Klonoa: Door to Phantomile
Klonoa: Door to Phantomile
December 11, 1997
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Attachment Door to Phantomile began as a much darker game involving robotic stone-like figures. But, due to most games in the Playstation era already having a dark theme, series creator Hideo Yoshizawa decided to make it into a more lighthearted game while still containing a sort of dark undertone to it. This later became the defining traits of the Klonoa series.
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Pushing L2 and R2 on the title screen will blow the leaves in the background away.
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Attachment There is art in Namco's Japanese Door to Phantomile pages that show official illustrations of Klonoa going against Huepow. Loose translations state that Klonoa would have to use his own soul to power the wind ring in this battle.
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Attachment An illustration of a pink & green Klonoa, who wears a cap of Blinky chasing Pac-Man, can be found in the original website for Door to Phantomile around the developers' section. It's possible that it may be related to the scrapped idea of Huepow betraying Klonoa and could be the inspiration for the doppelganger in Shifty Look's "Klonoa: Traveler of Noctis Sol".
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Attachment Concept art exists of an Octopus Moo which was scrapped. Despite this, it can be seen frozen in a stalagmite in Vision 4-2
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According to Hideo Yoshizawa, some concepts of the game, such as the camera system, were previously conceived for a game based on the manga series “Spriggan” that was cancelled after only a month of development.
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Attachment Ghadius was originally called "Rarapuupu", with either "Kyoumatei" ("Evil Demon Emperor") or Taikou ("Archduke") as it's title depending on the concept art. Very early on in development, this character was conceived as a funky magician-esque clown.
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According to a 1997 The PlayStation magazine interview with the game's director Hideo Yoshizawa, he explained the story of how Klonoa's development began:

"The honest truth is that I simply wanted to make an action game. When I sat down to think seriously about how to do that, and I looked at the PlayStation market, there weren’t a lot of games that were playable for both children and adults at the same time. I wanted to make something that would fill that void."

"Also, there were a lot of Playstation games with 3D fields you could freely walk around in, and those games tended to be confusing; players often don’t know what they’re supposed to do. That’s why we decided to retain 2D controls, but with a 3D-ish feel."

"The idea for 3D backgrounds was there from the beginning, but I didn’t want it to be only for show—I wanted the 3D to have a purpose in the game. That’s where I got the idea for “information depth”. For example, in a 2D sidescroller you’ve got to keep moving forward (to the right) to see what’s next. But with a 3D screen, if we place something interesting deeper in the visual field, it prompts players to consider what’s there in the background, and explore whether it can be interacted with."

"Also, once we started playing around with camera angles, like tilting the camera upwards so players can get a clear view around them, it turned out to be really interesting. Some of these weirder camera angles have never been featured before in an action game, I think, so it was definitely something we were excited about doing."

"As I thought more about how to appeal to a wider demographic, I decided that the character shouldn’t be too serious, but should instead evoke gentle, nice feelings. That idea came, by the way, after soliciting the different developers at Namco for drawings of the character, in an informal in-house contest we held."
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Attachment Early concept art (released by Hideo Yoshizawa) depicts Huepow as a flame monster eating an enemy alive and throwing out its lifeless corpse and the Moos as werewolf-like creatures. This art suggested that the game was originally going to be somewhat darker and more action-oriented than the final game turned out to be.

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