Gamasutra: The Art & Business of Making Gamesspacer
View All     RSS
September 20, 2014
arrowPress Releases
September 20, 2014
PR Newswire
View All





If you enjoy reading this site, you might also want to check out these UBM Tech sites:


 The Last Story : Innovation where you don't expect it
The Last Story: Innovation where you don't expect it Exclusive
June 27, 2012 | By Christian Nutt

June 27, 2012 | By Christian Nutt
Comments
    10 comments
More: Console/PC, Design, Production, Exclusive



Though Takuya Matsumoto worked at Sega during its big booth heyday, on titles such as NiGHTS and Sonic Adventure, at E3 2012 he was tucked into half of a tiny meeting room. There, he spoke to Gamasutra about his latest title, The Last Story, on which he was the development lead, overseeing both level design and programming.

He now works at MarvelousAQL, the game's developer, which collaborated with Final Fantasy creator Hironobu Sakaguchi's Mistwalker studio on the title.

Unlike most recent Japanese games, The Last Story is a successful blend of Western and Eastern design philosophies -- the Japanese strengths bolstered, not smothered, by influences from Western games. It's a refined game, with a strong and continuously evolving battle system and a compelling cast of characters.

And unlike Lost Odyssey and Blue Dragon -- the latter of which Matsumoto also worked on, and which is almost indistinguishable from a 16-bit game, aside from its Xbox 360-powered graphics -- The Last Story successfully fits in the present. It's simply a clever, fun, and surprising game.

He told Gamasutra of his desire to create "variation and excitement throughout" the game by balancing the story and gameplay elements. Unlike most JRPGs, which are still broken up into discrete story and gameplay segments, The Last Story has on-the-fly character dialogue during its dungeons, which keeps the game's pace quick and helps develop its cast.

Balancing the game's pacing was "really difficult", said Matsumoto. "If we balance the gameplay aspect and emotional aspect as even, it becomes a flat game altogether," he said.

"The most important thing with this title is the tempo of the game," said Matsumoto. "We had a really difficult time cutting out all the unnecessary stuff -- even though we thought it was necessary. But for the tempo of the game, we needed to take it out."

He was surprised, though, that Sakaguchi wasn't precious about his story -- he was "completely open" to letting Matsumoto nip and tuck it where necessary.

"Whatever Sakaguchi-san wrote as a scenario, I thought that was the base of the game, so you canít really touch that," he said. "But more than anything he cared about the gameplay -- how the players will interact with it."

It turns out, says Matsumoto, that the Final Fantasy series went through the "same trial and error," Sakaguchi told him.

While the on-the-fly dialogue sequences in The Last Story bear a strong resemblance to Western games like Uncharted, it turns out that wasn't the feature's only inspiration -- though it was an influence.

A writer who came onto the project, Masaru Hatano, proposed an in-game dialogue feature. More interestingly, Matsumoto himself, however, found inspiration elsewhere -- television. He "really loved" the way The West Wing creator Aaron Sorkin "explains everything, and so I wanted to implement something like that in a game from a long time ago -- but if you do that in a cutscene, then itís just not the same, because itís basically just watching."

The appearance of the feature in Naughty Dog's top-selling series vindicated his instincts, he said, over the years he worked on The Last Story.

"This probably took four years to create, and every year we came to E3. And in checking out E3, we were able to look at different types of games -- especially Western games -- and we saw the same type of direction that we were going. And that was like a reassurance that we were taking the game in the right direction."

In fact, he says, the final game's first dungeon was the fourth he worked on -- and the game's in medias res opening moments are a testament to this style of storytelling.

Another big influence on the game was its Japanese publisher -- Nintendo. (The North American release, due next month, is handled by boutique publisher Xseed.)

"There were a whole lot of requests from Mario Club," said Matsumoto with a bit of a smile, referring to the company's famous testing subsidiary, which tunes its own games. Though he didn't share details, it's clear that these requests were not trivial to deal with.

They were difficult for Matsumoto's pride, too. However, he doesn't begrudge his publisher: "All the requests that we got were spot on. They really know what theyíre talking about, because they have a lot of skill and knowledge."

