Changes: RE Engine

Revision as of 22:09, 9 January 2020

The Reach for the Moon Engine, abbreviated as RE Engine and commonly nicknamed as the "Resident Evil Engine" by fans was the engine used to create Devil May Cry 5. It was developed by Capcom specifically for the making of Resident Evil 7: Biohazard.

Games made with the RE Engine

Resident Evil 7: Biohazard (2017)
Resident Evil 2 (2019)
Devil May Cry 5 (2019)
BIOHAZARD VALIANT RAID (2019)^{[citation needed]}
BIOHAZARD WALKTHROUGH THE FEAR (2019)^{[citation needed]}
Resident Evil 3 (2020)
Resident Evil Resistance (2020)

Usage in Devil May Cry 5

Devil May Cry 5 uses photorealistic graphics thanks to the RE Engine, all models in the game were taken from real actors who were scanned via a 3D photoshoot. The clothing the characters wear in the game were also scanned from real clothing which were made in London and scanned in Serbia, then had the data sent to the development staff in Osaka. Nero's jacket in Devil May Cry 5 costed as much as a small car to make, the jacket was carefully selected so it would reflect well in-game^[1] however his accessories were not scanned.^[2]

The developers worked with Madeleine Jenkins, an experienced costumier, in order to bring the costumes to life. They were inspired by Carol Christian Poell's work when brainstorming how the costumes should look, but prioritized the character's personalities over it. According to Koki Kinoshita, the art director for Devil May Cry 5, Nero had about eight different versions during the design phase, six for Dante and twenty four for V. When the design was finally chosen, there were two times where the costumes were seen in intermediate states, the developers would then "nitpick" the details and make small changes. After the costumes were finished, they still made one small change to Nero's, as small as one centimeter, which was deemed critical so that "the lines flowed correctly".^[3]

CGWORLD vol — Nero's outfit after the scanning process, with around 130 million polygons. (Image credit: CGWORLD magazine)^[4]

According to Volume 249 of the CGWORLD magazine, when Nero's outfit was scanned and then ported onto ZBrush, it had around 130 million polygons, when the outfit was then "taken care of" and ported onto the game itself, it had around 34,000 polygons. And finally, the entire model of Nero in the final game has around 190,000 polygons.^[4] Koki Kinoshita stated in a separate interview that the coats of the characters alone (not just Nero's, but Dante's and V's as well) have each around 35,000 polygons.^[3]

The Devil May Cry van took more than an year to make, the developers would even joke at the van feeling like a character due to how much time they spent on it, additionally, the writing on the van is the artist's own handwriting, including the neon sign.^[2]

For character expressions, Capcom used the latest facial technology developed by the Serbian company called 3Lateral, the movement in the game uses motion capture and after that's done, the voice actors record their lines based on the existing video, which makes it easier for them to understand the character's emotions.^[5] The same was done with the facial motions, they were also recorded separately from the body motion capture, so the developers had to sync everything together, which proved to be much harder than ever according to audio director Kakunoshin Atsumi.^[6]

Since the character models are very realistic, Capcom had to take special care of the animations in the game so they don't fall into the "uncanny valley of character movements", the new updated models would look unnatural performing the over-the-top animations, so Capcom had to tweak the animations to make them less "anime-like", because of this, some animations would end up having too much preparatory motions for some movements and again they had to go back and re-do the whole thing until the controls felt responsive.^[7]

In addition, the character's faces themselves were planned to be a complete digital double, meaning the character would look exactly like the model it was scanned from. However, Capcom then decided that in order to make the characters look more like their original looks, they needed to change them. This was done after the facial rig was built, so not only did they change the models, but also had to re-do some of the rigging.^[8]

Devil May Cry 5 art director Koki Kinoshita believes the scanning process was a great benefit because they didn't need to create realistic models and textures one by one and then align the two together, but instead used that time on things that would "help improve immersion for the players" such as "shaders, hair, damage, aging or progressive dirtying of the costumes.". However, he noted that some things that can be done with this new technology may not be noticed by players, since it's replicating something that happens naturally in real life.^[3]

