Pragmata interview reveals insights on combat, hacking, and resource management

Capcom’s upcoming PlayStation 5 title, Pragmata, set to release on April 17, is a daring new sci-fi adventure that integrates puzzles and action for a thrilling and strategic experience.

In a recent hands-on session, we spoke with the game’s director, Yonghee Cho, and producer, Naoto Oyama, who provided insights into the development process and features specific to the PS5.

PlayStation Blog: How have players responded to the Pragmata Sketchbook demo currently available?

Oyama: The feedback has been overwhelmingly positive, which was unexpected as we anticipated more mixed reactions. It seems players truly enjoy the game, which is gratifying. The demo was released early to allow players to experience what makes Pragmata special, and the positive reception has been a pleasant surprise. Despite multiple delays since its 2020 announcement, the team remained focused, and now that the demo is available, I feel both relieved and anxious.

Cho: We never anticipated this level of anticipation. Our intention was always to create something unique, and with each new trailer, the excitement grew. This attention increased pressure, contributing to the delays as we aimed to meet player expectations.

Could you elaborate on the visual details, such as New York’s design and the intricate features of the game?

Cho: Bold and intentional designs are crucial for creating artificial machines. The mechs in Pragmata have a sleek, near-futuristic look, setting them apart from other Capcom titles like Resident Evil or Devil May Cry. We collaborated closely with modeling and background teams to add depth and complexity to the mechanical designs, focusing on details like decals and grooves.

Oyama: For enemy bots, we refined each component, ensuring their appearance remained dynamic, even when damaged by Diana’s hacking.

What inspired the combination of gun shooting and hacking-based puzzle elements?

Cho: From the outset, we aimed to create something distinct from traditional shooters. Combining gunplay with hacking felt natural for the sci-fi theme, evolving into a puzzle-based system through experimentation.

Oyama: Initially, hacking wasn’t a puzzle. We explored various ideas to incorporate hacking into gameplay, ultimately finding that the puzzle system offered intuitive controls and depth.

How did you achieve the balance between shooting and puzzle gameplay?

Cho: Our goal was to seamlessly blend shooting and puzzle elements. Early prototypes automatically triggered hacking during firefights, but this was not engaging. Allowing total freedom led to reliance on gunplay, so extensive playtesting helped us find the right balance.

Oyama: It took time to develop hacking into a puzzle mechanic. We refined visual and sound effects and regularly incorporated playtester feedback until achieving the desired balance.

In the demo, players can use hacking to disarm traps, weaken enemies, or deflect missiles. The final game will introduce new challenges and mechanics in each area, keeping players engaged. Hacking sequences tailored to enemy encounters will offer unique visuals for players to enjoy.

Players can experiment with different Hacking Nodes, such as Decode and Multi-Hack, to expand tactical options. Upgrades allow players to focus on shooting or hacking, with hacking potentially out-damaging guns.

Conserving Hacking Nodes is part of resource management, but players can replenish them by returning to the Shelter and will find nodes scattered throughout areas. New outfits for Hugh and Diana can be unlocked during a second playthrough, significantly altering their appearance.

What considerations were made for the 3D Audio sound design?

Oyama: We aimed to create an immersive audio experience. By analyzing environmental data and generating segmented datasets for each room, we achieved realistic spatial representation and reverberation, enhancing player immersion.