WEBVTT FILE 1 00:00:02.000 --> 00:00:07.000 Downloaded from YTS.MX 2 00:00:08.000 --> 00:00:13.000 Official YIFY movies site: YTS.MX 3 00:04:34.150 --> 00:04:37.987 Game preparation exercise! One! Two! 4 00:04:38.070 --> 00:04:39.947 Three! Four! Five! 5 00:04:40.030 --> 00:04:43.325 Six! Wow! 6 00:16:36.454 --> 00:16:41.293 I was still quite new, perhaps not even a month had passed since my hiring 7 00:16:42.169 --> 00:16:45.672 when the atmosphere felt very different than usual as I arrived at work one day. 8 00:16:46.506 --> 00:16:49.277 I thought that something must have happened that would change everything 9 00:16:49.301 --> 00:16:51.094 bring about the end of an era. 10 00:16:51.178 --> 00:16:56.641 I asked what had happened, and was told that we had been informed that 11 00:16:58.059 --> 00:17:00.312 Nintendo had decided to go it alone 12 00:17:01.354 --> 00:17:04.733 Even when the joint project 13 00:17:05.066 --> 00:17:08.069 with Nintendo was canceled 14 00:17:08.904 --> 00:17:12.073 Kutaragi-san said that we at Sony 15 00:17:13.325 --> 00:17:15.577 should make the system ourselves. 16 00:17:16.036 --> 00:17:18.663 Something that Kutaragi-san said then 17 00:17:18.747 --> 00:17:23.126 something that influences me even now 18 00:17:23.501 --> 00:17:26.379 is that we may not have the greatest chance at success 19 00:17:26.755 --> 00:17:29.841 but it's not like failing here would cost us our lives or anything 20 00:17:29.925 --> 00:17:31.676 so we should just go for it. 21 00:17:57.494 --> 00:18:03.250 I joined the PlayStation team in December 1992 22 00:18:03.333 --> 00:18:07.295 It had been decided that we would build 23 00:18:08.088 --> 00:18:13.718 a device producing superior 3D graphics. 24 00:18:14.719 --> 00:18:21.268 Sony brought in engineers and researchers. 25 00:18:23.520 --> 00:18:30.360 My main mission there, of course 26 00:18:30.902 --> 00:18:37.033 was to make games for this new PlayStation console 27 00:18:37.242 --> 00:18:42.289 as I was there working on the software team. 28 00:18:42.497 --> 00:18:46.042 The entire PlayStation team was really quite small 29 00:18:46.209 --> 00:18:49.254 including the hardware team, the software team, everyone 30 00:18:49.421 --> 00:18:54.426 with various people taking care of various tasks. 31 00:25:21.354 --> 00:25:25.108 PlayStation came from the word "work station" 32 00:25:26.025 --> 00:25:27.860 a computer with a large screen 33 00:25:28.528 --> 00:25:32.323 and multiple programs installed 34 00:25:32.949 --> 00:25:34.742 so the user can do a variety of work. 35 00:25:35.493 --> 00:25:37.495 These aren't specialist devices. 36 00:25:39.914 --> 00:25:43.126 Similarly, the PlayStation would 37 00:25:43.626 --> 00:25:45.027 be able to play a variety of games. 38 00:25:45.586 --> 00:25:48.339 We wanted to do not just games 39 00:25:48.423 --> 00:25:52.552 but also work with music and communications. 40 00:25:52.927 --> 00:25:58.641 The name of the device became PlayStation. Given these requests 41 00:29:56.295 --> 00:30:02.218 I went along with them, meeting all these developers and other employees 42 00:30:02.468 --> 00:30:09.433 and my role there was to take notes for everyone. 43 00:30:11.018 --> 00:30:16.315 That was before everything. 44 00:30:17.483 --> 00:30:20.486 When the PlayStation had just got its start as a business 45 00:30:21.028 --> 00:30:23.364 these meetings were very important for Sony. 46 00:30:24.824 --> 00:30:29.495 I think that my name is probably on each set of notes there. 47 00:30:31.080 --> 00:30:33.082 That was another one of my jobs then. 48 00:36:46.121 --> 00:36:51.627 Sony gave us this demonstration of a dinosaur. It was a T-rex head. 49 00:36:51.710 --> 00:36:58.008 And they told us how it would move around in real-time CG. 50 00:36:59.051 --> 00:37:04.556 Of course, we were making games at the time, but we were also film fans, 51 00:37:04.640 --> 00:37:10.979 and the CG in Jurassic Park had made a huge impact. 