Famitsu: How Eden's Verse Was Made! (Part 2)

Authors

Famitsu
Famitsu Japanese Video Games Media
Iluna Minori
Iluna Minori Translator | SEA | Chocobo
Nemekh Kinryuu
Nemekh Kinryuu Site Founder | EU | Cerberus
Message From AkhMorning

As part of our vision for future content on AkhMorning we are looking to expand our horizons with coverage of various overseas media to bridge together the information between regions and to help enhance the global understanding and appreciation of FFXIV.

This article is our third translation article of overseas interviews. It is unofficial and all rights to the source images, assets and written content belong to Famitsu and SQUARE ENIX CO., LTD. respectively.

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It is with great pleasure we bring to you our translation of:

Eden's Verse Designers

Masaki Nakagawa
Masaki Nakagawa Battle Content Lead | JP | Square Enix
Banri Takahashi
Banri Takahashi Battle Content | JP | Square Enix
Masatoshi Ishikawa
Masatoshi Ishikawa Battle Content | JP | Square Enix
Kazuto Yoshihashi
Kazuto Yoshihashi Battle Content | JP | Square Enix
Hikaru Tamaki
Hikaru Tamaki Battle Content | JP | Square Enix
Famitsu
Famitsu

Masaki Nakagawa

Lead Battle Content Designer.

Assigned to work as a planner on Eden’s Verse 1st floor (known in the community as E5). Abbreviated as Nakagawa for this interview.

Banri Takahashi

Battle Content Designer.

Assigned to work as an implementer and adjuster for Eden’s Verse 1st floor (known in the community as E5). Abbreviated as Takahashi for this interview.

Masatoshi Ishikawa

Battle Content Designer.

Assigned to work on Eden’s Verse 2nd Floor. Abbreviated as Ishikawa for this interview

Kazuto Yoshihashi

Battle Content Designer.

Assigned to work on Eden’s Verse 3rd Floor. Abbreviated as Yoshihashi for this interview

Hikaru Tamaki

Battle Content Designer.

Assigned to work on Eden’s Verse 4th Floor. Abbreviated as Tamaki for this interview

The Raiden (Bird) In The Development Phase Was Even More Violent!?

E5S: Ramuh
E5S: Ramuh
Famitsu
Famitsu

So, let’s begin by hearing the details of each floor from everyone here.

We’ll start with Ramuh from the first floor, so I’d like to know the concept behind it.

Masaki Nakagawa
Masaki Nakagawa

As we talked about last time, the concept of creating content is summarised in one or two lines. I checked the proposal just now, and this time, too, it says “We will use amazing thunderstorms and amazing charges” in just one line. What a vocabulary there if I say so myself… (laughs).

Famitsu
Famitsu

When I actually played it, it was indeed true to that statement (laughs).

Masaki Nakagawa
Masaki Nakagawa

All the mechanics do indeed have either lightning or charges throughout the battle.

Famitsu
Famitsu

Where did you get the idea of charging?

Masaki Nakagawa
Masaki Nakagawa

I decided to use a charge because of the way it looks. Initially I was looking at him as a Centaur from the beginning so I thought he’d have the tendency to charge on his enemies.

When I come up with an idea, I ask people for help, often asking Sudo for advice (Kenji Sudo, the famous content designer who bears the reputation of destroying many Warriors of Light with his designs). Sudo, too, would immediately answer “Charging it is!”.

I was slightly worried that having to charge at players with that kind of outlook would be a little too plain and simple, but since Sudo said the same thing so I thought, “Well that’s fine then” (laughs).

Famitsu
Famitsu

If Sudo says so then it should be fine (laughs).

So, I take it that “lighting” and “charging” would be the 2 aspects you kept in mind when creating the plan?

Masaki Nakagawa
Masaki Nakagawa

To tell you the truth, there’s one more thing. When we formulated Eden’s Verse bosses, I told everyone that I wanted to insert “good old-fashioned raid mechanics” into this tier.

While I hold the thought of trying to change the play feel from Eden’s Gate, the concept also includes arranging the mechanics from A Realm Reborn that hasn’t seen much use and try implement them with today’s style/context.

This would be “Chain Lightning”, as well as the “Raiden” (bird) mechanic where everyone has to do their best to escape it. Initially I was reluctant to have that mechanic to be included in a battle as early as the first floor, but in the end I decided to have it included. I hold that thought to avoid boring players with the same style of mechanics all the time.

Famitsu
Famitsu

So Takahashi-san would then receive the plan and the intention from you and proceed to implement the content from there, yes?

Masaki Nakagawa
Masaki Nakagawa

Yes. Takahashi managed to grasp my intention very well, didn’t he?

Banri Takahashi
Banri Takahashi

By the way, “Stand Firm” was not originally included in Nakagawa’s written proposal.

E5S: Stand Firm
E5S: Stand Firm

The charge attack that the boss uses immediately after Fury’s Fourteen (in JP: Fourteen Chargebolt) requires the tanks to use the Duty Action “Stand Firm”. Failure to do so by anyone within the 8-man party would be knocked off into a wipe, which contributes to the intense mood of the battle.

Famitsu
Famitsu

So this means the duty action was an addition by Takahashi-san.

What was the reason behind the implementation of Duty Action “Stand Firm”?

Banri Takahashi
Banri Takahashi

The “Stand Firm” Duty Action that was used during the Fury’s Fourteen phase would require you to break the 7 stratospears as the solution of that mechanic.

When it was first implemented, the Main Tank (abbreviated as MT) was the only one that was left without a role to play and that turned out to be a huge problem. I felt that as a player, it would feel a lot better to create a situation where everyone worked together to solve a mechanic, which in this case is what is known as “jump rope”. So I wanted everyone to experience the whole situation where all 8 would go through that situation.

With that thought in mind, comes the process in adding the “Stand Firm” duty action.

Famitsu
Famitsu

So, you gave tanks a special role.

Banri Takahashi
Banri Takahashi

Yes. Considering that the role of tanks these days is all about tank swaps, I felt it was dull compared to other job roles.

With that in mind, my intention was to have tanks experience something different by role-playing a situation where they stand firm for themselves in order to protect everyone.

Famitsu
Famitsu

Did Nakagawa think of the idea of having up to 7 lances snapped into half through Fury’s Fourteen?

Masaki Nakagawa
Masaki Nakagawa

Yes, that’s right. The idea of Fury’s Fourteen was mine. In the proposal I had written about the layout of the 14 stratospears and how the 7 party members would stand up and break the spears, then passed it on to Takahashi.

