Shigeru Miyamoto, The Walt Disney of Our Time 195
circletimessquare writes "The New York Times has a gushing portrait of Shigeru Miyamoto. His creative successes have spanned almost 30 years, from Donkey Kong, to Mario (as well known as Mickey Mouse around the world, the story notes), to Zelda, to the Wii, and now to Wii Fit — which according to some initial rumors is selling out across the globe in its debut. The article has some gems of insight into the man's thinking, including that his iconic characters are an afterthought. Gameplay comes first, and the characters are designed around that. Additionally, his fame and finances and ego are refreshingly modest for someone of his high regard and creative stature: 'despite being royalty at Nintendo and a cult figure, he almost comes across as just another salaryman (though a particularly creative and happy one) with a wife and two school-age children at home near Kyoto. He is not tabloid fodder, and he seems to maintain a relatively nondescript lifestyle.'"
You know what that means! (Score:5, Funny)
Re:You know what that means! (Score:5, Informative)
It's an urban legend that Walt Disney became increasingly interested in cryogenics in his later years, requested to be frozen when he died, and was frozen after he died.
All three parts are untrue. It's impossible to rule out that Walt Disney had even heard of cryogenics, but there's certainly no proof he did, let alone that he became obsessed with the idea. He was, in fact, cremated, the polar opposite of being frozen, if there is one!
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Too creative to be "super-rich"? (Score:3, Funny)
That darn Yamauchi took all Miyamoto's money to the top of a steel girded ramp and started throwing barrels down at Miyamoto!
If that is the case... (Score:3, Interesting)
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That would be awesome.
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- Rides not operating today:
- Head Basher
- Blood Bath
- Mangler
- Nurse's Station
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Sold out (Score:2)
So now it can join the Wii in the vaunted ranks of "perpetually sold out"
What the hell. I've got karma to burn
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No (Score:2)
Walt Disney didn't have 20 competitors who were arguably as good and as successful as he was.
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MGM had Hanna and Barbera, Tex Avery. Warner, Chuck Jones and the other denizens of Termite Terrace. Paramount, Max Fleischer.
The difference is that Disney was willing to take animation into feature production. He was willing to invest in the talent, training and technology that would make that possible.
Re:No (Score:4, Insightful)
Not quite, Miyamoto also does hardware (Score:2)
First, he's been at it a bit longer than most of them. A few started up not too long after him, but he's kind of got the "first" award.
Second, and more importantly, Miyamoto doesn't just design games, he designs hardware. In fact, his degree is in industrial des
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Well, Gunpei Yokoi was around at basically the very beginning and was both hardware-software. He also assisted in several of Miyamoto's more famous franchises, as well as created the Metroid franchise. While perhaps not Miyamoto's equal, he comes very close.
As far as the others, Will Wright really sticks out. Simcity spawned a huge franchise for Maxis, "The Sims" will be remembered well as a shocking success. (even though it really was not nearly as timeless or as great as the classics). Time will tell wha
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Sid Meier
Will Wright
John Carmack
John Romero
Richard Garriot
Satoshi Tajiri
Hideo Kojima
Hironobu Sakaguchi
Peter Molyneux (Who I consider the Uwe Boll of gaming)
In terms of brand power and overall sales I'd say Tajiri (Pokemon) and Sakaguchi (Final Fantasy and Kingdom Hearts) are perhaps on par. They aren't nearly as 'iconic' though.
Carmack? (Score:2)
Interestingly Commander Keen, id's first game has it's origins as a *Mario clone [wikipedia.org]. They even went so far as to replicate SMB3 in it's entirety, and took it to Nintendo.
* Cite of a cite as I can't be arsed to get up and get Masters of Doom [wikipedia.org] off the shelf...
Sorry, quite right about Carmack (Score:2)
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*takes cover*
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The team at Ubisoft Montreal is outstanding. Valve. Infinity Ward. Naughty Dog does some great work. Epic.
Walt Disney Co. more-or-less owned the animated films business. Even if Miyamoto is "the best", which is highly arguable, it's still not like Walt Disney at all.
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And that, friend, is why it's silly for us to act like we can objectively rank these companies or designers with any degree of precision. We'r
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Maybe not the best comparison (Score:5, Insightful)
A creative force to be reckoned with, to be sure. However, not a terribly ethical individual on the other hand.
