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PART 2 of 2: An untold amount of effort goes into crafting game antagonists. Join us as the dev crew for SCARLET NEXUS and Tales of ARISE reveal the inner intricacies which make RPGs tick.

Today we’re here with the SCARLET NEXUS and Tales of ARISE dev crew, along with special guest Masakazu Yamashiro, designer of SCARLET NEXUS’ “Others” enemies. We’ll be talking about what comprises a genuine JRPG, in addition to unveiling an all-new Other, specially designed by Yamashiro-san for this very interview. 

What’s more, in celebration of this momentous sit-down, at the very end we’ll be accepting requests for custom illustrations featuring characters from SCARLET NEXUS and Tales of ARISE. The setting is entirely up to you! Should your concept be approved, either one of the interviewees or dev staff will be drawing up your dream art. Look forward to something magical! 

The dev staff for SCARLET NEXUS and Tales of ARISE, along with Masakazu Yamashiro, were asked about the significance of the enemy role in games. That was part one. For this interview’s final installment, we’ll be unveiling an all-new “Other” and have our decorated dev panel react to it. We’ll also be diving into what makes a genuine JRPG. 

Keita Iizuka 

Producer for SCARLET NEXUS at Bandai Namco Entertainment. Initially developed and managed mobile titles, going on to develop and produce console games after. One notable title is 2019’s CODE VEIN, for which he served as producer. 

Kenji Anabuki 

Director for SCARLET NEXUS at Bandai Namco Studios. Has over a decade of experience working on the “Tales of” series. Served as director for Tales of Xillia 2. 

Masakazu Yamashiro 

The man behind the design for SCARLET NEXUS’ haunting antagonists, the “Others.” His accolades span far and wide, such as the mural featured at the official Mercedes-Benz outlet store in Kisarazu (Japan)—and taking the art direction reins for “Touken Ranbu: The Musical -Tokyo Kokorooboe-.” 

Yusuke Tomizawa 

A Bandai Namco Entertainment employee, he was producer for Tales of ARISE, and now currently serves as chief IP producer for the entire Tales of franchise. At the outset of his career, he worked at Bandai, going on to help launch the God Eater franchise at Bandai Namco Games (BNE’s previous incarnation) and from Tales of Vesperia: Definitive Edition onwards, he took on producer duties for the Tales of series. 

Minoru Iwamoto 

Tales of ARISE art director and main character designer at Bandai Namco Studios. Since heading art direction for Tales of Vesperia, he has worked on art and character design for a great number of Tales of titles. 

Another “Other” Comes This Way 

Here it is, folks. The never-before-seen Other, created by Yamashiro-san for this very interview! 

Iwamoto: Wow. Now that’s intense! 

Everyone present is awe-stricken.

Tomizawa: So, I’m the one who proposed we do this segment. Since we have the designer and dev squad under one roof, I figured we should talk about how this new baddie would go about doing battle. Now, I originally expected a rough sketch to come… But, yet again, the art is totally finished, polished, and perfect. 

Yamashiro: I pulled another Winery Chinery. Ah well. 

Please, your honest opinions regarding this new Other. 

Anabuki: Honestly? I’m excited. I said this before. When something surpasses my expectations, I get super hyped. This design came in during a particularly busy time at work. But when I saw it, I got goosebumps—and an instant burst of energy. The fact that Yamashiro-san drew up this design just for this interview is an incredible honor. 

The cloth draped over the top of the creature. Now that’s curious. I almost want to lift it. And then at the same time…maybe not. But in all seriousness, it gets you thinking as to what’s underneath. Were we to integrate this in the game, what combat mechanics would the creature utilize? I can’t help but wonder and wonder. 

Scarlet Nexus director, Kenji Anabuki

Yamashiro: Oddly enough, that reaction is exactly what I was going for. The humanoid section of the creature was made to resemble a woman, lying face up. While there’s no clear indication that something’s under the cloth, it is a major feature of the design. I’m glad it got through to you. 

Anabuki: Iizuka-san? Opinions? 

Iizuka: I see… Is really all I can say right now. And I meant that. Sorry, heh. 

Anabuki: Oh you joker, you. 

Iizuka: Well, the more you examine the design, the more you realize what a detailed piece it is. You see it has wheels—and then you see chains attached to said wheels. And what kind of bones are those? What are those tree-like structures springing forth? Those wings? It’s all quite mysterious. Then again, maybe I shouldn’t overthink it. 

But yes, the cloth. It certainly evokes a fierce struggle between one’s fear and curiosity. These are the elements which you really have to mull over and decide how to implement in-game. 

Scarlet Nexus producer, Keita Iizuka

Tomizawa: The more I look at it, the more I don’t know what I’m looking at. Let’s see. It certainly bears the surrealism of an Other. There are feminine contours, but the flipped-around head makes the whole deal rather eerie. I’m sure a sizeable percentage of people would say this is the stuff of nightmares. The fact that it gets Anabuki-san so hyped is certainly…something. 

Anabuki: Guilty as charged. 

Tomizawa: On the subject of how the creature would move, my game dev instincts tell me to first examine the joints. And when you consider this will eventually be reworked into a 3D model, you need to consider another spectrum of possibilities. Will it stand? Or perhaps move via the wheels? Maybe it will plod on its appendages. Will the player character ever find him or herself gazing up at the red section underneath? If so, what surprises can we integrate there? You know, it almost feels like I’ve undertaken a challenge from Yamashiro-san. How would I make this thing move and be in line with what Yamashiro-san originally intended? The more I look at it, the more questions arise. 

I can’t believe I proposed this segment. Discuss an all-new Other, I said. Boy am I regretting it now. I wasn’t expecting such an ordeal. 

Tales of Arise producer, Yusuke Tomizawa

And how does this Other strike you, Iwamoto-san? 

Iwamoto: Well, it certainly meets the conditions for an engaging enemy which I previously laid out. It gets me pumped. I want to fight this fantastic creature. What’s more, it seamlessly matches the Scarlet Nexus world. If this were a Tales of game, we’d first narrow down the components used to attack. Then we make them pointy, hard, etc.—thus demonstrating a whack with these things would really hurt. 

The Tales of Arise Mantis

But this Other has wheels, which are, naturally, round. And those wings, or perhaps plant-like structures, give a very soft impression. The hands, holding flowers that have yet to blossom, seem as if folded in prayer. I’d say she looks rather downtrodden, and the piece evokes something akin to pity. And the cloth does indeed catch my attention. Perhaps the creature’s second form will make use of it—standing. 

The Other’s wheel-like components

That’s quite a lot of ideas. 

Iwamoto: When doing design for Tales of, I always say not to take a bunch of complete unknowns and jumble them together. Only combine elements you understand. That way, when something new arises from the mixture, you know exactly what you’re dealing with. But this. This is stuff of a completely different dimension. And yet in spite of that, I can’t help but be mesmerized. You look at this design, and you want to wonder. That’s how compelling a piece of art this is. 

Yamashiro: Thank you. There was a phrase you mentioned which I felt was in line with one of my thematic motifs. You felt something akin to “pity,” yes? You see to me, I felt the Others were somehow not entirely free. Perhaps victims of some misfortune. I’m glad that aspect resonated with you. One more thing. It’s incredible how you were able to put that into words so effectively and succinctly. I am genuinely amazed. 

Scarlet Nexus designer, Masakazu Yamashiro

Iwamoto: Is that a nail in its eye? 

Yamashiro: Yes. When creating Others, human facial elements are used in a way that does not exude emotion, generally speaking. In this case, however, I used the face to demonstrate a profound sadness these creatures bear in silence. 

Iwamoto: Incredible. The piece is saturated with a vast range of emotions, right down to every last detail and contour, something the viewer is able to recognize immediately. It’s a rather intense experience. And yet one can’t help but continue looking. A truly thrilling work. 

The New Other is Death Personified? 

Were this new Other to make it into the game, what kind of battle do you envision playing out? 

Tomizawa: Oh boy. Who’s idea was this again? Anabuki-san, over to you. 

Anabuki: Well, personally, I was hoping to include a character that personifies death. Someone with Grim Reaper-like tones. I think this Other fits that theme quite well. It has chains, which likely make noise when it moves. So, hear the clanking of the chains and you know—that thing’s coming. Would be good for creating this looming sense of threat. It also has wheels, allowing it to tear along at high speeds. Players will be panicking to put distance between themselves and impending doom. I think the concept has potential. 

Tomizawa: And combat. How would that unfold? 

Anabuki: Though the arms seem to be held in place, at some point, the restraint would be blown off, I feel. And with a real bang too. So yeah. Once its health drops to fifty percent or lower, the cuffs go. Then it attempts to claw you or something like that. Something wild and barbaric. 

In regards to psycho-kinetic countermeasures, using pyrokinesis to burn the cloth is one possibility. And once the cloth is disposed of, something crazy is revealed. And the ensuing attacks become even more deranged. Or, alternatively, one could use clairvoyance to see what’s happening under the cloth, informing the player when to attack. 

Tomizawa: Absolutely brilliant. Yamashiro-san, Anabuki-san. You’re a pair of bona fide geniuses. Devs and designers coming together in such harmony is a thing of beauty. I’m sure a producer like Iizuka-san would agree? 

Iizuka: It’s a real treat to hear Anabuki-san’s unfiltered thoughts about possible gameplay mechanics. During the development cycle, a director must think about how to realize drawing board ideas in-game. Not an easy task, to say the least. So it gives me joy to see Anabuki-san freely bubbling with ideas. 

Anabuki: Right, because now we’re just rambling. We don’t have to think about actual in-game integration. 

How about you, Iwamoto-san? 

Iwamoto: The first thing I thought was—I’d like to flip the thing over. Right now, it’s hard to tell which side’s the top and which side’s the bottom. So depending on whether it stands or which side’s facing up, the creature could end up being something entirely different. It would also be nice to use movements that challenge convention. Something players wouldn’t dare fathom. 

As there are flower petals strewn about, we have a lot of thematic freedom, allowing us to explore beyond physical attacks. The creature could be some kind of energy parasite, for example. Or, it could command poison, magic-like attacks, and so on. At the same time, the intensity of its physical attacks should definitely be off the charts. As for what’s behind the cloth…perhaps its own severed limbs? When you look at it like that, the wheels could actually be chainsaws, used to sunder itself. Now that makes the creature even scarier. 

Tales of Arise director, Minoru Iwamoto

Anabuki: I think we’ve rambled for long enough. Let’s hear what Yamashiro-san had in mind while drawing the piece. 

Yamashiro: Uh oh, now I’m in the hot seat. Flowers bloom in many places across the wide world of Scarlet Nexus. These are actually dinner companions to the Others.All Others, regardless of type, will generate these flowers when feeding. This particular Other is gathering these flowers for some reason. 

Oh, this was mentioned as a possibility before, and even though I’d rather not, I now have to confirm it. Yes—the creature stands. Previously, Iwamoto-san expressed the feeling of aversion that comes over him when looking at the Others is not unlike looking at insects. That comment stayed with me. I realized I’d never really done anything insect-like…until now. So, this is my bug Other. 

Anabuki: This is a bug? 

