Wednesday, October 21, 2015

Katarou! Kuuga, Agito, Ryuuki

Source:  語ろう!クウガ・アギト・龍騎 (2013)
ISBN-10: 4862551785
ISBN-13: 978-4862551788
Katarou! Kuuga, Agito, Ryuuki

Source:  語ろう!クウガ・アギト・龍騎 (2013)
Katarou! Kuuga, Agito, Ryuuki
ISBN-10: 4862551785
ISBN-13: 978-4862551788
Book of interviews with various people regarding Kuuga, Agito, and Ryuuki.
UROBUCHI GEN (pg 58-94)
-Interview is from before he was allowed to talk about being on board for Gaim. They allude to it but end with him saying he's not allowed to talk about it yet.
-He says that working on tokusatsu is "probably" (once again, not allowed to talk about Gaim yet) completely different from working on anime, because there are a lot of factors outside the writer's control, like the belts. He "thinks" the writer is given the belt first and it told to write a story around it. Up till now he'd written stuff completely freely so it would be a huge challenge to him.
-Most of the Showa riders aired when he was a young child and he didn't see most of them, he thought the shows were scary. He first got into it in middle/high school when Black aired, and it was the first rider he watched in realtime (he got to know the other Showa riders later).
-He was influenced in his youth more by anime like Votoms than by tokusatsu. He was in elementary school and really into model kits when Votoms aired, and he loved the realism of how the Scopedog is only 4 meters tall and composed of identifiable everyday components like ladders and hooks.
-While he wasn't in the Rider generation, he did watch other tokusatsu stuff like Denjiman, Sunvulcan, Goggle V, Gavan, and Sharivan.
-He didn't watch all of RX, but loved Black, especially the "no future"-ness of how Golgom would win regardless of which of Black and Shadow Moon won. He loved the manga version's ending more, where it's left ambiguous if it was Black or Shadow Moon who won.
-Kuuga is his favourite rider. When it aired he was already an adult and a writer (Phantom was released one month after Kuuga started airing), and he started watching it wondering what they were planning to do with Kamen Rider all of a sudden after so long. He found that they were going all-out, making a show to be seen by children that isn't childish.
-He loved the realism involving the police acting like what one would assume they should if monsters suddenly showed up. Also how it wasn't just the rider, but all the people- The police, the doctors, the researchers, the technicians- Using their own power to play their own parts in fighting the enemy- And figures that it must've been comforting to children to see how reliable adults are. A lot of works at the time revolved around people having special powers as a precondition, but Kuuga was different as in it what mattered was more fundamental things like courage and responsibility. Unlike other tokusatsu shows where military types fight the monsters with supertechnology and never manage to accomplish anything, the police in Kuuga have nothing special but still manage to fight the Grongi competently simply by never giving up and continuing to protect civillians. Kuuga is the story of how people fight paranormal phenomena by using their knowledge and organisational capability, and there just happens to be a guy with superpowers helping out.
-(Upon the interviewer mentioning Kiritsugu): While he did flesh out Kiritsugu, it was really Nasu who created him; Kiritsugu is ultimately a negative of Shirou.
-He says the Grongi are the greatest monsters; What's scariest isn't monsters, but people. When Kuuga was airing there were a lot of scary incidents going on, and so what children felt was a more realistic sort of fear, like of the possibility that maybe your next-door neighbour might be a murderer. The Grongi are basically serial killers- They usual look like normal humans that you can't tell apart from anyone else, but they actually go around killing people based on values a regular person couldn't even begin to understand. To a child, that's the worst possible kind of monster.
-(Upon the interviewer mentioning a Madoka Magica interview where Urobuchi talked about the importance of "poison" in fiction): It was the poison in stuff like Kamen Rider (though he was too scared of it to watch much) and Votoms that allowed him to get through hard times, having him think "well at least it's not as bad as THAT". In this day and age most people don't go to war or starve or whatever, and so people need to take in some poison, as a sort of inoculation, through fiction. The Grongi were a fantastic poison.
-The Grongi were real-life societal fears (unlike other tokusatsu stuff like schoolbuses getting hijacked) translated for children. And that sort of fear still exists, so Kuuga doesn't get old at all.
-(Upon the interviewer mentioning how killing is a game to the Grongi): It was magnificent how they used that setting; Though it's a game to the Grongi, they're serious about it, and their values are so different than that of humans that there's no room at all for negotiation.
