I like the intense plots of shounen manga, so the part started to grow wildly into a runaway emotion, and it took form as a large part of this game. That’s how the concept of this title, ‘training and strategizing based on death’, was born. Then, I came up with this question: “How about sending out multiple characters you’ve raised within the same cycle to attack an enemy you couldn’t defeat on your own?” When considering the type of game where you repeat things often, I thought about what reasons one might have to replay a game. Those feelings are the inspiration for Trillion. I’ve been involved with the development of many titles where their focus was to build up to something, but I’ve always wanted to make a game where you repeat it over and over. Yamamoto: These are both in reference to longer titles, but I believe there are types of games where you build something over a long span of time, while there are also types of games where you play them over and over again in a short span of time. T-G: This month marks the stateside release of Trillion 1,000,000,000,000: God of Destruction. Both my body AND my soul were cold!! Truly, only an event that could happen when developing in the snow country of Gifu.
I have vivid memories of travelling in a car through a blizzard, right after working until dawn. All of the traffic infrastructure would be paralyzed, and in these cases we’d transport the ROM ourselves in a car. But, for some reason, these master ROM submission dates coincided with the biggest snowstorms of the year. And of course, it just so happened that on days where we intended to send out the master ROMs, we’d often be greeted with heavy snow…Īlthough Gifu’s known for its cold weather, actual snow only falls a few times a year, if it does at all. A little while ago, games were made by burning finished games onto a ROM, and this master ROM had to be delivered to the platform parties. Yamamoto: The Gifu prefecture is a fairly cold place, so there’s an anecdote about that, actually. Are there any interesting or amusing anecdotes you can provide about the design process for the aforementioned games? T-G: Hearing about what it was like to work in the Gifu-based headquarters is rather rare. That said, I feel very proud that even the development staff enjoyed it as well. What’s most important for a game is that the users can enjoy it. I believe the game’s systems, graphics, DLC, etc., are a culmination of the Disgaea games that I had a hand in developing, which include Disgaea 2 and onward.Īlso, I’m told by the staff members involved with development that it was a good project from their perspective as developers. If I were to suggest one as an answer, though, I suppose it might be Disgaea 4. Game development is just like child-rearing in that you give it blood from your own heart, so I suppose, in that sense, any one of these titles can be considered my child. Masahiro Yamamoto: I believe half of the game was made from the developers’ love.
Which of these works are you most proud of? Tech-Gaming: Before working with Idea Factory, you were a driving force behind a number of Nippon Ichi titles, from Disgaea 2 and 4, Zettai Hero Project, The Guided Fate Paradox, and Soul Nomad & The World Eaters. Just before the PS Vita game’s release, we were able to talk with director Masahiro Yamamoto about the game’s concepts, the icy Gifu air, and the wellspring a creativity that’s evident across the succession of titles he’s worked on. Although you’ve fought tough bosses before, few are as durable and daunting as the protagonist of Trillion: God of Destruction, the eponymous villain who has no less than a 1,000,000,000,000 hit points.
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