Yamashiro: It is. So when Iwamoto-san said he wanted to flip it over, in a way, he’d already solved the mystery. What a sharp man. Hats off. 

The Unique Beauty of JRPGs, Rediscovered 

The discussion until now has been dedicated solely to enemies. I’d like to shift gears for our final topic. In the context of what has been discussed thus far, enemies included, have any elements that are essential to JRPGs been touched on? What are some core aspects of the unique JRPG appeal? 

Tomizawa: In the realm of RPGs, the JRPG has its own distinct domain. This is due to a unique and balanced blend of factors. Real characters. Palpable experiences. Creative freedom. And the bizarre. I think the Others are a prime example of these qualities made manifest. 

An anime world, Scarlet’s hero roster, and the Others. Usually, you wouldn’t find these three things together. But the medium of the JRPG allows us to challenge such norms, and combine it all in a cohesive manner. You can immediately tell the enemies set before you are of an entirely alien make. That’s exciting. That balance between grounded realness and the bizarre is very apparent in Scarlet Nexus. 

The world of Arise on the other hand, was built with consistency in mind. This applies to the enemies as well, and represents a totally different approach. Neither is right or wrong. What I want to highlight here is that the JRPG allows for variety. And because of this freedom, engaging enemies can be born. Both titles utilize different methodologies, for sure. But it’s conversations like today’s which drive the creation process and produce something uniquely Japanese, I’d like to think. I’m proud of that. 

Iizuka: I think you’re right. The freedom to balance a diverse range of attractive qualities is a hallmark of JRPGs. For example, take RPGs with a fantasy setting. How much the game world is distanced from reality is entirely variable, differing from title to title. The addition of other thematic elements on top of that creates a wholly unique experience, filled with settings and enemies of all type and manner. That is the JRPG, no? 

Then, by incorporating a narrative and characters with genuine depth, enemies become more than another in-game obstacle. You understand them on an intimate level. Empathize with them. I think JRPGs shine in that area. 

Iwamoto: I think the standard Japanese person has grown up around anime and manga, and in no small amount. It’s because we’ve been touched by so much of this special, stimulating form of entertainment that we don’t just make RPGs—we make JRPGs. But the essence of the JRPG doesn’t lie in the anime/manga aesthetic. It’s the wild thrills we felt as kids. And because we haven’t forgotten what that’s like, we can craft experiences to relive those same sensations. The result is the JRPG. 

If I ever have the chance, there’s something I want to try my hand at: having characters relish their food. You see this a lot in video media, I think. Characters with sauce smeared on their cheeks. Drooling, etc. Eating heartily, and making a mess in the process, accents a character’s humanity, stimulating an empathetic bond. 

After a meal like that, in the battle to follow you say to yourself, “Wow, that slob is putting it all on the line!” That contrast between the dire and mundane has the power to create emotions, ones Japanese creators have been quite familiar with since they were yea high. And it’s when a team of these people come together to create something grand—that something uniquely “JRPG” is born. 

Anabuki: Hearing Iwamoto-san’s answer, I thought perhaps an important aspect of JRPGs is providing shades of déjà vu. JRPGs promise to deliver on certain fronts, and in a certain way. Otherwise, there wouldn’t be a “J.” I’m sure a lot of people are of the same mind. 

“I’ve seen something like this before. At the same time, there are components I’ve never seen—which is why I know I’m in for a fun time.” Being able to relive the past in new and vivid ways—that’s an important quality of the JRPG, I feel. That very approach was used when choosing which psycho-kinetic powers to go with in Scarlet. At some point, I was exposed to an idea for an ability and thought it would be fun to use down the road. Such déjà vu undertones are woven into the JRPG DNA. Even Yamashiro-san’s Others evoke images from my past. The resulting contrast is exactly why I can appreciate his art. 

Likewise, I appreciate JRPGs in a whole new light, thanks to this in-depth discussion about enemies. Gentlemen, thank you for your time today! 

To read part 1 of the interview, click here.

Author’s Note 

Yamashiro-san’s new Other, the highlight of this interview’s second installment, was jaw-dropping to say the least. The design was so polished, I thought they had to have used it in-game. But upon perusing my memory, no—I never saw such an enemy. Iwamoto-san’s ability to analyze the Others on a deep level, demonstrated throughout both parts of the interview, was also amazing. Henceforth, when I pick up a controller, I just know I’ll be overthinking how enemies move… 

About the Author 

Seijiro Murata 

Writer, born in 1989. Also known by such pen names as “Murata the Skull” and “Nosediving Skull Writer M,” Murata has written interviews and strategy articles for both console and mobile titles. Eighty percent of his pay goes to buying pro wrestling tickets. 

For more information about SCARLET NEXUS, Tales of ARISE or other Bandai Namco Entertainment Asia products, please visit our website or follow us on FacebookInstagramTwitter and YouTube.

PART 1 OF 2: With SCARLET NEXUS and Tales of ARISE featuring a meticulously crafted cast of colorful adversaries, the developers behind both titles are pulling back the curtains for an exclusive RPG scoop!

The dev staff for smash-hits SCARLET NEXUS and Tales of ARISE, plus Masakazu Yamashiro—designer of the former title’s “Other” antagonists—have gotten together for an in-depth discussion about the fascinating foes which inhabit these game worlds. What’s more, this interview has a part two—in which an all-new Other, designed exclusively for this feature—will be unveiled!

This September 9th, Tales of ARISE will be turning one year old! And with SCARLET NEXUS having been developed and released along a similar timeline, what better way to celebrate than conduct an exclusive sit-down with dev staff for both titles? Masakazu Yamashiro, designer of Scarlet’s haunting antagonists—the “Others”—is also joining. Today’s topic is a thrilling one indeed: enemies. Specifically, how does one go about infusing them with presence and allure? Let’s find out, connecting the conversation to both riveting titles as we go. 

Keita Iizuka 

Producer for Scarlet Nexus at Bandai Namco Entertainment. Initially developed and managed mobile titles, going on to develop and produce console games after. One notable title is 2019’s Code Vein, for which he served as producer. 

Kenji Anabuki 

Director for SCARLET NEXUS at Bandai Namco Studios. Has over a decade of experience working on the “Tales of” series. Served as director for Tales of Xillia 2. 

Masakazu Yamashiro 

The man behind the design for Scarlet Nexus’s haunting antagonists, the “Others.” His accolades span far and wide, such as the mural featured at the official Mercedes-Benz outlet store in Kisarazu (Japan)—and taking the art direction reins for “Touken Ranbu: The Musical -Tokyo Kokorooboe-.” 

Yusuke Tomizawa 

A Bandai Namco Entertainment employee, he was producer for Tales of ARISE, and now currently serves as chief IP producer for the entire Tales of franchise. At the outset of his career, he worked at Bandai, going on to help launch the God Eater franchise at Bandai Namco Games (BNE’s previous incarnation) and from Tales of Vesperia: Definitive Edition onwards, he took on producer duties for the Tales of series. 

Minoru Iwamoto 

Tales of Arise art director and main character designer at Bandai Namco Studios. Since heading art direction for Tales of Vesperia, he has worked on art and character design for a great number of Tales of titles. 

The Bad Guys Are Just as Important as the Good 

Today I’d like to talk to you about a very important subject: enemies. Let’s go around the panel, while touching on Tales of Arise and Scarlet Nexus as needed. Tell me—what is the essence of the video game adversary? 

Anabuki: One common point in my work across SCARLET NEXUS, Tales of, and other properties is that I often handled battle-related content. In that light, enemy characters are central to my legacy as a game developer. 

I think baddies can be divided into two broad groups according to their in-game roles—these being human or humanoids, and “monster”-like creatures. The essence of the former is defined by the drama that can be added to the story. Conversely, the latter exists for thrills via exciting combat. When you examine enemies in this fashion, you see that both are different, yet extremely vital. 

Scarlet Nexus director, Kenji Anabuki

Tomizawa: Enemies are a key factor to certain gameplay experiences. They also highlight facets of the protagonists you wouldn’t know otherwise. Therefore, it’s entirely valid to say the bad guys are just as important as the good. In a game like God Eater, for example, enemies can at times have even more presence than the player’s avatar. 

Titles like SCARLET NEXUS and those from the “Tales of” series bring the drama in spades. As such, the protagonists’ relationship with their opposition, and the relationship’s evolution, are factors we think about from the very early stages of planning. 

Tales of Arise producer, Yusuke Tomizawa

Though the action director for Arise, Hirokazu Kagawa*, couldn’t be here today, I’d like to share a poignant quote from him: There exists a certain aspect of beauty that only a villain can exude, I feel. The protagonist usually can’t help but walk the straight and narrow. But the antagonist is free to descend into madness—or even play the tragic figure committed to a losing battle.” Depending on the villain, the narrative can develop into a gripping epic. Here’s another one from Kagawa: “It’s the villain that hooks people into the game, even before they’ve bought it.” 

*Hirokazu Kagawa: Tales of Arise director at Bandai Namco Studios. He also worked on the effects for Tales of Destiny (PlayStation 2), in addition to the battle programming for Tales of Graces and Tales of Zestiria. 

Iizuka: In line with Tomizawa-san’s input, I want the bad guys to be treated with equal importance to the good. I believe the role they play is that critical. This is especially the case with RPGs. The villains are a palette of sorts, adding vital shades and accents to the game world. 

Scarlet Nexus producer, Keita Iizuka

Iwamoto: I believe God Eater was previously mentioned as an example of this very phenomenon, and it is quite clear in the movie “Alien” as well—at times the antagonist can very well take center stage over the protagonist. In the case of RPGs, as the villains are the heroes’ antithesis, they represent the greatest obstruction to their path forward. Therefore, in order to draw out the radiance of our heroes, the villains, too, must shine. I always keep this tenet in mind when designing characters.

Tales of Arise director, Minoru Iwamoto

Yamashiro-san, apparently Scarlet Nexus was your first foray into video game character design. What are your views on villains? 

Yamashiro: Though I’ve played my fair share of games, I’m still an industry amateur. That said, the antagonists of a game are a very “interactive” aspect of the world. 

And what I mean by that is, oftentimes when playing, you are staring at the player character’s back. Conversely, enemies charge forward from the front. So as much as the heroes are the game’s “face,” so too are the villains. 

Scarlet Nexus designer, Masakazu Yamashiro

Making Villains Shine 

What specific qualities must empower a villain to become genuinely engaging? Let’s start with Yamashiro-san. 

Yamashiro: Though I’m not a game developer and can only speak from personal experience, I believe the key to an engaging villain is going the extra mile to make said villain’s role hit home. It’s a matter of hospitality, in a way. When designing SCARLET NEXUS’ gallery of baddies, I tried to imbue each character with striking, fantastical qualities. However, such elements are purely visual. And just because something is striking or novel doesn’t automatically make it good. 

For example, when fighting and defeating a particular enemy, think: was it an enjoyable, impactful experience? Antagonists must be capable of evoking a compelling range of emotions within the player. And that, I believe, is what makes a good villain. 

Tomizawa: Are you sure you’re not a game developer? Heh. 

