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    Creator Interview Translation by MaouJacky

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    Lunar I&II Official Design Material Collection Interviews
    Version 1.0
    Translation by Maou
    Game Arts' Lunar series has captured the hearts of many gamers around 
    the world with its inspiring stories, deep characters, beautiful art, 
    strong soundtracks, and intricate worldviews.  In 1995, Softbank Books 
    released the "Lunar I&II Koushiki Settei Shiryou Shuu," or "Lunar I&II 
    Official Design Material Collection," which features art, continuity 
    sketches, world designs, cels, and numerous interviews with the staff 
    involved in the Lunar series.  This document provides translations for 
    the interviews found on pages 88-108 of the Process section of this 
    book so that English-speaking fans may enjoy hearing about the plans, 
    thoughts, and ideas that went into the making of the Lunar series.  
    Each interview is prefaced by a description of the interviewed staff 
    member's role in the Lunar series that appears next to his picture 
    (often on the facing page in the book).  Page numbers are included so 
    that owners of this book may follow along as they read the translation.  
    The dashed lines indicate the interviewer's dialogue.  Asterixes 
    indicate a boldfaced question that sometimes indicates the content of 
    the next part of the interview.  As these are informal interviews, the 
    dialogue may occasionally appear disorganized or unfinished.  At 
    certain points, the staff may mention references that a non-Japanese 
    reader may not be familiar with, so I have tried to include in brackets 
    a short explanation of relevant works that are cited.  Finally, in the 
    interest of accuracy to the original Japanese, this translation uses 
    the original character and location names present in the Japanese Lunar 
    series, but I have listed below all of the changed names that are 
    mentioned in this interview and their English equivalent.  I hope that 
    this document will be an enjoyable read and provide greater insight for 
    readers into the creation of Lunar I and II.  I would love to receive 
    any questions or comments you have at maoujacky@hotmail.com
    Original - English
    False Dragons=Dragon Fiends
    Machine Mountain=Taben's Peak
    Masked White Knight=Mystere
    p. 88
    Hajime Satou x Katsutoshi Akashi Long Interview
    Special Guest/Kei Shigema
    Mr. Hajime Satou, World Design Chief
    Chief of the world design and illustration for "Lunar II."  He gave 
    birth to many things in the game.  Also chief of illustration in "Lunar 
    Mr. Katsutoshi Akashi, Chief [Visual] Director
    Representative director of project design studio "Ikusabune."  Chief 
    [Visual] Director of "Lunar II."  Strongly concerned with the game's 
    movies.  Representative work as director: "Silpheed."
    **What was the worldview of "Lunar II" in the initial stages?**
    Akashi: As far as the image of the town in the desert in the beginning, 
    we first talked about a very typical, true desert.  However, after 
    that, Mr. Satou came up with more concrete things like "The Town of 
    Larpa" and sandships, and with this we are able to create the image of 
    the Lunar II world's desert.  
    Shigema: Hiero's House?  That was good.
    Akashi: There aren't many houses as cluttered as that, are there?
    Shigema: It's disorganized...  That's the first thing you see when you 
    enter into Lunar's world though.  I thought that would be good.  Where 
    did that idea come from?
    Satou: In a lean-to cabin, you have nothing but the practical.  It's 
    for emergency use.  So if for example something happened in the desert, 
    in order to be able to escape easily, the ship is on the first floor. 
    And the mast serves as one of the wall faces, so if something happens 
    you can spread the sails and hop on easily and get out into the desert.
    Shigema: Did you think that it would turn out [looking] like that?
    Satou: Yes, I was always waiting for it.  I thought everyone would work 
    hard on that.
    Shigema: There aren't many places that do things as well as Game Arts.  
    People worked really hard, I think.
    Satou: They work very hard on particular sections like that.  But 
    whether in the end all those will come together neatly will be a 
    different problem (laughter).
    Shigema: That's definitely true (laughter).
    Satou: Well, everything is that way, but the most important thing is 
    the characters, isn't it?  I tried to prepare a world of the size that 
    the characters could move through.
    Akashi: In the beginning we really asked you to design freely.  So, 
    there wasn't any real atmosphere then.  In that way, Mr. Satou created 
    the atmosphere, like "the desert should seem sandy like this."  In the 
    beginning the desert was planned to be orange, but after a variety of 
    circumstances orange didn't end up matching.  
    Satou: The original design had all kinds of colors of flowing sand 
    swirling, in the beginning, but we weren't able to do that.  
    -When you're giving a shape to the ideas that aren't solidified in Mr. 
    Akashi's mind yet, you give it a lot of thought in your own mind, Mr. 
    Satou.  Was it fun working like that?
    Satou: Yes, I tend to focus very intently on one thing at a time, 
    whether on the world design or creating the towns or on creating the 
    atmosphere.  Each time, I have a particular plan and I'm allowed to 
    work on it, and whether it's a plan or a design I make it a little bit 
    how I want it to be.  I think it's interesting if the backgrounds can 
    have their own character.  For example, in any temple, the character of 
    the person who built it will show.  And even if you have temples for 
    the same religion, the layout, design, and decoration will change 
    depending on the preferences of the important people and priests of 
    that parish.  When you actually play the game, this isn't relevant at 
    all and simply seems to just flow by, but if you pay attention to it, 
    it's pretty strange, with these funny little touches.  Or, even if you 
    don't consciously show them, just by putting them there, you get a view 
    of the world.  I think it's better to have them than to not have them.  
    This time, I think we did that well.
    P. 89
    Akashi: Visuals are really scary; there's lots of things that get taken 
    in on an unconscious level separately from consciousness.  In the game 
    this time, there were the Cult of Althena parts and then the normal 
    towns.  So for the town of the Cult of Althena [Pengatulia], we tried 
    to make it so it felt like the Cult of Althena.  Of course, there were 
    certain parts we were a little off on and didn't get quite right.  But 
    we asked Mr. Satou to come up with the feeling of the fearfulness of 
    Althena's Temple itself along with the splendor of the outside front. 
    We asked him to make it a building that was authoritarian and a seemed 
    little unpleasant just standing there.
    Shigema: Before the plot development started you were drawing freely, 
    but this time the orders [for designs] started piling up, didn't they?  
    Did that end up being unpleasant for you?
    Satou: No, not at all, because what I'm doing is still the same.
    Shigema: We were pretty concerned with the Vargan.  The design line 
    changed countless times, didn't it?  What we were aiming for was a 
    fairly simple line, but you know, in that regard, Mr. Satou wanted 
    something with a different feel from the start.
    Satou: Something a little more fantasy-like...
    Shigema: It was very good, but we had said things like, "can't you make 
    it a little more simple?," right?  How was that for you?
    Satou: Well, honestly, it was a little bothersome.
    Shigema: I guess it was a little different from your original 
    Satou: Right.
    Akashi: Well, you ended up presenting us with a really great design, 
    though.  There was a period when the image of Leo was very unclear in 
    our minds.  When we had decided on an exact Leo, you made the Vargan 
    white and gave it more character.  Before, the Vargan was a symbol of 
    the Cult of Althena, but when we got to the stage where we settled on 
    it being Leo's Vargan, we asked for more designs from Mr. Satou.
    Shigema: But honestly, in the middle of the process we weren't quite 
    sure.  I think that in having Mr. Satou design freely the world of 
    Lunar may have been created.  But while he was creating it, we also had 
    our own design images we created in our minds, too.
    Satou: It's good that way.  In those cases I make my designs match [the 
    creators' own images].  When asked by the scenario writer, Mr. Shigema, 
    for a certain image, I'd say, "Right, I understand."  It's my job to 
    take these considerations into account and be conscious of them when 
    I'm designing.  
    Shigema: So is that interesting work for you?
    (p. 90)
    Satou: It's very interesting, since a different sort of image can enter 
    into my work.  It's really thrilling to take those images and match 
    them with my pictures as I make them.
    Shigema: Mr. Satou didn't just do the world design, he also designed 
    things like monsters and trap ideas, too.  So in that sense, we relied 
    on Mr. Satou for almost all the designing that Mr. Kubooka didn't do.
    -He had all kinds of ideas for the magic, too, right?