Takahashi took it and proceeded to explain the process to the programmers assigned and went through the implementation process. That’s when he noticed the problem where only one played had nothing to do, and from there, he suggested “Stand Firm” as a solution.

Since he managed to properly convey the interesting aspect of having 8 players somehow going through Ramuh’s most powerful killing blow, Fury’s Fourteen, so I approved the idea.

Famitsu
Famitsu

While it depends on the party, apparently having Off Tanks (OT) dealing with that segment is the popular strategy.

What do you think of this situation when you look at it?

Banri Takahashi
Banri Takahashi

I was surprised actually (laughs).

I think it was due to defensive cooldowns that the OT became the more suitable candidate for this mechanic. Since it was an all out charge attack that Ramuh did with all his might, the potency for that attack was adjusted to be extremely powerful because of it.

To be honest, I wanted the MT to be the one to stand in the front end of the line, but I admit that did not think through the MT’s defensive cooldowns, which is something I regret.

Famitsu
Famitsu

I played it as a tank, and I was surprised at how powerful it was.

Banri Takahashi
Banri Takahashi

I wanted the players to get past them while having a sense of unity, like with healers putting up barriers for you.

Famitsu
Famitsu

The next thing would be the separate summoned entity Raiden, was that idea from Nakagawa as well?

Masaki Nakagawa
Masaki Nakagawa

That’s right. I purposely had the mechanic included as a reason to give the OTs something to do.

Famitsu
Famitsu

For that part it feels like OT was indeed playing a different game altogether (laughs).

Banri Takahashi
Banri Takahashi

On the topic of OTs, I had the impression that they have much less to handle compared to the MT, and I received a lot of feedback about it.

So in order to address that feedback, I designed it so that OTs will have a job they need to do well, and to ensure that the OT players felt a sense a accomplishment of “I cleared by contributing something to my team”.

However, for the part where only OTs couldn’t handle the mechanic and comfortably continue to maintain uptime, I thought there might have been a better way.

I’m going to reflect on this and make the most of it in the future.

Famitsu
Famitsu

You’ll be far away from it, but before you know it, it’ll be close to you, and if it touches you, you’ll be instantly killed.

The strong attack “Shock Blast” feels painful without using any defensive cooldowns. So taking them into consideration, the first floor does feel tough.

E5S: Raiden
E5S: Raiden

Raiden was said to be the strongest on the first floor. This creature tethers to the player with the most Surge Protection stacks and will attack the player regularly.

Furthermore, Raiden is a nasty enemy that will gradually go closer to the player and once the distance between the tethered player and Raiden become too close it’ll instantly knock the player out.

Banri Takahashi
Banri Takahashi

Actually… it was much harder initially.

Famitsu
Famitsu

Ehh, what were the specifications?

Banri Takahashi
Banri Takahashi

Raiden was initially conceived as a bird who likes to consume lightning aether and during the beginning of the development phase, Raiden would actually consume the thunder orbs around the arena.

In other words, the thunder orb that was meant for self protection was consumed by that creature when touched, so you had to actually lure the creature around the arena and not have it consume the thunder orbs at the same time…

Furthermore, in case the player touches Raiden, the Surge Protection status you got from touching the orbs will be consumed by the creature as well.

Therefore, it was a really fearsome mechanic, not to mention the thunder orbs while guiding him neatly to avoid hitting other players. (laughs bitterly).

Famitsu
Famitsu

Whew! Even now, Raiden and Thunderstorm appearing at the same time makes me feel quite flustered (laughs).

Banri Takahashi
Banri Takahashi

As expected, the first specification was too much of a killjoy.

Famitsu
Famitsu

I take that you made it milder.

Also, during the interview on Eden’s Gate, you mentioned that the team had to tune the difficulty and control themselves so that the first floor can be cleared by as many players as possible, and at the same time create mechanics that make the players feel the tension as if it pierces their heart.

I had the impression that Fury’s Bolt in Eden’s Verse 1st floor was designed with that in mind, but I want to know how you actually think about this?

Masaki Nakagawa
Masaki Nakagawa

Fury’s Bolt was a mechanic where I designed it using my own preferred method when I was thinking about mechanics: when the boss’ status changes, so will the content of the mechanic and how to solve it. Therefore, I didn’t deliberately include that mechanic with the intention of completely wiping the party.

Famitsu
Famitsu

So that was it.

Banri Takahashi
Banri Takahashi

Inevitably, it becomes routine and we’re aware that players going through it each week will definitely get bored of the mechanics eventually.

I think Fury’s Bolt, with its meaning to bring tension to the situation every week, indeed served its purpose well in this case. Fighting without paying any attention nor thinking about anything and you have to pay your full attention to the boss or you’ll fail. With this mechanic, I feel that we managed to achieve a firm design for the first floor.

Famitsu
Famitsu

Make a mistake, and you’ll get knocked out by either a donut-shaped (area of effect attack that is emitted surrounding you) or a “Tatsunoko”-shaped (attack hitbox that is based on your standing position) attack. That’s what makes it a brilliant mechanic.

Also, while this was discussed before, you mentioned that Chain Lightning has the impression of facing “the return of Allagan Rot, the mechanic seen in The Binding Coil of Bahamut”.

I would like to know if you had it implemented deliberately in mind?

Masaki Nakagawa
Masaki Nakagawa

That’s right. It was a good old raid mechanic with a modern twist.

Famitsu
Famitsu

The mechanic starts from having a debuff attached on healers, and then they are required to pass them to other party members around. This mechanic has since prompted a lot of solutions for it. The most used strategy was where ranged DPS and healers moved around while the rest of the party remained still.

Was this the default strategy set in mind?

Banri Takahashi
Banri Takahashi

On a certain level it was indeed set that way but I didn’t expect them to have their strategy polished so well. The players are really great when it comes to this.

The method where ranged DPS and healers being the one passing the debuffs around to solve the mechanics really surprised me since I didn’t create the mechanic with that in mind.

During the play test phase, we had the players split into 2 groups of 4, and normally had the players pass the debuffs one by one. That was how we did it.

Masaki Nakagawa
Masaki Nakagawa

But Tamaki here had tried the strategy of only moving the healer. We didn’t want to move the caster, so we came up with a method like “maybe this spot would be the best place to deal with”, along with several other ideas.

Hikaru Tamaki
Hikaru Tamaki

We did try the method where only the healer needed to move around. Wouldn’t that be easier? Whenever I thought about it, I knew I had to try it right away (laughs).

Famitsu
Famitsu

Once a more efficient strategy is devised during play testing, it’ll definitely be prone to adjustments before it’s released to the public, so it’s better to keep things moderate (laughs).

