Yasuhiro Ohori, Guest of Honour at BCN Game Fest - Panel-interview with David Caballero

Audio transcription

"Translation by CIRUSBMAX Good afternoon, Barcelona Game Fest.
Please, give a warm welcome to Yasuhiro Ohori, legend of Japanese video game, creator of Alundra, and of course, representing Matrix Corporation."

"Thank you very much.
Ohori-san, let's talk about your games.
But first, I'd like to ask you how you chose the institute you wanted to go to."

"This is the first question, but how did you choose high school?
I lived on the outskirts of Tokyo, and I really wanted to play a new game.
I didn't have a game center, I only had a game corner."

"So, if I went to a high school that had a lot of new games, like Shinjuku or Ikebukuro, I could get a long period of time.
All the arcades were game centers."

"So, in order to get a long period of time, I chose high school.
There were hundreds of video game centers, where I could play a lot of new games."

"Thank you.
You brought some treasures, and they touch me personally, because I also started in the paper magazines sector.
I think it's a beautiful story, and you brought here a relic of how you started to participate in the video game press, collecting high scores, and making a community with the magazine."

"What can you tell us about what you brought here, and maybe we can show it to the public.
He also started in this industry because of these paper magazines, so he is very interested in them."

"Can you explain what you brought here?
When I was in high school, I made a game magazine like this.
At that time, video games were very hated in Japan."

"Especially in Japan, video game centers were called a bad place to hang out.
These magazines you saw here were made when I was in high school, and at that time, video games were very badly seen in Japan."

"So, I loved games, but I didn't want to be told that video games were bad.
He loved video games, and he saw that people who didn't play video games always said that they hated video games."

"So, he wanted to connect these people, because there are 47 prefectures in Japan, and they are everywhere in Japan.
So, he saw that people who loved video games were everywhere in Japan, and he wanted to make a community of all those video game fans."

"So, when I was in high school, I am now 59 years old, but when I was in high school, there was no internet, no game magazines."

"So, first of all, I wanted to make a game magazine to connect people who loved video games.
I am now 59 years old, but when I was in high school, there was no internet, no game magazines."

"So, I decided to make a magazine about video games.
When I was in high school, there was a game called Xevious, and I made a strategy book, and after that, I made this business card."

"When I was in high school, there was a game called Xevious, and from there, I started to make this kind of magazine about video games."

"Next slide.
Next.
This is the strategy book I made when I was 16 years old.
This is the guide I made when I was 16 years old about Xevious."

"After that, I made this business card.
After I was 16 years old, I made this magazine.
In 1983."

"There you have the MAPI.
Who knows MAPI?
MAPI.
On the cover.
Here is the 47 prefectures."

"We don't have a camera, but you can see how I was gathering scores and meeting people according to their region in Japan."

"It's a beautiful document.
3000 copies.
You mentioned the Xevious guide when you were 16 years old, but then you wanted to make more copies, and a person helped you, so what can you tell us about that?
When I was 16 years old, I made 3000 copies, but I wanted to print more, so who helped me?
The Xevious book was 3000 copies when I sold it, but my high school was very strict, so I asked my friend, Satoshi Tajiri, who is the creator of Pokémon, to help me make more copies."

"When I went to high school, it was very difficult to make this many copies, so I asked a friend of mine who went to high school with me, his name was Satoshi, and I think you all know him, and he helped me to make more copies."

"Satoshi Tajiri is the creator of Pokémon.
Xevious.
I don't know if there is anything else in this part of the timeline, but I think this is very nice, the creation of the Game Center Hub, which is how I managed to gather players from all over the prefecture."

"Can you tell us a little bit about the Hub Center?
I think the people who like games like me in Japan, there are many people who don't have friends or don't have access to information, so I created this Hub Center to satisfy them."

"One of the reasons I created this Hub Center was for people who were anxious to play more video games.
Another reason is that I thought that if I created a Game Center to gather players from all over the prefecture, I could make friends and exchange information."