    Akashi: Like Purse and Cat Kick.  We really wanted to implement those.
    Shigema: Mr. Satou's ideas could be difficult, we...
    Satou: Yes, maybe.  I made them with an arcade image in mind, visually 
    Akashi: I really wanted them to do Lemina's Purse.
    **From Zophar's Image to His Birth**
    Shigema: It matched the character.  On the other hand, in that sense, 
    it might have been a little serious as far as Lemina was concerned.  
    Akashi: Purse might have ended up having the same kind of impact as 
    Rong-Fa's lousy Dice.
    Shigema: Rong-Fa's Dice doesn't have a good reputation?
    Akashi: No, the it's not worth the cost (laughter).
    Satou: Zophar...well, he's a god.  But he's not a Western conception of 
    a god, but rather like one of the spirits of the Lunar world.
    Shigema: That pillar of flesh was used in the actual game, and I think 
    it's a really interesting image.  
    Satou: It's a thing terrifying enough to ruin the world.  So instead of 
    something very abstract, it would be easier to understand if it was 
    something physically terrifying instead.  I thought it would be scarier 
    if, rather than using a monster's form, he came down in an 
    incomprehensible shape like a clump of flesh.
    Shigema: I really thought it was outstanding having that battle field 
    be the enemy's body.  Until then, no one had really come up with 
    anything.  That picture became the basis for our image, exactly as it 
    Satou: The final course is fairly pretty grotesque, isn't it?  I didn't 
    want it that way this time.  The grotesque form already showed up in 
    the movie "Butai X" ["Object X," originally titled "The Thing" in 
    English].  It was like it would even show up in the [game's] finale.  
    Design techniques for showing something gross or grotesque where the 
    object, the body is destroyed and it changes its shape and fuses 
    together, are limiting.  Lots of games have already done the same 
    thing.  And having the last boss appear in the form of a dark lord like 
    in Draque [Dragon Quest] is an over-familiar form, as well.  So, I 
    decided he'd make his appearance as a very typical god, the form of a 
    mighty god.  Because he's a god of this world, and he brings great 
    evil, that's precisely why he appears in a beautiful form.  In his 
    third stage, he would show his real nature and be still huger, and say 
    that this castle itself is Zophar, and that inside it is something like 
    his real body.  So you could call it a complicated or two-layered 
    construction...or multi-layered construction.  It's like an inverted 
    Shigema: I understand that the image's starting point was "the Buddha's 
    hand." [Buddhist reference to the Monkey King who is unable to escape 
    from the Buddha's hand despite his ability to jump very far.]
    Satou: Yes, right.
    P. 91
    **Mr. Satou's View of the Problematic Points of "Lunar II"**
    Shigema: Ah, I thought so.  It was a picture showing the arrogance of a 
    god who is saying, "In the end, you pathetic humans are in my hands."  
    The moment I understood that, I thought, "Oh, I definitely want to do 
    this," it'll definitely match perfectly.  So we used it just like that.
    Satou: But when it became a picture [in the game] it was a little off.
    Shigema: Yeah (bitter smile).
    -Are there any things you would have liked to have done differently?
    Satou: I'd say that if would have liked to keep up intense 
    communication going until the very end as I made the pictures.  There 
    were quite a lot of changes.  The Four Dragons, for example.  In the 
    beginning, all of the real ones were supposed to appear.  But...the 
    meaning ended up being completely different.  They ended up being the 
    False Dragons.  If I had been able to say something, like "Sure, that's 
    fine," or "Okay, let's change it"...
    Shigema: Or on the other hand, it could be that the images of Mr. 
    Satou's pictures are so strong that we couldn't think of anything else 
    so we decided to use them...conversely that we couldn't think of any 
    other way....  I'm really very sorry about that.
    Satou: Also, I think I would have liked to put in more game parts 
    [i.e., mini-games or extras] or secret parts into the game.  If we had 
    focused on those, hard-core fans might have gotten obsessed with them, 
    though.  Maybe some more puzzling parts or something...
    Akashi: Elements beyond what are just for the drama, or in other words 
    unnecessary things, unnecessary noise, these can be the very things 
    that make a world deep and profound.  The further you get in the second 
    half of the game...
    Satou: Right, especially as you continue towards the end, things like 
    that are all focused.  If possible, it would have been nice to have 
    been able to set that kind of direction aside here and there.  I think 
    it might have been even better if we had been able to create a world 
    that vast.  But then, this is true for any game.  No matter what you 
    do...it's always so lonely when you finish games, as you finally get 
    close to the ending.  It's lonely when you've looked around and seen 
    everything and there just isn't anything you haven't seen.
    Shigema: But after the ending there are a number of places you can go.  
    What about them?
    Satou: Well, those are mostly just dungeons.  Something more for fun 
    [i.e. mini-games, hidden events] would be...  That's why at first we 
    had stuff like a ghost ship and things.  We thought it would be good if 
    you had ended up being able to run as far as you wanted to go.  
    Akashi: With nothing to do at all with Zophar's world ...
    Shigema: No, even if it did have something to do with the world.  So in 
    short, it would be part of the story's worldview, or part of the daily 
    life there.  Not everything necessarily has to do with Zophar or with 
    Satou: Well, it's often normal for every game, that you have to work 
    hard to have that degree of extras.  So you have to be very conscious 
    of it or you can't do it.  But in a game world it's okay to have things 
    you don't know or things you don't find until the very end.  
    -So even though the character [Hiero] is the protagonist, that world 
    isn't everything.
    Satou: Right.  It's like a perception of the world focused around him.
    p. 92
    **The Difference Between SF [Science Fiction] and Fantasy**
    Shigema: If we were to do a "Lunar III," what would you want to do, Mr. 
    Satou: Hmm, I think I'd really want to do a fantasy-themed one.  I'd be 
    fun to plunge even more deeply into the myth of Lunar's world.  Not 
    that I know what it would be, though.  After all, there's a world that 
    a goddess controls, and there are sort of monotheistic elements.  There 
    might be the god of another world somewhere, too.  It would be 
    interesting if Lunar collided with that kind of world, I think.  Or 
    maybe it could be about what happens afterwards to the world of Lunar, 
    which has achieved civilization.  
    Shigema: Mr. Satou's foundation is fantasy...
    Satou: Yes, because it's the most fun kind of world, a world with many 
    possibilities.  SF almost always has explanations attached.  For 
    example, if a monster or even if a god appeared, in an SF world that 
    would be the result of gene manipulation or something.  You end up 
    understanding the world in that shape, and the imagination doesn't soar 
    any further than that.
    Shigema: That's exactly right.  The beginning part of "Lunar II" also 
    has quite a SF flavor to it.  We told the story with less and less SF 
    elements after that, and that one moment become surprisingly SF.  
    Essentially, SF is part of the vastness of the imagination, but once 
    you take that perspective in the fantasy world, there is also 
    disagreeable tendency for the imagination to be cut off.
    Satou: It transforms into a world where everything can be understood by 
    numbers.  Mysteries are not understood scientifically, but one day they 
    will one day certainly be solved by science.  That type of limit.  
    That's why SF doesn't go well with games.  Even in movies, as long as 
    SF movies aren't wonderfully unique enough...  So if SF doesn't use the 
    kind of presentation like in "The Year 2001~," in that sense, that 
    lurks in people's minds, it won't be very appealing.  The core of 
    fantasy, I think, is something like a "jolt to the consciousness" deep 
    in people's minds.  Something like a consciousness in your dreams that 
    you're unconscious of.  But, this becomes difficult.  I think fantasy 
    is like a darkness that you have never set foot into before.  People's 
    minds don't have an end no matter how deep you go, do they?  If you 
    lurk on, you reach the origin of humanity... There is the possibility 
    of going on even further.  And there is infinite variety, too.  So 
    fantasy that focuses on the human mind is a world that holds so much 
    incredibly mysterious vastness...that's why everyone is fascinated by 
    Shigema: I may be wrong about this, but it certainly may be a very 
    personal thing in essence.  
    Satou: It's a hazard.  If you do something like that in a game you are 
    selling as a product, it's more hazardous than it is difficult.  If you 
    don't do it well, it could become something that nobody understands.  
