Today, we are thrilled to announce that Backbone One – PlayStation Edition, an officially licensed smartphone controller, is now available for both iOS and Android users internationally.
The reception we received when we recently announced Backbone One – PlayStation Edition for iOS has been incredibly exciting. We’ve seen many gamers take advantage of the PS Remote Play app feature, enabling gamers to play PS4 and PS5 games streamed from the console with the Backbone One – PlayStation Edition while they are out and about or anywhere in the home.* It has quickly become one of the most popular gaming features on the BackBone platform.
We’ve closely collaborated with the PlayStation team on the look and feel of Backbone One – PlayStation Edition for Android. The colors, materials and finishes are all inspired by the design of the DualSense wireless controller, including the transparent face buttons. It matches the look of the PS5 console, and if you already own the Pulse 3D wireless headset, you can connect it directly to your Backbone One via its 3.5mm headphone jack.
The latest update to the PS Remote Play app on Google Play allows for easy setup and play with Backbone One – PlayStation Edition. If you have access to broadband internet and a PS5 or PS4 console, plug an iPhone or Android device into the Backbone One and instantly start playing your PS5 and PS4 games with the power of the PS Remote Play app — whether that’s out and about or even elsewhere in the home*. See the PlayStation Remote Play website for more information.
When using the PlayStation App, players can double-tap the Options button on Backbone One – PlayStation Edition to easily access the app. Additionally, the latest PlayStation App update will also support controller-based navigation in landscape orientation to optimize the user experience.
Available games may differ by region.
Backbone One also works wonderfully with Google Play and App Store games as well as other game streaming services that support controllers, and may be used with games like Call of Duty: Mobile, Fortnite, Diablo Immortal, and more.
Players can download the Backbone App for a customized PlayStation experience. Inside the app, you’ll see various PlayStation integrations such as custom glyphs representing the iconic PlayStation shapes, and the ability to browse hundreds of game titles. The Backbone app on Android brings all your games into one place, including app store games and supported game streaming services. Players will also find a dedicated row inside the Backbone App with new releases and updates from PlayStation.
Finally, Backbone One PlayStation Edition will soon be available in Japan, Korea, Taiwan, Hong Kong, and Singapore, in addition to existing availability in the US, Canada, Latin America, Europe, Middle East, Australia, and New Zealand.
We hope Android owners will enjoy the PlayStation App, PS Remote Play experience and mobile native games with the Backbone One – PlayStation Edition. Visit PlayStation Support to find out more about how to set up Backbone One – PlayStation Edition for Android for use with PS Remote Play on Android and other compatible devices.
*A PS4 or PS5 console, the PS Remote Play App and an account for PlayStation Network are required to stream your games to other devices. PS Remote Play can be used with a mobile data connection or Wi-Fi. Broadband internet with at least 5Mbps is required. For a better PS Remote Play experience, a high-speed connection of at least 15Mbps is recommended using either Wi-Fi or mobile data connection. Titles that require PS VR, PS VR2, or other peripherals such as PlayStation camera are not compatible with PS Remote Play. Availability of DualSense features such as audio output and haptic effects vary when using PS Remote Play on Android, PC, Mac, iPhone or iPad, and some features may not be available.
Hello, neighbors! The town of Raven Brooks is calling again, and this time you’re going to get up close and personal with the town – virtually speaking.
Developed by VR veterans Steel Wool Games and launching on May 25 for PlayStation VR2, Hello Neighbor VR: Search And Rescue is a thrilling new adventure set in the twisted little world of the Hello Neighbor franchise. There’s all the puzzling, sneaking and mystery you’ve come to expect from snooping around the Peterson Estate (all while dodging the attention of your eccentric and unhinged neighbor), but this time, you’re going hands-on, using every trick in the PS VR2 book to intuitively navigate a reactive, physical world.
Everything in the world of Hello Neighbor VR reacts the way it should in the real world, so it’s time to get your grubby little fingers where they don’t belong and dig up some mysteries. Nervously nudge doors open, poke your head around corners (while listening carefully for unseen dangers) rummage through cupboards with haptic feedback relayed direct to your fingertips, and generally act like a sneaky little kid should. Or kids, as the case may be.