-(Upon the interviewer mentioning Vjedogonia): Vjedogonia was heavily influenced by Kuuga because he loved Kuuga that much. The story as a whole borrowed heavily from Kamen Rider, and the episode titles all being two kanji was inspired directly by Kuuga.
-To Urobuchi, Kuuga was Kamen Rider's starting point and origin point and a completely straight ball. It was the ideal way to start.
-His first impression of Agito was "Kuuga Deluxe"- Kuuga, but now with three riders, and the police guy becomes a rider too. The beginning and middle bits were fantastic, and the last parts (everything after Kino died) turning out how they did was disappointing. He was especially looking forward to the bit in the OP where G3 points his gun at Ozawa, which never happened. When he thinks about that he realises how tokusatsu stories can change completely based on all sorts of factors outside of the writer's control. But one of his favourite moments is at the very end, where an Unknown asks G3 "what are you?", and G3 replies "human!".
-He especially liked G3, which is so impaired and weak that it actually becomes cool.
-It was nice how the three riders were completely different; Kind of like Black RX- Regular, mecha, and bio. He's sad that Gills was pretty much the last of the Amazon-type riders.
-(Upon the interviewer mentioning Hibiki): He wonders if Hibiki is even really a rider. Ryuuki, Faiz and Hibiki made him doubt his eyes at first and go "wait, are you supposed to be a rider?". But they were all really great once you actually saw them in action, and he especially loved Hibiki's design.
-He says Hibiki is another example of how difficult tokusatsu shows are. You could tell how they were trying to make a proper drama, but because ratings were bad and toys didn't sell it ended up like this. It tried to do something no rider had done before, but was forced to change course halfway through, and that's just sad. But he knows it couldn't be helped.
-(Interviewer asks what Urobuchi thinks of how Agito didn't have Shouichi and Ryou transform into heroes, but instead depicted them transforming as something to be feared, them turning into monsters): He thinks that's the one thing Kuuga lacked, and he was hoping Gills would cover that, and was thus disappointed when Gills was barely relevant. He does think that if Gills made the story even more complex the children wouldn't have been able to keep up with it.
-He questions if tokusatsu is an appropriate format for complex stories like Agito's, because of all the limitations and external factors that can easily change a story completely; If the mothers of the children watching the show got mad at something in it there's no way it's staying.
-(Upon the interviewer mentioning Blasswreiter and Madoka Magica depicting the fear of transforming into a monster): That's precisely the fear Urobuchi felt when he first saw Kamen Rider as a child. Black left him with the impression that becoming a rider is a scary thing. Kamen Rider is about accepting and overcoming that fear, and he thinks that this might be subconciously affecting his works.
-He mentions how he once saw an old video of Hitler youth vandalising a jewish house, and what scared him, even as a child, was the possibility that, if he had been born into that place and age, where all the adults say that it's that race that's messing up the country, it's their fault your father has no job, that what the Hitler youth were doing was what good children did, he might have done it as well.
-(Upon the interviewer saying that Blasswreiter is "Urobuchi's Kamen Rider"): He says that when Itano came in, while he was still writing, he let Itano decide the entire setting and how things would go. Blasswreiter is thus Itano's ideal hero story, and so he thinks of it as "Itano's Kamen Rider". That the show was half Kamen Rider and half Ultraman was also Itano's doing. He thinks Itano wanted to do what he couldn't in Ultraman Nexus, and mentions how Itano complained frequently about how there's something wrong with Kamen Rider these days. Urobuchi's Joseph was originally a talkative guy, and it was Itano who changed the character into what he is.
-Ryuuki was a huge surprise, completely outside the boundaries of Kamen Rider; He wonders if it can even be considered a Kamen Rider- It may have it in the title, but the story is on a completely different vector. But that's what made it so interesting. He thinks Kuuga and Agito did everything a Kamen Rider could and should do, and they needed a breakthrough, and that it was a good idea that they made a rider that wasn't. Ryuuki broke the chains and set the subsequent Heisei riders free. It was basically the G Gundam of Kamen Rider.