Trivia

The engine's full name is "Reach for the moon", which is referenced by its logo and name, with "RE" taken from the first two letters of the word "reach".
Jun Takeuchi directed Hideaki Itsuno to use the RE Engine in order for Devil May Cry 5 to scream quality just by looking at it. Takeuchi wanted the game to be relevant for the present and not just rely on its past glory.^[9]

Nero's "V" zippers — Nero's zippers on his coat were angled in a way to shape a "V".^[3]

While the costumes were designed with realism as a priority, one example where that wasn't the case are Nero's zippers on the front of his blue jacket (chest area), in an interview, Koki Kinoshita mentioned the following: "That angle isn’t optimal for durability, but for that element we put priority on giving the costume a silhouette shaped like a “V”, which may or may not be a somewhat Japanese-centric preference".^[3]
Kinoshita's favorite piece of clothing in Devil May Cry 5 is Nero's coat.^[3]
Nero's ripped sweater took about a month to be crafted, but the design process behind it and decision on the look took four to five months.^[3]

Gallery

Images

Videos

Devil May Cry 5 - Design Philosophy

References

[1] カプコンTV！第85回 E3特集『バイオハザード RE 2』『デビルメイクライ 5』『ロックマン11 運命の歯車！！』

[Capcom_Confidential_EP5-2] 2.0 ^2.1 CAPCOM CONFIDENTIAL: THE DEV 1 PODCAST Episode 5

[highsnobiety-3] 3.0 ^3.1 ^3.2 ^3.3 ^3.4 ^3.5 ^3.6 How Capcom Crafted Signature Fashion Styles for 'Defil May Cry 5'

[CGWORLD_magazine_vol.249_web_page-4] 4.0 ^4.1 フォトグラメトリーでつくる『デビルメイクライ 5』のキャラクターモデル〜書籍『ゲームグラフィックス 2019』先行公開（１） | 特集 | CGWORLD.jp

[5] Capcom 2018 Annual Report - "The Heart of Value Creation"

[6] Devil May Cry 5 - Design Philosophy

[7] 『デビルメイクライ 5』は平成最後にして最高のアクションゲームになる！　岡部P＆ウォーカーPが語る【E3 2018】 | Famitsu

[8] Capcom Confidential Episode 17 - YouTube

[9] DMC5's Matt Walker talks Crew Cut, Turbo Mode, inertia and Dante dance

[10] 『デビルメイクライ 5』のキーマンに直撃。RE ENGINEで復活するスタイリッシュアクションの魅力とは？ - Dengeki Online

[11] vilmaycry_jp on Twitter: "【DMC5】E3の会場より、カプコンTV！に出演予定の岡部プロデューサー、伊津野ディレクター、マットプロデューサーのスリーショットをお届け！20日の生放送はお見逃しなく！ https://t.co/4UPYXCKy1X #DMC5… "

[12] PAX West 2018 | Twitch Town Hall - PAX3

[13] V_Jump - Twitter

[14] rokichi_kanji - Twitter

[15] カプコンTV！東京ゲームショウ2018＜9/23＞特番

[16] PlayStation®4/Xbox ONE『デビルメイクライ 5』｜イーカプコン

[17] CGWORLD vol.249（2019年5月号）、4月10日（水）発売！　メイン特集は進化するゲームグラフィックス＆VRミステリーアドベンチャーゲーム『東京クロノス』！ | CG・映像の専門情報サイト | CGWORLD.jp