52 00:37:11.980 --> 00:37:16.193 To see the same kind of visual depictions from Jurassic Park, 53 00:37:17.319 --> 00:37:20.322 actually moving around in Sony's Tyrannosaurus demo, 54 00:37:20.406 --> 00:37:22.658 on this platform called PlayStation. 55 00:37:22.783 --> 00:37:25.994 That left a very lasting impression on us. 56 00:38:57.753 --> 00:39:00.339 How many colours you could use 57 00:39:00.631 --> 00:39:02.799 was always a question then. 58 00:39:02.883 --> 00:39:05.719 Moving into an era 59 00:39:05.802 --> 00:39:07.804 where you could use all these colours 60 00:39:07.888 --> 00:39:09.890 as well as polygons and textures 61 00:39:09.973 --> 00:39:11.517 really was like a dream to me. 62 00:39:11.600 --> 00:39:13.810 If felt that if I could do all that 63 00:39:14.561 --> 00:39:18.524 then I could make the 3D Metal Gear 64 00:39:19.024 --> 00:39:22.236 that I had wanted to 65 00:39:22.319 --> 00:39:24.738 since the days of the MSX but was unable to. 66 00:39:25.405 --> 00:39:29.201 Though changing the coloring was a scary idea. 67 00:39:30.244 --> 00:39:33.789 When I saw the PlayStation presentation 68 00:39:33.872 --> 00:39:36.667 I saw that I would be able 69 00:39:37.459 --> 00:39:40.003 to make the game that I really wanted 70 00:39:40.087 --> 00:39:44.091 with a full set of colours and polygons. 71 00:39:44.716 --> 00:39:46.552 That idea was really shocking to me. 72 00:39:46.635 --> 00:39:49.304 I mean in a positive sense of the word. 73 00:39:49.846 --> 00:39:52.224 When I heard that Sony, 74 00:39:52.307 --> 00:39:54.244 a company known for audio and electronics equipment, 75 00:39:54.268 --> 00:39:56.687 was making a game console, 76 00:39:56.770 --> 00:40:02.401 I was both excited and anxious to see what they would come up with. 77 00:40:02.484 --> 00:40:08.532 Then when I saw this machine 78 00:40:08.865 --> 00:40:11.660 with its CD-ROM drive, 79 00:40:11.743 --> 00:40:15.247 and the 3D polygon visuals, 80 00:40:15.372 --> 00:40:18.959 it was a completely different approach to what had come before 81 00:40:19.042 --> 00:40:25.424 and revolutionized the industry. 82 00:40:25.549 --> 00:40:28.510 I think if Sony had not entered the console market at that time 83 00:40:28.594 --> 00:40:31.513 then it would be totally different today. 84 00:40:31.680 --> 00:40:35.017 When I saw what they came up with, 85 00:40:35.100 --> 00:40:38.937 with the CD-ROMs and the polygons, 86 00:40:39.021 --> 00:40:42.816 it felt like a brand new approach to games. 87 00:41:45.671 --> 00:41:48.799 Yes, I remember at the time, 88 00:41:48.882 --> 00:41:53.178 being asked to demo a sample 89 00:41:53.261 --> 00:41:57.599 to various development companies. 90 00:41:57.974 --> 00:42:02.437 This was met with some shock and awe. 91 00:42:02.521 --> 00:42:07.317 Reactions such as, 'wow, they can really do this...' 92 00:42:07.401 --> 00:42:11.196 I was aware at the time that other companies 93 00:42:11.279 --> 00:42:16.284 had studied the demo really closely. 94 00:42:17.494 --> 00:42:22.082 I think that it was a massive success, as a sample. 95 00:42:23.166 --> 00:42:30.132 We learned what we can do with hard work. 96 00:42:31.675 --> 00:42:37.681 We needed to make better games, and so did Namco. 97 00:42:38.181 --> 00:42:41.643 I think that this was a great development. 98 00:42:51.027 --> 00:42:54.489 The initial SDK was certainly quite large 99 00:42:54.573 --> 00:42:59.411 around this size, and it was heavy too. 100 00:43:00.078 --> 00:43:06.668 Sony sent it to the game companies in March of 1993. 101 00:43:07.919 --> 00:43:10.422 A number of game companies said 102 00:43:10.547 --> 00:43:12.507 that they wouldn't be able 103 00:43:13.258 --> 00:43:16.344 to make games for the PlayStation 104 00:43:16.928 --> 00:43:18.169 if Sony didn't have the SDK out 105 00:43:19.014 --> 00:43:20.515 by the final day of March. 