-The idea of having villains and criminals as riders was unexpected and amazing. The only rider who looks like one is Ryuuki with the eyes; If you take the other guys, like Zolda or Ouja, and have them just stand somewhere, they didn't look like riders at all. You'd think they were from some other tokusatsu show. Ryuuki is a magnificent piece of work that became what it was by completely ignoring previous works.
-He loved Ryuuki, and thinks that there are no battle royale type works that have surpassed it. The part where all the riders meet up for the first time, around 19, where it becomes a chaotic four-way, then a five-way fight, and all of a sudden Gai is dead. Gai and Ouja were sort of working together up till that point, then Ouja just betrays Gai like that out of nowhere. That's how battle royales should go. Everyone fights to a stalemate, then a new participant shows up and you get chaos everywhere. Gai lost because he let his guard down; People don't drop out because they're weak or strong, but because they make mistakes.
-He referred to Ryuuki while writing Fate/Zero: Episode 4 and 15 were his own Ryuuki-style battle royales. He wanted those fights to have viewers know what he felt like when he was watching Ryuuki.
-(Interviewer asks if he referred to Ryuuki while writing Madoka Magica which has similar themes): Kyouko was initially based on Asakura; A character showing up midway through who's nothing like what you'd expect for a character of the genre. But she ended up a good person because it's hard to make villains out of Aoki Ume's character designs. He finds it interesting how a writer can be influenced like that in anime, because in a novel the writer doesn't see any visuals until the book is done. In anime the writer changes stuff based on character designs and the voice actors' performances. During Blasswreiter, Itano told him "always come to recordings, because there's no telling what will happen", and he still follows that advice.
-(Interviewer mentions how people with pure wishes tend to have horrible endings in Urobuchi's stuff, using Madomagi's Sayaka and Fate/Zero's Kariya as examples): He thinks wishes are a sort of magic that bewitches you and causes you to lose your balance, and many people don't realise how scary this is. He thinks that how simply chasing a dream or wish is considered to be beautiful is a scam perpetuated by conmen, because it makes it easy for them to do business. He thinks the quote "dreams and curses are the same thing" from Faiz was magnificent. The idea "if you buy this, your dream/wish might come true" a fundamental component of all sorts of business. They're telling people to have a vision of what they want to become, and to head towards it. That on its own isn't a bad thing, but to say that's all to it is plain deception.
-(Interviewer says watching Sayaka and Kariya on the road to ruin is great fun, and wonders why people love tragedies): He says it's nothing new, it's something that's been around since Shakespeare. It might be in bad taste, but because people can watch it knowing it has nothing to do with them, they can enjoy it. But tragedies can be nourishment for people too; For example, by watching Jerid in Z Gundam, he decided to be a person who wouldn't be particular about unnecessary things. Jerid could've had a great life if he hadn't been so mad about Kamille chasing him all the time. There are plenty of people in this world that you'll never be able to beat, and if you worry about that you'll destroy yourself. Just take a different road. Tragedies leave this sort of stuff with you.
-He never thought of himself as writing a lot of tragedies and bad endings. To him, adversities are things used to make a character stand out by showing how they think and act when they have nowhere to run. The darkness is there so that they can shine.
-(On interviewer asking him what he thinks a hero is): He thinks Kitaoka/Zolda had it right when he said "a hero is something you fail to be at the moment you want to become one". A hero isn't something you try to become, but something you end up as. A hero is defined by how others see you, and isn't something you can reach on your own.
-(On interviewer asking who he thinks, among the Heisei riders, is an ideal hero): He can't decide because the Heisei riders are too varied, and says that many of the riders probably don't even think of themselves as heroes, like Takumi/Faiz who doesn't even have a goal to try and accomplish. Takumi is just resisting his own fate, and that in itself, his way of facing himself, may be considered heroic by a third party.
-However in Asian philosophy it's traditionally been thought that people think not just with their brains but with all of their nerves as well- With their entire bodies. If he had had a strong and healthy body he might never have become a writer. He doesn't regret becoming a writer and doesn't want to, and so while he does feel like he wants a mechanical body, he's also afraid that he could lose something from getting one, and that's a big theme to him. The fear riders feel when they transform is something you can easily understand if you have some sort of chronic disease, when sometimes you wonder if your disease is getting worse or if you're just getting a cold. And that's why he watched Agito empathising with Gills.
