Hidetaka Miyazaki on Game Design
Summary
TLDRThe video script delves into the influential role of Hidetaka Miyazaki, a renowned video game creator, featured in Time Magazine's Time 100 list of 2023. It explores his unique 'total direction' approach to game development, where he exercises full control over game design elements, fosters team synergy, and engages in philosophical discussions to align the team with his vision. The script highlights his hands-on involvement in every aspect of game creation, from writing and map design to character and weapon design, and his transition to a 'unified production workflow' to accommodate his dual roles as president and game director.
Takeaways
- 🌟 Hidetaka Miyazaki was included in Time 100, marking his significant influence in the gaming industry.
- 🎮 Miyazaki follows a principle called 'total direction' in game creation, which involves full control over various elements such as story, design, and music.
- 🛠️ He provides creative freedom to team members but maintains the final approval on all aspects of game design, including character and weapon designs.
- 🗺️ Miyazaki has a strong passion for map design, believing it to be the most influential aspect of a player's experience.
- ✍️ He personally writes all the text in his games, including item descriptions and character names, valuing the importance of names in world-building.
- 📖 Miyazaki assumes full ownership of the stories and lore in his games, with the exception of 'Sekiro' where he shared narrative development with a team member.
- 🤝 He actively engages in philosophical discussions with his team to align their vision with his, fostering a deeper understanding of the game's world.
- 🎭 Miyazaki takes a hands-on approach to animation, often acting out scenes for animators to better convey his vision.
- 🏆 Despite his detailed involvement, Miyazaki encourages creative synergy within his teams, allowing individual styles to contribute to the game's world.
- 🔧 After becoming the company president, Miyazaki adapted his 'total direction' approach to a 'unified production workflow', assigning co-directors to manage projects while he oversees creative aspects.
- 🔑 Miyazaki assures fans of maintaining a certain level of quality in his games as long as he is listed as the game director.
Q & A
Why was Hidetaka Miyazaki included in the Time 100 list of the 100 most influential people of 2023?
-Hidetaka Miyazaki was included in the Time 100 list due to his significant influence and mainstream impact through his video game creations, marking only the second time a video game creator has been selected for this prestigious list.
What is the principle Hidetaka Miyazaki follows when working with his teams?
-Hidetaka Miyazaki follows a principle he calls 'total Direction,' which involves full control of the game's direction, complete accountability for all decisions, and engaging the team in philosophical and conceptual discussions to align with his vision.
How does Miyazaki's approach to game direction differ from others?
-Miyazaki's approach, known as 'total Direction,' is different because he maintains complete control over every aspect of game creation, including level design, background music, sound effects, and more, ensuring a unique quality and allowing his unique style to shine through.
What changes did Miyazaki have to implement in his total Direction approach after becoming the company president?
-After becoming the company president, Miyazaki had to adjust his total Direction approach by creating a new management model called 'unified production workflow,' where he assigns a co-director for each game to handle administrative and project management aspects, allowing him to focus on creative aspects of development.
Why does Miyazaki take full control of the game's direction?
-Miyazaki takes full control of the game's direction to ensure that every aspect of the game aligns with his vision and to maintain a unified and high-quality gaming experience for players.
What role does Miyazaki play in the creation of character names in his games?
-Miyazaki assumes complete responsibility for creating character names in his games, enjoying the process and taking full ownership of the decisions, although he occasionally receives hints and recommendations from the team.
How does Miyazaki contribute to the writing of the game's text?
-Miyazaki writes all the text in the game, including item descriptions, weapon, location, monster, and armor names, and even the text that shows in the menus, ensuring consistency with his vision.
What is Miyazaki's approach to map design, and why is it important to him?
-Miyazaki enjoys designing the connections of the overall map and believes that map design holds the strongest influence on a player's experience, significantly impacting their enjoyment of the game.
How does Miyazaki handle the storytelling and lore in his games?
-Miyazaki assumes full ownership of the stories and lore in his games, with the exception of 'Sekiro,' where he maintained primary authorship but delegated the task of fleshing out the details to a team member, allowing for a fresh approach and collaborative story building.
What is Miyazaki's involvement in the design of characters, monsters, and bosses in his games?
-Miyazaki actively participates in all design activities, working with individual designers, providing feedback, and making revisions until the output matches his vision. He also takes part in designing specific elements, such as the headgear of the Old Monk boss in 'Demon's Souls.'