"That's why I created this Hub Center.
So I thought, for people like me, who didn't know anyone who played video games, I could play video games, share my experiences with other people and make friends."

"At that time, we didn't have the Internet, so we all wanted friends.
Even now, we all use the Internet to play games, but at that time we didn't have the Internet, so we could meet friends at the Hub Game Center and share our experiences."

"So, as I said, we didn't have the Internet, so we couldn't make friends like we do now.
At the Hub Center, we could play with other people, teach them how to play, and score high scores for each video game."

"Let's move on to the next part.
Many of you may think that the first Horizon game was Landstalker, but in reality, I think your first game was Hello Kitty."

"How do you remember that project and your first steps as a developer?
I think that Landstalker was the first Horizon game, but it was actually the first Famicom game."

"Can you tell us about this game?
When I was a college student, the Famicom boom was happening in Japan.
A company that had no development skills but had a lot of money and IP came to Nintendo to ask for advice."

"So, what was popular in Japan was the Famicoms.
They tried to talk a lot about the Famicoms.
So, I asked the company to match the games that I brought in."

"I asked them to match them and put them together.
I made a puzzle game, but Kitty wasn't there yet.
Kitty's company had money and IP, so I put them together and made Kitty."

"It was a video game, but there was no Hello Kitty.
So, what they did was put Hello Kitty's IP together with the video game he had created."

"When I brought this game to Nintendo, Miyamoto Shigeru was in charge.
He gave me a lot of advice.
That was a very important time in my game development."

"It was when Miyamoto Shigeru helped him to make the video game for Nintendo.
Beautiful story.
I didn't know about Miyamoto-san in this beautiful game."

"And then, Landstalker.
What would you say was the lesson you learned from Landstalker?
The most important thing I learned from Landstalker is that it's a diagonal, quarter-view game."

"At the time, Genesis games were hard to put in vertically and horizontally.
Even if you put it in, it goes diagonally."

"So, I thought about how to put the scenes diagonally in Landstalker.
And that's what he did.
He realized that the controls always moved diagonally."

"It was one of the first things he incorporated in the video game.
At the time, Sega and Nintendo battled Genesis and Super Famicom."

"Sega users were cool, so he aimed for a difficult, cool game.
At the time, Sega and Famicom battled each other."

"He tried to find the balance between a difficult game and a cool game.
And after Landstalker, your most famous work, Alundra, came out."

"It was the creation of Matrix Corporation, your tower and your building.
But now I want to focus on Alundra.
Alundra is a very special game for many of you."

"Here we have a super fan.
It was a challenging adventure.
It was a very mature adventure, in tone, in the themes it dealt with."

"And it was a beautiful adventure that still used 2D graphics in Sony's PSX.
It was an adventure based on nightmares and dreams.
And how that allowed you to create more dreamlike or surrealistic scenarios."

"Just the final part.
I have a question about Alundra.
Why did you make a game based on Nightmare and dreams?
Before making Alundra, I was working on Landstalker."

"I wanted to make a game that was more for adults than Landstalker.
I love Zelda and Newtopia, but I wanted to make a game that was more for older people than Landstalker."

"I wanted to make a game that was more for older people.
I wanted to make a clean video and a big character.
I wanted to make a scenario that was more for older people than Landstalker."

"I also played Zelda a lot.
I also wanted to make a game that was more for older people than Landstalker.
I wanted to make a game that was more for older people than Landstalker."

"That was one of the reasons why Alundra was more complicated than Landstalker.
And about nightmares, can you ask again?
I think that the theme of the game is that the bad guys kidnap the princess and beat her at the boss."

"I wanted to make a game that was more for older people.
That's why I made Nightmare.
I wanted to make a game that was more for older people."

"I wanted to make a game that was more psychological and introspective.
That's why I added the themes of nightmares and dreams in the game."

"Not only that, but you also talk about themes that were not for children like death and religion.
What can you tell us about Nightmare?
It's not about the villagers tormented by their nightmares, but it's about this complicated theme that was for older people."