106 00:43:21.850 --> 00:43:24.311 And so it wound up 107 00:43:25.145 --> 00:43:29.733 that the final day of March was our due date. 108 00:43:30.066 --> 00:43:35.572 I remember us completing and delivering it. 109 00:43:36.031 --> 00:43:38.617 The machines were hand-made 110 00:43:39.409 --> 00:43:41.411 and we couldn't send them 111 00:43:41.870 --> 00:43:43.455 via a home delivery service 112 00:43:44.498 --> 00:43:48.210 due to their weight, size 113 00:43:48.293 --> 00:43:53.173 and large power source. 114 00:43:54.925 --> 00:43:59.304 This meant that we delivered them ourselves 115 00:43:59.387 --> 00:44:02.682 taking taxis and bullet trains to do so. 116 00:44:03.183 --> 00:44:08.605 3 or 4 of those were around 30 kg 117 00:44:08.814 --> 00:44:12.150 but we brought them to the game companies. 118 00:44:12.692 --> 00:44:15.987 There were actually some people 119 00:44:16.488 --> 00:44:18.615 that flew all the way to the US with them. 120 00:50:24.689 --> 00:50:28.943 Capcom had only very recently started using 3D graphics 121 00:50:29.027 --> 00:50:32.071 so we began our work by first thinking 122 00:50:32.155 --> 00:50:35.325 about how we could go about using them. 123 00:50:35.450 --> 00:50:41.456 Our benchmark was that T-Rex demo that Sony came out with. 124 00:50:41.539 --> 00:50:44.876 We took quite a number of approaches 125 00:50:44.959 --> 00:50:51.090 from working as hard as we could to replicate what they had put out 126 00:50:51.174 --> 00:50:54.135 to thinking that it would actually be a bad move 127 00:50:54.219 --> 00:50:57.180 to approach Resident Evil like they did T-Rex. 128 00:50:57.263 --> 00:50:59.557 We really were starting from zero there. 129 00:51:00.683 --> 00:51:03.186 It just wouldn't display 130 00:51:03.269 --> 00:51:07.732 so the idea of going full 3D 131 00:51:07.815 --> 00:51:11.861 just wasn't going to get much traction. 132 00:51:12.570 --> 00:51:14.989 With things going like this 133 00:51:15.073 --> 00:51:17.825 it started feeling like it could get canceled. 134 00:51:18.701 --> 00:51:21.204 When Alone in the Dark came out 135 00:51:21.287 --> 00:51:24.582 it had a large quantity 136 00:51:24.666 --> 00:51:28.461 of pre-rendered graphics displayed. 137 00:51:28.544 --> 00:51:32.048 The only object was the character itself. 138 00:51:32.131 --> 00:51:35.385 From the player perspective 139 00:51:35.468 --> 00:51:40.598 the game had a three-dimensional atmosphere 140 00:51:40.682 --> 00:51:45.270 and all of this demonstrated 141 00:51:45.353 --> 00:51:48.356 that it was now possible 142 00:51:48.439 --> 00:51:51.150 to create a more complete game 143 00:51:51.234 --> 00:51:54.779 including visually. 144 00:52:00.994 --> 00:52:05.081 From there, we steadily moved onto animation methods. 145 00:52:05.164 --> 00:52:09.877 By deciding to use camerawork to show a 3D space in 2D, 146 00:52:10.044 --> 00:52:13.715 Mikami-san established the blueprint for what would become Resident Evil. 147 00:52:18.594 --> 00:52:21.723 Essentially, the idea was 148 00:52:21.806 --> 00:52:24.309 that there would be zombies 149 00:52:24.392 --> 00:52:26.394 that were located in places 150 00:52:26.477 --> 00:52:28.479 that the camera didn't reach. 151 00:52:28.563 --> 00:52:30.565 The player couldn't see them 152 00:52:30.648 --> 00:52:32.650 but they could hear them. 153 00:52:32.734 --> 00:52:35.069 There was a certain scariness 154 00:52:35.194 --> 00:52:37.989 in zombies being out of sight. 155 00:52:39.324 --> 00:52:43.411 This type of fear was sort of 156 00:52:43.619 --> 00:52:46.497 the main concept for the game. 157 00:52:46.581 --> 00:52:50.501 I imagined the player 158 00:52:50.585 --> 00:52:54.672 growing very jumpy about everything 159 00:52:54.756 --> 00:53:00.261 and being on the edge of their seat. 160 00:53:00.345 --> 00:53:05.016 Where they would be able to sense 161 00:53:05.099 --> 00:53:08.978 that there was a zombie 162 00:53:09.062 --> 00:53:12.357 just around the corner. 