I loved the little interaction with Wedge and his butt. It felt like such a stupid-cute call back to his butt being on fire after the first reactor bombing. Ah, shame on Middle Manager, keeping secrets from his wife. I never really looked around a whole lot during the night section of sector 7. I never knew about all of the new NPC dialogue. Man, I missed a lot in my playthrough.
oh hey I have Paprika (Satoshi Kon movie) on umd lol! 18:39 "What a weird lil guy..." yknow what? yeah! 20:25 ah I really enjoy seeing ff7re having fun with the camera! it's so nice to see how they frame different characters with different angles idk idk I loved this segment the first time! Great episode yet again!
This was fun. Thanks for doing this. Also, I think the skyboxes look freaking inspiring. I dunno what y’all are seeing. The only one that didn’t look sublime was the ground-box in chapter 5 when your turning off the sun lamps
Hey, do you happen to own a copy of the FFR Material Ultimania? Because my friend just got me a copy for Christmas, and it has a lot of really cool stuff like staff commentary and worldbuilding lore. I can share all the stuff I can find about Chapter 5 if you like.
Well I never got a response from Research Runs, but due to popular demand, I guess I'll post some stuff anyway. Scenario Coordinator Manami Oishi: "When you're in the corkscrew tunnel, if you go in the opposite direction from the one indicated by the Stamp graffiti, you'll be stopped by Barret and Tifa. However, there's actually a route that circles around, leading you back to the starting point, and there's a special dialogue line you can hear if you manage to make it through that long journey." Co-Director Motomu Toriyama: "Since it's easy to get lost in an endless loop in the tunnel if you head in the wrong direction, we decided to use the traffic lights and Stamp graffiti as markers to guide players on the right path. At first, I thought that there were too many trains running at once, but since they help add to the perilous atmosphere of the tunnel, I decided to have as many running as possible." Level Designer Ichio Takami: "We thought it would seem odd if the vending machines in remote locations like the corkscrew tunnel were the same model as the ones found in the rest of Midgar. So we asked if we could change the more remote ones to be an older model, and that's how we ended up with these two distinct designs." Environment Artwork Mizushi Sugawara: "We designed the older vending machine model to feel like a remnant of a bygone era. I'm particularly fond of the bench next to it. Incidentally, the newer vending machine is entirely cashless. Do you think it gives out free refills to Shinra employees?" Character Artwork Asami Sugiyama: "I wanted players to intuit at a glance that flametroopers aren't your ordinary soldiers, so I gave their gear really bright, garish colors in the hope of making them stand out." Battle Design Coordinator Hiroshi Ogawa: "Before we even commissioned the design, I remember spending a long time discussing the details of the flame-thrower fuel source -- what it would look like, where it would be located, and so forth. Some people suggested a cartridge that could be loaded directly into the weapon itself, but we eventually settled on a back-mounted fuel tank that could be destroyed by well-placed attacks, which had the added bonus of further expanding gameplay options." Monster Artist Hiroyuki Nakamura: "We gave grenadiers and elite grenadiers brightly colored camouflage attire to help emphasize the differences between them and normal troopers. Using camouflage to make them stand out may sound contradictory, but sometimes these kinds of contradictions are necessary!" Character Designer Roberto Ferrari: "I designed [the Crab Warden] to look like a cute, insectoid robot. The overall silhouette is based on the skeleton of a gorilla." Lead Battle Designer Kosuke Sakane: "[The Crab Warden]'s distinctive humanoid face had a sleeker, more organic look in the initial concept art. But since we wanted to convey that it's an older mech, while also ensuring that it's visually distinct from the Scorpion Sentinel boss (which was similarly based on a biological organism), we settled on the cruder design that you can see in-game."