    Akashi: Speaking from the standpoint of having taken part in the game's 
    direction, the world that Mr. Satou created for us where magic exists 
    naturally is very close to the fantasy that he describes, a different 
    world, not this world.  The moment you enter into that world, you don't 
    know what will happen.  If you offhandedly said "hello" to somebody, he 
    might suddenly transform, or something.  You might be walking and find 
    that something you thought was a brick was soft.  People believe bricks 
    are hard, right?  But in this world, bricks might be soft.  This is 
    another world.
    **What is the current state of games?**
    Shigema: That's very interesting, isn't it?  But the question of how to 
    impose a universal drama on that world or not is tough.  But I feel 
    that we can do it right, that this kind of material will be absolutely 
    Satou: So in the instance of making make a game that will be a product, 
    to a certain extent you have to prepare a familiar story form, since a 
    personal type of story that no one understands won't do.  I think that 
    to a certain extent, the type of story formula you might have heard of 
    before is necessary.  However, a formula is used as a container, and if 
    the numbers are different, the answer is different, too.  There isn't 
    just one way to solve it.  In the content of the story you tell, it's 
    good to have personal words and thoughts.  Current games may be too 
    particular and inflexible about the formula, and while pretending to 
    tell a story, there's actually nothing being told at all.  I think that 
    these kinds of games have increased greatly in number.  
    Shigema: A criticism?
    Satou: Towards games in general.  I think that's particularly the case 
    Shigema: Games with stories that don't really tell a story....
    Satou: Right, so I call them little FF's (laughter).  
    Shigema: But whether it's a story or a fantasy worldview, I think it's 
    definitely the case that these problematic points are being used 
    because they're convenient.  Essentially, you should use this world, 
    use this story because it has meaning.  
    Satou: In short, the question is whether there are thoughts being 
    communicated or not.  And also whether a conversation can take place 
    with the player or not, beyond that story.
    Shigema: Definitely personal material [is needed].
    Satou: That's a big part.
    Akashi: So you're saying that games should be works [i.e., of art], 
    too, then.  And for it to be a work, you need an artist.  The artist is 
    part of the material.
    Shigema: Basically, personal material; recently, "Mother II" [called 
    "EarthBound" in its English release] was made incredibly well.  In a 
    good way, a bad way, or a certain way, you can see Shigesato Itoi's 
    face [Itoi was the creator of the Mother games.]
    Satou: It would be good if a lot more games like that came out.  But 
    many people want to make these hum-drum, "model" games. 
    Shigema: Hum-drum, "model" games are made to sell, so...  They don't 
    have things in there just for the fun of it like Game Arts.  Did you 
    wonder why we made this kind of game for the Mega CD?
    Satou: Because it's the greatest epic on the Mega CD (laughter).  
    Akashi: It was written in a certain magazine this software is what the 
    Mega CD should be.  It's hardware you really can use if you try......  
    Satou: I think it's too late.
    Shigema: I seems just like other companies aren't using it at all, 
    doesn't it?  (laughter) That's not true, of course.  Well, I support it 
    Satou: I don't think they're using it.
    Shigema: No, really, I'll use it.
    Satou: Yes, it's true, it would seem cruel to the Mega CD not to use 
    Shigema: ...I hope that the Saturn won't meet the same fate.
    p. 94
    Youichi Miyaji Interview
    Mr. Youichi Miyaji, Game Arts
    Game Arts Company President.  Served as Producer and General Project 
    Director for "Lunar II."  Look forward to the next project!
    	Looking back on "Lunar II," I think that the way that so many 
    staff members with their unique personalities gathered and worked 
    together was part of what made it a quality game.  We were blessed by a 
    fantastic staff from within and outside the company, and this was both 
    wonderful and difficult.  In particular, when "giving birth" to a big 
    project, making use of all the unique personalities and combining them 
    together could be difficult.  This is a universal problem with almost 
    any project, but in a certain sense "Lunar II" was easy to make, I 
    guess.  In a normal situation, Mr. Kubooka would draw the characters 
    and that would be it.  In the game-making world there are many people 
    who participate in projects this way, aren't there?  But with us, it 
    ended up being important for everyone, from Mr. Shigema to Mr. Kubooka 
    to Mr. Satou, to get deeply involved in "Lunar II."  All Game Arts 
    projects are like this, really, we get deeply involved in them, delve 
    deeply into the project.  Getting this involved is very important, and 
    this is really an issue of communication.
    	We learned a lot of things this time when we ended up finishing 
    making "Lunar II," things we'd like to make use of in our next project.  
    In the case of "Lunar II," the animation parts and the actual game were 
    completely separate, but I'm thinking about taking a step forward from 
    that in our next work and making a fusion of animation and game that's 
    completely different for the next generation machines.  This is what I 
    came up with while working on "Lunar II."  I think it might turn out to 
    be a project that surprises you.
    	I'm also thinking about things like doing remakes for the "Lunar" 
    series, maybe III, but I think it would be fun one time to make a 
    director's cut for I and II.  Since I read all of the postcards we get 
    from our users that say things like whether the game was fun, or 
    boring, or what shape the next project should take, so I'd like to hear 
    more and more of these requests in the postcards.  The reactions of our 
    kind users are fun to read and are the reason for our work, so if 
    everyone could continue to send in more and more reactions, that will 
    give us the energy to make our next project.  
    	It's taken almost two years do develop "Lunar II" and it's been 
    hard work.  There might not be as many games like this on the next 
    generation machines, I think.  But we cannot just make the same level 
    of game on the next generation machines, we have to make a game that 
    will surpass it.  So this will be hard work, but we will do it.
    	Anyway, I want to make an overwhelmingly great game on the next 
    generation machines.  There are quite a number of things we couldn't do 
    because of hardware restrictions.  Since we will be freed from these 
    restrictions I absolutely want to make a game that delivers a strong 
    impact.  I hope everyone will look forward to seeing the level of games 
    we can make and show to you.
    P. 95
    Kazunari Tomi
    Mr. Kazunari Tomi, Studio Alex Representative Director.  In "Lunar I," 
    managed the project planning and main program.  Creator of well-known 
    PC RPG series "Mugen No Shinzou" [The Heart of Hopes and Dreams].
    -Would you mind talking with us about "Lunar I?"
    Tomi: The impetus for making "Lunar I" was to make an RPG setting that 
    hadn't been seen before.  For example, things like the clothing designs 
    all resembled each other in RPG's until then.  We wanted a completely 
    different location that could still feel familiar, so we thought, "what 
    if we do it on the moon?"  This was the beginning of "Lunar I."  
    	The first problem we suffered through was that the story would be 
    that there were formerly heroes who were adults, and there would be new 
    heroes acting in a different generation, and if this were the case, we 
    couldn't show both of them on the screen at once.  So I then talked 
    with Mr. Shigema, and after we set up things like what the old heroes 
    had done and how the resulting world had become, we created the story 
    of new youths.  
    -In the process of making the game, were there any things that changed?
    Tomi: Let's see.  He's not here now, but there was a scenario writer 
    named Mr. Hino, and he didn't have any morals (laughter).  He put a 
    feeling into the Lunar world you would get if, I don't know, a group of 
    boys got together at night and told lecherous stories.  The lecherous 
    things in Lunar are all from Mr. Hino and Mr. Shigema...(laughter).  
    However, this was a spot where there was strong love for the 
    characters.  Everyone had love towards the characters, like knowing a 
    character wouldn't say a certain thing.  The dialogue was created with 
    that kind of discussion.
    Shigema: Were you saying something bad about someone?  (Mr. Shigema 
    -"Lunar I" still has a very high reputation today as a Mega CD RPG, 
    doesn't it?
    Tomi: Yes, I'm glad we worked hard on it.
    Shigema: What Mr. Tomi paid attention to during "Lunar I" was that 
    obvious things were done correctly.  
    Tomi: Right, doing obvious things correctly and simplifying the rules.
    Shigema: Until then there weren't many properly-made RPG's on Mega CD.  
    Well-made orthodox ones.
    Tomi: No, I don't think it was orthodox.  There is a strong style.  