163 00:53:18.821 --> 00:53:25.787 The camera marks... 164 00:53:27.455 --> 00:53:34.420 Well, I did set the cameras, 165 00:53:36.589 --> 00:53:41.260 but I didn't have any experience shooting with a real camera. 166 00:53:41.386 --> 00:53:47.266 I started learning from step one, 167 00:53:47.350 --> 00:53:53.439 imagining how a player going through a corridor would feel, 168 00:53:53.523 --> 00:53:59.529 which camera angles would frighten them. 169 00:53:59.695 --> 00:54:02.156 That's how I went about it. 170 00:54:02.240 --> 00:54:04.992 If we get down to the technical details, 171 00:54:05.076 --> 00:54:06.637 a single room could only have 8 cameras... 172 00:54:06.661 --> 00:54:08.538 You really remember this well! 173 00:54:08.621 --> 00:54:10.039 Due to reasons of memory capacity. 174 00:54:10.164 --> 00:54:15.586 This doubled to 16 for Resident Evil 2. 175 00:54:15.878 --> 00:54:20.591 There were just 8 for the first game. 176 00:54:20.800 --> 00:54:23.553 You only had so many cuts 177 00:54:23.636 --> 00:54:27.765 and you had to make the game playable, 178 00:54:27.849 --> 00:54:32.019 without leaving any blind spots in the room where the character can't be seen. 179 00:59:25.438 --> 00:59:29.400 Gameplay and cut scenes were separate. 180 00:59:29.483 --> 00:59:33.779 Cut scenes were like movie scenes 181 00:59:34.363 --> 00:59:37.366 with the characters and backgrounds 182 00:59:37.867 --> 00:59:40.745 being entirely rendered separately. 183 00:59:41.579 --> 00:59:45.750 I didn't want to do it like this. 184 00:59:46.292 --> 00:59:48.335 I wanted to make cut scenes 185 00:59:49.837 --> 00:59:51.964 that used the game models as they were 186 00:59:52.047 --> 00:59:54.049 to use those models and the camera 187 00:59:54.133 --> 00:59:56.677 to tell a story to the player. 188 00:59:57.094 --> 00:59:58.215 That is what I wanted to do. 189 00:59:58.512 --> 01:00:01.807 There was also the player being able 190 01:00:01.891 --> 01:00:03.934 to control the camera as they played. 191 01:00:04.018 --> 01:00:07.021 There could be rear or side view 192 01:00:07.104 --> 01:00:09.273 3 cameras above that the player 193 01:00:09.356 --> 01:00:12.234 could use to control the display 194 01:00:12.318 --> 01:00:15.070 and give them a sense of control. 195 01:00:15.154 --> 01:00:17.531 They could change things themselves 196 01:00:17.615 --> 01:00:19.784 which made for richer gameplay 197 01:00:19.867 --> 01:00:21.327 that was more film-like. 198 01:00:21.410 --> 01:00:23.537 These are two ideas 199 01:00:23.621 --> 01:00:25.623 that I had wanted to work on 200 01:00:25.706 --> 01:00:27.708 when we made Metal Gear Solid. 201 01:00:27.792 --> 01:00:30.002 It could be said that these have 202 01:00:30.085 --> 01:00:31.712 turned into a sort of standard for us. 203 01:00:32.129 --> 01:00:36.675 Even though some film-like techniques 204 01:00:36.759 --> 01:00:39.094 or cuts had been used in games up until then 205 01:00:40.262 --> 01:00:42.848 the lack of camera meant each frame 206 01:00:43.682 --> 01:00:46.811 had to be created individually. 207 01:00:47.561 --> 01:00:52.733 These images couldn't be manipulated. 208 01:00:53.984 --> 01:00:55.986 That's how it was then. 209 01:00:56.070 --> 01:00:57.905 Where 3D polygons are used 210 01:00:57.988 --> 01:01:00.074 the player can also move the camera. 211 01:01:01.033 --> 01:01:03.828 This was the first time that we were 212 01:01:05.037 --> 01:01:07.456 able to work with cameras like this 213 01:01:08.082 --> 01:01:09.875 rather than just set angles. 214 01:01:10.501 --> 01:01:12.419 This made me extremely happy 215 01:01:12.503 --> 01:01:14.505 as I love movies and knew 216 01:01:14.588 --> 01:01:16.924 about these techniques and ideas 217 01:01:17.007 --> 01:01:19.093 and we could now use these processes 218 01:01:19.593 --> 01:01:22.471 to accomplish previously impossible things 219 01:01:40.364 --> 01:01:43.242 Of course, in the beginning, 220 01:01:43.325 --> 01:01:47.121 most people were used to playing 2D games. 