For Kirby and the Forgotten Land, Nintendo has released a new Ask the Developer post. Kei Ninomya, the game’s associate producer, Shinya Kumazaki, the general supervisor and writer, Tatsuya Kamiyama, the director, and Yuki Endo, the level design director, all took part in the conversation to provide additional information about the game’s development.
There’s a lot of interesting information on the methods utilized to make Kirby’s move into 3D as seamless as possible, as well as a discussion of the game’s tone and setting.
Kirby and the Forgotten Land developer interview
We’re talking to the developers behind Kirby and the Forgotten Land for Nintendo Switch, which will be released on March 25th, in this volume of Ask the Developer, an interview series in which Nintendo developers express their thoughts on creating products and the specific points they’re passionate about in their own words.
- Chapter 1: Why aren’t the stages more thickly filled in?
- Chapter 2: I can’t believe this is the first 3D Kirby game in the main series!
- Chapter 3: Just a little more “flavor”
- Chapter 4: Even more untamed and unbridled
Chapter 1: Why aren’t the stages more thickly filled in?
If you don’t mind, let’s start with a round of introductions.
Kei Ninomiya (from here on referred to as Ninomiya):
Hello! Nintendo’s Kei Ninomiya here. As the title’s associate producer, I kept in touch with everyone at HAL Laboratory (1) as production progressed. Since Kirby: Planet Robobot, I’ve been a part of the Kirby franchise.
(1) HAL Laboratory, Inc., a software development firm that specializes in Kirby games and has worked on the Super Smash Bros. series and other titles.
Shinya Kumazaki (from here on referred to as Kumazaki):
Hello, my name is Shinya Kumazaki, and I work at HAL Laboratory. For the last 20 years, I’ve been working on the Kirby series. Since Kirby: Planet Robobot, I’ve been the series’ general director. I oversaw the whole production for this game, including character designs, in-game music, and more. Among other things, I was in charge of story direction and game text composition.
Tatsuya Kamiyama (from here on referred to as Kamiyama):
Hi! HAL Laboratory’s Tatsuya Kamiyama here. I’ve been a part of the Kirby franchise since Kirby’s Adventure Wii, but this was my first time directing a game. I was in charge of the game’s general structure, character behavior, plot writing, and cutscenes (2), among other things.
(2) A cutscene is an in-game movie that depicts dialogue between characters or communication with an opponent and represents the plot.
Yuki Endo (from here on referred to as Endo):
Hello! My name is Yuki Endo, and I’m also from HAL Laboratory. I’ve also been a fan of the series since Kirby’s Adventure Wii. For this recent game, I was the level design director, which meant that I generated and oversaw the specifications for things like adversaries and particular stage dynamics, then organized them to create each stage.
Thank you very much. And thank you for taking the time to participate in this remote interview with us! We’d love to hear your opinions on this game, including development tales and instances of your trial-and-error approach, as representatives from both HAL Laboratory and Nintendo. Would you mind giving us a little introduction to Kirby and the Forgotten Land, Mr Ninomiya?
Ninomiya:
It wouldn’t bother me in the least. Kirby and the Forgotten Land is the most recent installment in the main Kirby series, as well as Kirby’s first completely 3D platformer. The game takes place in a new setting, a planet littered with the wreckage of a bygone era. Kirby is controlled by the player as he freely explores and completes each level. Kirby can still fly, swallow foes, and copy their skills, but we’ve also introduced some new activities, such as developing each Copy Ability and employing Mouthful Mode, as in previous games. As a result, one of the game’s features is the range of activities available.
This is the first core installment in the series to concentrate on 3D platforming, as you said. What made you decide to take Kirby in a different direction?
Kumazaki:
Looking back on the Kirby series’ history, there was a moment when some game ideas just wouldn’t work together (https://www.nintendo.co.uk/Iwata-Asks/Iwata-Asks-Kirby-s-Adventure-Wii/Iwata-Asks-Kirby-s-Adventure-Wii/1-The-Three-Lost-Kir As a consequence, it’s been over a decade since we released a mainstream Kirby game on a home platform. We kept striking brick barriers that we couldn’t go through.
