The Battle of the Gigantic Monsters/Making of The Battle of the Gigantic Monsters

[The making of "The Battle of the Gigantic Monsters" starts with some dramatic, epic and upbeat instruments playing (with the girl screaming sound effect) the camera moves into a plasma ball, and a skull (with the Man screaming sound effect), then a radioactive goo spills out, which turns into a city]
British narrator: Columbus, the heart of Ohio. Famous for its fresh air, clean living and natural beauty.
[The radioactive goo spills out again, turns to be a lab door, the sign says "No Access"]
British narrator: But performances can be misleading.
[The radioactive goo spills out a final time, which turns to be the scientists]
British narrator: Lurking in the shadows, a team of crazy game developers is working on a plan that's so scary. It will send people running for cover!
[The girl screaming sound effect again]
British narrator: Remaining of this top secret project is... "The Battle of the Gigantic Monsters"!
["The Battle of the Gigantic Monsters" text appears]
British narrator: Follow us as we reveal the story behind what is clear to be Earth's greatest battle.
[fades into a producer guy named Daniel Bryan]
Daniel Bryan: The basic premise is that aliens from outer space invade the earth and the world's governments unite and create the superpower to help defeat them and they do. But a side effect is that the UFOs crash down to the earth and they spill their radioactive mutagen all over the world and then these huge monsters are born and they are just kind of morph from big insects or other crazy creatures.
[The mantis turns into a giant insect monster, then fades to gameplay]
British narrator: Now we have established how the beasts created. It's time to unlock "the inner effects of the monsters"!
["The Inner Effects of the Monsters" text appears, then fades to Daniel Bryan again]
Daniel Bryan: Of the fourteen monsters that you can play at the beginning. We have Kyodakiri, a crazy mantis only lightning strike and she's very good in close combat, but she's also good at catching and throwing too. We have Kyodaryu, a reptile beast and he is a good match to beat the opponents at the first time. We have Gakegon, a vicious dragon are the real quick attacks and his ability to fly and beat other opponents. We have Cybokon, a huge mutant chimpanzee with the parts of a cyborg, he is a really balanced character. Another really balanced character in the game would be Bokuhorn, he is a prehistoric-like monster, fortunately he strikes the opponent with his horn. We have Golotem, a reanimated golem, he is a statue from some kind of Maui Island. We have Yoganosaur, he is the type of Golotem's elementary arch-nemesis, it's kind of a fiery creature, he's a very heavy hitter like Golotem. We have Mechanikaryu, kind of our Japanese almost toy as a dragon robot. We have Sharptor, he is a Velociraptor-like monster that you may have seen from the movie, he is very inspired by the type of vintage and classical prehistoric. He's just a good energy covered with stripes, and he has covered with spikes, he has the ability to attack its prey.
[fades into a creative director guy named Lynell Jinks]
Lynell Jinks: The greatest challenge for The Battle of the Gigantic Monsters was trying to get the monster's design just right. We have stacks and stacks of concept art for each monster. For example, Golotem, who is the great stone idol. He started as a kind of pile of rocks, and we could walk around and around a circle that it took forever to just try things.
[fades to gameplay again]
British narrator: When chaos rules and the monster's rampage "the very environments become weapons" in the hands of the right players.
["The Very Environments Become Weapons" text appears, then fades into a lead game designer guy named Danny Bélanger]
Danny Bélanger: There are actually two types of environmental attacks that happen in the game. One is crucial for gameplay that actually uses items and buildings and only basically the geometry to really improve the fighting, you can pick up a car, bus, train, anything and use it as a weapon. On top of that, we have natural disasters that monsters can make sure we think that type fits into the whole theme because when you see two monsters fighting for an old 50s movie, they're not just up there like wrestling like men in tights they go across the city to cross valleys that throw boulders on each other and create natural disasters. So we have things like tidal waves, earthquakes, nuclear reactor ventures, etc. that really can change how the dynamics of the campaign happen when the level deteriorates.
[cut to Daniel Bryan a 3rd time]
Daniel Bryan: One of the core elements of The Battle of the Gigantic Monsters is the mix of long and short gameplay and very early we found that traditional camera technologies currently used in the video game industry would not really cut it so we spent a considerable amount of time researching and developing different camera models and the one we really liked most is our camera association technique. So for example in two-player games we play a split-screen mode one player on one side and one player on the other side and that camera follows them around and it allows him to jump and climb and fly and do all their free roaming fighting, grabbing cars and throw against their opponents. But when they come close to each other in a hand-to-hand combat situation. The system detects it and we cross the resolution from the two screens to a more traditional fighting view that allows players to engage in hand-to-hand combat, watch their movements engage their distances jumping from building to building in these really cool monsters battles. One guy can beat another and "Bam!" send him flying over the level and the system detects that "swish!" and then it splits back into two screens and it really sounds like the hybrid game and The Battle of the Gigantic Monsters really come through in single player and in two player.
[fades to gameplay a 3rd time]
British narrator: Like any other aspect of the game, "The Soundtrack Featured in The Battle of the Gigantic Monsters" was carefully considered.
["The Soundtrack Featured in The Battle of the Gigantic Monsters" text appears, then fades into a creative director guy named Michael Hunter]
Michael Hunter: The soundtrack was inspired by old film music but we did not just want to recreate that music. We wanted to use it as a jump point so we tried to capture all the energy and power and awe and mystery of the big monster films and old sci-fi movies and then put it updated to suit a modern one. The soundtrack is also dynamic and interactive, so the intensity of music varies depending on what you do in the game and what you see on the screen.
[fades to Daniel Bryan a final time]
Daniel Bryan: All levels of the game have a crazy amount of player interaction not only are they completely destructible which is fun in their own right but many of the levels have kind of hidden attacks that you can use against your opponents for example in Rio Grande do Sul level, if you dive attack on some of the small volcanic cubes that are out in the level, causing the main volcano to shoot flaming magma rocks against your opponents doing quite a lot of damage. At Los Angeles level, the player can dive attack this kind of radioactive button and fill in the middle of the level full of this oozy, nasty radioactive goo and you can throw opponents in it and cook them like a bacon it hurts well it's very exciting.
[fades to gameplay a final time]
British narrator: With a classic 50's movie atmosphere, monsters are as big as skyscrapers and environments ranging from crumbling cities to raging volcanoes, The Battle of the Gigantic Monsters is unlike any other fighting game.
[scenes to Yoganosaur, Cybokon, Senshakyojin, a hord of irradiated Kyodakiri (2nd costume), Golotem, Kyodaryu, and Bokuhorn]
British narrator: Prepare to fight the battle in your life! "The Battle of the Gigantic Monsters"!
["The Battle of the Gigantic Monsters" text appears a final time, then fades to black]
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