Banri Takahashi
Banri Takahashi

I thought having multiple methods devised and submitted on social media in order to flare things up is a nice trend.

Players discussing and debating is one way to get things going in a game. By the way, the initial setup for Chain Lightning was actually much more complicated…

Famitsu
Famitsu

How did that mechanic go initially?

Banri Takahashi
Banri Takahashi

The current form that is implemented sees Chain Lighting and AoE attacks coming right at the same time, but initially the mechanic required you to solve Thunderstorm while passing the debuffs, confirm the effects surrounding and dodging Stepped Ladder, all of them at the same time.

However, I thought this was not a very clearable difficulty…

Masaki Nakagawa
Masaki Nakagawa

When I first looked at it, I wondered if this was the 4th floor? (laughs)

Famitsu
Famitsu

Definitely isn’t the difficulty that befits the first floor (laughs).

Masaki Nakagawa
Masaki Nakagawa

However, this was also how I intended it to be. It was really hard to adjust on the balance while stacking on the difficulty.

It is not possible to create new motions nor effects in a given period of time. That’s why we make the content very difficult in the planning stage and then shave it off little by little during implementation and adjustment.

Famitsu
Famitsu

I see. I heard a lot about how terrible the initial proposal for the mechanic was, and that was the reason why.

Hikaru Tamaki
Hikaru Tamaki

As for Raiden, wasn’t there quite a bit of discussion during the proposal meeting?

Masaki Nakagawa
Masaki Nakagawa

As I recall, it was the case.

Famitsu
Famitsu

What are the reasons?

Hikaru Tamaki
Hikaru Tamaki

I understand that it is a traditional mechanic, but “traditional” is a fine line between unreasonable and inexcusable, and I wondered if I could actually pull it off and make it workable in today’s context.

Banri Takahashi
Banri Takahashi

Then there’s the problem of being too much of a burden on the OT.

Masaki Nakagawa
Masaki Nakagawa

I did hold a strong spirit and thirst to take on the challenge despite knowing the fear that comes with it; I wanted to create something new because it’s the end of the world in an MMORPG when you get bored.

Famitsu
Famitsu

As it turns out, that resulted in a mechanic that left quite an impression on many players.

Garuda & Ifrit. The Combined Skills That Shined Bright Throughout The Second Floor

E5S: Garuda & Ifrit
E5S: Garuda & Ifrit
Famitsu
Famitsu

Now let’s move on to the 2nd floor.

First of all, how did the concept come to mind?

Masatoshi Ishikawa
Masatoshi Ishikawa

Can I say a few words before we touch on the concept?

To all Dragoons, I really want to apologise for having created certain scenarios where you couldn’t Jump!

Famitsu
Famitsu

Indeed, there were situations where you get knocked out to death depending on the timing of using Jump …

Also, while this isn’t restricted to only Dragoons, there are so many situations where the players had to move around the field, I heard many screams from the melee DPS where they couldn’t properly do their positionals.

Masatoshi Ishikawa
Masatoshi Ishikawa

I received a lot of feedback that melee DPS had a hard time landing hits.

In case you’re wondering, I checked on that stage using Samurai myself and created the stage based on the calculation of True North’s cooldown time.

If you’re having issues over not being able to do positionals, I would appreciate it if you can do your best with True North…

Famitsu
Famitsu

I see. So, let’s get back on track and move into the concept part.

Masatoshi Ishikawa
Masatoshi Ishikawa

The concept for the 2nd floor is simply “wind and fire combined”.

When I reviewed the proposal, I wrote the concept while at the same time including terms like “Kinniku Buster + Kinniku Driver = Muscle Docking” (laughs).

Famitsu
Famitsu

I think I sort of get it, but at the same time I don’t understand…(laughs)!

Masatoshi Ishikawa
Masatoshi Ishikawa

In other words, the mechanics for both Garuda and Ifrit stand alone, and when combined they create different effects. Thus following that the mechanics are created and that was the concept.

For example, the lines connected by Ifrit will be severed off by Garuda, or the orbs generated by Garuda gets kicked away by Ifrit which creates a movable area of effect attack.

Famitsu
Famitsu

It is interesting to know that this is the source of your ideas.

By the way, was the combined form already decided during the planning phase?

Masaki Nakagawa
Masaki Nakagawa

At the time of ordering the art, it hadn’t been decided.

Masatoshi Ishikawa
Masatoshi Ishikawa

When it was handed to me there were only two figures: Ifrit and Garuda. If it were me I thought I could take up the task of creating 2 boss battles though, but… it was a tough one…(laughs).

Famitsu
Famitsu

How did the merged form come to be born?

Masatoshi Ishikawa
Masatoshi Ishikawa

Battles in “FFXIV” are related to the targetting system, but I think FFXIV battles aren’t actually suitable for fighting multiple enemies.

For example, when we have 2 bosses appear, there are many cases where the group splits into 2 and 4 players attacking on one boss at the time. If you consider fighting the battle with 2 bosses that ends up a length of 10 minutes and above, the plan will start becoming a mess and even if it’s done, you can’t really gauge on whether the battle would be fun or not.

During that time I inquired opinions from Daisuke (refers to Daisuke Nakagawa, the designer of The Bend of Time: Omega Alphascape 4th floor) as well and he thought that it’d be better if we can limit the boss number to just 1, so with the completion of model where both of them combine and the result was Raktapaksa.

E6S: Raktapaksa
E6S: Raktapaksa

Once the players manage to go past the phase of fighting both Garuda and Ifrit at the same time, Garuda and Ifrit will combine and thus become Raktapaksa, with even fiercer attacks coming at the players.

Famitsu
Famitsu

So that was the story behind it.

Masatoshi Ishikawa
Masatoshi Ishikawa

So Raktapaksa was actually an additional request. But I am glad I got it right.

Famitsu
Famitsu

So what was Nakagawa-san’s response when he received the proposal to combine the two bodies?

Masaki Nakagawa
Masaki Nakagawa

I thought it was a really well thought out proposal.

The art and model for Raktapaksa was created in a very short time, and you won’t even expect the quality to be rushed when you actually look at it.

Famitsu
Famitsu

And I thought the idea had already formed since the beginning of the plan. You definitely can’t see the difference in the quality at all.

Masaki Nakagawa
Masaki Nakagawa

With that into consideration, I think it was a job really well done.

Famitsu
Famitsu

Where was the name Raktapaksa quoted from?

Masatoshi Ishikawa
Masatoshi Ishikawa

The name, like Garuda, is an alias for Garuda, which exists in mythology and means “bird with wings of crimson”. I’m sure you’ve seen Suparna and Chirada appear in trial against Garuda before, and both of them are alternative names for Garuda as well, so Raktapaksa is one of them.