Iwamoto: An incredible answer. I can tell you analyze games right down to their subtle inner workings. As for my opinion, it treads a similar line. A good foe is one you want to throw down with on sight. You simply can’t help it. And through that, just maybe you’ll grow together. These thoughts are what a good arch-rival evokes. 

Iizuka: Enemies exist to stimulate the player. This holds true in both frameworks of story and combat. Adversaries motivate the player to interact with the game. An effective foe just commands that kind of magnetic aura. And that’s massively important. 

Tomizawa: Though one is naturally inclined to disagree with the villain’s stance, you are somehow forced to recognize its validity. These are the villains that really make you do some soul-searching as you play. And the especially good ones will even make you wonder—”Who am I going to ultimately side with?” Now that’s genuine drama. 

Kagawa, the action director, said something cool on this topic: “The mere sight of a good villain’s silhouette will instantly get you excited about what grand attack may follow.” 

For example, the first boss in Arise, Balseph, boasts a gargantuan frame, and wields an axe of such proportions that would boggle the minds of most men. At first glance, you absolutely know his first offensive will be a colossal one. 


Anabuki: A good game needs a good backbone. Both Tales of and Scarlet Nexus feature antagonists with clear reasons for clashing with the heroes. Anything less would result in narrative that feels weak and middling. Takumi Miyajima*, a revered industry veteran, often says that even before writing the protagonists, it’s best to formulate the reason which drives the opposition to fight. 

*Takumi Miyajima: Game storyline writer. In addition to SCARLET NEXUS, he has written for Tales of Symphonia and many more Tales of titles. 

I also must say that when relationships between villains become apparent, I often find myself cracking a smile. There’s just something alluring there. In regards to combat, as my colleagues have so voiced, I think it’s good to have enemies who are capable of something wildly unique and iconic. Case in point: when creating the Others, I requested each be designed with a unique ability. 

Tomizawa: As for myself, a good enemy in the context of a game is one that you can fight time and again, with each bout as engaging as the last. In RPGs, bosses usually appear for a single engagement. In the case of God Eater, however, you fight the same enemy one hundred, perhaps two hundred times. Which parts of the enemy you attack, what order you attack them in, etc., is a lot like hiking up a mountain with multiple routes. In that sense, the enemy itself is a stage. 

“The enemy itself is a stage.” How well put. 

Tomizawa: Often, a single fight won’t allow you to see the whole picture. Players naturally want to perfect their strategy and win with greater finesse. I make sure to incorporate that in our approach. This is especially so with action titles. How many times do we want players to beat this particular enemy? Our design methodology is driven by such questions. 

Anabuki: Skill should be rewarded—with a clean, flawless victory, that is. Sometimes you see enemies who’ll inevitably damage you no matter how good you get. That’s not what I’m about. Strategy, coupled with technique, should be able to secure a shutout. 

Iizuka: And with that in mind, we try to make that perfect win a prize to really strive for. This is done by implementing surprises in enemy behavior—movement patterns the player won’t readily expect, and so on. A shutout victory is certainly possible, but not easily attainable. That’s game direction. 

Scarlet Nexus and Tales of Arise: Crafting Compelling Competition 

Please tell us what thought processes birthed the baddies for both these titles. 

Anabuki: The thematic foundation of SCARLET NEXUS being psycho-kinetic combat, nailing the right design to facilitate that was a major prerequisite. And nail it Yamashiro-san did. The enemies have this surreal aesthetic which makes you think you absolutely need some kind of super-powered countermeasure. 

Iizuka: Generally speaking, enemy design starts from a conventional “monster”-like look. But the Others exude this really unsettling absence of consciousness. One look and the spookiness stabs you. It really matches the game world because you instinctively know: nothing outside of psycho-kinetic abilities will beat these things. 

Yamashiro: I wanted to go for a design that gave rise to beings with which communication appeared nigh impossible. You look at them and you’re like, “I have no idea what they’re thinking.” That was my aim. So throughout the design process, I constantly posed this question to myself: “Say, what’s this guy thinking?” And if I couldn’t come up with an answer, I knew I was on the right path, heh heh. 

Tomizawa: In the case of monster-type enemies, the player automatically accepts that these exist to be defeated—another important point of game design. If the player had empathy for each and every one of these creatures, well, that would make for a rather tiring experience. 

What was your approach to crafting Arise’s enemies? 

Tomizawa: ARISE was released as the Tales of franchise’s twenty-fifth anniversary title. And we made sure to deliver a product which inherits the spirit of the brand. At the same time, such a historic entry also demands a measure of evolution—which is where the enemies come in. 

Because in order to build better battles, player character animations and the like weren’t the only thing we needed to examine. Enemy behavior, the key to the action’s interactive quality, also needed a revamp. Better utilization of character movement. Cranking up graphical immersion to generate a real sense of threat. When fighting, we wanted players to genuinely feel the stakes were higher than ever. These were all things we set out to accomplish from the early phases of planning. 

Anabuki: Monster damage animations in ARISE are really well made. In Vesperia and Xillia, both titles I worked on, taking damage would result in two different animations being repeated. This approach isn’t bad when trying to convey the impact of a hard hit. But after a while, it can get a tad monotonous. This isn’t the case with Arise. You can really see a lot of effort went into these damage reactions. 

Tomizawa: That’s exactly what happened. Up until now, a lot of resources were allotted to polishing hero action animations. This time around, we gave enemy reaction animations the same treatment, resulting in a slicker combat experience. In addition to damage reactions, we also put extra effort into effects. 

Iwamoto: As for human foes, since we designed the protagonists to emanate kindness and warmth, we went the opposite route for the villains. As normal human contours and proportions tend to end up looking a little reserved, we try to incorporate a modicum of crazy in the characters’ looks. On top of this, we add a stimulating variation of clothing and facial designs. 

Back to the subject of monster-type enemies, I’d like to share a pleasant episode. As one of our main goals for Arise was to evolve the franchise, I asked the team in charge of monster design what they wanted to do. Their response was, “To create monsters that would garner even more popularity than the main cast of characters—to the point that the protagonists would seem bland in comparison.” 

Kagawa-san once said that whether or not he buys a particular game hinges on the boss rush* footage. We took his advice to heart and began to design monsters that would really stand out, even when shown for just a second or two in a trailer. 

* Boss rush: Refers to a series of back-to-back boss battles. 

And how do the Arise monsters strike you, Yamashiro-san? 

Yamashiro: The Tales of series has been going for a quarter of a century. Yet it’s still ever-evolving. For example, in the case of ARISE, the 3D models based on the concept art are extremely detailed, right down to the color scheme. This applies to the enemies too, exhibiting a level of intricacy that simply amazes. You’re familiar with Tales of’s recurring “Wolf” enemy, yes? The basic concept has more or less been a series constant. Even so, change up certain basic qualities, like fur texture for example and you’ll see a clear difference to Tales of Berseria and prior titles. 

Its these details which allow monsters to seamlessly fit the game world they inhabit. This kind of world showcases a beauty all its own, rather different to that of SCARLET NEXUS, which was constructed with a more surreal aesthetic in mind. 

Tales of Arise Wolf
Tales of Berseria Wolf

The Haunting Menaces of Scarlet Nexus—the “Others”—Left the Dev Team in Shock 

Now I’d like to shift topic to the “Others,” the antagonists of SCARLET NEXUS. When we last sat down, we talked about how Ochiai-san, the art director, reached out to you. Can you tell us about how you first met?  

Yamashiro: At the time, I’d just quit the company I’d worked at for years upon years. I was looking for a fresh start as an independent artist. One day I was showcasing my work at an exhibit—that’s when Ochiai-san came up and talked to me. We didn’t even discuss game development at first. We covered broader topics, like the art of making things, what games we liked, and so on. As our conversation progressed, I was touched by Ochiai-san’s earnest demeanor. Working with a company that employs such genuine people would be a privilege, I thought to myself. 

Enemy design allows for a lot more structural freedom than design for, say, human characters. If you’re not careful, you’ll fall into the rut of convention and end up drawing a person. I think a lot of artists struggle with this issue. Taking on a job which requires I distance myself from humanoid design would be a good experience, I felt, and would inform my work when it came time to draw people once more. As surmised, I did manage to grow, and on a very fundamental level. Working on Scarlet was a truly wonderful experience.

So Yamashiro-san comes onboard. Then what happened? 

Anabuki: The first design sent our way was for Winery Chinery. Now that was a doozy. Times ten. 

Iizuka: Yeah, we’d no idea a bombshell like that would be the first thing to come in. 

Early design for Winery Chinery, which left the dev team flabbergasted

Anabuki: I can only assume you poured your heart and soul into that. 

Yamashiro: Well, judging from the meeting we had, I gathered the studio-side evaluation process for these designs would be pretty strict. So when asked to send in a rough sketch, I erred on the side of caution and went all out. After all, I didn’t want anyone to think “Uh, is this guy really qualified?” As they say, first impressions are the most important. 

Anabuki: Yeah, that one really shocked us something fierce. He’d only just come onboard, and the level of polish was like nothing we’d ever seen. “This guy’s the real deal,” we all said to each other. 

Yamashiro: I’m a 3D artist, so sending in a rough, hand-drawn sketch doesn’t allow me to sufficiently showcase my style. Which is why I opted to send in a fully modeled piece and show them what I can do. When it comes to modeling, it’s actually hard to make something half-baked. So, I hunkered down, finished the piece, and that was that. 

Iizuka: Winery Chinery is one of the more striking monsters, with its human arms and a tree jutting out. There’s also a valve and what appears to be a rib cage-like metallic structure, topped off with equestrian-like hind legs. It left me stunned. 

Tomizawa: I mean, it’s not often a piece like that pops up in a presentation handout. 

Yamashiro: You’re too kind. 

The Synergy of Design and Development – Imbuing the Others With Movement 

The Others certainly leave a lasting impression visually, but their movements and design specs are highly unique as well. Which of these components came first? 

Yamashiro: For the second half of the project, I was given design guidelines to follow. Until then though, there were cases in which I simply drew something and turned it in. 

Anabuki: As for Winery Chinery, Yamashiro-san did the design first, no guidelines. We then brainstormed how to make the design work in combat. There were a few other creatures that followed a similar flow, but the second half of the project saw us locking down the gameplay side of things first. 

For example, we needed something that could be incinerated via pyrokinesis—and thus was born Fuel Pool. In order to make use of teleportation, invisibility, etc., we needed a creature that would drop a shutter-like shield when the player came close—Base Paws. We devised the conditions; Yamashiro-san devised the monster. This was the main process we adopted mid-project. 

Fuel Pool
Base Paws

Yamashiro: Such gameplay-based guidelines actually freed my creativity in the design process. If it was just me behind the ideas, I don’t think I’d ever think up a creature that drops a shield like a shutter. 

Anabuki: That’s reassuring to hear. I was worried our requests might be hampering your creativity. 

Yamashiro: Not at all. In fact, they stimulated my creativity by serving as a starting point. 

Tomizawa: Man, I love working here. Heh heh. 

Did the dev side ever have to request Yamashiro-san go back and edit a finished design? 