Our game prototypes changed to a “trial-and-error” method after that. We experimented with different gameplay perspectives in the series’ (3) lesser titles to further explore the notion of a Kirby-based 3D platformer.
However, we still faced a number of distinct problems. We weren’t able to reach a point where we could deliver a complete 3D-platforming mainline Kirby title because some in HAL Laboratory believed that only 2D games should be considered “real” Kirby games, so we weren’t able to reach a point where we could deliver a complete 3D-platforming mainline Kirby title.
(3) Games like Kirby Air Ride (published on the Nintendo GameCube in February 2004), Kirby’s Blowout Blast (issued on the Nintendo 3DS in July 2017), Kirby Battle Royale (released on the Nintendo 3DS in November 2017), and so on.
Ninomiya: I was on the Nintendo side of things when it happened. Kirby was already an excellent candidate for 3D platforming in my opinion, given the series incorporates motions such as leaping and hovering.
I knew HAL Laboratory was technically adept and brilliant at discovering new ways to pull out Kirby’s intrinsic appeal since I had worked with them on multiple games by that time. I felt like I was simply waiting down the days until they contacted me and said, “We’re ready for 3D!”
Kamiyama: A Kirby game in which you may freely explore a 3D area would be a lot of fun, in my opinion. However, there were other challenges that needed to be resolved when it came to directing the game. For example, we discovered that when simple activities like breathing, spitting out, or leaping were simply placed into 3D as is, they didn’t operate as intended… As a result, we studied Kirby’s behavior in previous games and spent a lot of time pondering how to develop a real mainline Kirby game that could be appreciated in 3D.
Kumazaki: Mr Kamiyama’s project proposal for this game was so impassioned; it was unlike anything I’d ever seen before. It didn’t concentrate on the areas we generally pay attention to, such as fresh game details or a new adventure scenario. Instead, it provided assured answers to all of the difficult 3D-platforming challenges that had been holding the idea back for so long, as well as particular control scheme designs to ensure that players had a good time. With such a strong proposal, I knew we’d be OK, and work on the project started quickly after that.
I get what you mean! You said that converting Kirby’s traditional gameplay to 3D platforming wasn’t straightforward. Could you provide a more detailed description of the difficulties you encountered?
Kamiyama:
Yes, of course. The first issue – which we anticipated from the outset – was that Kirby’s character design did not lend itself well to full 3D gaming. Kirby has a flawlessly spherical shape. It’s difficult to discern which way he’s gazing at a glance when you’re managing him from behind.
That’s probably a Kirby-only problem! (Laughs)
What challenges did you experience throughout the game’s development?
Kamiyama:
Our conventional development strategy, on the other hand, has to be rethought from the bottom up. We had to improve our shadows and lighting, position many more items around each stage, and so on since we were expanding towards 3D play areas. Each region had more to see, which meant there was more job for us to complete.
To assist our staff make the most of their time, we created a system that could automatically “terrain-model” (4) select locations. This increased our efficiency and allowed us to save time. We were able to experiment with gameplay on maps more rapidly and seamlessly since the stages were sculpted swiftly, giving us more time to conceive about ways to play in that level.
(4) “Modeling” refers to the process of creating three-dimensional objects and settings for use in games.
3D platformers, in my opinion, are more difficult to play than 2D platformers. Was there any difference in your approach to the game’s complexity this time around?
Kumazaki:
The Kirby series has cherished the ideals of games being pleasant for everyone, as well as being incredibly accessible while also providing a lot of complexity. When I was thinking about the complexity level of this game, I imagined a 3D platformer that even a three-year-old kid could play…
However, I found that the thrills and feeling of adventure were not as strong in our new 3D platformer, which was built around the same principles as our vintage 2D titles.
So when you went from 2D to 3D, the feeling of adventure wasn’t as strong?
Endo: Because 3D games provide players a much greater room to maneuver, they can easily avoid most opponent strikes by just stepping out of the path. The difficulty will reduce dramatically if it is simpler for players to dodge opposing strikes… Unless you surround Kirby with foes and make them all strike at the same time.
