Keio Flying Squadron 2 | |
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![]() European cover art | |
Developer(s) | Victor Entertainment |
Publisher(s) |
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Director(s) | Yasushi Endo Satoru Honda |
Designer(s) | Teruhito Yamaki |
Artist(s) | Naomasa Kitatani Kenji Kawashima Yoshiyuki Ozaki Nobuyuki Ikigame Daisuke Fukuda Akito Kuroda Masaru Yokōra |
Writer(s) | Satoru Honda |
Composer(s) | Tsukasa Tawada |
Platform(s) | Sega Saturn |
Release | |
Genre(s) | Platformer, scrolling shooter |
Mode(s) | Single-player |
Keio Flying Squadron 2 [a] is a 1996 Japanese video game for the Sega Saturn. Developed by Victor Entertainment, it is a direct sequel to Keio Flying Squadron . While the first game is a side-scrolling shoot 'em up, the second game is a platformer with shooter sections.
Like the first game, the second game refers to Japanese culture, both ancient and modern simultaneously.
A year has passed since the apocalyptic disaster known as the "Ark Catastrophe", which left a great crater in the center of Edo. The destruction wrought major economic consequences and while much investment was poured into the public works for the new Edo Castle, the citizens were all feeling the pinch of the recession.
Dr. Pon Eho was no exception. Although a freak of nature with an astronomical IQ of 1400, hard reality forced the genius tanuki to become a laborer in the construction of the new castle. One day, while he was shoveling away some gravel near the center of the crater, he unearthed the Secret Treasure Scroll and one of the Six Magical Orbs (called Jewels in the Japanese version). With the knowledge that the six Orbs together would bring him an enormous amount of treasure, he quickly left his job in search of the remaining five Orbs listed on the Scroll's map.
Meanwhile, Himiko Yamatai, "the 13th Queen of Yamatai-koku", makes a dramatic appearance at the Nanahikari family's dinner table and grabs the family's Magical Orb. But before she can get away, Dr. Pon ambushes her and steals it. Of course, Rami makes chase and joins the race for the great treasure, starting her on her new adventure. [1] [2] [3]
The game mainly consists of side-scrolling platformer stages. [4] Two of the stages retain the shoot-'em-up style of the first game, but the Homing Spot Jrs. can be obtained as bonuses only. Besides the platformer and shoot-'em-up stages, there are vertically scrolling bonus stages, a rollercoaster stage and an underwater stage, classifying the game as a multi-genre platformer.
Several bonuses can be collected including three weapons:
Rami can also bounce on the heads of enemies to defeat them, as well as Kappas to reach higher places. Being damaged without holding an item results in the loss of a life. Background objects can be pick up and thrown at enemies to defeat them. Some background objects can also have a utility use. There are three difficulty levels which alter how many enemies there are to defeat and how quickly weapons disappear after being damaged.
Points Orbs can be collected throughout the game. Defeating some enemies also rewards points, but there are some enemies that are considered passive and will instead deduct points when defeated. A reward system accessed from the main menu unlocks helpful hints and behind-the-scenes extras depending on the highest and lowest scores achieved through playing. [5] [6]
Japanese names are given in the Western order, given name first.
