Miyazaki was busy with Blood­borne while Dark Souls II was be­ing made, and fans who per­ceive the game to be the weak­est in the se­ries are quick to equate its rel­a­tive qual­ity with Miyazaki’s ab­sence. Given that he’s now jug­gling his de­signer-di­rec­tor du­ties with his po­si­tion as com­pany pres­i­dent, and the fact that de­vel­op­ment of Blood­borne and Dark Souls III have over­lapped, arm­chair pun­dits have sug­gested that he may not have been able to give the cre­ation of Dark Souls III his full at­ten­tion. Not so, ac­cord­ing to From staffers.

“Once we come up with a de­sign, we sub­mit it to the di­rec­tor [Miyazaki] and he gives us his feed­back,”

Masanori Wara­gai, FromSoft­ware con­cept artist, tells us. “Then we re­design and ask for more feed­back again. The de­sign goes back and forth be­tween the de­sign team and di­rec­tor un­til we get it per­fect. We do ex­ten­sive study and re­search, but Miyazaki is an ex­pert at cre­at­ing his­tor­i­cal games set in the at­mos­phere of me­dieval Europe. We learn a lot from him.”

Com­poser Yuka Kitamura de­scribes a sim­i­lar process of back-and-forth with Miyazaki on the sound­track for the game’s boss-bat­tle themes. “Work­ing that closely with him was a plea­sure, an in­spi­ra­tional cre­ative ex­pe­ri­ence,” she says. “It en­abled me to cre­ate some­thing I could never have cre­ated by my­self.” The end re­sult cer­tainly sounds very much to Miyazaki’s taste. “I’m con­fi­dent that the mu­sic for the boss bat­tles is deeper, and darker, than ever,” Kitamura says.

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