Kamiyama: There are only two methods to get past an adversary in 2D platformers: hop over them or assault them head-on. However, in 3D platformers, you typically have a range of options for running straight past an adversary without fighting.
Mr Ninomiya, what were your opinions on this matter?
Ninomiya:
As production develops, we at Nintendo look through finished portions of the game and give input. We suggested to HAL Laboratory that they improve the amount and positioning of adversaries, but new levels would still have obvious gaps in enemy encounters. “Why aren’t the stages more thickly populated?” I made it a point to question them personally.
They responded by saying that it wouldn’t be fair to Kirby to surround him with so many opponents!
“Poor Kirby,” you say.
Kumazaki: They weren’t kidding when they said that! Because everyone on our programming team loves Kirby, no one wanted to put him in an unfavorable circumstance.
We also considered those who aren’t as experienced with 3D platformers, and wanted to give them with calmer sections where they could play and explore in peace. We couldn’t fill in all the holes no matter how many opponents we put on the map for players to vanquish.
Kamiyama: Our team considered younger gamers as well as those who aren’t very good at platformers. Kirby’s default state is one in which he has no powers at all, followed by ones in which he obtains short-range or long-range strikes. We were worried about Kirby being surrounded and assaulted by adversaries with no way of fighting back or defending himself. That’s why adjusting those places proved challenging.
Ninomiya: At first, the 3D gameplay didn’t seem to have much “bite,” but I never would have thought it was due to the development team’s desire to protect poor Kirby!
HAL Laboratory makes design decisions based on their own preferences and previous experiences. Nonetheless, we continued to give comments on probable customer responses from the Nintendo end. Over time, we were able to close the distance between us.
Chapter 2: I can’t believe this is the first 3D Kirby game in the main series!
You indicated that you had to increase the density of components in each level as part of the transition to 3D action, which meant the adversary difficulty had to be modified to match. Did you have to change Kirby’s strike pattern as well?
Ninomiya: We made changes to decrease the tension that players can experience when attacking adversaries.
Kamiyama: I know it’s difficult to discern which direction Kirby is looking in 3D, but there was an arrow to signify where you were striking in Kirby’s Blowout Blast (5), a small-scale 3D action game where players could ingest opponents and spew them back out.
However, in this Kirby game, continually pointing ahead with an arrow gave the impression that you were controlling the arrow rather than Kirby. We needed to figure out a technique to manipulate and aim Kirby without relying on the arrow.
Now, if an assault seems to “should” strike on-screen, we make sure it does — even if it was going to miss by a hair.
By monitoring the movements of Kirby and the camera, the game compensates for the player’s viewpoint. It then plots out a variety of possible assault locations. If an assault falls inside that range, it will be successful. Even folks who aren’t very proficient at 3D action games may strike foes without being stressed this way.
(5) In July 2017, Nintendo 3DS launched Kirby’s Blowout Blast, a side-scrolling 3D action game based on Kirby: Planet Robobot. To earn a high score, you would roam about a 3D area while inhaling and spitting out adversaries.
So you tweaked it to make sure that the assaults players believe are “hits” really are “hits” in order to satisfy them?
Kamiyama:
When it comes to tweaks, the actions related with Kirby’s Copy Ability needed to be tweaked as well so that players could enjoy the game in 3D. Even long-established Copy Abilities like Sword or Fire were completely reworked to make gamers happy.
Ninomiya: It’s difficult to accurately understand the distance in the anterior direction in 3D games, making it difficult to strike an item appropriately. However, I feel that because of the precautions we’ve made, players will be able to strike the objects with ease in this Kirby game.
So you included a lot of technical aspects to make the game more enjoyable for players?
Kumazaki:
Isn’t it the case with a lot of the details in this game?
Kamiyama:
Yes, it is right. “Fuzzy Landing,” for example…
“Fuzzy Landing,” perhaps?
