on the first game and I thought it would be just this single game. But the producer liked the finished product a lot, and after forcefully convincing everybody, made the call on making a sequel, saying “let’s make until part 3”. I remember that at the time, I felt like I had poured all of my ideas in the first game, so I was not even sure I'd be able to come up with three of them. But if the producer hadn’t decided on development on the sequels it would've been just the single game, and I wouldn’t be here now talking about it. Even to this day, I’m grateful to that.<br /><br />Q: That is a great story. After that, you made <i>Ace Attorney 4</i>, and after <i>Ghost Trick</i>, <i>Professor Layton VS Ace Attorney</i> and now <i>Dai Gyakuten Saiban</i>. Have you any thoughts about <i>Ace Attorney</i> having becoming this long-lived series, starting in in 2001 and now, 14 years later, still around? <br />A: I feel both “gratitude” and “confusion”. Considering <i>Ace Attorney</i> was originally made for the GBA, we also needed to make it playable for children in elementary school. But now 14 years later, it’s played by many generations, from kids to adults. The hardware also changed to Nintendo DS, cell phones to smart phones and even more people got a chance to play it. It’s an easy game to port, so I have the feeling the game is spreading out in a slow, but steady pace. In terms of profit and fan reactions, I think it became really big with <i>Ace Attorney 4</i>, but with the changes in development, the project also became bigger than I could really graps, and it also made me confused. Also, it’s about that time we had all kinds of projects besides the games, like the orchestra concert and the Takurazuka plays and the film, and I was really amazed by it all. Thanks to everyone playing the game, I too got to experience all kinds of new things and I am grateful for that. Now we have the <i>The Grand London Courtroom Murder Case</i>, a real-life escape game we collaborated on with SCRAP and coming in touch with all these new experiences really stimulates me. Right now, <i>Ace Attorney</i> has become this big a project that sometimes, there are even staff members I have never seen, but I have only words of gratitude for everyone giving their energy to the series. Thanks, always. <br /><br />Q: How did this new project, <i>Dai Gyakuten Saiban</i>, start?<br />A: It started when they asked me early 2013 if I wanted to make a <i>Ace Attorney</i> seperate of the numbered series. I proposed a game with Sherlock Holmes and that how it got rolling.<br /><br />Q: So Sherlock Holmes was there from the start?<br />I had considered other ideas. For example, I also looked at civil trials as a hook. But I realized the game would be about rather ugly topics, like &quot;Mediation between family members fighting over an inheritance&quot; or &quot;Settling Things Out of Court In A Case of Being Falsely Accused of Molesting&quot;, cases with no clear-cut conclusions (laugh).<br /><br />Q: That's true (laugh)<br />A: Originally, I came up with the idea of <i>Ace Attorney</i> because I wanted something else than just choosing options. I thought about a way to have the player input their own deductions themselves directly, and the answer I came up with was the system where you point out contradictions between testimony and evidence.<br /><br />Q: (W)right! <i>Ace Attorney</i> is indeed a bit different from those games where you just have to make a choice between command options.<br />A: And so I came up with a laywer as a detective, and the setting of the courtroom, instead of the crime scene. But another answer I came up with at the time was: Maybe I could make a mystery game where a great detective made the wrong deductions, and where you needed to correct and lead him to the truth. That idea was &quot;Sherlock Holmes (temp title)&quot;<br /><br />Q: The new &quot;Joint Reasoning&quot; system! When did you think of that?<br />A: Around 2000, somewhere around the first and the third <i>Ace Attorney</i>.<br /><br />Q: That long ago?! So <i>Dai Gyakuten Saiban</i> started with joining that idea with <i>Ace Attorney</i>?<br />A: I had been wanting to do a Holmes game for a long time, so with the opportunity presented, I schemed to make it happen one way or another! So yes, <i>Dai Gyakuten Saiban</i> started with Sherlock Holmes. But there's a lot of reasons for Holmes appearing in the game. For the game mechanics of course, but to set this project apart from the numbered series, it was the easiest to set this game in a different time period, which also opened up new opportunities for the mystery plot. It was perfect for the game. So I thought about how Japan looked like when Holmes lived, which is how I came up with the in-game universe.<br /><br />Q: Takumi-san, what is your impression of 19th century London, where Holmes lived?<br />A: After first reading Holmes in middle school, I only read mystery fiction set in that period. So it might be all in my head, but I am fairly familiar with the setting. The late Victorian age was when scientific investigation started when they first accepted fingerprints as evidence and there was the technological revolution with photocameras, gramaphones and automobiles and the move from gas and steam to electricity... anyway, it was a period of much change and therefore interesting. This big center of energy is what lies at the base of the story.<br /><br />Q: I see. By the way, what Holmes story do you like best?