19-06-2012 15:16
Dejo aquí este artículoi sobre Platinum Games. Si alguien quiere traducirlo será bienvenido.
Cita:Edge[/url]"][I have] millions of decisions to make - between 50 and 100 people, each with their own wishes," he admits. "I want to allow people to go ahead and do things, but there are constraints on time, so figuring out where to make compromises is always a problem."I don't always have 100 per cent belief in myself, but I always have to take 100 per cent of the responsibility, which is a job I really don't like. I can't get used to it."
Hideki Kamiya, director of God Hand, Devil May Cry and Bayonetta, projects that same confident air - but he, too, admits self-doubt. "I'm no superman," he says. "I'm not a machine capable of making fun games with little or no effort.
"I'm always half in doubt about my ability, so my way is to just start by seeing what I can do, then getting ideas from the staff and making choices from there."
The video continues with an insight into the creative process at Platinum, with Kamiya explaining: "I hate meetings. No ideas ever percolate in that environment because of the feeling of distance. ItÔÇÖs like ideas are taken on because you have to shout for them to be heard - it's more natural to make decisions together as you move along.
"Whether you finish, or get lost on the way, in a certain sense a lot is born of luck, or coincidence. That's the outcome I search for."
"While developing a game, the moments where it all starts to swell up into something are pretty few and far between," Inaba adds. "There's this doubt as to whether [the project] will really rise up enough; the time spent in development is so long, and you feel like you're underwater.
"You're making it, no fun, making it, no fun. You might reach a dead end, or somewhere in all that there might be a moment of, 'Oh! This is good!' Then it feels like you can take another huge breath before diving back underwater again."
Given Inaba's evident distaste for the corporate process and his frustration at the creative one, it's not hard to see why he chose to hit out at Sega over the Anarchy Reigns delay. It's arguably Platinum's most ambitious project to date, its multiplayer focus requiring it to balance its flair for combat systems with its first experience of netcode design.
Latency compensation in a shooter is one thing, but in a combat game where timings often need to be accurate to a single frame of a second is quite another, and it's little surprise that the game was delayed several times before Sega's shift in focus changed everything. In closing, he compares game development to a beloved Japanese series, one in which players start with something tiny, and add bigger and bigger things to it until it's the size of the sun.
"This kind of business is like having to keep producing these great, hot katamari," he says. "[But] even if it's a struggle, it's important to keep producing them. The entire company agrees that we've just got to keep making them.
"ItÔÇÖs all or nothing, over and over. But I think this kind of existence is fine."