How does Miyazaki ensure the quality and consistency of designs in his games?
-Miyazaki reviews all designs, including armor, weapon, and location concept art, and none gets into the game without his approval. He looks for a certain quality in the designs that convey feelings or emotions and aligns with his criteria for elegance and refinement.
How does Miyazaki's hands-on approach to game design affect the creative process within his team?
-Miyazaki's hands-on approach ensures that his vision is fully realized in the game, but he also fosters and encourages creative synergy within his teams by granting them ample creative freedom, allowing them to enrich the game's world with their individual styles and ideas.
Outlines
🎮 The Influence of Hidetaka Miyazaki
In this paragraph, Time Magazine's recognition of Hidetaka Miyazaki, a video game creator, is highlighted as he is listed among the 100 most influential people of 2023. This marks a significant milestone, as he is only the second game creator to be included after Shigeru Miyamoto in 2007. The script introduces Miyazaki's role in game creation and his unique approach called 'total direction,' which encompasses full control over various elements of game development, including story, music, and design. The video promises to delve into Miyazaki's creative genius and his significant impact on the mainstream gaming industry.
📜 The Art of Naming and Writing in Game Design
This paragraph focuses on Hidetaka Miyazaki's personal involvement in the intricate details of game development, particularly the art of naming and writing within games. Miyazaki takes full responsibility for creating names for characters, items, and locations, finding the process enjoyable and integral to world-building. He also writes all in-game text, including item descriptions and menu text, despite the challenges of character limits. The paragraph highlights the importance of names and the creative process behind them, as well as the changes in Miyazaki's approach when he became the company president, necessitating a shift in his direct involvement in text writing.
🗺️ The Significance of Map Design in Game Creation
The third paragraph emphasizes the critical role of map design in shaping a player's gaming experience, according to Hidetaka Miyazaki. Miyazaki's passion for map design is showcased, with his belief that it is the most influential aspect of game design. The paragraph details his hands-on approach to creating interconnected game worlds, starting with a rough map and refining it through collaboration with artists. It also touches on the evolution of Miyazaki's approach to storytelling and lore, with a shift towards a more collaborative process in his later works, such as 'Sekiro,' where he delegates some narrative responsibilities while maintaining the core vision.
🎭 Direct Participation in Game Design and Concept Realization
This paragraph delves into Hidetaka Miyazaki's active participation in the actual design process, from conceptualizing characters and monsters to reenacting scenes for animators. Miyazaki's hands-on approach extends to working closely with individual designers, iterating on ideas until they align with his vision. The paragraph also discusses his personal involvement in researching and designing elements like Gwynn's character attire, reflecting his commitment to creating a cohesive and immersive game world. Additionally, it highlights his unique method of acting out motions for animation, which sometimes leads to humorous and enlightening outcomes.
🤝 Balancing Creative Freedom with Quality Assurance
The fifth paragraph explores the balance Miyazaki strikes between maintaining a high standard of quality and elegance in game design while encouraging creative synergy within his teams. Despite practicing 'total direction,' Miyazaki fosters an environment where team members have the freedom to contribute their ideas and personal styles. The paragraph discusses his management style, which involves providing guidance and setting a standard for designers to meet, while also being open to their creative input. It also touches on the adjustments made to his management approach following the acquisition of FromSoftware, leading to the development of a 'unified production workflow' that supports his dual roles as president and game director.
🏆 Maintaining Integrity and Quality in Game Development
In the final paragraph, the focus is on the transparency of changes within the company and the trust that players and fans place in Hidetaka Miyazaki's ability to deliver high-quality game creations. Miyazaki assures his audience that his commitment to quality and integrity remains unwavering, regardless of his additional responsibilities as company president. He discusses the new production workflow and how it supports his work, allowing him to continue to obsess over the details of game design, art, story, and music. The paragraph concludes with Miyazaki's guarantee of quality, as long as he is listed as the game director, reflecting his dedication to meeting the high expectations of his fans.
Mindmap
Keywords
💡Hidaka Miyazaki
💡Total Direction
💡Game Director
💡Creative Freedom
💡Map Design
💡Story and Lore
💡Unified Production Workflow
💡Elegance
💡Philosophical Discussions
💡Quality Assurance
Highlights
Hidaka Miyazaki's inclusion in Time 100 list signifies the mainstream influence of his video games.
