The Generation of FINAL FANTASY XIV:

Shadowbringers movie documentary provides a fascinating look behind the scenes of this critically acclaimed growth.
Across seven episodes, the series looks at all, by writing the narrative to building the battles. It is full of interesting insights and anecdotes direct from the developers themselves.
Here only 10 of those things it’s taught us:
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1. The authors wanted to challenge basic assumptions of dark and light
Traditionally, light and darkness are introduced in a particular manner in fiction, and this was also true of ffxiv world status Online. Even within the game’s development group, mild equaled darkness and justice equaled evil.
For Shadowbringers, Producer and Director Naoki Yoshida wanted to challenge and subvert these assumptions.

He says:”When folks think of Light, they believe of something amazing, righteous and just; something that is pretty to look at, unstained and untainted, but that’s not necessarily correct.
And if you look at Darkness, there’s beauty in it – there’s a line of dialogue that talks about how it’s the night skies that permits the stars to become beautiful.”
2. The First was significantly influenced by the Actual world
Shadowbringers moves the action out of Hydaelyn right into a whole new realm: The First. It may seem a fantastical setting, but lots of the areas you explore were deeply inspired by real places.
For instance, on a business visit to Saudi Arabia, the team took the chance to visit the desert and shoot a few photos while they were there. The design and textures of Amh Araeng take many direct cues from that reference material.
Elsewhere, The Rak’tika Greatwood’s Ronkan Ruins were inspired by Angkor Wat – a massive temple complex in Cambodia – while the primitive cliffs of Kholusia were influenced by the Seven Sisters in the UK.

3. Making the Everlasting Light look just right took effort… and traveling
How can you create light feel oppressive? This was among the biggest visual layout challenges for your Shadowbringers devs, and it took a great deal of time and thought to generate the light sense right.
Every part of the weather conditions was considered. For instance, Background Artist Masato Shida worked on the clouds – and went to some lengths to get them as good as he can.
“I decided I needed to depict clouds that felt as though it had some depth to them,” he recalls. “To do so, I chose to take reference photos of different kinds of clouds.
I really went outside of Japan to Guam to take pictures of the various clouds there, and they were very rich, thick clouds. It was those I utilized and modified to make exactly what you see in the match.”
Now that is dedication!
In Regards to Shadowbringers fashion, capes have been in
Due to how ffxiv data centres Online is put up, the team isn’t really able to create cloaks and capes. They had announced this publicly before, and stressed it to the art team.
But you’ll notice that new equipment for the Red Mage includes what looks suspiciously like… a cape. That is because Character Concept Artist Ayumi Namae came up with an idea to make something that looked like you.
Although there was an opportunity it would not seem right, Character Artist Yuji Yamazaki and staff decided to roll the dice and see what they could do.
He says:”While it may not have appeared very realistic compared to an actual cape, there was a notion that there for us to fudge it!
I believed about the performance we already have in our clothing designs and informed Ms. Namae that while I could not make any promises, I could see a way to give it a go that may work.”
By borrowing from additional’flowing’ elements like skirts or hems,” Mr Yamazaki managed to create a similar effect with cloaks. They do not move in their such as a true cape does, but it mimics the effect fairly brightly.
The monsters were designed to emphasize the game’s themes

The developers of Shadowbringers wanted the creatures of The very first to play into the topics of subverting the conventional job of light vs darkness.
This is very challenging, but the results of the approach can be seen clearly in the Sin Eaters. Their crude white coloring pertains back to traditional representations of light, but it also fees unnatural and visually striking, which makes it possible for the designs to have a great deal of impact.
In one of those pivotal early scenes in Shadowbringers players experience a Sin Eater. Lead Character Concept Artist Yusuke Mogi explains how the layout also intentionally subverts traditionally calm iconography:
“She’s wings evocative of a white dove, a creature that’s traditionally representative of calmness.
So that it makes it interesting because you have these white-winged monsters and then in comes this depraved Warrior of Darkness slashing and beating them”
6. The Voidwalker manager was designed as a bracket
The Voidwalker boss which looks within the Eden’s Gate raid is one of the most spectacular directors in Shadowbringers, but it was not originally designed to become one.
When Mr Mogi obtained the request, he believed it was meant to be a mount. Because of this, his first design was like a bird, laying down so players could climb on top to ride.
So when the programmers implemented it as a boss fight, and standing vertical no less, it had been quite a surprise for the artist!
Some of the audio asks were… unconventional
We have already mentioned figuring out the way to portray the transformation of a person into a Sin Eater was a fairly tricky task, but there’s one frequently overlooked element that was especially challenging.
The horror of the shocking transformation is driven home by the noise, but the developers who worked on the scene had to compete with some very strange direction.
“The instruction we obtained regarding the noise was essentially’fairly vomit’, which resulted in the person assigned to applying the noise being confused!” Says Sound Designer Move Kinuya.
“Well, ultimately we could figure out a remedy that seemed to work best for everyone, but I do remember there were a few tricky areas when working on it.”
So if you’ve ever wondered what pretty vomit sounds like, now you know.
The gremlin in the opening cinematic was voiced by a guy hiding in a cupboard
The world of FINAL FANTASY XIV Online is filled with weird creatures, and many need some sort of voice that is distinctive. It’s up to the sound team to make them, but sometimes even they can be flummoxed.
The gremlin in the opening cinematic to Shadowbringers is just one such example. Sound Director and Composer Masayoshi Soken delegated the task of creating its voice into a junior member of the group, who tried various things but nothing seemed to work.
Mr Soken recalls that:”In the conclusion, as a last-ditch attempt, he moved home on the weekend, shot a hand recorder and went into his closet to subtly record what he thought a gremlin may seem like, while attempting not to disturb the rest of his loved ones . It was amazingly good!
“We did alter the voice quite a bit of course, but it’s my colleague’s voice that we used.”
The behavior of Trust System NPCs is defined by their own personalities.
When developing the Trust system, it had been significant to the group that each NPC’s characters shone through – not just in their dialog and look but in their actions also.
This proved to be quite challenging, and the team has to think long and hard about how to emphasize the particular traits and quirks of all the AI itself. Each character needed to act in a way that was consistent with the way they had been portrayed in FINAL FANTASY XIV Online so far.
Fight Fight Designer Masaki Nakagawa supplies an example of how this works in practice:

“Though Alisae gets the capacity to utilize the Vercure healing magics, it feels like her character would skew towards implanting strikes and only have her step in with the cure spells once the healer is having a hard time.
“Attempting to show these nuances inside the AI system was certainly a struggle.”
10. How did the NieR raid series come about? Thank beef and wine
The YoRHa: Dark Apocalypse raid series is one of the highlights of Shadowbringers. It is a cooperation with NieR series Producer Yosuke Saito and Director YOKO TARO, it however how does something like that even get started?
Steak and wine help.

“Simply put, I wanted to do something with Saito-san and YOKO-san, so I invited them out for supper without any kind of circumstance,” says FINAL FANTASY XIV Online Producer and Director Naoki Yoshida.
“We went and ate some delicious steak and after opening about two bottles of white and red wine every day, I chose to ask’do you prefer to work on something with me? ”’
YOKO TARO adds:”We were drunk at the moment, so that I really don’t have any recollection of what happened.”