Everyone:\sYes! (Laughs)
Endo: It’s a phrase we coined throughout the production of this game. (Laughs)
In 3D games, it might be difficult to alter your position mid-flight and stick a landing. Assume you’re gazing down on Kirby from above. You’ve just landed after a leap and want to jump again right now. You thought you’d landed and pressed the A Button, but you didn’t, and you ended up hovering by mistake.
As a result, we made a fuzzy tweak such that if the A Button is pushed near to the ground, the system interprets Kirby as if he’s already landed.
The game lets you to “land” and leap successfully even if you underestimate the distance and push the A Button too soon. This update, like your adjustments to targeting strikes, makes general mobility more rewarding.
Endo: We also tweaked camera motions and map designs to help simplify certain places even further. The camera moves automatically in this game. Whether you’re gazing down on Kirby from above or observing him from a precise side angle, it always switches to the best perspective for the activities you need to execute. This makes it simpler for the player to progress even when barriers are there.
We also chatted with our designers and worked on the map embellishments to make the game more enjoyable. We tagged certain surfaces with neon tape that matched the world’s look to ensure that players could quickly detect the variations in height between buildings and obstacles.
Kumazaki: When we informed our team, “This one piece is still a little hard to understand,” the graphics lead and the play-mechanics lead came together straight immediately to examine and modify each individual instance.
Endo: If you’re wondering why 3D games are difficult for novices, I believe the solution lies in the camera controls.
The player does not need to manipulate the camera in this game; the camera moves for you. As a result, gamers won’t have to worry about managing both the camera and the action at the same time.
Also, even if you’re freely wandering back and forth, the camera automatically shows landmarks in the direction you’re intended to go and indicates in the direction you need to go to guarantee that you don’t unintentionally go back the way you came. It’s our way of saying to the gamer, “This is the right way to go!”
Kamiyama: Our quest to simplify the game for players resulted in the automated camera, which does not depend on the user to operate the camera. We were also able to blend camera and gameplay into one continuous experience by enabling our level designers to guide the camera in each region.
Endo: Using a directed camera to limit the number of on-screen components makes it simpler to organize your activities. “First, I’ll solve this riddle, then I’ll deal with those enemies over there…”
Ninomiya: HAL Laboratory employees thought about and created aspects like camera movement, targeting attacks, and opponent placement to make the game more accessible to all players.
Kumazaki: I was pleased when Mr Ninomiya commented, “I can’t believe this is the first mainstream, 3D Kirby title!” We had hoped to do something similar.
Chapter 3: Just a little more “flavor”
We’ve spoken about the changes you made to suit 3D gaming, but the shift also provided new gameplay features that could only be done in 3D, right?
Ninomiya:
Mouthful Mode is a brand-new skill in this game. Kirby can now consume enormous items like vehicles or traffic cones, then transform into the object he swallowed.
Kumazaki: At the start of production, we spent a lot of time talking about what sorts of movement and aesthetics we might include that would make Kirby seem different from other 3D platformers.
Then we considered Kirby’s distinct qualities and realized that, in order to create a genuinely amazing 3D platformer, we needed to incorporate his natural humour. He’s a quirky little puffball that is constantly changing form, squashing and stretching as he eats everything in his path.
Ninomiya: At the same time, Nintendo was thinking about Kirby’s moves, and they recommended giving him the capacity to inhale stuff he couldn’t typically inhale.
Same time, same concept. It was just coincidental.
Kirby does not receive a Copy Ability to match what he consumed when he employs his new Mouthful Mode. He can’t swallow the thing in his mouth, so he assumes its shape instead, then executes maneuvers that are connected to it.
It felt like a strange concept with equally strange aesthetics. To put it another way, it felt right for Kirby.
Endo: Mouthful Mode had a sort of natural aesthetic appeal for our gamers in terms of establishing new gaming experiences.
There were new options galore, from eating a giant metal ring to drive Kirby’s boat with gusts of wind, to swallowing a massive pipe and rolling ahead to kill an entire line of opponents.
Ninomiya: It appealed to us in terms of aesthetic design as well. We envisioned seeing Kirby in these weird forms from all sides since it would be in 3D.
