DOCSLIB.ORG

Microsoft Taps Top Designer to Win Over Japan's Gamers Page 1 of 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Microsoft Taps Top Designer to Win Over Japan's Gamers Page 1 of 2 WSJ.com - Microsoft Taps Top Designer To Win Over Japan's Gamers Page 1 of 2 February 25, 2005 Microsoft Taps Top Designer DOW JONES REPRINTS This copy is for your personal, To Win Over Japan's Gamers non-commercial use only. To order presentation-ready copies for distribution to your colleagues, By PHRED DVORAK and ROBERT A. GUTH clients or customers, use the Order Staff Reporters of THE WALL STREET JOURNAL Reprints tool at the bottom of any February 25, 2005; Page B3 article or visit: www.djreprints.com. Microsoft Corp. said it has signed on the creator of Japan's most popular fantasy game • See a sample reprint in PDF to produce titles for its next-generation Xbox, in the company's latest bid to win fans for format. its game consoles in Japan, the world's second-largest videogame market. • Order a reprint of this article now. Microsoft said Hironobu Sakaguchi, the originator of the Final Fantasy game series, has agreed to make two role- playing games exclusively for the next version of its Xbox, which is expected out later this year. Xbox Japan chief Yoshihiro Maruyama declined to say when the games would come out but said it likely would be "slightly after" the console launch. He said the games also would be aimed at the global market. INSIDE TECH The deal with Mr. Sakaguchi is a crucial step for Microsoft as it prepares to launch its next videogame console. Its first console, the Xbox, has been popular 1 See more coverage2 of Asia's in the U.S. -- the world's largest videogame market -- but a failure in No. 2 technology sector, from cellphones market Japan, which is also the home of videogame-console rivals Sony Corp. to software. and Nintendo Co. Since its February 2002 introduction, the Xbox has sold 463,000 units in Japan, according to game-data tracker Enterbrain Inc. That compares with 3.7 million units of Nintendo's GameCube, which was launched five months earlier, and 17.2 million units of Sony's PlayStation 2, which came out in 2000. Microsoft needs to sell more consoles in Japan in part to attract stronger support from Japanese game developers such as Konami Corp. and Capcom Co. These companies do a lot of their business in their home market and hesitate to make games for consoles that haven't seen at least a million units sold domestically because it isn't worth the cost of game development. Without those Japanese games, the Xbox's offerings have been heavy on the shooting and sports games popular in the U.S. -- and light on the role-playing and fantasy genres that Japan's gamers favor. Microsoft Vice President Peter Moore said the agreement with Mr. Sakaguchi should help Microsoft build games that are more "relevant and pertinent for Japanese consumers." He acknowledged that such games were "sadly lacking" for the Xbox. With Mr. Sakaguchi, Microsoft gains a legend in Japanese game culture. While at Japanese game maker Square Co. -- now Square Enix Co. -- Mr. Sakaguchi created Final Fantasy, one of the most popular videogame franchises in the world, and an enduring hit in Japan, where it is soon to launch its 12th iteration. Snagging the Final Fantasy franchise was seen as important in helping Sony successfully launch its first PlayStation console. And in attracting Mr. Sakaguchi, Microsoft has shown that it is building the credibility and connections needed to do business in Japan's game world: Mr. Sakaguchi said he decided to work with Microsoft in large part because he knew http://online.wsj.com/article_print/0,,SB110927422622263371,00.html 2/26/2005 WSJ.com - Microsoft Taps Top Designer To Win Over Japan's Gamers Page 2 of 2 and trusted many of the company's Japanese staff -- including Mr. Maruyama, who for years worked at Square. Mr. Sakaguchi declined to disclose details of the games. Financial terms of the agreement weren't disclosed. It has been years since Mr. Sakaguchi has had a hand in the Final Fantasy series so there is no guarantee that he can field another top-selling game. Mr. Sakaguchi will produce the games in Japan through his Tokyo-based company, MistWalker. Write to Phred Dvorak at [email protected] 3 and Robert A. Guth at [email protected] URL for this article: http://online.wsj.com/article/0,,SB110927422622263371,00.html Hyperlinks in this Article: (1) http://online.wsj.com/technology/asia (2) http://online.wsj.com/technology/asia (3) mailto:[email protected] (4) mailto:[email protected] Copyright 2005 Dow Jones & Company, Inc. All Rights Reserved This copy is for your personal, non-commercial use only. Distribution and use of this material are governed by our Subscriber Agreement and by copyright law. For non-personal use or to order multiple copies, please contact Dow Jones Reprints at 1-800-843-0008 or visit www.djreprints.com. http://online.wsj.com/article_print/0,,SB110927422622263371,00.html 2/26/2005.
