{"id":10678,"date":"2025-09-05T05:34:46","date_gmt":"2025-09-05T05:34:46","guid":{"rendered":"https:\/\/nextlevelnews.co.uk\/blog\/2025\/09\/05\/the-making-of-kaiju-no-8-the-game\/"},"modified":"2025-09-05T05:34:46","modified_gmt":"2025-09-05T05:34:46","slug":"the-making-of-kaiju-no-8-the-game","status":"publish","type":"post","link":"https:\/\/nextlevelnews.co.uk\/blog\/2025\/09\/05\/the-making-of-kaiju-no-8-the-game\/","title":{"rendered":"The Making of Kaiju No. 8: The Game"},"content":{"rendered":"
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Most of the time, a game based on a successful manga is made after<\/em> the anime adaptation has been airing for some time, but that wasn\u2019t the case with Kaiju No. 8 The Game. (You can read our hands-on impressions here<\/strong><\/u><\/a>, by the way.) It tells its own story within creator Naoya Matsumoto\u2019s world, as well as referencing pivotal events from the mainline narrative, and is one of the rare instances in which the game and anime were being developed in parallel.<\/p>\n

\u201cWhen this game began its development, the manga was only getting started,\u201d says Kaiju No. 8 The Game\u2019s Producer Shinya Fujita. \u201cSo there was still a lot of information that we didn\u2019t know yet. And also at the same time, the manga was to be adapted into an anime as well. So this made it very difficult.\u201d<\/p>\n

The team started working on Kaiju No. 8 The Game more than two years ago, and the anime only started airing in mid-April last year. This meant that the game development team and the anime production effort (which involved both Production I.G<\/u><\/a> and Studio Khara<\/u><\/a>) were both exploring what this world would look like in action and how best to bring the characters \u2013 and kaiju \u2013 to life.<\/p>\n

Akatsuki Games<\/u><\/a> \u201coften referred to the manga for unreleased characters, weapons, and locations,\u201d reflects Fujita. The team also had access to Naoya Matsumoto, the writer and illustrator of the manga, and \u201chis advice and support were crucial,\u201d confirms Fujita, who goes on to say that he was \u201csurprised by his deep knowledge of game development and respect for the process.\u201d<\/p>\n

That\u2019s not to say that Akatsuki Games was disconnected from the anime. As its production moved ahead, the team were able to work with both studios on specific things. Fujita says that while his team looked to the manga for their character designs, they received invaluable help for the weapon designs from Production I.G, who \u201cwere able to create references that were very detailed and easy to understand\u201d, and leveraged the expertise they\u2019d gleaned from the likes of Ghost in the Shell. The team also received references for kaiju designs from Studio Khara, which had been brought onboard to oversee the kaiju designs in the anime; a natural fit given this is the studio established by Hideki Anno and responsible for the Rebuild of Evangelion films.<\/p>\n

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The work on background designs also lined up with the anime. \u201cWe received a lot of art boards from Production I.G,\u201d says 3D Artist Kazushi Matsumoto. \u201cEvery day we\u2019d be checking what the new materials were. In the early stages sometimes we\u2019d find that our 3D design didn\u2019t match the art board so we\u2019d have to remake it. It\u2019s not like we had all the reference material we needed in the first place \u2013 we had to work closely with Production I.G. In the case that we had exactly the same location as the anime, we\u2019d have Production I.G review our designs as well.\u201d<\/p>\n

One area that was completely separate, however, was the audio side of the game. \u201cI deeply admire the anime’s exceptional music,\u201d says Sound Artist Yasuaki Iwata, \u201cand the sound team is inspired by the anime’s music and takes a reference [from it] while creating entirely new compositions tailored specifically for the game experience.\u201d<\/p>\n

\u201cSince music strongly reflects a composer’s individuality,\u201d adds Sound Director Mitsuhiro Hikino, \u201cwe carefully structured our team. We were fortunate to have experienced game composers with extensive game experience and theatrical music composers who excel at creating music that complements visuals\u2026 We centered our music around genres like Japanese digital rock and used instrumentation familiar to fans of the IP and its culture. We deliberately kept melodies subtle to prevent the music from overpowering the experience, instead allowing it to complement and enhance the impressive visuals.\u201d<\/p>\n

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Producing work that stands up next to the excellent anime was obviously important to the team, but so too was ensuring that the manga\u2019s author, Naoya Matsumoto, was happy with their vision for his world. And sometimes that meant changing tack. Japanese mobile games often have provocative new outfits for their characters that players can acquire through their gacha system, incentivising them to invest more time and\/or money in the game. <\/p>\n