How did you come up with the things Kirby may employ in his new Mouthful Mode?
Ninomiya: We wanted to choose items that are familiar to humans but unfamiliar to Kirby. Objects having known forms of movement, such as an automobile, or things we can imagine in our daily lives, such as pipes.
I proposed that we include gameplay in which Kirby inhales these items and brings them to life. That’s how the idea of a planet with a long-forgotten civilization arose, complete with automobiles and pipes strewn around arose.
I get what you mean! So you chose the scenario for this new game by discovering a new kind of 3D gameplay for Kirby, and then you created an universe around it…
The environment you created for this game seems to be significantly different from Kirby’s past adventures’ rather serene surroundings. Could you elaborate on your thoughts in that area?
Kamiyama:
We did, however, communicate with our designers on a frequent basis to ensure that the game’s new universe would not seem to be overly frightening.
We have to be cautious since abandoned ruins may make you feel like you’re in a horror movie. We included a brilliant blue sky and colorful plant life, such as grass and flowers, to merge this location with Kirby’s regular aesthetic.
Kumazaki: Instead of decaying ruins containing evidence of an old human civilization, you investigate ruins that depict the wealth and pleasure of the past. Even if the individuals who created it are nowhere to be discovered, we sought to make it seem as a lovely spot that has melded with nature.
Kamiyama: We also realized that we could only bring in recognizable aspects from previous Kirby games if they fit the new scenario.
Flying islands that float up and down, for example, were not included. It’s not because of some supernatural power that the environment around you moves or changes. Instead, we may show you how a machine is using chains to move the platform. Our objective was to prevent any substantial discrepancies with reality.
Our designers also came up with the notion of putting up billboards and signs in the local language. Little details like these give gamers the impression that this planet was once a wonderful place to live.
Now that you mention it, I remember seeing a sign at a shopping center with some kind of writing on it…
Kumazaki: We did invent a new written language for our long-forgotten civilization, but we made sure that each message could be understood by paying great attention to it.
The game also includes a song sung in the local tongue – a recording that was previously a big success – and we put out the words so that they complement the game’s scenario if you interpret them.
This adds a little additional “flavour” to the game’s universe, but it also gives players who want to learn more the opportunity to immerse themselves in the experience. This is, in my opinion, where the authors’ efforts really pay off.
Ninomiya: Because we invented this new language, every player will hear the music in an unfamiliar language, regardless of their original speech.
The music is heard for the first time immediately after Kirby enters this other universe. Kirby is unsure what type of location this is, and he is both concerned and excited… The player can empathize with Kirby thanks to the music, which is played in an unfamiliar tongue. It was an experiment that, in my opinion, worked out very nicely.
You may visit a retail mall, a theme park, and much more in this new game. Everything about the design of these levels stands out in comparison to other games in the series. How did you go about making them?
Endo:
We came up with the “lost civilisation” notion via 3D gameplay, but when it came to designing each stage, we had ideas that originated from a gameplay-first mindset as well as concepts that began as visual designs. In any case, our goal was to build new gameplay phases that would take gamers on an emotional trip.
Finding the correct gameplay to fit the phases where we began with the design proved to be fairly difficult. We came up with a retail center with escalators all over it after thinking about it too long! (Laughs)
Kumazaki: I requested our staff to make the retail center in the game appear like a genuine one. The authentic elements add to the realism of the set and the overall immersion of the game.
Endo: As a result, we scaled down the escalators and focused on gameplay that required the player to solve puzzles and explore the whole level using a map of the mall and surrounding signs.
Another example is the stage at a theme park. We included some gameplay where Kirby joins a line of parade floats and follows them. As a result of the visual design components, we’ve been able to build a variety of different gaming experiences.
Ninomiya: I thought it would be wonderful if each stage’s gameplay felt distinct, so when I played new prototypes, I gave a lot of comments and recommendations.
We worked with the HAL Laboratory team to ensure that each level leaves a lasting impact on the player. It had been a true team effort.
