Nani?!
Furukawa Hirozawa felt his brain wasn't quite enough to play this game.
After two seconds of thought, he realized that the Aiga people were the true reverse degree persons, and the Underground People were humans who once lived on the surface, but the Aiga people had built a new city in the Earth's core to escape.
So that's how it is...
My goodness, how many layers of inversion does this have?
Furukawa Hirozawa narrowed his eyes, still unable to fully grasp it, so he stood up and found paper and pen to draw it out.
Sorting it out from the beginning, the timeline is roughly like this:
Many, many years ago, the humans living on Earth were all affected by gravity, allowing them to stand on the ground.
However, a group of scientists wanted to research anti-gravity by extracting energy from gravity devices.
Then a serious accident occurred.
This was an almost world-ending disaster, destroying nearly the entire surface civilization and most of humanity and other living beings.
Consequently, some buildings and humans flew into the sky due to anti-gravity, only to be captured by the moon and become part of its rings.
Then, some reverse degree persons survived, but for their own survival, they hid underground and built a city in the Earth's core, which is Aiga City.
As for the city above Aiga, it was an artificial sun and artificial starry sky built by these first reverse degree persons who entered the Earth's core.
Following the principle of gravity pointing towards the Earth's core, their gravity is truly inverted.
Relatively speaking, the city and starry sky above Aiga, used for illumination, are actually deeper parts of the Earth's core.
And in the Earth's crust outside Aiga, lived normal humans who survived that disaster and were not affected by anti-gravity.
However, because too much time had passed, both the true gravity-inverted people—the Aiga people—and the surviving normal Underground People experienced a cultural break, causing them to forget this true history.
Only a small part of history was preserved, passed down orally to this day.
Therefore, both the Aiga people and the Underground People knew that a terrible disaster had once occurred, and both called the other side reverse degree persons.
Mhm.
While thinking this, Furukawa Hirozawa drew three concentric circles on the blueprint.
The outermost concentric circle is the surface, which is the real human world.
The second concentric circle is the space where the Underground People live.
The innermost concentric circle is Aiga.
Then, closer to the Earth's core, is the artificial city, which creates clouds, the sun, and the starry sky.
After completing the drawing, he had a clearer understanding.
It's easy to imagine that those reverse degree person pioneers who once entered the Earth's core and transformed everything were also incredibly great, able to create an environment for their descendants to inherit:
Whether it was the sky, the climate, the starry sky, the sun...
Light and darkness, these are all beautiful and desirable things, all created.
That's how Aiga came to be.
To achieve all this, how great and romantic they must have been.
Furukawa Hirozawa couldn't help but sigh, saying only that time erases everything; the later Aiga people seemed to have forgotten, or deliberately forgotten, the true surface.
But their fear of the sky was not what their ancestors had hoped for.
Fortunately, at the end of the game, the Aiga people and the Underground People reconciled and returned to the surface together.
Although the game abruptly ended there, with no further explanation, Furukawa Hirozawa thought:
It must be a beautiful and new future.
Just like Patema and Eiji's fathers, they can cooperate and create a world where both reverse degree persons and normal people can live beautifully.
And, the final real sky was truly beautiful.
Even now, Furukawa Hirozawa, looking at the game's new initial interface, was still captivated by that magnificent scene.
On the green-covered land, ruins lay like sleeping ancient dragons, while above, the bright and dazzling sky held a moon with beautiful rings.
...
The narrative style of this game is also very interesting, causing many game players to fall into the trap designed by the Author.
In this game, the male protagonist is the inverted one, but the game title uses "patema inverted."
This makes people prejudicially immerse themselves in the plot, and coupled with the fact that the male protagonist's perspective is often presented as correct in the film, this is a narrative trick.
It's worth mentioning that the game consistently portrays the female protagonist's fear of the sky, but in reality, the ones truly afraid of the sky should be the "Aiga people."
Here, it's inverted, which fits the title perfectly.
Moreover, by experiencing the female protagonist's feeling of having nothing to rely on, it increases the possibility of reconciliation between the two sides.
