Action Master Kamiya Kamiya Hidekis way
Topic: The story of the game development of Kamila Hide, the master of Japanese action game
Lecture: Name-Kamiya Hide / Platinum Games Director
Lecture time: 2022.11.17 (Thu) 14:00 ~ 15:00
Lecture Summary: In this session, we will be talked with Kamila Hide, one of Japan’s best game developers and the most influential character in the video game industry.
With a talk with Kamila Hide, you can see his game development philosophy accumulated in many years of industry experience.
In addition, with the panel of this session, ARCHIVE’s producer ARCHIVE, which produces documentaries on the theme of Japanese creative spirit and culture, is together
■ The boy who was impressed by Miyamoto Shiner, Miami Shinji and became a master of action until he met Shinji Miami.
From Biohazard 2 to Devil Mae cry, and Bennett series, the Japanese action game world, Kamila Hide, director of Platinum Games, has been speaking to IGCXGCON. Kamila, who has a variety of actions from the horror action of ‘Biohazard’ to the stylish action of ‘Devil Mary’ and ‘Bennett’, and ‘Beautiful Joe’ using slow motion and unique camera angle. He mentioned the know-how, development philosophy, and action developers who have been accumulated during the past 20 years.
Kamila, who had been a game since childhood, became a game designer and became a game designer. Since then, Kamila, who had been dreaming of joining NAMC, especially NAMC, has been in a problem. I didn’t know what to do to become a game designer.
I went to NAMC when I was in the third year of middle school and wrote a future hope. Of course, it was a great game, but it was really one of the dreams of dreams. I also met with great developers here. In particular, I learned various things under the director of Shinji Miami at that time. Have.
Although it is now widely known as the director of Platinum Games, an action game developer, Kamila’s first career was Biohazard. While he was scolded by the biohazard development under Miami Shinji Director, he was absent from the next day and welcomed the director’s opinion. You will be offered the director’s position.
In fact, I don’t like horror games. When I sleep at night, I was so cowardly that I was so cowardly, and the team that I entered when I joined the company was developing a biohazard. At that time, the paradigm was changed from 2D to 3D. As a gamer rather than fearfulness, I was curious about 3D games, and I was also motivated to make a popular work.
I didn’t know the horror, so I recommended Miami to watch a horror movie. After studying, Miami proposed the director during the development of Biohazard 2 after the production of Biohazard. Perhaps I had a strong appeal in various ways in the development process, but I worked in Miami’s position, so I wanted to see if such a temperament or stubbornness was necessary for the director. So even though I don’t like horror, I think Miami did not offer a director.
After three years of joining, he led Biohazard 2 to his success, but he later introduced a new series called ‘Devil May Cry’ rather than Biohazard 3. At the time, Cap com was operating several development teams, because the team other than Kamila’s team started Biohazard 3 at the second half of the Biohazard 2 development. And inside Cap com, there was a need to make a new game of game accordingly, as a new console called PlayStation 2 appeared.
This topic was important for both meters and executives of Cap com, and Miami was also discussed with director Kamila. Director Kamila has used the work of a new worldview that can be proposed, emphasizing ‘action’, not his horror. That was the beginning of Devil May Cry. And Devil May Cry’s stylish action has since been significantly influenced by the game world, and has later remained a challenge for Bayonet, which he later produced by Platinum Games.
Many people say Bayonet and Devil May Cry are common to Nonstop climax action. Devil May Cry was first released in 2001, and after 7-8 years, Cap com came out and set Platinum and my first title. It was Bayonet.
I have made a lot of 3D action, but I have never participated in the sequel production, but in Bayonet ta, I had to go beyond what I showed before while building a series. I was involved in the early days of the Devil May Cry series, but afterwards, Devil May Cry would go to Devil May Cry, and Cap com went back to Cap com, and I didn’t have to show it back.
So Bayonet ta thought that the climax should be shown every moment, not just a composition in the prepared stage. The user should not be tired, excited, elevated and interesting. It is Bennett. The term ‘nonstop climax action’ came out when the climax producer said that the Hashimoto Yusuf producer talked about Bennett.
There are so many action games in the world, attractive and have their own personality. So there’s no right answer, but what I see when I make a game is ‘hand taste’. When you hold and manipulate the controller yourself, I really think a lot of things that can be interesting and lively. If you press the Attack button, you should give something that’s the offensive feeling as you attack immediately? I really give this point a lot.
Bayonet 3 was the third work of the series, so I thought I had to put a new idea. So I put it in ‘Daemon Slave’. Summoning the devil to make it possible to manipulate it directly, and instead, Benekonetta is defenseless. There’s such a risk, but there’s a return that a huge beast can powerfully damage the enemy.
Naturally, director Kamila, who continued to explain the new system of Bayonet 3, was asked about the approach to ‘new elements’ and the plan itself in the planning process. This is because it was the first important process to take the direction when developing a game, so many developers were inevitable.
Director Kamila chose ‘Vision’ as the point of the plan. It was his methodology to build mechanisms and ideas as if they would make a game, as if they were based on it and built a pillar. For example, in the action game, I first think about fighting with a weapon, and it is to expand what the mechanism is that can only be enjoyed in the game.
For example, I heard a plan that Bennett was written. He showed the action using slow motion in Beautiful Joe, and he thought of a mechanism to avoid enemy attacks in extreme timing and catch the chance of counterattack. That was the basis of Bayonet’s climax action.
So some thought it was a junction when he moved from Cap com to Platinum Games, but he recalled that every time he made all the titles. Every time I made a new work, I learned to learn, and based on this, I was able to develop the next work.
After learning from Miami in the Biohazard Series, I came to Devil May Cry for the first time and wrote a scenario. It was a case that was made and made. At that time, I made several tools as a director and field planner, and made a stage design on grid paper. I was able to experience it and think about the way. In addition, Okapi was also an adventure game of a grand scenario, so I had to worry about how to write a scenario.
Bennett was the concept of re-challenge about the past works that I made. It’s the result of thinking about what to do to express something new based on what I’ve learned. The Wonderful 101 was simple but was worried about showing unique action. So he added a squadron idea of gathering 100 crews. Sometimes I managed the unit one by one, and then gathered like a huge fist and defeated the enemy, and I felt that I had to design the core and mechanism properly. So all the game development processes are turning points and an opportunity for learning.
The indispensable being from Kamila’s developer’s path was ‘Miami Shinji’. He learned various know-how as a developer and a member of society, and now has become a master of action games recognized by game developers around the world as well as in the Japanese game world. At the same time, he said that it was time to think about what he had learned in the industry and passing it to Human. And before the question of the field, I talked about the new project G. G, which is being prepared by Platinum.
Platinum Games is always worried about Platinum Games. In fact, Triple A game is left to the person who has enough capacity and experience because of the idea that the number of people, time, and costs is invested greatly. I shouldn’t accept it.
Looking back on my own experience, you didn’t take a big work called Biohazard 2 after three years. After all, I think that opportunities and seats make people. So I often leave a responsible position to young developers. One of those example was Sol Crest. Inside, this work, called the Neo Classic Arcade Series 1, is the game of the game.