\u201cSexy costumes\u2026 [are] pretty common in the Japanese mobile game industry,\u201d says Art Director Yuya Kuroyabu. \u201cWhen we proposed this plan, Matsumoto-sensei said \u2018well, no \u2013 this [approach] is not for this IP.\u2019 So we studied the IP concept again and tried to come up with some unique designs for this game.\u201d The upshot is that the character outfits stay true to the fact that they\u2019re all soldiers in the Japan Anti-Kaiju Defense Force or CLOZER (a specialised military outfit central to the story), keeping this game more closely aligned with the manga and anime, and reworking the concept of \u2018fan service\u2019 in the process. \u201cThe essence of the design,\u201d concludes Kuroyabu, \u201cis the military style.\u201d<\/p>\n

Most important of all, however, was getting Matsumoto\u2019s blessing for Kaiju No. 8 The Game\u2019s original storyline. It takes place at a specific time in the manga and anime\u2019s arc, and features all the main characters. \u201cWe, the game developers, proposed ideas [to Matsumoto-sensei],\u201d Producer Shinya Fujita explains. \u201cWe wanted to create a unique setting for the game,\u201d so came up with the concept that Kaiju Dimensional Gates were opening up around the globe, triggering an all-in response from anti-kaiju forces. \u201cThen, building on to the Kaiju Dimensional Gate setting,\u201d Fujita continues, \u201cwe created the original story and then created the character Sagan Shinomiya.\u201d<\/p>\n

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\u201cSagan is a very important character,\u201d Fujita explains, \u201cbecause she’s the only game-original character connected to the anime\/manga cast.\u201d Given how central Kikoru and Isao Shinomiya are to Kaiju No. 8\u2019s story, it genuinely is a pretty big deal for the game to introduce Kikoru\u2019s non-blood related sister. \u201cWe didn\u2019t actually have any instructions from Matsumoto-sensei,\u201d says Art Director Yuya Kuroyabu on whether the team had free reign to create the character, \u201cbut we proposed ideas and spent a lot of time communicating.\u201d <\/p>\n

This included pivoting away from what Fujita describes as \u201ca completely different character design\u201d to find the current version which \u201cwas the better fit for this military setting.\u201d \u201cBecause she plays such an important role, we wanted to make sure we get her right,\u201d he concludes.<\/p>\n

\u201cSagan is a very important character, because she’s the only game-original character connected to the anime\/manga cast.\u201d – Shinya Fujita<\/section>\n

Sagan is joined by a couple of other new characters \u2013 Chester Lochburn, CLOZER\u2019s strategist, and Suited, CLOZER\u2019s weapons development guru \u2013 and the team have been quite clever in how they approach their gameplay designs. Characters in this game fall into three broad categories \u2013 Attacker, Support and Defender \u2013 and as you might imagine, given their overwhelming offensive power, many of the core cast from the manga\/anime fit into the Attacker category. It makes sense, then, for the new characters to help bulk out the numbers in the other roles so that players can build well-rounded squads focused on their favourite characters.<\/p>\n

With Matsumoto on board for the story and new characters, there was still the question of how to handle series protagonist Kafka Hibino. After all, he\u2019s simultaneously one of the weakest and <\/em>strongest characters in the manga\/anime. The team have followed Matsumoto\u2019s lead by keeping this duality and allowing Hibino to use his Ultimate to transform into Kaiju No. 8 mid-fight, going from a pistol packing support player to an absolute beast. It really is binary too, as his transformation completely replaces his human moves with kaiju ones and strips him of his pistol in favour of bare knuckle brawling. \u201cAfter transforming, he gains access to powerful abilities like AOE attacks and high-damage Ultimate, allowing players to truly feel his strength,\u201d says Producer Shinya Fujita.<\/p>\n

The team have even created a standalone Kaiju No. 8 character that starts in Kafka\u2019s transformed state. \u201cWhile this version can’t equip weapons like other characters,\u201d Fujita comments, \u201che possesses incredibly powerful base stats even without them. Pretty much what this means is that in the game you can skip the process of acquiring or leveling up weapons; he’s simply strong from the get go.\u201d Even so, balance is key. \u201cWe want to avoid situations where a specific character becomes almost mandatory to progress,\u201d explains Fujita, \u201cor where players can’t freely use the characters they genuinely want to play.\u201d<\/p>\n

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This is also reflected in the game\u2019s monetisation strategy \u2013 which is always a thorny topic when it comes to live service titles, but particularly those with heavy gacha components. \u201cOur goal is for fans to enjoy playing with their favourite characters, even if it impacts rarity,\u201d says Fujita, \u201c[so] we provide more opportunities for casual users to collect characters and enjoy the game.\u201d The examples he gives of this are gifting players the choice of a rare character, as well as Kikoru\/Kafka at launch, plus the free characters from the pre-registration campaign.<\/p>\n