Miyazaki's role as a game director involves 'total direction', encompassing all creative aspects of game development.
He assumes full control over game direction, including story, lore, and level design, providing creative freedom while maintaining final approval.
Miyazaki's hands-on approach includes direct work with individual designers and a focus on unique style and impact.
Map design is a particular passion for Miyazaki, who believes it significantly impacts player enjoyment.
Miyazaki's creative process involves philosophical and conceptual discussions to align the team with his vision.
He takes an active role in reenacting cutscenes and character actions to guide animators.
Miyazaki's early career as a game director was characterized by a more direct involvement in all design activities.
Becoming the company president required adjustments to his 'total direction' approach due to increased responsibilities.
Miyazaki's new management approach, 'unified production workflow', assigns co-directors to maintain his creative essence while handling administrative tasks.
He retains a hands-on role in game design, art, story, and music, ensuring a consistent level of quality.
Miyazaki's dedication to his vision and creative synergy within his teams is a key factor in his success.
The 'unified production workflow' allows for better communication of concepts and aims within the development team.
Miyazaki's creative genius is evident in his extensive involvement in all aspects of game creation, from names to lore to gameplay mechanics.
His approach to game direction is unique, focusing on a unified vision that permeates every element of the game.
Miyazaki's commitment to quality is assured by his active involvement as a game director, even with increased managerial responsibilities.
The changes in Miyazaki's approach due to his dual roles have been transparent and well-received by the gaming community.
Miyazaki's games are characterized by a high level of integrity, quality, and consistency, which he continues to uphold.
Transcripts
on April 13th 2023 Time Magazine
revealed the time 100 a list of the 100
most influential people of 2023 one
fascinating aspect of this list is the
inclusion of hidaka Miyazaki marking
only the second time a video game
creator has been selected for this
prestigious list following the 2007
inclusion of sharu mamoto much more than
the prestige that the list represents
miyazaki's inclusion proves how far he
has come and validates how mainstream
and influential his games have become
however even until now many people still
don't know what Miyazaki actually does
what does he contribute to his games as
a game director in this video we're
going to explore and find out the answer
to this question join me as we delve
deep and discover miyazaki's role in
Game creation and understand his
creative genius in game
[Music]
design Miyazaki follows a principle he
calls total Direction when working with
his teams which can be divided into
three categories firstly Miyazaki
assumes full control of the game's
Direction encompassing elements such as
names text story lore background music
sound effects cutcenes artwork map
design and level design secondly he
takes complete accountability for all
decisions providing creative freedom to
team members and promoting Synergy
within the team however every aspect
must receive his approval and he has the
final say on character designs weapons
armors boss fights and combat thirdly
Miyazaki engages the team in
philosophical and conceptual discussions
to flesh out the game and align them
with his vision there are a few games
where Miyazaki didn't adhere to certain
aspects of total Direction which will be
covered in the next section regarding
total Direction Miyazaki shared I am
aware that my approach to game Direction
during product development is a bit
different from others I call it total
Direction it means I get complete
control of how a game is created not
only with regard to level design but
also on background music sound effects
and everything else I believe that gives
it a unique quality honestly I truly
enjoy the game director role because
it's like being the overall designer of
a game Miyazaki takes control of as many
factors in game development as he can he
would rarely put another level of
manager or team lead between him and the
people who actually do the work Mia
explained in game design our approach is
not to have Team lead designers but
instead to have the game director work
directly with the individual designers
this of course has both benefits and
disadvantages the benefit is that you
don't lose sight of what you are set to
create and it's easier to make an impact
and have your Unique Style shine through
however there are physical limitations
in as much as the method allows you to
really stay on target it's also easy to
be
immobilized the context of Miyazaki as a
game director differs significantly
between when he was creating demon souls
and Dark Souls compared to his work on
sakiro and Elden ring this is one of the
main reasons why I chose to exclude any
information from the Elden ring era in
this video opting instead to feature it
in a separate video dedicated to the
making of Elden ring the way to think of
Miyazaki as a game creator is that if
something is needed to advance the game
and make progress he will do it himself
provided he has the time and skill the
main question you might have is what is
the scope of these activities the answer
is extensive as you will soon discover
however this approach ceased to work
during the kakawa era when from software
was acquired and Miyazaki became the