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@@ Line 1: / Line 1: @@
 [[File:RE_Engine.jpg|thumb|250px]]
-The '''Reach for the Moon Engine''', abbreviated as '''RE Engine''' and commonly nicknamed as the '''"Resident Evil Engine"''' by fans is the engine used to create ''[[Devil May Cry 5]]''. It was developed by Capcom specifically for the making of ''[[w:c:residentevil:Resident Evil 7: Biohazard|Resident Evil 7: Biohazard]]''.
+The '''Reach for the Moon Engine''', abbreviated as '''RE Engine''' and commonly nicknamed as the '''"Resident Evil Engine"''' by fans was the engine used to create ''[[Devil May Cry 5]]''. It was developed by Capcom specifically for the making of ''[[w:c:residentevil:Resident Evil 7: Biohazard|Resident Evil 7: Biohazard]]''.
+==Games made with the RE Engine==
-''Devil May Cry 5'' uses photorealistic graphics thanks to the RE Engine, all models in the game were taken from real actors who were scanned via a 3D photoshoot. The clothing the characters wear in the game were also scanned from real clothing which were made in London and scanned in Serbia, then had the data sent to the development staff in Osaka. [[Nero]]'s jacket in ''Devil May Cry 5'' costed as much as a small car to make, the jacket was carefully selected so it would reflect well in-game.
+*''Resident Evil 7: Biohazard'' (2017)
+*[[w:c:residentevil:Resident Evil 2|''Resident Evil 2'']] (2019)
+*''Devil May Cry 5'' (2019)
+*[[w:c:residentevil:BIOHAZARD VALIANT RAID|''BIOHAZARD VALIANT RAID'']] (2019){{Fact}}
+*[[w:c:residentevil:BIOHAZARD WALKTHROUGH THE FEAR|''BIOHAZARD WALKTHROUGH THE FEAR'']] (2019){{Fact}}
+*[[w:c:residentevil:Resident Evil 3 (2020 game)|''Resident Evil 3'']] (2020)
+*[[w:c:residentevil:Resident Evil Resistance|''Resident Evil Resistance'']] (2020)
+==Usage in ''Devil May Cry 5''==
-For character expressions, Capcom used the latest facial technology developed by the Serbian company called 3Lateral, the movement in the game uses motion capture and after that's done, the voice actors record their lines based on the existing video, which makes it easier for them to understand the character's emotions. The same happened with the facial motions, they were also recorded separately from the body motion capture, so the developers had to sync everything together, which proved to be much harder than ever according to audio director Kakunoshin Atsumi.
+''Devil May Cry 5'' uses photorealistic graphics thanks to the RE Engine, all models in the game were taken from real actors who were scanned via a 3D photoshoot. The clothing the characters wear in the game were also scanned from real clothing which were made in London and scanned in Serbia, then had the data sent to the development staff in Osaka. [[Nero]]'s jacket in ''Devil May Cry 5'' costed as much as a small car to make, the jacket was carefully selected so it would reflect well in-game<ref>[[:File:カプコンTV！第85回 E3特集『バイオハザード RE 2』『デビル メイ クライ 5』『ロックマン11 運命の歯車！！』|カプコンTV！第85回 E3特集『バイオハザード RE 2』『デビル メイ クライ 5』『ロックマン11 運命の歯車！！』]]</ref> however his accessories were not scanned.<ref name="Capcom Confidential EP5">[http://capcomconfidential.com/episode-5 CAPCOM CONFIDENTIAL: THE DEV 1 PODCAST Episode 5]</ref>