Coming back to Kafka, as you\u2019d imagine he\u2019s central to the game\u2019s new story, and there\u2019s a lot of it, with each mission bookended by cutscenes or dialogue sequences. If it feels to-the-point, that\u2019s very much deliberate. \u201cIn the main Kaiju No. 8 story, the focus is heavily on maintaining narrative momentum,\u201d explains Fujita, \u201cand thus everyday life aspects are intentionally not depicted. To fill in those gaps, we created the character stories.\u201d This is a separate mode with small stories based around the major characters. \u201cWe hope players will enjoy the casual conversations between characters and discover new parts of their personalities that aren’t seen in the main story.\u201d<\/p>\n

Even so, in keeping with the manga and anime, there are still some pretty goofy, playful sequences in the main story. \u201cWe\u2019re trying to stay as true to the original work’s artistic direction as possible,\u201d says Fujita, while also wanting to \u201cshow a \u2018cooler side of Kafka\u2019 in the game,\u201d as compared with how he\u2019s often portrayed in the anime.<\/p>\n

\u201cWe\u2019re trying to stay as true to the original work’s artistic direction as possible\u2026\u201d – Shinya Fujita<\/section>\n

As for the enemies, this is where the game really takes off. \u201cThere will be 20-30 different genres [of kaiju],\u201d says Art Director Yuya Kuroyabu. A few examples pulled from the series include Wyvern-type, Lizard-type and Ant-type, but we can\u2019t wait to see what else the team comes up with. Kuroyabu mentioned that the team were inspired by kaiju movies, particularly the Tokusatsu<\/u><\/a> genre, and utilised classic elements from those films such as low camera angles to emphasise size.<\/p>\n

The kaiju designs also have to fit neatly into a fun gameplay framework. \u201cOur core philosophy for this game is to prioritise clarity,\u201d explains Producer Shinya Fujita, \u201cso we’ve tried to give kaiju abilities that can be inferred from their appearance. For example, Fungal-Type kaiju might inflict status ailments like poison, while Spider-Types might use web attacks to reduce your speed.\u201d These status effects may be easy enough to counter on their own, but when the game starts throwing multiple types at you simultaneously, it\u2019s going to get a bit more complicated. You can read more about how the game plays in our hands-on impressions<\/u><\/a>.<\/p>\n

As for the kaiju design that Art Director Yuya Kuroyabu is most excited about, it comes down to how the team are helping to flesh out existing details in Matsumoto\u2019s world. \u201cThe one I want to call out is Kaiju No. 1,\u201d he says. \u201cI forget which episode [it was in], but it did show up in the original manga and anime \u2013 but only from the bust up \u2013 so no one knew what the rest of it looked like\u2026 and now we\u2019ve designed it, so you can find out in the game! We also used this kaiju as one of our key visuals as well. It\u2019s a special one for me.\u201d<\/p>\n

<\/section>\n

3D Artist Kazushi Matsumoto shares a similar sentiment. \u201cThere are a lot of things that aren\u2019t from the manga or anime that we\u2019ve realised in the game,\u201d he says, \u201cso we\u2019re looking forward to the players discovering them. Plus, we\u2019ve prepared a lot of content for not only Kaiju No. 8 fans, but for Japanese anime lovers too.\u201d <\/p>\n

Now that Kaiju No. 8 The Game is out in the wild, there\u2019s the question of what comes next. \u201cWe’re planning event stories that’ll let players get to know individual characters better,\u201d says Fujita, \u201calong with high-difficulty battle content for players seeking more challenging gameplay. And of course, we’re also planning story events featuring characters in special seasonal outfits.\u201d <\/p>\n

And presumably, in keeping with Matsumoto\u2019s wishes, those outfits will not be overtly sexy. Regardless, \u201cthe most important thing\u201d about running a live service game, says Fujita, \u201cis to have love for the IP. Being a fan helps understand what other fans want.\u201d <\/p>\n

<\/section>\n

Cam Shea visited Akatsuki Games in Tokyo as a guest. He\u2019s a former IGN staffer, now freelance writer and beer geek.<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Most of the time, a game based on a successful manga is made after the anime adaptation has been airing for some time, but that wasn\u2019t the case with Kaiju No. 8 The Game. (You can read our hands-on impressions here, by the way.) It tells its own story within creator Naoya Matsumoto\u2019s world, as […]<\/p>\n","protected":false},"author":1,"featured_media":10679,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-10678","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nThe Making of Kaiju No. 8: The Game - Next Level News<\/title>\n<meta name=\"description\" content=\"Stay on top of the gaming world with Next Level News. 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