company president to maintain his active
involvement in the games he directed
there had to be a change in the way he
implemented total Direction a topic we
will cover in this video as well to
reiterate Elden ring will not be covered
in this video because it represents an
Advan Advanced stage in his career if
you're just starting as a game designer
your context will likely align more
closely with miyazaki's earlier stages
during bloodborne and preceding Works
rather than sakiro and Beyond you might
not find yourself as a company president
overseeing multiple games simultaneously
or leading a team of co-directors
chances are you'll be working on an
indie game or within a startup wearing
multiple hats and collaborating with a
small team regardless of your situation
I hope this video will inspire you and
all butting game creators with that said
let's now delve into the specific
activities Miyazaki engages in when
directing a new
game Miyazaki assumes complete
responsibility for creating names in the
game finding this task immensely
enjoyable while he encourages
suggestions and welcomes input from the
team ultimately he takes full ownership
of the decisions Miyazaki explained I
occasionally get hints and
recommendations from everyone on the
team and from frog Nation the company
that handled the English translations of
our games since Demon Souls however in
the end I choose all the names this has
always been the case for all the games
that I have directed names are an
incredibly important part of the world
you want to depict but even more than
that I truly love coming up with them
I'm kind of a naming nerd I think it's
always fun for me I enjoy the whole
process things like word origins how it
sounds and expressions Regional
variations the whole thing The Only
Exception here is the title of my games
I am really terrible at that and so far
I have never had a good experience with
it Miyazaki writes all the text in the
game not just character names this
includes item descriptions weapon
location monster and armor names and
even the text that shows in the menus
regarding his experience writing the
menu text for Dark Souls Miyazaki shared
actually the text is so small that I
can't write anything decent three lines
of text with that character limit it's
impossible I kind of gave up on them
it's a bit cheap but I also think it's
more interesting with that charm so it's
good enough but that wouldn't be nice in
a big title or a serious game but for us
good enough as expected this level of
involvement for Miyazaki is not
sustainable and will be the first to get
changed when he gets promoted to company
president in the future Miyazaki
explained honestly the reason I'm
writing the texts is that it prevents
the game development from falling behind
or having more pressure due to also
having to write the texts professionals
could write those texts together with
the dialogues and the screenplay and
that would result in much better quality
but we kept tweaking the game till the
very end which resulted in the need to
fix items and
scenarios among all of M asaki's
activities as a game director there is
one specific area he loves most map
design he firmly believes that map
design holds the strongest influence on
a player's experience of the game and
significantly impacts their enjoyment of
it it Miyazaki expressed I personally
enjoy designing the connections of the
overall map it is actually how the
majority of the areas were constructed
map design is what really dictates
everything else once we have determined
what needs to happen in an area we would
immediately prepare a rough map and then
once the basic layout of the area was
created we would work on the finer
details by using the rough map I could
convey the requirements appearance and
structure of an area to the artists and
let them velop these ideas through
collaboration if you recall from our
bloodborne video Miyazaki shared his
love for map design saying outside of
the Chalice dungeons I personally laid
out all the maps in bloodborne something
I like doing a lot that connects to the
sense of achievement I talked about too
adding flow and meaning to the map
structure helps provide a sort of Joy to
the player the fun of drawing up a map
of the land in your mind that adds value
to player actions along those lines it's
a really game likee design I think I
really like that kind of thing
miyazaki's passion for map design dates
back to his work on demons souls he
places significant emphasis on this
aspect of game design which influenced
his approach when starting work on Dark
Souls reflecting on this Miyazaki shared
during the later development stage of
demon souls I began to think of creating
a vast connected map for a future game
so it was not planned to be adopted for
demon souls and so during the start of
De velopment for Dark Souls I prepared a
plan to implement the vast seamless map
Miyazaki has publicly confirmed that he
assumes full ownership of the stories
and lore in his games with a notable
exception in sakiro where he maintained
primary authorship but delegated the
task of fleshing out the details to a
team member explaining this approach
Miyazaki stated as someone who has
written the Dark Souls and bloodborne
games I would not like to repeat that in
sakiro I feel that users are going going
to get bored or tired of this approach
so we opted for a Fresh Approach here
sharing the narrative internally and
letting other staff contribute their
interpretations and organize this wealth
of data between characters and plots is
refreshing it allows the company to gain
a better understanding of the story in