"I think it has to do with the people who came to play Landstalker, but what can you tell us about these themes?
Why did you include these themes in the game?
I wanted to differentiate the game from other action RPGs."

"I didn't want it to be just a forest with monsters.
I wanted it to be something more psychological.
I wanted to incorporate these themes in the game."

"I wanted to make it more psychological.
I didn't want it to be just a forest with monsters.
I wanted it to be more psychological."

"I wanted it to be more psychological.
I wanted it to be more psychological.
I wanted it to be more psychological."

"It's a big step forward from Genesis to AM.
It's powerful.
We have a huge amount of sprites."

"Mega Mega Drive to the almost unlimited 2D power that PSX, the first PlayStation, could provide.
Speaking of Arundra 1, it's a 16-bit game, so I'd like to know how you were able to pull out all the PS1 abilities and how you were able to pull out all the PS1 abilities in Arundra 2."

"Both Arundra 1 and Arundra 2 look a bit different, but they still have a lot of performance.
They were originally made for that kind of thing, so they look different, but I think they still have a lot of performance."

"Well, the aesthetics of both Arundra and Arundra 2 are the same, but what I was able to do with Arundra 2 was to get more performance and make more precise details when making the video game.
I was going to say something else, but ok."

"Another characteristic of Arundra is the difficulty of its puzzles, the general difficulty, the complexity of the stage, the exploration...
I understand that it was deliberately challenging, because of what we just talked about, people from Landstock, people from the previous game, people who were more mature, who were used to playing video games, but what can you tell us specifically about the design of the puzzles and the design of the stages, which were very different from other similar adventure games?
Regarding the design of the puzzles in Arundra 1, how is it different from other games?
How is the design of the puzzles in Arundra 1 different from other games?
Compared to Zelda, it's a little more difficult, and there are a lot of twists and turns."

"The reason why we made the game a little more difficult is because we wanted to convey that it's not a child's game.
Also, when I was a college student, I used to work for a magazine called Nintendo Power, but in North America, they said that games that are fun and easy to finish are bad games, so we made it a little more difficult."

"One of the reasons why I made the puzzles more complicated was to differentiate myself from games like Zelda, and I wanted to get closer to the adult audience.
At that time, there was a magazine called Nintendo Power, and sometimes it was said that games that are easy to finish are not worth it, so I wanted to differentiate myself and make the puzzles more difficult."

"Before finishing the Arundra block, you mentioned Arundra 2, and yesterday, when we were talking about this panel, you told me that there was a prototype in which you mixed 2D graphics, sprites, on top of 3D scenarios."

"I think this is something that many fans of Arundra 1 and Arundra 2 don't know, and that it's also an interesting question in terms of technology and innovation, so let's see what you can tell us about this prototype that was never made, mixing 2D and 3D in Arundra 2."

"Speaking of Arundra 2, as I mentioned yesterday, when developing Arundra 2, there was a part where you mixed 3D and 2D, can you tell us about that?
Yes, when Arundra 1 and Arundra 2 came out, Arundra 1 had originally planned to make all the games in polygon, but since Arundra 2 had just come out on the PlayStation, we hadn't finished the research on polygon yet, so when we were developing Arundra 2, in the first step, the map was all in 3D, and the main character was in 2D, and we were making a mixture of the two, and it was finished halfway through, but Sony wanted the publisher to make it all in 3D, so Arundra 2 is all in polygon."

"At first, when developing Arundra 1, we had a concept of making everything in polygon, but since we didn't know exactly how to do it, we decided to go with 2D, and then when developing Arundra 2, in the development phases at the beginning, we made the map in 3D, but the characters in 2D, so Sony asked us to make everything in 3D, and it was all in 3D."

"When it comes to showing the cuteness and coolness of the characters, 2D was better, but when you combine 2D and 3D, depending on how it looks, it can look a bit awkward, so in the end, we made everything in 3D."

