Hideaki It­suno Direc­tor, Cap­com


Were you wary of switch­ing from MT Frame­work to Un­real En­gine 3 for DmC?

I’d heard it was dif­fi­cult to make 60fps ac­tion games in Un­real En­gine, so that did make me wary. My trust in Ninja The­ory’s tech­ni­cal abil­ity – and in par­tic­u­lar the re­sults we were see­ing right from the be­gin­ning of devel­op­ment – soon al­layed those fears.

What was the re­sponse like in Ja­pan to both the an­nounce­ment and the end re­sult?

It was pretty much the same as in the west, I think. It’s fair enough to ex­pect some neg­a­tive re­sponse when it comes to the main char­ac­ter of such a popular se­ries. The an­nounce­ment caused a stir in Ja­pan in many ways. Af­ter it was re­leased, I heard lots of pos­i­tive feed­back.

What was it like work­ing with Ninja The­ory?

Ninja The­ory were able to stim­u­late us in a way that wouldn’t have been pos­si­ble if we had kept our­selves to our­selves in Ja­pan. It wasn’t an easy project by any means, but they hey were very smart and quick learn­ers. I don’t speak much English, but I’ve learned you can an re­lay ac­tion game con­cepts with sound ef­fects cts and ges­tures pretty ef­fec­tively! It would be won­der­ful to get to work with them again.

What are your fond­est mem­o­ries of DmC?

Many devel­op­ment projects end up with thee team at each other’s throats, but I can hon­estly stly say we were able to keep smil­ing un­til the end. Vis­it­ing Ninja The­ory in Cam­bridge was great eat – the fish and chips and the beer there is amaz­ing! A less fun mem­ory, how­ever, was the size of the queue at im­mi­gra­tion when we vis­ited dur­ing the Lon­don Olympics in 2012. 2.

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