+The developers worked with Madeleine Jenkins, an experienced costumier, in order to bring the costumes to life. They were inspired by Carol Christian Poell's work when brainstorming how the costumes should look, but prioritized the character's personalities over it. According to Koki Kinoshita, the art director for ''Devil May Cry 5'', Nero had about eight different versions during the design phase, six for Dante and twenty four for [[V]]. When the design was finally chosen, there were two times where the costumes were seen in intermediate states, the developers would then "''nitpick''" the details and make small changes. After the costumes were finished, they still made one small change to Nero's, as small as one centimeter, which was deemed critical so that "''the lines flowed correctly''".<ref name="highsnobiety">[https://www.highsnobiety.com/p/devil-may-cry-5-fashion-interview/ How Capcom Crafted Signature Fashion Styles for 'Defil May Cry 5']</ref>
-Since the character models are very realistic, [[Capcom]] had to take special care of the animations in the game so they don't fall into the "uncanny valley of character movements", the new updated models would look unnatural performing the over-the-top animations, so Capcom has to tweak the animations to make them less "anime-like", because of this, some animations would end up having too much preparatory motions for some movements and again they had to go back and re-do the whole thing until the controls felt responsive.
+[[File:CGWORLD vol.249 (4).jpg|thumb|200px|left|Nero's outfit after the scanning process, with around 130 million polygons. (Image credit: CGWORLD magazine)<ref name="CGWORLD magazine vol.249 web page"/>]]
+According to Volume 249 of the CGWORLD magazine, when Nero's outfit was scanned and then ported onto ZBrush, it had around 130 million polygons, when the outfit was then "taken care of" and ported onto the game itself, it had around 34,000 polygons. And finally, the entire model of Nero in the final game has around 190,000 polygons.<ref name="CGWORLD magazine vol.249 web page">[https://cgworld.jp/feature/201908-gg2019-dmc5.html フォトグラメトリーでつくる『デビル メイ クライ 5』のキャラクターモデル〜書籍『ゲームグラフィックス 2019』 先行公開（１） | 特集 | CGWORLD.jp]</ref> Koki Kinoshita stated in a separate interview that the coats of the characters alone (not just Nero's, but Dante's and V's as well) have each around 35,000 polygons.<ref name="highsnobiety"/>
+The Devil May Cry van took more than an year to make, the developers would even joke at the van feeling like a character due to how much time they spent on it, additionally, the writing on the van is the artist's own handwriting, including the neon sign.<ref name="Capcom Confidential EP5"/>
+{{Clr}}
+For character expressions, Capcom used the latest facial technology developed by the Serbian company called 3Lateral, the movement in the game uses motion capture and after that's done, the voice actors record their lines based on the existing video, which makes it easier for them to understand the character's emotions.<ref>[http://www.capcom.co.jp/ir/english/data/annual.html Capcom 2018 Annual Report - "The Heart of Value Creation"]</ref> The same was done with the facial motions, they were also recorded separately from the body motion capture, so the developers had to sync everything together, which proved to be much harder than ever according to audio director Kakunoshin Atsumi.<ref>[[:File:Devil May Cry 5 - Design Philosophy|Devil May Cry 5 - Design Philosophy]]</ref>
+Since the character models are very realistic, [[Capcom]] had to take special care of the animations in the game so they don't fall into the "uncanny valley of character movements", the new updated models would look unnatural performing the over-the-top animations, so Capcom had to tweak the animations to make them less "anime-like", because of this, some animations would end up having too much preparatory motions for some movements and again they had to go back and re-do the whole thing until the controls felt responsive.<ref>[https://www.famitsu.com/news/201806/14159103.html 『デビル メイ クライ 5』は平成最後にして最高のアクションゲームになる！　岡部P＆ウォーカーPが語る【E3 2018】 | Famitsu]