Load more

Recommended publications
  • Cultural Imaginations of Piracy in Video Games
    FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 11.2 (SEP. 2018) 30-43 ISSN: 1867-1519 © forum for inter-american research “In a world without gold, we might have been heroes!” Cultural Imaginations of Piracy in Video Games EUGEN PFISTER (HOCHSCHULE DER KÜNSTE BERN) Abstract From its beginning, colonialism had to be legitimized in Western Europe through cultural and political narratives and imagery, for example in early modern travel reports and engravings. Images and tales of the exotic Caribbean, of beautiful but dangerous „natives“, of unbelievable fortunes and adventures inspired numerous generations of young men to leave for the „new worlds“ and those left behind to support the project. An interesting figure in this set of imaginations in North- Western Europe was the “pirate”: poems, plays, novels and illustrations of dashing young rogues, helping their nation to claim their rightful share of the „Seven Seas“ achieved major successes in France, Britain the Netherlands and beyond. These images – regardless of how far they might have been from their historical inspiration – were immensely successful and are still an integral and popular part of our narrative repertoire: from novels to movies to video games. It is important to note that the “story” was – from the 18th century onwards –almost always the same: a young (often aristocratic) man, unfairly convicted for a crime he didn’t commit became an hors-la-loi against his will but still adhered to his own strict code of conduct and honour. By rescuing a city/ colony/princess he redeemed himself and could be reintegrated into society. Here lies the morale of the story: these imaginations functioned also as acts of political communication, teaching “social discipline”.
    [Show full text]
  • PRESS RELEASE Media Contact Michael Prefontaine | Silicon Studio
    PRESS RELEASE Media Contact Michael Prefontaine | Silicon Studio | [email protected] |+81 (0)3 5488 7070 From Silicon Studio and MISTWALKER New game "Terra Battle 2" under joint development Teaser site, trailer, and social media released Tokyo, Japan, (June 22, 2017) –Middleware and game development company, Silicon Studio Corporation are excited to announce their joint development with renowned game developer MISTWALKER COPRPORATION, to develop the next game in the hit “Terra Battle” series, “Terra Battle 2” for smartphones and PC. The official trailer and social media sites are set to open June 22, 2017. About Terra Battle 2 The battle gameplay that wowed so many players in the original "Terra Battle" remains, but now it is complimented by a full role-playing game in which every system has evolved to deliver a more deeply enriched story and experience. The adoption of the dynamic field map allows you direct and travel with your characters throughout the world. Intense emotion abounds from fated encounters, bitter farewells, the joy of glory won, pain and heartbreak, and more heated battles that will have your hands sweating. 1 | Can the people of "Terra" ever uncover the illusive truth of their world? A spectacular journey is waiting for you. ●Gameplay screenshot（Depicted is still under development） Screenshots from left to right: Title Screen, Field Map, Battle Scene, Event Scene ●Character/ Guardian Left：Roland（Guardian）／Right：Sarah（Character） 2 | Trailer, Teaser site, Social Media Ahead of the release the teaser site, trailer, and official Twitter and Facebook accounts will open. For now, these are only available in Japanese, but users are welcome to check in for more information.
    [Show full text]
  • View the Manual
    White Pearl Game Mechanics Manual & Full Credits Game Manual & Credits © Harry Gill White Pearl Game Mechanics Manual & Full Credits Use This manual will explain all the main mechanics of the game. For the complete official guide, which contains a story and boss walkthrough (including much more, such as the inclusion of the game’s entire database); please install the Chronicle Edition DLC. Important Terminology Action Button – Refers to the button used to interact with objects and NPCs, as well as confirm selections. Used by pressing Enter/X/Square. Cancel Button – Refers to the button used to cancel selections and sometimes access menus. Used by pressing ESC/B/Circle © Harry Gill White Pearl Game Mechanics Manual & Full Credits Developer Comments It’s been a long time since White Pearl’s launch, after which I have been working tirelessly to update the game, bug fix it, add additional content, while developing my second game Fabrication – which is set to release at the end of 2020. White Pearl is my first ever game project, and admittedly over-ambitious, wouldn’t you agree? While I think the reviews do a good enough job of explains the positives and negatives of the game, sometimes I look back on the game and think “I wish I did this!”. But game development is very difficult. You must work in a certain amount of time and restrictions to get anything done, which is why this game exists in the first place. If I kept asking myself questions and trying to change things here and there, this game would have never been released.