Basically the enemy names are decided by Oda (Banri Oda, the World Lore Designer and Main Scenario Writer of Final Fantasy XIV), and I also have a strong fondness for the lore setting as well, so when I was assigned to work on the 2nd floor, I took my time to do some research on Garuda.

From there I found just the right name for it, and wrote an annotation at the end of the proposal. However, I wasn’t sure if Oda coincidentally shared the same idea I had when he looked and thought about it, and the name officially became Raktapaksa.

Famitsu
Famitsu

Well that was interesting, since it matches with Ifrit’s red colour scheme too.

When it comes to the 2nd floor, there was this impression from the players where they see lot of cases which they have to deal with Air Bump and Conflag Strike as a pair.

Was this taken into consideration when during its creation?

Masatoshi Ishikawa
Masatoshi Ishikawa

I wasn’t paying any specific attention to Conflag Strike but I did consider that for Air Bump.

I believe Takahashi mentioned something about liking “jump rope” type mechanics, but I personally dislike that kind of mechanics so…(laughs).

Even so, since this is a high difficulty raid, I did indeed try to insert elements that create a chain of one person after another getting knocked out if the party fails it, in order to stay true to its name.

Famitsu
Famitsu

The impact of seeing players failing Air Bump gets launched high up and drops to their death after getting pierced by the pillar is really strong.

I wonder where did you get that idea from?

Masatoshi Ishikawa
Masatoshi Ishikawa

Actually, I did have another mechanic planned as an alternative for it.

There was the part where Ifrit would launch the player high up but during the initial development stage, Ifrit was meant to launch the player high up while Garuda generates a skewer from below and pierces the player… Although that didn’t come to reality, Air Bump is the remainder of that idea.

Famitsu
Famitsu

A fantasy combination of two bosses…! Also, as far as tank swaps are concerned, it is a bit different.

Normally we see a lot of cases where the party tanks will swap their roles after one of them receives a buster attack that comes with debuffs, but this time the flow is different which we see tanks using defense buffs after swapping positions.

Did you do this intentionally?

Masatoshi Ishikawa
Masatoshi Ishikawa

Well it wasn’t really done deliberately to be that bad, it was simply just to ensure the flow where Meteor Strike that comes right after can be established.

In other words, I wanted to create a flow where some form of damage will appear and the tanks get attacked twice, and in order to do so I need to get the players to receive some form of debuffs, so I had to make it this way.

Famitsu
Famitsu

I see. Similarly while this is Ifrit’s mechanic, the Strike Spark mechanic where Ifrit kicks the orb like a soccer ball is also a unique one.

Masatoshi Ishikawa
Masatoshi Ishikawa

The Strike Spark mechanic comes from the idea where I wanted to create a combination of attack between Garuda’s orbs and Ifrit.

Garuda would “slice apart everything with the wind blades she generated”, with Ifrit acting like a martial artist. This was how the concept came to mind.

So, with the concept, what comes after having the idea pops up where Ifrit who acts like a martial artist kicking something and making it a mechanic, resulting in Strike Spark.

Masaki Nakagawa
Masaki Nakagawa

During the planning stage, Strike Spark didn’t really impress me. This would continue during its implementation stage where Ifrit would just kick the orbs around casually and I thought “are you sure this is really fine?”.

While it was the atmosphere at that time, the final result that came was a completely unique mechanics and it was really well done.

Famitsu
Famitsu

The time allocated during Strike Spark was brilliant as well. Making it anywhere further will just allow the players to easily see through it.

Masatoshi Ishikawa
Masatoshi Ishikawa

To tell the truth, the initial length was actually one second shorter.

When I created that mechanic and tried gathering feedback to see how well it went, the staff who sat behind me on the right side told me “1 more second”. So I got that remark and with the heart of hospitality I have in me, I added 1 more second into it.

It’s a huge factor to have the feeling of wanting the players to feel comfortable in solving the issues presented to them.

E6S: Strike Spark
E6S: Strike Spark

One misstep in judgement will result in getting involved in the explosion. While it’s required to rotate the camera around to determine the position of Ifrit and the location of the orbs, it’s actually quite hard to get used to it at first!

Famitsu
Famitsu

I remembered that during the Ultima Weapon Ultimate interview with Yokozawa-san (Tsuyoshi Yokozawa, the lead battle system designer of Final Fantasy XIV), he did touch on the importance of 1 second on high difficulty content.

Masatoshi Ishikawa
Masatoshi Ishikawa

While this creates some time for hesitation on judging Strike Spark, Eruptions will also appear during that time so the players have to be right on the center of the arena, as tight as they can be.

I didn’t want to just create a mechanic where the players can just follow the movements of other players, so I’ve created it to ensure they have determined their movements or they’ll never make it.

Famitsu
Famitsu

Finally, I just wanted to say this at the end, Ferostorm was really hard to see…!

Masatoshi Ishikawa
Masatoshi Ishikawa

Actually, I didn’t realise it at all during play testing…

Once it went public and I tried playing it once again, I did find out that it was really hard to see. So I needed to reflect on myself for that. I don’t know if this serves as a solution for the players but if you are unsure of the direction of the mechanic, you can always assume and judge that it’ll always face you…!

The Project Started With An Uncertain Boss Design

E7S: The Idol Of Darkness
E7S: The Idol Of Darkness
Famitsu
Famitsu

To continue, we’ll move on to the 3rd floor, so I’d like to hear about the concept behind it.

Kazuto Yoshihashi
Kazuto Yoshihashi

The concept for the 3rd floor is “The separation and combination of an assembled entity”.

By utilising the specialty of the multiple assembled entities of small Sin Eaters, they get to repeat the process of separating around and gathering together and at the same time attack in waves.

In other words, it’s a mechanic that revolves around commands, and that’s the main concept for this boss. Aside from that the proposal also states on how the Sin Eaters are Light aspected while the core of the boss is Darkness aspected, the boss would conduct both light and dark aspected attacks.

Famitsu
Famitsu

How did the art of the boss design for the 3rd floor get decided?

Masaki Nakagawa
Masaki Nakagawa

Regarding the 3rd floor, Yoshihashi was involved in the art order, and it was done with him explaining what he wanted to be done and what he would expect from design so the art was then ordered and created.

Kazuto Yoshihashi
Kazuto Yoshihashi

To begin on the story behind it, when I received the early plot after being assigned to work on this, the plot only wrote something about “going against the Sin Eaters”. With the end of Patch 5.0, where the base of Shadowbringers content ends, we saw the players defeat several bosses called the Lightwardens, and then furthermore we get to fight more Sin Eaters…was the impression I had when I first saw it.

