Editing Rez (video game) (section)

==Production==
[[File:Tetsuya_Mizuguchi.jpg|thumb|right|upright|[[Tetsuya Mizuguchi]] in 2007]]
''Rez'' was developed by [[United Game Artists]], an internal studio of [[Sega]] led by [[Tetsuya Mizuguchi]], who was then known for his work on [[racing game]]s.<ref name="VGD"/> The original concept for ''Rez'' originated between 1994 and 1995.<ref name="PlayTrance"/> During research work in Europe on ''[[Sega Rally Championship 2]]'', Mizuguchi and a few friends attended the open-air music event [[Street Parade]]. Seeing people swaying en masse to the music, he decided that this was the type of game he wished to make.<ref name="PolyRez"/> At this time, the technology was inadequate for realising his vision.<ref name="PlayTrance"/> In 1998, Mizuguchi was approached about forming a dedicated team to work on new innovative titles for Sega's new [[Dreamcast]] console; his first project along these lines was ''[[Space Channel 5]]'', and during its production he made plans for ''Rez''. He built up his new team at what would become United Game Artists.<ref name="PolyRez"/> As with ''Space Channel 5'', Mizuguchi wanted to draw in casual gamers from across demographics, along with people who would normally not play games.<ref name="DengInterview"/> He had great difficulty pitching the game to Sega, as he found it difficult to explain what ''Rez'' was until they played the prototype.<ref name="VGD"/>

Production proper began in 1999 following the completion of ''Space Channel 5''.<ref name="GamaKazdal"/> A large portion of the staff were drawn from  [[Sega Sports R&D|Team Andromeda]], creators of ''Panzer Dragoon''.<ref name="NGrez"/><ref name="Kazdal2"/> Pre-production lasted a year, and due to the variety of staff on the project there were several strife-filled periods and disagreements between groups within the team.<ref name="Kazdal2"/> The game went through different working titles including "The Sound Project", "Project Eden", "K-Project" and "Vibes".<ref name="NGrez"/><ref name="KotakuNames"/> There were early plans to title the final game "K-Project" or "K". Once "''Rez''" was suggested, Mizuguchi felt it was a name which would be both memorable and have international appeal.<ref name="DengInterview"/> The final title was meant to be a contraction of "Resolve", but during a studio visit from ''[[Edge (magazine)|Edge Magazine]]'' staff, he was inspired to connect it to the concept of "de-rezzing" from the 1982 movie ''[[Tron]]''.<ref name="GCDrez"/> A different source is given by director Jun Kobayashi, who stated the title came from the word "resolute".<ref name="RezKobayashi"/>

Searching for people who could help realise his vision, Mizuguchi met up with and employed a group of [[VJ (media personality)|VJ]]s dubbed "Mommy's Endorphin Machine", with Kobayashi being a member.<ref name="PolyRez"/> He had difficulty explaining the concept to staff members before the first programming prototypes were created.<ref name="PolyRez"/><ref name="DengInterview"/> Production of the game began on Dreamcast, but during development a version was put into motion for the [[PlayStation 2]] (PS2) which would release simultaneously with the Dreamcast version.<ref name="RezPlatforms"/> This was due to the commercial failure of the Dreamcast and Sega's move to third-party software production.<ref name="RezPlatforms"/><ref name="SegaPS2"/> The team's morale was severely affected by the change to a multiplatform release.<ref name="GamaKazdal"/> ''Rez'' was the first Sega-produced game released on the PS2, and one of Sega's last first-party titles for the Dreamcast.<ref name="EuroInterview"/> The production was described by multiple staff members as hard but rewarding. According to technical officer Ryuichi Hattori, a lot of problems stemmed from it being the team's first PS2 title.<ref name="RezComments"/>

===Game design===
[[File:Trance vibrator.jpg|thumb|left|upright=0.8|Trance Vibrator in protective pouch. The controller was developed by United Game Artists for ''Rez'' to increase the player's sensory immersion.<ref name="PlayTrance"/><ref name="GIBZmizuguchi"/>]]
The first concept for the gameplay of ''Rez'' was that when the player shot something down, it would create a sound in synch with the background music, coupled with a vibration through the controller.<ref name="1UPinterview"/> Mizuguchi wanted the game to be a "full body" experience, paying homage to arcade titles he had worked on early in his career at Sega including ''[[Sega Rally]]''.<ref name="gdc2"/> The overall design drew from several different sources of inspiration, including [[rave]] culture as exemplified in events such as Street Parade, and a video from Africa he saw online where a man started clapping and people either swayed and stamped to the beat or joined in.<ref name="DengInterview"/><ref name="GSrez2007"/> Figuring that the capacity for music and sights to draw in a crowd would be the essential element to his envisioned game, Mizuguchi began exploring how to programmatically recreate this effect.<ref name="GCDrez"/> Much of Mizuguchi's time during development was listening to music to inspire his designs.<ref name="SegaRezInterview"/>

