This article is a repost from the Japanese creator support site “Ci-en.” For the complete version, please refer to the Ci-en article.

Development Progress Report

Mass Production of Event Character Walking Graphics

　As predicted in the previous article, we have created and added two new event character walking graphics.

　One is an adult, and the other is a child approximately in the upper grades of elementary school. The child’s attire, resembling a school uniform, is easy to explain. However, the fact that all the adults wear the same outfit is visibly strange. As a compromise, we have at least provided different color variations. That said, this kind of issue is not limited to this particular character, making it rather pointless to discuss at this stage.

Map Development

　With the walking graphics settled, we have now moved on to map creation. 　QUEEN of MASSACRE follows a conventional RPG system where the player controls the protagonist and explores the map. The map itself follows the classic top-down perspective. 　However, this is an extremely challenging task. 　This is because QUEEN of MASSACRE is being developed with minimal deformations, meaning that existing map tiles cannot be used, necessitating the creation of custom assets. 　During the development of the second demo version, we created a “school”-themed map. This, too, was quite challenging, but since a school is a closed, uniform setting, it actually provided some relief in terms of design constraints. 　The current project involves creating a “downtown” setting, which is quite the opposite—requiring diversity and an assortment of elements. Naturally, creating every single detail is impractical, so we must strike a balance between versatility and uniqueness. Since I am not particularly fast at this kind of work, it has become an extremely meticulous and draining process. 　It is not yet complete, but it is beginning to take shape. This time, I would like to introduce its current progress. Here is a video showing the map in its current state.

Realistic Maps Become Enormous

　As a premise, QUEEN of MASSACRE is being developed using WOLF RPG Editor (WOLF RPG Editor). Each tile in the map is 40 pixels square. The protagonist, Asami, has a height of approximately 170 cm, which is represented by about seven tiles on the map, equivalent to 280 pixels.

　For instance, when designing doors for people to pass through, they must be at least larger than this. The image above depicts a door with a height of eight tiles. Compared to a real-life door (typically 200–240 cm) , it is slightly smaller (approximately 194 cm) . 　You may have already noticed, but attempting to maintain realistic proportions results in extremely large maps. Of course, reducing the character size is an option, but that would cause the characters to become compressed, reducing visibility and immersion—something that QUEEN of MASSACRE strives to avoid. 　Furthermore, as far as I know, there are no existing map tiles of such massive scale (though they may exist somewhere…) , making it necessary to create them from scratch, as I hope you understand.

Adverse Effects of Large Maps

　When maps become enormous, the map chip materials inevitably also grow in size. While seamless elements like floors and walls can be infinitely connected, objects such as windows and doors must be created as complete units. 　In WOLF RPG Editor (Woditor), the maximum map chip image size appears to be 32,000 pixels. Whether a full-sized image would run smoothly is uncertain. Currently, I am using an image with a vertical size of 8000 pixels, and there seem to be no issues. 　Additionally, individual maps tend to become quite large. The first map shown in the video above is 200×150 tiles. While it does not appear to hinder gameplay, in Woditor’s editing screen, switching between maps takes slightly longer to load, making development somewhat inconvenient. However, this is not a major issue.

　The biggest issue is that Woditor was not originally designed for such large characters. 　Take a look at this GIF:

　In this animation, when the protagonist moves in front of a streetlight, the streetlight is hidden behind them. Conversely, when the protagonist moves behind the streetlight, the streetlight appears in front. This display appears very natural.

　Objects of a certain height need to change their display order based on the character’s position. 　However, this functionality is not achievable using Woditor’s default settings. 　In Woditor, each map tile can be set to either always appear behind or in front of characters. There is also an option to automatically switch depending on the character’s position, but it does not work well in this case. 　By default, the display ends up like this:

　The settings for the streetlight’s pole differ in each image. On the left, the pole is always displayed beneath the character, making it appear behind the protagonist even when they move further back. On the right, the pole is always displayed above the character, so even when the protagonist moves to the front, the streetlight remains in front. Neither setting is appropriate.

　Ideally, the right setting should work. Normally, characters are at most two tiles tall, so their heads would only reach the base of the streetlight. If the pole’s base were set to appear in front of the character, there would be no issue. However, since our protagonist is much taller, their feet extend past the pole, creating this problem. Note: There is a setting where tiles become hidden when characters move behind them, but since our issue occurs when characters are in front, this is not a viable solution.

　To resolve this, I implemented a parallel event that dynamically rewrites tile settings based on the protagonist’s position. This brute-force approach effectively circumvents the issue. Woditor’s parallel processing runs smoothly, making such programming relatively easy and convenient.

　However, this method does not account for other characters passing through. To avoid display errors, NPCs must either be prevented from moving through the affected area or the problematic tiles must be placed in non-passable zones.

To What Extent Should Maps Be Developed?

　Returning to map chip creation, as previously stated, existing map chip materials cannot be used, requiring manual creation. The question is how many materials should be created. 　Currently, in my view, the map appears somewhat empty and monotonous. Many may have felt the same after watching the video. It is obvious that fully recreating a real-world city is impossible. The map functions adequately as is, but it still feels a bit barren, so I would like to add more objects. 　That said, the game’s primary appeal does not lie in its immersive urban environment, a fact I must keep in mind.

▲A strangely detailed signboard—should I really be spending time on this?

What Is the Purpose of This Game?

　Creating the current map required significant effort, leading me to question what this game is fundamentally about. 　For example, in dungeon exploration games, paths are made complex, numerous enemies are placed, and dead ends often contain treasure chests. Puzzles may also be included. 　It goes without saying that QUEEN of MASSACRE is not such a game. In the already released “School” stage, there is almost no risk of getting lost. While enemies are present, they can be entirely avoided, and encounters can always be escaped from. 　In reality, the exploration phase of the map primarily serves as a “bridge” connecting various story events. In terms of priority, it is unquestionably secondary.

Maps Convey the Game’s Worldview

　Although secondary, this does not mean maps are unimportant. Maps serve several functions, but their most significant role is in explaining the game’s worldview. 　For example, in the “School” stage, players can inspect bulletin boards and books to learn about the world’s history and customs. These details are optional but available for those interested. If such information were delivered through in-game dialogue, it might feel overly verbose or even intrusive. 　Beyond words, allowing players to explore and visually experience the world through their own actions is key. In short, immersion is crucial. 　While story events provide some environmental details, they are limited in scope. Exploring a fully realized “map” offers a depth of immersion that mere descriptions cannot match. 　Achieving this level of immersion necessitates high-quality map chips. 　In the latter half of the video, the “alleyway” serves as a visual representation of the world’s decay and darkness. I intend to render this setting with great care.

▲A grimy alleyway. However, the lack of scattered objects makes it feel unnaturally orderly.

　Please stay tuned for further developments.