-(Interviewer points out how multiple endings and loops are common in video games, and asks what Urobuchi thinks, as a game writer): They're appropriate since battle royales in general are very game-like.
-(Interviewer asks why he thinks loop stuff like Ryuuki, Haruhi and Higurashi were popular in the 00s): It's something anyone who plays video games will imagine. The writer of All You Need Is Kill said he got his idea from video games' save/load functions, and everyone has died in a game and started over with the knowledge of what's coming next. Everyone probably thought of turning that into a proper story at the same time.
-(Interviewer asks why Madoka was a loop): He came up with Homura first as a character who, while silent, stays by Madoka's side and knows everything. The best way to get that to fit was a loop. He wanted to make a sort of betrayal, where this mysterious person plotting stuff in the background you can't seem to trust turns out to be the person who was thinking of the protagonist the most all along. So the loop was just to justify Homura's actions.
-Ryuuki was in 2002 and he was surprised that they did a loop at such an early point, and in a Kamen Rider.
-(Interviewer says both mahou shoujo and Kamen Rider are a genre that have a set format, and asks if Urobuchi thinks there's anything in there that makes them particularly interesting): Having a long history means you can reach back into the past and take old parts out and rearrange them and skip explanations by saying "this happened before, you know what it is, so we're skipping explaining it". You can make shortcuts. (Interviewer asks if he means stuff like "but how and why do they transform WITH BELTS!?") Yes, and by skipping explaining that you can spend time on other things.
-(Interviewer compares Ryuuki being different to Madoka Magica being different): He says that he had the intention of keeping Madoka Magica close to the format to some extend, at least with Mami up till episode 3. He felt that up to that point the series had stayed in line with the genre. Cosmic horrors like QB of course aren't seen in regular mahou shoujo shows but he didn't start with the intention of making him that creepy- That was the animators' doing. The cute manga version is closer to his original vision.
-He thinks big changes like that happen in tokusatsu more. Because everything in anime is pure fantasy, it follows a perfect plan, and nothing really changes much from said plan. In tokusatsu like Kamen Rider though you don't need such a perfect plan; They change shooting locations, or cut down on a character when their actor is sick, all the time. And then there's toy sales, and complaints from parents. Tokusatsu is made in a short span in the midst of all these factors. And they're broadcast for so long too; Four cours is unthinkable for anime these days.
-(Interviewer asks what stands out the most in the Heisei rider series as a whole to him): Kuuga was a masterpiece of Kamen Rider, while Ryuuki was a renaissance that brought the series towards an entirely new direction. Anyway there are many more riders coming out and it's too early to look back.
-(Interviewer asks what kind of riders he wants to see): He'd like them to go back to the mindset that made Kuuga, but understands that that'd be difficult. Either way, he wants them to continue to remember whenever they make a new show that to a child it might be the first form of entertainment they ever see. It's tokusatsu stuff like Kamen Rider and Ultraman that serve as starting points for children of all generations, and through that starting point they expand their views to include more stories, and that position as a starting point is a proud and extremely important one.
-(Interviewer asks what he thinks of how recent Heisei riders are lacking "poison"): He says it can't be helped. While he'd like poison, it's hard for that to be approved these days, and the franchise is just too big to be easily moved in that direction. The series is made by many people, and that includes the children's parents. Kamen Rider is a product of its age's parents' consensus. He's sad that the poison is gone, and sees it as a reflection of the current philosophies in child raising.
-(The interview concludes with the interviewer hoping that one day we'll be able to see a poison-filled Kamen Rider made in Kuuga's mindset, by Urobuchi, and Urobuchi says that if he gets the chance he'll do his best).
(I also got the second book in this series which covers Faiz, Blade and Hibiki and features a post-Gaim Urobuchi and Inoue returning as well as newcomers Handa Kento and Suzumura Kenichi; Will probably do some of it too because I love Faiz and Blade)