Mizuguchi particularly wanted to create a non-violent shooter appealing to many people.<ref name="NGrez"/> A key element was allowing for mistakes and fluffs from the player—penalised in other titles within the genre—to be incorporated into the score of ''Rez''.<ref name="DengInterview"/> The musical gameplay was developed following a [[Call and response (music)|call and response]] approach (the audience responds to something from a singer or performer), similar to that of what a [[disc jockey]] would do to get reaction from the crowd.<ref name="GamaKazdal"/><ref name="GCDrez"/> In parallel with the development of the game's narrative and aesthetic, the team developed its mechanic of [[Quantization (music)|quantizing]] the notes, so that regardless of the player's imprecision that they would play out on the beat, which they "felt like magic" to players of any skill level.<ref name="gdc2"/> The decision to use a rail shooter template for gameplay originated from the number of staff who were veterans of both ''Sega Rally'' and the ''Panzer Dragoon'' series.{{sfn|Infinite|2017|p=18-27}}

The game's software was developed entirely from scratch, causing issues for the team, particularly due to the PS2 release.<ref name="RezComments"/><ref name="GamaKazdal"/> The game went through several prototypes, with different variations on the theme of a musical rail shooter.<ref name="GamaKazdal"/><ref name="GCDrez"/> Its earliest concepts were described by artist Jake Kazdel as "wild", with creations ranging from character action inspired by ''[[Space Harrier]]'' to abstract characters and enemies designed like musical props. These early stages were difficult for anyone to understand, and eventually it settled down into having a more traditional player character and enemies.<ref name="GamaKazdal"/> The first working prototype featured a figure running through a cyberspace environment, while a later build used a fighter jet.<ref name="GCDrez"/> Although designed to emphasize music, Mizuguchi has stated that he did not intend the game to be considered a music or rhythm game. The idea that musical skill would be a prerequisite for full appreciation of the game was something that both Mizuguchi and Kobayashi were anxious to avoid. Instead, the team adopted a quantization mechanic for the gameplay that allowed even players without natural rhythm to interact musically with the game through a process of "locking on" to enemies. This mechanic formed a core theme along which the gameplay developed.{{sfn|Infinite|2017|p=18-27}}

The vibration feedback made use of the Dreamcast vibration pack, the [[DualShock#DualShock 2|DualShock 2 controller]] for PS2, and a custom controller created by Mizuguchi's team for the game dubbed the Trance Vibrator that could be used with the PS2 version.<ref name="RezVibrations"/><ref name="FamitsuDreamcast"/> The Trance Vibrator was Mizuguchi's idea, starting as a joke to enhance the visual mechanics of the game.<ref name="PlayTrance"/><ref name="GIBZmizuguchi"/> The concept was born alongside the original plan for ''Rez'' when Mizuguchi visited Europe.<ref name="PlayTrance"/> While the standard controllers gave good vibration feedback, it only fed into the hands. Mizuguchi's aim with the Trance Vibrator was to allow a player to place it somewhere else in contact with their skin and feel the vibrations from there.<ref name="GIBZmizuguchi"/> He admitted that this lent itself to situations where it could be used for sexual stimulation.<ref name="GCDrez"/><ref name="GIBZmizuguchi"/>

===Art design and scenario===
The game's art director and lead artist was [[Katsumi Yokota]], noted for his work on ''[[Panzer Dragoon Saga]]''.<ref name="NGrez"/><ref name="RetroRez"/> Kazdel, who worked on ''Space Channel 5'', was on board as a character artist and graphics co-designer with Ryutaro Sugiyama.<ref name="Kazdal2"/> One of the game's earliest visual inspirations was the work of [[Wassily Kandinsky]], a 19th-century artist whose abstract work made a profound impression on Mizuguchi and his work.<ref name="GCDrez"/><ref name="1UPinterview"/> The original name "Project K" was a homage to Kandinsky,<ref name="EuroInterview"/> and Mizuguchi dedicated the game to him.<ref name="VGD"/> The early plans had levels directly inspired by Kandinsky's artwork, but Mizuguchi decided against this.{{sfn|Infinite|2017|p=29-30}} Other early versions drew direct inspiration from [[hip hop]] culture and the [[evolutionary history of life]].{{sfn|Infinite|2017|p=18-27}} One of the principle inspirations was Kandinsky's theories on [[synesthesia]], sensations created by the combination of different sensory inputs that had already inspired Mizuguchi's work on ''Space Channel 5''.<ref name="EuroInterview"/><ref name="1UPinterview"/>

