vonAchdorf
Arcane
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- Sep 20, 2014
- Messages
- 13,465
It's not morally wrong, it's just not what I prefer as KS projects. Morally wrong would be if the fact was hidden.
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KickStarter Bloodstained - Koji Igarashi's new metroidvania game
- Thread starter LivingOne
- Start date
It's not morally wrong, it's just not what I prefer as KS projects. Morally wrong would be if the fact was hidden.
I find it a lot less morally wrong than pretending you can make a $5M game on a $500k budget, as is the custom of the land.
vonAchdorf
Arcane
- Joined
- Sep 20, 2014
- Messages
- 13,465
Don't budget shame Peter M.
And like I said, I don't think it's morally wrong. But personally, I don't feel like hedging a publishers risk. That's their business imo and we have already heard about plans of publishers like SquareEnix considering to KS projects, and that's not how I see KS.
CyberP
Unwanted
- Joined
- Aug 2, 2013
- Messages
- 1,711
Order of Occlesia rectified that, to some degree.
Ulrox
Arbiter
- Joined
- Jul 18, 2014
- Messages
- 363
That depends on the cheat codes. I think they wanted to make it so you got new fun charecter art and stuff like that which requires artists to work on it, but otherwise no, people can just download a trainer.
No. Spoiler alert: the stretchgoal money has nothing to do with actual costs, or it has just some tangential connection at best.
Ulrox
Arbiter
- Joined
- Jul 18, 2014
- Messages
- 363
Yes, I watched 5 hours of that Koji Igarashi 8 hour stream, and one of the things that struck me was Koji's fear of promising too much. The 2.5D thing for instance is because the costs would be astronomical if they had to make it all pixel art. The stretch goals reflects this also.
Somberlain
Arcane
Indeed. OoE succeeded in which most metroidvanias fail, since you felt becoming more powerful by leveling up and trying different equipment, but the game never got to the point where even bosses deal only 1 damage to you. I actually grinded a few levels in Order of Ecclesia and had the best equipment, and still some endgame enemies could kill me with few hits. In Symphony of the Night, I never grinded and often I just went past enemies, and still a few bosses could barely even damage me.
I also liked how only the endgame took place in Dracula's Castle and the rest of the game took place in various other locations. The whole game taking place in the same castle is boring. Only major problem with OoE was that it was on Nintendo DS.
I really hope they take their ques more from Order of Ecclesia than Symphony of the Night.
CyberP
Unwanted
- Joined
- Aug 2, 2013
- Messages
- 1,711
Hold up, cues should be taken from both equally. Symphony was greater in music, its RPG systems while not perfect (but can be perfected) were more expansive, and I like the castle. What would have been truly outstanding is if in OoE Dracula's castle was as big as your typical CV. It wasn't for obvious reasons, but I like good games to last.
Shame about it being on DS really because I also like to support the devs/pubs of good games rather than emulate, but DS was probably a wise choice for a modern-ish CV game that wasn't to be shit, and it is not like this type of game is optimal with mouse & keyboard either.
Last edited:
ultimanecat
Arcane
- Joined
- Mar 19, 2015
- Messages
- 592
SotN's mechanics can be trivially broken to the point where they're not entirely meaningful. I mean, there are random drops in that game that eliminate any sense of difficulty or progression, and they're not even necessarily rare. I love SotN for introducing RPG mechanics in the way it did, but they are not very well thought out, and it isn't hard to use them such that the gameplay can become uninteresting.
Awesome graphics and music, though. Otherwise I've only played the GBA Metroidvanias and while they have a more defined difficulty curve, they lose a lot in not being as nice to look at or listen to.
Awesome graphics and music, though. Otherwise I've only played the GBA Metroidvanias and while they have a more defined difficulty curve, they lose a lot in not being as nice to look at or listen to.
A friend just sent me a link to a recent interview with Igarashi that I found interesting. He doesn't say anything new about Bloodstained and what he says can be summed up with "I'll use the same design philosophy I used in the past". But he does talk about publishers, the state of the industry especially in Japan, and how it's getting more common to see big name developers leaving their studios to make their own thing.
Here's the interview:
Here's the interview:
Bloodstained: Ritual of the Night Interview – Koji Igarashi Talks About His Possible ‘Magnum Opus’
May 22, 2015 Jim Sterling Editorials n' Stuff
After years of Konami clutching the keys to Castlevania and brooding like Dracula on his throne, Symphony of the Night creator Koji Igarashi is back to do what Konamisn’t – make an actual bloody Castlevania game. Sure, it won’t be called Castlevania, but Bloodstained: Ritual of the Night is going to be more authentic than anything the “rights holder” could hope to squirt out these days.