If the female protagonist's world is called World One, the male protagonist's world is called World Two, and the world where they trigger the diary item is called World Three.
Originally, there was only one world, World Three, living on the surface. A major experimental disaster caused the gravity direction of a part of the surface and the things on it to reverse, pointing towards the sky.
Those floating in the sky were divided into World One and World Two. World One and World Two are connected, but the difference is that the gravity direction of World One has not changed, while the gravity direction of World Two has changed.
So the female protagonist is a descendant whose gravity direction did not change after that accident, while the male protagonist is a descendant of the surviving researchers whose gravity direction did change.
Because a very long time has passed, people in both World One and World Two have forgotten the truth, and people in World Two hate people in World One.
Then, by chance, the female protagonist fell into World Two, met the male protagonist, and was then captured.
The male protagonist teamed up with the male second to rescue the female protagonist, and also traveled to World Three to get the diary item. Finally, they understood the truth of the world. The male protagonist and female protagonist hugged tightly, looking at the real sky, with only the male second silently weeping on the side.
Another game that abuses my male second.
The last time Furukawa Hirozawa felt such lingering regret was "Quilt Man," where the love and death between the male second Kohi and the female second Yan Hua deeply moved him.
Are the Authors of Pokeni no longer keen on tormenting the male protagonist and female protagonist, and have instead switched to tormenting the male second?
However, one has to admire the script Author's immense creativity; the three-world setting of "patema inverted" is very captivating.
It's just a bit brain-draining, otherwise, everything else is quite good.
Furukawa Hirozawa really likes the game's core Yugiplay design centered around [gravity]; the experience gained in different levels is also unique.
It's a very novel feeling; he hasn't played such a refreshing game in a long time.
So, even after the game ended, Furukawa Hirozawa remained immersed in its aftertaste.
...
"Ah~ I never thought Pokeni could make such an excellent game!"
At the same time, Miyamoto Shigeru, a famous Producer from Nintendo, also experienced this new game at his residence.
After completing it, he couldn't help but exclaim from the bottom of his heart.
Yes.
For Miyamoto Shigeru, this is what a true game should be like.
Although Pokeni had been highly praised by many game players before, Miyamoto Shigeru had never truly acknowledged it from his heart.
Because in his mind, an excellent game must have high achievements in Yugiplay, operational fun, and story.
Pokeni's previous games either had perfect plots but lacked a bit in Yugiplay.
games like "Your Name," "reverse degree person," and "Quilt Man" were more like story novels where players made choices, rather than true games.
They simply had more refined graphics, plus music and voice acting.
And while "Diablo" was full of game fun, its worldview ultimately didn't quite suit the tastes of Japanese people.
Until today, Miyamoto Shigeru played "patema inverted."
His heart was deeply shaken.
Not only because the game's plot was cleverly designed, with twists and turns that were unexpected, but also because he felt joy at humanity's courageous first step into a new world at the end.
At the same time, this game also pioneered a new field in terms of Yugiplay.
During his Yugiplay, Miyamoto Shigeru praised it more than once: "So games can be designed like this!"
The plot and levels were integrated so naturally, the gravity core Yugiplay was refreshing, and the mechanisms, exploration, and curiosity kept Miyamoto Shigeru hooked from beginning to end; he simply couldn't stop.
This is the kind of good game he envisioned.
The graphics in the game are very exquisite, a bit beyond imagination, and quite striking.
As for the inverted gravity plot, sometimes it's a bit difficult to watch and understand, but it's full of imagination.
The game is highly reflective, making one wonder who the inverted people in the story truly are.
...
For the male protagonist and female protagonist to experience the doubt and collapse of their worldview, and still explore the unknown new world together, unafraid of the sky's profundity and the unknown, that is also a very happy and fortunate thing.
The male protagonist and female protagonist, living in two completely different worlds, originally had no possibility of being together, but love is so romantic. After an unexpected encounter and mutual salvation, in the face of the love of the two teenagers, their worldview is no longer an obstacle.