A major decision for the team was using wire frame graphics for everything from character models to environments, paying homage to early video game graphics such as were seen in the [[Star Wars (1983 video game)|1983 ''Star Wars'' game]] and ''[[Missile Command]]''.<ref name="RezKobayashi"/> The decision to use this style was described by Yokota as "quite interesting", as his work on ''Panzer Dragoon'' had been aiming for the highest realism possible.<ref name="RetroRez"/> The graphics mirroring the music drew direct stylistic inspiration from the [[Winamp]] media player display.<ref name="GamaKazdal"/><ref name="Kazdal2"/> All but Area 5 were created using the same methodology; the wire frame was in the level foreground, while any particle effects and other visual elements were placed in the background area. This was the only feasible way to synchronise the music and visuals.<ref name="RetroRez"/> The first four levels had different visual themes and two key colors each. The first area drew from Ancient Egypt and used red and orange, the second used Indian culture with blue and purple, the third used Mesopotamian designs and the colors green and cyan, while the fourth area drew from Chinese culture and had a yellow and green color design. Each stage boss had a name taken from one of the planets.<ref name="RezAreas"/> The final area had a design influenced by the natural world.<ref name="PSBlogRez"/> Kazdel described this last area as Yokota's "personal trip out level".<ref name="GamaKazdal"/>

Mizuguchi's first ideas for the game's plot, which is delivered through "sensory" means rather than being driven by text and narration, was to form a connection between life and music.{{sfn|Infinite|2017|p=45–49}} While presented as a cyberpunk plot, Mizuguchi envisioned the narrative as a metaphor for the journey of life.<ref name="gdc2"/> Mizuguchi has suggested that the questions during the game's climax are intended to provoke the realization that the player is "not a [[hacker]] but a [[sperm]]", that ''Rez'' is a story of conception set against the backdrop of an emergent AI. The awakening of Eden at the game's end is a reference to the theoretical [[technological singularity]].{{sfn|Infinite|2017|p=45–49}} According to Kobayashi, their journey to awake Eden allows the hacker experience elevation to a higher existence within cyberspace, achieving something similar to [[Enlightenment in Buddhism|enlightenment]]. This was visually referenced through the various forms the hacker can take as they raise their level.<ref name="RezKobayashi"/> To achieve this fusion of themes with the visuals and score, Mizugushi worked with Yokota and team musician Nobuhiko Tanuma so the art design and musical progression would illustrate these themes.{{sfn|Infinite|2017|p=45–49}} The narrative poem shown during Area 5 was written by Yokota.{{sfn|Infinite|2017|p=58-59}} The English text was written by Kazdel.<ref name="GamaKazdal"/>

===Music===
{{multiple image
| align     = right
| footer    = The music for ''Rez'' featured collaborations with electronic music artists from Japan and Europe, including [[Ken Ishii]] (left) and [[Adam Freeland]] (right).<ref name="RezMusic"/>{{sfn|Infinite|2017|p=37–41}}
| image1    = KEN ISHII clubasia 14th Anniversary (4489667620).jpg
| image2    = Adam Freeland 2.jpg
| perrow = 2
| total_width = 360
}}
For the musical style, Mizuguchi decided on using [[electronic dance music]], emulating the music he had experienced during his time in Europe.<ref name="GCDrez"/><ref name="RezKobayashi"/> The sound design and some of the music was handled by Keiichi Sugiyama, a member of Sega's WaveMaster label.<ref name="RezComments"/><ref name="RezMusic"/> The music score was coordinated by Masakazu Hiroishi.<ref name="PSBlogRez"/> It drew inspiration from the soundtracks of ''[[Xenon 2 Megablast]]'' (1989) and ''[[Xevious]]'' (1983), along with [[Haruomi Hosono]]'s 1984 ''Super Xevious '' remix single. Mizugushi and Yokota began investigating different musical genres that would evoke emotional and psychological responses appropriate to produce the primal and synaesthetic experience ''Rez'' was intended to provide. After hours of investigation, they concluded that due to its digital simplicity which allowed a designer to isolate a single note and to alter the timing of the overall rhythm, the [[techno]] genre offered the greatest promise for producing the desired effects.{{sfn|Infinite|2017|p=37–41}} Music coordination was done by a DJ called Ebizoo, who helped incorporate the call and response methods into the in-game score.<ref name="GamaKazdal"/> The project went through an intensive period of matching music to visuals requiring multiple iterations of back-and-forth alterations in which both music (sometimes from the first note) and art (including entire [[Boss (video gaming)|bosses]]) were significantly modified.{{sfn|Infinite|2017|p=37–41}}

