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Mistwalker: Where did the studio behind Fantasian come from, which was created by the father of Final Fantasy?

Mistwalker Game News: Where did the studio behind Fantasian come from, which was created by the father of Final Fantasy? Published on 04/25/2021 at 9:38 am, updated on 04/25/2021 at 9:40 am In the early 2000s, the situation for the Square: Merger project with Enix – at that time in a strong position – was complicated at half-mast, internal Restructuring and soon the hit on the liver of the film “The Creatures of the Spirit”. In this special atmosphere, several creative people from the Japanese company reflect on its future, but also theirs. In particular, Hironobu Sakaguchi. Hironobu Sakaguchi, one of the most influential members of Square, who has helped build the business since its humble beginnings as a frail branch of an electricity company, has doubts. In February 2001, the person who had risen to the position of vice president resigned from his position and resumed his status as executive producer after the company’s economic problems. In this role he takes care of Final Fantasy X (2001), Kingdom Hearts (2002) or Final Fantasy Tactics Advance (2003). In fact, it’s been a while since this talented history provider hasn’t put its hands on the clay. Final Fantasy IX is the last episode that his words resonate in. So literally distance yourself from Square’s various projects. It has to be said that the Final Fantasy franchise is becoming what Sakaguchi didn’t want, and that the internal reorganization doesn’t put him in a good position. The latter does not see his future in offices that he just knows too much. Especially since the bitter failure of the film “Final Fantasy: The Creatures of the Spirit” in July 2001, which he staged together with the director of the cutscenes of Final Fantasy VIII, Motonori Sakakibara, does not help to improve the situation: the film does not make it once, to repay the investment required for its production. Lucid, the game designer, was already preparing its release with the initial filing of a particular brand, Mistwalker, mi-2001. At that moment, a simple name adorned with a logo with no major projects said that Mistwalker wouldn’t become a reality until a few years later, in 2004. It must be seen that, therefore, if Sakaguchi is still tied to Square as executive producer, he doesn’t. ‘is present within the company, external employee. Situation that allows him to make a transition to a new means of expression, the complete opposite of the logic of Square, or rather the new entity that emerged from the merger of Square and Enix in 2003: Square-Enix. Mistwalker’s gaze will then be on the American side. What’s in Xbox “Japan is the cradle of the video game industry and the home of highly innovative and creative minds.” Here is the talk of Peter Moore in the IGN columns in early 2005, then vice president of marketing for Microsoft’s gaming division. After advertising the Xbox in Europe and Japan and then the Xbox 360 in 2003, this English football fan sums up the American giant’s goal with this single sentence: to put the machine with the big green X on the Japanese floor. “It’s important that the Xbox is seen as a viable competitor in this area,” he added. Before we finish, “The Japanese market is one of our top priorities, whether it be in terms of developing first-party games or liaising with third-party publishers and developers. It’s also my main goal to make sure the Japanese developers are partners for the next 12 to 18 months. Microsoft is planning actions that will have a global impact for a while. “The kind of politics that opens wide doors that have been picked up a bit before and that Mistwalker will fit into. Vagabond, by Takehiko Inoue When its structure began in 2004, Sakaguchi didn’t necessarily have the Xbox market as a primary target. Far from being realistic, given the obvious nudge of the American giant’s first machine on the archipelago. His main goal? Create: “When I started Mistwalker and decided to design two games – I discussed this with Akira Toriyama, Takehiko Inoue and Kiyoshi Shigematsu and we were getting ready – I didn’t have anyone in mind to go to” Point of view, “explains the game designer on the Kikizo website in August 2004. Apart from the fact that self-publishing is not a real solution for such a small structure. Even more so in the first half of the 2000s. It is indeed imperative to find a partner and at this moment fate and past take responsibility for the direction of the decision: “At that time I was discussing with the boss of Xbox Japan, Yoshihiro Maruyama, but also with the head of the Japanese division of Microsoft Game Studios, Hiroshi Kawai. Mr. Maruyama was someone I worked with often when we were Square Senior President and COO from 1998 to 2000. At