With Kickstarter as its lifeline, Bloodstained smashed its $500,000 funding goal and currently sits pretty at over $2,000,000 – with weeks of potential funding left to go. I backed it myself – out of sheer spite towards the “AAA” game industry – and am proud to present an interview with Mr. Igavania himself.
We talk about the risks of Kickstarter, Japan’s shift towards mobile gaming, and why Bloodstained could very well be Igarashi’s “magnum opus.” Enjoy!
Like Yooka-Laylee before it, Bloodstained‘s success on Kickstarter has been hugely, wildly successful. Were you expected to get funded that quickly, or did you have faith from the start?
I felt fairly confident that we could clear the initial goal by the end of the campaign, but I had no idea we would receive this much support. Honestly, there was a lot of fear on my end, because if we hadn’t hit the initial goal I don’t think I’d have gotten another chance to make this kind of game. But now I’m just in awe at the faith the fans have in me. They’re wonderful.
You revealed that Bloodstained is 90% funded, but your previous backers wanted proof that the audience was there. Why choose Kickstarter for this proof? Some may believe it a cynical move, but I’m curious as to your motivations there.
Really, it was the only option. I spent several months out of work, talking with just about every publisher. As each door closes on you, fewer and fewer remain open. In the end, when I finally did find support to build most of the game, it came with conditions — I needed to first prove that there was a market for an Igavania game. It’s been five years since I’ve had the chance to work on these games I love, so it seemed like a good opportunity to simultaneously prove the concept while filling in what was missing from the budget. It also helped that I was working with companies who were already well-versed with Kickstarter—we wanted to work with what we knew.
But even though the final $500,000 was going to be enough to create the game at its most basic level, our hope was that this would be our chance to raise enough support to actually afford all the extra content and special modes. At this rate, Bloodstained could be my magnum opus.
With so much excitement and funding, there invariably must be pressure to live up to expectations. You’ve got an army of “Igavania” fans drooling – what are you doing to make sure you deliver what they’re wanting, and exactly how much of that pressure are you feeling?
Many people have brought up the pressure that comes with a Kickstarter campaign and being in such close proximity to the fans. But for me, that pressure has always been there. I’ve always had the pressure of the beloved Castlevania name on my shoulders, so I had to make sure to vary the basic formula of the classic Castlevania games to keep the core idea fresh through multiple sequels. As I make this brand new title, I feel that backers are supporting me with similar hopes that I’ll continue to build upon that developmental path. This time, I’ve got the pressure of making sure I don’t let down the people who have directly made this opportunity possible. There’s really nothing I can do but keep my eyes on what’s ahead of us and take it one step at a time to make sure I do it right.
You stated in your Kickstarter video that the publishers of the world told you nobody wanted another game like Bloodstained. Do you know why companies are so averse to certain genres now, why survival horror, mascot platformers, RTS games and titles like Bloodstained are making publishers so afraid?
I think bigger publishers want the newest and hottest thing, and aim for big revenues through big budget titles. So when I brought them a pitch for an old-school, tried-and-true game design, it felt dated to them, and just didn’t resonate. Some of the publishers did understand there’s a following for this type of game, and that the fans do exist – but they assumed there weren’t enough of them to support the basic budget I was asking for. It’s all a numbers game, so it must have felt to risky for them. It’s especially difficult to release this kind of game into a certain genre when old-school games are all being lumped into a blanket “old-school” genre nowadays.
Following on from that question, how does it feel to prove those companies wrong?
Refreshing!
One common criticism of a lot of recent Kickstarter successes is that they’re trading on nostalgia, using past success to make money. Do you feel Bloodstained is relying on Symphony of the Night in this way? Is it a concern to balance a sense of familiarity and nostalgia with fresh, brand new material?
That’s a tough one. The question is, if that’s not what backers want from me, what is? Personally, I think they genuinely want to relive the feelings they had when playing those classic games in the past – maybe not nostalgia so much as a simple desire to enjoy solid, tried-and-true gameplay.
At the same time, I don’t think they’re asking for a mindless recreation of older experiences. They may want the basic foundation, but with a fresh spin to it – a balance of what’s made them feel good in the past and what’s new and exciting. Unfortunately, that’s the kind of mix that turns a publisher off. So Kickstarter was the perfect chance for me to stay directly connected with backers and seek the best way to build out this game.