"I was aware that in 2D, we could get more definition from the characters, from the design, but I also realized that if I mixed the two concepts, 2D and 3D, there were times when it felt weird the interaction between those two technologies, and in the end, I ended up doing everything in 3D."

"Perfect. Now I'd like to talk about Matrix Corporation, Matrix Software.
I'm going to skip a few slides, because there's an anecdote that I love, and I want to start there."

"Will you allow me to...
skip a bit and get to this point?
Matrix Corporation is located in this tower, in Cabo Quicho, which is the most fun and entertaining district in Japan."

"First of all, I'd like you to tell us what this slide means.
First of all, I'd like you to explain what this PowerPoint slide means."

"What is the relationship between these buildings?
My company, Cabo Quicho, is located in this building, and I'm sure you've all seen it before, but this is the famous Ryuga Otoku 2."

"In the game Yakuza Raika Dragon 2, there's a boss in this building.
I think many of you who have played Yakuza 2 will know this building."

"In fact, it's the building where my company is located, and it turns out that in the final boss of Yakuza 2, the floor where the battle takes place is where my company is."

"It explodes in the end.
In the end, it ends up exploding.
Let's hope it doesn't happen.
Currently, you have several initiatives at Matrix, and one that I really liked, that you told me about, is Matrix Creators, which is an initiative to bring together legendary players from all over Japan and create new games today."

"What can you tell me about this initiative?
I think you're sharing a floor, and you're sharing a space, so for people who don't know, Matrix Creators."

"It's Matrix Creators, but can you explain something about Matrix Creators?
Matrix Creators?
Oh, Matrix Creators.
Next?
Next, next."

"Next, next.
Right now, the initiative I'm having is to bring together different companies in this building, different video game developers, like the ones you can see here."

"And now, what I'm trying to do is, among the different companies that exist in the same building, to collaborate with different developers from different companies."

"Very good.
Looking back a little bit, to the not-so-recent past of Matrix Software, we've gone through several games in which you collaborated."

"I wanted to ask you about the importance of the partners in the history of Matrix, such as Chansoft and Square Enix.
Can you tell us a little bit about how important the partners were when Matrix was first launched?
When Matrix was first launched, we worked with Sony and Alandra."

"After that, we worked with other Japanese publishers, especially Chansoft and Square Enix.
At first, we worked with Chansoft on a game called Toruneko no Daibouken, which is a roguelike game."

"We worked with Square Enix on a remake of Dragon Quest V, as well as a remake of Final Fantasy III and IV.
At first, we worked with Sony."

"Later, we worked with other companies, such as SAS, on remakes of Final Fantasy III, IV and V.
And Dragon Quest V for PS2."

"Yes.
Before I ask the audience, I'd like to ask you a question.
Is there any possibility in the current Matrix software to revive Landstalker or Alundra?
Anyone can ask."

"Is there any possibility that Matrix will revive Alundra?
Yes.
As for Matrix, we'd like to make another action RPG."

"About 10 years ago, I was at a company called Climax, where Landstalker was made.
I was asked if we could make a new Landstalker game."

"We announced the prototype at the Tokyo Game Show.
It didn't go very well, due to the previous company's situation.
We tried to borrow Alundra's IP from Sony."

"We negotiated a few times, but it didn't go very well.
Of course, we'd love to do something for Matrix.
In fact, about 10 years ago, we tried to do the same with Landstalker, but we couldn't make it."

"There was only one prototype at the Tokyo Game Show.
We've been talking about getting Alundra's IP again, but so far, we haven't reached an agreement.
What differences do you think there are today?
You've worked on games that would be called AAA today."

"What differences do you think there are in working on first-level games in the 90s and 2000s compared to what would be a AAA game made in Matrix today?
What do you think is the biggest difference compared to what would be a AAA game made in Matrix today?
Recently, games have become larger-scale, including resources."

"That's a big difference.
In particular, the way Japanese games are made, as well as Nintendo's, there are a lot of scrap and build."

"From the beginning, there are a lot of cases where the development companies abroad haven't decided on everything and haven't made it."

