Soranaka: Well, there was an unfolding revelation that some of the characters that were previously difficult to bring back would be resurrected during the climax of KOF XIV. How did you decide which characters-new and old-to include in this game? Isla is a hot-blooded young spirit, so we decided to make Dolores a calm and mysterious person. Who Dolores is as a character was decided by her position in the story alongside being a balance to Isla. For Isla, we wanted a character that would be a rival to Shun'ei, and so we built her up around having that as a base. Typically things like how they affect the story due to their position or background and their special moves get decided near the end. Sometimes you add a character because the storyline requires one, other times, you create a character and find a way to add them to the story. How do you take a compelling storyline and turn it into a fully fleshed-out character with both a unique look and moves that help to differentiate it from the franchise’s deep roster? I’ve read that when it comes to new character design, SNK starts with the storyline first. So, in KOF XV, we thought of ways we could allow fights to develop without relying too much on Max Mode Quick. Kaito Soranaka, Lead Game Designer: In KOF XIV, a lot of players relied on using MAX Mode Quick (during combos) because the return on investment (meter usage) was really good, but this led to a lot of matches feeling monotonous. What other changes did you adopt for King of Fighters XV to address some of the things players didn’t like in King of Fighters XIV? We were also able to take advantage of Unreal's post-processes, in particular Depth of Field, using the cinematic-camera functionality during the cutscenes and the special moves, which added more drama and impact to the animations. The ease at which materials can be edited and tweaked in real time helped us to fine-tune the look of the characters and the backgrounds, and the artists were able to see immediate results to parameter changes and such, which wasn't possible in our previous engine.
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There were also some "non-realistic" lighting/shadow requirements, for example, characters casting shadows on the ground but not on each other, but the ability to modify the engine lighting code made this possible. James Bulmer, Programmer: Using UE4, we were able to utilize the realistic lighting and shadows but also able to keep the non-realistic/stylized art style that we were after. How do you think the game’s art style looks and moves in Unreal Engine? Were there visual effects or new aesthetics you were able to achieve in this latest King of Fighters using the engine? We were able to make use of all the know-how we gained in the past, which let us focus on things like improving the user experience, thus bringing our games to another level of enjoyment. Masanori Tsujii, Lead Engineer: Since UE's code is so easy to customize, it allowed us to incorporate our in-house tools, which really helped us out a lot. What elements of Unreal Engine helped with that transition and improved on the game as a whole? We were actually testing with UE during the final stages of KOF XIV (2017) development, so the transition to actually using it has been relatively stress-free. The reasons we switched were that it's easier to port games made in UE and for the huge boost in graphical shaders.
Yasuyuki Oda, Producer: We've been using Unreal Engine since Samurai Shodown (2019) was developed on it. What have those transitions been like for the team working on the title?
With The King of Fighters XV, you’ve moved over to Unreal Engine.
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The King of Fighters XIV was the first in the series to shift from the game’s classic 2D sprites to 3D graphics and animation.
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