I wondered what exactly is this amazing boss when those distinctive entities have already been defeated? So I thought of several Sin Eaters, however, with many mock-Primals lying around, plus having to compete with other Sin Eaters made creating the boss to be far more unique for a raid was quite a hard task to complete.

So I thought it would be more visually impressive if I released a large number of tiny, small fry-like creatures.

Famitsu
Famitsu

So Yoshihashi-san was involved in the design process from the beginning.

Kazuto Yoshihashi
Kazuto Yoshihashi

That’s right. I was involved in the thought process and placed the order.

Famitsu
Famitsu

So if the idea ended up completely differently, we could have ended up with a large type monster like a Lightwarden.

Was the pattern of this boss creation an unusual case?

Masaki Nakagawa
Masaki Nakagawa

Yes, it’s rare. It’s unusual.

Famitsu
Famitsu

Speaking of The Idol of Darkness’ “Words” mechanic, while the mechanic itself indeed represented the entire 3rd floor here, the players would do their best to study the entire battle all the way and came up with a much simpler solution for dealing with the mechanics.

I’d like to know how the developers felt about this?

Kazuto Yoshihashi
Kazuto Yoshihashi

The so-called “early progression groups” would scratch their head over this, and after several amounts of trial and error throughout their quest to find the most optimised way of dealing with it, comes with the simplest way of dealing with the mechanics. Those are parts I paid attention the most during the development.

Furthermore, players who would continuously watch walkthrough videos that are extremely patternised and remember the way it works and compare each other to find a comparatively easier way. Those aspects are the things I deliberately weaved in as well.

Famitsu
Famitsu

But even so, did you think they would end up with such a simple solution?

Kazuto Yoshihashi
Kazuto Yoshihashi

No…I didn’t expect the players to completely make Words of Motion and Words of Night to be so trivialised. This was due to several reasons that happened during the adjustments…

E7S: Easy Portals
E7S: Easy Portals

Currently the strategy floating around is to look at the portal colours which make dodging attacks coming from Word of Motion a lot easier. By just placing 2 markers on the arena players can just dodge by moving around from marker to marker.

Famitsu
Famitsu

Can you tell us about the situation?

Kazuto Yoshihashi
Kazuto Yoshihashi

We barely made it during the last half of the adjustments and the mechanic patterns were narrowed down.

Originally there were more variations and it required a lot of factors to judge during the mechanic.

Famitsu
Famitsu

What was the original mechanic like?

Kazuto Yoshihashi
Kazuto Yoshihashi

The current “Words of Night” and “Words of Motion” are mechanics where portals (in Japanese, it’s called “Jigen ana”, which roughly translates to “Dimension Hole”) would appear and the exit portal’s position is fixed on the east side of the arena.

During the adjustment period, it was a complex mechanic, with the location on whether it’s east or west would be completely randomised, which would require the players to move the camera around, and furthermore determine the colours that come up next since it was to be swapped randomly.

What’s more, the players will have to deal with other attacks that come during the swapping, which made the mechanic really difficult.

Famitsu
Famitsu

Okay, I’m already lost (laughs).

Kazuto Yoshihashi
Kazuto Yoshihashi

It was a mechanic that greatly required a lot of thinking, and I thought it indeed was too hard.

From there, I deleted some patterns off and the result is the specifics we have right now.

Famitsu
Famitsu

The results of cutting down elements creating loopholes is sometimes a thing that gets the attention of the developers involved in high difficulty raids.

Kazuto Yoshihashi
Kazuto Yoshihashi

That’s right. This is the part where I really have to reflect on, and I do think I need to be careful about it.

Famitsu
Famitsu

Some say that the Normal difficulty level is the harder one (laughs).

Kazuto Yoshihashi
Kazuto Yoshihashi

I agree.

There are times where you can’t let your guard down even if it’s just Normal mode, so originally I have wanted Savage mode to work the same as well.

Famitsu
Famitsu

When it becomes too stressful over the fact that it’s being tuned too difficult is one of the hardest parts about Savage I take it?

Masaki Nakagawa
Masaki Nakagawa

It’s indeed more fun to have players find the most optimised and the easiest walkthrough to a stage, and I think it’s completely fine to have it that way. However, we almost never seriously take in mechanics that touches on what we’d call “brain training” for high difficulty content.

Mechanics that involve brain training greatly vary from player to player and to some the mechanic can be really hard to get through, while others may think of it as a piece of cake. This actually applies the same for the development team as well.

Therefore to perform adjustments on mechanics that touch on brain training is really difficult work.

Famitsu
Famitsu

When it comes to different players feeling differently about mechanics, the “Away With Thee” forced teleportation mechanic too, can be different in difficulty depending on whether the players are using keyboard + mouse, or gamepad. This can end up players having different interpretations.

Kazuto Yoshihashi
Kazuto Yoshihashi

The huge difference in experience between using keyboard + mouse and Controller is also a thing we realised during development.

We have several members try out the mechanic with keyboard + mouse while another group of members try out the mechanics with controllers, we found out that it’s important to look at the debuff segment and refine their standing positions and their positions after getting teleported away.

When it comes to the difference in control feel, we concluded that the players would have been at that point already comfortable with their playing environment and therefore it shouldn’t be a problem.

Famitsu
Famitsu

What was the idea behind the forced teleportation mechanic in the first place?

Kazuto Yoshihashi
Kazuto Yoshihashi

It’s a peculiar mechanic where the boss would utilise the power of darkness to allow the Sin Eaters to enter and exit the wormholes. My initial idea was that it would be very interesting to use this ability against the player as well.

The mechanic itself was originally based on the forced movement debuff that forces the players to move in the direction indicated, which was found and used by Halicarnassus from The Bend of Time Omega: Deltascape’s 3rd floor. By using it as the focus point and having the player’s destination strictly set up and pinpointed, I thought it’d create a new experience here.

Famitsu
Famitsu

The “Words of Fervor” during the final phase was also quite impressive

E7S: Tornado Phase
E7S: Tornado Phase

What lies in the final phase is the Words of Fervor. The area of effect attack pops up facing outside the arena, and the movement itself can be quite peculiar.

Kazuto Yoshihashi
Kazuto Yoshihashi

I created “Words of Fervor” with the image of the Idol of Darkness getting cornered and with its last strength available, having the Sin Eaters fly around in disarray. In fact, the original concept of the project was written as “Let’s create a Pantokrator 3” (laughs bitterly).