"In today's large-scale game development, if you do too much try-and-error or scrap-and-build, the return on investment will be too big.
I think that Japanese development companies don't fit the current size."

"There's something that stands out a lot, especially in the way video games are made in Japan, which is called scrap and build.
It's basically one of the ways Nintendo works, which is trial and error."

"It's something that, for example, wouldn't work well in today's games because of the scale of video games, which are usually too big to try over and over again."

"The only thing that can achieve trial and error as many times as it wants right now is Nintendo.
And finally, before I give the mic to the fans, I wanted to ask you about a beautiful project that I personally love, that I think there are several initiatives in different similar countries and that you're leading, in case you're not doing a few things."

"This is another project of yours, which is the Institute of Game Culture Conservation, IGCC.
Please tell us what it's about, because I think it's a bit unknown here in Spain."

"One of the things that I'm trying to achieve with the ICC is to preserve video games as a cultural heritage.
Nowadays, I think that, apart from whether the game is good or bad, there's still a lot of work to be done on the programmers, which is reflected in what's stored in emulators or memes."

"I also think that it's very important, apart from the code, to leave a record of the passion and intention with which those video games were made."

"One of the things that we're doing is to leave a record of the oral history of the creators of these video games.
I also think that there's nothing that can be called 100% an original game."

"That's very interesting.
I think that in the end, a video game is a combination of different aspects, such as the design of the screen, the characters..."

"It's a combination of different parts to create something new.
That's why I think it's very important to be able to classify all the parts of all the games that were made in the past, not just the programs, but also the passion, the intention, the ideas, and so on."

"I think that by doing that, we'll be able to create new games in the future.
That's why I think it's very important to classify all the parts of all the video games so that in the future, in the next video games that can be produced, the authors can have references to which they can rely."

"And always accompanied by an oral history.
It's about keeping the code, that it can be played, and that there's a testimony of the original creators, which is a different form of conservation that we've also seen here in Spain on other occasions."

"I didn't expect that.
We'll be able to give the audience a chance to ask some questions before we end the session.
I don't know if we have a microphone."

"I'll leave mine.
We have one over there.
What do you want to ask, Orisan?
Over there.
Hello. First of all, I'd like to thank you very much for your work, Orisan."

"In my case, especially Alondra's.
And I wanted to ask you how you focused the design of the nightmares in Alondra.
Because there are several of them throughout the game, and they're all very different and particular in relation to each character that occurs to them."

"First of all, I'd like to thank you for the success of Alondra.
And I'd also like to ask you about Alondra's nightmares.
How did you approach them in order to create different nightmares for each character?
First of all, thank you very much for loving Alondra."

"Depending on the person, the nightmare dungeons are different, but I always wanted to change them.
If they were all the same, it wouldn't be interesting."

"So I first thought about different types of nightmares and then moved them to the characters.
Well, one of the things I thought at first was that it would be very boring if all the nightmares were the same."

"So my idea was to create the nightmares first, make each one different, and then create the characters that would go with each nightmare."

"Perfect. I think we had another one here.
Hi.
Do you think you can keep games like Alondra or classic games that are based on servers and need servers to stay alive?
I don't know what to say."

"When it comes to games that are based on servers, especially games that are based on operating systems, it's very difficult to keep all the old versions and all the stages."

"That's a big challenge right now.
I'd like to keep them if I could, but at the moment I can't."

"Of course, it's one of the things that we're asking ourselves as well, because games that are based on servers have a lot of updates and a lot of steps in the middle, and keeping all the steps would be very complicated."

"Also, one of the things that we're questioning is whether we can preserve video games for smartphones, for mobile phones."

"Also, when it comes to mobile video games, games that are based on social video games, that's also very problematic because we don't know in which stage of the video game we could preserve the state of the code."

"Here on the screen I've also put the lines that define the preservation idea of Horizon and Matrix.
I don't know if we have another one."

"Meanwhile, I have one.
Over there as well.
I was scratching your eye.
I don't know if it was a magic.
Hi."