I get what you mean. So, although the overall scenario was influenced by Kirby’s persona, you created the intricacies of that universe with both design and playability in mind.
4th Chapter: Even more untamed and uncontrolled
We’ve discussed how you brought “easy of play” and “Kirbyness” to the first mainstream 3D action Kirby game up to this point. Let’s discuss some of the gaming components that aren’t 3D.
Kumazaki:
We have discussed how Kirby games are designed to be accessible to a broad range of players while also providing sophisticated gameplay. We made sure the game wasn’t too difficult, but we also wanted to make sure it was enjoyable for gamers.
We wanted to widen the breadth of gameplay for this title in particular by having Kirby perform a variety of different things.
You have Mouthful Mode, which allows gamers to completely explore each 3D scene… Is there anything else?
Kamiyama: Of course! Waddle Dee Town, a new location apart from the main levels, has also been introduced.
Waddle Dees will migrate into the town as you rescue them in each level, adding new structures and services.
What will players be able to do at these new Waddle Dee Town facilities?
Kamiyama: You may order meals to go from the Waddle Dee Café. This enables you to consume the meal later and regain health at any moment, such as during a combat.
Kirby’s Copy Abilities may also be evolved at Waddle Dee’s Weapons Shop to modify their looks and power levels. In certain circumstances, a unique feature may be included.
In comparison to previous releases, you’ll now have a greater range of methods to explore if you get stuck on a tough fight.
I see… As a result, improving the town’s amenities gives you more choices, such as modifying how you approach enemies or attacking with basic abilities while healing yourself with food.
Kamiyama: Yes, that’s correct.
You may now better prepare yourself, get an edge in tough levels, and destroy a boss in your own unique method.
Waddle Dee Town became a means for novices to develop more readily since the bosses were created to be a little harder than normal. Saving all of the Waddle Dees and finishing the town adds a new challenge for expert gamers.
Kumazaki: In Super Kirby Clash, we tried something similar with the Shoppe, where players were allowed to approach combat in unique ways by purchasing and utilizing various goods.
We were able to yield fruit in this title by integrating what we learnt from previous Kirby games and providing something that gamers could enjoy via a number of components.
There’s also a collecting figure aspect in Waddle Dee Town, where players may spend their in-game cash to get collector figurines.
There are around 250 figurines in all, but they aren’t simply there to be collected for the purpose of collecting. Some numbers include descriptions of certain characters and goods, which players who are interested in learning more about the game’s environment may find interesting.
Endo: Those in-game money may be earned by completing levels, but you can also get them by working part-time at Waddle Dee Café. Simply going about Waddle Dee Town will provide you with additional activities.
We could go on and on about additional instances, but we want gamers to experience them for themselves.
I get what you mean. By the way, in the previous game, Kirby Star Allies (6), you could play with up to four people by sharing Joy-Con controllers. Have you considered including any multiplayer possibilities in this game?
(6) Kirby Star Pals, a previous Kirby game published on Nintendo Switch in March 2018, in which Kirby may change adversaries into allies with Friend Hearts. To go farther in the game, you might combine the powers of your companions to unleash unique Friend Abilities.
Kumazaki: You may share a Joy-Con controller with a second player to participate as Bandana Waddle Dee at any moment throughout a level as one of the methods to confront a monster in this game.
If a portion proves too difficult for a single player, they may work together to conquer it with the assistance of a buddy in co-op mode.
The camera will follow Kirby’s activities since this game is in full 3D, but we made sure Bandana Waddle Dee is always visible while P2 tags along.
To provide a pleasant co-op experience, the screen will constantly display both players. So it’s simple to enlist the support of a buddy, or parents and children may have fun playing together.
Both novices and skilled players may completely enjoy the game with such alternatives. It also enables gamers to take on more difficult challenges while playing the game.
Kumazaki: When it comes to demanding gameplay, we sought to take into account people from all around the globe for this title.
We noticed that many international gamers like their 3D action games to be more demanding.
So we made two mode options in the game’s settings, Spring-Breeze Mode and Wild Mode, where you may choose the difficulty in Waddle Dee Town or the World map.