    [Show full text]
  • The Story of Final Fantasy VII and How Squaresoft
    STS145 History of Computer Game Design, Final Paper, Winter 2001 Gek Siong Low Coming to America The making of Final Fantasy VII and how Squaresoft conquered the RPG market Gek Siong Low [email protected] Disclaimer: I have tried my best to find sources that are as reliable as possible (press releases, interviews in published magazines, etc) but many times I had to depend on third-party accounts of what happened. Some of these accounts conflict with one another, so I try to present as coherent an account of the history as I can here. I do not claim that everything in this paper is true. With that in mind, let us proceed on with the story… Introduction “[Final Fantasy VII is]…quite possibly the greatest game ever made.” -- GameFan magazine, quote on back of Final Fantasy VII CD case (Greatest Hits edition) The story of Squaresoft’s success in the US video games market appears at first glance to be like a fairy tale. Before Final Fantasy VII, console-based role-playing games (RPGs) were still a niche market, played only by a dedicated few who were willing to endure the long wait for the few games to cross the Pacific and onto American soil. Then came Final Fantasy VII in the September of 1997, wowing everybody with its amazing graphics, story and gameplay. The game single-handedly lifted console-based RPGs out of their little niche into the mainstream, selling millions of copies worldwide, and made Squaresoft a household name in video games. Final Fantasy VII CD cover art Today console-based RPGs are a major industry, with players spoilt-for- choice on which RPG to buy every Christmas.
    [Show full text]
  • Chapter 1: the Semiotic Conditions of Videogame Authorship
    UC San Diego UC San Diego Electronic Theses and Dissertations Title The Foundations of Videogame Authorship Permalink https://escholarship.org/uc/item/96x08750 Author Huber, William Humberto Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO The Foundations of Videogame Authorship A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory and Criticism by William Humberto Huber Committee in charge: Professor Lev Manovich, Chair Professor Grant Kester Professor Kuiyi Shen Professor Stefan Tanaka Professor Noah Wardrip-Fruin 2013 © William Humberto Huber, 2013 All rights reserved. SIGNATURE PAGE The Dissertation of William Humberto Huber is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2013 iii DEDICATION With gratitude to friends, family and colleagues. To Samantha, with deepest devotion, for her friendship, affection and patience. To Rafael, for whom play is everything. iv EPIGRAPH Art is a game between all people, of all periods. – Marcel Duchamp v TABLE OF CONTENTS Signature Page ............................................................................................................... iii Dedication ..................................................................................................................... iv Epigraph ..........................................................................................................................v
    [Show full text]
  • The Birth of “Final Fantasy”: Square Corporation
    岡山大学経済学会雑誌３７（１），２００５，６３～８８ The Birth of “Final Fantasy”: Square Corporation Daiji Fujii 1. Introduction “Final Fantasy” was one of the million selling series of role playing games (RPGs). Square Corporation, which might be known as Square Soft outside Japan, had been known as the Japanese software developer to release this series approximately every year. Square enjoyed large annual turnovers from the series and diversified their businesses including a CG movie production. Journalism shed a spotlight on this software factory as a member of the “Winners Club” in Japan’s economy under the futureless recession in the 1990s. This heroic entrepreneurial company and its biggest rival, Enix Corporation Limited, known to be the publisher of “Dragon Quest” series (“Dragon Warrior” in North America), the other one of the twin peaks of Japanese RPG titles, announced to become one in November, 2002. The news became a national controversy, because the home video game was expected to be the last remedy to Japan’s trade imbalance of software industry. According to the report published by Japan’s industry consortium, Computer Entertainment Supplier’s Association (CESA), the top 30 titles in terms of the total shipment between 1983−2002 included 13 RPG titles released by both Square and Enix, second to Nintendo’s 14 titles of various genres (See table 1). Independent software firms had had powerful impacts upon Nintendo, which had the combination of Nintendo Entertainment System (NES) as a dominant platform and “Mario” as a killer content. In 1996, Nintendo’s hegemony in the platform market was rooted out by the re−alliances amongst software suppliers and almost dying PlayStation of Sony Computer Entertainment (SCE).
