An interview with the development staff of Disaster: Day of Crisis, originally published on Nintendo's official website in Japan in 2008. English-language edits by Ishaan Sahdev.
Was development itself a series of "disasters"?
We're covering the new game, Disaster: Day of Crisis, from Monolith Soft and Nintendo. To begin with, please tell us about the background of this game's development.
Yamagami: Around the beginning of 2006, about a year before the launch of the Wii, my boss and Monolith Soft President Sugiura agreed to "do something big" for the system's launch. Monolith Soft had mainly been involved in RPGs, but also excelled at video production, so we decided that we wanted to create something that would take advantage of the latter. As a result, the project that Monolith Soft pitched us was an American-flavoured cinematic action game dealing with natural disasters. The moment I heard about it, I knew it was going to be interesting. The planned content was so dense that I wondered if we could really pull it off in just nine months, but Monolith Soft said we could, so we started development. But... as it turned out, development itself was a "disaster" (laughs).
Nomura: At that point, it should have been possible (laughs). We had a sense that we could manage, if we didn't expand the scope of the project too much.
Yamagami: At that time, the name “Wii” hadn't even been coined yet, so we gave them the expected specifications of the console and asked them to proceed with development using the equipment for the GameCube. However, when we actually received the Wii development kits and tried to put the game into that development environment, we found many things that weren't working as we wanted. So, although the idea was to make the game on a tight schedule, things gradually started to get delayed. But Monolith Soft was an experienced developer from our point of view, so we couldn't just say, "Hey, aren't you falling behind?" However, when we finally got close to the deadline we had given them, we hesitantly asked, "Are you behind schedule?" and they told us that they were significantly behind.
Ono: We were so desperate to somehow make it in time for the original release date. However, as a result, the fun of the game was taking a backseat. The story and concept were the same as now, but the rescue scenes, for example, were so bland that you just had to approach the character and press the A button to complete the rescue.
Yamagami: I thought that wasn't good enough, so I said, "Why don't we start over?"
Nomura: That was in September or October 2006, just before the Wii was released.
Yamagami: We considered cancelling the project at one project, but the theme of the game and its movie-like plot were interesting, so we felt it would be a waste not to go through with it. It wouldn't be easy, but we felt that we could still turn it into a unique product, so we discussed a new schedule and how to steadily resolve the issues we were encountering one by one. After that point, we finally had a proper development structure in place.
How did things go after the development system was reorganised?
Nomura: Yamagami-san was very persistent (laughs). He never gave up. Meanwhile, we were frustrated, depressed, and also angry with him... but by the end of the process, he brought us around. We knew we just had to do it right, because there was no two ways about it. With the help of Yamagami-san, Yokota-san, and everyone at Nintendo negotiating the allocated budget and time, we were able to build a sense of mutual trust, and thought, "We just have to do our best." That was around the beginning of 2007.¹
1. Editor's note: Nintendo acquired Monolith Soft from Namco Bandai in April 2007, so this would have been just prior to the acquisition. Given that the purchase was part of a long-term strategy on Nintendo's part, and that Xenoblade Chronicles was already in development by this point, it makes sense that Disaster was allowed an extended development schedule.
Shijo: When it was decided that the project would be extended further, morale was very low. However, once we realised that we wouldn't be able to bring the project to an end unless we made a proper product, the morale of the development staff rose once more, and we began to receive a variety of opinions and ideas, and began working on the parts of the game we were dissatisfied with.
Yamagami: Both sides had different priorities, after all. Monolith Soft wanted to get it done by the deadline, but we at Nintendo felt that it had to be worthy of our brand. Ultimately, we were able to create something that I think will make customers think, "I've never felt this way about a game before." I suppose I'm a little biased, but games where the development team manages to keep morale up to the very end usually end up being interesting.
Inspired by American action films
How did you settle upon the initial concept?
Ono: I thought about what subject matter hadn't been seen much in action games yet. From there, I came up with the subject matter of dynamic natural disasters. There were already games with the same broad concept, but I thought we could present a different approach—dealing with multiple natural phenomena and mixing in flashy action scenes, such as car chases and gunfights—to create something that felt cinematic. I also tried to make the script easy to understand like that of an action film. The overall concept is that difficult things might happen, but that there is always hope in the end.