For the first time in the Hello Neighbor series, Search And Rescue puts you in the shoes of an entire crew of meddling youngsters. While this is a single-player game, you’ll be switching control between five kids; the self-titled Raven Brooks Rescue Squad. Each has their own unique puzzle-solving gadget, and all of them will be needed to unravel the maze of machines and traps you’ll find. Coordinate the movements of the entire team, using your walkie talkie to switch perspectives at any time. Put their heads together and rescue your missing friend from the mysterious mad gadgeteer (and part-time kidnapper) Mr. Peterson.
We’re excited to let you loose on the trap-laden, off-kilter Peterson Estate. Every little crack in the walls can give you a glimpse of coming danger, so keep those eyes peeled. While it’s always good to see trouble coming, sound is essential in any stealth game, and the PS VR2’s 3D audio capabilities are perfect for the job here. Press your ear up against doors for an early hint of danger, or tilt your head to figure out whether that creaking is coming from the attic or basement. Just tread gently and don’t let your Rescue Squad members get snatched up. Rescuing one kid is hard enough!
Of course, controlling an entire squad comes with its perks. Footsteps getting uncomfortably close for comfort for one character? Switch to another and make a noise. Ring the doorbell, turn on the TV or flush a toilet and then scurry off to a hiding spot. The neighbor is sure to come running, giving the rest of your team some breathing room. Play your cards right and you’ll drive your enemy to distraction – just don’t push your luck, or you could end up backed into a corner with nowhere to go. Rescuing your pal Nicky will be a tough job, but with a bit of thought and a local Raven Brooks can-do attitude, anything’s possible.
Keeping your squad in top puzzle-solving condition is essential in Search And Rescue. The Peterson Estate is a strange web of interconnected machines and puzzle-pieces. Many of the puzzles are intuitive and physical, able to be completed in creative, improvisational ways, but sometimes you’ll need the right kid in the right place at the right time. Each of the gadgets carried by the Rescue Squad members gives them a unique place in the puzzle, and you might need several kids positioned strategically and working in sync to open up new paths. Mr. Peterson might think he’s some kind of big-shot inventor, but five small minds put together are better than one big jerk.
We think that VR fans and Hello Neighbor veterans alike will find this trip to the neighbors house to be their most thrilling yet. Steel Wool Games have managed to craft a world jam-packed with creative squad-based puzzles, hidden passages, mystery tunnels and ever-shifting rooms to explore. Mr. Peterson has always been intimidating, but from the perspective of a waist-high kid in VR, he’s a towering, terrifying foe. Give him a run for his money, and foil his plans later this month in Hello Neighbor VR: Search And Rescue. We look forward to your visit on May 25.
There’s one particular Final Fantasy XVI development story Naoki Yoshida admits he’s unlikely ever to forget. The producer describes a particular port city the studio conceptualized. Its key feature: a colossal stretch of huge wall that runs the length of the city, separating it from the surrounding ocean and which has successfully protected those behind it from invasion for over three centuries. It’s a visually impressive sight, one that fits perfectly with the larger fantasy world of Valisthea. There was, however, one issue.
“You look over these designs,” explains Yoshida-san, “And in the far corner of the town, on the sea side, there’s a natural cliff. And this cliff is maybe 15 meters high. And the leader of this city, the most important person, is housed right there beside it. What stopped pirates just coming up, destroying the house and taking over? It made no sense.”
The result was a proverbial – and literal – return to the drawing board to correct the oversight.
It’s a recollection that articulates the careful work to make this fantastical world believable, lived in. And that story is but one of numerous examples of the complexities the producer, alongside Art Director Hiroshi Minagawa and Localization Director Michael-Christopher Koji Fox have navigated as they built Valisthea and the player’s journey through it.
A world’s design, of how Valisthea rests at a crossroads between multiple teams at the studio – environmental artists, level designers, combat teams and more – is the focus of an insightful conversation with the three midway through their two-day stopover in London. That stay is just one stage of a multi-country tour for the game they’re attached to, each stop giving attendees several hours with the near-final PS5 game.
It’s a robust hands-on. We first sample the game’s opening hours, a flashback to a key period in Clive Rosfield’s youth that sets up what’s to come. (It’s this section that players will experience in a public demo which drops ahead of the full game’s launch.) We then play through the two hours and change directly following that demo’s conclusion. Lastly, we’re left to roam for thirty minutes in one of the game’s open areas, a lush valley filled with optional beasts to defeat and side-quests to take up.