the time, he was responsible for running Final Fantasy in the United States. I had complete confidence in him, as I did in Mr. Kawai who had worked on Final Fantasy VII, VIII, and IX. That’s why I decided to get closer to Microsoft, “admits Sakaguchi again on Kikizo. The desire to ensure the survival of the future Xbox 360 in Japan, Mistwalker’s desire to work with Microsoft, overlap and therefore lead to the American firm’s funding of the new Sakaguchi company., An abandoned project by Mistwalker a few years later when the Japanese creator Square, he can finally enjoy an atmosphere that is conducive to direct dialogue and “instant” creation, at least without too many intermediaries. And when Sakaguchi’s ambitions fly away with this structural change, there remains a kind of serenity, as he explains on the pages of issue 177 of Joypad (2007): “For me there is a big difference between Mistwalker and Square Enix. Square is so big, so big, so imposing that it’s very difficult to be really inventive. I’m much more creative at Mistwalker, a much smaller team: they can discuss ideas, experiment with concepts and characters, spend time with each game, and even stop producing a product if we think we haven’t met quality standards that is what we strived for. So, yeah, I feel really lucky, free at Mistwalker. And then I wanted to change the situation. As you know, the market in Japan is only run by large companies, large structures made up of many teams in which no one communicates. With Mistwalker, I want to change that supremacy, transform working methods. “On the other hand, the Hollywood ambitions of the boss of Mistwalker are still very much present, combined with the thought of the closeness to his team:” In fact, I want to be like James Cameron in Hollywood. Whether he’s working on a monstrous project or a movie that requires fewer staff, he’s always surrounded by that small team of five to six people who support him. Obviously he is recruiting more technicians for the shooting requirements, but always the same. It is this type of operation that I want to introduce into game development in Japan: to surround myself with people of trust. “And it’s this vision that Mistwalker inhabited from the start, more of a matchmaker than a full-fledged studio. Because from 2004 to 2011, the vast majority of the titles under the company’s flag – even the two exclusive, Microsoft-promised exclusive titles Blue Dragon (2006) and Lost Odyssey (2008) – are not fully developed in A good mobile If Mistwalker The entire narrative field , more or less the design and the sound part, depending on the project, are additional structures that take care of the technology: Cavia (known for Drakengard), Artoon (Yoshi’s Universal Gravitation) or Feelplus (formerly Scarab) where the famous former colleague of Sakaguchi, Hiroshi Kawai, is the producer for Lost Odyssey. This last company was created specifically to assist Mistwalker on this major project. It wasn’t until 2012 (apart from the T-RPG Arc Sealed Heat in 2007) and the Japanese company, which has established itself in the mobile communications market in particular with the surfing game Party Wave, that the latter was able to take full control of the reins and work faster with smaller experiments she transforms. A change that may be tied to several factors – the failure of Microsoft’s long-term founding in Japan, critical and mixed public feedback on its productions, and sometimes difficulty working with the additional studios mentioned above – that are complex to find one Define track especially when it comes to precise explanations. While Sakaguchi’s desire for a return to human-scale production is tied to the body, the need to vacate his domain under the influence of nomadic games like Puzzle & Dragons seems to hover when he entrusts Jason’s microphone Schreier to Kotaku on Terra Battle (2014): “The industry, not just the RPG realm, is like a tree. If you work with Nintendo, PS2, and Xbox there is a certain tree of expected evolution that leads to an open world RPG, for example. Then it keeps growing and everything has to get a little bigger. On the other hand, I see Terra Batte and Mobile Development as one industry. It’s part of the tree, but it’s different in a good way. I think the latter is still unused. You don’t know where it’s growing, you don’t know how big it’s going to be. I think we are in the middle of this transition. “And if the future proves him right, despite the failure of Terra Battle 2 (2017) and its counterpart Terra Wars (2019), Sakaguchi still seems to be keeping up today with Mistwalker, on a crumbly wall, between the ineradicable traces of passive Final Fantasy and the Desire to be viscerally immersed in originality in a kind of craftsmanship. The portrait of a certain fantasist.

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