Technologies

Elden Ring Nightreign Director Interview: He Solo’d Every Boss and So Can You

In part one of our interview with Junya Ishizaki, the director of the Elden Ring spinoff answered our burning questions about the game.

Elden Ring launched in 2022 to great acclaim as the culmination of director Hidetaka Miyazaki’s successes with the Dark Souls and Bloodborne series of games. When calls went out in studio FromSoftware to explore more modest spinoff projects, Elden Ring combat director Junya Ishizaki raised his hand — and proceeded to direct the just-released Elden Ring Nightreign, the multiplayer-only spinoff game.

Nightreign is an ambitious attempt to distill the Elden Ring experience into under-an-hour repeatable runs killing enemies and mini-bosses before taking on a unique and deadly Nightlord main boss. Faster, meaner and in some ways tougher than the game it originates from, Nightreign is FromSoftware’s expedition into multiplayer. And while it inherits a lot from Elden Ring, the studio’s next game was developed to scratch a very different player itch — a co-op pressure cooker to produce the highest and lowest moments that Souls games are known for.

There are a lot of ways the games differ, but Nightreign’s director summarized it by saying «I would describe the Elden Ring experience as more of a journey while Nightreign’s experience is more of that on the battlefield.»

In part one of my interview with Ishizaki about his directorial debut in Nightreign, we chatted about what was kept and cut from Elden Ring, how the map design changed over development and whether he himself beat every boss in the game he helmed.

(Yes, he solo’d them all.)

Read more: Elden Ring Nightreign Beginner’s Guide: The Essentials for Not Getting Wrecked in the First 5 Minutes

David Lumb: With its co-op focus and fast pace, Nightreign’s gameplay is different than Elden Ring. What was kept and what was cut from the latter?

Junya Ishizaki: While it’s not limited to Elden Ring, with a lot of our games, we keep this sense of exploring the world and traversing the world. Building on these RPG systems and growing your character was definitely an element of Elden Ring that we wanted to keep and transfer into Nightreign.

I think in terms of, not what what we cut because boss battles are still a large part of Elden Ring, but more as a good focus point on where we had to deliver something new for Nightreign — we wanted these large-scale boss battles to feel really epic and really unique to this game.

DL: What’s it like to tweak the difficulty in a FromSoftware game, especially one built upon Elden Ring’s specific challenge level from the lethality of everyday enemies to the biggest bosses?

JI: These challenging elements to our games are always under scrutiny and that we’re always looking at closely. We felt like we needed to step back and review that process for difficulty balancing with Nightreign in particular … being a multiplayer-focused title, the player is constantly evolving and changing their power level on the fly during any one session. So you really need to focus on what that power curve and that difficulty curve looked like within each session quite closely.

Of course, as I say, we do look at this approach carefully from title to title. It’s not just an all-in, make-it-hard approach. That said, Elden Ring, we did go too far in some areas and I feel we didn’t go far enough in other areas. So we’re always learning from our projects and past experiences, trying to create a game that feels fair and satisfying and gives you a feeling of accomplishment when you do overcome these challenges.

DL: Hold on — I think everyone would like to know your opinion on which bosses in Elden Ring went too far and which didn’t go far enough!

JI: This is not necessarily related to the difficulty specifically, but I think in terms of the battle system with Elden Ring — which is something I was quite involved in the development of that game — where the player feels too pressured or too restricted in what they can do within that framework and that setting, I feel like that created a lot of the feeling of difficulty for a lot of players.

That is somewhere that we felt we were able to release the valve a little bit with Nightreign and allow for more player freedom and to have a more liberating experience. So with Nightreign, I think really leaning into something new was at the heart of this game, even though we’re using Elden Ring as a base, that really gave us a lot of room to explore these battle systems and explore how the player traverses the world. Really really lean into creating a fresh experience there that doesn’t feel like it’s too tied to the original game in that sense.

DL: Speaking of traversal, I can’t be the only one who’s wondered this: Was there ever fall damage in the game? I love dropping down from a great height.

