Klonoa door to phantomile ending
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So how did you go about creating the world of Klonoa, then? I don’t want to talk about those things right now though. Yoshizawa: There’s some things we’ve prepared for the game which are better enjoyed on a second playthrough.
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Kobayashi: Unfortunately the players don’t always notice those details. We tried to replicate that level of detail in the in-game world, too. Yoshizawa: A lot of these maps were created to match up with the story. They’re very detailed, almost to an RPG level. (looking at the concept art and notes) These are really incredible. Kobayashi: For example, take the “The Temple of the Sun” which was outlined first in Yoshizawa’s story notes… we created the stage to match the image he had written out there. I guess I did write the general outline of the story first, though, and we did our best to avoid creating inconsistencies in it as we went. We’d come with an idea for a gameplay or stage element that we wanted to include, then we’d find a way to smoothly weave the story around that-and then that idea would inspire some movement for the character, and so forth. Kobayashi: I think they were mostly created at the same time.
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I really wanted to see if we could get Klonoa running at 60fps, and it was quite a struggle… -Which did you create first in Klonoa, the world and story, or the gameplay systems? At the time, most games were running at 30fps. That idea came, by the way, after soliciting the different developers at Namco for drawings of the character, in an informal in-house contest we held.
KLONOA DOOR TO PHANTOMILE ENDING HOW TO
Some of these weirder camera angles have never been featured before in an action game, I think, so it was definitely something we were excited about doing.Īs I thought more about how to appeal to a wider demographic, I decided that the character shouldn’t be too serious, but should instead evoke gentle, nice feelings. But with a 3D screen, if we place something interesting deeper in the visual field, it prompts players to consider what’s there in the background, and explore whether it can be interacted with.Īlso, once we started playing around with camera angles, like tilting the camera upwards so players can get a clear view around them, it turned out to be really interesting. For example, in a 2D sidescroller you’ve got to keep moving forward (to the right) to see what’s next. That’s where I got the idea for “information depth”. The idea for 3D backgrounds was there from the beginning, but I didn’t want it to be only for show-I wanted the 3D to have a purpose in the game. That’s why we decided to retain 2D controls, but with a 3D-ish feel. I wanted to make something that would fill that void.Īlso, there were a lot of Playstation games with 3D fields you could freely walk around in, and those games tended to be confusing players often don’t know what they’re supposed to do. When I sat down to think seriously about how to do that, and I looked at the Playstation market, there weren’t a lot of games that were playable for both children and adults at the same time.
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Yoshizawa: The honest truth is that I simply wanted to make an action game. Tsuyoshi Kobayashi – Designer -Tell us the story of how the Klonoa project got off the ground. Originally featured in The Playstation magazine