    [Show full text]
  • 2006 DICE Program
    Welcome to the Academy of Interactive Arts and Sciences’® fifth annual D.I.C.E. Summit™. The Academy is excited to provide the forum for the interactive enter- tainment industry’s best and brightest to discuss the trends, opportunities and chal- lenges that drive this dynamic business. For 2006, we have assembled an outstanding line-up of speakers who, over the next few days, will be addressing some of the most provocative topics that will impact the creation of tomorrow’s video games. The D.I.C.E. Summit is the event where many of the industry’s leaders are able to discuss, debate and exchange ideas that will impact the video game business in the coming years. It is also a time to reflect on the industry’s most recent accomplish- ments, and we encourage every Summit attendee to join us on Thursday evening Joseph Olin, President for the ninth annual Interactive Achievement Awards®, held at The Joint at the Academy of Interactive Hard Rock Hotel. The creators of the top video games of the year will be honored Arts & Sciences for setting new standards in interactive entertainment. Thank you for attending this year’s D.I.C.E. Summit. We hope that this year’s confer- ence will provide you with ideas that spark your creative efforts throughout the year. The Academy’s Board of Directors Since its inception in 1996, the Academy of Interactive Arts and Sciences has relied on the leadership and direction of its board of directors. These men and women, all leaders of the interactive software industry, have volunteered their time and resources to help the Academy advance its mission of promoting awareness of the art and science of interactive games and entertainment.
    [Show full text]
  • A Look Inside the Final Fantasy VII Game Engine
    "Gears" A look Inside the Final Fantasy VII Game Engine. By Joshua Walker and the "Qhimm Team" Table of Contents Introduction History Engine Basics I. Parts of the Engine II. Generic Program Flow The Kernel I. Kernel Overview 1.1 History 1.2 Kernel Functionality II. Memory Management 1.1 RAM Management 1.2 PSX VRAM Management 1.3 PSX CD-ROM Management III. Game Resources 1.1 The KERNEL.BIN Archive 1.2 The KERNEL2.BIN Archive IV. Low Level Libraries 1. PC to PSX Comparison 1.1 Data Archives 1.1.1. BIN Archive format 1.1.2. LZS Compressed archive for PSX 1.1.3. LGP Archive format for PC 2. Textures 2.1. TIM texture data format for PSX 2.1.1 Basic Terms 2.1.2 TIM File Format 2.2. TEX texture data format for PC 3. File Formats For 3D Models 3.. Model format for PSX 3.2. Model formats for PC 3.2.1. HRC Hierarchy data format for PC 3.2.2. RSD Resource Data format for PC 3.2.3. "P" Polygon data format for PC The Menu Module I. Menu Overview II. Menu Initialization III. Menu Modules 1. Begin 2. Party 3. Item 4. Magic 5. Eqip 6. Stat 7. Change 8. Limit 9. Config. 10. Form 11. Save 12. Name 13. Shop VI. Calling the various menus V. Menu dependencies VI. Save Game Format The Field Module I. Field Overview - A Look at the Debug Rooms 1. Kitase's Room(北) 2. Kyounen's Room(京) 3. Nojima's Room(野) 4.
    [Show full text]
  • The Intertwined Histories of Playstation and Final Fantasy VII
    Winning the Game: The Intertwined Histories of PlayStation and Final Fantasy VII Andrew Park STS 145: History of Computer Game Design Prof. Henry Lowood Perhaps Nintendo owes much of its success to Mario—the cheerful Italian plumber and his brother Luigi have heralded the release of every Nintendo home-console with a groundbreaking game bearing their names. Sega too enlisted a mascot, Sonic the Hedgehog, as its #1 salesman; Sonic’s bad-boy attitude gave Sega personality while distinguishing it as a more mature console than Mario’s Nintendo. Yet the Sony PlayStation attained supremacy of the console market in the mid-1990s without the presence of a definitive mascot. Although game critics may point to Crash Bandicoot (Taves 1) or Lara Croft as PlayStation’s mascot (Poole 8), neither currently adorns Sony’s PlayStation website, a far cry from the open-armed greeting extended by Mario at Nintendo.com. Instead, a game, Final Fantasy VII, came to represent PlayStation as it tipped the scales toward Sony in the console wars. So closely linked are the two that the evolutions of PlayStation and this game that immortalized it provide a window through which both the success and the impact of the PlayStation can be seen. With 72 million units sold worldwide, PlayStation accounted for nearly 40% of Sony’s profits in 1998. Yet PlayStation’s success has had ramifications that extend far beyond the world of video games—Sony is betting that a next-generation PlayStation will serve as the heart of its integrated home entertainment network. Sony executives envision a world in which Sony digital devices seamlessly fuse Sony’s hardware with content over a lightning-fast network, and PlayStation serves as Sony’s entryway into the homes of millions.
