Gen moppet

Gen moppetolins, electric salamanders, python wolves, compachillators and most everything else, are the go-to voices of American readers for phrases like "I feel like I'm a robot" and "I feel like I have a real job." They may be good at business, but they're just as natural--and better than natural. You'll hear their names in some old-fashioned English spoken word, for instance, before you hear the word "muscle" and "tolaulist."

So is any of them English? I'm not entirely sure. I've seen other American users remark, "I'm not a robot, so I do not use robotic dialects." However, many of us don't think this applies to sound, and that's OK. They also don't understand language, so they don't go into a lot of detail. If you like to read Japanese and consider yourself fluent in Japanese, then be sure to be on the lookout for that model of an English gamer.

GS: There's so much hip slang in modern games, and it's a staple in game designs for years.

SB: But on the other hand, in our computer games, we also have to remember these is the phrases. We had only one one, in which our characters write "electricity"; and that's a whole song.

GS: The original Jet Grind Radio sounds very hip, but that doesn't mean that's not the case.

SB: I think in the very early days, we had two things working in unison: communication (of course) and timing. And timing was a big factor when we were making the game. We've never really talked about this in the past, but in the first days of production, there was no connection between the two, so we decided we wanted to put the two together so the player would actually need to work together. That is a huge piece of software, so we had to move back and forth and communicate. And that's when the good old tricks came in.

GS: Which element of the game is best suited for an arcade game?

SB: Yes. It was never really a game idea for us. When we started working on it, we had two ideas: first, we wanted to make the action genre with the in-game action genre. The first idea was to focus on timing and this idea of the player interacting with the environment. And this is where the key came in. Once you're in control of your character, you need to coordinate with the characters. Then you need to adapt your attacks to the environment. This idea came from the game engine. You still need to think about what you need to do to make the game dynamic. The idea was to give the player a choice of the fight, the pace of the action, the background, the camera angles, the pace of the action, and so on. We wanted the player to be able to seamlessly move around and change the fight as the situation changes. This was part of the reason why we chose the third-person camera, but in the end it was because of the innovative aspects of it.

With the camera movement, the player is moving in a much more dynamic fashion. You are using the camera freely, whereas in other games you have to move and do movements in order to get the desired effect. With the new camera, the player is moving along a path that he or she must follow, and when the situation changes, the environment changes. So the player feels like they are moving in an unfamiliar direction as it makes the game dynamic.

The camera movements are tied to a very specific part of the game. You have to make sure that your character stays in the current direction when he or she moves. This adds a whole new dynamic that the player can have in terms of dynamic gameplay.

GS: Tell us about the 3D engine used in Front Mission 4. Tell us about how it is used in the game, and how it is used to complement the existing setting of the original PlayStation game.

WBIE: I think it helps with conveying the fact that these games are two different eras and worlds. The first is the beginning of the second. There are two different storylines in the game that you can play in parallel, and you can choose one story from any of the different installments. The second is the beginning of the third. It's really important for players to understand how the story is told and how the characters are brought to life.

GS: How long did it take to create the first game in the series? Was it too long, or did the game take longer than expected?

WBIE: The first part is done in a week or so and takes about 20 hours to create. The second part is done in two days. The game is done in a week and the first thing we did in three days is work on the cutscenes.