    People say orthodox but I don't think it's orthodox.  Not all the 
    elements that are usually put into a normal RPG are in there.  I think 
    there is quite a lot of originality.  To be called orthodox just 
    because the menu or the screens or something are like before...
    Shigema: But this part of Lunar was assessed the most, really.  An RPG 
    you can have fun with.
    -What do you think of "Lunar II" after trying it?
    Tomi: Well, I think there's not quite enough love, maybe.  The love 
    between the protagonist and the heroine is good, but I wonder what the 
    surrounding people are doing.
    p. 96
    Kei Shigema x Toshiyuki Kubooka Long Interview
    Mr. Kei Shigema, Scenario Chief
    Principal occupation as a novelist, but involved exclusively in "Lunar 
    II" for the past two years.  Also created the script for "Lunar I."   
    Mr. Kubooka Toshiyuki, Character Designer and Head of Animation 
    Involved in works such as "Giant Robo," "Uchuu Senkan Yamato" ["Space 
    Battleship Yamato"].  This time, tasted the pain of simultaneous jobs 
    in Animation Directing and in game development.
    **Why is there so much animation?**
    Kubooka: From the start, we had the concept that we wouldn't tell all 
    of the story in the game but would do important parts in the animation, 
    so the animation parts received necessarily large weight.  As far as 
    the opening goes, that was still the beginning so we might have been a 
    little extravagant with it there.
    Shigema: But, we made it and thought there would be far too much, but 
    when we finally saw the game it didn't seem that way at all and matched 
    strangely well.
    Kubooka: Since I only did the animation parts, I can't tell whether 
    balance-wise there is too much or too little in the full game.  But I 
    guess as far as how it felt to me working on it, it seemed all right to 
    me.  On the other hand, sometimes I think maybe it would have been 
    better in a different amount, too.
    Shigema: For the animation of "Lunar II," I think maybe that it's not 
    that the animation is independent of the rest, but that it was mixed in 
    from the start.
    Kubooka: If it flew off in a different direction you wouldn't be able 
    to understand what was going on.
    Shigema: In that sense, the way animation is involved is a little 
    different from other games, in that the animation isn't actually 
    something special, since it was thought of as an element of the story 
    from the start.  The reason animation was used so much in the first 
    place was because "Lunar II" emphasizes the story so heavily, 
    everything is there to tell the story.  
    Kubooka: Right, well, and since we really can't do anything besides 
    that part, we have it set up so that the game itself is made fun by the 
    game specialists.  We have as an ingredient the relief of knowing that 
    if we can weave these things together well, the game will be fun.
    Shigema: Yes, that's right.  Lucia ended up being one of the big main 
    themes.  How were we going to portray her?  Could we make the player 
    like Lucia?  I think Lucia was a difficult character in that regard.  A 
    girl who doesn't have emotions gains emotions one by one, and then she 
    returns home.  I guess what we really have to communicate are the 
    characters' emotions.  First we have to try not to paint a picture of 
    the big-headed, carelessly walking characters we see in the game.  In 
    that regard, it seems to me like animation inevitably became necessary, 
    lots of voice actors became necessary, and tons of sound became 
    Miyaji: (The Company Manager suddenly intrudes!)  No, rather, I would 
    look at Mr. Kubooka's continuity sketches and think, "This is almost 
    twice as much as in the specs, but we need to do this, don't we?"  "We 
    can't cut this, it adds emotional impact, so we can't cut this part of 
    the continuity," things like that.  It's not something to get mad over.
    Shigema: No one was mad about it, but I think it did cause some people 
    problems (laughter).  But actually, in the stages before we gave it to 
    Game Arts, Mr. Kubooka and I had conversations back and forth countless 
    times about the continuity and we actually cut some things.  And there 
    were many things on the other hand that I insisted that we put inn.  
    For example, Lucia is on the boat's deck, and there is a scene when 
    you're going to Pentagulia where Lucia sings a song. 
    (p. 97)
    There was talk about making that simpler originally, but since it shows 
    the feelings in Lucia's heart there was the argument that it was 
    absolutely necessary.  And of course, Mr. Kubooka, you know, he has a 
    fierce attachment to Lucia (laughter).  So that's how when writing the 
    plot or the scenario, I would hear a number of complaints.
    Kubooka: I know what Mr. Shigema's scenario is trying to express, but 
    actually there are times when it's not clear whether the things 
    expressed are being shown objectively and appear that way.  And in 
    Lucia's case, the player in the end has to be able to sympathize with 
    her, to the point where if the player were in her position, he would 
    feel like he would have done the same thing, and not just for the sake 
    of the mission.  If the player can't feel that way, the character won't 
    become likeable.  If done badly, she could have become that kind of 
    unlikeable character.  We wracked our nerves on this one a lot.
    Shigema: That's why the question of how the player will receive it [the 
    story, characters, etc.] isn't always solvable just by doing our work 
    together.  So we made it by using each other as a mirror, asking "I 
    wrote this, but what do you think?"  But I don't know about Mr. 
    Kubooka's case.  Oppositely, when I would get continuity sketches from 
    Mr. Kubooka, I might look at it and say, "No, I don't think we can use 
    this."  We had these kinds of discussions countless times.  
    **The Reason for Having the Ending Twice**
    Miyaji: There was a two-step ending, wasn't there?  One after the 
    other.  In a movie, we couldn't do that kind of approach.
    Shigema: First, we showed the ending with some loose ends lingering.  
    The reason I came up with that was become I wrote with the plan of it 
    being a novel.  I really started wanting an epilogue after putting an 
    end mark at the finale when I wrote how Hiero heads toward the Blue 
    Star and sets out walking.  Since the opening started with Lucia 
    sleeping on the Blue Star, I wanted to end with Lucia one more time.  I 
    wrote that kind of epilogue into the plot.  Then, in the novel, when 
    you just turned the page, that moving scene would be there in the 
    epilogue, but since this is a game...  The act of just turning the page 
    could actually be in the game, I thought.  I thought we might be able 
    to put this into the game.
    Kubooka: And after all, if we had ended the game there, there would 
    have been a lot of people who were angry, even though you could say it 
    was to be expected.  I thought there might be a few more people who 
    didn't mind, though.  I think that maybe connecting their parting with 
    her going there [to the Blue Star] all at once made the game end with a 
    shock.  People would think, "what?!"  
    p. 98
    Shigema: Hiero's emotions are sad in that scene, but there is actually 
    hope, which makes it quite an orthodox, good, happy ending, I think.  
    But a lot of postcards came, saying they didn't like unhappy endings.  
    And there was not necessary the unhappy ending, but issue of the 
    lingering loose ends.  I guess that maybe I like a clear happy ending.
    Kubooka: I like them too (laughter).  
    -For those who found it [the epilogue], I think they would have thought 
    that just like there is an opening at the beginning, there naturally 
    must an epilogue.
    Shigema: It seems like most people were like that.  
    -Yes.  If the game had ended like they usually do, an end mark would 
    have normally appeared and it would have stayed on the screen forever.  
    But [in Lunar II] it goes back to the title screen.  In that way, I 
    think people found out there was an epilogue after all.
    Shigema: They must have felt lucky when they discovered it.
    -Yes, actually (laughter).
    Kubooka: That's right.  It was different from the way the original plan 
    was going to go forward.  People would think, "huh?" as the game 
    suddenly returned to the title screen.  So I wonder how many people 
    there were who decided to try to continue.
    Miyaji: At least 80 percent, I'd bet.
    Shigema: But I would naturally like for it to actually be 100 percent, 
    **The story is a saga [i.e., a roman-fleuve]?**
    Shigema: When I came up with the story of "Lunar," I more or less had 
    the image of a trilogy in my mind.  Three charismatic streams in 
    history.  In that sense, I'm glad they were cleanly assembled together.
    Miyaji: The earliest is the untold story of the Four Heroes.