In that collective time we wander through castle grounds and hideouts, battle our way through more guided scenarios, partake in a spectacular, cinematic Eikon versus Eikon clash. As such, we get a better understanding of the game’s structure, the environment design. I have answered a question I never thought to ask: what is Final Fantasy’s version of gardening tools?
Boss battles, be they Eikon versus Eikon or Clive’s clashes with bigger threats, promise to be unique encounters. FFXVI has a specific team, a small group of game designers, animators and programmers, dedicated to creating these.
From chocobo stables, ruined towns amid murky swamp land, mountainscapes under repeated Eikon devastation, all is lavish, detailed production. On this first, lengthy glance at least, everything placed throughout is purposeful, every area has a backstory. That, obviously, takes work and collaboration. (“You made us remember things we don’t want to,” Yoshida-san jokingly concludes at the interview’s end after revisiting the challenges that yielded such fantastic results.)
The first step was the story concept, a decision made when looking at what worked, and what didn’t, for Final Fantasy XV. While the majority of Final Fantasy game stories are standalone adventures, they don’t sit in a bubble. Adding to the larger tapestry naturally meant looking back at what came before. Yoshida-san points to players being unhappy with FFXV’s story. “It was incomplete. Things were promised, things weren’t delivered. So that’s what we wanted to avoid for FFXVI.”
Next, they had to envision what was driving the world, driving the characters. The producer likens Valisthea’s Mother Crystals – a staple of Final Fantasy games – to oil fields, the crystal’s Ether production akin to oil. Ether powers magic, powers the world. With that resource dwindling, conflict breaks out. Certain regions felt a natural fit for particular elements, which organically led to matching those with Eikons of similar elemental power (the FFXVI version of the franchise’s monstrous summons). These in turn are controlled by Dominants, unique individuals who as a result of that power can alter the tide of conflict and are thus nation states’ prized assets.
With those aspects envisioned and placed the art team and story writers commence work. As exemplified by a natural cliff nearly bringing a port town low, the complexities of world creation aren’t straightforward. Neither is ensuring locations feel authentic to that area’s backstory and lore.
The world’s dense backstory is easily digested by the Active Time Lore system. A click at any time brings up a shortlist of characters, factions and nations with a short text all of which update contextually based on what’s happening on screen.
“This is not something that can only be done just by the designers. I mean, they tried. They put objects down and they realized quickly that this is not going to work… It didn’t feel real,” Art Director Hiroshi Minagawa remembers, recalling a moment of time early on when there was an overabundance of generic barrels placed across the world. “Go into the desert, nothing but barrels everywhere,” he laughs. “You’ll have some staff that just think ‘the more barrels the better’,” interjects Yoshida-san. “It doesn’t feel like it’s something that’s lived in.”
The solution: cross-pollination between teams. “We brought a member of the scenario and lore team over to give them feedback on what this town is, what the town’s lore is,” explains Minagawa-san. “We had that person provide pictures about what their image of what each area would be, what they were aiming for in the lore, working with the designers with that information to get the proper feel. Something that would fit better with a team. And once that person from the lore team entered, you know, joined with the designers then things got a lot easier.” With clutter reduced and shrewder choices of set dressing made, towns started to reflect the regions they were based on, hinted at a locale or people’s backstory through visual cues alone.
The game’s vertical slice allowed the studio to finesse its vision, experimenting what it could achieve visually on PS5 and use that chosen area’s design to help define what the wider game would feel like. Environmental artists and level designers review and adapt to each other’s suggestions, while the combat team tests if the spot is spacious enough for battle. That gameplay slice incorporates the Caer Norvent stage, which will be playable early in the story campaign.
After being mesmerized by composer Masayoshi Soken’s score from the sections I played, I ask whether music is the final bow that ties any area together. “We didn’t have music until literally right at the end,” Yoshida-san confirms, saying they’ve more than 200 unique tracks in the game. “Early on, we decided on themes for the different nations as well as for the different characters. And it was about taking those core themes and then using arrangements of those for the different situations.
“So for us, it was very surprising as well because we’ve been playing through these with no sound… even we were moved hearing [that music] those first few times towards the end of development.”
The swell of an orchestra or choir is one detail of many that aims to make you feel fully immersed in Valisthea, and all those rich details, no matter how minor, have been made with careful decisions by its developers. Yoshida-san returns to that port town wall of how to sell a lived-in world.