The cutscenes really do feel like a film.
Ono: This time, the dialogue was all recorded in English from the start, and recording took place in Los Angeles. Similarly, motion capture was also done by actors that are active in Los Angeles. It was my first time working with foreign actors and staff, so it was an interesting experience.
Shijo: Ono's good at English. He would give the actors feedback like, "That's not quite what we need."
Ono: No, I actually can't speak English myself, but I can somehow tell the difference in the nuances of acting (laughs). But, conversely, parts of the game also became more interesting by incorporating the opinions and ideas of the actors themselves.
The characters also feel like those you see in American films.
Yokota: The main character, Ray, is a really good guy. He's a well-built guy with a beard, and is a former rescue worker who went through the Marine Corps. Nowadays, he's a humble city worker, but has a very straightforward personality.
Ono: That's right. I wanted to make Ray a tough sort of character. I felt that would be more pleasing to the eye than a thin, second-rate character. And above all, he had to be tough enough to survive all these situations (laughs).
Yamagami: From the scenario to the characters, the setting, and everything else, it really is like an American film. It's easy to understand and refreshing. Moreover, the game allows you to take control of scenes that you would only watch on edge in a film, so you can enjoy a different kind of thrill.
There's also the tension of events happening one after the other.
Yamagami: And that's what keeps it from getting boring. From the player's perspective, it's a constant state of tension, wondering what's going to happen next. Enjoying that tension is the best part of this game. I hope players will enjoy it until the end.
What are the differences between the two difficulty levels you can choose at the start of the game?
Nomura: We made two difficulty levels—for those that want to enjoy the story, and those that want a challenge.
Yamagami: I thought that even people who don't usually play action games would be interested in the movie-like atmosphere of this title and pick it up, but if those people couldn't see it all the way through, there would be no point.
Nomura: On the other hand, overseas players prefer action games that present a challenge.
It must have been difficult to find a balance.
Matsushita: I only joined development towards the end, but I felt that the overall difficulty level was quite high. I had been saying since September of last year that the car chase segment in particular was too difficult, but I couldn't get Yamagami to understand.
Yamagami: I liked Excite Truck, and was good at racing games using the Wii Remote, but I thought I'd made the car scenes in this game fairly easy in my own way. I'd said earlier in the year that the difficulty level had been decided upon for good, but Matsushita still insisted that the car sections needed work.
Matsushita: Once you memorize the course, you can go through it smoothly enough. But it's a matter of how well someone playing it for the first time would be able to keep up. This game has action scenes, gunfights, and even car chases. People that are good at games wouldn't have had any trouble, but those that aren't good at any one of those sequences would find themselves getting stuck.
Ono: In the end, the results from monitoring test players were the deciding factor. For example, they had 10 game overs here, or 20 game overs there. To discern which segments were too tough, we counted the places the number of game overs and created a chart.
Yamagami: However, lowering the difficulty is quite a tough process. We were adjusting the level of difficulty by monitoring how players were faring at various points, but then events wouldn't trigger at the timing we needed them to. For example; in the scene where a car is escaping a volcanic eruption, there's a great sense of tension as volcanic bombs fall and the road gets damaged. However, if we simply lowered the speed of the car to make things easier, we would only reach certain parts of the road after they had already been destroyed. The game would become easier, but there would no sense of tension left.
Yokota: In the end, Monolith Soft's development prowess helped us pull it off. The game has been well adjusted so that players can encounter tense scenes regardless of their skill or lack thereof. And rather than just pursuing realism, it was also necessary to have fictional elements such as "I can't normally make such a sharp turn, but I did it!" We prioritised making the gameplay both interesting and enjoyable.
Putting the Wii Remote to good use
The way you use the Wii Remote also deepens the sense of oneness with the main character, doesn't it?
Nomura: Well, initially, there was a time when we were talking about whether it would be easier to just support the Classic Controller. While it was especially true for players, game developers were also coming to terms with the Wii Remote—a controller the likes of which had never been seen before.
Yamagami: If the game had been released in 2006, players might have forgiven us if we didn't support it as much. But since we had to delay the game until 2008, it would have felt like a pointless endeavour if the game didn't have the most refined Wii Remote controls of anything out there.