221 01:01:47.872 --> 01:01:52.418 The tempo of these games was very different. 222 01:01:52.501 --> 01:01:55.629 With the shift to 3D, 223 01:01:55.796 --> 01:02:01.927 what were 2D images, now had depth. 224 01:02:02.052 --> 01:02:07.349 Consequently, the camera became pivotal 225 01:02:07.433 --> 01:02:13.188 and it was down to the player to gauge distances. 226 01:02:14.231 --> 01:02:18.277 It was very difficult for a player 227 01:02:18.360 --> 01:02:22.364 to work out timings and when to brake 228 01:02:22.448 --> 01:02:24.450 until they got used to it. 229 01:02:24.533 --> 01:02:28.203 With earlier games, 230 01:02:28.287 --> 01:02:33.208 it was easy for players to follow the extension of a straight line, 231 01:02:33.292 --> 01:02:37.922 so we made adjustments with the 3D games to keep them interesting. 232 01:02:38.005 --> 01:02:40.007 For example, when taking a corner, 233 01:02:40.090 --> 01:02:43.260 centripetal force acting on the car 234 01:02:43.385 --> 01:02:46.013 pulls it out around the curve, 235 01:02:46.096 --> 01:02:49.516 SO we wrote a program to intentionally 236 01:02:49.600 --> 01:02:53.062 pull the car back in and control its movements. 237 01:03:51.370 --> 01:03:54.581 When it came to deciding what kind of game 238 01:03:54.665 --> 01:03:57.501 we ultimately wanted to make FINAL FANTASY VII into, 239 01:03:58.210 --> 01:04:00.671 we felt that it needed a large volume 240 01:04:01.839 --> 01:04:04.967 of high-end movie cut scenes. 241 01:04:06.468 --> 01:04:13.434 Not the real-time 3D graphics in the game, but pre-rendered movies, 242 01:04:16.145 --> 01:04:18.897 and CD-ROM media 243 01:04:18.981 --> 01:04:20.190 would be needed for that. 244 01:04:20.274 --> 01:04:24.028 We had decided what we most wanted to do with the game, 245 01:04:24.111 --> 01:04:28.907 and concluded that 246 01:04:30.743 --> 01:04:34.455 we would need to use CD-ROM to make that a reality. 247 01:04:35.247 --> 01:04:41.420 Our tests and discussions led to that result. 248 01:04:42.880 --> 01:04:46.759 And that resulted in FINAL FANTASY VI 249 01:04:46.884 --> 01:04:50.137 coming out on the PlayStation. 250 01:08:01.245 --> 01:08:08.168 The PlayStation was the first console 251 01:08:08.543 --> 01:08:15.467 that could use pulse-code modulation. 252 01:08:15.842 --> 01:08:22.307 That's where sound is recorded and a sample loop created 253 01:08:23.809 --> 01:08:30.816 with that loop being played afterwards as the sound. 254 01:08:31.733 --> 01:08:37.864 To record the car sounds in Gran Turismo, we'd rent each one 255 01:08:39.074 --> 01:08:46.039 and then record the engine in phrases, starting with the idling sounds 256 01:08:48.667 --> 01:08:54.006 We took these recordings and made sample loops for each engine 257 01:08:55.549 --> 01:09:01.430 making a tone quality specific to each engine. 258 01:09:02.639 --> 01:09:08.687 I remember now that when we played back 259 01:09:08.770 --> 01:09:14.985 the cars sounds we had recorded 260 01:09:15.068 --> 01:09:21.825 We started noticing things. 261 01:09:21.908 --> 01:09:24.589 Like how the pitches would drop in pitch the farther away they were. 262 01:09:24.619 --> 01:09:29.207 Or rise in pitch the closer they were... the blur effect. 263 01:09:29.958 --> 01:09:35.339 Gran Turismo was probably the first game to put these in a game, certainly. 264 01:10:32.396 --> 01:10:34.815 In the SNES era, the game screens were 2D, 265 01:10:36.108 --> 01:10:40.404 and there were no voices of course, 266 01:10:40.612 --> 01:10:42.989 and no cinematic movie scenes. 267 01:10:43.448 --> 01:10:48.453 So you had to have music with strong melodies. 268 01:10:49.246 --> 01:10:51.957 Tunes that would still stand up, 269 01:10:52.416 --> 01:10:55.377 even if you listened to them repeated over and over. 270 01:11:00.215 --> 01:11:03.802 I think our music composer, 271 01:11:03.885 --> 01:11:06.686 Mr. Uematsu was also suitably aware of this when he composed the score. 