|
Obviously
this generation, Japanese developers have had some difficulties getting to
where the West was, because the West had that PC heritage that allowed people
to really transition, but there's no doubt there are a lot of really talented
people in Japan, that have the abilities. So with a company to support it, like
EA, I can see the potential.
RI: Right. And the argument I give is --
and at the risk of sounding overly dramatic -- the Japanese games industry, by
history, and by the success of game publishers and developers, is like the Hollywood
of the games industry. There's no other collection of developers who have had
true global success -- in Japan
and outside of Japan
-- except for Japanese developers.
Even in EA, historically, with all of our
big budget titles, etc etc, and an eye toward cracking Japan,
has never had huge success in Japan.
So, my own perspective is, while there are games that are a challenge, that
don't do well in the West, and never make it to the West -- while there's
certainly difficulties in making that transition, and appealing both locally as
well as globally, we believe that we can tap into a network of great games
developers initially, and eventually start to bring them in-house, who know
exactly how to do that.
I'm always amazed when I sit down in a room
with Suda-san and Mikami-san, with their perspectives about games, and how
different it is, from what I hear at EARS, for example -- where I spend one
week out of every month, by the way. And it's not better, it's not worse; it's
different. It's just Japanese perspective, and Japanese approach to games,
that, again, has shown a long history of being able to sell well here, and sell
well globally.
And
how big is your organization, EA Japan?
RI: Yeah, EA Japan in total is about 65
people. It's marketing; it's the local development team which is relatively
small; we have a dedicated CDS localization team that's working with all of the
studios about everything from game tweaks to game localization, from simple
language and audio, to something deeper.
We have the challenge of also dealing with CERO,
which is the ESRB of Japan. Japan,
Korea,
and Germany
are probably the most stringent in terms of ratings, and the ability to get
violence and sex through in a way that allows the game to even be released in Japan.
So, you know, again, part of our job in
identifying the right titles, is to say, "Some of these titles may have to
be tweaked a little bit to even be releasable in Japan."
And we'll do the tweaking. We'll do the tweaking along the way. And the goal
is, of course, a simultaneous ship, globally. Even if the version here in Japan
is slightly different.

MySims Agents
And
you're refining that process, I'm gathering from what you've been saying.
RI: Yeah. Absolutely. We've already had a
couple successes with it this year, and we're refining the process even more.
And the beauty is, I think finally the studio teams are looking at EA Japan and
saying, "We have a team over there that communicates well, that
understands our business, and is asking for the right things." And clearly
the market is there, the ducks are quacking, we should feed them.
When
it comes to games like Need for Speed,
that are not as culturally steeped -- compared to, say, Battlefield, I can see that not playing in Japan. That's just my
own estimation.
RI: Sure. Sure. Battlefield 1943, which we released download-only in Japan,
is our best selling title in the last 12 months.
I'm sure you've spent time in Japanese
retail, here. Store shelves are incredibly crowded, turnover is incredibly
important. It's hard, frankly, as a Western publisher, to get the attention
that a Dragon Quest is going to get
-- a game that is specifically made for this marketplace.
So, eliminating some of the retailer
biases, and being able to go direct to consumer, is an important step for us.
And I don't think we're publicly discussing the downloads, but again, a
tremendous number of units over literally the first six days after release.
We're getting upwards of 60~70% conversions on trial-to-buys.
|
I do think it's naive for Ishibashi-san to claim "there's no piracy in Japan." Of course there is. However, there are also various mitigating factors that are not in other markets or not as strong. However, perhaps he was specifically meaning "game piracy" or more specifically, "console game piracy." That's a bit different than simply "piracy" or "game piracy" (including, of course, PC gaming). Not to mention other media, which he does allude to a bit when talking about music.
Perhaps more importantly, I'm surprised that the PC gaming scene is largely ignored in the interview. That's one of the largest parts of the Japanese market, after all. CERO is certainly the ESRB of Japan now, but they are relatively new and do not cover PC gaming. If we're talking Akihabara, Comiket, etc, it's the PC gaming scene that has all the innovation in content and freedom to experiment through doujinsoft and other avenues.
I would also say that there is a cyclical nature to change.
Finally, I think the overall intent seems to miss the mark and will probably fail because it seems like the intent is still the old "exclude/include certain content, etc based on perceptions of what a specific market wants." NCSoft realized this is an outdated notion when the continued to add content and mechanics that cater to different markets in their new release, "Aion" (unfortunately making it pay to play excludes the majority of any market but that's another issue). Yes, different markets have different cultures internally or natively, but that's irrelevant when the global exchange of information is considered. If you really want to open a market, you have to offer what anyone, anyplace in the world, might want, and that means offering content, etc that is not necessarily the major draw in a specific locale at the specific time you are developing a product. Restricting what you offer is a perfect support for piracy as well as legitimate import companies in various locales. People have their own interests and preferences, and these are not dictated by their locale when they can gain information from almost anywhere in the world. Therefore, it's not surprising that there are game consumers in Japan, Korea, etc who are interested in and want Western content, mechanics, etc, nor is it surprising that there are consumers in Western markets who prefer Japanese content, etc. Attempting to cater to limited preferences only limits the potential market for any product. I guess as long as companies are willing to live with that, it's ok, but it certainly won't allow for maximum expansion or potential for any market product. I think there needs to be a better effort to think global, not local.