Sound Staff Comments on the OST Disc 3-02: Hurry! Yoshinori Nakamura: "This is one of the songs I went all out on while I was working on the arrangement, though I still made sure that the phrases from the original track remained at its core. The original track already had orchestral instruments, synthesizers, and percussion in abundance, so I aimed to create an epic sound that really melds these elements together in an even grander way. This piece plays when the fake IDs are detected in the train on the way to Mako Reactor 5. This forces the party to head down the train cars within the time limit, while being attacked by the enemies. It's a really stressful moment, so I tried to boost the sense of urgency in the arrangement. One way I did this was by focusing on rhythm. In the original track, the rhythm is mostly in eighth notes, with occasional rapid sixteenth-note passages [brief rising and falling sections that connect the melody], but in the arrangement for the remake, I upped the frequency of those sixteenth-note rhythms. "One of two cutscenes plays depending on whether or not you manage to move down the cars in time, and the music used in both is based on 'Hurry!' Each version has a different feel to it, so try out both situations if you can." Bonus Disc Tracks 4 & 23: Stamp Nozomi Toki: "When Mitsuto Suzuki approached me with the demo he made, I thought that it was explosively catchy and totally unlike any of the other songs in the game. I came up with the melody by looking at Stamp's cute design while trying to imagine an uplifting fight song that people of all ages could enjoy. "It was especially challenging for us to ensure the English version retained not only the original melody but also the intent of the Japanese lyrics. I believe that we were able to successfully achieve this goal by testing out different phrasing with the localization team. "The 'bow wow wows' at the beginning are supposed to sound like a bunch of Stamps barking, and if you listen closely, one of them sounds very determined, while another one is a bit more playful. I think it's fun to listen for the differences in their personalities. Mitsuto Suzuki and Naoyuki Honzawa ended up creating a catchy sound and arrangement that'll get in your head and never leave. Barret, as much as you hate Shinra's dogs, please show a little love for Stamp! [laughs]"
I loved the little interaction with Wedge and his butt. It felt like such a stupid-cute call back to his butt being on fire after the first reactor bombing.
Ah, shame on Middle Manager, keeping secrets from his wife. I never really looked around a whole lot during the night section of sector 7. I never knew about all of the new NPC dialogue. Man, I missed a lot in my playthrough.
oh hey I have Paprika (Satoshi Kon movie) on umd lol!
18:39 "What a weird lil guy..." yknow what? yeah!
20:25 ah I really enjoy seeing ff7re having fun with the camera! it's so nice to see how they frame different characters with different angles idk idk I loved this segment the first time! Great episode yet again!
32:35 I love how she says gross
This was fun. Thanks for doing this.
Also, I think the skyboxes look freaking inspiring. I dunno what y’all are seeing. The only one that didn’t look sublime was the ground-box in chapter 5 when your turning off the sun lamps
Commenting to crack the algorithm - Good episode is GOOD !
Great episode! I'm glad for a quick upload too
I had the SpongeBob SquarePants movie on GBA. I watched it on my DS during plane trips
a new video already? nice^^
Perfect on a rainy day
Hey, do you happen to own a copy of the FFR Material Ultimania? Because my friend just got me a copy for Christmas, and it has a lot of really cool stuff like staff commentary and worldbuilding lore. I can share all the stuff I can find about Chapter 5 if you like.
Well I never got a response from Research Runs, but due to popular demand, I guess I'll post some stuff anyway.
Scenario Coordinator Manami Oishi: "When you're in the corkscrew tunnel, if you go in the opposite direction from the one indicated by the Stamp graffiti, you'll be stopped by Barret and Tifa. However, there's actually a route that circles around, leading you back to the starting point, and there's a special dialogue line you can hear if you manage to make it through that long journey."
Co-Director Motomu Toriyama: "Since it's easy to get lost in an endless loop in the tunnel if you head in the wrong direction, we decided to use the traffic lights and Stamp graffiti as markers to guide players on the right path. At first, I thought that there were too many trains running at once, but since they help add to the perilous atmosphere of the tunnel, I decided to have as many running as possible."