    Shigema: Right, the story of the battle Dyne and Ghaleon and the others 
    fought.  Next is the story of Arhes in "Lunar I," then comes "Lunar II" 
    here.  I can't say it's a saga, but if you look at "Yoshimune" and 
    "Dynasty" now you'll understand, how these sagas are actually three-
    staged stories, and there's basically the three stories of the parent, 
    the child, and the grandchild.  The story itself starts with the 
    parent's generation, there's the parent's generation and the child's 
    generation, and finally the grandchild's generation.  The reason for 
    this is that the audience's stance is always that of the child's 
    generation, or now, in other words.  You look at now, the present, and 
    then the past generation of the parent, and then the future that may 
    come to be.  In that sense, when making a drama, you have to take a 
    stance where you think about the history.  So at the time I started the 
    story for the Lunar world, I had to first make the story for the 
    parent's generation.  That's how I thought of the story of the Four 
    Heroes.  Then, the world of "Lunar I" was finished, there was an 
    atmosphere, and there was the future.  Therefore, if we hadn't been 
    able to make "Lunar II" to continue in that future, I think it would 
    have come into existence as a drama.  And since the chance to make 
    "Lunar II" did come about, I thought, "Well, why don't I paint a 
    picture of the grandchild's generation that was in the background."  
    Kubooka: But Lemina is clearly supposed to be a direct descendent...
    Shigema: No, I didn't say that.
    Kubooka: No...?  Why didn't you?
    Shigema: Well, I guess was worried about what would happen if I said 
    too much about who was whose child, like whose descendent Hiero was, or 
    what happened to Killy and Jessica or the others.  But I don't mind 
    that types of people like Ghaleon or Nall transcended time, though.  
    And Ramus plays a small but important role.  Well really, it's because 
    he's sort of the comedic role.
    Kubooka: Wasn't he sort of a personal part?
    Miyaji: You wanted to appear in the game, didn't you?  Ah, maybe not 
    Shigema: No, no, he's not me (laughter).  In the very first plot, lots 
    of people were going to appear, with Arhes and Killy fighting together 
    with Hiero, weren't they?  But at the point when we decided that 
    wouldn't be the story of "Lunar II," we decided to erase as many traces 
    of that as we could.  I thought we especially didn't need stuff about 
    the decedents of heroes or genes and blood relations, things like that.  
    Kubooka: But I was shocked that it how they ["Lunar I" and "Lunar II"] 
    connected more than we expected (laughter).  Though it was the idea 
    that "Lunar II" should have no problem as a stand-alone work, either.  
    Shigema: I think that even if you haven't played "Lunar I," it would be 
    fun.  But actually I hardly hear any opinions from people who didn't 
    play "Lunar I" and only played "Lunar II" (laughter).  So that kind of 
    composed judgment hasn't really been made.  It's still not too late 
    even now, so if you see this, please send us your thoughts.
    **Unreleased Design Information of Interest**
    Shigema: Oh, right, right, Nall's Sword is sealed by Luna's scarf.  Not 
    a physical seal, but a spiritual seal.   Also, the fallen Vheen was 
    supposed to fly, too.  And Leo had four legs.  They said these weren't 
    doable programming-wise.  I really wanted to do them, though.  But the 
    idea to have even Mauri be a horse [i.e., a four legged design] got 
    many, many objections.  They said it was hard on Rong-fa.
    -There are pros and cons to that horn, though.  They're lovers, aren't 
    they, so there's the problem of how they were supposed to be able to 
    Miyaji: Maybe they could lie down or something.
    Shigema: Aren't there a number of variations for the kiss?
    -No one is thinking that far (laughter).
    Shigema: And a special kind of play would be fun or something 
    Miyaji: Mr. Shigema has been wanting to get married lately, you know.  
    Shigema: I have lots of aspirations to get married....(laughter).  Oh, 
    and there's also that triangle on Ghaleon's forehead.
    Kubooka: Right, right, that's something that the dead wear...
    Shigema: I didn't notice that.  Mr. Kubooka does things like this 
    sometimes.  And the belt of Admiral Mel of Meribia had some pattern on 
    it, didn't it?  He said that "the sea" was written there. Since he's a 
    man of the sea, it should say sea.  This guy...(laughter).
    Kubooka: I tried drawing it in a dragon style.  
    Shigema: Do people normally notice this kind of thing!?  (laughter)
    -I'm sorry, I didn't notice (laughter).
    Shigema: No, usually people don't notice.  He does this kind of trick a 
    lot.  It's a subliminal process (laughter).
    **The This and That of the Initial Design**
    Shigema: Originally around when we were beginning "Lunar II," I was 
    insisting that for Lucia's design we do a beautiful woman in men's 
    -Yes, there was that one of her with the light wave, wasn't there?  
    Shigema: As an image of another world, it was a result that matched the 
    image perfectly.  In that sense, I thought it would be good, actually, 
    since the Lunar world itself is another world.  And her breasts are 
    tiny (laughter).
    -She is thin, isn't she?
    Kubooka: That's right.  She's not a human, she's more like a child, 
    even if she's called a goddess or something.  
    Shigema: It was to give the meaning of her being an immature, [gender-] 
    neutral character.  I thought, "yes, that's right, isn't it [when I saw 
    Kubooka: For Lucia's medallion, I had tentatively thought it would be 
    one of the crests for those who take on Althena's duties over the 
    generations.  Maybe you would be able to use it in dungeons to see or 
    something.  Sort of like a certain type of portable item [i.e,. 
    portable make-up]. 
    Shigema: At first, we had the idea of having a time limit set up.  
    There was the idea of having that time limit shown in a color timer.  
    And in the beginning, Lucia was an absolutely neutral, loyal judge.  
    She comes for judgment, and watches humans' conduct, and the scale 
    tilts, and it's like it would decide whether this [world] should be 
    destroyed if necessary.  In the beginning, her role was like that.  
    Kubooka: But even if that was the beginning, she was supposed to have 
    had that role.
    Shigema: In the middle, we turned towards the story Althena's [power 
    of] creation and destruction, so I think it's true that it [the 
    judgment theme] weakened a little.  Speaking of which, in the postcards 
    we received it was interesting to hear, "In both 'Lunar I' and 'Lunar 
    II,' the story ends up being one where you happen to save the world 
    while trying to rescue a girl."  I thought this was absolutely the 
    case, that they had noticed something good.  After all, isn't the story 
    of an adventure essentially the story of saving a girl?  
    Kubooka: The so-called "Kidnapping and Swordfights."  
    Shigema: Right (laughter).  Interestingly, no matter whether it's an 
    animation or a book or a novel or a comic, this can universally make an 
    interesting story.  In games, this simple pattern is no exception.  
    Why?  Because isn't it always the case that the evil dark lord appears 
    and you save the world, or the world's going to be destroyed, or 
    something?  But the important thing is to save the girl, isn't it, and 
    it's good if you save the world along the way.
    -That's the man's romance, isn't it (laughter)?
    Shigema: Yes.  That's the way the adventurer is, for the young 
    protagonist, the world is something he saves while incidentally saving 
    the girl.  That's the most important.  It's the dynamism of the action-
    adventure drama.  If people say it's not a real story, that's exactly 
    right, it isn't real.  We make a story that isn't real, and that's the 
    fun of making stories.
    Kubooka: Um, this isn't related, but... that parting scene [between 
    Lucia and Hiero].  That scene is actually inspired by "Hakushon 
    Daimaou" ["The Sneezing Dark Lord," a beloved children's animation]...
    Shigema: What are you saying?!
    Kubooka: I liked the final episode of "Hakushon Daimaou."  I used it as 
    a base (laughter).  There are people who say it looks like the movie 
    "Sotsugyou" ["Graduation," or "The Graduate" in the original American 
    release], but the truth is it wasn't anything that refined, but 
    Hakushon Daimaou.
    Miyaji: I thought it might be the scene on the tracks in "Sayonara 
    Ginga Tetsudou 999" ["Adieu Galaxy Express 999" in its English release, 
    a well-known Leiji Matsumoto animated film].
    Kubooka: That's true.  Looking at Lucia's clothes, there's certainly 
    that too.
    Miyaji: Where is that scene in Hakushon Daimaou...?
    Shigema: Well, it's the farewell and the loneliness of the time of 
    parting, so the "unavoidable" parting....
    Kubooka: [Hiero] can't get near her on naturally on his own.
    Miyaji: If you even yawned, she'd have disappeared (laughter).
    Kubooka: You could call it one of those inevitable partings.
    Miyaji: Yes, that's it.  An inevitable parting.
    Kubooka: Yeah, if it weren't like that, there's no reason Hiero would 
    have been silent the whole time and watched her go, right?  He 
    definitely would have tried to hold her back, wouldn't he?
    -On the other hand, there's the opening.  Like the implication of Lucia 
    awakening and appearing naked.
    Kubooka: That [the Blue Star/the crystal Lucia sleeps in] was more or 
    less supposed to be like a womb.  The sleeping Lucia is like an embryo, 
    and she's supposed to pass through the birth canal and come out into 
    the outside world.  When she meets Hiero, it's the same as when-both 
    for children and animals-they think of the first thing they see as 
    their parent.  
    Shigema: That's why it was natural that we would have Lucia in there 
    naked in the beginning.  It isn't something indecent or anything 
    (laughter).  It was necessary nudity.
    Kubooka: I never really hear anyone say that it seemed indecent.  I'd 
    have a problem if I heard that.  
    Shigema: Also, the scene where Lucia changes her clothes [at the 
    Carnival], that was my own selfishness.
    Kubooka: That scene, it was pretty embarrassing.
    Miyaji: But I'm glad we had it, all crazy.
    Kubooka: It was a promise.
    Shigema: I thought a promise would be necessary.  And we were able to 
    do the beautiful woman in men's clothing I had wanted so much, too.
    Kubooka: Speaking of this, there's the False Althena.  Almost everyone 
    knew [she was fake].  There's practically no exceptions, I think.
    Shigema: Probably not.  Ah, I just remembered, there was this part.  
    People said at the time of "Lunar I" that it was too readable [i.e., 
    its plot twists].    That's because I made it so that it was readable.  
    Laeik was really Dyne, Ghaleon was a bad guy, Nasch will betray the 
    party later, I wrote it so that you could figure out all of these 
    things.  That's the way the story is constructed, to give an example, 
    in the old "Tiger Mask" [a Japanese comic and animation centering on a 
    wrestler], there's this huge guy called the Great Zebra who's over 2 
    meters tall, and his weapon is the Juurokumon Kick or something, or the 
    Sanjuunimon Rocket Kick or something.  The announcer says, "A 
    mysterious wrestler.  Who on earth could he be!" or something, but you 
    get who it is.  "It's Giant Baba, isn't it!!" [According to the story, 
    Giant Baba supposedly had died.] There was penetration like that 
    (laughter).  But that's the kind of thing you have in the story.  You 
    know it, and look forward to the process.  But there were a fair number 
    of people unhappy or irritated with how you could figure out the story.  
    So this time I hid what Lucia was or what the Four Heroes of Althena 
    were, things like that, and thought not being able to figure it out 
    would make it interesting.  So [game] magazine development was probably 
    difficult.  But for me personally, I actually liked the story 
    composition of "Lunar I."  It's easy to understand.
    **Inspecting Every Character**
    Kubooka: Regarding Lucia, the base was what kind of clothes Luna would 
    probably wear if she were to appear in a sequel.
    Shigema: You were pretty particular about the culotte skirt, right?
    Kubooka: Well, I like them a lot, personally.
    Shigema: You said that strongly, energetically, "this is more indecent 
    than a skirt."
    Kubooka: (Ignores this) I thought it would be pretty good to have a 
    part that seemed outside of the Lunar world.  Something that felt 
    modern.  And I put this together with the shawl because when she became 
    a game character, she looked surprisingly plain and there was a visible 
    difference when you compared her with the other party characters.  
    Shigema: This design would have been pretty indecent [drawn] with a 
    bust shot.  Afterwards you'd notice and see it and think, "this is 
    actually pretty indecent."
    Kubooka: I didn't draw it with an indecent pose in mind, though.
    -Looking from the girls' side, I wonder how it doesn't just slip off, 
    since she has no breasts.  Without them, if there had been any slack I 
    think it would have just fallen off, normally.
    Shigema: It's, um, with magic....  (laughter)
    Kubooka: The uniform is like this.  Um, black, and then white.  
    Personally, I think white is good.  It sort of feels like a muku [a 
    formal Japanese white kimono for women].  I really wanted the 
    characters to have some sort of strong shine you could see with one 
    glance.  I ended up thinking wine-red would be nice, though.
    -Speaking of which, when she wears red, I thought maybe it was showing 
    her strong will to fulfill her mission coming out.
    Shigema: Oh, we hadn't really thought of that (laughter).  Oh, I 
    see...I might not have thought of that if you hadn't said it.
    Kubooka: Also, I actually wanted to make her hair blond.  Hmm, I sort 
    of wanted an image that made her feel a bit like a foreigner.  In the 
    end, making it the same color blue as Luna's hair showed a connection 
    between them, though.
    Shigema: There was the idea to make her a character with a hat, though 
    I'd mostly forgotten about that.  
    Kubooka: I thought it might be interesting to have that kind of old 
    custom or tradition remain to a certain degree.  This is sort of 
    getting SF after all, though.  Reading the postcards, I saw there were 
    a number of people who interpreted Lucia in a SF way, waiting for her 
    time of awakening and hibernating.
    Shigema: Pure fantasy actually isn't really my specialty, and I like 
    something different that adds some extra meaning.
    Kubooka: The thing I thought of earliest was always a time capsule.  
    This was in a comic a long time ago, for generation after generation 
    there were tons of time capsules, and one by one people would wake up 
    and go to complete their missions.  There was this idea, and I also 
    wanted to use the image of "a girl who seems to be sleeping in a tomb."  
    Shigema: That's the very first image, very SF-ish.  
    Kubooka: You could say we went a little astray of our promise to make a 
    basic fantasy, though.  To some extent, from the design standpoint 
    there was the restriction that we couldn't deviate from the line of 
    "Lunar I."  
    Shigema: But, I wonder about that.  Isn't it pretty distinct from 
    "Lunar I?"
    Kubooka: Hmm, well, I hear that from everyone, but I wonder about that.  
    We went ahead and did Leo and Mauri.  In my mind, they weren't very 
    "Lunar"-ish, I think.  But then it seems like it was fine to have stuff 
    like that...
    Shigema: I feel like the other characters are really different, too.  
    It's not the difference between a cold place and a warm place, it seems 
    like the image of the characters' clothing is different now.
    Kubooka: No, I didn't plan on them being that different....  I thought 
    about the long clothes of Nasch's priest fashion for Rong-fa...
    Shigema: That's true, but looking at the final product, they seem 
    Kubooka: Hmm, I may have a problem if that's case (laughter).
    -It seems like Hiero here was decided on early.
    Kubooka: I put tattoos on his forehead [see early designs, p. 14].  
    That was self-inflicted punishment (laughter).  In Hiero's case, I had 
    no idea that Gwyn was his grandpa (laughter).
    Shigema: We changed it to that quite a bit later.
    Miyaji: There were a lot of problems with that, weren't there?
    Shigema: No,  I'm actually glad we changed it.  He's not an ordinary 
    human, and there's all kinds of different races mixed together.  I 
    think as a result it worked out well.
    Kubooka: Actually, Hiero also had the mission of his father's will...
    Shigema: He did have that, but, see, Lucia had a mission too, and it 
    seemed better not to have too many missions.  Conversely, Hiero acts by 
    intuition, but it's actually the right thing he's doing.  I think 
    Dragonmasters have that kind of disposition.  
    Kubooka: In short, there was also the conceptualization of justifying 
    his being a grave robber or something by having the reason be that he's 
    searching for things related to Althena...
    Shigema: Right, right, so originally the reason Leo was calling him a 
    rival was because, as a believer of Althena, he was protecting those 
    ruins and was investigating them and thinks, "this guy is a grave 
    Kubooka: Jean also completely changed, 180 degrees...
    Shigema: She's 180 degrees different.  In that design, she was the 
    princess of a ruined country and was always sobbing, and was shy and 
    withdrawn...but she actually had incredible power.  She changed 180 
    degrees and became a big sister who looks after other people.  But even 
    in the game with the mini characters, we expressed that very well.  And 
    in the battle scenes with Jean's movement.  In that sense, I earnestly 
    think that if you don't make the entire game, you won't know [how well 
    she will turn out].  