Anabuki: No, the designs never changed. Aside from some color changes to facilitate the development process, we were completely faithful to Yamashiro-san’s work. 

Tomizawa: There was one matter that evoked some concern: monsters which incorporated both organic human parts and inorganic mechanical parts. We weren’t exactly sure how players would react, from a moral perspective. With that said, we had reservations to removing such elements, as the game’s visual impact would become significantly tamer. 

Buddy Rummy

Iizuka: Ultimately, these designs were greenlit, on the grounds that Others are not people. 

Tomizawa: From the moment everyone laid eyes on these designs, they wanted them in the final product. You could just tell. The same goes for the people in charge of design approval. That’s how good these drawings were. So what we originally wanted made it to the game. That’s a rare and beautiful thing. 

Iizuka: The visuals were great, of course, but the animations really amplified the eerie factor. For human-like parts, an arm for example, we used motion capture for extra realism. 

Yamashiro: How one goes about utilizing motion capture in that way, I can’t even imagine! 

Anabuki: For instance, take the multi-limbed boss character Dispen Fisher. We had the mo-cap actor lay prone on a wheeled platform, allowing him to move around like a spider. 

Dispen Fisher

Tomizawa: Sounds pretty demanding on the actor. 

Extreme Surrealism—That Works in Gameplay 

Iwamoto-san, do tell. When you first saw the Others, what did you think? 

Iwamoto: Normally, getting something greenlit for a particular project is no small feat. But the Others passed with fluid ease. Needless to say, this was big news, and other projects took notice. Word even reached the Tales of team. “This is sheer craziness!” they said. 

Tomizawa: Sounds like it made a lot of waves. 

Yamashiro: I’m glad to hear it. Guess I should start acting more important then? …Joking. 

Iwamoto: When a game is a work-in-progress, you need to look at it through a filter, visualizing what it ultimately should become. Otherwise, you’ll end up blindly grasping for ideas. But the Others… Well, they were a different story. The concept was finished from the very beginning. When I first saw the designs, I reacted in the same way most players likely did—and was utterly mystified. 

At the same, a closer look revealed our gameplay-related conditions were perfectly met. The light bulb there is the weak point. That creature can stick the ceiling, and so on. One look is all you needed. The models featured components like chains and fur, and it all came out dazzling. You couldn’t find a fault even if you tried. 

Iwamoto: What’s more, on first glance you don’t notice the gameplay-related aspects of the design. All you notice is the Others—and their haunting surrealism. I only know a few people who can produce art of this caliber. And being able to experience it through a game? The notion is utterly jaw-dropping. 

Yamashiro: In a previous interview, Iwamoto-san commented the Others instill a feeling of aversion in him, similar to insects. I personally don’t like bugs either. Drawing them, however, is a different matter entirely. So when I read the article, I said to myself, “Who is this guy? He can read minds!” 

Iwamoto: I think when an artist’s love for his craft inhabits his work, you can feel it just by looking. It goes without saying Yamashiro-san’s art affected me in that very way—which is why I both respect and admire him. 

Yamashiro: You’re far too kind. 

How did seeing the Others in motion within the game make you feel? 

Yamashiro: While I create 3D art, I’ve never forayed into the world of animation. Everything I’ve done up to this point is static. Seeing the Others spring to life filled me with awe and wonder. On the other hand, I was a little sad to see the creatures up and leave their creator, bound for new places. An odd mix of emotions, I suppose. I was so moved, I even teared up. If I ever am to repeat an experience like this, I would hope that I’m moved to tears yet again. That’s the kind of person I always want to be. 

I couldn’t have done this alone. But together, we can, and did. That sense of accomplishment when you’ve made something as a team is truly amazing. The act of making game is almost like a game in itself. 

Anabuki: Makings games is a game, eh? A rather philosophical observation. I like it. 

Yamashiro: Feel free to steal it from me, then. I don’t need credit, heh. 

Click the link below to jump to the second part of the interview, in which Yamashiro-san’s all-new Other, specially created for this very article, will be unveiled. We’ll also be talking about what makes a JRPG. 

To read part 2 of the interview, click here.

Author’s Note 

Let’s all take a moment to congratulate SCARLET NEXUS and Tales of ARISE on turning one year old. In part one of this interview, we talked with our panel about the significance of the enemy role in games, in addition to learning about the chilling Others. Personally, Tomizawa-san’s likening of enemies to stages was a very stimulating takeaway. Losing to a boss time and again—and persisting until you prevail. That does indeed sound a lot like a stage. Though I’m not particularly good at them, I do love action games. Perhaps if I approach enemies as stages, I’ll die less…? 

About the Author

Seijiro Murata 

Writer, born in 1989. Also known by such pen names as “Murata the Skull” and “Nosediving Skull Writer M,” Murata has written interviews and strategy articles for both console and mobile titles. Eighty percent of his pay goes to buying pro wrestling tickets. 

For more information about SCARLET NEXUS, Tales of ARISE or other Bandai Namco Entertainment Asia products, please visit our website or follow us on FacebookInstagramTwitter and YouTube.

The new “Story Demo” for SCARLET NEXUS is now available!

A special interview with the game’s scenario writer, Takumi Miyajima, as well as comments by the game’s designer Masakazu Yamashiro on the Others, have been released!
– More than 1 million units of the game have been shipped and sold worldwide, while the total number of players have exceeded 2 million!

Bandai Namco Entertainment Asia is pleased to announce that the new free-to-play “Story Demo”, which features the opening sections of the story of SCARLET NEXUS, is now available. In addition, a special interview with the game’s scenario writer, Takumi Miyajima, and comments by the designer of the Others, Masakazu Yamashiro, have also been released.

Alongside these updates, we are proud to share that SCARLET NEXUS has shipped and sold more than 1 million units worldwide, while the total number of players has exceeded 2 million.

Official game website ➡ https://snx.bn-ent.net/*

*This website is provided in Japanese.

New free-to-play “Story Demo” is now available!


Both protagonists, Yuito Sumeragi and Kasane Randall, are playable in this free-to-play “Story Demo”, which includes action-packed gameplay, cutscenes that showcase the riveting story, bond-building episodes, as well as world exploration.

In addition to the “brain punk action” elements of the game, in which the player’s characters can use psychokinesis and work together with the various psionic abilities of their allies, this demo version also allows the player to enjoy all the features of the early parts of the game.

New Himuka, a futuristic world where science and technology have developed through the power of human brains.

Defeat Other with psychokinesis, weapon attacks, and other psionic powers borrowed from your friends.

Players can enjoy up to the end of Phase 2 of the full game in the “Story Demo”.

What will be the fate of Yuito and Kasane, headed for missions of fighting against hostile brain-eating Others…?

※ Some game features may be restricted.

Carry over your save data to the main game

Save data from the “Story Demo” can be carried over to the full version, so players can enjoy the rest of the game in the full version without wasting any progress in the demo.

Demo bonuses are also available

Players will be able to receive bonuses in the main game when there is save data for the “Story Demo”. This includes:

  • Attachment “Bunny Ear Mask (Head) [White]”
  • Attachment “OSF Standard Issue Pack [Black]”
  • Plug-in: “Forcefield: Mk II”
  • Plug-in: “Power Enhance: Mk II”

*The aforementioned plug-in attachments are also available in the full version as players progress through the game.
*The aforementioned bonus content is same with the one as the “Demo Edition”.
*Players cannot receive the bonuses again if the aforementioned items were retrieved as a bonus for the “Story Demo” version.

For more information on the transferring of save data from the “Story Demo” to the full version, please visit the following website: https://snx.bn-ent.net/*

*This website is provided in Japanese.

Special interviews and comments from the creators of SCARLET NEXUS are also out now!

To commemorate the introduction of the “Story Demo”, a special interview with Takumi Miyajima, the game’s scenario writer, has been released. Check out the interview here: https://bnent.asia/SNX-Intv-Takumi-Miyajima to find out more on what goes on behind the scenes during the creation of the story and world perspectives of SCALRET NEXUS, as well as the recommended highlights of the story.

Additionally, comments by SCARLET NEXUS’ designer, Masakazu Yamashiro, on the overall and individual designs of the Others, are out now! Read on to understand how the creation of these frightening and absurd mutants came about through the eyes of Masakazu Yamashiro himself here: https://bnent.asia/SNX-Intv-Masakazu-Yamashiro

Thanks for 2,000,000 total players!

We are also pleased to announce that SCARLET NEXUS has shipped and sold more than 1 million units* worldwide.

The total number of players, including the title’s loyal fans on Xbox Game Pass / PC Game Pass, has also exceeded 2 million.

To celebrate this milestone and express our gratitude to our fans who have played SCARLET NEXUS, a new original illustration by concept artist Ms. Tamami Ishikawa is revealed.

*Total shipped units are based on Xbox Series X|S/Xbox One/Windows/PlayStation®5/PlayStation®4/STEAM® version sales. Downloadable versions included. (As of March 2022)


Set in a future world in which scientists have discovered how to enhance the human brain through the use of technology to develop a new and advanced civilization, SCARLET NEXUS follows the battle between humanity and deranged mutants known as Others, with a thirst for human brains.

Those with acute extra-sensory abilities have been gathered to form the Other Suppression Force, an elite group long tasked with keeping humanity safe from this terrible threat. The two protagonists, Yuito Sumeragi and Kasane Randall, are new recruits to the OSF, scouted for their extraordinary psionic abilities.

The story follows them and their companions on their quest to save the world.

Discover a Brain Punk future
New Himuka

▲The protagonist
Kasane Randall (left) and Yuito Sumeragi (right)
Exterminate the Others
Brain Punk RPG

For more information about SCARLET NEXUS or other Bandai Namco Entertainment Asia products, please visit our website or follow us on FacebookInstagramTwitter and YouTube.

Comments by SCARLET NEXUS’ designer, Masakazu Yamashiro on the Others

Read the comments given by SCARLET NEXUS’ designer, Masakazu Yamashiro, on the overall and individual designs of the Others to understand how the creation of these frightening and absurd mutants came about through his eyes.

Overall Comments on the Others

As the Others are cruel brain-craving monsters that are impossible for humans to communicate with or tell what it is thinking, I designed the Others to be lacking in emotions and thoughtless. However, as simply having them attack mindlessly would be dull, and I needed to design them to be fun to be fought in-game, I added “absurdity” and unique habits to all of them as a counterpoint to their “frightening” nature. You can check them out in the descriptions in the Enemy Compendium.

The world of SCARLET NEXUS is inspired by the prospective “near future” of our modern world, and the game’s Art Director, Mr. Ochiai, was the one who came up with the theme to make the Others appear “foreign” while deciding on the enemies of this world. Of course, this theme does not just apply to how the enemies appear, but it also relates back to how the world perspective, world locations, and characters are being portrayed. As such, I felt very confident and reassured that I could fully utilize my uniqueness and characteristics as an artist while creating the enemies of SCARLET NEXUS.

Initially, the enemies were planned to be created in a more colorful and anime-styled, so that they would blend into the surroundings of the world. However, to align their design with the theme of “foreignness”, and to maintain the fact that humans and Others are completely hostile entities, we decided to emphasise on its current surreal and artistic looks for visual impact.