“It’s not been invaded, not fallen. But certainly over 300 years, people have tried. And so you wouldn’t have a nice, clean, unbroken wall after three centuries. You’d have places that are cracked and maybe crumbled, but the wall has held. And just by having that visually, it tells that story. That yes, it hasn’t fallen, but people have tried. And so making sure that the history and the lore that we’ve built is making its way to the design team so they can make sure that that’s in the visuals. It’s very difficult, but that makes the game better.”
This week the team chats with Accessibility Consultant Paul Amadeus Lane about accessibility in gaming, before diving into the world of deck-building with some Inscryption talk.
Stuff We Talked About
Lord of the Rings: Gollum
PlayStation Showcase
Humanity Q&A
Project Leonardo is the Access controller
Interview with Paul Amadeus Lane (starts at 10:00)
Inscryption
The Cast
Download the image
Sid Shuman – Senior Director of Content Communications, SIE
Thanks to Cory Schmitz for our beautiful logo and Dormilón for our rad theme song and show music.
[Editor’s note: PSN game release dates are subject to change without notice. Game details are gathered from press releases from their individual publishers and/or ESRB rating descriptions.]
Last week, we asked you to use the Force and share epic moments from Star Wars Jedi: Survivor using #PSshare #PSBlog. Here are this week’s highlights:
dharlequin shares Cal Kestis wielding an orange lightsaber, cloaked in shadow
AreeLyBadPun shares Cal leaping towards a large creature, wielding a blue lightsaber
zaurielvp shares an agent of the Empire wielding a flamethrower, surrounded by flames
nahHermes shares Cal racing forward against a neon blue and pink backdrop
kingforever008 shares Cal gazing out from a cave at floating turrets
WriterlyRyan shares Cal and Merrin riding a spamel
Search #PSshare #PSBlog on Twitter or Instagram to see more entries to this week’s theme. Want to be featured in the next Share of the Week?
THEME: Star Wars Jedi: Survivor – Cal Kestis
SUBMIT BY: 11:59 PM PT on May 24, 2023
Next week, we’re staying in a galaxy far, far away to focus on Star Wars Jedi: Survivor’s hero, Cal Kestis. Share portraits of Cal using #PSshare #PSBlog for a chance to be featured.
Nock is a fast paced, physical game of bow and arrow soccer. We’ve taken the time to level up Nock specifically for the PS VR2. Here are some of the improvements we’ve made to the game.
Top notch visuals
Running at 90hz on the highest resolution with no foveation and no reprojection, Nock looks better than ever on PS VR2. Crisp clean geometry and vibrant colors that’ll make your eyes happy. It’s a pretty sweet sight.
Feel the action with PS VR2 headset haptics
Nock is a physical sport, and now you can feel every bump of the ball on your headset. In the high-speed game of Nock, if you take your eye off the ball, you could end up on the wrong side of a knockout.
Spectator camera
Using the power of the PS5, we are able to render a second camera. With a variety of different camera options, this is perfect for streaming or having friends and family watch your dominance on the pitch.
As a bonus to our PS VR2 players, we’re throwing in a season pass with every purchase. This pass is your ticket to unlocking over 30 skins, bows, and blocks as you progress in the game.
One last thing, Nock supports crossplay with all major VR platforms. So, no matter what your friends are gaming on, you can all get in on the action together.
This is just the start. We truly can’t wait to see you out there.
While accessibility is an important topic year-round, May is always special as we celebrate Global Accessibility Awareness Day and recognize the strides made by the accessibility community and the games industry to make gaming more inclusive. At Sony Interactive Entertainment, we are committed to furthering that mission, so today we’re excited to share new details and images of the Access controller for the PS5 console.
Download “Image showing the Access controller and its swappable analog stick caps, button caps and button cap tags”
New details and product images
First revealed at CES this year as “Project Leonardo,” the Access controller for PS5 is an all-new, highly-customizable accessibility controller kit designed to help many players with disabilities play games more easily, more comfortably, and for longer periods.
Developed in collaboration with accessibility experts, the Access controller will include a wide array of swappable button and stick caps so players can freely create different layouts that work for their unique strength, range of motion, and physical needs. Each Access controller will include:
Analog stick caps (standard, dome and ball stick cap)
Button caps in different shapes and sizes, including:
Pillow button caps
Flat button caps
Wide flat button cap (which covers two button sockets)
Overhang button caps (which benefit players with smaller hands as they are positioned closer to the center)
Curve button caps (which can be pushed if placed along the top or pulled if placed along the bottom of the controller)
Swappable button cap tags for players to easily mark which inputs they map to each button
In addition, players can use the Access controller on flat surfaces, orient it 360 degrees, or easily secure the controller to an AMPS mount* or tripod. They can also adjust the distance of the analog stick from the controller.
