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How Japanese Corporate Bureaucracy Sabotages Creativity
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Sunday, June 14, 2009

I just finished my first game review in a few months -- and big surprise, it was a niche Japanese role-playing game. NIS America's Cross Edge is a collaboration between several Japanese publishers and developers, but it shoehorns so many disparate concepts into a single game that it's rendered practically unplayable as a result. This isn't the first time I've been disappointed in this kind of game, though: Namco Bandai's Tales of the World: Radiant Mythology frustrated me back in 2007 by playing it safe and avoiding practically all of the elements that make the traditional Tales games work. But this got me thinking: Why can't Japanese developers seem to make these "all-star" RPG collaborations -- a seemingly fail-safe concept -- work? As far as I can tell, the answer might lie in their corporate culture, known for its endless bureaucracy.

 

And I can only imagine what it's like when you multiply that bureaucracy by five times! Cross Edge features characters from Capcom, Gust, Namco Bandai, Nippon Ichi, and Idea Factory -- and as I said in my review, the game feels like it was born from the wheelings and dealings of a Japanese boardroom, not from the creativity of a development team.

As some of you might know, I worked at Konami before I came to 1UP, so I experienced some of that corporate culture firsthand. Though NDAs prevent me from going into too much detail, I will say that working for a Japanese corporation revolves around a very regimented, bureaucratic way of doing things: reports piled on top of reports piled on top of postmortems and presentations. (As a coworker jokingly said to me once: "Report back to me on the report you just reported on!") This rigid structure permeates Japanese society -- ask anyone who's ever tried to do something as simple as withdraw cash from a teller at a Japanese bank! This is good in that you have a record of even the tiniest minutiae, and you can be sure that any proposals have already been proposed to death before they hit upper management. But in the world of game design, where creativity is king, that kind of thinking can kill any good idea before it has a chance to get off the ground. Unless your name's Shigeru Miyamoto or Hideo Kojima and you wield a lot of individual power, chances are you won't be doing things entirely on your terms.

The things is, I don't think a lot of Japanese workers understand how strange their endless checks and balances appear to an outsider. When you're raised in a certain environment, you don't question aspects of your culture if you don't know any differently. In fact, when I first started at 1UP, my new boss was going over the various responsibilities I'd have during a given week, and I asked her whether I'd have to put together weekly postmortems and presentations. After all, this is what I'd been doing for nearly three years, so it was second nature to me. She laughed, as if such a concept were completely alien. But Konami had been my only significant corporate experience since graduating college -- to me, that was The Way Things Were Done. As a result, the corporate machinations at Ziff Davis -- complicated as they were -- always seemed minor by comparison.

At last year's Tokyo Game Show, I actually asked Tales series producer Hideo Baba why Radiant Mythology had to be so different from the rest of the series. His answers made it clear that a lot of behind-the-scenes politics were involved and that it would be "difficult" to make a traditonal Tales game with characters from across the series. Whenever a Japanese dude tells you something is "difficult," that tells you bureacratic nonsense is probably to blame.

Obviously, this topic is a lot more complex than I can cover in a simple blog post, and since I don't know the behind-the-scenes details surrounding Cross Edge and Radiant Mythology, a lot of this is educated guessing on my part. But am I unfairly singling out the Japanese corporate culture here? Can you think of any time that Japanese developers have succeeded in making these all-star RPG collaborations work? Kingdom Hearts is the one exception I can think of, but -- surprise, surprise -- that one actually involved an American company.

 
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Comments (13)
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June 15, 2009
Great article Andrew. I agree that the structure of Japanese companies often hampers creativity, but it happens to companies to some extent in the U.S. as well. It appears to be getting better, but for awhile at companies like EA, it seemed like there wasn't much room for creativity. Now developers are given more autonomy, so we're seeing more fresh properties as a result. I wish Japanese companies would open up a bit, because minor changes could make certain RPGs so much better. As much as I love European and Asian history and mythology, they rely too heavily on concepts from those arenas. I wish they'd explore more scenarios. Some of the most creative RPGs have come from thinking outside of the box. Games like Chrono Trigger, Tales of Phantasia, Final Fantasy VI, Secret of Evermoe, and Earthbound all resulted from directors being creative and doing something new.