I believe that the reason why the Others, which exhibited the purity of my creativity as it was, was able to “coexist” with SCARLET NEXUS’ world settings is because the art director Mr. Ochiai’s sense of “beauty and ugliness” is very similar to mine.

On the other hand, as the Others are enemy characters in the game, there are often specific requests on their movements and backgrounds from the devs. That means there are some limitations on how the Others could be designed; however, they always tell me to “feel free to do whatever you want with the design.” Also, as the Others have specific movements and backgrounds, there are definitely some limitations on how they could be designed. However the devs had always told me to “feel free to do whatever I want with the design”, so that I don’t feel largely limited while creating them. They are also extremely good at translating my designs into fightable enemies in-game, which I am very impressed with.

Individual Comments on the Others

Buddy Rummy

Vase Paws is the Other I designed before I worked on Buddy Rummy, and as it was designed to look like a non-living creature, I made a turn in Buddy Runny’s design direction to differentiate the two from each other.

The design direction I took was to ensure that it looks like it had familiarised itself with its surroundings, and that it appears as if it could be found anywhere. With these two aspects in mind, it thus resulted in appearing as an animal-themed Other.

Further, the animal I decided to use for this Other was a human, and in order to add “foreignness” to the design, I decided to eliminate its knee joints. The result was spectacular because no matter how it moved around, it had to move awkwardly. This makes Bunny Rummy perfect as an Other.

Name Origins:

  • Buddy – Represents this Other’s habit of shaking hands with others of its kind, but eventually ripping them off.
  • Rummy – Represents its unsteady walking since it has legs without knee joints.

Winery Chinery

Winery Chinery represents the first-ever Other I designed. When I first joined the project, it was one of the first artwork that I was requested to create – and it turned out to be a solid artwork that I wanted to show the devs of what I had in mind for the design of the Others, instead of a draft.

The combination of having “organic” and “non-organic” components in the definition of the Others matches my art style closely, and this Other represents the essence of my existing illustrations and artworks.

I had initially assumed that liquid would constantly leak from the faucet on its face, which would form damage-inflicting puddles, and that it would walk with its fingers to avoid touching the puddles. While it was ultimately decided that the Other would instead directly spray liquid around and onto the player, its “habit” of being a “clean freak” can still be found in its 3D motions.

Name Origins:

  • Winery – Represents the outflowing liquid from the monster’s faucet, as it resembles wine.
  • Chinery – Represents the “chine” that connects its head and lower body.

Vase Paws

Vase Paws was created as a normal enemy with various elements of the Chinery-type Others, in which they would possess humanly hands and legs of the horse. In this case, Vase Paws has both elements in its lower body.

For Vase Paws, the “plants” element on the head of the Chinery have been scaled down, and are used in the upper half of this Other. Further, to add some elements of humankind and to enhance the absurdity of its appearance, I decided to let it wear heels.

This is also an Other that was created at the start of the project, so these Others look similar. However, as requested by the devs, their size and attack movements have been modified to ensure that each are distinct.

Name Origins:

  • Vase – Represents the body part that resembles a vase
  • Paws – Represents the huge and unique legs of the Other

Dispen Fisher

The first design draft for this Other was actually the only one rejected by the Art Director, Mr. Ochiai. I attempted to differentiate this Other from the other normal enemies, which made its design deviate from the Others’ intended design direction. The original design had also lacked my own unique artwork style, so I was actually happy that he was sincere in his rejection. After which, we were able to finalise the current design that we both are satisfied with.

The way this Other was created had been derived from the devs’ request to make its various design elements playable, as they wanted the player to be able to destroy its water tank to achieve the Soaked ailment. That’s why its design is based on a mop and a fish tank, but with hands and a head added into the mix. To incorporate the “emotionless” characteristic of the Others, you can also see that I had designed its head to appear emotionless.

Name Origins:

  • Dispense – Represents the spraying of water from its hoses
  • Fisher – Represents its resemblance to a fish dealer, while carrying a fish tank on its back

Brawn Yawn

This Other was designed to have an animal theme. It resembles a crocodile, so its head greatly shows this characteristic. However, as they are Others as opposed to ordinary monsters, I needed to ensure that we incorporate the “non-organic” design theme – and that’s why it currently has a metal mask on its head.

The game design documents had defined it as an Other that liquefies the ground in order to bury itself in, but I thought the concept of it was too surreal and fantasy-like. As such, I decided to give it the ability to liquefy itself as well, so that it makes more sense in terms of its background settings.

You can see a lot of light bulb-shaped parts on its arms. They are added to clearly indicate its weaknesses as many different elements are mixed into its design. Also, the light emitted by the light bulbs had been used as a reference while I was designing the brain crush organ of Others.

Name Origins:

  • Brawn – Represents its bulky arms
  • Yawn – Represents its huge mouth resembling yawns

Barrista Santa

I gave it the name “Santa” immediately when I knew that this Other would be throwing things around. As I also needed to design its habits, I first came up with some irrational gameplay and development difficulty ideas for this Other, such as giving it the ability to destroy things around or interfere with other enemies. Ultimately, it ended up being an enemy entity that represents two Others of its kind in one. Its box-like body part and sleight of hand movements have been designed with humour in mind.

Name Origins:

  • Barrista – An original word created to represent its throwing actions and the two Others facing each other, which resembles “ballista” and “barista”
  • Santa – Represents its habit of throwing objects

Bandeau Pendu

Bandeau Pendu was one of the drafted designs that was created at the start of the project. It initially had a human body encased in glass and wings, but its parts were later adjusted to suit its playability. The inspiration for this Other actually came from a video that I watched about headstands.

Although it had a human-like upper body and a human head, I needed to eliminate its looks of emotions and thoughts. As such, I clipped the upper half of its head and replaced it with a pincushion instead. Also, while it looks like a bird or a flying animal when looked at from afar, the player would suddenly notice that it looks like a human. This acts as a surprise element for players, and I think it is fun for players to notice in-game.

Name Origins:

  • Bandeau – Represents the strap surrounding its body which resembles a garment
  • Pendu – Represents its looks of being hung upside-down

Wither Sabbat

There was actually one particular Other that was created by the dev team in Bandai Namco Studios before I joined the team, which meant that this Other was the only one created in “collaboration” with the team.

It was initially called a “Goat-type” Other, as it had hay-like hair and wore a corset. It gradually transformed to have metal scraps as its limbs and a cloche as armor to protect its weakness.

The Sabbat-type Others have very straightforward designs like the Rummy-type ones, so players could probably tell their difference from others just by looking in detail.

Name Origins:

  • Sabbat – Represents the head that resembles the demon/spirit Leonard, which also has an alias of the “Sabbatic Goat”
  • Wither – Represents its hair which resembles grass withering away

Dominus Circus

(*Spoiler Alert)

The lower body pedaling a unicycle is its main body part. It spins around in the “ground”, which its playability aspect unfair as the player would not be able to interfere with it in any way.

As it is the strongest Other in the game, I designed it to incorporate elements of inanimate objects as well as religious icons, instead of making it represent some kind of living entity. However, the “absurdity” element is also fully incorporated into its design.

With regards to the balance of its “frightening nature” and “absurdity,” I pushed the limits for the latter as this is the final Other boss. Also, I needed to further promote aspects such as “foreignness” and “seriousness” of the story at that point.

Name Origins:

  • Dominus – Represents its existence on top of all Others
  • Circus – Represents its body parts which resemble circus-like elements such as elephants and unicycles

For more information about SCARLET NEXUS or other Bandai Namco Entertainment Asia products, please visit our website or follow us on FacebookInstagramTwitter and YouTube.

A special interview with SCARLET NEXUS’ scenario writer, Takumi Miyajima

To commemorate the release of the free “Story Demo” in SCALRET NEXUS, a special interview with the game’s scenario writer, Takumi Miyajima, has been released. Check out the interview below to find out more on what goes on behind-the-scenes on the creation of the story and world perspectives of SCARLET NEXUS, as well as the recommended highlights of the story.

1. Could you please tell us what inspired the concepts and themes of “connecting brains” and “creating weapons with human brains” in SCARLET NEXUS?

I’ve always been interested in “brains” since I was young. Many books hinted at some unknown elements and hypotheses regarding the hidden potential of “brains”, which significantly increased my interest towards them.

I still remember reading one book that expressed the sentiment that “the brain is like a computer, ” which left a strong impression on me. Many anime and manga titles also have “brains” as the theme for their fictional world, which further fueled my thoughts on the brain’s potential.

In the modern world, not only do we connect to our computers and smartphones, but we also connect to electrical appliances and technological devices to make our lives more convenient. With that, I thought – why not create a fictional world where people can connect their brains, make new powers and use their brains in a way that is not possible to do so in our current reality? That’s where the idea for SCARLET NEXUS’ “brain-connecting” theme came from.

2. In your story writing, it seems like you create the world’s background and pre-stories that are never presented to players, before getting into the main story. What are the intentions of this way of story-writing?

The history that precedes SCARLET NEXUS is very influential to the main story itself, and acts as an anchor for future story creation. By letting myself and the devs know beforehand what happened in the history of the SCARLET NEXUS universe, we can construct a more consistent and error-free scenario for players to immerse themselves in. This is usually how I build the stories that I am handling.

For example, in SCARLET NEXUS, there is a line that goes: “An Other alert? But today’s Other forecast said that there was no threat in this part of Suoh!”. There definitely is a base setting element leading up to this line, such as the Others’ existence being a regular occurrence in the game, and that humans in this world have already developed scientific ways to predict their appearance. These base settings are further strengthened by the conversations and actions of characters in-game.

Further, it is not typical nowadays for a single scenario writer to write the entirety of a scenario during a game’s production. As a result, we wanted to make sure that all staff working on the stories and scenarios know the fundamental world perspective of the game. This thus ensures that the whole story would be accurate in relation with the established history in the universe.

In other titles I have worked on, there had to be “pre-stories” that are not told in the world settings or the main story. There are even hidden story settings that were not shared with the dev team, so as to prevent it from affecting the game’s production as they are not essential. However, I personally create these settings for fun and to expand the world even further. For example, I was thinking about characters that don’t even have names attached to them, or imagining unimportant things that happen in that world.

I try not to make everything sound cut-and-dry, but rather, I create gaps in the story where players’ imagination can take place. As players are always actively controlling the main character in any game, I think it is more interesting and fun if there is room for players to imagine how the story can be like.

3. You said that you basically always create the story by expanding from enemy characters first. For SCARLET NEXUS how was the story constructed?

I created the enemy characters as protagonists of a game need to have a goal, and to achieve that goal, there is always an opponent they need to defeat. With that, the story is imagined, and is typically created from the axis of the “protagonist” and the “final boss”. There are two protagonists in SCARLET NEXUS, and we wanted the fights and hostility between them to be an obstacle to their aforementioned goals. As such, I started out with the protagonists in this game.

As I had set the protagonist’s ultimate goal to be “keeping the peace of the world”, it rationally translates into the extermination of the Others who turn the gears and inner-workings of the game’s universe. I then constructed what will be the “final boss” that poses a threat obstructing this goal. In the pre-stories, I had also concluded that I didn’t want the “final boss” to be one of the Others, so I searched for another potential enemy that could pose the said threat to the protagonist.