"In a way, what we created was fine, but it was still rough around the edges. But I think by going through Nintendo, it really took out the unnecessary parts and refined it as a game." This drive for refinement, he said, "is the reason why it took so long" to release The Last Story.

He thinks they taught him something invaluable, in fact. "Refinement is one of the most important aspects" of development, he said. "The Nintendo influence was big, in a good way; at the same time it gave me confidence that if I really pushed my boundaries harder, then I can get to this level on my own."


Related Jobs

Infinity Ward / Activision
Infinity Ward / Activision — Woodland Hills, California, United States
[09.20.14]

Producer - Infinity Ward
Infinity Ward / Activision
Infinity Ward / Activision — Woodland Hills, California, United States
[09.20.14]

Senior Tools Engineer - Infinity Ward
Blizzard Entertainment
Blizzard Entertainment — Irvine, California, United States
[09.19.14]

Senior Vice President, Cross Media
Blizzard Entertainment
Blizzard Entertainment — Irvine, California, United States
[09.19.14]

Lead 3D Character Artist - New Unannounced Title










Comments


Jeremy Reaban
profile image
Innovation is overrated. I think Square would be in a lot better shape had they kept making traditional SNES style FFs

Paul Marzagalli
profile image
To an extent, I agree. Lost Odyssey fit perfectly well in this past generation, and remains one of the best games I have played in this era. I also think Kickstarter demonstrates that there is an audience and developer base out there that wants to innovate not by constantly reaching for the new, but through refinement and enhanced execution of classic concepts.

Looking forward to finally playing the game.

Arthur De Martino
profile image
What purpose has a game if it's more of the same?

Why should I stop playing FF4 if they are releasing FF4: More of the same?

Even small things like the dialogue among characters help break the sameness. Narrative alone can't do that for a game - It's interactive media, an experience. The FF series is know for it's subtles in gameplay tied to their themes that is true, but they didn't achieve that by releasing the same game over and over again.

I can see WHY you are saying this: I too prefer their old games than the bloated trainwreck that was FFXIII but the problem with that game wasn't that they were trying to be unique and different, but because that new experience sucked the life out of the series for all the wrong reasons.

Kenneth Blaney
profile image
Arthur, you have to ask why it is that people play Final Fantasy games and other JRPGs. In general, the gameplay mechanics are not fun as the major points of interaction are basically book keeping. Instead, I think many people who play Final Fantasy do so for the story aspects. (Similar, to the point-and-click niche that's out there.) They are paying their money for a consumable story. They then play Final Fantasy: More of the Same for the same reason people go to see movies.

I'll agree it isn't the best use of the medium, but there is something to be said for games which serve almost exclusively as a story delivery mechanism.

Joe Cooper
profile image
I agree about innovation. Everyone knows the best game is smashing two stones together and the best way to text someone is via smoke signals.

Christian Nutt
profile image
I find it really tiresome when someone jumps in a discussion about JRPGs and says "nobody plays them for the gameplay!" That's patently false, and a large number of games in the genre have interesting and intelligently designed gameplay. The Last Story is among them. It's an unfair stereotype of the genre.

Patrick Davis
profile image
Truth. I generally make it a point to finish FF games just to see where the crazy story goes, but 12 and 13 play so terrible that I couldn't even brute force it.

Joe Cooper
profile image
I loved the play of Final Fantasy VII and it was a big influence on me. The last time I played through it - I think about three years ago or something - I actually seeked out random battles because it was so engaging to rejigger the materia system.

These are products that engage in many ways, but they were hits because they were solid from -every- angle. We loved their stories. We loved to play them. We listened to their soundtracks.

These were not people who said "games are really about _____, so let's just do that and everything else will be whatever I don't care". They did not make long, B-rated movies pretending to be games.

They were, however, people who innovated, did new things and pushed the boundaries of what people were doing with games at the time. And they pushed themselves.

Sean Kiley
profile image
Yay I get to use my Wii for something other than netfilx! Looking forward to this one.

Benjamin Quintero
profile image
If this game turns out to be as great as people are claiming, I really hope they plan to release an HD version for WiiU. I can't go back to SD, but I'd love to pick up a solid jRPG. I haven't played one in too long.


none
 
Comment: