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It’s the first time a Pokémon game’s done that. We don’t have gyms in the game this time. I used that to change some things in Omega Ruby and Alpha Sapphire, but I was also able to take those lessons and directly apply them to creating Sun and Moon from scratch.Īnother thing, with Omega Ruby and Alpha Sapphire being remakes, is that it was more difficult to make some of the more radical changes I was interested in. I learned his approach and way of thinking when he first came up with the Hoenn region, the setting of the Ruby and Sapphire game.
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Masuda, because he was the director on the original Ruby and Sapphire games. One of the things that I think really helped me when I was first beginning Omega Ruby and Alpha Sapphire‘s development, was that I went and talked with Mr.
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So things like the sheer amount of elements that you need to consider in creating a brand new setting, and the game in general, since it’s on a completely different scale from Omega Ruby and Alpha Sapphire. With Omega Ruby and Alpha Sapphire, I had a really strong base from which to work, but with Sun and Moon, we of course had to create everything from scratch. I quickly realized that being the director of a remake of a game that had come out over a decade ago, and working on a completely new one, was obviously very different. Ohmori: Right after Omega Ruby and Alpha Sapphire, we wrapped up development and I immediately began working as the director on Pokémon Sun and Moon with no break. What was it like shifting from a directorial vantage that was partly looking backward, to creating completely new installments? Ohmori, your first directorial outing was with Omega Ruby and Alpha Sapphire, which were remakes. In general, I think you’ll find that it invokes feelings of a tropical island environment, so a lot of really warm tones. But in order to make it unique, we went with completely different melodies over the top of those. So for example, we wanted to use the core rhythms that you would find in a lot of traditional Hawaiian music. The Alola region in Pokémon Sun and Moon is definitely its own thing, but also obviously inspired by traditional Hawaiian music styles. Masuda: We took inspiration from Hawaii specifically, but we wanted to do more than just copy the sort of music you’d hear there. You’re anticipating my next question! As the game’s composer, what styles and motifs were you going for this time? I think right now I’m able to scratch that itch by working on some of the music in the games. I wouldn’t want to just give up creating things. I think both roles are a lot of fun, and they both offer unique ways to make your mark on Pokémon. Making decisions about when to release for example the virtual console versions, or the Red and Green or Red and Blue original Pokémon games and how those would interact with the brand as a whole. When you work as a producer, you have more influence over the big picture, and the Pokémon brand as a whole. That’s a lot of fun as someone who likes to create things. When I was directing the games, I was directly involved in the creative aspects and really in the trenches with everyone else. Masuda: Recently I really have come to feel that both roles, producer and director, are a lot of fun in their own rights. Do you enjoy the higher-level view after directing so many of the earlier games? Masuda, you’re the producer again this time. That’s great for us, and I hope people will be interested in giving Pokémon Sun and Moon a go if they’re looking for a more in-depth experience. So Pokémon Go didn’t really affect any of the development decisions, though I do think that thanks to Pokémon Go there’s an increased awareness of Pokémon in general.
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With the main series games, we instead focus on catching Pokémon but also on raising them and adventuring with them and having a lot of strategically deep battles, where players can then use the Pokémon they caught in those battles. We wanted people to just enjoy going out and catching Pokémon. Our goal with Pokémon Go was to put the focus on the catching Pokémon element. Pokémon Go uses location-based information where you walk around in the real world to find Pokémon and catch Pokémon. Masuda: We began Pokémon Go‘s development as a project that would be different from the main series roleplaying games we create at Game Freak.