During early production, Ebizoo used placeholder tracks by [[Fatboy Slim]] and [[Underworld (band)|Underworld]] for test levels.{{sfn|Infinite|2017|p=37–41}} Hiroishi contacted multiple composers to contribute tracks for each zone, including [[Ken Ishii]] and [[Joujouka (band)|Joujouka]] as well as English artists [[Coldcut]] and [[Adam Freeland]]. These people both contributed original tracks and licensed remixes of existing numbers for the game.<ref name="RezMusic"/>{{sfn|Infinite|2017|p=37–41}}<ref name="RezIshii"/> The team also reached out to Underworld, Fatboy Slim, [[The Chemical Brothers]] and [[Aphex Twin]], but failed to reach an agreement about using their tracks.<ref name="GamaKazdal"/><ref name="Kazdal2"/> In the case of Underworld, the team wanted to use their track "[[Rez (song)|Rez]]" for the opening area, as they had been doing during prototyping.<ref name="GamaKazdal"/><ref name="1UPinterview"/> Underworld declined as they did not wish to be associated with any kind of video game violence as the game involved "shooting things". This led to Sugiyama creating the opening stage track.<ref name="GamaKazdal"/> The game also included two tracks from [[Oval (musical project)|Oval]], and a track from Ebizoo. The final boss theme was composed by Coldcut and [[Dreadzone|Tim Bran]].<ref name="RezInfiniteAlbum"/>

Mizuguchi had a university friend with Joujouka's Tsuyoshi Suzuki, and the two had long wanted to collaborate on a project.<ref name="RezMusicRetro"/> The track used, "Rock is Sponge", was one of a group Joujouka was creating for an album release. Mizuguchi listened to the early versions of tracks, picking "Rock is Sponge" as most suitable.<ref name="1UPtravelling"/> For Ishii's contribution, Sega asked for five or six variations within the track, which was around five minutes long. Ishii found this challenging, but satisfying.<ref name="RezMusicRetro"/> Mizuguchi personally approached Coldcut about using their music. They immediately understood what he was trying to do, and rather than licensing their track "[[Timber (Coldcut and Hexstatic song)|Timber]]" as originally requested, they composed an original track for the game.<ref name="RezKobayashi"/> Freeland also created his track "Fear" as an original piece, inspired by Mizuguchi's description of the game as being inspired by the artwork of Kandinsky. "Fear" contained the lyric "Fear is the Mind Killer", taken from the novel ''[[Dune (novel)|Dune]]'' by Frank Herbert. This was intended as being inspirational, and emblematic of life's struggle.<ref name="PSBlogRez"/> "Fear" was also slower-paced than the other tracks, fitting in with the area's themes and feel.<ref name="1UPtravelling"/>

For the album release, the team asked each composer to create a new remix that was the "highest" form of the track that had been mixed and synced to gameplay.<ref name="RezKobayashi"/> The soundtrack album, titled ''Rez / Gamer's Guide to...'', was co-published in collaboration with United Game Artists by Musicmine, an imprint of Universal, and independent record company Third Ear. It included ten tracks from across the game, including secret areas.<ref name="RezSoundtrack"/><ref name="RezOSTAlbumA"/><ref name="RezOSTAlbumB"/> The soundtrack was released January 23, 2002.<ref name="RezSoundtrack"/> Third Ear also released two vinyl LPs.<ref name="RezOSTAlbumB"/> The ''Rez'' soundtracks were Third Ear's first major commercial release, with one of its founders using contacts within Sega to get the publishing contract.<ref name="RezMcreedy"/>

{{track listing
| headline = Tracklist<ref name="RezOSTAlbumA"/>
| title1 = Buggie Running Beeps01
| writer1 = Keiichi Sugiyama
| length1 = 5:50
| title2 = Protocol rain
| writer2 = mist
| length2 = 7:08
| title3 = Creation The State of Art
| writer3 = Ken Ishii
| length3 = 6:34
| title4 = Rock Is Sponge
| writer4 = Joujouka
| length4 = 7:31
| title5 = Fear (Rez Mix)
| writer5 = Adam Freeland
| length5 = 5:07
| title6 = Boss Attacks (Remix)
| writer6 = Coldcut & Tim Bran
| length6 = 7:15
| title7 = F6 G5
| writer7 = Ebizoo
| length7 = 7:48
| title8 = Octaeder 01
| writer8 = Oval
| length8 = 3:50
| title9 = Creative State
| writer9 = Ken Ishii
| length9 = 6:21
| title10 = P-project
| writer10 = Oval
| length10 = 5:39
}}