+</ref>
+In addition, the character's faces themselves were planned to be a complete digital double, meaning the character would look exactly like the model it was scanned from. However, Capcom then decided that in order to make the characters look more like their original looks, they needed to change them. This was done after the facial rig was built, so not only did they change the models, but also had to re-do some of the rigging.<ref>[[:File:Capcom Confidential Episode 17|Capcom Confidential Episode 17 - YouTube]]</ref>
+''Devil May Cry 5'' art director Koki Kinoshita believes the scanning process was a great benefit because they didn't need to create realistic models and textures one by one and then align the two together, but instead used that time on things that would "''help improve immersion for the players''" such as "''shaders, hair, damage, aging or progressive dirtying of the costumes.''". However, he noted that some things that can be done with this new technology may not be noticed by players, since it's replicating something that happens naturally in real life.<ref name="highsnobiety"/>
 ==Trivia==
 *The engine's full name is "Reach for the moon", which is referenced by its logo and name, with "RE" taken from the first two letters of the word "reach".
-*Jun Takeuchi directed Hideaki Itsuno to use the RE Engine in order for ''Devil May Cry 5'' to scream quality just by looking at it. Takeuchi wanted the game to be relevant for the present and not just rely on its past glory.
+*Jun Takeuchi directed Hideaki Itsuno to use the RE Engine in order for ''Devil May Cry 5'' to scream quality just by looking at it. Takeuchi wanted the game to be relevant for the present and not just rely on its past glory.<ref>[https://www.rgj.com/story/life/2019/03/09/dmc-5-s-matt-walker-talks-crew-cut-turbo-mode-inertia-and-dante-dance/3105746002/ DMC5's Matt Walker talks Crew Cut, Turbo Mode, inertia and Dante dance]</ref>
+[[File:Nero's "V" zippers.jpg|thumb|200px|Nero's zippers on his coat were angled in a way to shape a "V".<ref name="highsnobiety"/>]]
+*While the costumes were designed with realism as a priority, one example where that wasn't the case are Nero's zippers on the front of his blue jacket (chest area), in an interview, Koki Kinoshita mentioned the following: "''That angle isn’t optimal for durability, but for that element we put priority on giving the costume a silhouette shaped like a “V”, which may or may not be a somewhat Japanese-centric preference''".<ref name="highsnobiety"/>
+*Kinoshita's favorite piece of clothing in ''Devil May Cry 5'' is Nero's coat.<ref name="highsnobiety"/>
+*Nero's ripped sweater took about a month to be crafted, but the design process behind it and decision on the look took four to five months.<ref name="highsnobiety"/>
 ==Gallery==
+===Images===
-<gallery widths="130">
+<gallery>
-DMC5 Nero jacket IRL.jpg|The real jacket that was scanned to be Nero's new jacket.
+DMC5 Nero jacket IRL.jpg|The real jacket that was scanned to be Nero's new jacket.<ref>[http://dengekionline.com/elem/000/001/767/1767892/ 『デビル メイ クライ 5』のキーマンに直撃。RE ENGINEで復活するスタイリッシュアクションの魅力とは？ - Dengeki Online]</ref>
 DMC5 Nero jacket IRL (back).jpg|ditto.
+Okabe Itsuno Matt.jpg|Director [[Hideaki Itsuno|Itsuno]] wearing the jacket.<ref>[https://twitter.com/devilmaycry_jp/status/1007078193529016320 devilmaycry_jp on Twitter: "【DMC5】E3の会場より、カプコンTV！に出演予定の岡部プロデューサー、伊津野ディレクター、マットプロデューサーのスリーショットをお届け！20日の生放送はお見逃しなく！ https://t.co/4UPYXCKy1X #DMC5… "]</ref>
