The cancellation of Scalebound, despite having happened quite some time ago, has still left something of a lasting legacy when it comes to game announcements, delays, and eventual cancellations. In an interview with VideoGamesChronicle, director of the project Hideki Kamiya spoke about how it would have been handled differently if he were working with a Japanese publisher rather than a Western one like Microsoft.
Answering a question about how we don’t quite see as many prolific project cancellations from Japanese developers and publishers, Kamiya noted that Japanese publishers tend to be “more understanding toward creators.” He draws on his experience in working with companies like Sega, Capcom, Nintendo, Konami and Koei Tecmo.
“Speaking from a creative perspective, I’ve worked with Sega, Capcom, and Nintendo,” said Kamiya. “And during my time at PlatinumGames, I also collaborated with Japanese publishers like Konami and Koei Tecmo, as well as overseas publishers such as Microsoft, Tencent, and Activision. What it feels like when working with Japanese publishers is that the development culture feels closer to mind, and they tend to be more understanding toward creators.”
Discussing his own views on game development, Kamiya likens his process as being more like inventing a thing, which often leads to titles helmed by him to have some new and unique mechanics. Okami, for example, incorporated its water painting aesthetics into its gameplay, giving players a paint brush with which they could solve puzzles and attack enemies. The Wonderful 101 similarly gave players the ability to form shapes with their groups of superheroes to then transform into unique weapons.
“I think of game development as a kind of invention,” he explained. “For example, in Bayonetta we had Witch Time, in The Wonderful 101 we had Unite Morphs, and with Okami it was the Celestial Brush. My goal is always to build in a unique mechanic that only that game can have. On the Japanese side, my impression is that they see you’re trying to make a new invention. They understand the struggle of trying to give birth to something new, and they watch over the process with patience. That’s where I see there’s a difference with publishers.”
And this, he noted, was a big difference between the Western approach to publishing when compared to Japanese companies. He spoke about how Western companies tend to put pressure on developers when they are trying out new concepts. Kamiya also drew comparison to Western companies’ love for making first-person shooters, believing that “they feel a sense of safety following an established format.”
“But with Scalebound, and this is information already out there, so I can say it, what we were trying to build was a system where the player controlled both a human protagonist and a dragon together in an adventure,” he said. “But there was no clear reference or format for us to follow for a game like that. And I think that’s why it was easy for some to have doubts.”
Ultimately, Kamiya believes that Scalebound’s fate would have been different if the publishing were being handled by a Japanese company. “I don’t mean that if it had been a Japanese publisher, the game would necessarily have been completed and released, but I imagine the process itself would have played out differently,” he said. “For me personally, overseas publishers seem to have a much stronger desire to see a finished product as quickly as possible. If it had been a Japanese publisher, I feel they might have given us more leeway.”
Kamiya did make it clear, however, that he is specifically talking about the situation with Scalebound. He wants there to be no misunderstanding about why the project was ultimately cancelled, noting that it was solely on the development team at PlatinumGames and him as the director.
“But because I have now experienced working with overseas publishers, I feel that if the opportunity ever comes again, we’ll find a way to take advantage of both sides’ strengths,” he said.
Kamiya had also previously expressed an interest in working on Scalebound alongside Microsoft’s Phil Spencer at some point in the future.
It’s interesting to hear Hideki Kamiya’s perspective on Scalebound’s development. The insights into how a different publisher might have influenced the project add depth to the ongoing conversation about game development. It’s always fascinating to consider how various factors can shape a game’s journey.
the potential differences in creative direction with a Japanese publisher are really thought-provoking. It makes you wonder how cultural approaches to game development might impact not just gameplay but also the overall vision. Kamiya’s experiences could offer valuable lessons for future projects that aim for a blend of Western and Eastern styles.
Absolutely! It’s fascinating to think about how cultural influences shape game development. A Japanese publisher might have prioritized different storytelling elements or gameplay mechanics that resonate more with their audience, which could have made Scalebound a unique experience.
You’re right! Cultural influences can significantly impact design choices and gameplay mechanics. It’s interesting to consider how a Japanese publisher might have approached Scalebound’s narrative or art style differently, potentially leading to a unique gaming experience.
Absolutely, cultural influences can shape a game’s identity in unique ways. It’s interesting to think about how a Japanese publisher might have approached the game’s narrative or character development differently, potentially leading to a very different player experience.
I completely agree! The blend of cultural perspectives can really enrich game design. It’s fascinating to consider how a Japanese publisher might have approached Scalebound’s narrative and aesthetics differently, potentially leading to a very distinct experience for players.
Absolutely! Different cultural influences can lead to unique storytelling and gameplay mechanics. It’s interesting to think about how a Japanese publisher might have approached Scalebound’s themes and aesthetics differently.
You’re right! The blend of cultural perspectives can really enhance creativity in game development. It would have been interesting to see how Japanese storytelling techniques might have shaped Scalebound’s narrative and character development.
Absolutely! It’s fascinating how different cultural influences can shape not just the storytelling, but also gameplay mechanics. Scalebound had such potential to merge Western and Japanese styles, which could have created a truly unique experience for players.