のっさん

ファミコン世代のWebエンジニア 趣味遍歴: トランペット → IIDX → 登山 → クライミング → スト5(エド) → スト6(ケン) → ナイトレイン(執行者)

[任天堂株式会社 @Nintendo]

[トピックス]『ELDEN RING Tarnished Edition』はNintendo Switch 2 で明日8月28日発売。「これからはじめる『ELDEN RING』」映像を公開中。
※本作の対象年齢は「17歳以上」です。
https://t.co/ILd5VKGkWG

[のっさん @nossan]

ナイトレイン執行者、野良でカンスト達成！7700から深度3まで落ちてしばらく5に戻れなかったけど、コツコツやってたら何とかなった。ダスブラ前に行けて良かった。

[のっさん @nossan]

対戦ありがとうございました。う、うれしい。

[FROMSOFTWARE @fromsoftware_pr]

Nintendo Switch 2 用ソフトウェア 『The Duskbloods』ネットワークテストを8月21日（金）～8月24日（月）に実施いたします。テスター応募は来週7月22日（水）より受付開始予定です。よろしければぜひご参加ください。

[Katsuhiro Harada @Harada_TEKKEN]

From my perspective, Miyazaki is a rather unique, yet extremely serious game developer.

His career did not begin in the game industry. In fact, he didn’t become a game developer until he was almost thirty years old.

Even among developers of my generation (those of us born in the 1970s), I think it’s remarkable that someone who wasn’t even a game developer during the dawn of the polygon era eventually became one of Japan’s most representative game creators. (In other words, compared to the rest of us from the same generation—including myself—his career path is exceptionally unusual. Most notably, unlike many of us, he was not working at one of the major development studios that held a significant technological advantage during the early polygon era. That, more than anything else, is what makes his path so unique.)

Next, regarding my impression of Dark Souls.

People often focus on its difficulty as a game, but I believe Miyazaki’s true creativity shines through in the world he created. (By the way, I personally think Dark Souls has fairly simple action mechanics, and I don’t actually consider it to be an especially difficult game.)

If you look into my own career, you’ll see that I was personally involved with the Dark Souls series and Elden Ring as the General Manager overseeing both production and marketing (Just to clarify, I wasn't part of the development team itself. My involvement was simply as the General Manager of the publisher-side department overseeing production and marketing). From that perspective, I can say that Dark Souls didn’t suddenly become a massive success overnight. It was the result of everything Miyazaki and his team had built up through their previous titles.

Today, he receives offers from all over the world, but when I think back to the days when he and his team were struggling the most, many of those offers seem like they’re coming from people who only know who they are today. Some of them almost feel like complete reversals in attitude. Well, that’s just my personal perspective.

Personally, I had grown tired of people who would simply compare games by saying things like, “That title cost X billion yen to make and sold Y million copies,” and then use nothing but those numbers to judge them against other games. There were so many people who couldn’t appreciate the journey or the growth of the developers themselves. Anyone can look at the current numbers—they’re available to everyone. Whenever I heard those kinds of opinions, I always thought, “That’s exactly what you’d expect from someone who’s never actually developed games.”
What surprised me even more was that, even if people couldn’t properly evaluate that journey, almost nobody even seemed interested in trying to understand the process of how those developers gradually reached where they are today.
(I'm NOT talking about the fan community).

Now, going back to Miyazaki, there are two things about him that have always stayed with me.

The first was back when I was developing Summer Lesson for VR, around the time it was generating a lot of buzz.

One day, he came to try an early build of Summer Lesson along with people from several other game companies.

While everyone else was laughing, chatting, and having fun with it, Miyazaki alone played it with incredible seriousness. Then, after everyone had finished and started discussing their impressions, he remained completely silent, staring intently at the preview monitor, deep in thought.

Everyone became curious and finally asked him, “Miyazaki, what are you thinking about?”

He suddenly smiled and said,

“Oh… I got completely absorbed in thinking about what I would do if I were making this, and what kind of game I’d create.”

What he talked about after that was, in the best possible sense, completely insane.

It was one of those rare moments when I caught a glimpse of what I’d call his “mad scientist” side—his deeply serious, obsessive approach to creativity.

The other thing that left a strong impression on me was that he generally dislikes video interviews (including live streaming).

I once asked him about it by email, and he replied with quite a long explanation. After reading it, I completely understood where he was coming from.

Simply put, he doesn’t like watching himself moving around on video. (Psychologically speaking, it’s actually a bit more complicated than that.)

But there was another reason.

According to him, there are naturally many people in this industry who know games far better than he does. Whenever he listens to those people speak, he realizes that his own understanding is still shallow, and it makes him feel that he’s not yet in a position to be the one talking about games.

I mean… it’s common for well-known developers to say, “I still have a long way to go.”

But whenever someone like him says that, my reaction is always,

“Come on… if you say you’re still not there yet, then the rest of us won’t feel qualified to talk about games at all.” (laugh)

Anyway, that’s one of the reasons why video interviews with Miyazaki are extremely rare. And conversations with him on camera—especially long-form discussions with another developer—are even rarer. They almost don’t exist at all.

By the way, the other game developer in that photo is Masahiro Sakurai.

If you ask me, he’s basically:

“A Saiyan who genuinely believes he’s just another ordinary human.”

Every now and then, when the rest of us are struggling with some problem, he’ll say something that sounds exactly like Goku saying,

“Well… why don’t you just fly?”