Once I had a rough idea of the protagonist and enemies, the next step was to create a rough overall world perspective as the game’s core. I then worked on incorporating the game elements, such as psionic battles, the various ways to defeat the Others, as well as the fundamental purpose of the battles, while ensuring that the world was constructed based on its history. In addition, I had a rough idea of what the future might look like after the game has been cleared, and thus constructed the entire world to lead to that. Think of it as I’m slicing a piece from the universe’s long history, and using that particular piece as the main story that is now enjoyed by our players.

I often get asked questions that revolve around where I started when I created the game, and how did I create certain things in the game, but they’re actually tough to answer. But what I had done was to try to create the main character, the final boss, and the world perspective, including its “history” and “future”, simultaneously based on the particular orders I received at that time. Sometimes I had been tasked to create them separately, but since I felt the setting of the characters and the world in which they take place are all related to the “world perspective”, I ended up creating them all together.

4. The protagonists and characters have very unique personalities and characteristics. What was the process of their creation?

For the ally characters, I first viewed the whole party as one and then decided how each character should be balanced and made interesting to the player. After briefly determining their personalities, I decided on their relationships with other characters and the protagonists. Thus, instead of building them up in isolation, I often placed a character who is a counterpart or is closely related to the one I’m working on, and then create the setting for them in the context of their relationship with other characters.

For example, in the case of Kyoka where I had set her out to be a terrible cook, what actually makes the episode interesting is the reactions she portrays when she serves the dish to another character, and vice versa. By doing so, the relationship with the other character is considered to be a set of essential factors during the character creation process.

To put it simply, I go about creating the characters so that the story can be told by whoever is the protagonist in that world. In fact, I think I can make episodes with party members other than Yuito and Kasane as protagonists if I want to do so. Whether or not it is currently reflected in the game, I had a rough idea of what every character has in mind and what their emotions are from the beginning, as well as how they end up in the end.

Just as in the creation of the 3D graphics in game production, there are parts of the game that are “invisible or not shown to the public”. It just so happens that Yuito, Kasane, and Karen are the main characters featured in the main storyline in a way that they are clearly visible to players.

5. How were the protagonists, Yuito and Kasane created?

I created Yuito and Kasane with the intention of dividing them into two types: one that the player can relate to emotionally, and one that is eccentric, where the player is unable to understand or sympathise with them easily. Yuito’s team created the character to be a leader with a sincere personality, and is surrounded by ally characters who do not have any animosity towards him. Meanwhile, Kasane’s team created an eccentric leader, who has very distinct ally characters. While they are different, both of them are able to make the best use of their power when they cooperate.

As the game devs had created the psionic ability specifically for each party member, I first created each character in accordance with their power. I then considered how the personalities would fit in with the protagonists and their relationships, and added and adjusted their personalities in detail later on while considering their powers’ characteristics, personalities, and synergies.

Taking Gemma as an example, we made him to be a “firm and mature male with a strong sense to protect his friends,” based on his defensive Sclerokinesis power, which landed him in Yuito’s team.

6. Can you please tell us what was considered about Karen’s position and balance with respect to the two protagonists?

I was conscious of the fact that Karen would be a key character in the game and an obstacle as to what the protagonists wanted to accomplish. While creating Karen, I ensured that he would have some form of connection with earlier scenes, as opposed to having him appearing suddenly at some point in the scenario.

As mentioned earlier, the story is not simply just about the opposition between the protagonist and the last boss. However, it is also focused on what goes on between the two protagonists themselves as well. By thinking of the positions and the way that they are balanced, I think that Karen ended up being a heavy and important character that exists in the story.

Also, on a personal note, I really enjoyed the game’s cutscenes, especially for Episode Karen (from DLC Pack 3 – Brain Eater Pack). Even though I knew everything about the story, I always feel like I’m watching the heartwarming scenarios from a third-party perspective. I am a little embarrassed to admit that I cried during one particular scene towards the end! I didn’t expect it to be so beautifully done, and I’m really very happy and grateful about it.

7. Can you tell us the similarities and differences between “SCARLET NEXUS” and the “Tales of” series scenarios that you were in charge of?

As I had written the scenarios for both games, the style might be similar for both. However, the realities of both titles are definitely different. For the “Tales of” series, there is more space for me to create a world where magic and swords are used.

However, as I had written the world to be a close reflection of our modern world and reality for SCARLET NEXUS, creating revenge and “good vs. evil” scenarios were challenging to portray. That level of reality determines what I create in the world of the title, as well as how realistic and suitable it is to that title. Only by doing so, the story would be more readily accepted by the audience.

With that said, I didn’t want to distort the world of SCARLET NEXUS too much so that issues related to characters’ life and death can be more seriously and heavily portrayed.

8. Can you tell us about the highlights of the first parts of the story, and the scenario as a whole?

Players can play until the end of Phase 2 in the new and free-to-play SCARLET NEXUS “Story Demo”, and a part of the story features the “broken and scattered ordinary everyday life” that is portrayed in the main game.

By “ordinary everyday life”, I’m referring to the everyday routines and daily lives of OSF members fighting off Others and protecting the world. However, things are not as simple as they look, and I think that the way their lives go about is one of the key points of interest in the first few parts of the story.

Many new challenges and suffering will be inflicted upon Yuito and Kasane after Phase 2, and how they try to overcome them and the direction of their future that they choose are important points that we want our players to pay attention to and enjoy. The first-hand emotional responses towards the protagonists’ choices are also what we wanted to trigger and have players enjoy alongside the story.

I thought that for humans, no bonds will be created if they just depend on someone else without trying to be independent by themselves. Instead, I believe that “bonds” are created when people reach out to one another and cooperate from a state of “isolation,” where everyone thinks and acts independently without relying entirely on anyone else.

Also, the “bonds” portrayed are not only characters simply helping each other out because they are allies. It is because they are all in a state of isolation and are lonely – which in turn creates their own distinct personalities. As such, they are able to see what they are lacking, as well as that of their allies. To make up for that, they join hands and ask to borrow each other’s strengths, which is also reflected in the in-game “bond system”. A burden is not placed on either side while borrowing powers, but rather, it is as if both parties are using the same power – and as such, a “bond” is created.

For example, in Yuito’s story, Yuito has built a bond with his friends based on his independence and his support to his allies. Thus, when he is weakened, the power relationship turns and his allies reach out to help him out. Any one-direction reliance on others does not lead to strong “bonds.” For Yuito, Kasane and their friends, loneliness and isolation have been ingrained in them, so that’s why the “bond” that they formed is precious and strong. With that said, I hope you can experience both perspectives throughout the scenario.

9. Do you have any messages for those who are interested in, or are going to play SCARLET NEXUS?

There are expressions, portrayals, and perspectives that can only be seen in the respective routes of Yuito and Kasane, so please do try clearing the story for both protagonists and see for yourself!

For more information about SCARLET NEXUS or other Bandai Namco Entertainment Asia products, please visit our website or follow us on FacebookInstagramTwitter and YouTube.

『SCARLET NEXUS』The third additional paid DLC pack, “Brain Eater Pack”, alongside a free update, Ver. 1.07, are now available!

BANDAI NAMCO Entertainment Asia is pleased to announce that popular brain punk action RPG SCARLET NEXUS’ third additional paid DLC pack, “Brain Eater Pack”, has been released on Xbox Series X|S, Xbox One, PlayStation®5, PlayStation®4 and PC via Steam® today. The pack features two all-character sets of newly designed costumes and story episodes surrounding Karen Travers, as well as new missions, challenges, and rewards.

Additionally, a free update, Ver.1.07, is also now available. In this update, new features have been implemented based on customer feedback – including the addition of a “Photo Mode”, which allows players to freely take pictures in the world of SCARLET NEXUS, a whole new “Very Hard” difficulty level, support plug-ins, new challenges, and rewards.

The third additional paid DLC pack “Brain Eater Pack” is now available!

“Episode Karen: Unknown History”: A hidden history told from Karen Traver’s perspective

In the “Brain Eater Pack”, you will be able to learn about the mysterious past of Karen Travers with the whole new “Episode Karen: Unknown History”.

What is “Episode Karen: Unknown History”?
This is a four-episode story series that is released in stages under certain conditions. Starting from 1996 in the solar calendar year in the world of SCARLET NEXUS, you can enjoy story episodes that recall a lost history that no one but Karen himself knows, from his own perspective.

Unlocking all four episodes
The episodes will be released when certain conditions are met, such as by purchasing the third DLC, clearing the game in either Yuito’s or Kasane’s story, and defeating a very powerful enemy in the newly added mission.

Meet Your Nemesis: “Shadow of the Recording” in the New Anime Tie-in Mission

Fight against the strongest of all
The incredibly powerful enemy, “Shadow of the Recording,“ appears in a new mission in the Battle Simulator! Will you stand a chance against him as he makes an onslaught on you with unfair attacks you’ve never seen before…?

■ New challenges and rewards
New challenges and rewards have been added. You might get rare attachments when you score a S rank in the new mission in the Battle Simulator.

■ Strengthen your powers!
In order to defeat the strongest enemies, it is essential to improve your stats by leveling up, unlocking new actions by increasing the bond level, and increasing the powers of your party members by obtaining powerful weapons and plug-ins.

Two Sets of New All-Character Set Costumes

■ Guardian Attire
This set includes costumes based on the original Karen Travers’ outfit. Enjoy the majestic and dignified piano-black themed costumes, designed for the best psionics out there.

■ Heir Attire, designed by Mr. Masakazu Yamashiro
This set of costumes has been incorporated with motifs of ancient ethnic costumes in the world of SCARLET NEXUS. Enjoy both Mr. Yamashiro’s take on the world and the foreign elements that have been incorporated as distinctive features of his work.

Free update Ver. 1.07 has also been released!

■ New “Photo Mode”
In response to our fans’ requests, the new “Photo Mode” will be added to allow users take photos freely. Multiple options are made available, allowing you to take your favorite photos at the click of a button press at any time when exploring the world of “SCARLET NEXUS”.

You can capture and save photos not only during gameplay, but also at your favorite moments during cutscenes. A wide range of setting options are also available, including changing character expressions and camera controls. Capture the best moments and share with your friends on what you love about SCARLET NEXUS!

■ New elements based on community feedback
To show our appreciation to all players who love and have been supporting SCARLET NEXUS, we have decided to add both elements that were closely contested in the Twitter poll we conducted on the official SCARLET NEXUS Twitter accounts, into the free update!

This includes the addition of a “Very Hard” difficulty mode – a new challenge for those who think SCARLET NEXUS is too easy and wants a more challenging gameplay experience! Players can now face-off enemies with even more powerful attacks.

New support plug-ins have also been included in this free update, for players who feel like the game is still too hard even in the “Easy” difficulty mode, and those who would like to experience the story without all the effort needed to defeat strong enemies. Players would just have to update their game and retrieve the plug-ins in Shop for free!