case you are wondering how much of the
story of sakiro came from Miyazaki he
shared that he created the overall plot
he explained yes I came up with the
foundational ideas and worked with
another staff member to refine them
while I'm looking over their work
closely I've left most of the actual
writing to that developer while this is
the first time I've directed The Plot
but not done the writing I think it'll
be a good and fresh perspective for this
work especially given the idiosyncrasies
of my writing style while the new
approach assists in saving time and
effort for Miyazaki it requires some
adjustment on his part as he had become
accustomed to handling it independently
he shared it's pretty tough actually to
step back back it doesn't necessarily
give me more time to focus on other
things I have to divide my time in
different ways of course but previously
I could have just written some stuff
down as part of the text or dialogue at
home nowadays for sakiro I have to
communicate this to staff and be really
quite forthcoming about it that's quite
tough in itself but then to see them
reinterpret this into their idea of what
that means or that implies this is
enlightening for me and it allows me to
see this different interpretation and
then to have this collaborative story
building
together as shared earlier Miyazaki does
not put an extra layer between him and
the people who actually do the work
instead he actively participates in all
design activities for the game Miyazaki
provided more details about this in the
context of Dark Souls saying we followed
two significant approaches when
designing Dark Souls in the initial
concept stages I provided each of the
artists with a few simple image words
that they could utilize as a starting
point and freely develop in whatever way
they wished we then collected the images
we liked enhanced them where necessary
and use them to create the world for
example the egg carrier gaping dragon
and gravelord Neo all emerged during
this stage and moved almost unchanged
into the final game in cases where I
have a clear idea of what I want we use
a different approach for example if
something is meant to be used to perform
a function or an area is designed in a
way to satisfy a particular condition
specific examples would be the mimic and
the Gargoyles regardless of which of the
two approaches we use rather than
appoint a staff to own and take charge
of each concept I took the designs and
discussed them with everyone and
developed them in that
way for character designs Miyazaki works
with individual designers and they will
keep doing iterations until the output
matches the vision that Miyazaki has
regarding the design of one of the
iconic characters in Dark Soul Souls Big
Hat Logan Miyazaki shared I really like
Logan as an NPC I spent a good length of
time on his design he is a wise man a
sage but I really wanted to make him
unique so I had quite a few designs made
for him once we decided on the idea of
his big hat the design came together
however that part was not there from the
start and only emerged after continuous
revisions not only does Miyazaki review
and improve the output of his artists
and designers but he also does actual
research as well below is a glimpse of
this activity where Miyazaki shares the
kind of work he did for the creation of
Gwynn's character design Miyazaki shared
we wanted gwyn's clothing to look
ancient as he is an Old King after all I
studied a lot of old clothing but I
could not find anything that looked cool
as an example short pants would not
create the image we wanted to create for
the character I'm happy with the final
design
though in creating the monsters for the
boss fights Miyazaki begins with the
design rather than focusing on the move
sets he then works with the artists in
polishing the concept art regarding this
approach Miyazaki shared first comes the
design however when I have more or less
pinned the concept down I ask the
designer to do the art then I will
already tell them what they need and
what kind of Boss it will be I describe
the bare minimum a boss needs and leave
the rest to the designer because I
believe this adds even more to the
originality since if I intrude too much
we will end up focusing on on the game's
development logic I just let the
designer work on whatever comes up in
his imagination I think this way our
results will be more exciting and unique
though Miyazaki is no graphics artist he
also takes active participation in
designing monster elements like in the
case of the boss old monk from demon
souls he himself designed the headgear
of this boss Miyazaki shared I have a
lot of favorite enemies and bosses from
each game as for this title I think I
will hold off from going into boss info
to avoid spoilers let me weed it down
into one the old monk this boss used a
unique and somewhat experimental
multiplayer system I remember facing a
lot of opposition to realizing the idea
I also designed the boss's head collar
myself overall I have a very personal
bond with this
character Miyazaki reviews all the armor
and weapon designs prepared by the
artists and none gets into the game
without his approval when doing the
review he looks for a certain quality in
the designs that satisfy his criteria
Miyazaki shared this might sound a
little abstract but I really like
equipment that conveys feelings or
emotions I reviewed all the designs with
that in mind and though I could not get
that from every one of them I felt I was
not entirely unsuccessful of course this
does not only apply to the Aesthetics
but the game mechanics must also be