The notion of Kickstarter-exclusive in-game content has upset some gamers, who consider it a form of “day-one DLC.” As a pundit who routinely rails against cynical DLC practices, I’m personally quite torn on the issue – I recognize in-game content is a practical and simple way to reward backers, but I fully understand the potential customer concerns. How do you feel about such criticism, and what do you think of such practices as “day one DLC” in particular?
I never could have started this project without the support of all its backers. Backers that supported this project via the digital tiers play an equally important role because all of this money is being used to build upon the fundamental, most accessible contents of the entire game – to make the game that everyone gets bigger and better. I just wanted some way to give back to those who really jumped in and took a great risk on my behalf. I’ve been without work and put my own personal life on the line for a chance to make a new Igavania-style game, so I’m touched by those who had that much faith in me.
This is my way of saying “Thank you.” At the same time, now that all backers are personally allowing us to expand the game into such greater territory, everyone who buys the game after it comes out also owes a great deal of gratitude to everyone who backed the project on Kickstarter at this crucial time. That being said, the exclusive content will likely appeal to the most dedicated enthusiasts, but it probably wouldn’t seem as significant for the average player.
Do you feel we’re starting to see a split between creative developers in the “AAA” game world, and the publishers themselves who are starting to view games less and less as art forms? With PlayTonic Games, the rumors about Hideo Kojima, and yourself, it seems as if many notorious developers are wanting to strike out from the big-budget game market and do their own thing.
Publishers are businesses. They exist to make money, and they will always change their internal strategies to make more of it. Games cost a ton of money to make, so finding investment options–be it through traditional publishers or new funding options such as Kickstarter–will be the eternal struggle for developers trying to strike out on their own. It’s great that there are more options, and hopefully people will continue to look positively on these services for the opportunities they provide. I personally tried a great deal of options, but in the end, as a creator, all I really know how to do is create, so I had to accept what limited options I had.
Further to that point, Konami recently announced it was moving further away from traditional games and pursuing mobile, something Square Enix has been doing more lately as well. What do you think of this recent migration of publishers to mobile gaming? Is it a blessing in disguise as creative developers pursue their own work, or do you feel it represents a problem in the market?
If you look at the numbers in the Japanese market, the shift to mobile is inevitable. That being said, I believe that mobile games will still evolve into something with classic game mechanics that approach their console predecessors. But the gaming environment has constantly evolved from the start. First you had arcade machines, then home consoles, then handhelds, and now mobile. I don’t think this is necessarily a problem – it’s just the way of things. And opinions vary.
Some people swear that arcade games are the “true” video games, while others dismiss anything that doesn’t use a controller. But only one thing is for sure – if the number of gamers desiring a specific gaming experience decreases, the market cannot sustain those kinds of games. Capitalism applies to all markets, and the game market is no exception.
Onto Bloodstained itself – one fascinating thing I learned from watching a recent video was that, with Symphony of the Night, you let your artists and designers do whatever they want, leading to a game with a uniquely disjointed world that still somehow felt cohesive. Is this a philosophy you’re maintaining with Bloodstained? This independent, free-form design process?
It’s an organic and collaborative process. I come up with concepts and the designers fill it in with some of their own ideas and their own unique art styles. I like artists and designers to be free-form so we can attain maximum creativity. Games aren’t usually made by individuals, but teams. Blending the team’s ideas and raw creativity allows for a much better, deeper, and richer game.
Will we be seeing a ton of weird secrets as well? I loved hunting for rare item drops, hidden areas, and strange weapon combos in previous Castlevania games.
It’s one of my games, so yes, absolutely. We’re still in the early phases, so we don’t have specific Easter eggs planned out yet. But as a game with a heavy focus on gathering items, there will be plenty to work with when it comes to rare drops and the like. I’m very excited to get started on it.
Another thing I’ve always appreciated with your games is the sheer amount of content that is there just for the sheer strange fun of it – bizarre background details like massive eyes peering through windows, peanuts that your character can toss and catch for no reason whatsoever, enemies crying if you kill their evil dog. Will we be seeing a lot of those interactions and details in Bloodstained?
A lot of those secrets were thanks to some of the more creative designers and programmers on the team. As I stated earlier, to make a really deep game it’s crucial to give the team the flexibility and bandwidth to play with the design, characters, and features. And I can already tell I’ll be working with a team that has a lot of imagination to offer!