<br />A: I'm often asked that, but I find it hard to answer. But I think the easiest answer is the first 12 stories that make up the first short story collection. People think of Holmes as the great detective, but even he makes mistakes at times and feels bad because of them, and there's the friendship with Watson. He's a very human character. You'll understand that as you read more of his stories, so I recommend reading a lot of them.<br /><br />Q: What was difficult about directing this project?<br />A: It's been a while since I wrote an <i>Ace Attorney</i> scenario, so there was the pressure to write something that in terms of quality, wouldn't lose from <i>Ace Attorney</i> 1~3.<br /><br />Q: You wanted something that could compete with <i>Ace Attorney</i>?<br />A: Yes. So with that pressure, I just started writing without thinking about pacing or anything. And for various reasons, the story structure changed several times and I had trouble keeping the scenario in check. You might think that a scenario should be written from start to finish after you've decided on everything, but in reality it doesn't go like that. As you write, you suddenly start to see things in a way you had never considered before, as if driven by a mysterious energy. Could it be Holmes' energy? Mystery fiction is about surprises, but I even was sometimes shocked by what I had come up with, sometimes more surprising than the surprises I myself had planned, so you can expect the unexpected from the story. I've been making games for 20 years now, so by now you'd think I'd be better at controlling this creation process though (laugh).<br /><br />Q: There's something profound in the creation process, right?<br />A: A large part of it comes from the staff members who watched over me with warm eyes, but we did everything until it wasn't possible to do anything more. That's also true of the development schedule.<br /><br />Q: A question about creating the <i>Dai Gyakuten Saiban</i> characters. I think that characters made alive with polygons started for you with <i>Ghost Trick</i>, and <i>Dai Gyakuten Saiban</i> now but what was difficult about that and what is new?<br />A: <i>Ghost Trick</i> was in the end 2D graphics, but with <i>Professor Layton VS Ace Attorney</i> and now <i>Dai Gyakuten Saiban</i>... I think the motifs have become bigger now. <i>Ghost Trick</i> was like a theater where I wanted to show the whole bodies of the characters, so I used spotlights and had them dance and stuff, very different from <i>Ace Attorney</i>. Now with <i>Dai Gyakuten Saiban</i>, I'm letting them do that too, and more.<br /><br />Q: Now you mention it, the use of the spotlight in <i>Ghost Trick</i> was very memorable.<br />A: We used motion capture for <i>Dai Gyakuten Saiban</i>. In the original stories, Holmes could deduce the most incredible things from a man's tiniest movements or the movements of the eyes and to reenact those scenes in <i>Dai Gyakuten Saiban</i> we used mo-cap. This time we can control the movements of the eyes of the characters and to show that off at the start of the game, I came up with... restless-eyes-Ryuunosuke.<br /><br />Q: Ah, yes, his eyes did move around a lot in his character introduction PV.<br />A: That's the thing we wanted to mention the most today! (laugh). We can now control the eyes of all the major characters, but that takes a lot of time and by the end, our eyes too hurt. But it looks very good on the screen, so it was worth it. We didn't just use mo-cap to get realistic movements, but we also came up with &quot;<i>Ace Attorney</i>&quot;-esque uses for it, so please look forward to it.<br /><br />Q: Now I want to ask about each of the charactes seperatedly. First is Naruhodou Ryuunosuke. What part of you made it into him as you made this new protagonist of the <i>Ace Attorney</i> series?<br />A: When I created Naruhodo for <i>Ace Attorney</i>, I mean Naruhodou Ryuuichi, and Odoroki Housuke/Apollo Justice, I had this in mind: the character has to be an avatar for the player. That’s why I tried to keep them ‘natural’, without too strong a personality as I wrote the scenarios.<br /><br />Q: Are there other people in the staff who think that Naruhodo is just like you?<br />A: Because I conceive him as being “nothing special in particular”, I write his lines just the way they come up to me. And as a result, the character might sound like me (laugh). When I made <i>Ace Attorney 4</i>’s Odoroki (Odoroki Housuke), I had to make sure he was different from Naruhodou, so my task was to give him a personality, for example by making him use the personal pronoun <i>ore</i>. Naturally, different characters need different personalities, but it’s also true it’s simply easier to write a protagonist similar to the writer himself. And when we’re were planning out <i>Dai Gyakuten Saiban</i>, the keyword “forefather” came up in my head. If I would write a Meiji-era Naruhodou, I wouldn’t have to really “think” about differentiate the characters, but this new time period alone would be help enough for me to write a character I myself feel familiar with, but still new and fresh. And we made them all members of the same Naruhodou clan, people familiar with Ryuuichi/Phoenix would have no trouble getting used to the new protagonists, while new fans would get a protagonist who is easy to get used to. <br /><br />Q: And how about Asougi? For an ally in the <i>Ace Attorney</i> games, he is quite straightforward, I think.<br />A: It took quite some time before we made our minds on the background of Asougi, but art director Nuri’s design was good and we agreed upon the character design just like that. He would be the reason for Ryuunosuke to go to England, and is thus a very important character for the story, so it was hard to write him.