The only all-star collaboration I can think of that turned out to be a masterpiece was Chrono Trigger. Final Fantasy Tactics could be one to some extent as well, because I believe that members of Atlus were involved in the development process of Square's epic.
Demian_-_bitmobbio
June 15, 2009
I'd love to hear what Ben Judd would have to say about this...some day.
Greg_ford
June 15, 2009
This just makes me wonder: How many games like Katamari Damacy didn't get made because of these types of politics? But yes, very interesting article. That says, some structure is certainly needed. I mean, maybe Duke Nukem Forever even would have actually come out -- years ago -- if they had strong direction. On second thought, nah.
Andrewh
June 15, 2009
A lot of what you say is applicable to all businesses, although I can imagine it can be more stifling in a business operated through the lens of Japanese culture.

But I wouldn't be surprised about the failure of "all star" collabs. When we try to combine the best, we usually end up with the worse: All star games (name your sport), Woodstock 1999, The Traveling Wilburys, Ultimate Frisbee, Caramel and Reese Peanut Butter Cups, the El Camino...

Default_picture
June 15, 2009
I have not ever realized the stuff that goes on in another country. Thank you for opening my eyes.
Pshades-s
June 15, 2009
I may not work in game design, but as an employee of a Japanese municipal board of education I see a lot of bureaucracy first hand. It's amazing to me how often peoples jobs seem to get in the way of them actually doing their jobs. I'm convinced we could teach these kids a lot more stuff and do a better job of it too if we didn't have constant meetings about what we're planning on doing that may or may not fit into the schedule we agreed upon at the start of the term last April...you get the idea.
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June 16, 2009
A really good discussion point, Mr Fitch.

My reaction to your post is that I think of all the time and talent wasted on this All-Star Tales project, instead of working to create original and unconstrained works like The World Ends With You. That game was so unlike every trend in Japanese RPGs, while still being something that could only have come from Japan (a feeling which I still love in my games). Not since Chrono Trigger originally hit Australian shores on SNES cart has a JRPG had that much impact and hold on me.

And yet they still go for the fan-service and merchandise sales of existing IPs. These development houses still cling to their marginalised brands. Tales hardly sells outside Japan, and yet it still decides to go all Family Guy and reference itself, making the game even more inaccessible.

This resonates in anime too. Rarely do animation houses focus on the quality of their work, rather than production cost and sales potential.

I do not think it is a problem limited to Japanese corporate culture. I think the big players in the Japanese gaming industry are just further along in the chain of success, which then leads to profit-focused complacency. Western developers are several years behind in this sequence. Though, as the 360 console sales upon Vesperia's release shows, the sales patterns within Japan do nothing to promote a change of heart from their publishing and development houses.

I just wish there were more examples of Japanese developers like Smilebit and Q Entertainment. My eyes and thumbs still ache at the thought of Gunvalkyrie and Lumines, but I love them, because they took risks and ultimately engaged me on a whole new level.

Instead of another R-Type remake, or Tales, or any game with Curaga or Bahumut....
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June 16, 2009
A strange juxtaposition considering how bureaucratic I thought western publishing was becoming with their “safe” publishing of sequels and spin offs, I’m talking about you EA and Ubisoft. This makes me wonder how things will go with companies like Eidos, as it was recently purchased by Squeenix. How will their IP’s be affected by the Japanese bureaucracy that may now govern their development? It’s no wonder the games I’ve been playing lately are mostly independent or first-party console games, with the exception being pretty much anything Valve creates.
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June 16, 2009
Good article.

I think it's a problem that's increasingly systemic in many large corporations across the board. It's too often no longer about the artistic spark and recognition of the artist's vision, but rather conglomerating elements of previous successes and saturating the market with them until they stick. At least in theory.

It's destroyed the music industry. It's been eroding film making. And practically devoured game development, especially in Japan.

Through much of the 80's and especially much of the '90's some of the best, most innovative titles that dominated the market and past time were from Japan. But nowadays, with few exceptions, it's all about recycling a stale formula, stale archetypes, and ultimately stale games.
Brett_new_profile
June 16, 2009
I hope this sort of Japanese bureaucracy doesn't doom Metroid: Other M...
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June 16, 2009
What about Super Mario RPG? Square and Nintendo collaborated and made one of the best games of all time.
Default_picture
June 16, 2009
Super mario RPG was great, but I think that no one was going to stop that train from being made.
Default_picture
June 16, 2009
Just curious but does anyone know of any major league developers (talking individuals here) that have moved from East to West (or vice versa)?
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