Level Designer Ichio Takami: "We thought it would seem odd if the vending machines in remote locations like the corkscrew tunnel were the same model as the ones found in the rest of Midgar. So we asked if we could change the more remote ones to be an older model, and that's how we ended up with these two distinct designs."
Environment Artwork Mizushi Sugawara: "We designed the older vending machine model to feel like a remnant of a bygone era. I'm particularly fond of the bench next to it. Incidentally, the newer vending machine is entirely cashless. Do you think it gives out free refills to Shinra employees?"
Character Artwork Asami Sugiyama: "I wanted players to intuit at a glance that flametroopers aren't your ordinary soldiers, so I gave their gear really bright, garish colors in the hope of making them stand out."
Battle Design Coordinator Hiroshi Ogawa: "Before we even commissioned the design, I remember spending a long time discussing the details of the flame-thrower fuel source -- what it would look like, where it would be located, and so forth. Some people suggested a cartridge that could be loaded directly into the weapon itself, but we eventually settled on a back-mounted fuel tank that could be destroyed by well-placed attacks, which had the added bonus of further expanding gameplay options."
Monster Artist Hiroyuki Nakamura: "We gave grenadiers and elite grenadiers brightly colored camouflage attire to help emphasize the differences between them and normal troopers. Using camouflage to make them stand out may sound contradictory, but sometimes these kinds of contradictions are necessary!"
Character Designer Roberto Ferrari: "I designed [the Crab Warden] to look like a cute, insectoid robot. The overall silhouette is based on the skeleton of a gorilla."
Lead Battle Designer Kosuke Sakane: "[The Crab Warden]'s distinctive humanoid face had a sleeker, more organic look in the initial concept art. But since we wanted to convey that it's an older mech, while also ensuring that it's visually distinct from the Scorpion Sentinel boss (which was similarly based on a biological organism), we settled on the cruder design that you can see in-game."
Sound Staff Comments on the OST
Disc 3-02: Hurry!
Yoshinori Nakamura: "This is one of the songs I went all out on while I was working on the arrangement, though I still made sure that the phrases from the original track remained at its core. The original track already had orchestral instruments, synthesizers, and percussion in abundance, so I aimed to create an epic sound that really melds these elements together in an even grander way. This piece plays when the fake IDs are detected in the train on the way to Mako Reactor 5. This forces the party to head down the train cars within the time limit, while being attacked by the enemies. It's a really stressful moment, so I tried to boost the sense of urgency in the arrangement. One way I did this was by focusing on rhythm. In the original track, the rhythm is mostly in eighth notes, with occasional rapid sixteenth-note passages [brief rising and falling sections that connect the melody], but in the arrangement for the remake, I upped the frequency of those sixteenth-note rhythms.
"One of two cutscenes plays depending on whether or not you manage to move down the cars in time, and the music used in both is based on 'Hurry!' Each version has a different feel to it, so try out both situations if you can."
Bonus Disc Tracks 4 & 23: Stamp
Nozomi Toki: "When Mitsuto Suzuki approached me with the demo he made, I thought that it was explosively catchy and totally unlike any of the other songs in the game. I came up with the melody by looking at Stamp's cute design while trying to imagine an uplifting fight song that people of all ages could enjoy.
"It was especially challenging for us to ensure the English version retained not only the original melody but also the intent of the Japanese lyrics. I believe that we were able to successfully achieve this goal by testing out different phrasing with the localization team.
"The 'bow wow wows' at the beginning are supposed to sound like a bunch of Stamps barking, and if you listen closely, one of them sounds very determined, while another one is a bit more playful. I think it's fun to listen for the differences in their personalities. Mitsuto Suzuki and Naoyuki Honzawa ended up creating a catchy sound and arrangement that'll get in your head and never leave. Barret, as much as you hate Shinra's dogs, please show a little love for Stamp! [laughs]"
How dare there be a game that shows cats and dogs coming out in the 2020s that doesn't allow you to pet them.