■ New free challenges
Get extremely rare rewards by clearing the newly added challenges, only if you can! Stand a chance to win weapons and powerful plug-ins that are exclusive to those who have cleared these challenges.

For more information about SCARLET NEXUS or other BANDAI NAMCO Entertainment Asia products, please visit our website or follow us on FacebookInstagramTwitter and YouTube.

The second additional paid DLC pack, “Bond Enhancement Pack 2”, for Brain Punk Action RPG SCARLET NEXUS is now available!

SINGAPORE – 16 December 2021 – BANDAI NAMCO Entertainment Asia is pleased to announce that the second additional paid DLC pack, “Bond Enhancement Pack 2”, is now available for the popular brain punk action RPG “SCARLET NEXUS”. Similar to the first additional paid DLC pack, new costumes, weapon sets, and new bond episodes have been added. A “Youth Attire” costume set designed by illustrator and designer DaisukeRichard has also been included. Enjoy the new bonds you’ll form with your allies to the fullest extent!

In addition, a free update, Ver.1.05, is also available! In this update, a new battle-related game content, “Battle Simulator”, new “Challenges”, new interactions to further bond with allies, as well as a new item lineup in the “Exchange” section of the shop have been added to the main game.

The trailer for the “Bond Enhancement Pack 2 and Free Update Ver. 1.05” has also been released. Do take a look!

Click here for the product website: https://bandainamcoent.asia/game/scarlet-nexus/

The second additional paid DLC pack, “Bond Enhancement Pack 2”, is now available!

“SCARLET NEXUS: Bond Enhancement Pack 2”

Release date: December 15, 2021

Similar to the first installment, you can enjoy new costumes with original designs, newly designed weapons, new SAS-related content, as well as new bonds that you can form with your allies.

◆ Illustrator / Designer DaisukeRichard’s Original Costume Design

The “Youth Attire” costume set, designed by DaisukeRichard, combines the uniform and street-style designs that are well-known in his work, with the atmosphere and character features of “SCARLET NEXUS”. These new costumes exude a fresh, youthful, and pop-culture vibe, along with a slightly mellow feel – showcasing the “Youth” element in them.

Free update Ver. 1.05 is also available now!

In the Ver. 1.05 free update, the new battle-related game content “Battle Simulator”, new “Challenges”, and new item lineup in the “Exchange” section of the shop have been added to the main game.

 Addition of battle-related game content “Battle Simulator”

Re-match with enemies and bosses that you have fought in the main story, and take on various missions that have been adjusted to a more challenging difficulty level!

You can also fight with the protagonist you are currently choosing. Give your all against the powerful enemy that has the same psychokinesis power as you do!

 Addition of new “Challenges”

Over 20 new “Challenges”, including those corresponding to the new battle-related game content “Battle Simulator”, have been added.

 Addition of new item lineup in the “Exchange” section of the shop

New plugins, colored and hooded costumes, and weapons have been added to the “Exchange” lineup!

Please visit the product website for more details: https://bandainamcoent.asia/game/scarlet-nexus/

Second additional paid DLC pack “Bond Enhancement Pack 2” and free update Ver. 1.05 trailer released


In the far distant future, a psionic hormone was discovered in the human brain, granting people extra-sensory powers and changed the world as we knew it. As humanity entered this new era, deranged mutants known as Others began to descend from the sky with a hunger for human brains. Highly resistant to conventional attack methods, extreme measures needed to be taken to battle the overwhelming threat and preserve humanity. Those with acute extra-sensory abilities, known as psionics, were our only chance to fight the onslaught from above. Since then, psionics have been scouted for their talents and recruited to the Other Suppression Force (OSF), humanity’s last line of defense. Featuring a dual story, begin your adventure with either Yuito Sumeragi, an energetic recruit from a prestigious political family or Kasane Randall, the mysterious scout whose power and skill has gained great notoriety among the OSF.

Discover a Brain Punk future
New Himuka
▲The protagonist
 Kasane Randall (left) and Yuito Sumeragi (right)
Exterminate the Others
  Brain Punk RPG

For more information about SCARLET NEXUS or other BANDAI NAMCO Entertainment Asia products, please visit our website or follow us on Facebook or Twitter, or subscribe to our YouTube channel.

The first paid DLC, “Bond Enhancement Pack 1”, for Brain Punk Action RPG SCARLET NEXUS is now available!

SINGAPORE – 19 November 2021 – BANDAI NAMCO Entertainment Asia is pleased to announce that the first paid DLC, “Bond Enhancement Pack 1,” is now available for the Brain Punk Action RPG, SCARLET NEXUS. This DLC allows players to enjoy new episodes with their comrades through additional costumes, weapon sets, and expansion of the Bond system. In addition, the “DLC Season Pass,” which also includes the second and third paid DLCs to be released in the future, and the “Ultimate Bundle,” which includes items bundled with the DL-only limited edition “Deluxe Edition,” are also now available.

Furthermore, the “Ultimate Edition,” which includes the full game and contents of the “Ultimate Bundle,” will be available at a later date. The free update Ver. 1.04, which includes a variety of additional content, is also available now! We hope you will take this opportunity to enjoy a psychic experience with Scarlet Nexus.

For more information, please visit the official website. ➡ https://SNX.bn-ent.net/

The first paid DLC, “Bond Enhancement Pack 1” and “DLC Season Pass” are now available.

■ SCARLET NEXUS: Bond Enhancement Pack 1

Release date: 17 November 2021

Enjoy new original-designed costumes, weapon sets, and an expansion of the bond system to forge new bonds with your comrades.

■ DLC Season Pass

Release date: 17 November 2021

The DLC Season Pass is a set of additional paid DLC Volumes 1 to 3 at a bundled price.

(The second and third DLCs will be released sequentially after December 2021.)

SCARLET NEXUS Ultimate Bundle

■ Ultimate Bundle

Release date: 17 November 2021

◆ DLC Season Pass

◆ SCARLET NEXUS Artbook & Original Soundtrack

◆ Battle Attire Set -Red-

◆ Deluxe Edition Bonus DLC:

 Additional Attachment “The Other” & SAS Plug-in Variations (3)

In addition to the DLC Season Pass, the Deluxe Edition comes with additional costumes and attachments, a digital artbook & soundtrack, and other additional content that will allow you to enjoy the world of SCARLET NEXUS even more.

Released at a later date: SCARLET NEXUS Ultimate Edition

■ Ultimate Edition

Release date: 19 November 2021 for STEAM

9 December 2021 for Xbox Series X/One and PlayStation5/4

◆ Main game

◆ DLC Season Pass

◆ SCARLET NEXUS Artbook & Original Soundtrack

◆ Battle Attire Set -Red-

◆ Deluxe Edition Bonus DLC:

 Additional Attachment “The Other”& SAS Plug-in Variations (3)

For more information, please visit the official website. ➡ https://SNX.bn-ent.net/


In the far distant future, a psionic hormone was discovered in the human brain, granting people extra-sensory powers and changed the world as we knew it. As humanity entered this new era, deranged mutants known as Others began to descend from the sky with a hunger for human brains. Highly resistant to conventional attack methods, extreme measures needed to be taken to battle the overwhelming threat and preserve humanity. Those with acute extra-sensory abilities, known as psionics, were our only chance to fight the onslaught from above. Since then, psionics have been scouted for their talents and recruited to the Other Suppression Force (OSF), humanity’s last line of defense. Featuring a dual story, begin your adventure with either Yuito Sumeragi, an energetic recruit from a prestigious political family or Kasane Randall, the mysterious scout whose power and skill has gained great notoriety among the OSF.

Discover a Brain Punk future
New Himuka
▲The protagonist
 Kasane Randall (left) and Yuito Sumeragi (right)
Exterminate the Others
  Brain Punk RPG

▼Please check the official website and social media for further updates on SCARLET NEXUS.

Official Website https://SNX.bn-ent.net/

Official Twitter Account: https://twitter.com/SNX_RS

SCARLET NEXUS Anime Linkage Feature – Quests for Hidden Codes

From 1st July, SCARLET NEXUS TV anime series is coming to Southeast Asia, simulcast same day as Japan!

When anime episodes start to be broadcasted, quests for hidden codes will be made available in the game. Search for hidden codes in the anime episodes and figure the correct answer! (Every episode includes one unique code for input)

Enjoy SCARLET NEXUS TV anime series on the following platform across Southeast Asia:
Ani One Asia(Southeast Asia, Central Asia)
・True Digital(Philippines)
・meWATCH, Catchplay(Singapore)
・Bilibili(Southeast Asia)

Talk to the NPC Musubi and tell her the correct password, deciphered from the hidden codes you have found to receive a in-game gift as a reward!

For quests for hidden codes, for every episode broadcasted a new quest will be added into the game, so please do check out the anime and enjoy it alongside with the game!

※Players need to update the game to the newest version in order to access this game content.
※Quests will be made available after Phase 2.

Brain Punk Action RPG SCARLET NEXUS Is Available Now

BANDAI NAMCO Entertainment Asia releases the latest brain punk action RPG Scarlet Nexus for the Xbox Series X|S, Xbox One, PlayStation®5, PlayStation 4 in Southeast Asia today (Steam® version will be released on 25th June 2021).

Join the ranks of the Other Suppression Force, home of the best psionic warriors, and take the control of either Yuito or Kasane for some thrilling psychokinesic action and a unique perspective on the story depending on your initial choice.

Yuito fights with close-ranged attacks thanks to his swords, while Kasane specializes in mid-ranged attacks with flying knives. Pick the one that fits your playstyle best and dive into New Himuka to fight the Others alongside your party members, from which you’ll be able to borrow powers such as Pyrokinesis, Teleportation, Invisibility, Duplication and many more.

Enjoy the latest launch trailer revealed today as well: https://youtu.be/7EZ-rQo19tA

Collaboration Illustrations are now available on official Twitter

Original illustrations drawn by artists from BANDAI NAMCO Studios are being revealed daily just before launch. On release date today, the Yuito and Kasane teams’ illustrations by Tamami Ishikawa (石川 珠実), the concept artist of this work as been revealed!

Follow the official Twitter account: https://twitter.com/SNX_RS

Quest for “Hidden Codes”, a special feature linked to the TV anime “SCARLET NEXUS”

“Hidden Code Quest” will be held in conjunction with the TV anime “SCARLET NEXUS” coming soon to local broadcasting platforms on 1st July 2021 across Southeast Asia.

A code to fulfill Mimi’s request is hidden in each episode of the SCARLET NEXUS anime show.

By watching the show, find and decipher the codes to get passwords (text) for the top-secret files Mimi* left behind. Give the passwords to Musubi in the game and get in-game rewards.

One Hidden Code quest will be unlocked per episode. There will be 13 episodes and 13 quests.

Enjoy SCARLET NEXUS TV anime series on the following platform across Southeast Asia:

・Ani One Asia(South East Asia, Central Asia)
・True Digital(Philippines)
・meWATCH, Catchplay(Singapore)
・Bilibili(South East Asia)

*Mimi is a character (not seen anywhere in the game or anime) who is an OSF member writing codes all over the world of the SCARLET NEXUS anime.
*You need to update the game to the latest version in order to receive the request for Hidden Code quest.
*Gameplay must be completed until Phase 2.