Finally, bosses are always a key part of your work. Do you have a rough idea of how many you’ll be adding, what kind of designs you’re going for (I always liked how grotesque most of your prior ones looked) and, most importantly, whether or not you’ll be making your designers do as they did with Symphony of the Night – proving they’re able to beat the bosses they design without losing a single hit-point?
Bosses are one of the most important aspects of my games. We spend a huge amount of time deciding on them, their features, and how they fit into the game world. Because of that we still have a lot of thinking to do on how to approach them. They cannot be rushed. We’re starting with eight, but our stretch goals will allow us to dedicate more of our resources to them. And yes, the person who creates that boss needs to be able to defeat it without taking damage. That is a hard Igavania production rule, and I’m glad that Inti Creates feels equally strongly about this design philosophy.
May 22, 2015 Jim Sterling Editorials n' Stuff
After years of Konami clutching the keys to Castlevania and brooding like Dracula on his throne, Symphony of the Night creator Koji Igarashi is back to do what Konamisn’t – make an actual bloody Castlevania game. Sure, it won’t be called Castlevania, but Bloodstained: Ritual of the Night is going to be more authentic than anything the “rights holder” could hope to squirt out these days.
With Kickstarter as its lifeline, Bloodstained smashed its $500,000 funding goal and currently sits pretty at over $2,000,000 – with weeks of potential funding left to go. I backed it myself – out of sheer spite towards the “AAA” game industry – and am proud to present an interview with Mr. Igavania himself.
We talk about the risks of Kickstarter, Japan’s shift towards mobile gaming, and why Bloodstained could very well be Igarashi’s “magnum opus.” Enjoy!
Like Yooka-Laylee before it, Bloodstained‘s success on Kickstarter has been hugely, wildly successful. Were you expected to get funded that quickly, or did you have faith from the start?
I felt fairly confident that we could clear the initial goal by the end of the campaign, but I had no idea we would receive this much support. Honestly, there was a lot of fear on my end, because if we hadn’t hit the initial goal I don’t think I’d have gotten another chance to make this kind of game. But now I’m just in awe at the faith the fans have in me. They’re wonderful.
You revealed that Bloodstained is 90% funded, but your previous backers wanted proof that the audience was there. Why choose Kickstarter for this proof? Some may believe it a cynical move, but I’m curious as to your motivations there.
Really, it was the only option. I spent several months out of work, talking with just about every publisher. As each door closes on you, fewer and fewer remain open. In the end, when I finally did find support to build most of the game, it came with conditions — I needed to first prove that there was a market for an Igavania game. It’s been five years since I’ve had the chance to work on these games I love, so it seemed like a good opportunity to simultaneously prove the concept while filling in what was missing from the budget. It also helped that I was working with companies who were already well-versed with Kickstarter—we wanted to work with what we knew.
But even though the final $500,000 was going to be enough to create the game at its most basic level, our hope was that this would be our chance to raise enough support to actually afford all the extra content and special modes. At this rate, Bloodstained could be my magnum opus.
With so much excitement and funding, there invariably must be pressure to live up to expectations. You’ve got an army of “Igavania” fans drooling – what are you doing to make sure you deliver what they’re wanting, and exactly how much of that pressure are you feeling?
Many people have brought up the pressure that comes with a Kickstarter campaign and being in such close proximity to the fans. But for me, that pressure has always been there. I’ve always had the pressure of the beloved Castlevania name on my shoulders, so I had to make sure to vary the basic formula of the classic Castlevania games to keep the core idea fresh through multiple sequels. As I make this brand new title, I feel that backers are supporting me with similar hopes that I’ll continue to build upon that developmental path. This time, I’ve got the pressure of making sure I don’t let down the people who have directly made this opportunity possible. There’s really nothing I can do but keep my eyes on what’s ahead of us and take it one step at a time to make sure I do it right.
You stated in your Kickstarter video that the publishers of the world told you nobody wanted another game like Bloodstained. Do you know why companies are so averse to certain genres now, why survival horror, mascot platformers, RTS games and titles like Bloodstained are making publishers so afraid?