272 01:11:07.514 --> 01:11:10.684 Mr. Uematsu said this at the time. 273 01:11:12.102 --> 01:11:15.564 When the CG animation became more 3D with the PlayStation, 274 01:11:16.106 --> 01:11:21.111 and the cinematic movie scenes became more dramatic, 275 01:11:21.361 --> 01:11:25.949 the visuals had a much greater impact. 276 01:11:26.658 --> 01:11:31.037 And paradoxically, if you used the same melodies, 277 01:11:31.997 --> 01:11:35.542 the same logic for making music as in the SNES era, 278 01:11:36.084 --> 01:11:41.923 then the music and the visuals would jar, and clash with each other terribly. 279 01:11:42.591 --> 01:11:46.178 This would stop the scene from coming together and lose its effectiveness. 280 01:11:46.845 --> 01:11:49.723 So when we showed strong visuals, we would make the music more reserved, 281 01:11:50.265 --> 01:11:51.784 or for moments where the characters' emotions were high, 282 01:11:51.808 --> 01:11:53.101 we would ramp up the music. 283 01:11:53.185 --> 01:11:54.370 I remember feeling how that balancing between 284 01:11:54.394 --> 01:11:56.115 soft and hard had changed from the SNES era. 285 01:11:56.229 --> 01:11:59.399 So in the field of music too, 286 01:11:59.483 --> 01:12:02.736 the way games used music had become closer to film or video, 287 01:12:04.237 --> 01:12:10.202 the way background music is added in films. 288 01:12:11.953 --> 01:12:18.710 I think the way games were made probably changed to have an awareness of that. 289 01:15:13.176 --> 01:15:18.682 Of Namco's polygon games at that time, 290 01:15:18.765 --> 01:15:25.313 our game became the model for many other companies. 291 01:15:25.397 --> 01:15:29.109 I've heard that said often. 292 01:15:29.234 --> 01:15:36.199 I don't think this was because the design was interesting. 293 01:15:37.992 --> 01:15:43.373 Rather, it was the paradigm shift in polygon technology, 294 01:15:43.498 --> 01:15:46.751 from a 2D to a 3D world. 295 01:15:46.918 --> 01:15:51.798 It was this intense evolution of polygon technology 296 01:15:51.881 --> 01:15:54.384 which brought about our success. 297 01:18:08.268 --> 01:18:12.897 With CD-ROMs you can manufacture 298 01:18:13.022 --> 01:18:15.275 a certain number in a week 299 01:18:15.942 --> 01:18:19.445 so in order to ship large quantities 300 01:18:19.737 --> 01:18:22.991 you needed to begin the process ahead of time 301 01:18:23.116 --> 01:18:25.577 and build up your stored copies. 302 01:18:26.327 --> 01:18:27.996 Game companies want to spend 303 01:18:28.079 --> 01:18:30.832 as much time as they can on development 304 01:18:30.915 --> 01:18:34.460 so they like to wait until the final week 305 01:18:35.086 --> 01:18:36.921 before beginning production. 306 01:18:37.005 --> 01:18:40.842 There could also be bugs in the game 307 01:18:41.259 --> 01:18:45.179 so both Sony and the publishing company 308 01:18:45.930 --> 01:18:47.307 need to test for that. 309 01:18:47.849 --> 01:18:49.851 Sony has several dozen people do this. 310 01:18:50.393 --> 01:18:54.355 But this was Sony's first game console 311 01:18:54.439 --> 01:18:58.234 so they had no idea how to test for these things. 312 01:18:58.985 --> 01:19:00.528 We created the system for this 313 01:19:00.612 --> 01:19:02.947 hired the personnel 314 01:19:03.031 --> 01:19:04.866 and carried it out 315 01:19:04.949 --> 01:19:08.995 all in the final three months before release. 316 01:19:09.078 --> 01:19:11.289 There were a lot of things that we had to do 317 01:19:11.873 --> 01:19:13.750 during those final three months 318 01:19:14.042 --> 01:19:16.252 that were new for us at Sony. 319 01:19:38.107 --> 01:19:40.026 The maximum number of units 320 01:19:40.276 --> 01:19:42.320 for a Sony product 321 01:19:42.987 --> 01:19:45.365 such as the Walkman 322 01:19:46.199 --> 01:19:48.117 on the day of release 323 01:19:49.953 --> 01:19:51.579 was 5,000 or 6,000 units. 