    [Show full text]
  • Michelle Chun STS 145 History of Computer Game Design Professor Henry Lowood March 18, 2002
    Michelle Chun STS 145 History of Computer Game Design Professor Henry Lowood March 18, 2002 SquareSoft: What’s Behind the Hype? A Case History SquareSoft is one of the most important and significant names in the gaming industry, especially in terms of innovation and profitability. Square's games make headlines, sell systems, and generate enormous buzz. The company has become synonymous with role-playing games, and unfailingly creates games, such as the Final Fantasy series, that are constantly innovative and one step ahead of the competition. One may even say that SquareSoft has set the standard by which other RPGs are measured, and that games like the Final Fantasy series have become the ideal that many other RPGs strive for. The popularity and success of RPGs in the gaming industry can be partly attributed to the contributions made by SquareSoft. It appears that SquareSoft has the “Midas touch” and has been essential in the rise and success of the Sony PlayStation. For instance, its move from Nintendo to Sony in the mid '90s may have been a key factor in the ultimate success of the PlayStation – in January 1997, the hit game Final Fantasy VII caused a two-month surge in PlayStation sales (Asakura 209). Even Electronic Arts formed a joint venture with the company, establishing Square Electronic Arts in 1998. SquareSoft has also played an essential role in the expansion of the gaming industry into other arenas, such as the film industry. Through an analysis of SquareSoft’s history and future, as well as analyses of several games that are considered to be SquareSoft’s greatest hits, I will attempt to draw a conclusion as to what has helped SquareSoft become an industry leader and what has made the company’s games so successful.
    [Show full text]
  • Lost Odyssey Jump
    Lost Odyssey Jump By SJ-chan with Abraxes Anon Version 0.9 Changelog 『INTRODUCTION』 Lost Odyssey is the story of Kaim Argonar, an immortal man, a mercenary, a soldier, a man without a past and an uncertain future. It opens on a decisive battle between the Magic Republic of Uhra and Khent, on the Highlands of Wohl. In the midst of the battle, the skies turn ominous and a giant meteor mysteriously appears over the battlefield. Molten lava rains from the heavens before the meteor crashes down, completely annihilating all of the troops on either side of the conflict… except for the two Immortals who were present. A grand mystery a thousand years in the making is about to unfold. Who is responsible for this horrific event? How has Kaim come to be immortal, and are there more like him? What is the mysterious source of the world’s magic and who or what is trying to control it? Will you join Kaim on his journey to uncover the secrets this world holds, or do you already know those secrets and will you use them for your own benefit? As you enter this story, your choices will bring changes. Will they be for the better, or bring ruin to the world? Who can say? The battles you fight, the dreams you dream, nothing is certain… whatever the case, take this gift of 1000 CP to help you on your way. 『ORIGIN』 BACKGROUND You may keep your current gender & sex if you like, or change them for 50 CP. Your ​ ​ age is 4d8+8… at least your apparent age is that.
    [Show full text]
  • Final Fantasy Xiv: Beyond the Lifestream Prototipo Jugable De Un Videojuego Rpg 2D Con Combate Por Turnos
    TFG FINAL FANTASY XIV: BEYOND THE LIFESTREAM PROTOTIPO JUGABLE DE UN VIDEOJUEGO RPG 2D CON COMBATE POR TURNOS Presentado por Claudia Sanchis Marqués Tutor: Francisco Martí Ferrer Facultat de Belles Arts de Sant Carles Grado en Bellas Artes Curso 2019-2020 Final Fantasy XIV: Beyond the Lifestream. Claudia Sanchis Marqués. 2 RESUMEN El objeto de este trabajo es la producción de un prototipo jugable de un videojuego del género RPG con gráficos 2D, combate por turnos y navegación mediante mapas y portales basado en Final Fantasy XIV: Heavensward. Se trata de un proyecto personal con el objetivo de plasmar la idea de una trama de mi invención, un spin-off que tiene lugar tras una cadena de acontecimientos que se produce en la historia de Final Fantasy XIV: Heavensward, perteneciente a la saga oficial, que narra la aventura de dos de sus personajes originales —lord Haurchefant Petragris e Ysayle Dangoulain— en un mundo desconocido para descubrir por qué se vieron arrastrados a la situación en la que se hallan, al tiempo que resuelven misterios, se enfrentan a enemigos y forman equipo con dos nuevos aliados —Nhel Nhywx y lady Ahvis— creados por mí. Debido a las características del proyecto, el juego está producido con RPG Maker MV. Actualmente puede jugarse en plataformas PC Windows, con el sistema de controles adaptado tanto para ratón como para teclado, si bien es susceptible de editar para otras plataformas de forma sencilla. Esta memoria muestra el proceso de diseño de las mecánicas, la programación, el concept art, los gráficos y la narrativa interactiva que forman parte del proyecto e incluye una serie de reflexiones acerca del proceso y el producto resultante.
    [Show full text]