Monday, July 27, 2015

Masoukishin- Granzon, Neo Granzon, Possession Cybuster model kit manual setting info translations

Neo Granzon

One thing that puzzled the people who helped build the Granzon are the black boxes known as "Riddles". These were things that Shu installed into the Neo Granzon himself. Though they vary in size all can fit into the palm of a hand, and so they left him to do whatever he wanted because it didn't affect the weight or anything. All the Riddles formed a network controlled by the Kabbalah Program Shuu designed.
The system was thought to boost the output and power up some of the Granzon's weapons. Shuu named this the Mahakala System.When people who thought it was an inappropriate name for something controlling a black hole asked him why he named it so, he replied that Mahakala is another name of the Hindu god Shiva, meaning "Great Black". It is said that those who heard his words were more inclined to shudder than to laugh. Most did not find it in taste for him to be naming it after a destroyer god.
At the end of the Shura War, responding to mysterious words uttered by Shuu, the Granzon transformed into the Neo Granzon, and embodiment of fear created from Ra Gias alchemy and the power of the ancient dark god Volkruss. The Neo Granzon, now worthy of its being named after a destroyer god, took on the Masoukishin Cybuster and the task force that would later be known as the Kouryuu Sentai.
After the battle, Shuu left behind more puzzling words, and vanished from the surface world. According to Masaki, Shuu had had his will bent and his body controlled by Volkruss.
Rumours have it that Shuu has not died, and that the Granzon too is still in action. One rumour has it that he returned from the dead along with the Granzon in Ra Gias, and is know fighting his former master Volkruss. If so, where will the road lead Shuu Shirakawa, and the Neo Granzon?
-Baryon generation halo (ring)
A device that creates baryons from fluctuating ether. The Neo Granzon requires black holes, and thus overwhelming large amounts of mass, and it extracts the necessary mass from the ether. By doing so the Neo Granzon's power output is compared to the Granzon entire digits higher.
-The Bridles of Volkruss (giant shoulders)
Bridles usually refer to a horse's reins, but in this case refer to the chains of Volkruss. The core of the network system Kabbalah which has the power to warp the laws of physics itself is said to exist here. The details behind the system are unknown but it is said that by borrowing power from Volkruss results in the user being controlled by said power. Shuu later analyzed and recreated this system to not require Volkruss' power.
-Degeneration cannon
A weapon that creates and fires black holes even greater than the black hole cluster's by degenerating the mass created by the baryon creation halo in the black hole engine. Through the high dimensional degeneration of large amounts of mass it is able to cause a small supernova and thus overwhelming physical damage to a contained area. The gravitational collapse that comes after this also has a pull to it that breaks down all matter close to it.
-Gravity control device (yellow things on arms)
Allows movement via the setting of a virtual "ground" and a vertical axis. It can also crush targets by generating gravity of up to 3200 Gs in a wide area (Gravitron Cannon). It is also used in mass reduction and inertial control. As the Neo Granzon can change G vectors in 3 microseconds, regular inertial control systems are incompatible with it.
-Distortion shield (field) generation device (yellow things on shoulders)
Creates a homogenized force field in a sphere around the Neo Granzon that warps the kinetic energy of anything that tries to pass through it from the outside, dispersing it across the surface of the field. As electromagnetic waves too are cancelled out entirely instead of being dispersed, this has an effect on both kinetic and beam ammunition.

(Only stuff that isn't shared with the Neo Granzon)
Black Hole Cluster: A weapon that creates micro black holes with quantum-sized schwarzschild radii in a special gravitational field and fires them. It is similar in nature to the RTX-008R's black hole cannon, but the reasons for this are unknown.
Gran Worm Sword: Melee weapon in the shape of a sword. The blade causes dimensional tremors, and banishes space itself to an imaginary dimension. It can also launch imaginary space. There are two versions of the blade.
Gravity control device: Neo's "It is also used in mass reduction and inertial control" is missing, instead having "also used in movement".