"I'm very excited to be here.
I want you to know that.
I'm also a creator.
I've created a transmedia universe.
Later, if I may, I'm going to give you a document."

"But I wanted to ask you a question.
I wanted to ask if you think the creations that come out of the soul, even if they come before time, find their way at some point."

"A note.
If it comes out of the soul, even if it's premature, if it finds its way.
Something that you invent, even if it's a very premature idea, will end up finding its way."

"First of all, she's very excited.
At first, I was very moved to be here.
She's also a transmedia creator."

"I've learned a lot from her.
My question is, even if it's a small idea, if it's an idea from the heart, will it find its way at some point?
That's my question."

"I think of it as my own thoughts.
I think humans are creatures that can make anything come true."

"They're not magicians.
I think about how to do that.
By creating, choosing, and improving the quality, I think you can achieve it."

"Unlike magic, if you make an effort to make your dream come true, it will come true.
Even if it's a small idea, I think it's important to focus on how to make it come true."

"I think humans don't have magical powers to do anything.
I think it's important to think and be very careful about how to make every step possible from the beginning of that idea to make it come true, to transmit it."

"Because I was just a game geek in Japan.
I think it's a miracle that a game geek in Spain has come to love Alandra."

"I think it's important to think about how to do that.
Before, I was just a video game geek in Japan."

"Now I'm in Spain, in front of a lot of people, with Alundra.
I think it's a miracle that I've come to love it."

"Anyone else?
We have time for a couple of questions.
Good afternoon.
Alundra was the first game I made my debut with PlayStation and it became one of my favorites."

"I had been playing video games like Zelda before, but one of the biggest differences was its tone, which was much darker and more mature, and it had deep themes like loss or religion."

"Where did you come up with the idea for this kind of themes?
Was there a reference, an inspiration?
Alundra was the first video game I made with PlayStation, but Alundra had deeper, political issues than Zelda."

"How did you come up with such difficult themes?
How did you come up with them?
As I said earlier, I like Zelda, Neutopia, and Nandos, but in the old days, I wanted to make it easy for anyone to understand the themes of Zelda."

"I didn't want to include difficult themes or political issues.
So I wanted to make it more mature and different from the old games."

"I wanted to make it more colorful, so I included difficult themes."

"In the old days, I wanted to make all video games easy, playable for everyone, and I avoided difficult themes for the same reason."

"So what I tried with Alundra was the opposite, incorporating adult themes, trying to give a more focused tone for a totally different audience."

"It was too difficult, so when Sony asked me to make it, I got scolded for making it too difficult."

"In fact, when I produced Alundra and took it to Sony to distribute it, one of Sony's managers said to me, very angry, that it was too difficult and I couldn't make it."

"There's a balance breaker in this game.
In this game, there's a point, a different point, a balance breaker."

"There's a thing called a snow sword.
A snow sword.
It's a point, it's called a snow sword."

"In Japan, snow, snow, snow, snow.
The producer at Sony who said it was difficult was called Yukio."

"It's a sword made specifically for Yukio, so it's a snow sword.
It's a snow sword.
I understand now."

"He says there's an item in the game called a snow sword and he put it for a character called Yukio, which means snow man."

"It's a curiosity.
The balance breaker.
Yes.
We have time for one more and if not, I have another."

"Do I shoot?
The last point I'd like to touch on...
Oh, I didn't see you, sorry.
Hi.
I just wanted to ask."

"You mentioned the partner of Square Enix, and I was wondering if you had any anecdotes about working with them."

"About the collaboration I mentioned earlier with Square Enix, do you have any memorable experiences from that collaboration?
Working with Square Enix?
Yes."

"The thing I was most careful about when working with Square Enix was taking care of the IP and keeping Square Enix's fans' expectations to a minimum."

"Those two things.
One of the things I remember and I had to be more careful about was when I was working with such a famous IP as Final Fantasy and at the same time keeping the fans' expectations to a minimum."