constructed around this idea it is
something I always strive for a theme
that carries through everything that I
do in addition to taking full ownership
of the map designs Miyazaki also takes
active participation in the creation of
a location's look and feel similar to
his review of armor and weapon designs
he meticulously examines all location
concept art here is Miyazaki sharing how
Blight Town was designed saying for
Blight Town I began with several images
that I wanted to include but due to the
size and complexity of the area it would
have been challenging to try and design
all at once so instead we began with
significant features like the water
wheel elevator and with the help of the
designers and artists we gradually built
the area from there it should be clear
by now that Miyazaki has a very Hands-On
approach even with location designs he
shares the information below on how he
and the team created one of the most
popular locations in the game an Orlando
Miyazaki shared there was a lot that I
wanted to include in an Orlando I wanted
it to be like a player's reward after
surviving Sen's Fortress also I wanted
it to be an area with no clear roads
where the player has to walk in places
that you would not normally walk like
the buttresses then we also have the
image of the Setting Sun and how the
area changes once nightfalls I truly
like the way your eye gets drawn to
different features like the revolving
staircase
elevator one of the many things that
make Miyazaki unique and different from
other game directors is that he takes
active participation in reenacting
cutcenes and character actions in the
game he will typically act a cut scene
or character action himself so that the
animators have a better idea of how he
envisions the scene in his mind often he
succeeds but sometimes he does not
leading to frustration on his side here
is an Insight during the creation of
Dark Souls CGI trailer in which dauk
satake shared his experience working
with Miyazaki satake shared we used
motion capture for the pre-rendered
movie but in the scenes where it
differed from miyazaki's Vision he would
act it out himself for example in the
part where Neato opens his hand we have
had to reshoot that many times also in
the scene where the maiden takes the
fire initially she just takes it in her
hand but miazaki wants it to appear as
though she is in prayer we had to
re-shoot that part multiple times too
and here is Miyazaki sharing his
experience with the animation involving
the dragon torso Stone he said one
animation that I will always recall is
when the player activates the dragon
torso Stone and transforms I actually
acted the motion for the animators to
see but when they showed me the finished
scene I did not like it I told them he
would not move like this to which they
replied but this is how you showed it to
us we are sure of it well everyone
agreed with them I was a little
embarrassed but that awkward jerky
motion actually conveyed what it would
be like if a human were trying to force
himself to become a dragon in the end
after some adjustments I gave it the
okay there are more instances of
Miyazaki working as an actor for scenes
here is the final example this time one
of his team members shares his
experience related to the soul drain
attack satake shared I will always
remember the dark hands Soul drain
attack it was the first thing Miyazaki
wanted to show to me and the first time
I experienced being on the receiving end
of his acting he said I want it to look
like this while acting out the motion of
course I had no clue what he was
doing Miyazaki invests time in
discussing abstract Concepts and
philosophical topics with his teams this
practice allows team members to delve
deeper into the game's elements and
align their objectives with his
overarching vision he explained if we
simply focused on what was required
rather than innovating I don't believe
something like this would have been
created in order to achieve this with my
designers I discussed with them all
sorts of things for example I Converse
at length with Nakamura regarding
philosophy we spent a lot of time
discussing the core concept of art
design our game focuses a lot on death
but what is death what does it look like
what does death mean in this world what
does it mean to live and to die these
are topics we discussed very closely
people have a multitude of definitions
for what beautiful means we had deep
discussions about what beautiful should
mean for the game reflecting on the
importance of discussing various
Concepts in the context of bloodborne
Miyazaki shared we covered topics like
what is deep in inside of a beast or
what is it like to become one as always
I talked to the designer passionately
about many random topics and in the
context of Dark Souls Miyazaki said we
discussed about the world life and death
the game World the meaning of fire and
the role of the Four Kings by discussing
these with the artists I found that it
not only aided them in developing their
ideas but it really helped me flesh out
my own ideas of the world I wanted to
create m offers guidance to the team
setting a standard for all designers and
concept artists to adhere to he Demands
a specific level of quality that must be
achieved and consistently upheld
throughout the game creation process he
elaborated saying you may not believe
this but I always try to maintain a
certain level of refinement and elegance
in all designs I often tell the artists
that being muddy or messy is definitely
not good I believe this carries through
the entire game if you ask me to
describe what this Elegance means I
think you only have to check the designs
