紅蜘蛛2/Red Spider2 リマスター版 制作応援 ver. · published
Hello everyone, this is studio wasp.
In this issue, we would like to share a major production milestone and detail our commitment to accurately recreating the atmosphere of 2007 Hong Kong.
We are pleased to announce that the full-scene CG transition for the main story has been completed with over 1,300 images.
Additionally, CG production for our bonus content, Red Spider Side Story: Zhangi Lei Chapter (a short story depicting behind-the-scenes events of the first game, totaling over 50 CGs), is completely finished. All graphic assets required for the game are now ready.
For the previous game, we produced 530 CGs in six months for a text volume of around 150,000 Japanese characters. Since this title has 300,000 characters, we expected roughly double the amount, but we ended up with nearly 2.5 times as many CGs.
To capture the exact mood of 2007, we paid close attention to period-accurate props and vehicles:
In-Game Vehicle Selection:
We identified and modeled five specific car models that were actually running on Hong Kong streets in 2007. Sourcing period-accurate 3D models took time, but it ensures these vehicles blend seamlessly into the cityscape.
(Example: The vehicle used to transport Cheung Loi was updated to a Mercedes-Benz E55 AMG W211 — second from the left in the image.)
Matching Prop Part Numbers:
For the PDA that Yuet considers buying in the story, we researched specific models distributed in 2007 and rendered them in-game.
(Example: Yuet selects an HTC Kaiser, known for its Wi-Fi support and easily configurable MAC address — far right in the image.)
PC UIs and Gaming Setup of the Era:
PC screens operated in-game feature period-accurate Windows OS layouts, older Steam chat UIs, and Microsoft Office designs. Furthermore, when Lycoris plays an FPS (Counter-Strike 1.6) at an internet cafe, she uses a CRT monitor running at 2007 native resolutions to eliminate display lag.
Beyond period accuracy, we aligned game locations with real-world Hong Kong geography following our on-site scouting trip.
Because location changes altered travel times and character positioning, we revised the narrative prose and re-recorded specific character voice lines to reflect these new dynamics.
(Example: The post-reconnaissance conversation near the Victoria Peak mansion was relocated to The Peak Lookout, for which we built a custom 3D set.)
With all graphic assets completed, we are currently focusing on system implementation and sound production. In our next devlog (scheduled for October), we will share details on BGM adjustments based on Yasunori Shioi's compositions, our sound design workflow, and voice audio mastering.
Thank you for your continued support, and please remember to add the game to your Steam Wishlist!