Download “Image showing 360 degree orientation options for the Access controller”
Download “Image showing the ability to attach the Access controller to an AMPS mount*”
Download “Image showing the option to adjust the distance of the Access controller’s analog stick”
Through the Access controller’s four 3.5mm AUX ports, players can integrate their own specialty switches, buttons or analog sticks.
Download “Image showing the Access controller’s four 3.5m AUX ports”
You can read more about the Access controller’s hardware features in our original blog post. You can also visit our new web page here where you can sign up for email updates and be informed when preorders launch, so you can secure your controller at the earliest opportunity.
Download “The Access controller and the DualSense controller can be paired and used together as a single virtual controller”
First look at the Access controller UI
Beyond the wide range of hardware customization options, the Access controller features a myriad of ways for players to create personalized UI settings and configurations that unlock new ways to play.
Button mapping & control profiles. On the PS5 console, players can select their preferred orientation for the Access controller, map different inputs to the various buttons, toggle buttons on or off, or even map two different inputs onto the same button. They can also create and store their favorite control profiles for different games or genres (such as “combat” or “driving”).
Download “Access controller UI image showing a button assignment preview”
Controller pairing and analog stick adjustments. Up to two Access controllers and one DualSense (or DualSense Edge) wireless controller can be used together as a single virtual controller, allowing players to mix and match devices or play collaboratively with others. Similar to the DualSense Edge wireless controller, players can also fine-tune the starting position and sensitivity of input. The ability to adjust deadzones (the distance your analog stick moves before it’s recognized in a game) and stick sensitivity is particularly helpful for players to improve their fine motor control during gameplay.
Download “Access controller UI image showing the ability to pair up to two Access controllers with a DualSense controller”
Download “Access controller UI image showing analog stick sensitivity and deadzone adjustment options within a user-created control profile”
Toggle mode. The Access controller also features a toggle mode, which allows players to adjust the behavior of any button to work like a caps lock key on a keyboard. For example, if you enable toggle mode for the acceleration input in a racing game, the Access controller will accelerate the car without you needing to hold the button down.
Download “PS5 screenshot of Gran Turismo 7 showing toggle mode enabled for the “R2” button on the Access controller”
Players can enable toggle mode for any programmable input. As an example, if a game only allows you to sprint by holding down “L3” (the left analog stick), which can be physically challenging, you can change that input to behave like “click L3 to toggle sprint” by enabling toggle mode for the button you’ve assigned to L3.
Our journey of accessibility on PS5
Alongside new details on the Access controller, we’re excited to share a video today that highlights ongoing efforts across our product development and PlayStation Studios teams to make gaming accessible for more players on PS5. Hear from team members around the world about the work they’re doing to expand gaming accessibility on PS5 through our upcoming Access controller, console UI, and games:
We’ll have more to share about the Access controller for PS5, including more product and release details, in the months ahead. Thanks to all the players who’ve shared valuable feedback and inspire us every day to bring the joy of gaming to more people through innovation and collaboration with you – our community.
*AMPS is an industry-standard mounting screw pattern for attaching devices to equipment, including accessibility equipment.
It’s almost time to see what’s next — PlayStation Showcase broadcasts live next Thursday, 25 May at 3am (BKK/JKT) / 4AM (SG/KL/MNL).
The show will run a bit over an hour, focusing on PS5 and PS VR2 games in development from top studios from around the world. Expect a glimpse at several new creations from PlayStation Studios, as well as spellbinding games from our third-party partners and indie creators.
The live broadcast starts next Thursday, 25 May at 3am (BKK/JKT) / 4AM (SG/KL/MNL) on YouTube and Twitch. Hope to see you there!
Regarding Co-streaming and Video-On-Demand (VOD)
Please note that this web broadcast may include copyrighted content (e.g. licensed music) that PlayStation does not control. We welcome and celebrate our amazing co-streamers and creators, but licensing agreements outside our control could possibly interfere with co-streams or VOD archives of this stream.
If you’re planning to save this broadcast as a VOD to create recap videos, or to repost clips or segments from the show, we advise omitting any copyrighted music.