<br /><br />Q: And how about <i>Ace Attorney</i>’s new heroine, Mikotoba Susato?<br />A: The heroines of <i>Ace Attorney</i> are always right by the protagonist’s side, so it’s important that they have elements of being “an ally”, “an ideal partner” and “a fun character to be with”. That has been the same since Mayoi in the first game. Susato came from the same concept. And from the Meiji period, I added the keyword Yamato Nadeshiko. She’s a legal assistant, but as an independent working lady, she’s a very progressive character. You see how dignified she holds herself. This time I made her a simple partner on purpose, so no spirit channeling or magic tricks.<br /><br />Q: And how about rival prosecutor Barok van Zieks, the strongest foe in the Old Bailey? Are there elements you paid attention to when you created him, in regards to Mitsurugi/Edgeworth or Godot?<br />A: <i>Ace Attorney</i>’s Mitsurugi appeared in the very first game, so I was able to write him freely according to my own mental image of the “ideal rival”. “The biggest talent of the Prosecutor’s Office” was something I could do because it was the first game, but I couldn’t do that come up with a genius every time, so coming up with prosecutors has been difficult ever since the second game. I came up with all kinds of things. Karuma Mei/Franziska von Karma was “a hard worker who had to be perfect because she was Karuma Gou/Manfred von Karma’s daughter” and Godot was “a big one despite being new at the job”. The prosecutors are giving me trouble every time (laugh). With Van Zieks this time, I created the character keeping in mind it <i>Dai Gyakuten Saiban</i> was set in another time period and focused on that. The “people” were much more influential in the courtrooms of the 19th century, also considering they had jury trials. The prosecutor might present a perfect case, but the voice of the people and simple flukes can just overturn the verdict. The trials back then had an element you couldn’t fight with just by being good at the job. So I thought about what kind of prosecutor it would be, who could still make sure the defendant would not escape in such a world, with lay judges who know nothing about the law and where verdicts on good and evil were not done based on simply the law. The defendant would be helpless regardless the verdict… from this, I came up with the keyword “death god”, and thus Barok van Zieks was born.<br /><br />Q: I see. So you create the characters keeping the time period in mind. And now, something on Holmes? He’s become quite different from the original stories in a way, but had you planned it like that from the beginning?<br />A: For this game, it was already planned that it would be about “correcting the wrong deductions of the great detective”. So I was terribly sorry, but <i>Dai Gyakuten Saiban</i>’s Holmes was destined to never say anything correct. Did you know that just a few months after Conan Doyle started publishing the stories of Sherlock Holmes, people were already making parodies? The history of Holmes pastiches is almost as a long as that of the proper history. There are some of those stories I really like, and our Holmes was born as another one of those loving parodies.<br /><br />Q: And what about Watson? I think this was also a big step away from the original?<br />A: True. Ryuunosuke has his partner, so we thought that it would be more interesting for Holmes to have a Watson who wasn’t just another English gentleman, but someone complete different. In the world of pastiches, this is quite common, and there are many variations like a boy Watson, or a female Watson. In a way, it’s a rather predictable change.<br /><br />Q: <i>Ace Attorney</i> is also well received outside Japan and that’s one of the reasons it appeared in <i>Ultimate Marvel VS Capcom 3</i>, but what do you think about the enormous fan reaction abroad?<br />A: To be honest, there are few occasions for me to directly see the fan reaction while I’m in Japan. Some years ago, I had the opportunity to go to Comic Con and do promotion abroad for <i>Ghost Trick</i>, and I was able to talk to students abroad and the press, and I was happy so any of them said it was fun directly to me. Oh yeah, interviewers abroad ask rather detailed, almost maniacal questions, the kinds you’d hardly hear here in Japan, and answering those questions was a stimulating and fun experience. I oversaw the script lines of Naruhodo in <i>Ultimate Marvel VS Capcom 3</i>, and I was shown a video of when he was announced abroad. Seeing everyone there yell out in joy, gave me a warm feeling.<br /><br />Q: Finally, something to say to all the players.<br />A: It's been 15 years since the first <i>Ace Attorney</i>, but thanks to all of you playing the game, we've now been able to make <i>Dai Gyakuten Saiban</i>. From people who've been there since the first game to people who only started last week, when I think about it and realize that <i>Dai Gyakuten Saiban</i> is a game made possible because of a long history of people after people playing the games, I can only be enormous grateful for it. <i>Ace Attorney</i> is a series that has grown to what it is now because of those playing the games and I myself too am only here because of the reactions of the fans. <i>Dai Gyakuten Saiban</i> is the game where I poured all my feelings of thanks in, hoping to repay your kindness. I'd be happy if you'll play the game!