After Keio Flying Squadron was released to critical acclaim, the developers at Victor Entertainment started talking about developing a sequel. Production on the game began in 1994 with the title Keiō Yūgekitai 2, with director Yasushi Endo, game designer Satoru Honda, programmer Teruhito Yamaki and composer Tsukasa Tawada getting the ideas together. 3D video games were popular at the time, but the developers chose to stick to 2D, initially developing the game for the Sega CD. This was due to them having little experience in 3D game design and considering the idea of turning anime characters into polygon models terrible. Six months later, the developers heard of Sega's plans to release the Saturn in November, so they changed course. However, they did not know the console's technical specifications, and could not really use the development equipment even when it arrived. They were so focused on learning how to make games on the Saturn that they could barely think about doing 3D polygon graphics. Over time the Saturn and PlayStation began focusing primarily on 3D polygon graphics, which angered them. They decided that they would never use the Saturn's capabilities. [24] [25]
The game was going to be a graphically enhanced version of the first game, but was made into its own game with a different story. [26] [27] [28] [24] The developers felt that because the previous game was a shooter, it did not allow time to look closely at the characters onscreen, making it difficult to bring out their charm, with Rami Nanahikari being the only exception. Because of this, the game was changed into an action platformer to allow for larger sprites. [29] [30] The game's art and graphics were done by Naomasa Kitatani, Kenji Kawashima, Yoshiyuki Ozaki, Nobuyuki Ikigame, Daisuke Fukuda, Akito Kuroda and Masaru Yokōra, while the character designs were done by Hiromasa Ota. The characters originally had sprites that were more in line with their anime designs, [31] and Rami would have also carried a Frog Hammer. [29] [32] The game was planned to have different features, including video backgrounds, 3D bonus stages, and real photographs for most of the items that the player would pick up. The specifications for the Saturn had changed a lot at the time, so the developers spent time testing the console's capabilities. Keio Flying Squadron 2 was Victor's next big project, although they were also developing a couple of other Sega Saturn games: Metal Fighter Miku and a port of 4D Sports Boxing (later Center Ring Boxing). [27] [28] The game was considered for release in February 1995. [33] [34] [35] However, development continued past that month. The game was later renamed Keiō Yūgekitai: Katsugeki-hen, [36] and the video backgrounds, 3D bonus stages and photographed items were cut. The characters' sprites had to be redrawn in 2.5D due to limiting the range of movement and making parts of the platformer stages almost unusable. [31] The game would make use of sprite scaling, squashing and rotation, digital photography, transparency, shading and 3D elements.
The Sumida River stage was originally going to be a platformer stage, but was changed to a shooter stage when Endo had issues implementing Kusatsu, the Arrow of Hope. Due to this, the bow and arrow set has stationary locations throughout the stage and cannot be obtained. [37] The Martial Arts Tournament was planned to have seven participants, but five of them ended up being scrapped, with only Benkei Musashibō and Missionary Xavier making the final cut. [38] [39] They include:
In contrast to the first game's fast-paced score, Keio Flying Squadron 2's soundtrack had a "relaxed"-sounding tone. Tawada wanted each stage to have their own different music, with the platformer stages having patterns that ranged from sounding Sonic the Hedgehog -esque to Disney-esque. [40] The musical instruments, which included koto, shamisen, percussion instruments and drums, were recorded using the Yamaha SY99. [41]