Ono: The result is a game that makes full use of the Wii Remote, whether it's rescuing people, running from danger, shooting at enemies, or driving a car. You can experience all kinds of movements with the Wii Remote. The staff has put a lot of thought into this aspect.
The first gameplay tutorial is also very helpful and easy to understand.
Yamagami: It's important to explain various things at the beginning of the game. That said, if it's all tutorials, it gets boring, so we've inserted cutscenes in between. You practice as the story progresses, then you practice again, and then you practice a little more... and by the time you start wondering what's going to happen next, you've learnt all the controls. Monolith Soft did a good job of balancing the tutorial, which I think makes it fun to play.
The system of character and weapon growth was only added later in development, wasn't it?
Ono: That's right. We could add these elements because we were able to take our time. One of the reasons for adding them was that we wanted to increase the volume of the game, but there was also the fact that they would help the game not feel monotonous.
Nomura: We had already decided on the content of the story from the early stages of development, so if we wanted to increase the amount of content in the game, it would have to be through gameplay. And so, we thought it would be better to have a growth element, which would add replayability.
Yamagami: The difficulty level of clearing the game can be changed depending on the weapons you purchase and develop. Even if you choose a strange weapon, you can make it easier to clear the game by growing the main character instead. Thanks to this, I think the game has become more deeply enjoyable. We were able to achieve a balance between the interesting scenario, the powerful visuals, and the volume of the game.
I'd imagine that the action game elements were a completely new experience for Monolith Soft. What was that like?
Ono: Yes, it was. Monolith Soft makes a lot of RPGs, so in terms of know-how, this project was full of challenges. If you aren't careful, the process of making a game, the way you make it, and the way you hold the data can become like an RPG in itself. We had to fumble our way through that process to make everything suitable for an action game, so that's what we mainly struggled with. In the end, though, we learnt what worked well and cleared each hurdle one by one.
What are your plans for Disaster: Day of Crisis in the future?
Yamagami: I've been discussing with Ono about making a sequel if it sells well enough, and we've already received a proposal for another game. However, we can't make the next game unless this one sells well, so we're waiting to see the reaction while we prepare for what's next. Apart from that, Monolith Soft is known for RPGs, so I've been talking to Nomura about making an RPG as well.
Nomura: I haven't said anything yet.²
Everyone: (laughs)
I'm sure you'll meet the expectations of players and fans alike.
Yamagami: The development staff is also used to developing for the Wii now, so I think if they do make something, it'll be even more amazing.
Finally, since Disaster: Day of Crisis has just been released, can you talk about some of its selling points, for those that might be interested in it?
Nomura: It's a game that you can play quickly and that leaves you feeling refreshed. It's like leaving the theatre in a good mood after you've finished watching a movie and the end credits have rolled. That's why I want everyone to experience it.
Shijo: I think it's a very easy game to get into, whether you're good at games or not, so I hope anyone that's interested will give it a try. It has a good balance, so those that are interested in the subject matter should be able to get into it quite easily.
Ono: It's a slightly different type of game for the Wii console. If you've seen the commercial and are interested, I'm sure you'll like it.
Yokota: When you see the scenes where you fight enemies with guns, it may seem like a hardcore game, but it offers a variety of survival-action elements that can be enjoyed with intuitive controls. The staff shook the Wii remote until they got sore muscles, and adjusted everything to make it enjoyable. Also, the main character is a tough guy, but his way of life is very cool. He's full of manly spirit. But he also has a cute side, like eating a huge hamburger. I hope people will enjoy the charm of these characters.
Matsushita: Not only is the game easy to pick up and play, we've also included a lot of extra elements so that people that normally enjoy this type of game can get into it. There's even a place to change Ray's clothing and a shooting range. And there are some parts that are very typical of Monolith Soft, so I hope you'll look for them and that they'll put a smile on your face.
Yamagami: Even if you aren't good at games, if you play the normal difficulty mode normally, you'll think, "Ah, even I can make it to the end". Of course, there will be some challenging portions along the way, but the game is designed to make you want to know what happens next and push through. I hope you'll enjoy the feeling of, "this is what movies are all about." If you find the idea of that interesting, please do give it a try.
Thank you for your time today.