Ninomiya: Most 3D action games provide a “easy mode,” but we’ve included a “hard mode” in Kirby.
Wild Mode is more difficult, but you’ll get more in-game money after beating monsters, so it’s worth it in my opinion.
This game seems to have more in-game text to read than previous Kirby games. Was it tough to take a holistic approach to all of that text?
Kumazaki: During production, we coordinated to ensure that each country’s localization teams had a complete, common grasp of the material, even for minute aspects that don’t display on-screen during gameplay.
The history for those specifics of the game settings has already been laid out, but players will only get the bare minimum of that knowledge during gameplay. As a result, gamers will not be able to witness all that we have planned…
However, we made certain that the localization teams had a thorough knowledge of our scenario and history before beginning their work.
In this sense, the precise settings were valuable, and presenting them to each language team as part of the localization process really helped us understand things better ourselves.
Kamiyama:
Another first for this series: we utilized English to build the user interfaces (7) for buttons and menus.
Although using Japanese for the user interface would be more natural for us, developing those spaces for Japanese letters resulted in squashed and difficult-to-read text in other languages.
As a consequence, we chose to create those portions in English rather than Japanese, resulting in significantly lengthier text than we’re accustomed to.
(7) User interfaces, which are text-based areas of the game screen that define how players may interact with the game using button controls and menu screen choices.
That is correct. Even though they say the same thing, the character counts in Japanese and English are vastly different.
Kumazaki: That said, it was all in English when I produced the content, integrated it, and tested it in the game. As a result, it was quite tough for me. (Laughs)
We feel it is critical to ensure that the text in such sections does not slow down the game for anybody, thus we made every effort to consider gamers from all over the globe. That part of the game took a lot of time and work.
It’s evident to me that this game was created so that everyone may enjoy the same material in their own unique manner, from beginners to skilled gamers, from Japanese fans to fans all around the globe. I can feel your enthusiasm for making this game as pleasurable as possible for all players.
Do you believe the Kirby series will continue to experiment with 3D action? Could you tell us what type of Kirby games you’d want to produce in the future, if you’re able?
Endo:
We’ve crammed in a lot of new concepts to create a wide range of Kirby 2D activities.
However, there were still many lessons to be learned in creating Kirby’s first-ever 3D action game, such as how to manage level density and direct 3D camera movement.
If we can use the skills we learned in this game to future Kirby games, I believe we’ll be able to come up with a lot of fresh gameplay concepts.
Kamiyama: It seems that some people regard Kirby games as being primarily for younger players, with adult players ultimately abandoning the franchise.
However, in comparison to earlier games in the series, Kirby and the Forgotten Land turned out to be a game that we feel gamers of all ages will love.
We’d want to keep producing games that pique the interest of people who have grown tired with Kirby. We want to create titles that adults will enjoy as well.
With that said, I hope that this game develops into a global experience.
Kumazaki: This was the most ambitious endeavor in the Kirby series to date.
For a time, it seemed as if we wouldn’t be able to produce a mainstream game, but today I’m overjoyed to see our team’s efforts finally bear fruit, with a 3D action Kirby game being delivered to people all around the globe.
Moreover, we were able to build an atmosphere in which we would be able to take on new difficulties with our most dependable team members throughout this production.
Kirby’s potential is still limitless. When we make future Kirby games, we want to be even more wild and free.
This may be an exaggeration, but given all we’ve talked thus far, I believe it’s fair to declare this title a Kirby masterpiece.
At the same time, I believe this is simply another milestone in Kirby’s illustrious career.
We hope everyone is looking forward to more Kirby releases in the future.
Ninomiya: We were apprehensive that Kirby’s most endearing traits would have to be sacrificed in order to fit into a full-fledged 3D action game.
However, once we finished the game, it was clear that this was a fun-filled title that still felt like Kirby and was simple to enjoy. That gave me a lot of confidence.
This title inspires us to continue producing games that honor Kirby’s “Kirbyness,” and it pushes us to try new things in both 2D and 3D.
Thank you for taking the time to listen.