The game features animated cutscenes produced by Studio Pierrot, who also produced the cutscenes in the first game. The Japanese voices were recorded and directed by Susumu Aketagawa at Magic Capsule and Avaco Creative Studio. Rami was the only character in the first game with spoken dialogue during gameplay, but this time the enemies and bosses also had dialogue. [42] In response to overwhelming requests, Miho Kanno, who was appearing in advertisements for the Victor V-Saturn [43] [44] and releasing singles under Victor's music label at the time, reprised her role as Rami, reuniting with Jōji Yanami and Keiko Yamamoto, who reprised their roles as Dr. Pon and Grandma, respectively. [45] [46] Kanno stated that upon hearing about the game, she felt a sense of parental affection because Rami was popular and loved by everyone at the time, considering her a character close to her hometown of Saitama Prefecture. [10] [47] [48] Producer Toshiyuki Nagai took care to create an atmosphere in the recording booth so that she could enjoy her sessions. Yanami also replaced Yusaku Yara as the voice of Grandpa. Mika Kanai provided the voice of Himiko and replaced Akiko Hiramatsu as the voice of Spot. [10] Additional voices were provided by Yamamoto, Kae Araki, Keiji Fujiwara, Nobuo Tobita, Wataru Takagi, Dai Sasahara and Hikiko Takemasa. [11] [49] For the boss characters, Tawada used a sample of his own burp from a sound effects library for Musashi Sakaimari, and created Daidarabotchi's (the game's final boss) voice and sound effects by recording Fujiwara's voice and applying various effects to it, such as pitch-shifting it down. [21] A lot of the voice clips were recorded on Digital Audio Tape, with Tawada using about three-fifths of the samples. At one point he recorded the 3-meter Alien's voice at the wrong sampling rate, resulting in it being sped up when imported into the game. Subtitles were added for players to understand the Alien's dialogue. [50] Tawada planned to use the Saturn's built-in sound engine for everything, including the music, but the voice clips took up a lot of memory space on the disc, so he decided to use Compact Disc Digital Audio instead. [42] The English translation and voice recording was done at Watanabe-Robins & Associates and Music Annex, with the voices provided by Samantha Paris, Roger L. Jackson, Elaine A. Clark, Toby Gleason and Don Robins. [13] Clark performed several different characters in the game, including Himiko, Hannya, Otafuku, the 3-meter Alien and Yoshiko Oroshiya. [22] [23]
As part of a marketing campaign for the game, fans could apply to win goodies (including a colored paper with an autograph signed by Miho Kanno, cels used in the game's cutscenes, a 30-minute promotional video, and a telephone card) by answering a questionnaire postcard and entering their gift's number before May 31, June 30, July 31, or August 31, 1996. [44] Merchandise such as T-shirts and sweatshirts with Rami's face was also being planned by JVC at the time. [51]
Keio Flying Squadron 2 was released on May 17, 1996 for the Sega Saturn in Japan, and in Europe and Australia in September later that year. [4] [52] [53] [51] [54] [55] [56] [57] [58] It was originally set for release in March of that year, [59] and was considered for a North American release. [60]
Keiō Yūgekitai: Okiraku Tamatebako (慶応遊撃隊お気楽玉手箱, Keio Flying Squadron: Carefree Jewel Box) was a "not for resale" Sega Saturn disc only available in Japan in 1996. The disc contains higher quality versions of both the opening and ending FMV cutscenes of the first game, two cutscenes related to the second game, demo levels from the second game, a sound test including voice clips for Rami, Spot, Dr. Pon and Himiko, a showcase of the aforementioned scrapped Martial Arts Tournament participants, and an art gallery available both in-game and separately, being accessible on the CD via a personal computer. [61]
Publication | Score |
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Sega Saturn Magazine (UK) | 78% [51] |
MAN!AC | 76% [62] |
Sega Saturn Magazine (JP) | 5.66/10 [63] |
Total Saturn | 92/100 score. [54] |