JI: There was actually fall damage at one point, very momentarily. We did study it and try it for a bit but we felt like the game could exist without it. We felt like the game stood up on its own and didn’t need it in order to feel thrilling or to feel trepidation of other areas of the game.

DL: What are other things players might be surprised to discover had been cut during development or refined into something totally different?

JI: I’d say one example of this is the terrain changes that occur in Nightreign. At one point, there was the idea to have different maps — specific set maps for when you play each session. At one point, we had the idea to try to collapse this into a single map, and instead have these different layers and transformative changes that occur during that session.

We thought this could be a new challenge that could set it apart from previous and existing games, give us a new challenge to work with on Nightreign and provide a different gameplay experience as well to extend the breadth of each play session by having this layering feature to the terrain features.

We found this added very different gradients to the exploration and to the way each session pans out. When we tried this, we felt like there’s no one right answer. There’s no one correct way you can do this, it just depends on the game. And this presented a new and interesting challenge for us and a way to, again, spice up the new gameplay in Nightreign.

DL: That’s interesting and sounds like a lot of development in the game experience. Was Nightreign ever considered as a full-size game like Elden Ring?

JI: In a word, no, Nightreign was always considered a smaller, lighter title in comparison to the likes of Elden Ring. But to give a little bit of context to that, during the development of Elden Ring, I myself expressed interest in wanting to direct my own title, and this was picked up by Miyazaki and the other staff at From and I was given this opportunity.

Being a new director, we wanted to take things from a smaller scale and a smaller perspective and start with a strong base with Elden Ring. Of course, having had this experience as director, I’d very much like in the future to start completely from scratch and have my own project and see where it can go scope-wise, so I’m looking forward to that opportunity as well.

DL: Now that you’ve finished Nightreign, what’s your favorite part of it?

JI: There’s a lot of nice things to choose from, a lot about the game I like. But I think one thing we’ve honed in on with Nightreign in particular is the feeling of being both approachable and light in terms of an RPG, but also quite involved and quite in-depth if you want it to be. I think this is an area that we’ve managed to hit quite well.

DL: And what have you and FromSoftware learned from making Nightreign?

JI: I think there’s a lot of experience we can take forward into future projects. One thing in particular I think has been really successful and really valuable to work with is this new approach to characters and character design, both from a gameplay and narrative perspective.

I think this is a really unique aspect of Nightreign and it’s something I think could be developed even further with our future titles, characters feeling unique and interesting in terms of the way they play, the way their controls translate to their unique game feel, and also how you as a player approach and explore their backstories and narratives. These are areas that make Nightreign stand apart from other titles and I think this is something we could definitely improve on and refine going forward.

DL: Great. Last question: I beat the final boss yesterday and I just want to know — have you, in fact, beaten every boss and the final boss yourself?

JI: Yes, I can hopefully give you reassurance to know that I have beaten all of the game’s bosses. I’ve seen everything it has to offer, both in multiplayer and as a solo player. So I want you and players to know that this is very possible and I want you to have the confidence to give it a try yourself.

And in terms of secrets and a narrative as well, I think there’s a lot there for players who were invested in that side of it to uncover and I hope you look forward to experiencing everything that Nightreign has to offer.

DL: Just to clarify: you solo’d every boss in the game?

JI: Yes. And without relics.

Elden Ring Nightreign launched on May 30 for PC, PS5, PS4, Xbox Series X/S and Xbox One consoles for $40. Owning the original Elden Ring is not required to play this game.

Technologies

The Agony and the Ecstasy of Endless Gaming Crossovers

In navigating my own love-hate relationship with this phenomenon, I talked to some of the devs behind them to get a better sense of how these crossovers work and why companies pursue them.

When my friends want to play Magic: The Gathering, I wade through my two-dozen or so decks built for Commander — the card game’s casual, multiplayer format. I might choose the deck built around Elenda, the Dusk Rose, a vampire saint who can create legions of vampires. Maybe I’ll take my Narset, Enlightened master deck, which lets me cast powerful spells for free when she attacks. Both Elenda and Narset are original characters from Magic: The Gathering.

