Gamasutra Apologizes For Recent Site Instability Issues
The creators of Gamasutra and Game Career Guide would like to apologize for our recent website slowness -- and note that technical changes over the holiday weekend should resolve problems permanently. The intermittent slowdown that some of you may have seen occasionally over the past couple of weeks has been due to concentrated external, apparently malicious bursts of traffic -- overwhelming our servers at times. Due to this, we're planning to make some major structural ...
Q&A: Ninety Nine Nights II Producer On The Extreme Differences Between East And West
[Ninety Nine Nights II producer Tak Fujii shares his thoughts with our own Brandon Sheffield on the decline of Japanese game design and tech, citing animation firm Studio Ghibli (Totoro) as a model for Japanese game companies to follow.]
As Western design philosophies have taken on increasing market dominance, how do Japanese designers view their differences -- and what do they see as their mandate as they aim to keep pace? Ninety Nine Nights II producer Tak Fujii sees an important marriage of scenario and distinctive technology evolution as a primary goal.
The newly-launched Ninety Nine Nights II is an extreme hack and slash game in the vein of Dynasty Warriors or Sengoku Basara, but versus its competitors boasts some one million troops to dispatch simultaneously. The game releases this week, and was developed by Feelplus under Q Entertainment, and is being published in North America by Konami.
We got a chance to speak with Konami-side producer Fujii about the game's unique qualities. Fujii previously spent several years working on the Pro Evolution Soccer franchise, familiarizing himself with Western game taste there.
Thus, we sat down with Tak Fujii to discuss the game itself, but also how Japan can return to its design roots to create something truly new - even if we may not be seeing that in Ninety Nine Nights II itself:
This hack-and-slash genre is pretty much dominated by Dynasty Warriors. Why tackle this crowded space?
TF: Well I would say that Dynasty Warriors is one of the successful titles in the Japanese market, and did well in the Western market as well so why not try. And you know go back to 2006 and Ninety Nine Nights itself was a kind of phenomenon, at least for a Japanese publisher, so, you know. Why not try and do another version?
Ninety Nine Nights II has a complicated history in terms of what publisher was going to release it. How did Konami wind up becoming the publisher?
TF: Well, that wasn't really our choice. It was up to Feelplus, or I would say AQ Interactive right now, who they went to for publishing. You know, we are a Japanese publisher and they are a Japanese developer and you know, what they're expecting was the best performance for the worldwide, not only Japan, not only the Western market. So you know, thinking about the publisher which does well, they chose us!
What is your specific role in working with Ninety Nine Nights II?
TF: Well, very much the publishing producer, but I also work with the team, figuring out how it should be, so it's very much half between the creative and half between the PR and publishing itself.
It seems that's much more true in Japan that someone who takes the title of "producer" actually has more creative input than in the U.S. In the U.S. the producer is much more of a scheduling guy, whereas in Japan it's like halfway between designer and PR sometimes.
TF: Well, for the typical Japanese style it's very much-- I would say they stick with the very much creative side much more than the management side. But, you know, things are changing, like, the reason I'm here is for PR. So, you know times have changed, and as you know, we used to have very good Japaneses game all over the world.
But now, compared to the others from capturing the Western market we are not doing really well, so we gotta change, you know, our scheme or style, which means the producer has gotta be much more on the PR side and the management side, rather than just in creating, creating, creating.
Why do you think that has happened, that Japan has kind of fallen behind? Because when I was a kid, all of the best games came from Japan, especially on the console.
TF: Well, I would say, hmmm...what should I say - can I say it's American fan's fault?
I guess you could!
TF: No, seriously though, back to the nice old 90's-- 80's, 90's, you know. We developers, we hired so many people for these games, and a small team could make a good game, with a maximum of 20 people on the team. But now, talking game products in Western culture, it's a hundred something people getting involved with it.
But you know behind that, it's a totally different scheme right now, and to apply to our games all the fancy high-resolution high-def stuff you definitely do need the people and the money and of course technology. And I would say that all the western market game type of tech is based on the Hollywood technique, like CG work and stuff.