    Miyaji: I think she grew up to be a good character.  She lived within 
    the game, becoming a fighter too.  If she had just ended up finishing 
    as a dancer, it wouldn't have been interesting.  She becomes a fighter, 
    and does that Renpatsu ["Continuous Burst"] technique...
    Shigema: That was interesting, wasn't it?
    Kubooka: And Rong-fa, I wanted him to have a beard he was too lazy to 
    Shigema: I wrote in the dice later.
    Kubooka: There's really not too much attachment there, is there 
    -Even so, you decided his design fairly quickly, didn't you?
    Shigema: We decided it on a hot springs trip, actually.
    -So does it end up being easier to decide on the male characters rather 
    than the female characters?
    Kubooka: Um, with other work this was also the case, but with the 
    protagonist I had no problems.
    Shigema: Plus the girls are important, you know.  The males, well, they 
    can be whatever.
    Kubooka: With Lemina, originally I really thought of making her exactly 
    like Mia.
    Shigema: Hmm, but there were surprisingly few postcards saying things 
    like, "She's Nasch and Mia's descendent, right?"  Making her blond was 
    going to give her Nasch's image.  That's what I was thinking.  This 
    girl seems this thoughtless and carefree, but actually she has a 
    mission.  So she's actually like Mia and actually has a mission, but 
    the way it shows up is different so there was pressure.  In Mia's case, 
    this was shown through her introverted side and she's very hesitant.  
    Conversely, you could call Lemina a cheerful, attacking type.  
    -Considering her personality, her clothing is subdued, isn't it?
    Shigema: But black makes women seem pretty, or maybe not?
    Kubooka: I wanted to make her a standard female magician.
    Shigema: Just like with Mia.  Except her waist is held in very tightly.
    Miyaji: The measurements are short.
    -Yes, it's a lively image, isn't it?
    Shigema: For people who have played the game, I really want them to 
    take Lemina with them to Temis village after the first ending.  If you 
    do, you can hear something pretty funny.  There's no event, but the 
    dialogue is funny.  It gets stranger and stranger, though (laughter).
    Kubooka: To this day, I still end up calling Ruby "Mink."
    Shigema: She was Mink for a long time, wasn't she?  Ruby is a very cute 
    Kubooka: I wanted to have Ruby transform into a human, though.  I feel 
    like something happened with that.  What was the reason?
    Shigema: That's my greatest regret.  It's because at a certain point, 
    the story was growing far too large, and we did a lot of cutting, and 
    when deciding where the main point would be, we decided on portraying 
    Lucia.  Ruby's human form was one of those parts that was cut.  There 
    are various others besides that, of course.  
    -I'm sure you'll get many postcards after this.
    Shigema: Nall and others were supposed enter the party too.
    Kubooka: And he's always burdened with carrying Althena's Sword 
    -It sure was cute when she [Ruby] attacked during the battles.
    Shigema: You may not have noticed this, but after she matures [into the 
    true Red Dragon], her attack power doubles.  
    -Right, from 3 to 6.
    Miyaji: That's hardly any change at all (laughter).
    Shigema: But it is doubled, you know, doubled.
    Miyaji: But no one will probably notice that kind of thing.
    Shigema: You're falling over, it's so funny.
    Miyaji: The programers probably thought it would be funny and did it.
    Kubooka: Will she do that in boss fights, too?
    Shigema: She won't fight bosses.
    Miyaji: We didn't want Zophar to be defeated by Ruby in the end 
    Kubooka: And with Nall, it looks like there were people who didn't 
    realize it was him even when they heard his name.
    Shigema: You're kidding?!
    Kubooka: It's true.  Something like "But, it sort of looks like him, 
    but..." (laughter).
    Shigema: This is the easy to understand pattern of "Lunar I."
    Miyaji: But this guy is pretty lonely, isn't he?  Machine Mountain has 
    incredibly cheerful music, but it feels so incredibly sad and lonely.  
    Shigema: The sadness of the [Dragon] tribe's long lives is maybe why 
    he's rebellious and went a little astray.
    Miyaji: The way it's just him who's still alive.
    Shigema: And because new children always join and others leave...  So 
    in the middle of making the game, I almost wanted to make a side-story 
    where Nall was the protagonist.  Also, the voice actress, Rika 
    Matsumoto, is just great!  She's really great.  
    Kubooka: She's exactly like the image.
    Shigema: Yes.  Ruby was also incredibly good, so I wanted them to do a 
    comedy where Ruby and Nall talk back and forth, too.
    Kubooka: For Mauri's image, there was Audrey Hepburn from "My Fair 
    Lady."  Personally, I like a slightly decadent air.
    Shigema: Right.  She's a beastwoman, but with the air of a beauty.  
    That's actually, you wouldn't call her dirty, but she's a character 
    that uses her dangerous personality to cause trouble for Rong-fa or 
    Kubooka: In the graphics, Leo is quite...  There's hair around his 
    neck.  Is he all covered in hair?
    Miyaji: This is the first time I've heard this.
    -Seems like he'd be really warm.
    Shigema: It does seem like he'd be really warm! (laughter)
    The Masked White Knight was funny, wasn't he?  The first time I came up 
    with him, I burst into laughter.  And speaking of that, the reason I 
    made him was because Leo is very strong, sincere, and unaffected, or 
    headlong, or inflexible, a very serious character.  That seriousness 
    comes out in contrast to Hiero.  Hiero is very relaxed and devil-may-
    care, but he always chooses to do the right thing.  Leo is a character 
    who is so over-serious that he may make the wrong decision.
    Miyaji: We were able to show that really well in that event.
    Shigema: And in the battle scenes, we got people to work really hard, 
    and the letters say, "The White Knight," don't they?  That wasn't going 
    to happen, we weren't going to have time.
    Miyaji: And he's wearing his mask and everything...
    Shigema: He's wearing his mask, and the mini character is disguised.  I 
    thought, "wow, they're good!"  And, "what are these guys thinking?" 
    (laughter)  I was surprised.  You don't normally do stuff like that.
    Kubooka: When I first decided on Leo's colors, he was wearing red 
    clothes.  I'd totally forgotten about the White Knight.
    Shigema: Right, I was wondering what was with Mr. Kubooka.  But that 
    wasn't a ruse, he'd simply forgotten about it.
    Kubooka: And the blue Linus of the Blue Fist?  I forgot that guy was 
    blue, too, I was thinking yellow...
    Shigema: In the game, Borgan survives, but I had planned to kill him.  
    Miyaji: When you kill a character, you know, it isn't interesting.  And 
    in "Lunar II," no one ends up dying.  And Ghaleon was dead from the 
    Kubooka: To the end, Mr. Shigema tended to stick to having characters 
    Shigema: That's right.  In my mind, I thought, "I'm not gonna kill 
    characters if possible."  Killing people is such a final measure, and 
    we don't really have the right to do what we want with their lives, do 
    we, since once characters are born, they have a life span, too.  
    I can't just go and kill them.  However, Ghaleon himself wanted to 
    disappear.  The first image was of a man living in disgrace. Even 
    though he was living in disgrace, he chose to keep living.  In Ghaleon, 
    I really wanted the shame of still living while in disgrace.  Even 
    though he's living in a crumbling condition [i.e. his worn-out body], 
    that ended up seeming appropriate for Ghaleon, instead.  But Ghaleon 
    wanted to disappear in the end.  Well, I think that the result ended up 
    being pretty good.  
    Kubooka: His embarrassment at being called Dragonmaster didn't show up 
    very much.
    Shigema: In the original process, when Leo or Borgan or someone would 
    call him Dragonmaster Ghaleon, he would say, "Don't call me by that 
    name."  He unwillingly wears the mask of Dragonmaster in order to 
    deceive Zophar, but for Ghaleon it's the thing he wants to hear the 
    least, since that's the symbol of his dear friend, Dyne, after all.  I 
    wanted to do a character who performed even if he had gone ahead and 
    shed blood, or lived in disgrace, and story-wise, that's how it was.
    Kubooka: We didn't end up being able to do this, but I thought it would 
    be cool to do something like a scene where Hiero wrapped Luna's scarf 
    around Ghaleon's wounds, and then as Hiero and the others headed off, 
    the scarf would come off and flutter away.  I wondered if we would be 
    able to do that kind of visual well.  