and judge for yourself but it truly is
one of the most important factors in
everything I
oversee even though Miyazaki practices
total Direction he actively Fosters and
encourages creative Synergy within his
teams he grants his team members ample
creative freedom necessary to bring his
Visions to life Miyazaki explained if I
don't receive the results I expected I
begin giving more specific descriptions
and might even start drawing things on a
whiteboard but even then I would never
go as far as to say it has to be this
specific color or shape I do not intend
for the designers to become my tools
things do not always go as I want but I
believe that's probably due to me not
getting the most out of the artists this
is one of the things I want to get
better in the future I am never
satisfied with design works that just
follow the design brief so I often
request the artists and the designers to
add some of their own ideas I think that
these ideas can enrich the area if not
the whole game
although this can lead to more work of
course upon examining the different
aspects of total Direction it might seem
like
micromanagement however this level of
involvement is often anticipated from
someone deeply passionate and obsessed
with realizing their Vision nevertheless
Miyazaki adeptly balances this by
granting his team members a significant
amount of creative freedom Miyazaki
explained as I have shared before I took
charge of all of the designs and was
ultimately responsible for their
Direction since they all went through me
I believe there is some degree of
unification having said that I aimed to
bring out all of the artists individual
Styles because I think working closely
with the designers to develop their
ideas while still encouraging their
personal Styles creates a deeper more
organic feeling to the game's world in
the
end following kakawa acquisition of from
software adjustments were necessary for
total Direction certain aspects of this
approach were no longer sustainable due
to miyazaki's roles as both president
and game director total Direction
involves meticulous oversight and an
obsession with details without adjusting
the structure of project management
Miyazaki would no longer be able to
perform such tasks now that he has dual
roles he created a new approach to
management called unified production
workflow under this model Miyazaki
Remains the head director overseeing
major projects however he assigns a
co-director for each game game
responsible for administrative and
project management aspects in this way
he can still maintain the essence of
total Direction where he can obsess and
give complete attention to detail in
Creative aspects of development such as
game design art story and lore music and
soundtrack regarding the application of
the unified production workflow in the
context of bloodborne Miyazaki shared I
would not say that our development
process has changed much but two
particular points come to mind the first
is that the director level staff in the
company now all participate in a unified
production workflow one thing we need
from the start of a project is the
ability to convey our Concepts and AIMS
in words when I was doing all of the
work before by myself I tended to
verbalize the bare minimum necessary
that would not work in our new
development process I believe a lot of
positive things came out of this new
Arrangement communicating ideas to other
people made me notice a lot that I would
have missed otherwise
and in the context of sakiro Miyazaki
shared the overall development process
has been the same as it was in sakiro I
assigned co-directors to each project
with me taking Direction Over the
various game design art and musical
aspects of the titles we managed our
development time so the Peaks are
distributed however being able to share
a vision with the co-directors and the
development staff has enabled us to
build a trusting relationship that makes
this development style achievable I'm
incredibly thankful for them and their
support Miyazaki also referred to this
new production workflow when asked about
his time management between presidential
and directorial duties he mentioned if
we put it in percentages I would say
it's around 20% in a typical 5-day work
week I would need to dedicate a little
over a day to these duties however it's
not as if I was able to devote 100% of
my time to directorial duties even
before I accepted the new position after
I learned that we would build the
current company structure I had the
director level staff prepare a new
production workflow that supports my
work when I'm running short on time
hence I would not say that I'm
dedicating less time to game design
now all the changes within the company
remain transparent to the players and
the loyal fan base who hold a high level
of trust and belief in Miyazaki
ultimately what matters to them is that
Miyazaki delivers his New Creations in a
way that aligns with his already
established reputation for high
integrity
quality and consistency and for them
Miyazaki gives this assurance saying as
long as I am listed as game director on
the end credits there's a certain level
of quality the game needs to meet I can
guarantee that the game quality will
reach
[Music]
that
Посмотреть больше похожих видео
5 Years of Roblox game development in 8 minutes
Grilling the Game: The Recipe Behind Barry O's Barbecue Challenge
Inside Star Citizen: Dev Diary: Gavin Rothery
Q: How long have you been working on this project? 🐱
Warum hassen alle Notch?
How to setup Stream Deck+ Plus to control Universal Audio Console software via MIDI
5.0 / 5 (0 votes)