We’re thrilled to announce the return of an exciting tournament for fighting game fans, FGC Arcade PlayStation Tournaments: Road to Evo on PS4. The tournament offers gamers worldwide a chance to win cash prizes, and winners across each region will get a roundtrip ticket to compete in Evo 2023. We invite all players who want to test their skills and take on the world stage. This is your chance to represent your region at the biggest fighting game tournament of the year.
Last year, we saw players across the world compete in PlayStation Tournaments for an opportunity to play on the world’s biggest fighting game stage. Among them, we saw amazing performances and even new champions crowned. Watch the recap from last year’s event.
Road to Evo 2023 Tournament Details
This tournament will give players in the global fighting game community a chance to make a name for themselves in their region. See the tournament details:
Dates
May 26 – June 24, 2023
Regions
North America, Latin America, Europe, Middle East, Asia-Pacific
Prizing
$7,500 in prizes and a trip to compete in Evo 2023
Featured Titles
Tekken 7, The King of Fighters XV, Mortal Kombat 11, Guilty Gear -Strive-, Dragon Ball FighterZ, Melty Blood: Type Lumina
Rules & Eligibility
Active PS Plus membership required. Must be of appropriate age and a member of an eligible country. Void where prohibited. See full rules.
Each title will have four Qualifiers per region, with the top competitors moving onto broadcasted Final matches in an ultimate showdown of talent and skill. Whether you’re planning to sign up to compete or a spectator looking to watch some amazing action — it’ll be an exciting competition that will shift the global FGC rankings and spotlight the players to watch out for at Evo 2023.
How you can sign up for the Road to Evo 2023
*Sign up for the Road to Evo 2023 in your region on the Competition Center, or head over to the Events tab on PS4. See you there.
*Access to PS4, game title, and active PS Plus membership required. Must be 18+ and a member of an eligible country. Void where prohibited.
*The Event in all parts is open to players from across the world, except as otherwise provided in this Section. The Event is not open to individuals wherever restricted or prohibited by applicable law or in any country where participation is prohibited by U.S. law. Without limitation of the foregoing, the Event is not open to individuals in the Crimea region, Cuba, Iran, Iraq, North Korea, Somalia, Sudan, Syria, and Turkey.
Shuhei Yoshida chats with Yugo Nakamura, creative director, art director, designer, and narrative designer for Humanity, and Tetsuya Mizuguchi, executive producer for Humanity, on how the title delivers a new puzzle game experience. They discuss the thought process behind the creation of Humanity as a new form of interactive experience and how they came up with the game’s main theme.
Humanity is available starting today as a Day 1 PlayStation Plus Game Catalog title.*
Inspired by the “flocking behavior of birds”
Shuhei Yoshida (SY): I heard that Nakamura-san likes to observe flocks of birds, and that’s where you found inspiration for Humanity. Can you tell us more about that?
Yugo Nakamura(YN): I specialize in Interactive Design, and I like to spend my time programming, sharing my work, and creating visual experiences; I enjoy these things and that’s why I do them for a living. I think a lot of people like me have used a simulation program called “Boids,” which essentially simulates the flocking behavior of birds. If you focus on just a single creature, you’re able to create very organic movements just by programming three simple rules and connecting them. But in the case of birds, the simulation looked so alive, and it was fascinating to see how organically the flock of birds moved, even though it was based on such a simple mechanism.
From there, I spent some time making a bite-size mobile game that used simple bird movements as motifs. It was like a racing game where you control a flock of birds.
SY: It’s the one where you try to progress further into the game, right?
YN: Yes. In a regular racing game, you’re only responsible for controlling one car, but in this game, you basically had to control 300 different cars. If you made a small mistake, you lost 100 birds, but then eventually gained back 200!
SY: Game developers like us are always looking to surprise people by creating something that goes above and beyond what you’d expect from a hardware’s capabilities. So when I saw your game, I felt something similar.
YN: I had similar thoughts as a consumer myself. I was shocked at how smoothly games ran back on the original PlayStation, and I thought that was such a great achievement. From there, I decided that since I already made a game with birds on a smartphone, next I wanted to create a system that controlled large groups of humans. That’s how the idea for Humanity was born.
SY: Birds’ movements are driven completely by instinct, but in the case of humans, a mix of intellect and social conventions come into play. What aspects did you focus on when designing the movement of crowds of humans?