How to receive bonuses: In-game Shop

How to receive early-purchase, pre-order, store original or Demo Edition bonuses

Access the tab “Accept” to receive bonuses that are available.
*Users need to update the game to the newest version in order to execute the above.

– Start the game and visit the shop (yellow-vested character and bike) after finishing the tutorial part of the game.
 Access the tab “Accept” to receive bonuses that are available.
*Users need to update the game to the newest version in order to execute the above.

SCARLET NEXUS New Characters & More Game System Details Revealed

BANDAI NAMCO Entertainment Asia is pleased to share new visuals and profiles of the sub-characters in upcoming action RPG SCARLET NEXUS today. Detailed information about the game system, including the powers of SAS, have also been released.

New Characters Revealed

Seto Narukami (CV: Hiroki Takahashi)

Power: Electrokinesis
Service Record in the OSF: 25 years

“I care because they are rookies. In a fight against others, a split second of hesitation can lead directly to death.”

He is one of the team leaders of the OSF and No.7 of the Septentrion. He is a cheerful and lively young man who is not conceited about his outstanding ability. He provides a helping hand to those around him when they are in trouble and is kind enough to pay attention to their needs. He insists on working in the field and has turned down all promotional offers, therefore still a team leader, but many people look up to him and ask to be assigned to his team.

Kodama Melone (CV: Aoi Yuki)

Power: Sonokinesis
Service Record in the OSF: 21 years

“Kodama-chan is here!”

One of the team leaders of the OSF. An energetic, eccentric character who likes to show off. Although her words and actions are devilish and extreme, she is also the assistant to Fubuki, the commander of the 1st Regiment. She often acts on her own terms, but she does her duties without hesitation and with a light-hearted sense of fun when ordered by her superiors. She used to be Shiden’s former senior officer. However, it seems that Shiden and her did not get along.

Haruka Frazer  (CV: Tomoyo Kurosawa)

Power: Telepathy
Service Record in the OSF: 10 years

“As expected of Kasane. You caught the other’s reaction before I did.”

She is Kasane team’s operator and Wataru’s twin sister. She has a bold, energetic, and lively personality, which is reflected in her behavior, and she is sometimes seen as boyish, which bothers her quite a bit.

Wataru Frazer  (CV: Kengo Takanashi)

Power: Telepathy
Service Record in the OSF: 10 years

“Don’t underestimate my intelligence network. I can pull out all kinds of classified information!”

He is Yuito team’s operator and Haruka’s twin brother. He has always had a slim figure and is sometimes mistaken for a woman, but he doesn’t particularly care. His personality is rather dynamic and rebellious, and he takes pride in his duties as an operator.

Kaito Sumeragi (CV: Chikahiro Kobayashi)

Position: Chairman of the Defense Committee
Age: 25 y/o

“Now you know, don’t you, Yuito? You know what you have to do.”

The eldest son of the prestigious Sumeragi family, and Yuito’s older brother. At a young age, he became a shrewd politician and is now the head of the OSF. Due to civilian control, Kaito himself does not possess psychic abilities but is an ordinary person. He resembles his father’s appearance and political skills. Since childhood, he has been an honor student and a sharp thinker and is often described as unapproachable, but he has been kind to his younger brother, Yuito.

Joe Sumeragi (CV:Tsutomu Isobe)

Position: New Himuka’s council leader
Age: 56 y/o

“I’m still against you are joining the OSF, but make sure you don’t get hurt.”

He is the current head of the Sumeragi family, the founding family of New Himuka, and the chairman of the New Himuka Council. In other words, he is the Head of State. He is a skilled politician supported by the people and the father of Yuito and Kaito. He is a strict father but has little time for his family due to his commitment to work. He is against Yuito’s decision to join the army, so the father-son relationship is not the best, but he still cares for his son, sending him congratulatory messages for joining the OSF.

SAS System ーPowerー

The Struggle Arms System, or “SAS,” is a system that allows you to temporarily borrow the power of your allies by connecting your brain to theirs via a virtual cable.


Grants flames to weapon attacks and psychokinesis attacks. A power that increased attack strength and specialized in attacks that can put the enemy in a “burned“ status.

Under the burn status, the health of the inflicted continuously deplete. This will give an advantage in battle.

This is a special attack technique added during SAS activation.

Yuito: A slamming attack from the air creates a blazing stream of fire.
Kasane: The accumulated attack generates a powerful pillar of fire.


By hardening your entire body, you nullify enemy attacks. It also stops you from cowering when attacked. A simple but very powerful power.


While activated, evasive maneuvers will change to teleportation, greatly improving evasion capabilities. Instantly shorten the distance between you and the locked-on enemy and attack.


Grasp the position of invisible enemies and be able to see through them even in poor visibility.

This makes it easier to activate perfect dodges, which is triggered by evading enemy attacks with precision timing.

Activate a “Read Attack” immediately after a perfect dodge. You will be able to deal great damage to your enemy and knock them down.


Able to vanish from sight and act undetected by enemies. This allows you to explore, recover, and revive safely while avoiding combat.


Move at high speed. The surroundings appear as if time is stopped. A compelling ability that is effective in all aspects.


Enhances psychokinesis attacks by duplicating objects from psychokinesis attacks. In addition, duplicating yourself increases the number of hits of your weapon attacks, an extremely powerful power.


Grants an electrical charge to weapon attacks and telekinetic attacks. It boosts attack power and can put enemies in a “Shock” status.” It also increases the attack range and makes it easier to attack enemies in midair.

Special Objects

Some objects can trigger a powerful follow-up attack with a successful supplemental command among the objects that can be handled with psychokinesis. They take a long time to activate and consume a lot of psychokinesis gauge, but they deal massive damage to enemies and have additional effects such as status ailments.


Maneuver the bulldozer to crash into the enemy. Use the left stick to launch an attack.

Barrel (Water)

After hitting an enemy with a barrel, draw out the water inside and strike the enemy.

Upcoming PlayStation DualSense wireless controller implementations for Scarlet Nexus

In Scarlet Nexus, players will wield psychokinetic abilities to lift and hurl objects at enemies. The  PlayStation DualSense controller is a great match for this power, as both the haptics and adaptive triggers enhance the sensation of smashing pieces of the environment into foes.

When you lift and toss objects, you will feel the flow of the hero’s power, no matter if it’s from left to right, or front to back. When the object moves from left to right on-screen, the sensation is achieved by having the left motor vibrate then move along to the right motor.

Moreover, adaptive triggers provide players with a more realistic game experience. Just like  you sense weight and resistance while picking up objects in real life, you’ll feel like you’re lifting an in-game object with your own strength.

Source credit: https://blog.playstation.com/2021/05/13/devs-reveal-their-upcoming-dualsense-wireless-controller-implementations/

Official Cosplay Guides – Become the New Face of the OSF

Do you feel your psychokinetic powers awaken? The OSF welcomes all promising recruits!

Get a jump start on your 2021 cosplay outfits. Download the official SCARLET NEXUS Cosplay Guides

Become who you are meant to be.



PC , PS4 , PS5 , XBOX One , XBOX Series X

SCARLET NEXUS Demo Edition Coming on 21 May & 28 May 2021

BANDAI NAMCO Entertainment Asia is pleased to announce that the Demo Edition of SCARLET NEXUS will be available for the Xbox Series X|S and Xbox One on 21st May 2021, and PlayStation®5 and PlayStation®4 on 28th May 2021. The game will be available from 24th June 2021 on PlayStation®5, PlayStation®4, Xbox Series X|S, Xbox One and 25th June 2021 on PC Digital via Steam in Southeast Asia.

Demo Content

Play the routes of the 2 protagonists, Yuito Sumeragi and Kasane Randall, until the first major encounter. Use their psychokinesis and the special powers of their OSF allies to fight off the Others and experience the story with the immersive cut scenes.

*There are functionalities and game modes in the full game that are not available in this demo.
*Save data migration is not available for this demo.

Yuito fights with close-ranged attacks with swords. In the demo, players can borrow powers from their team members, Hanabi, Luka, Tsugumi and Gemma. With that, they can use Pyrokinesis, Teleportation, Clairvoyance and Sclerokinesis accordingly.

Kasane specializes in mid-ranged attacks with flying knives.In the demo, players can borrow powers from their team members, Shiden, Arashi, Kagero and Kyoka. With that, they can use Electrokinesis, Hypervelocity, Invisibility and Duplication accordingly.

Demo Edition Play Bonuses

For players who have created save data for the Demo Edition, the following cosmetic attachments and useful wearable plug-ins will be obtainable when they play the full game.

Yuito Story Bonus

■ Attachment
“Bunny Ear Mask (Head) [White]”

■ Plug-in: “Forcefield: Mk II”
Increases defense for the character who equipped this plug-in.

Kasane Story Bonus

■ Attachment
“OSF Standard Issue Pack [Black]”

■ Plug-in: “Power Enhance: Mk II”
Increases attack for the character who equipped this plug-in.

*These attachments and plug-ins are also originally obtainable in the full game.

Pre-orders are available now! SCARLET NEXUS will be available in Standard and Deluxe editions with an early purchase bonus – available to pre-order on BANDAI NAMCO Entertainment Asia e-store and with participating retailers in Southeast Asia.

– Updated: 28th May 2021 –



― Support from your allies
Other than directly borrowing and using your allies’ powers, you will also be able to receive other kinds of support from them through SAS.

Assault Vision:
Your allies sometimes gives you a sign and if you input the command in time, you can trigger this attack. A strong blow to the enemies will be activated.

Combo Vision:
As your bond with your allies deepen, you will be able to borrow their powers and perform an attack by consuming your SAS gauge.

Guardian Vision:
Their will be a certain possibility where an attack is guarded by your allies.


― About Brain Map

You can allocate Brain Points that is received through levelling up, to your liking and
expand your skills and powers Apart from improving the protagonist’s parameters, you can also enable new action items. Feel free to expand your brain map to suit your own play style.

SYSTEM: Party Organization

You can let 2 characters accompany you at any point in time (during battles or exploration). This extends the SAS active durations for their specific powers and also speeds up the replenishment of their SAS gauge . The bond values with them will also increase. You can reorganize your party anytime through the game menu, according to the situation.

SYSTEM: Equipment

Equip weapons and plug ins to strengthen your powers and use them to your advantages in battles.

Characters have their personal weapon categories and players could choose and purchase to their likings. The appearance also changes. As you progress through the story, more powerful weapons become available for use.

Plug- ins
Equipment that strengthens the character’s parameters. Various effects are activated, such as improved physical strength / powers. Choose the plug ins that best suit your play style.

SYSTYEM: Customization

Customize the appearances of the protagonist and party characters.

Change your characters’ costume anytime from the game menu. You can change them individually for all your team members.

A large variety of attachments can be equipped by each character and visually enjoyed.

[SCARLET NEXUS] Day 1 Bonus information

Pre-order your copy of Scarlet Nexus to receive the Bonuses below!



*Bonus is available based on first come first basis. Please speak to your local game retailer for more details.