Possession Cybuster
Masaki Andou
The pilot of Masoukishin Cybuster. Summoned to Holy Kingdom of Langran in the underground world of Ra Gias from Japan during the Third Surfacer Summoning Project. He was later chosen by Cybuster's guardian spirit Cyphis to become a Masoukishin pilot. Has an extremely straightforward personality, gets lost easily, is good at sports, and has a strong sense of justice. Later became the closest thing the Antillas Corps has to a leader after it was founded.
Cybuster is a masoukishin created in the Holy Kingdom of Langran of Ra Gias, a parallel world that exists on a different plane inside Earth. Its contract spirit is a higher spirit of wind, the Wind Spirit Cyphis. It was designed by Wendy Rasm Ignart. It can transform into Cybird, a cruising form which is modelled after the Langran god-bird Dishnas, and can on its own open and pass through a gate between Ra Gias and the surface. Langran, upon receiving the prophecy of a demon-god that would destroy all of Ra Gias, started a project to create the Masouki, multipurpose humanoid weapons which gained great power through contracts with spirits, in order to resist this coming threat. Sixteen Masouki were created, and the four which succeeded in binding themselves to higher spirits became known as the Masoukishin. The Masoukishin have massive power that puts them on a level far higher than that of other Masouki, and also host the will of the spirits contracted with them, and people not chosen by the spirits cannot become their pilots. Cybuster did not have a pilot at first, and it was only until after it was taken by Saphine Volkruss that Cyphis accepted Masaki, who had chased after it, making him its pilot.
Possession Cybuster is what becomes of Cybuster when Masaki and Cyphis synchronise their wills and activate Possession. Astral Armour is added to various parts, and its base weapons such as the Discutter and High Familiars gain new, stronger forms. Masaki first activated Possession when it was still only possible in theory, albeit for a very short time, when he confronted Shuu Shirakawa who had killed his foster father and master, Zeoroot Zan Zenosakis. Later, during the fourth Shutedonias North-South War, he gained the ability to control Possession by his own will after conversing with Cyphis in the spirit realm. Cybuster in possession has overwhelming power, and brought order back to Ra Gias by defeating the Dark God Ruzamno Rasphitot and Mother Elsine Volkruss who had plotted Rasphitot's summoning. However, when the Prophet Yohtennai set into motion her Coffin of the End Project which would bring destruction to Ra Gias by stopping time itself, it was overwhelmed by and lost to Yohtennai's Rezenkaim. Masaki and Cybuster, as well as the other Masoukishin and their pilots were taken prisoner, but they were later saved by Shuu and joined up with the Antillas Corps. Alongside Sakito Asagi and other surfacer allies, they entered the chambers deep underneath Langran palace, and after a grueling battle defeated the Rezenkaim, thus stopping the Coffin of the End Project. However, the Giants returned immediately after this, and they were unable to defend against the sudden attack and lost companions while fleeing. The king of the giants, Kadum Hacham, was the original form of the three dark gods, and a being which came to Ra Gias aeons ago from another world and gave knowledge to the humans there, becoming their ruler. Even if defeated, the cursed will of the giants would become the three dark gods, and if the dark gods were defeated, they would fuse and bring back the giants, meaning that it was truly impossible to vanquish them by regular means. Though the people of Ra Gias were unable to find a way to solve this problem, Masaki managed to succeed in contacting Cyphis. In the final battle with Kadum Hacham, Cybuster, in possession, used the Akashic Nova, the result of gathering all the energy in the spirit realm and releasing it in a single attack. By using the power of the spirits, the exact opposite of the negative beings that are the giants, they succeeded in defeating them. The price, however, was that the power of all the spirits in Ra Gias too were cancelled out by that of Kadum Hacham's, and are now lowered to levels that not even Masoukishin pilots can sense, and all engines that relied on the power of the spirits, such as those of the Masoukishin and Masouki, stopped completely.