Famitsu
Famitsu

I didn’t expect to hear the key word “Pantokrator” again (laughs).

Kazuto Yoshihashi
Kazuto Yoshihashi

With the cooperation from Nabeshima (Yoshito Nabeshima, the battle content designer who worked on The Bend of Time, Omega: Alphascape 3rd floor and Eden’s Gate: Inundation), we managed to fit in the so called Pantokrator 3 into the phase.

We were going to have a lot of mechanics in the final phase as well, but in the end we settled on using power clashing against power in a struggle for the DPS check, and that’s how we got to where we are now. The rotating attack is a remainder of the initial idea.

Famitsu
Famitsu

In the beginning it was a more complicated mechanic, wasn’t it?

Kazuto Yoshihashi
Kazuto Yoshihashi

It was indeed assumed to be harsh.

Masaki Nakagawa
Masaki Nakagawa

Considering we’ve come this far, perhaps we should create a Pantokrator for Eden’s Promise as well? (laughs).

Famitsu
Famitsu

I’m looking forward to seeing that happen (laughs).

Now Savage 3rd floor always has the strong impression of mainly acting as a gatekeeper in terms of the DPS requirement aspect, but this time we can feel a slight lenience here.

Was this actually done deliberately?

Kazuto Yoshihashi
Kazuto Yoshihashi

This too would be related to the mechanic adjustments mentioned earlier, but initially the value implemented was much stricter, with mechanics that contain complicated brain training mechanics, furthermore, the DPS check was much higher, thus requiring players to fulfill both of the requirements.

As expected, it was too hard to meet the DPS check while performing brain training mechanics, so we adjusted the DPS check to a milder level, but many people said that the mechanics were too difficult to begin with, so we decided to tone down the mechanics.

When that happens, we managed to have the required DPS value adjusted back to what it should be initially, the range of the values restored were slightly insufficient.

This is something I need to reflect myself on, and if I managed to restore the values to its original expected requirement during the early development phase, I think the battle would have been much tougher and more challenging.

Famitsu
Famitsu

It was hard to adjust the DPS check on that side, wasn’t it?

Masaki Nakagawa
Masaki Nakagawa

If players were stressed out by the brain training mechanic and also by the DPS check, there was a chance that the stress would win out before they found the encounter interesting. That’s why I deliberately softened the requirements than what is usual for 3rd floors.

But, as Yoshihashi had mentioned, maybe it would be better to make it slightly tougher and I did feel the same when playing the stage privately.

However, considering the 4th floor was quite tough, we consider the overall difficulty for Eden’s Verse to be on the nice spot. If we made the 3rd floor to be suffering and subsequently the 4th floor to be the same then…(laughs).

Creating The Mechanic For Shiva’s 3 Stances

E8S: Shiva
E8S: Shiva
Famitsu
Famitsu

Finally we’re getting to the 4th floor.

First, let’s hear about the concept behind this.

Hikaru Tamaki
Hikaru Tamaki

I never really thought of summarising my sentence in easy-to-read format, or in one line like what Nakagawa did for the concept, so what came to my mind at the start was to make it “a 4th floor that befits a 4th floor”, I suppose.

That was my concept for the 4th floor.

Famitsu
Famitsu

While I understand that Tamaki-san took over the task of designing the 4th floor halfway through, was the content of the battle itself already decided from that point?

Hikaru Tamaki
Hikaru Tamaki

When I took over, I had decided on the part where Ryne, possessed by Shiva, would switch between 3 stances during battle, as well as the 3rd “Dragon Stance” would be exclusive for the Savage difficulty and would transition with a spectacular performance.

Based on that, I started to review the direction of the difficulty and mechanics.

Famitsu
Famitsu

The Dragon Stance you mentioned here is the form where she’s clad with Hraesvelgr, right?

Why did you incorporate Hraesvelgr in the first place?

Masaki Nakagawa
Masaki Nakagawa

We decided on this at the time of ordering the artwork.

With the concept of a dress change, Daisuke Nakagawa and I decided to create 3 characteristics which are the ice stance for Shiva, the light stance for Ryne and one relating to the most memorable character associated with Shiva in the Source: Hraesvelgr.

Those are the ideas behind it.

Famitsu
Famitsu

This is also a reason why the visual impact is strong (laughs).

Masaki Nakagawa
Masaki Nakagawa

Shiva’s dress change concept was conceived and ordered with the intention to let the players enjoy the design and the transformation scene.

I think the artists did their best to answer that intention we had. The animations, design and model, all of it was really very, very well made.

Famitsu
Famitsu

By the way, when you had decided to make Ryne’s Light stance, were you thinking of adding Hydaelyn’s Kick?

Hikaru Tamaki
Hikaru Tamaki

That’s right. Since there was a theme where Ryne being the Priestess of Light, I thought that we should definitely put in Hydaelyn’s Kick as that was my first thought at the time.

Famitsu
Famitsu

Moving on, we would like to dig deeper into the mechanics aspect.

On the 4th floor, Diamond Frost managed to score a really deep impression on the players since it’s a combination of several different skills launched at the players.

May I know what the idea behind this mechanic is?

Hikaru Tamaki
Hikaru Tamaki

With Diamond Frost, the aim was to ensure we make the impression to be as close as Shiva from the Source. To me, when you talk about Shiva from the Source, the impression of her summoning a number of icicle pillars, which the mechanic is called “Icicle Impact”, as well as the the combination of other mechanics are strong, which Diamond Frost in this case is constructed based on this reason in mind.

During Diamond Frost, you see many symbols like indicators and markers popping out and presented to the players, and the mechanic also happens during the climax of the beginning so I wanted the players to feel the battle as a battle you can see in FFXIV.

These are the points I take in mind when creating it.

Famitsu
Famitsu

You’ll get inflicted with Heavy if you’re marked, and the DPS will have to guide the AoE attack around. There were also some changes in between the combination of different skills.

Hikaru Tamaki
Hikaru Tamaki

As with any other mechanic, the rule is that there are usually no more than two things that you have to do per role.

Since this isn’t Ultimate, we need to make it tough we need to ensure that it’s a difficulty that players will have a way to clear them. In any case, we prepared 2 kinds of dealing methods for each role, and they just have to remember them and they’ll be able to solve it.

Famitsu
Famitsu

Diamond Frost also has multiple strategies, such as the part where players had to bait an area of effect attack that spreads in eight directions (The so-called “inner dump” and “outer dump” method).

What were the strategies that the development team had in mind?

Hikaru Tamaki
Hikaru Tamaki

On the development team side we used the inner dump method to deal with that area of effect attack, but we created the mechanic to allow players to use either inner or outer dump method. We wanted this point to be attacked by player preference.