I think bigger publishers want the newest and hottest thing, and aim for big revenues through big budget titles. So when I brought them a pitch for an old-school, tried-and-true game design, it felt dated to them, and just didn’t resonate. Some of the publishers did understand there’s a following for this type of game, and that the fans do exist – but they assumed there weren’t enough of them to support the basic budget I was asking for. It’s all a numbers game, so it must have felt to risky for them. It’s especially difficult to release this kind of game into a certain genre when old-school games are all being lumped into a blanket “old-school” genre nowadays.
Following on from that question, how does it feel to prove those companies wrong?
Refreshing!
One common criticism of a lot of recent Kickstarter successes is that they’re trading on nostalgia, using past success to make money. Do you feel Bloodstained is relying on Symphony of the Night in this way? Is it a concern to balance a sense of familiarity and nostalgia with fresh, brand new material?
That’s a tough one. The question is, if that’s not what backers want from me, what is? Personally, I think they genuinely want to relive the feelings they had when playing those classic games in the past – maybe not nostalgia so much as a simple desire to enjoy solid, tried-and-true gameplay.
At the same time, I don’t think they’re asking for a mindless recreation of older experiences. They may want the basic foundation, but with a fresh spin to it – a balance of what’s made them feel good in the past and what’s new and exciting. Unfortunately, that’s the kind of mix that turns a publisher off. So Kickstarter was the perfect chance for me to stay directly connected with backers and seek the best way to build out this game.
The notion of Kickstarter-exclusive in-game content has upset some gamers, who consider it a form of “day-one DLC.” As a pundit who routinely rails against cynical DLC practices, I’m personally quite torn on the issue – I recognize in-game content is a practical and simple way to reward backers, but I fully understand the potential customer concerns. How do you feel about such criticism, and what do you think of such practices as “day one DLC” in particular?
I never could have started this project without the support of all its backers. Backers that supported this project via the digital tiers play an equally important role because all of this money is being used to build upon the fundamental, most accessible contents of the entire game – to make the game that everyone gets bigger and better. I just wanted some way to give back to those who really jumped in and took a great risk on my behalf. I’ve been without work and put my own personal life on the line for a chance to make a new Igavania-style game, so I’m touched by those who had that much faith in me.
This is my way of saying “Thank you.” At the same time, now that all backers are personally allowing us to expand the game into such greater territory, everyone who buys the game after it comes out also owes a great deal of gratitude to everyone who backed the project on Kickstarter at this crucial time. That being said, the exclusive content will likely appeal to the most dedicated enthusiasts, but it probably wouldn’t seem as significant for the average player.
Do you feel we’re starting to see a split between creative developers in the “AAA” game world, and the publishers themselves who are starting to view games less and less as art forms? With PlayTonic Games, the rumors about Hideo Kojima, and yourself, it seems as if many notorious developers are wanting to strike out from the big-budget game market and do their own thing.
Publishers are businesses. They exist to make money, and they will always change their internal strategies to make more of it. Games cost a ton of money to make, so finding investment options–be it through traditional publishers or new funding options such as Kickstarter–will be the eternal struggle for developers trying to strike out on their own. It’s great that there are more options, and hopefully people will continue to look positively on these services for the opportunities they provide. I personally tried a great deal of options, but in the end, as a creator, all I really know how to do is create, so I had to accept what limited options I had.
Further to that point, Konami recently announced it was moving further away from traditional games and pursuing mobile, something Square Enix has been doing more lately as well. What do you think of this recent migration of publishers to mobile gaming? Is it a blessing in disguise as creative developers pursue their own work, or do you feel it represents a problem in the market?
If you look at the numbers in the Japanese market, the shift to mobile is inevitable. That being said, I believe that mobile games will still evolve into something with classic game mechanics that approach their console predecessors. But the gaming environment has constantly evolved from the start. First you had arcade machines, then home consoles, then handhelds, and now mobile. I don’t think this is necessarily a problem – it’s just the way of things. And opinions vary.
Some people swear that arcade games are the “true” video games, while others dismiss anything that doesn’t use a controller. But only one thing is for sure – if the number of gamers desiring a specific gaming experience decreases, the market cannot sustain those kinds of games. Capitalism applies to all markets, and the game market is no exception.
Onto Bloodstained itself – one fascinating thing I learned from watching a recent video was that, with Symphony of the Night, you let your artists and designers do whatever they want, leading to a game with a uniquely disjointed world that still somehow felt cohesive. Is this a philosophy you’re maintaining with Bloodstained? This independent, free-form design process?