"So...
I made a remake of Final Fantasy III for Nintendo DS.
For example, I made a remake of Final Fantasy III for Nintendo DS."

"It's 3DS, it's Nintendo DS, so...
Nowadays, players expect a different kind of expression."

"So, I didn't use dots like I used to, I used 3D.
So, Nintendo DS players are looking for a different way to express themselves, a different expression."

"So, instead of making a video game in dots, I used 3D.
And there was a problem that I couldn't make as many enemies in 3D as I used to."

"I used to make 4 to 6 enemies, but now it's less.
So, I want to make a beautiful video for my fans, but I didn't want to ruin the gameplay."

"So, I made a proposal to Square Enix to change the parameters of the enemies to satisfy the fans."

"So, one of the proposals I made to Square Enix was to change the parameters of the enemies so that there wouldn't be such problems."

"And for enemies, for example, I couldn't represent so many enemies on the same screen, so I changed the parameters of the enemies so that there wouldn't be so many enemies."

"And this was one of the challenges I had so that the players of the previous Final Fantasy and the new players of the remake of Final Fantasy could have the same experience of saying, this enemy was hard, it was difficult, so that both players had that in common and didn't change."

"And well, it was one of the things I learned the most, so that both the publisher and the public could be satisfied with a remake like this."

"Fantastic answer, full of curiosities and game design intelligence.
Finally, if you don't want to kill us, we start this talk talking about your beginnings in videogame magazines and on paper, and you gave me a gift that I didn't expect."

"This book is the story of Data East.
We know Data East very well in Spain, especially in the world of recreation, and you told me a little bit how it came up."

"This is a collaboration between the 80s and this beautiful All About Data East.
So, if you want, briefly, tell us the content and, of course, this decoration we see here, what does it mean?
At the end, about this Data East photo, I would like to explain a little bit about the meaning of this photo."

"At IGCC, we want to preserve the game culture.
At IGCC, we want to preserve the culture of videogames."

"Data East, although it is called a cool company in the world, in Japan, it is called a stupid game company."

"One of the videogame companies that broke was Data East, which, as it seems, in the rest of the world looked like a very good company, very cool, but in Japan they called it the company of stupid games."

"Burger Time, which was very popular in Japan, is called a stupid game company.
And videogames like this on the cover were very particular and very unique, and in Japan, that's why they called it a stupid game."

"However, there are two great things about this company.
And there are two incredible things about this company.
First, it is very expensive."

"And one of the points is about the high cost of the cartridges of videogames.
However, this company considered the operators of the game center as the top priority, and thought about a system that could provide games at a low price."

"And then, one of the things that the operators of the game centers thought about was the idea of downloading the games from the tapes and loading them into the cassette system of Data East."

"And from this, we came up with the idea of downloading the games to the machines of Data East."

"So, this is like the prototype of the Famicom.
It's like the prototype of the Famicom."

"And so, they introduced it as something that could be adapted to the Famicom, so that you could change the videogames."

"Another great thing about this project is that there is a project called JAMMA Harness, which is an arcade PCB that has become a worldwide unified project."

"And there is a part that is called JAMMA Connector, JAMMA Harness.
And Fukuda, the president of this company, came up with the idea to develop this product."

"He was the head of Data East, Mr. Fukuda Tetsuo.
And so, after the JAMMA Connector was announced, there was a report from Japan about the demand for the Blue Ribbon medal, but he wasn't interested in that, so he resigned."

"And so, in honor of this great development, the Japanese government offered him the Blue Ribbon medal, but he wasn't passionate about it, so he rejected it."

"And so, in order to honor such an important company and not to be forgotten, we created this magazine."

"Fantastic.
I think I have to thank you for this gift, and I don't mean the magazine.
I mean your career, Alundra, Landstalker, Matrix, Matrix Creators, and the conservation of videogames."

"I think I'll have to thank you more in the future.
Please, a big round of applause for Ori-chan.
Thank you.
Thank you, Niwa-san."

"Thank you."