But if we're talking about a Japanese CG world, it's now really compatible with the western market. We don't use it so much for media. That makes a huge difference in these last ten years, where the technology was. And the Western market is getting more and more into realistic stuff like the World War II shooters and FPS stuff. But to make that, it means tons of money, and you know Nintendo brought out their answer. "We don't fight with technology. We fight with our game." That's one answer.
Just my personal opinion -- I think that to some degree because developers in Japan have noticed this trend toward technology in the West, they've tried to emulate this, but Japan's strength has traditionally not been the technology but rather the design and scenario, and I feel like in trying to get toward the technology, they have abandoned some of the design and scenario that was so excellent in the past. I feel like if you could combine those things...
TF: Right. That is exactly what we have to do. Because talking about technology stuff, if we tried to follow, you know, we're not gonna pass the West. And if you talk about Studio Ghibli, that cartoon studio? With Hayao Miyazaki?
Yes, I know them.
TF: They have their own tech, their own way, their own production style. And in the world, they're quite popular. And on top of that I'm talking about Gundam or some of the manga culture, you know. So we don't have to follow. We don't have to really emulate the Western culture. So we have to try to combine our basics, and new tech, and make something new. That's our task.
So, but, I mean I dunno if we will see this kind of example in Ninety Nine Nights II because it's a very straightforward genre, hack and slash. I mean, I dunno if it's going to push any of those boundaries. What do you think?
TF: Well yeah, at least in Japan, we have this thing where in the scenario we're like "Okay, I guess we've got to have characters represent light and dark." But I think we're pushing that somewhere else at least.
That was in the original Ninety Nine Nights too, though!
TF: But this time, it's even more!
E3 Encounters: Majin and the Forsaken Kingdom for PS3
A “heartwarming puzzle-action game” — that’s how Namco Bandai describes their upcoming PS3 game Majin and the Forsaken Kingdom. Majin is being developed by Game Republic, a studio that boasts several former members of Team ICO and a track record consisting of PS3 fan favorites such as Folklore.
Majin’s fantasy world looks highly stylized, with “shadowy, storybook visuals” in the words of Namco Bandai producer Daisuke Uchiyama. According to Uchiyama, the team wanted to create “something everybody can relate to…something familiar, nostalgic.” See Majin in motion below and judge for yourself.
You play as Tepeu, a mysterious thief who possess the ability to communicate with animals. Encroaching into a “forsaken kingdom” overtaken by a dark force, Tepeu comes across an imprisoned golem-like creature — called a Majin — and frees him. Named Teotle, the Majin follows the thief out of gratitude, thus forming an unlikely alliance against the murky forces of the forsaken kingdom. Majin’s gameplay always focuses on the symbiotic pair of the powerful Teotle and the nimble Tepeu. If you played BioShock, you can think of the slow, powerful Teotle as a Big Daddy and the nimble Tepeu as a Little Sister. That is, if Little Sisters were known for swordsmanship and acrobatics. Or having a Y chromosome, but I digress…
Tepeu and Teotle need to scratch each other’s backs frequently in order to survive encounters with the evils of the forsaken kingdom. In combat, you’ll face armies of tar-like creatures that will quickly overrun your spry thief. Luckily, the powerful Majin can bowl these guys over effortlessly and give you a chance to land a lightning-quick final strike with Tepeu. You’ll need to help out the Majin sometimes, too, by knocking snarling dogs off its back and fetching fat, revitalizing “power fruit” when it’s hurt. Mmmm…power fruit.
Though you don’t directly control the towering Majin, you can issue broad commands easily via a radial menu and the Majin does the rest auto-magically. During puzzle sequences, the Majin will respond to your orders contextually. Order it to “Crouch” and you’ll be able to jump onto its massive shoulders to reach high places; order it to “Act” and it might spew fire-breath to light your bomb’s fuse so you can blow a hole in a wall. Sometimes, the enemy hordes may be too much for even the rough-and-tumble Majin, so you’ll need to use the environment in creative ways, such as ordering the Majin to push a crumbling wall onto an enemy mob.
Majin and the Forsaken Kingdom is currently scheduled for late 2010. What do you think of the art style and the two-character symbiotic gameplay? Leave your impressions and questions in the comments, and I’ll try to shed some light.
Hot Trends in Technology and News