YN: My first eureka moment was when I saw huge crowds of people at Comic Market (Comiket) in Japan, all properly lined up and waiting patiently. I was fascinated by how the movement of that many people was so controlled and regulated – I think this sort of behavior is unique to humans who are not just herded by instinct.
“Humanity is something special” – how development started
SY: How did you meet Mizuguchi-san?
YN: I’ve always loved games, and I’d seen Mizuguchi-san many times in gaming magazines since his time at Sega. I was a fan of his work. I once had a chance to meet him briefly, but then I saw him again at Unity Developer’s Delight – a developer event hosted by Unity. There, one of our engineers, Yama, showcased a human crowd simulator demo which was the prototype for Humanity. Mizuguchi-san was one of the judges there, and he later got in touch.
Tetsuya Mizuguchi (TM): I met Yugo once at the Japan Media Arts Festival, hosted by Japan’s Agency for Cultural Affairs, but to me he was like a superstar creator that produced so many unique and creative products. If you turned on the TV you’d see a show that he produced, and if you walked the streets of Ginza, you’d see UNIQLO ads that he had worked on.
Enhance helps navigate the complexities of game design
SY: Nakamura-san’s“tha ltd.” isn’t a game development studio. How does the collaboration between Enhance work?
YN: We aren’t a game studio, but our expertise lies in design and tech for interactive experiences. Even though we didn’t know much about video game design, we were overly optimistic at the beginning, and decided that our team will be responsible for development, and Enhance will take on the role of publisher and producer.
However, the deeper we went into development, we realized that game development was not at all like we had imagined. I realized rather early on that creating a fun gaming experience is not something an amateur can easily pull off, so I spoke to Mizuguchi-san to have seasoned game designers oversee our work. From there, we had staff from Enhance join our development as well.
The fun and terror of collectivized humanity
SY: I felt like the game’s title, Humanity, is ironic in a sense that it reflects how humanity as a concept can be perceived. Heaps of people walking around in hordes almost reminds me of a totalitarian society. I was really curious as to whether you developed the game with such irony in mind, or whether you were just genuinely interested in people. When creating a game, you have to implement a lot of rules, which may cause the game to end up becoming something that was not originally intended. Did you face any dilemma like that?
YN: Actually, the inspiration behind the game title is a T-shirt that I own with a logo that says “Humanity” – I thought that was a cool logo and the word itself had a nice ring to it. But when you think about it, Humanity has a very deep meaning, and when I reflected on how humanity plays a role in my daily life, many thoughts came to mind. Each and every one of us is generally kind and rational, and not many of us are inherently mad or crazy. However, this all changes drastically when it comes to ‘groups’. Politics, war, cancel culture on social media – people tend to go to extremes when they are part of a larger group. The title, Humanity, embodies the idea that humans gain a new trait when they come together.
When we view human beings as a cluster, and not as individuals, we may associate them with the totalitarian and homogenous image you mentioned earlier, and the fear and extremities that derive from that are certainly an important motif in the game.
SY: Visuals of the game evoke fear as well.
YN: It was even more terrifying and ruthless at the earlier stages. When you looked at a single human from a group’s perspective, they looked like a speck of dust or even a tiny piece of trash. Mizuguchi-san provided us with some guidance and we went in a more gentle direction.
Expanding the community with the Stage Creator
SY: What was the idea behind Stage Creator?
YN: Originally, the development team was working on a tool for level design, and we thought it would be fun to make it public. However, it was quite a challenge to develop it into something that users could play with a controller.
When we previously released the demo, I saw users creating stages that went far beyond our expectations, so I felt reassured that we made a good decision
SY: I felt the same with LittleBigPlanet and Dreams. It’s nice to see players leveraging the games in ways that the creators never imagined, and sharing their creations with other gamers. Humanity’s UI is also very well designed. Stages with high user ratings and recommendations are showcased at the top, allowing users to quickly discover fun and interesting community-made content.
The world of Humanity in PS VR2
SY: In my position, I must bring up the fact that the game is compatible with PS VR2. The team at Enhance has produced VR masterpieces such as Rez Infinite and Tetris Effect: Connected, so I imagine it was a familiar process for Mizuguchi-san. What was your impression of VR as a medium, Yugo?
YN: I enjoy VR so I have been playing around with it since the early days, but I had an impression that the majority of VR content was immersive first-person experiences. When Mizuguchi-san suggested trying out VR, I didn’t think it would be a good fit for this game, but there were so many discoveries when I gave it a try. I didn’t realize VR was capable of capturing extremely detailed 3D human movements in such high resolution. We were able to utilize VR in a unique way, where the player can watch over small crowds of people walking around in an elaborate diorama, as if you’re observing a swarm of ants.
