Capcom released parts two and three of a documentary series covering the development of Kunitsu-Gami: Path of the Goddess. The first part, previously released, showcased the surprising practical effects that were filmed and placed in the game. The locations players explore and fight through are real, photographed models. The firework and flame effects are real: recorded and edited into the game.

“Because we live in a world where many things are created with CG and computers,” said director Shuichi Kawata, “we wanted to bring a realistic touch to elevate the good and inspiring parts—even with some limitations—to incorporate reality, sensation, and excitement into this game.”

This practical ethos, incorporating reality, sensation and excitement, extends past sets and effects. The costumes, too, were startlingly real, and photographed onto game textures.

“For general costume creation you have to think about things like washing and maintenance,” said Emi Uchino, Costume Creator, “and focus on inner stitching. But I wanted to make clothing with a game-like silhouette that wouldn’t look odd as actual clothing. So we combined Jpanese and Western styles and did a lot of pattern-making and tailoring. Even if this is a world inside a game, I thought a sense of reality would make the game more immersive for everyone.”

Saori Izawa, Action Coordinator and Soh performer, and MUGINO, Tsugumi, Motion Capture Actor and Yoshiro performer, describe their combination of traditional dance and ballet, and the way the motion capture performers continually elevated their characters with jumps and movement.

In the third part of the documentary, the music team—Composer Chikara Aoshima, Music Director Ken Aseem Usami, and Singer/Songwriter ermhoi—describe how that approach extends to the music. The team sought to do something new with game music and sound, taking a variety of approaches. To capture the purity of nature, much of the music was performed or rerecorded outside. Each boss has a wildly different genre, from jazz to rock, and the heroes’ traditional instruments were contrasted against the digital noise emanating from the enemies.

“I wanted to challenge myself to break the rules of game music,” said Aoshima. “For the musical range, there’s this contrast. On the other side of very ambient, minimalistic sounds, is this noisy, experimental portion. I hope that everyone pays attention to those two contrasting sides.”

Kunitsu-Gami: Path of the Goddess is available now, with a demo on most platforms. Boss Rush Network writer Andrew Millard described it as a sight to behold. “Soh’s attack patterns, the dance rituals performed by Yoshiro, and the subtle movements baked into even the smallest of hand gestures show so much care in the crafting of this game. And it extends to the environment and villains as well.”

Source: Capcom USA

Featured Image: Capcom USA

Boss Rush Podcast – A Podcast about Video Games

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