-Extending Shoulder Armour
When Cybird form and Akashic Nova are used while Cybuster is in possession, the shoulder armour extends and the Astral Synchroniser mechanism added inside the armour by Cyphis is exposed and activates. This mechanism is a collection of countless Astral Fragments that increase energy efficiency and also act as extremely strong armour. It is also thought that it helps to amplify and control the flow of energy from the astral realm into Cybuster, but the exact structure and logic is as of yet unknown.
-Main Wings
Six wings attached to the back. At their bases are Aether Thrusters, propulsion devices that use aether (an energy that has no mass and remains perfectly still in relation to absolute location) as a magical medium.  In possession they give Cybuster the ability to move at speeds that greatly overwhelm conventional weapons.
-Astral Armour
Energy that flowed in from the astral realm, hardened, and became armour. Cybuster's design had not accounted for the effects of possession, and so achieving it posed a great risk to both the machine and pilot. Cyphis thus added this armour to Cybuster when Masaki gained the ability to activate it at will, making the machine strong enough to withstand possession.
-Cosmonova Reactor
The mechanism which compresses and launches all of Cybuster's energy as the attack Cosmonova. The armour opens when it enters firing mode and begins gathering energy, and the energy missiles formed are launched and guided via a system which uses magic. As it is unstable and prone to breaking down, its usage was avoided in possession which already puts a high amount of strain on the machine, but it was upgraded by Cyphis before the final battle with the giants. As a result, the output and control ability of the device increased exponentially, and Akashic Nova, an attack in which the machine veils itself in the released energy and crashes into an enemy, became usable.
-Extending Leg Armour
The armour on the back of the legs can also be extended, and like in the shoulders, astral synchronisers exist here too. However, unlike the shoulder ones which are seen in Cybird form, the leg ones are only activated during Akashic Nova, when Cybuster's maximum power output is required. Also, the shape of the astral fragments here are less uniform.
-Discutter Kyou
A mutation to the Discutter, brought about by possession. Kyou means “strong”.  The blade is much wider and sharper compared to the regular Discutter, and more blades are added to the hilt. Also, the words that appear on the surface of the blade are symbolic manifestations of Cyphis' power, and are not used anywhere in present-day Ra Gias.

Friday, February 13, 2015

Darkest Dungeon


そして館の礎石よりも深き底の岩窟で、 我々は見つけたのだ。古代よりも旧い悪にいたる忌まわしき門を。
頼む、帰ってきてくれ!後継されし悪意を終わらせてくれ!そしてこの最も暗き魔窟Darkest Dungeon 貪り食らわれようとしている我らが一族に救済を!



Bounty Hunter (バウンティ・ハンター、賞金稼ぎ)
一点集中型の攻撃と敵の列を乱すスキルを持っている。Mark for Deathで敵をマークするとダメージが増加し、マークした敵な対してCollect Bountyは倍のダメージを与える。Come Hitherは後ろの敵を前に引きずり、Uppercutは逆に前にいる敵を後ろに飛ばす。Flashbangはスタン効果のある攻撃で、Finish Himはスタンされた敵に133%のダメージを与える。スタン攻撃を持つほかのキャラ(Hellionとか)と組み合わせるとFinish Himをより効率的に活かせる。また、賞金稼ぎを複数用意すると全員がマークされた敵に大ダメージを与えられる。ちなみにCome HitherとFinish Himの元ネタはMortal Kombatかと思われる(Hitherは古英語でhereなのでcome here=get over here=スコーピオンのアレ。Finish Himは説明不要かと)

Crusader (クルセイダー、十字軍騎士)

Highwayman (ハイウェイマン、追いはぎ)

Vestal (ヴェスタル、竃神の巫女)

Plague Doctor (プレイグ・ドクター、ペスト医師)
毒や出血、スタンなどのステータス効果を与えるスキルが多い。とくにBlinding Gasは敵の後ろの2体を同時にスタンさせることができるので、HellionのBarbaric YAWPと組み合わせて敵を一切行動させないことも可能。ちなみに女性、らしい。

Hellion (ヘリオン、地獄戦士)
アマゾネスとか狂戦士とかそういった類の戦闘職。他の戦闘職と比べると性能は微妙だが、Barbaric YAWPは前の敵2体を同時にスタンさせることができる。ペスト医師と組んで敵をハメ殺せる。

Leper (レパー、癩人)

Jester (ジェスター、道化師)
Occultist (オカルティスト、隠秘学者)
Grave Robber (グレイヴ・ロバー、墓荒らし)

Lord(ロード、君主 名称は仮のもの)

Monday, January 19, 2015

Utawarerumono interview stuff

So I heard that the Utawarerumono PS2 official guidebook (2006) had an interview with interesting info in it, and so got it. Just translating/summarising some snippets.


Washimi Tsutomu: Director
Suga Munemitsu: Writer
Amaduyu Tatsuki: Character designer

Utawarerumono takes place in Japan (in the future). The Earth's axis has changed a bit in this world. The rest of the world of course still exists, and there are other races not seen in the game living on other continents. -Suga

There were initially plans to have Benawy, Crow, and/or Oboro die at the end. Crow even had a scene written, where he falls off a cliff along with an Av-Kamu yelling "long live lord Hakuoro!". -Suga

Q: What is Hakuoro, anyway?
Suga: To put it simply, "someone with power" (力のある者). He is called a god, but this isn't the sort of god found in contemporary religion, but rather something with a physical form and overwhelming power. Hakuoro's body is that of the archaeologist which by fusing with the "something with power" (力のある何か) became a god. As for what this "something with power" itself is... Well, I do have an idea, myself, but I'd rather leave it up for the players to decide.

