gee, who knew that people prefer art made with passion to "art" designed to make a profit?
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It's the same kind of advice that used to float in the Tech Startup world before it became dominated by money men and frauds: the best project is one that scratches an itch you have.
I suppose the real point here is to just make the games you want to make, and as long as your passion shines through your audience will find you.
But it's interesting to me to contrast Miyamoto's statement with the fact that Nintendo absolutely has been aiming to globalize their IPs - and that's not necessarily a bad thing.
Look at Rhythm Heaven for example. DS and Fever had dubbed audio for the international releases, which was somewhat divisive with weebs fans. Megamix featured dual audio for the first time, and that's good because options are good.
But then Groove took a different approach, the game is designed to not need a dub in the first place. There are fewer vocal cues compared to previous entries, and they're either gibberish or in a few cases, English words that are so common to be understood globally (even for the Japanese version, random English words in video games is seen as cool). There simply aren't any games with full sentences like Ringside or Love Rap this time around. So now the audio is just identical in all releases.
Vocal tracks are present, and most of them are Japanese, but they've also included a few in English, French, Spanish, and Italian. And those are again just the same in every version. Rather than swapping out the vocal tracks for localizations, they've opted to give the game a wider mix of more songs in more languages. It's a deliberate change in direction, and it's one I think is pretty cool. Reminds me of how Tekken switched to having every character speak their own native language (with subtitles).
It's a sort of reverse localization, where they've designed the game in a way that minimizes the need to localize much anyway. I think it makes perfect sense to try and move in this direction, and it's clearly worked out since Groove massively outsold its predecessors, but at the same time it's a little sad to think there's probably never going to be anything like Bon Odori in future titles.
I would love to know what percentage of nintendo switch owners play Super Mario Wonder because I would bet it is half of that that played 1,2,3 wii or wii U deluxe.
I have more interest in someone’s passion than a game designed by committees and interests groups.
says the guy censors the fudge out of consumers & fanwork.
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I think it depends on the genre and even down to each individual game. Especially cheaper the game to produce, the more can be experimented not caring if its a failure. Because some taste might work for a small group and others might work for a bigger group. To me its fine to have games trying to appeal globally, but not in cost of individual games. I like both type of games, as long as they are realized well.
Miyamoto-san, the games that are released now are based on the personal interests of the publisher. "Gimme money!"is a game that deeply resonates with their desire.
What‘s Miyamoto‘s history with apes and plumbers? I would love to hear about those stories.
Really the only time I remember him giving examples of drawing inspiration from real life was a fox statue at a shrine inspiring him to design Star Fox or something. That seems pretty far removed from reality if you ask me.
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He's a hypocrite because in the same interview, he defends their unnecessary remakes by saying it allows new players to experience them if they can't go back to play the original versions.
He then confirms that Starfox and Yoshi were released this year to coincide with the Mario Galaxy Movie. So are they games that developers want to play, or marketing stunts? This old man needs to retire.
Chud gamers: "This means all games must contain racist and sexist elements!"
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