And I’ll reply,

“Because we humans can’t use Flight Technique.”

Then he just stares at me with a completely puzzled look.

To put it in terms of Demon Slayer, I’d describe him as:

"Like Muzan Kibutsuji casually showing up at a drinking party where all the Hashira have gathered, genuinely believing he's just another ordinary guest".

That’s the kind of person he is.

[少年ジャンプ編集部 @jump_henshubu]

【HUNTER×HUNTER 最新話掲載】
6月29日(月)発売の週刊少年ジャンプ31号に、HUNTER×HUNTERの最新話が掲載されます。

最新コミックス39巻は7月3日（金）発売です。
（担当）

[FROMSOFTWARE @fromsoftware_pr]

Nintendo Switch 2 用ソフトウェア 『The Duskbloods』のネットワークテストを2026年夏に実施いたします。どうぞよろしくお願いいたします。

[ELDEN RING @ELDENRING]

Your journey to the Erdtree begins here. Rise, Tarnished.
#ELDENRING Tarnished Edition is coming to #NintendoSwitch2 on August 28, 2026.

[のっさん @nossan]

ナイトレイン、執行者で深度5到達！まさか1年やり続けるとは思わなかった。深度5リーチマッチで敗北してから、戻って来るまでちょうど3ヶ月。

[電ファミニコゲーマー @denfaminicogame]

『ブラッドボーン』アニメ化が発表！R指定の作品に。複数の海外メディアが報じる
https://t.co/Xl1fUOgGM4

「シネマコン 2026」にてソニー・ピクチャーズが発表。プロデューサーはJacksepticeye氏が務める

[のっさん @nossan]

今日のナイトレイン
マリスハル咆哮回復から、ハルハルスキル強化に変えてみたところ、二連敗で4000まで落ちてしまった。
弾きミスれない圧と、咆哮回復ある感覚でアーツ切ると耐えられない。
下振れ時の火力確保したくて変えたのに、まさに下振れの時に負けてしまった。もう少し試すか悩ましい。

[のっさん @nossan]

1日1ナイトレイン
執追レ
4800->4600
(ボス不明)百足、神肌、リブラ(負)

ファームはまぁまぁで武器やや下振れ。リブラは久しぶりに普通。火力が足りなくて15分以上の長期戦。聖杯もぬくもりも使い切って最後は置き魔法陣にやられたっぽい。今回出た瞬間に踏みつけた疑惑が数度あったような。

[のっさん @nossan]

1日1ナイトレイン
執追鉄
4600->4800
接ぎ木、竜ツリガ、常夜カリゴ

初手湖沼災域ピンが可決されなくて良かった。その後ハルモニア襲撃で有耶無耶になり、2日目序盤に行っても全滅しそうになった。ボス戦も危うかったが、何とか綱を渡り切った。ハルモニア恩寵強し。

[のっさん @nossan]

1日1ナイトレイン
執追追
5100->4600
ティビア、踊り子(負)

地変山嶺。第一収縮終わりかけから山嶺移動して、ギリ竜倒せたくらい。実質夜の王、踊り子で事故発生。被弾時に無理矢理アーツ発動しようとして二発目くらったのが直接的敗因。よくやってしまう。連敗キッツい。

[のっさん @nossan]

1日1ナイトレイン
執無レ
5500->5100
ミミズ顔、竜ツリガ、ナメレス(負)

地変大空洞南スタート。ファームが下振れ中の下振れで、初期刀+1でナメレス戦。かなり粘ったけど、普段やらない遠い間合いからの弾きでタイミングがずれて敢えなく終了。鎌ビルドの弱いところ出た。深度5への道は険しい。

[のっさん @nossan]

1日1ナイトレイン
執葬鉄
5200->5500
(ボス不明)接ぎ木、神肌、常夜カリゴ

常夜カリゴが少し危なかったくらいで、終始安定していた。アーツで大技止めを盛大にミスって恥ずかしかった。初日でマリスかカリゴ、マリス襲撃イベントあったからカリゴ確定なんだろうか？襲撃イベあったらナメレスでない？

[のっさん @nossan]

1日1ナイトレイン
執鉄無
5000->5200
死の騎士、アルトリウス、瓦礫

地変火口。初日レベル4の第2収縮で3ゲージ蘇生迷って逃げ遅れダウン。起こされなかったら終わってた。初日敗退がチラつきつつ、何とか耐えて完走。これ勝てたのデカい。

[のっさん @nossan]

1日1ナイトレイン
執追執
4700->5000
(ボス不明)幽鬼、無名の王、ナメレス

昨日は安定の+200。ボスが出てくる瞬間までフルゴールだと疑わず。学習能力が無い。お兄ちゃんがサイス持ってて助かりました。

[のっさん @nossan]

1日1ナイトレイン
執葬守
4700->4500
幽鬼、死儀礼、常夜リブラ(負)

城地下の赤貴公子に2回全滅の危ういファームから何とか形になる。常夜リブラ、20分近く粘って残り1-2割で負け。サイスでFPを使い果たし、初期刀で毒付与プランを狙うも、集中力切れて地面魔法陣踏んでしまって終了。惜しかった。

[のっさん @nossan]

今日のナイトレイン
1敗からの3勝
4100->4700

ランダム常夜マリスで勝てたのが大きかった。予測できて無かったけど、戦技火力高めなのと、味方が上手くて助かった。瓦礫は遠距離で大技来た時の避け方が分からずダウンしたくらいで、集中できてた。