Famitsu
Famitsu

There is the obvious and intriguing “Sincerity Line*” on this stage, isn’t there? That floor pattern really helped me out.

* Translator Note: 真心ライン, The “Sincerity Line” or “True Heart Line” in FFXIV is a term referring to indicators on the arena, usually shaped as a design pattern that hints the position players can stand on to ensure 100% safe from major mechanics. One of the examples would be standing on a certain spot of the arena will ensure 100% safe from Spiral Thrust, a mechanic seen in Thordan Extreme’s phase 2. Known to the western community as the “designated safe zone”.

Hikaru Tamaki
Hikaru Tamaki

I like mechanics that allow me to solve them cleanly and result in a good feeling.

I thought having a clear standard setup can still display a certain amount of toughness on the content instead of relying on a difficulty that contains vague standards. That is why I had the Sincerity Line prepared for this stage.

As for the rest, since Ryne looks cute and I have the desire of making the mechanics look stylish, I made myself severely aware that I wanted the completed form of the mechanic to look beautiful when resolved.

E8S: Diamond Frost
E8S: Diamond Frost

With the floor pattern it makes solving the problem of baiting the attacks much easier to resolve, and if we didn’t have them to begin with…That would be terrifying!

Famitsu
Famitsu

The shape of Light Rampant is beautiful, isn’t it?

For this part, there were multiple strategies to resolve the mechanic, what do you think of the players’ strategies?

Hikaru Tamaki
Hikaru Tamaki

On the developer’s side, our supposed way of thinking and method of doing the mechanic was basically the same as the Ayatori style strategy.

However, during the development phase, the healer was fixed to the northeast and the other 3 players had to move to adjust for the channeling (chains).

If the shape when the players are channelled is a square then they will have to move clockwise, and if the shape is an hourglass then they will have to move counterclockwise, which ultimately results in a ribbon shape.

This was how we dealt with the mechanic.

E8S: Light Rampant
E8S: Light Rampant
Famitsu
Famitsu

During the initial strategy stage, there were teams that resolved the mechanic while retaining their square shape. What are your thoughts on this?

Hikaru Tamaki
Hikaru Tamaki

I felt that it was reckless…especially on the way the light orbs were resolved…

On the side of the development team, they’d stand close to the orbs they’re tethered to and from there get close to Shiva to bait the fan shaped area of effect attack, and everyone would move 90 degrees to the left after baiting.

This method was easy to execute rule wise, and also focuses on stability, and that was how we did it.

Famitsu
Famitsu

I’m not sure if I’m right or wrong, but the way it’s solved is almost exactly what I expected.

The later phase, “Icelit Dragonsong” is also remarkable for its tethered movements, isn’t it?

Hikaru Tamaki
Hikaru Tamaki

For “Icelit Dragonsong”, I thought of creating a mechanic that contains both elements of Ice and Light. By combining the elements of Diamond Frost with the elements seen in Light Rampant, the result would become the most difficult mechanic of all.

At the beginning of the development phase, the shape of the channelled (chained) players was to be arranged by the players, and that was the supposed plan but taking into consideration that having the most difficult mechanic after fighting the battle over 10 minutes would be going too far, we settled on 1 pattern in the end.

During the initial plan, there was the idea of having to deal with the light orbs at the same time, but I gave it a second thought and decided to make it the way we see it today.

However, I do think the riddle that comes with the mechanic was the one that took the world first team the most time to solve.

We wanted to give it at least 24 hours before the world-first clear, so it would be difficult until a way was found to solve it, and once a solution was found, we wanted it to be a relatively simple mechanic, so that’s what we did.

Famitsu
Famitsu

That means it’s a mechanic meant for World Firsts. You did invest some consideration on the raid world races as well.

Hikaru Tamaki
Hikaru Tamaki

Of course, this was taken into consideration.

Famitsu
Famitsu

The mechanics where mirrors were used was also a distinctive feature of this battle. The knockback effect that results from the mirrors, known in the Japanese community as “The Boyon-Boyon* phase”, also had multiple solutions available, yes?

* Translator Note: “Boyon boyon” is an onomatopoeic word for bouncing around.

Hikaru Tamaki
Hikaru Tamaki

When I created this phase, I thought that there may be multiple strategies and methods to resolve this method.

On the development side, we tried the method of fixing the standing position based on the direction, but community wise the method where fixing the standing position based on the colours of the mirrors was the popular method.

Famitsu
Famitsu

What’s left would be the usage of Arms Length or Surecast, I take it.

Hikaru Tamaki
Hikaru Tamaki

That’s right.

However, if we made using Arms Length or Surecast the main method required, then the dps will also be deferred. The DPS requirement would gradually be stricter as a result so we adjusted it so that it will require only the DPS values when getting knocked back.

Famitsu
Famitsu

I think this is also what I was expecting.

What’s next would be the “Grace of Light” buff given to the players when all the enemies during the mob phase are defeated without letting the gauge fill, however, the amount of the effect of this buff is so modest, which also bothers me.

Hikaru Tamaki
Hikaru Tamaki

The value was a deliberate choice here.

Although this applies to people who did this stage during the early progression or mid progression, it was assumed that the groups who clear this stage will do so just right before the enrage skill gets fully executed. Therefore in this tight battle, having an extra firepower gap between 1 to 2% was extremely important.

If possible, I wanted to put some elements where groups can aim to clear the stage more comfortably, so I set on a value that makes them not want to skip through. In addition to that, if it comes to the point where they skipped the buff and ended up absolutely not being able to clear this, it’ll result in a complete wipe on the party.

Furthermore, with the party splitting into 2 groups with 4 people in one group, the other side of the world will not be able to interfere. With all that taken into consideration, the party will definitely feel annoyed if they commit any mistakes and have to end up wiping to restart the battle, which is why the buff value is set that way.

E8S: Adds Phase
E8S: Adds Phase

During the mob phase, players are required to defeat the elements that pop up one after another. Once all the enemies are defeated, players will be given the “Grace of Light” buff, which increases their DPS momentarily.

Famitsu
Famitsu

By the way, isn’t the east side a little more difficult?

The word on the street is that it’s a Summoner killer… (laughs).

Hikaru Tamaki
Hikaru Tamaki

I think it depends on the job composition and party split for East and West, but it may indeed be that the east side is harder in comparison.

I wanted various jobs and role actions to play their part during that phase, so having Stun or Interrupt works on the mob was designed deliberately for that reason.

For example, Paladin’s Shield Bash was not really utilised anywhere else but on this phase alone it could be a very useful skill in this phase, depending on how you use it.