324 01:19:52.288 --> 01:19:56.084 If you wanted to put out 20,000 units 325 01:19:56.209 --> 01:19:58.252 you would be told that it was too many 326 01:19:58.336 --> 01:20:00.922 The idea was to begin production slowly. 327 01:20:01.756 --> 01:20:07.470 Sony couldn't move slowly with a game console. 328 01:20:08.304 --> 01:20:12.350 Companies were getting ready to release games. 329 01:20:13.726 --> 01:20:16.980 Hardware has no value without its software 330 01:20:17.730 --> 01:20:20.233 so if a company is aiming to publish 331 01:20:20.316 --> 01:20:22.318 100,000 copies of a title 332 01:20:22.402 --> 01:20:24.237 then at a minimum 333 01:20:24.487 --> 01:20:27.073 you need 100,000 consoles ready. 334 01:20:29.492 --> 01:20:32.286 Given this, we needed to produce the PlayStation 335 01:20:32.412 --> 01:20:36.666 In mass quantity, right from the beginning. 336 01:20:37.291 --> 01:20:40.253 This was completely different 337 01:20:40.336 --> 01:20:44.173 than Sony's usual approach at the time. 338 01:20:45.174 --> 01:20:48.803 Also, we needed to have the consoles 339 01:20:50.096 --> 01:20:53.725 delivered to stores all on the same day 340 01:20:54.392 --> 01:20:57.061 in order to stimulate game sales. 341 01:22:16.307 --> 01:22:18.643 All games gather here. 342 01:22:21.854 --> 01:22:24.732 Full of games, PlayStation. Out now. 343 01:29:58.561 --> 01:30:01.188 Three, two, one, go! 344 01:49:33.901 --> 01:49:40.825 Before the PlayStation was released as a home console, 345 01:49:40.908 --> 01:49:45.246 work was already underway on Namco's System 11 arcade board. 346 01:49:45.830 --> 01:49:52.795 This board incorporated some of the PlayStation architecture, 347 01:49:53.796 --> 01:49:58.843 such as the CPU, which was developed by Mr. Kutaragi's team. 348 01:49:59.469 --> 01:50:02.472 What Namco was most surprised by 349 01:50:02.555 --> 01:50:06.684 was the cost, how cheap it was. 350 01:50:06.768 --> 01:50:10.313 To be able to make something with that capability 351 01:50:10.396 --> 01:50:12.857 for that price, was pretty surprising. 352 01:50:13.691 --> 01:50:17.612 What Mr. Kutaragi was trying to do at that time, 353 01:50:17.695 --> 01:50:21.908 by making a low cost polygon chip 354 01:50:21.991 --> 01:50:24.243 available to the global market, 355 01:50:24.327 --> 01:50:27.371 marked a paradigm shift in the polygon era. 356 01:50:27.955 --> 01:50:33.169 Although Namco had a board 357 01:50:33.252 --> 01:50:35.588 with better polygon technology and capabilities, 358 01:50:35.671 --> 01:50:40.551 this was an interesting business model for us, 359 01:50:40.635 --> 01:50:44.305 and we continued to work with Mr. Kutaragi. 360 02:03:04.586 --> 02:03:10.926 The process of moving from loo to Shadow of the Colossus 361 02:03:13.095 --> 02:03:19.935 wasn't entirely smooth. 362 02:03:20.143 --> 02:03:27.067 Personally, I was happy with Ico 363 02:03:27.150 --> 02:03:31.738 and players were happy with it too 364 02:03:32.698 --> 02:03:37.035 Take lighting as an example 365 02:03:37.119 --> 02:03:42.916 a lot of video imagery at that time 366 02:03:43.000 --> 02:03:46.211 was not preoccupied with shadow and contrast 367 02:03:46.378 --> 02:03:50.465 there was a lot of pre-rendered and CG video around 368 02:03:50.674 --> 02:03:56.597 and games with loud and flashy graphics 369 02:03:56.847 --> 02:04:00.892 I was interested in more subtle approaches 370 02:04:00.976 --> 02:04:04.271 to shades and tones that were closer to reality 371 02:04:04.354 --> 02:04:08.692 I think that's what differentiated us at that time 372 02:04:08.984 --> 02:04:15.949 but it wasn't a great commercial success 373 02:04:16.575 --> 02:04:21.496 so I came up with Shadow of the Colossus 374 02:04:26.084 --> 02:04:33.050 But whether it's the story, the backdrop, the movement 375 02:04:35.677 --> 02:04:41.099 it's all about making the