Or maybe I’ll grab my Lightning, Army of One deck, constructed around the Final Fantasy 13 character, so I can attack people for absurdly high amounts of damage. Maybe my Godzilla deck will engage in glorious combat against my friends’ decks led by characters from Dracula or Warhammer 40K. Would Eowyn from Lord of the Rings be a better match-up against the forces of the Imperium?

It’s a double-edged sword, this impulse toward crossovers. And it’s happening in games far beyond Magic: The Gathering.

Overwatch featured skins from Persona 5 in September, Halo armor and weapons showed up in Helldivers 2, and edgy looter shooter Borderlands 4 is showing up in… golf game PGA Tour 2K25. The crossover crown lies eternally with Fortnite, thanks to its never-ending influx of skins from games, movies, comics and real-life celebrities — leading players using the Sabrina Carpenter skin to stop shooting each other and, say, hold impromptu concerts instead.

When the elements fit each other are handled with care, it’s a fun way for fans to engage with multiple interests simultaneously. But when it feels carelessly thrown-together or when the elements don’t mesh, it can feel like a cash grab that hollows out the original property. And what works for one player might feel egregious or immersion-breaking to another.

«Am I the problem?» I ask myself, as I work on a fourth Magic deck built around a Final Fantasy character, after spending hundreds of dollars on cards and accessories from the set.

I do realize that the money I spent on the release event and weekly drafts screamed to Hasbro, «It’s working!» At the same time, playing with cards from that Final Fantasy set was also the most fun I’ve had with Magic in several years.

Corporations betting big on brand crossovers feels like the unavoidable consequence of a world in which players look more and more for customization and ways to show off their personalities and interests, which dovetails with companies looking for lucrative ways to attract new players and increase revenue in ongoing games. Is other media filtering into popular games about the joy of including familiar faces, or does it turn characters into digital bumper stickers, starved of their identity from their original context?

The answer, like it or not, is both.

Money is a big part of the motivation, but expanding reach and offering customization also factor in

Blending different properties together generally requires an intense collaboration between the property owners and the game inviting the crossover. So what makes these gaming collaborations worth it for those parties?

There’s a financial incentive, to be certain, as Hasbro has made astonishingly clear. In its second-quarter 2025 earnings call, CEO Chris Cox noted that Magic: The Gathering’s Final Fantasy set made $200 million in revenue in one day, while it took the Lord of the Rings set six months to hit that milestone. To put those two collaborations in the context of original Magic: The Gathering sets, the bestselling Magic set before Lord of the Rings was Modern Horizons, which made $200 million over two years.

Admittedly, $200 million in 24 hours is performance that Magic: The Gathering will likely struggle to replicate, even with the overabundance of outside properties coming next year: Teenage Mutant Ninja Turtles, The Hobbit, Star Trek and Marvel. Still, Cox said the company feels good about the collaborations set to launch next year in terms of pleasing players and bringing in revenue. And Final Fantasy ultimately points to the financial power of a good gaming crossover, one where the properties are handled thoughtfully and intentionally (even if some of that intention is making the collaboration more collectible).

To better understand how and why these crossovers happen, I talked with some of the people powering these gaming collaborations.

There were «a lot of clues» both internally and externally that Magic could support these kinds of crossovers in the game, said Aaron Forsythe, Magic: The Gathering’s vice president of research and development.

Sets like Lord of the Rings and Final Fantasy can also help funnel new players into a game that has been around since 1993.

«With Final Fantasy, we have seen a marked increase in play participation, especially among players who haven’t previously participated in our Organized Play programs,» said Rebecca Shepard, the vice president of franchise for Magic: The Gathering. That participation also extends after the launch of sets based on the other properties, which Magic brands Universes Beyond.

She noted that Universes Beyond releases also lead to increased interest in older products, demonstrating the crossovers’ ability to drive interest in the game’s original creations.

Magic’s designers have spent decades creating multiple in-game worlds or «planes» with their own lore, characters and mechanics. To a certain degree, crossovers are baked into its premise.