Famitsu
Famitsu

The other thing that struck me after playing through the 4th floor of Savage was the inclusion of some of the best parts of past high difficulty content, such as finding out the names of techniques that appear familiar just by looking at the name, as well as dealing with Akh Morn and Morn Afah.

Were these intentional?

Hikaru Tamaki
Hikaru Tamaki

I wasn’t really aware of the past content.

Since there are 3 stances for Shiva, and each of them has their own theme, the result after finding ways on how to express each stances beautifully is the current one we settled upon.

For example, the ice stance sees the boss wielding swords on both hands, the light stance sees the boss having swords attached onto her legs, and the dragon stance has wings, which each of the stances had their own distinctive weapons that would be used, which we incorporated them into.

In the 2nd floor of Eden’s Gate, I believe you get to see Gaia utilising Cycle skills which then comes out various types of Doomvoid attacks in that battle, so the Priestess of Light, as a comparison to the Priestess of Darkness, also hold various mechanics at hand, so having mechanics that can be solved just by judging on the action names and motion is something we deliberately implemented for this reason.

On the aspect of Akh Morn and Morn Afah, since it involves Hraesvelgr, and the name of Shiva’s battlefield back in the Source is named Akh Afah Amphitheatre, the setting behind those moves was implemented with that in mind.

Famitsu
Famitsu

Since the structure of the content is made in a first half, mob phase, and then second half manner, unlike what happened back in the 4th floor of The Bend of Time Omega series, the door boss aspect of the battle is absent and there’s no second half checkpoint in there.

Does this mean this stage was created to follow the flow done back in Eden’s Gate as well?

Masaki Nakagawa
Masaki Nakagawa

I would like to explain this in order so that we don’t cause any misunderstandings.

As already explained before and to repeat once again, the difficulty for Savage since Alexander: Creator had a drastic change in difficulty, and for all 4th floors in the Omega series, we’ve created completely different boss battles that are different from the first half and included elements seen only in Savage difficulty so that players can be enticed to try out Savage as well as get surprised by the factors we’ve created for them, that was one of our goals.

In order for players to obtain satisfaction from fighting both the first and second half of that one boss once they transformed into a different form after the first half, it was necessary to make the length of the battle to go roughly 19 minutes, including the transition animation.

If we made either one of the battles to be extremely short in length, we risk the fear of having the pace of the battle compromised and thus player’s satisfaction will drop due to this decision.

Moreover, if the party gets wiped out in the 17th minute of the battle over this tensed 19 minutes long battle and then returns back to the very beginning of the battle, the difficulty we envisioned for the tier will not match the direction we have set post Alexander: Creator.

Due to this reason, we’ve decided to set checkpoints for Omega series raids.

Famitsu
Famitsu

Well it would be hard to start from the beginning every time with 19 minutes of content.

Masaki Nakagawa
Masaki Nakagawa

This experiment itself worked really well here and the overall quality of the Omega series went very well according to our expectations, and I believe the players are highly satisfied with the tier.

The feedback given by the players was largely positive, but among the feedback, we received comments that the “total length of the battle was too long”, or remarks like how the first half of the battle became stylised.

Indeed, if the structure remains the same throughout, players will get really bored of it. So we need to face the remarks written in the feedback and take them into consideration, which is why we stopped using this structure for the time being and didn’t implement them in Eden’s Gate back then.

Since the amount of the battle conducted gets consolidated into one, we get to respond to the feedback by tightly shortening the total length of the battle to make it roughly 14 minutes. With the total length of the battle shortened, even if we didn’t implement any checkpoints on the second half of the battle, we can definitely make the difficulty to be somewhere around Creator’s level.

In reverse, if we end up implementing a checkpoint on a roughly 14 minute battle, it will make the difficulty of the battle way too easy. This is hence the biggest reason why we did not implement second half checkpoints on Eden’s Gate and Eden’s Verse.

Famitsu
Famitsu

So, does this mean Eden’s Promise would be…?

Masaki Nakagawa
Masaki Nakagawa

We have received much feedback after the release of Eden’s Verse. So for Eden’s Promise, we held many debates on the structure as well as how it should be planned based on the feedback received.

The play testing phase for Eden’s Promise as well as the adjustment phase for the tier is ongoing, but we did create the battles with the intention of making the game experience to be even better than before, with of course including making the story more exciting.

We always look into player’s feedback properly, conducting many discussions, and work our best to ensure the quality of the content remains as high as it can be. So I’d want players to look forward to it.

Famitsu
Famitsu

I’m looking forward to it.

While I still have many more that I’d like to hear from the team but since the time is running out, so would you please summarise your overall thoughts on Eden’s Verse?

Masaki Nakagawa
Masaki Nakagawa

For Eden’s Verse, I think the battle content of each floor is unique.

This of course is the result of all the young members who worked really hard to make it happen, and the contribution from the members outside our team - the Battle System team, Monster team, and many others who made the content gradually better after various discussions are also a huge factor. It makes Eden’s Verse content that subverts players’ expectations and is content packed full of surprises.

Of course, while the content is packed full of good things, there are also some parts where we failed or things we need to reflect on, and overall I think we did manage to create a good raid content.

While the development team is obviously involved in the process of development, they also play the game even after its public release as their private character alone, and on top of that think of how to create their next plan. Otherwise they wouldn’t be able to resonate with the feeling of the players (laughs).

The journey was rough when I actually gave Eden’s Verse a try until I cleared it, but it was really interesting content.

Famitsu
Famitsu

And finally, what is your message to our readers, including your expectations for Eden’s Promise?

Masaki Nakagawa
Masaki Nakagawa

The feedback we’ve received from the players around the world, be it from Twitter, forums, or any other platforms, are being looked through. We’ve always made sure to gather all the information and develop further with the intention of making sure it gets better than before.

As of this interview we’re currently working on the balance adjustments for Eden’s Promise and conducted play testing on the first and second floor, and you can be assured that there are many unique and interesting mechanics implemented for this tier.

At this stage the toughness of the tier itself can be felt so I’d like all players to be able to play it as soon as possible. Although the actual release of Eden’s Promise is still miles away, we hope you can look forward to its release while imagining how the tier would be.

Closing Words From AkhMorning

We hope you really enjoyed the translated conclusion of “How Eden’s Verse Was Made!”. A big thank you again to Iluna for working so diligently alongside me in bringing this very interesting two-parter from the East to the West.

While this will mark the last translated article on recent developments for a while, do let us know what you think about thought about our translation segments and tell us what you would like to see more of.

Until next time!