-Okabe Itsuno Matt.jpg|Director [[Hideaki Itsuno|Itsuno]] wearing the jacket.
-DMC5 Nico face model.png|[[Emily Bador]] was 3D scanned for the character of [[Nico]].
+DMC5 Nico face model.png|[[Emily Bador]] was 3D scanned for the character of [[Nico]].<ref>[https://www.twitch.tv/videos/304161707 PAX West 2018 | Twitch Town Hall - PAX3]</ref>
-TGS 2018 Nero statue.jpg|Nero's jacket on his statue at TGS 2018.
+TGS 2018 Nero statue.jpg|Nero's jacket on his statue at TGS 2018.<ref>[https://twitter.com/V_Jump/status/1042665595014012928 V_Jump - Twitter]</ref>
-TGS 2018 Dante's coat.jpg|Dante's coat on display at TGS 2018.
+TGS 2018 Dante's coat.jpg|Dante's coat on display at TGS 2018.<ref>[https://twitter.com/hirokichi_kanji/status/1043399603926646784 hirokichi_kanji - Twitter]</ref>
-Dante coat on Reuben Langdon.png|[[Reuben Langdon]] wearing the coat at TGS 2018.
+Dante coat on Reuben Langdon.png|[[Reuben Langdon]] wearing the coat at TGS 2018.<ref>[[:File:カプコンTV！東京ゲームショウ2018＜9 23＞特番|カプコンTV！東京ゲームショウ2018＜9/23＞特番]]</ref>
 Capcom_2018_Annual_Report_-_"The_Heart_of_Value_Creation"3.png|[[Michiteru Okabe]] on the RE Engine in Capcom's 2018 Annual Report - "The Heart of Value Creation"
 DMC5 Nero 3D photoshoot.png|Nero's 3D photoshoot.
+CGWORLD vol.249 (5).jpg|ditto.
-DMC5 Dante 3D photoshoot.png|Dante's 3D photoshoot.
+DMC5 Dante 3D photoshoot.png|Dante's 3D photoshoot.<ref>[https://www.e-capcom.com/sp/devil5/ PlayStation®4/Xbox ONE『デビル メイ クライ 5』｜イーカプコン]</ref>
+CGWORLD vol.249 (3).jpg|Volume 249 of the CGWORLD magazine covered the development of ''Devil May Cry 5''.<ref>[https://cgworld.jp/magazine/cgw249.html CGWORLD vol.249（2019年5月号）、4月10日（水）発売！　メイン特集は進化するゲームグラフィックス＆VRミステリーアドベンチャーゲーム『東京クロノス』！ | CG・映像の専門情報サイト | CGWORLD.jp]</ref>
+</gallery>
+===Videos===
+<gallery>
 Devil May Cry 5 - Design Philosophy|Official development video posted on the ''Devil May Cry'' YouTube channel.
-CGWORLD vol.249 (3).jpg|Volume 249 of the CGWORLD covered the development of ''Devil May Cry 5''.
 </gallery>
 ==References==
+{{Reflist|2}}
-*[[:File:Hideaki Itsuno 伊津野 英昭 - Capcom Channel June 20th 2018 - DMC5 デビル メイ クライ 5 - Japanese Audio|Hideaki Itsuno 伊津野 英昭 - Capcom Channel June 20th 2018 - DMC5 デビル メイ クライ 5 - Japanese Audio]] ([[:File:カプコンTV！第85回 E3特集『バイオハザード RE 2』『デビル メイ クライ 5』『ロックマン11 運命の歯車！！』|original]])
-*[https://www.famitsu.com/news/201806/14159103.html 『デビル メイ クライ 5』は平成最後にして最高のアクションゲームになる！　岡部P＆ウォーカーPが語る【E3 2018】 | Famitsu]
-*[http://dengekionline.com/elem/000/001/767/1767892/ 『デビル メイ クライ 5』のキーマンに直撃。RE ENGINEで復活するスタイリッシュアクションの魅力とは？ - Dengeki Online]
-*[https://www.twitch.tv/videos/304161707 PAX West 2018 | Twitch Town Hall - PAX3]
-*[https://twitter.com/V_Jump/status/1042665595014012928 V_Jump - Twitter]
-*[https://twitter.com/hirokichi_kanji/status/1043399603926646784 hirokichi_kanji - Twitter]
-*[[:File:カプコンTV！東京ゲームショウ2018＜9 23＞特番|カプコンTV！東京ゲームショウ2018＜9/23＞特番]]
-*[http://www.capcom.co.jp/ir/english/data/annual.html Capcom 2018 Annual Report - "The Heart of Value Creation"]
-*[[:File:Devil May Cry 5 - Design Philosophy|Devil May Cry 5 - Design Philosophy]]
-*[https://www.rgj.com/story/life/2019/03/09/dmc-5-s-matt-walker-talks-crew-cut-turbo-mode-inertia-and-dante-dance/3105746002/ DMC5's Matt Walker talks Crew Cut, Turbo Mode, inertia and Dante dance]
-*[https://cgworld.jp/magazine/cgw249.html CGWORLD vol.249（2019年5月号）、4月10日（水）発売！　メイン特集は進化するゲームグラフィックス＆VRミステリーアドベンチャーゲーム『東京クロノス』！ | CG・映像の専門情報サイト | CGWORLD.jp]
-<references />
 {{Production}}
 [[Category:Real Life]]
+[[Category:Game engines]]