The white and black gods fought a war back when Tuskul was a young girl too, and she was on the side of the white god.  The white god called himself Hakuoro back then. Eventually he lost and was sealed away, but when Tuskul grew up and gave birth to her son, she named him Hakuoro after the white god. When Eruruu brought Hakuoro home, she immediately realised that he was the white god, and gave him back his real name. -Suga

The tails are an extension of their bums (referring to the scene where Eruruu says it's rude to touch people's tails) -Amaduyu

All of the women in Yamayura have a ring modelled after Mikoto's master key, which they are free to wear wherever they like (Eruruu uses her's as a hair ornament). Eruruu's is the original, which was passed down through her family, as direct descendents of Mikoto. -Suga

Aruruu's power to speak to animals originally comes from Mikoto. It's passed down genetically, but not everyone in the lineage can use it. There were initially plans to have some stages set in Iceman's age, and Mikoto would have used this power there. -Suga

Yuzuha didn't die from her sickness, but from the strain of giving birth. -Suga

The magic used by the onkamiyaryu is actually Mutsumi's psychic power, passed down to her descendants. -Suga

Oboro is actually royalty, the grandson of the previous lord of Kenashikourupe. Kenashikourupe fought on the side of the white god in the previous war, and because it lost the royal family lost its position as well (to Inkara's father). Dory and Grah are descendants of a clan that traditionally serves the royalty. Benawy is related to the royal family and thus Oboro, and when Oboro named himself he immediately recognised him as the true successor to the throne, and this is why he let him go. -Suga

Genjimaru's contract with the black god was solely for power, which is what maade him this strong. -Suga

The Shakcopol have physical strength equal to that of regular humans. -Suga

Only the Shakcopol can use the Av-Kamu. -Washimi

The Av-Kamu were originally robots that the humans made for the Shakcopol to use for manual labour on the surface. They don't have any built-in weapons because they were originally industrial machines. -Amaduyu

Onkamiyamukai's lord Wabe also fought on the side of the white god in the previous war, and knew Tuskul personally, which is why he was surprised when he heard the name of the new country Hakuoro founded. -Suga

Chikinaro is actually working for Dee, and it's unfortunate that we were unable to expand on this in the game. -Suga

Because the white god is the one with the archaeologist's body, the black god is a disembodied consciousness and has to get his own separate one. Dee couldn't control his curiosity and wanted to see what the god the Onkamiyaryu worshipped was like, and entered the chamber where Witsalnemitea was sealed, and awakened the black god, who said it would grant a wish. Dee asked for knowledge, and the price was his body. -Suga

Nuwangi was originally supposed to be a rival character to Hakuoro, like Char to Amuro. -Washimi

He was originally going to stand out more, being a pervert who would chase Eruruu around in his underwear, but other people on the project stopped me from writing him this way, and when I had him calm down a bit he was a pretty boring character, and I ended up writing him out earlier. -Suga

That resulted in the creation of Dee. -Washimi (tl;dr the guy voiced by Char was the replacement for a guy supposed to be Char)

The previous war ended in the black god's victory, thanks to Genjimaru and Karura's father who fought for him. Originally the white god, with Wabe, Tuskul, and Oboro's grandfather on his side had the advantage, but the tables were turned after "something" happened. -Suga

Amaterasu/the light of purification is a weapons satellite. There were multiple Amaterasu launched as part of a project to make an artificial sun. The demi-humans had already been living on the surface for some time when Mutsumi used the satellites to try to destroy Witsalnemitea. Also, the Shakcopol had still been living underground with the humans up till this point, and it was only after the underground facilities were wrecked that they came up to the surface, where they were subjected to discrimination due to previously having had special treatment from the humans. -Suga

There may be some surviving humans left who hadn't been turned to jelly. -Suga

We're thinking of making a sequel. -Washimi

I already have a general plot in my head. The protagonist isn't Hakuoro, though. -Suga