    Shigema: Even while Ghaleon understands that humanity is able to 
    surpass the imagination, he was unable to the end to surpass [the 
    limits and obstacles they faced.] But Hiero and the others were able to 
    surpass those limits without trouble.  The condition for becoming a 
    Dragonmaster actually isn't bravery or power or something like that, 
    it's having a free heart that doesn't think limitations are 
    limitations, and this is both the condition for a Dragonmaster and 
    humanity's true power, he finds.  Personally, I like characters like 
    Ghaleon very much.
    Miyaji: And Zophar...  We ended up making him a character who it wasn't 
    really a problem if he was killed.  So we made him heartless and 
    Shigema: So there essentially isn't any real significance to Zophar.  
    The story's focus isn't here.
    Miyaji: Last bosses are difficult.
    Shigema: If you give too much significance to them, it's a problem.  
    Zophar had no image at the start, so we asked Mr. Satou for ideas...
    Kubooka: Zophar changed quite bit from the image we thought of, didn't 
    he?  At the time of the original design, he was a child.
    Shigema: Right, right.
    Miyaji: An ominous child?
    Kubooka: In the beginning, he had no shape.  There was the idea of him 
    being inside the womb of the False Althena.  So at first, the design 
    itself was more grotesque, and the False Althena herself had more 
    significance.  The reason for making the Cult of Althena or something 
    was so that those evil things would be sucked in, and he would grow 
    larger and larger inside the False Althena's stomach.  It's kind of a 
    gross image.  At first, there was this curtain, and the False Althena 
    would appear, but she wouldn't move from the tank in back.  If you 
    wondered why, and if you opened the curtain, in the back, there would 
    be this huge thing like a womb.  And Zophar would be gushing around 
    That's the kind of image we had thought of.  But I thought grotesque 
    things kind of wouldn't fit with the Lunar world, and got rid of that.  
    **Now, what about the characters of "Lunar I?"**
    Shigema: In "Lunar I," there was that, there was Evil Luna, those 
    risque clothes were something else.  Where did things like that come 
    Kubooka: Ah, well, I thought elements like that might be necessary.  
    And the reason I made Arhes' eyes green was because he was a descendent 
    of the earth, of the Blue Star...
    Shigema: In the original design, that is.
    Kubooka: Arhes was spelled using "Earth," wasn't it?
    Shigema: Right, and Luna was from "Moon."  But we changed that in the 
    Kubooka: So, the clothing.  For the design, it was a northern people, 
    and at that time at any rate, someplace cold was part of the design, 
    and I adopted fur for some parts.  
    Shigema: The reason we made it a cold place was become at that time 
    naked girls swinging swords were popular, and I didn't like that.  So, 
    I decided to make it a cold place.  If you make it cold, there's at 
    least a  bra for resistance, isn't there?  That's why I decided to make 
    it cold.
    Kubooka: Considering that, there were complaints about how exposed her 
    legs were...
    Shigema: But it wasn't me.  I was fine with that, and since much later, 
    risque Luna got to live on.
    Kubooka: People said Luna was like that Bulgaria Yoghurt commercial or 
    something.  Sort of an ethnic tune.  Also, that scarf, a girl at the 
    dentist I was going to then had that fashion every time I went.  I 
    thought it would be good.  And Ramus had a face like Housaku Samon [a 
    fat, glasses-wearing character in the baseball comic, "Kyojin No 
    Hoshi," or "Star of the Giant"], and since they wanted me to make him 
    cute, I wondered how it would be if I made Mr. Shigema cute.
    Shigema: No, I'm different from that, though.  Nasch is flashy.  How on 
    earth does his hair get like that, I wonder.
    Kubooka: Well, mostly, in general I'm not good at particular details, 
    so I try to make designs with features centering on one, simple point.
    Shigema: I think that for games, this is very good.
    Kubooka: Mia and others are like this, too.  This Magic Guild and the 
    priestess style are different concepts.  The Magic Guild has Russian 
    Orthodox elements, doesn't it?  That's how I planned it.
    Shigema: The design for the town of Vheen, that seemed like Moro.
    Kubooka: As for Jessica, I wonder how she was...
    Shigema: Well, Jessica's a beastwoman, she's called a beastwoman.  With 
    six breasts or something...
    Kubooka: I don't know about that (laughter).
    Shigema: There wasn't that, of course.  She has a tail [note: 
    apparently he is speaking about an early design].  
    Kubooka: And with Killy, it was that.... As in image, I used something 
    like "Willow"... [an American fantasy film by George Lucas]
    Shigema: I wanted a guy carrying a big sword over his shoulder.  Arhes' 
    sword is relatively slender.
    -That's right, it looks like you really wouldn't be able to carry it.
    Ghaleon: For Ghaleon, I asked for a bad guy (laughter).
    Kubooka: I had some trouble with Ghaleon.
    Shigema: That's right, there were quite a lot of different patterns, 
    weren't there?
    Kubooka: And Ghaleon was separate from the Magic Emperor at the start, 
    right?  So him being inside [the Magic Emperor's armor], that wasn't 
    there at the start.
    Shigema: In the beginning, there wasn't a plan to have Xenobia in the 
    story.  Mr. Kubooka just suddenly drew her one day...  
    Kubooka: Yes, I felt like I wanted to draw a witch, and I asked them to 
    let me do it.  
    -Is there anything else you would like to mention?
    Shigema: If you would like a "Lunar III," please keep sending Game Arts 
    requests.  Also, well, your impressions and things, definitely.
    -But if you decide to make "Lunar III," it'll take another three years, 
    won't it?
    Kubooka: Yes, that's right.
    Shigema: But if that's the case, maybe the next game will be a 
    different part of the "Lunar" world.  
    Kubooka: I think we could make another one.
    Shigema: So in the same "Lunar III," I think I'd like to make something 
    a little different.  And you, Mr. Kubooka?
    Kubooka: Hmm, well, I think it might be fine if the characters aren't 
    connected, but I'd want to create the world of "Lunar" well, and then 
    look towards new ways of development.  However, there are definitely 
    things we weren't able to do in "Lunar II."  There were other things we 
    wanted to do in "Lunar II," but we just weren't able to.  Regarding 
    "Lunar II," there were lots of parts where we wondered whether they 
    work well as a game or not.  I was definitely concerned about the 
    reaction of the audience in judging these parts.  
    Shigema: That's right.
    Kubooka: There aren't any games crafted as carefully as the Lunar RPG 
    series.  I haven't seen much besides other games' demos and relevant 
    scenes, though.
    Shigema: On the other hand, I've seen a ton of them.
    Kubooka: So I didn't know at all what we could and couldn't do, and I 
    learned afterwards what was a challenge to do.
    -Yes, that's right.  I've seen the scenarios and continuity of games 
    made by other people many times, but there is never this kind of 
    attention to detail.  For scenarios, "Lunar II" has such a large 
    amount, but other people's scenarios don't have very much.
    Shigema: I actually hadn't been aware of that.
    -Oh, really?
    Shigema: I actually had no idea that the scenarios for "Lunar I" and 
    "Lunar II" were so extensive.  I couldn't understand why in other 
    games, after an event had finished, the dialogue didn't change if you 
    returned to the cottage.  Even though the story is always advancing.  I 
    thought that was weird, so I ended up deciding to change that.  Well, I 
    can understand the reason no one else does this.  It's quite difficult, 
    you know.  But I'm very pleased that its reputation is so good, thank 
    you so much.
    -Thank you very much for taking the time for such a long interview 
    Translator's Note:
    Special thanks to Lunar-Net's GhaleonOne for expressing interest in 
    this project.  Thanks as always to Jeffrey's Japanese Server, Jim 
    Breen's EDICT server, and Yahoo Japan's dictionary, whose services were 
    invaluable for finding good English words for certain translations.  
    Lunar and all related names and licences are the property of Game Arts 
    and Studio Alex.  This translation work is copyrighted 2005 by the 
    author and shall not be altered without express permission.  Lunar is 
    copyrighted by Game Arts.

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