TM: Most of the VR games I have worked on so far are immersive first-person experiences, but I had a feeling that Humanity would be interesting to play from a third-person perspective – sort of like Sim City where you can walk around and get a bird’s eye view of everything. At first, members of the team were a little skeptical, but when we tried it out, everyone agreed that it was a good idea. The development went smoothly from there.
SY: Performance, such as framerate, can be a concern on VR. Did you run into any issues around that?
YN: It was quite challenging optimizing for PS VR, but we had a lot of leeway with PS VR2. I think we were able to achieve the level of detail we were aiming for, with the resolution of the PS VR2.
Tetsuya Mizuguchi’s take on the potential of PS VR2
SY: As a developer, how do you feel about PS VR2 overall – not just limited to Humanity?
TM: Compared to the original PS VR, the overall quality has improved dramatically, and I think it is an amazing generational leap forward. As a developer, I’m particularly interested and see a lot of potential in the new eye tracking feature.
Also, you may think that we at Enhance are obsessed with haptics – well, we are haha – but we are interested in building experiences that involve haptics. In that sense, the inclusion of haptic feedback in the headset is very significant. What I found out when I created the Synesthesia Suit for Rez Infinite, for example, is that when there is distance, you can experience the world through the senses of your whole body. You can feel the sensation of objects passing by or the alternating beat of the music. What only existed in the palm of your hands is now extended to the headset, so there are so many new possibilities.
A perfect chemistry of puzzles and narrative that make it worth playing till the end
SY: It’s been five years since development started. How do you feel looking back?
YN: We were struggling the whole time basically (haha). I mentioned earlier that the game was an extension of an interactive design we worked on, and there were parts of the process that were exactly as we had imagined and parts that were completely unexpected. The basic aspects of development were what we had expected, but the process of refining the game to make it more fun and enjoyable was very unique.
Extensive playtesting and listening to various user feedback is common practice in the game industry. Even when there were opinions I thought were okay to ignore, we diligently repeated the process of resolving them. We would eliminate even the slightest stress, and the end result would be a game that is pleasant and comfortable to play, even if you can’t quite complete it.
SY: Indeed, there is no stress when playing Humanity. You can retry immediately if you fail, and it drops you right back into the middle of what you have been doing. I felt that the game was being accommodating to the user and made them feel comfortable during gameplay.Players from around the globe enjoyed the demo released in February, and now the full version is available as part of the PlayStation Plus Game Catalog.How do you feel about that?
YN: In one word, I am terrified! The content I usually produce lasts five to 15 minutes at most. With videos, I only need to grab the attention of the viewer for that short amount of time, so I can focus on that and make it happen. Games, however, can take up to several tens of hours, so I cannot help but wonder if our game is really worth that amount of players’ time. As the creator, I don’t have that much objective confidence, and because I’ve been a part of the game’s development for so long I can’t say I’m objective anymore.
SY: Do you have a message for those who haven’t played Humanity yet?
YN: There may be people who don’t enjoy puzzles or are not too fond of it as a game genre, but I hope people will see past that and give it a try. Of course the puzzles are fun, but I encourage gamers to jump in and play around as if it’s a playground; move the crowds in various ways and experiment by making them do different things. You’ll see a lot of interesting behaviors and results. We put work in creating a game that you won’t get tired of.
It is part of the PlayStation Plus Game Catalog, so if you are already a member, you can play it whenever you feel like it. I’ll be delighted if everyone could give it a try.
TM: Humanity is a game that delivers a whole new experience. If you ask me what genre it is, I would probably say it is a puzzle game. I think it is easy enough for anyone to pick up – from children to the elderly, even our parents’ generation. Everything that happens is a spectacle, and that alone is interesting, but I think the game is about experiencing the narrative, and immersing yourself in the story of Humanity.
It’s a fun game that can be enjoyed on your own, or have family and friends with you helping to solve the puzzles. You can also treat it like a party game where everyone beats the game together. I hope players enjoy the game in their own way, and are able to witness the end that we prepared for them.
*Humanity is available now on PS4, PS5, PS VR, and PS VR2. It’s also included with the PlayStation Plus Game Catalog with PlayStation Plus Extra and PlayStation Plus Premium memberships.