player believe the characters are real 376 02:04:41.183 --> 02:04:46.355 that they exist for real in that world 377 02:04:46.480 --> 02:04:50.442 for me, that's what it's all about it 378 02:04:50.651 --> 02:04:57.616 The most effective way of bringing characters to life 379 02:04:58.784 --> 02:05:01.536 is through the story of that world 380 02:05:01.620 --> 02:05:06.249 I always incorporate a story in my games 381 02:05:06.375 --> 02:05:13.256 but I don't necessarily create games to tell stories 382 02:05:17.886 --> 02:05:24.768 The significance of PlayStation 383 02:05:25.394 --> 02:05:28.397 For me personally 384 02:05:28.480 --> 02:05:34.778 I feel I was able to become a games designer and developer 385 02:05:34.903 --> 02:05:38.699 because of PlayStation 386 02:31:45.764 --> 02:31:47.599 I think that VR will be a major shift. 387 02:31:47.683 --> 02:31:49.685 In the games up until the present 388 02:31:49.768 --> 02:31:52.562 all of the video, screens, etc. 389 02:31:52.646 --> 02:31:56.441 Have been put into a square layout 390 02:31:57.317 --> 02:32:00.487 that is there to hold information. 391 02:32:00.570 --> 02:32:04.616 We've had film as a medium 392 02:32:04.700 --> 02:32:07.327 for over 100 years now and this is the first time 393 02:32:07.411 --> 02:32:10.330 that we've broken through this frame. 394 02:32:10.414 --> 02:32:13.792 Being able to now create art, film, and games 395 02:32:13.875 --> 02:32:16.837 that don't fit into this frame, 396 02:32:16.920 --> 02:32:20.048 and the question 397 02:32:20.132 --> 02:32:22.592 of how to go about expressing this... 398 02:32:22.676 --> 02:32:25.178 I think that the next 2 to 3 years 399 02:32:25.554 --> 02:32:28.640 will major for this medium 400 02:32:29.016 --> 02:32:31.935 in terms of how creators and artists 401 02:32:32.019 --> 02:32:37.899 will use it, and what they will create. 402 02:35:34.075 --> 02:35:37.370 I think that Sony put together 403 02:35:37.454 --> 02:35:40.040 a fantastic team for the PlayStation. 404 02:35:41.791 --> 02:35:45.337 They had members from both Sony and Sony Music 405 02:35:45.462 --> 02:35:48.298 two entirely different teams. 406 02:35:50.133 --> 02:35:52.802 And there were people like me 407 02:35:53.845 --> 02:35:57.516 coming from outside of Sony. 408 02:35:58.058 --> 02:36:02.437 All three types of members 409 02:36:03.480 --> 02:36:06.024 put their heads together for the PlayStation. 410 02:36:06.608 --> 02:36:08.276 This incredible product 411 02:36:08.485 --> 02:36:10.195 would never have been created 412 02:36:10.362 --> 02:36:12.405 if Sony hadn't decided on making the PlayStation 413 02:36:12.614 --> 02:36:14.616 A lot of people from different fields 414 02:36:15.116 --> 02:36:18.161 were able to come together 415 02:36:19.246 --> 02:36:24.125 and work on gaming hardware. 416 02:36:24.834 --> 02:36:27.671 The biggest thing I took away from it 417 02:36:27.754 --> 02:36:31.466 was being able to participate in this. 418 02:38:05.310 --> 02:38:10.565 When I first joined the PlayStation team I was in my early 20s 419 02:38:14.110 --> 02:38:18.490 and one thing that everyone was talking about then 420 02:38:22.535 --> 02:38:26.665 was the desire to make playing video games a cooler activity. 421 02:38:27.248 --> 02:38:29.167 Everyone was saying that. 422 02:38:32.420 --> 02:38:36.549 This was one of the goals in making the PlayStation. 423 02:38:39.260 --> 02:38:43.807 Perhaps then, it's fair to say 424 02:38:43.890 --> 02:38:49.312 that their goals have come true now. 425 02:38:49.396 --> 02:38:55.527 Video games are definitely a normal part of our lifestyle now. 426 02:38:56.778 --> 02:39:01.074 The fact that adults can play them without feeling self-conscious 427 02:39:02.492 --> 02:39:04.869 is a pretty major effect that the PlayStation 428 02:39:04.953 --> 02:39:07.288 has had on us, wouldn't you say? 429 02:39:07.372 --> 02:39:08.873 I personally feel that this is so.