Production & Staff
Production
Companies	Capcom - Ninja Theory
Technologies	MT Framework - RE Engine
Principal staff
Directors	Hideki Kamiya - Hideaki Itsuno - Hiroyuki Kobayashi
Producers	Hiroyuki Kobayashi - Tsuyoshi Tanaka - Katsuhiro Sudō - Motohide Eshiro - Takayasu Yanagihara - Alex Jones - Michiteru Okabe - Matthew Walker
Writers	Noboru Sugimura - Katsuya Akitomo - Masashi Takimoto - Shusaku Matsukawa - Bingo Morihashi - Takayasu Yanagihara - Tameem Antoniades
Character Designers	Tatsuya Yoshikawa - Daigo Ikeno - Makoto Tsuchibayashi - Shōji Kawamori
Actors
English	Christine Auten - Chris Ayres - Harrison Bacon - Lou Beatty Jr. - Rebecca Blackstone - Jamison Boaz - Johnny Yong Bosch - Becky Boxer - Danielle Burgio - Joey Camen - Luci Christian - Adam D. Clark - Drew Coombs - Tony Daniels - Race Davies - Melissa Davis - Andrea Deck - Flo DiRe - Françoise Gralewski - Hilary Haag - Todd Haberkorn - Elizabeth Hales - Brian Hanford - Kyle Hebert - Louis Herthum - Jay Hickman - Kate Higgins - Sherman Howard - Howard Jerome - Adam Jones - Matthew Kaminsky - David Keeley - Faye Kingslee - Sarah Lafleur - Reuben Langdon - David de Lautour - Liisa Lee - Wendee Lee - Larry Leong - Andrew Love - Jonathan Mallen - David Matranga - Mary Elizabeth McGlynn - Sage Mears - Matt Mountjoy - Rob Mungle - Liam O'Brien - Tim Phillipps - Jay Preston - Richard Ridings - Robin Riker - Terence J. Rotolo - Molly Daisy Scarpine - Michael Schwalbe - Nicky Scorpio - Patrick Seitz - Patrick M. Seymour - Stephanie Sheh - Daniel Southworth - Pauk Stanko - Haviland Stillwell - T.J. Storm - John Swasey - Brad Venable - Kari Wahlgren - Joey Camen - David Wald - Stephanie Wittels
Japanese	Yutaka Aoyama - Miyoko Asō - Chafūrin - Nobuaki Fukuda - Tetsuo Gotō - Misato Fukuen - Saori Hayami - Hiroaki Hirata - Kōsei Hirota - Aya Hisakawa - Katsuhisa Hōki - Mitsuaki Hoshino - Kenyu Horiuchi - Shōzō Iizuka - Kaito Ishikawa - Yumi Kakazu - Kaneta Kimotsuki - Masafumi Kimura - Hidenobu Kiuchi - Hironori Kondō - Katsuyuki Konishi - Rikiya Koyama - Tsuyoshi Koyama - Naomi Kusumi - Taiten Kusunoki - Natsuko Kuwatani - Lynn - Dai Matsumoto - Yasunori Matsumoto - Yōko Matsuoka - Shin'ichirō Miki - Kenta Miyake - Tadashi Miyazawa - Toshiyuki Morikawa - Ryūji Nakagi - Jōji Nakata - Takayuki Nakatsukasa - Rintarō Nishi - Hirofumi Nojima - Kenji Nomura - Nachi Nozawa - Akemi Okamura - Fumiko Orikasa - Akio Ōtsuka - Romi Park - Tadahisa Saizen - Shunsuke Sakuya - Akira Sasanuma - Ikuya Sawaki - Tomokazu Seki - Yū Shimamura - Tomoyuki Shimura - Tomokazu Sugita - Urara Takano - Kōsuke Takeuchi - Sakiko Tamagawa - Atsuko Tanaka - Kazunari Tanaka - Kishō Taniyama - Kazuya Tatekabe - Masaki Terasoma - Kyōsei Tsukui - Yūya Uchida - Kōki Uchiyama - Yūji Ueda - Hideyuki Umezu - Takayasu Usui - Kōji Watanabe - Kappei Yamaguchi - Yukana - Toa Yukinari - Ryōka Yuzuki
Mo-cap	Johnny Yong Bosch - Danielle Burgio - Stephanie Cheeva - Adam D. Clark - Hironobu Hagihara - Brian Hanford - Louis Herthum - Kenji Hata - Mutsumi Kawamukai - Faye Kingslee - Masako Kobayashi - Reuben Langdon - Larry Leong - Sage Mears - Laura Napoli - Liam O'Brien - Agnes Olech - Daniel Southworth - T.J. Storm - Tim Phillipps
Stage	Ryōma Baba - Kim Kwang-soo - Lee Se-young - Ami Maeshima - Naomi Majima - Haruka Mimura - Yūki Nakayama - Ryū Masaki - Mikoi Sasaki - Jun Shirota - Takuma Sueno - Tomoya Warabino - Tomoya Yamaguchi
Other staff
Face Models	Emily Bador - Karlo Baker - Adam Cowie - Ariana Diamant - Antony Fitzgerald - Owen Hamze - Maxim Nazarov - Andrea Tivadar
ADR Directors	Wendee Lee - Mary Elizabeth McGlynn - Liam O'Brien - Stephanie Sheh
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