But what about something with a considerably smaller scope, like the hero shooter Overwatch 2? The team-based game is set in nearish future Earth, where other Blizzard games like Diablo and Starcraft are minimal parts of the world as references and outfits. But aside from a small Lego crossover, other external properties were mostly only winked at… until the game introduced skins from the popular manga and anime One-Punch Man back in 2023.

The game’s collaborations started out as infrequent events, but now show up roughly every season.

The Overwatch team was nervous for its first collaboration and took a cautious approach, said Aimee Dennett, Overwatch’s associate director of product management. Devs wanted to ensure that heroes were still recognizably Overwatch characters while also maintaining the integrity of the game’s lore. The solution was described as «our characters are cosplaying,» meaning that the Overwatch heroes maintain the iconic parts of their visual identity, while incorporating elements that are recognizable as the characters from the crossover properties.

There are also internal motivations for these opportunities.

«We’ve found that it has such a positive effect on the team,» said Overwatch’s Art Director, Dion Rogers. People who work on the game are also fans of these properties, and the opportunity to design those crossovers can be a creative spark for the developers.

Fortnite didn’t start the party, but it did invite basically everyone

Fortnite is the de facto example of crossovers in gaming. It represents an astonishing evolution of a concept that kicked off decades ago.

Video game publishers were firmly protective of their properties to keep their games unique, but gaming website Giant Bomb asserts that crossovers started in earnest with 1992’s Battle Soccer, where Godzilla could take the pitch against giant mech Gundams and superheroes from Japanese TV. A few years later, Marvel’s X-Men faced off against Street Fighter characters in a move that would eventually spawn the Marvel vs. Capcom series of fighting games.

Crossovers ramped up in the 2000s with Sonic the Hedgehog and Solid Snake as the first two characters not owned by Nintendo to show up in Smash Bros. Brawl, a few years before horror movie villain Freddy Krueger first appeared in a Mortal Kombat game. Thematically, these all make some sense — but Fortnite took crossovers to another level.

The crossovers started with the Infinity Gauntlet limited-time mode, where players could transform into Thanos, the villain of the 2019 film Avengers: Infinity War. It was quickly followed by the first Marvel-themed skins for Black Widow and Star-Lord that any player could wear. That kicked off a wave of Fortnite crossovers that would grow beyond Marvel to also include DC Comics, Star Wars, celebrities and various other games.

More have followed in Fortnite’s wake. The jump to include characters from other media besides video games has proven popular, with games like Mortal Kombat bringing in the villainous superhuman Homelander from The Boys, and the asymmetrical PVP horror game Dead by Daylight leaning heavily into killers and survivors from various games and movies — and also Nicolas Cage as himself, delivering some truly amazing voice lines.

Still, when it comes to bringing in everything from everywhere, nothing tops Fortnite, where crossover events feel less like guest stars and more like the first stop for major franchise promotion. And the cumulative results are, for lack of a better word, bonkers. Now a squad of Ariana Grande, Billie Eilish, Lady Gaga and Sabrina Carpenter can face off against a squad made up of Darth Vader, the Joker, Thanos and Mortal Kombat’s Sub-Zero… and then perform *NSYNC’s Bye Bye Bye dance on the villains’ corpses.

Epic Games, the makers of Fortnite, declined to comment for this story.

Convenience and customization… at a cost

While crossovers with other properties help bring revenue and new players into games, they also risk alienating players whose primary interest is in their games’ original concepts and who may feel the crossovers move the game away from its identity.

«We listen and learn more than folks realize but at the same time, our goal of making Magic for everyone — because it is — can also frustrate our existing players,» said Shepard in response to a question about the feedback to Universes Beyond and the seemingly polarized responses online.

You can see that frustration in videos from prominent Magic creators, with titles like «The Problems With Universes Beyond — Even if You’re NOT a Hater» and «Half of Magic: The Gathering Will Not Be Magic: The Gathering.» The discussions in those videos touch on multiple elements, but center around the proportion of and execution of Universes Beyond sets and how those sets do or don’t gel with the rest of the game.