There is no dazzling technology, no grand theme of heroism, but the art style is fresh and elegant, the narration is gentle and delicate, and the music is soothing and melodious, presenting a fantastical world with an Eastern flavor.
"This is wonderful," Miyamoto Shigeru exclaimed, "Pokeni has delivered an incredible answer sheet this time!"
A company like this might really become a powerful competitor for Nintendo in the future!
We also need to redouble our efforts.
...
Over at Studio Ghibli.
Since Toshio Suzuki is older and his reactions aren't as quick, it took him longer to complete "patema inverted."
Of course, during his Yugiplay, Mr. Miyazaki, sitting beside him, naturally couldn't resist giving directions.
"Jump! You have to jump here!"
"Yes, yes, increase the counterweight."
"Not Eiji's counterweight, it's Patema's counterweight!"
"Suzuki-san, you're too slow. You can't pass like this!"
Whenever this happened, Toshio Suzuki couldn't help but roll his eyes.
Mr. Miyazaki, you're so noisy, why don't you try it?
But every time he retorted to Hayao Miyazaki, that guy would just smile and say, "My hands are dirty, there's no way."
When they reached the inverted level, Patema was running on the ceiling.
"Ah~ it's actually upside down," Hayao Miyazaki frowned uncomfortably.
"It's gravity inversion. Here, it's from the Aiga people's perspective, so of course, it's inverted," Toshio Suzuki said.
However, this level was indeed a bit "anti-human," so the two old men involuntarily tilted their heads to the side during the Yugiplay.
Can you imagine two white-haired old men sitting side by side, their necks craned, watching the TV?
The young people at Studio Ghibli occasionally passed by and burst into laughter at the sight.
They're so cute, Suzuki P and Miyazaki-senpai.
After playing for a while, Hayao Miyazaki slapped his thigh.
"Oh, Suzuki-san, how could we be so stupid? Couldn't we just turn the TV upside down?"
"Right?" Toshio Suzuki put down the controller.
The two stood up and together rotated the TV 180 degrees.
Suzuki turned his head to look at Hayao Miyazaki, a little surprised.
To pass the level, Mr. Miyazaki didn't continue to insist on the "original flavor of the game" either.
Fortunately, Pokeni's game design is not known for its difficulty, and in its gravity-centric Yugiplay, it also takes players' experience into consideration, which allowed an old man like Toshio Suzuki to successfully complete it.
"Oh my, oh my,"
After watching the completion cutscene, Hayao Miyazaki clicked his tongue in amazement.
Pokeni has produced another rather good game.
Whether it was the game's graphics, plot, or even Yugiplay, Hayao Miyazaki was deeply impressed.
"Do you think that when our future 'princess mononoke' is adapted into a game, it can achieve such an effect?"
This... How would I know?
Toshio Suzuki blinked.
Mr. Miyazaki, if you don't hurry up and make the animation, "princess mononoke" might never come out, you know.
But he still nodded with a smile.
"Of course, and with technology developing so fast now, who knows what it will be like in a few years."
"Eh?"
Hayao Miyazaki paused, then nodded and smiled.
Yes, technology is developing too fast.
During this period of participating in Pokeni's game production, Hayao Miyazaki himself witnessed many new technologies. The game industry can be said to be changing with each passing day. Just a few years ago, game styles were still pixelated.
But now, the graphics can be made quite exquisite.
These are all changes brought about by technology.
If it were before, he would never have agreed with such a statement.
No matter how technology develops, the artwork of masters from hundreds or thousands of years ago are precious treasures.
However, now he has indeed undergone some small changes.
After experiencing "patema inverted," Hayao Miyazaki became even more excited about the future "princess mononoke."
Who knows what kind of world it will be in a few years.
princess mononoke, can she run around in the game like Patema?
And what about the combat?
Hayao Miyazaki felt a surge of excitement whenever he thought about these things.
However, there was one thing Hayao Miyazaki was very firm about in his heart: entrusting the game production to Pokeni was definitely the right choice.
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