It’s an organic and collaborative process. I come up with concepts and the designers fill it in with some of their own ideas and their own unique art styles. I like artists and designers to be free-form so we can attain maximum creativity. Games aren’t usually made by individuals, but teams. Blending the team’s ideas and raw creativity allows for a much better, deeper, and richer game.
Will we be seeing a ton of weird secrets as well? I loved hunting for rare item drops, hidden areas, and strange weapon combos in previous Castlevania games.
It’s one of my games, so yes, absolutely. We’re still in the early phases, so we don’t have specific Easter eggs planned out yet. But as a game with a heavy focus on gathering items, there will be plenty to work with when it comes to rare drops and the like. I’m very excited to get started on it.
Another thing I’ve always appreciated with your games is the sheer amount of content that is there just for the sheer strange fun of it – bizarre background details like massive eyes peering through windows, peanuts that your character can toss and catch for no reason whatsoever, enemies crying if you kill their evil dog. Will we be seeing a lot of those interactions and details in Bloodstained?
A lot of those secrets were thanks to some of the more creative designers and programmers on the team. As I stated earlier, to make a really deep game it’s crucial to give the team the flexibility and bandwidth to play with the design, characters, and features. And I can already tell I’ll be working with a team that has a lot of imagination to offer!
Finally, bosses are always a key part of your work. Do you have a rough idea of how many you’ll be adding, what kind of designs you’re going for (I always liked how grotesque most of your prior ones looked) and, most importantly, whether or not you’ll be making your designers do as they did with Symphony of the Night – proving they’re able to beat the bosses they design without losing a single hit-point?
Bosses are one of the most important aspects of my games. We spend a huge amount of time deciding on them, their features, and how they fit into the game world. Because of that we still have a lot of thinking to do on how to approach them. They cannot be rushed. We’re starting with eight, but our stretch goals will allow us to dedicate more of our resources to them. And yes, the person who creates that boss needs to be able to defeat it without taking damage. That is a hard Igavania production rule, and I’m glad that Inti Creates feels equally strongly about this design philosophy.
LESS T_T
Arcane
- Joined
- Oct 5, 2012
- Messages
- 13,582
Eh, looks like it's Silver-stained.
http://www.destructoid.com/deep-silver-is-most-likely-publishing-bloodstained-292917.phtml
http://www.destructoid.com/deep-silver-is-most-likely-publishing-bloodstained-292917.phtml
Somberlain
Arcane
You mean Silversteined?
CyberP
Unwanted
- Joined
- Aug 2, 2013
- Messages
- 1,711
Finally, a kickstarter where the backer rewards aren't a load of fucking garbage ideas and merchandise. "have your pet turned into a monster". Dumb, but won't interfere with the game's design (we have dogs/wolves and such in CV anyway) or be a cost sink (it isn't merchandise and it isn't exclusive to that backer tier, rather it will be in the game for everyone).
Good to see a somewhat of an uncompromising approach, although I still fucking hate Kickstarter backer rewards and aspects of the marketing campaigns, such as the standard of hiring marketing teams to front them. Backers pay for that essentially.
Good to see a somewhat of an uncompromising approach, although I still fucking hate Kickstarter backer rewards and aspects of the marketing campaigns, such as the standard of hiring marketing teams to front them. Backers pay for that essentially.
Damned Registrations
Furry Weeaboo Nazi Nihilist
- Joined
- Feb 24, 2007
- Messages
- 15,073
Here's hoping the monster pet ends up being something like a budgee or a chinchilla.
- Joined
- Sep 7, 2013
- Messages
- 6,210
... elaborate?
Tehdagah
Arcane
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- Feb 27, 2012
- Messages
- 9,423
Damned Registrations
Furry Weeaboo Nazi Nihilist
- Joined
- Feb 24, 2007
- Messages
- 15,073
How is this a laudable achievement for the devs? The voiceacting in SotN was notoriously bad. At least, the english was.
I mean, most of that was the weird writing and the awful editing of the lines with awkward pauses thrown into the exchanges to bring up the other portrait/dialogue box. But even accounting for that, none of these guys were anything but average at best.
Dwork Mwotomwophoosees!
The dub in the original SotN was great for its comedic value. The PSP version's redub was way more serious, probably closer to the original Japanese dub. Here's a comparison for those who have never seen it:
The dub in the original SotN was great for its comedic value. The PSP version's redub was way more serious, probably closer to the original Japanese dub. Here's a comparison for those who have never seen it:
dunno lah
Arcane
Oh shit! Chris Redfield and Richter Belmont are one and the same?
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