That tension exists with most gaming crossovers. I wasn’t initially a fan of Overwatch’s move into collaborations. For me, the image of Doomfist in a yellow suit and flowing cape cheapened a character who’s supposed to be a surly big bad in the Overwatch universe. To me, it felt tonally mismatched with his identity, and I feared Overwatch feeling less like Overwatch as a result.

But the response I saw was largely positive. A change being celebrated doesn’t mean it’s necessarily good for the game, nor does outcry mean a change is bad. But there were clearly people who wanted the customization and expression of anime skins, highlighting the tension inherent in gaming collaborations like this.

Magic’s Aaron Forsythe acknowledged the competing interests, saying, «Players that have been with us for a while don’t feel the need for a change of this magnitude, and I appreciate how this hits them. But we’re doing this both because we want to grow the game — and we are — and because we think it’s another really fun way to enjoy it.»

For longstanding fans who have played the game for years, perhaps even decades, it may feel like the resources for the game’s original ideas are being diverted to fuel crossovers.

There are degrees, though. In the case of Magic: The Gathering, one-time Secret Lair drops like Sonic the Hedgehog that mostly show up in casual multiplayer formats may not seem as disruptive. But over the course of next year, Magic will release four more sets based on outside properties, bringing the total to seven such sets in two years. More than any individual card or set, that density of outside properties might feel particularly unwelcome, contributing to the feeling that it’s just Fortnite now.

Everyone is here (and here to stay)

I think a lot of the response to crossovers comes down to two things: how well the concept fits and how good the execution is. Fortnite itself has become a conglomeration of various game types — from Battle Royale to Lego to Ballistic, festivals and Creative modes — so the game featuring skins from all kinds of movies, games and celebrities sort of fits into that «everything for everyone» idea.

Something like Dead by Daylight is an example of using crossovers with a narrower focus, incorporating horror icons that fit its gameplay and lore. Resident Evil characters trying to escape from Halloween’s Michael Myers doesn’t make total sense, but there’s enough of an internal logic in the genres of slasher films and survival horror games for it to work.

And, despite my initial reservations about Overwatch’s collaborations, I was immediately enthralled when I saw Kiriko’s Suki skin from Avatar: The Last Airbender. In addition to giving me a new outlet for my favorite character from the show, it just fit the visual identity and the concept of the Overwatch hero, a protector in her own right.

The people behind the games acknowledge how much that matters. «If we don’t do this right,» Overwatch’s Rogers told me, «the fans will call us out.» Players have their own ideas of what fits and what doesn’t, and they aren’t shy about voicing those feelings. But Rogers said that getting it right instead helps maintain the identity of the game’s heroes.

Similarly, Magic’s Shepard said one step in the process of evaluating potential crossovers is feeling out whether it feels like «an authentic relationship» for the game and its players. The challenge, however, is that each player’s mileage will vary when it comes to that authenticity.

There’s no putting these crossovers back in the box, for better and worse. We’ll continue to have more options to play as our favorite characters across a variety of games. Right now, if I wanted to, I could fire up Street Fighter 6 and play a game as Chun-Li in the context of her original series. I could then swap over to Fortnite and run around sniping people as Chun-Li before logging into Overwatch and playing as Juno in her Chun-Li skin, healing people with a Martian mediblaster. And then over the weekend, I could play Magic: The Gathering with my friends and pull out a deck built around a Chun-Li character card.

For Chun-Li superfans, that’s great. At the same time, my Magic opponents may be sick of playing against characters from Stranger Things, Jurassic Park and Marvel, which might break the immersion of the game for them.

The demand is there and the complaints are valid. Companies will follow the money. But each game’s developers have to find their own way of squaring the crossover — justifying (or not) how another creative world collides with theirs.

For Overwatch’s Dennett, as the game grows and changes, so does the team’s philosophy about collaborations — because pushing the boundaries of what’s possible in the hero shooter sparks the imaginations of its player base.

«It’s sort of a self-reinforcing cycle, where our players grow and change so much, and so do the types of collaborations, and the types of collaborations change, which grows and changes our players.»

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Today’s NYT Mini Crossword Answers for Friday, Nov. 21

Here are the answers for The New York Times Mini Crossword for Nov. 21.

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