![]() Why do we end up always trying to make things we’ve never done before. I’m sure there’s a way to make things more easily, that’s the case now as well. In the end, everything we make is experimental. I believe that’s what the question means by experimental. Toyama: “The question refers to Gravity Rush and one of its downloadable contents that had a standalone story. We’re controlling our budget and narrowing it to a more compact scale.” It’s close to what we’ve done before, but it’s not the same. Scale-wise, Slitterhead felt like the closest to what we had previously made so far, so the decision also took into account the fact that we were just building our studio. Kazunobu Sato, Producer: “This leads us to the answer to the next question as well. We narrowed it down to two or three and ultimately ended up with the base for Slitterhead.” I had about four or five at first that I’ve shown to these two and asked for their opinion. Toyama: “We wanted to build our own studio and had some sort of a plan. How did Slitterhead become Bokeh Game Studio’s first project? Will you try making experimental downloadable content like you did with Gravity Rush 2‘s ‘The Ark of Time’? It’s also present in the game, so please look forward to it.” I believe that I naturally tend to go towards that direction. ![]() ![]() Nevertheless, I believe this is an aspect that I am comfortable with. There were also multiple playable characters who brought their perspective to the story, so I feel there are multiple layers to this question. Forbidden Siren had the sight-jack mechanic, a literal way to go through another point of view. Toyama: “The question is somewhat abstract. Will Slitterhead adopt multiple points of view like your previous games? Ultimately, the team includes members who have worked with us on Gravity Rush, so we wanted to leverage their skills, which is why we decided to pursue third-person action.” Toyama: “We had multiple choices to begin with. Junya Okura, Game Director: “The game will indeed be third-person. I want to achieve both action and drama with this game.” It conflicts the mind, making the players reluctant to enter certain fights. I wanted a game that could be enjoyed for its action, yet whose concept doesn’t solely revolve around killing enemies. From there, I wanted to widen the player base who could access the game, including players who don’t usually play horror games. It spans over multiple genres where horror is expressed. Toyama: “My first thought would be that the game doesn’t fully enter the horror genre. This also marks the first new game from Keiichiro Toyama since 2017's Gravity Rush 2.How do you balance between horror and action gameplay? What is the main point of the game? What is the scale of the game’s world? ![]() Slitterhead was unveiled during The Game Awards 2021, and will be the first game from the newly formed Bokeh Game Studio. You can watch the entire 11-minute video above. "From there," he says, "I dive into what is possible to make in terms of sound, and then I start working." Regarding composition in general, Yamaoka says he starts every new project by thinking about the idea as a whole, considering what the game will offer to anyone who plays it. "Rather than perfect matches, we look for some sort of misalignment, which makes it feel more fresh and attractive," he explains. He uses a Japanese phrase "Ki wo terau"-to deliberately act strange-as an example of his ideas for the game's music. Yamaoka says he first heard of the new game while out drinking with Toyama, who was using words like "Nineties," "urban," and "Asian taste." "When I finally heard of Slitterhead," Yamaoka says, "it's like the dots had finally been connected." ![]()
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