Upon release, Keio Flying Squadron 2 received a mixed reception. While many praised the game's graphics and soundtrack, the controls were a common point of criticism. The Saturn was also facing stiff competition from the PlayStation and Nintendo 64, which likely overshadowed the game's release. [64]
Sam Hickman wrote in Sega Saturn Magazine that the game had very generic and overly easy gameplay, but was still somewhat fun to play, largely due to the intriguingly strange graphics. However, she concluded that most people would not find it worth the retail price, and scored it a 78%. [51] Total Saturn scored the game 92 out of 100, calling it a "playable, refreshing game after the mayhem of Nights into Dreams ". [54] Mean Machines gave the game a score of 75%, with Marcus stating, "Quality platform games are difficult to come across these days and, while the difficulty is level here is obviously pitched towards younger players, there's enough trickery and Japanese kitsch to keep older ones amused. Fun, while it lasts." [55] Alex Cox of GamesMaster scored it a 79%, calling it "a good, solid, mental platformer that'll give you a laugh if nothing else". [56] Ryan Butt of Saturn+ scored the game an 84%, admitting that it was mostly a platformer and likening the ability to pick up and throw objects to Astal . However, he praised the game for its "cunning puzzles and sick, deranged humour factory that make playing through to the end compulsory". [58] In 1998, Saturn Power rated the game 88th on their Top 100 Sega Saturn Games, summarizing, "A bizarre Japanese platform game that, somehow, manages to impress all that come into contact with it. The graphics are fairly primitive, but the gameplay's excellent." [65] Michael Townsend of Retro Replay stated, "While Keio Flying Squadron 2 dazzles with its graphics and catchy tunes, the clunky controls were a deal-breaker for me. It's a shame because the game has so much personality, but when the gameplay doesn't match up, it's hard to fully enjoy the experience." [64]
声優さんの声から切ってきて、いろいろエフェクトかけて、グルグル回したり。1面のボスのダルマのゲロもね。音が妙にリアルで。あれはね、昔サンプリングした自分のゲップ。ライブラリから引き出してきて、いろいろループさせたりして。「慶応~」くらいですからね。そういうのを使えるのは。ゲロがゲームに出ることってあまりない。サウンド的にはけっこうたいへんだったね。数がとにかく多くて。サンプリングなんかもいっぱいしなきゃいけない。
3Dが不得意だから。それもあるけど、メガCDで企画していたというのもあるし...。前作を出してみたら好評だったんで、2を作ろうという話になったんです。だから、最初の企画はメガCDで温め いたんですよ。あと、アニメのキャラをポリゴンにしても悲惨だし。ところが、2の企画を立てて半年くらい経ったころ、セガが新しい機械を出すらしいという話が来て、路線を変更したんだ。ただし、詳しいスペックとかそのへんは...。ようやく開発機材が来ても、あまり使えなくて。キーボード叩くよりも、蓋開けたり閉め たりとか、そういう時間の方が長かっ た。当初はどうやってサターンでゲームを 作るかということで頭がいっぱいで、3Dとかは考えられなかった。ところが、そのうちサターンやプレイステーションが3Dばかりアピールするようになって。このあたりから意地になって。サターンの特殊機能は絶対使わんぞと。
シューティングだとキャラクターを一生懸命描いても、出した途端にやっつけられちゃう。もっとちゃんと見せ たいなって。 だよね?それから、シューティングってユーザーの層をけっこう限定しちゃうじゃない? 昔はそうでもなかったけど。で、1作目を出してみたらキャラクターがけっこう立ってるし、だったらもう少し広げようかと。
キャラクターは一度全部描き直しを。キャラを取るかプレイのしやすさを取るかでは、けっこうもめました。 1回、キャラクターをアニメのキャラクターに近い等身で作ったんですよ。ただ、そうすると動ける範囲とかが限られたり、アクションの命というかトラップとかがほとんど使えなくなったり。今は2.5等身くらいでしょう。グラフィッカーに2.5等身にしてくれと言っても、なかなかしてくれなかったりとか。わざとへたくそに描いてみたり。ほらだめでしょうと。でもそれは、かわいそうといえばかわいそう。だって、一通り作ってあったのを没にして、全部書き直しですから。
サターンの互換ハード、V・サターンを発売するビクターは「全社あげて、サターンに力を入れていきますよ。基本的には海外の大作とオリジナルの2本柱でいきます。予定では「4Dボクシング」「メタルファイターMIKU」が来年の夏ごろ。「慶応遊撃隊2」はそれより2か月くらい遅れそうですね。ラインはたくさん動いているので、来年末くらいには月1本以上のペースになるかもしれませんよ。海外からのゲームを日本語化すると同時に、海外への輸出も考えています」南氏の鼻息も荒い。
1の3(隅田川)のシューティング。あれは、もともとアクションだった。その名残りがあの取れない弓矢に出てると。あそ こはアクションで作っているうちに煮詰まっちゃって。それで、シューティングにしてみたらどうだって。そうしたらそのまんまなっちゃって。
もともと武闘大会って敵7体でやるはずだったんですよ。その敵キャラのイラストが雑誌に載ったもんだから、ニフティに「さるモードでは弁慶とザビエルしか出ないようです」という書き込みが。
アクションゲームにしては割とのんびりしていますね。前回はシューティングで、けっこうインテンポで始 めから終わりまでノリよくやったんですけど。今 回は、キャラクターの動きが非常に可愛らしいんですよ。それなら、音楽もただ始めから終わりまで盛り上がるんじゃなくて、その曲 自体に起伏がある。各面でもいろいろ毛色が違うというのを心掛けました。何というのかな、ゲームを時間をかけてゆっくりと楽しんで欲しいと。たとえばアクションといっても、ソニック風とかディズニー風とか、いっぱいパターンがあるじゃない。その中でも、できれば和風ディズニーみたいなのがいいかなと思ってたんで。
前回は主人公が喋るだけだったんだけど、今回は敵キャラもバンバン喋るし。最初はBGMも含めて全部 内蔵音源でやろうと思っていたんだけど、けっこう声とかが多くなって、メモリを圧迫して。それでもいろいろいじってみたんだけど、自分の納得するような音をどうしても出せないので、それだったらCD-DAにして。で、できるだけループが頭に戻っても分かんないようにやったんですけど。
蘭未ちゃんというキャラクターが皆に温かく受け入れていただけたんだなと、親心のような気持ちになりました。
僕んとこのDATには没頭した声がいっぱい。そのうちプレミアがついたら。サンプリングしたもののうち、使ったのは5分の3くらいかな。宇宙人の声は面白かったよね。たまたま僕がサンプリングレートを間違えて取り込んじゃったら、けっこうハマって。それが面白いんで、何言ってるか分からないような字幕なんかつけたりして。字幕撃つと点数が入るんですけど、なぜか。びっくりしました。初め避けてたらいきなり点数がピコンって入って。何だ これは。字幕で点くれるの?