I can easily see how the analogy works, though I'm not quite sure I'd like to be compared to Walt Disney....
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IIRC, Sid Meier (of Civilization fame) even said that Miyamoto is sort of a role model for him, which I think is high praise.
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During WWII, Disney was commissioned to create a number of short films to aid/promote the war effort, along with several PSAs and the like.
A while back, a friend and I watched through a DVD of these shorts, and they were absolutely fascinating. While several of them would prove to be quite iconic, some were astonishingly offensive. I give enormous kudos to Disney for having the balls to have provided an essentially uncensored glimpse into the past. (I'm tol
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In contrast, most of the stories depicted in Disney movies were created by someone else. Miyamoto usually doesn't take something from the public domain to try to re-convert i
Why not (Score:5, Insightful)
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This was my first reaction as well. I guess I don't get the comparison of Miyamoto to Disney, I mean one guy made feature length animation films and the other made video games for crying out loud! If anyone deserves a comparison to Disney it's Miyazaki for his ability to visually tell a story.
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Additionally, Disney built a theme park full of *ideas* that were basically brainstorms of how the world could be, and built them into theme parks. He reinvented how we think abou
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Before Titanic came out, Princess Mononoke was the number 1 highest grossing box office hit ever in Japan. And it won best picture at the Japanese academy awards. So Kate and Leo on the bow of the Titanic or Mickey ensorcelling brooms are just as memorable to Japanese as San charging into battle in her mask or the Kodoma mimicking Ashitaka.
Me and this guy (Score:2)
Wow, that's the exact same with me, except I don't have the fame.
Characters vs Gameplay (Score:5, Interesting)
It fits in nicely with the reason the Wii works -- it's about gameplay, and everything else is secondary.
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I get your point, but with your example you are ignoring the fact that Final Fantasy is an RPG. Different genres require different strengths in games
I ignore this fact because good gameplay and good story are not mutually exclusive -- see Portal -- and because genres are not set in stone -- see Gloom, Tremulous, Natural Selection.
imagine if Dance Dance Revolution had a story and cut scenes
I see your point, but that's DDR in its current incarnation. It'd be naive to assume that a game, played with your feet, and to music, could never successfully have a plot. Playing through the original Doom, it'd be hard to imagine an FPS ever being better for having a plot, but many are.
I'm also not saying there's anything w
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I ignore this fact because good gameplay and good story are not mutually exclusive -- see Portal...
Eh. I wouldn't call Portal a shining example of good story. It's a shining example of gameplay, writing, voice acting, pacing... but the plot itself was fairly weak, in my opinion. Just way too minimalistic... it needed some meat, something to add a little depth to it. In fact, I can't really think of a game where both plot and gameplay were supreme. Both are generally good, but if a game truly excels in one, it never seems to bring the other along, just leaves it at "good".
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Wrong Hayao Miyazaki already owns that title. (Score:4, Interesting)
http://en.wikipedia.org/wiki/Hayao_Miyazaki [wikipedia.org]
Also do yourself a huge favor and see Grave of Fireflies by Isao Takahata. It's a Studio Ghibli film by Miyasaki's long time friend and partner. Its incredible, especially since its based on a real story.
Learn about Isao Takahata here: http://en.wikipedia.org/wiki/Takahata_Isao [wikipedia.org]
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I wasnt a fan of Howl's moving Castle. It wasnt a great Miyazaki film.
I also recommend, Naussica, and Whisper of the Heart.
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I can see the Femi-Nazi's in Mononoke but it doesnt bother me much as i know its not his message. Infact i beleive if i remember right, was that the m
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Thumb Candy (Score:2)
Re:Japanese not creative? (Score:5, Insightful)
Umm... how many Japanese people do you know?
I haven't noticed any lack of creativity. They do seem a bit more preoccupied with consensus and protocol, which gives the appearance of a lack of spontaneity, but don't let that fool you the way it fooled the American automotive industry, or the semiconductor world, or the consumer electronics world (or the anime world...).
Re:Japanese not creative? (Score:5, Insightful)
Depends which ones you watch? (Score:5, Informative)
Still, there are tons of great anime that are really creative. Death Note springs to mind. I can't think of anything else where the suspense was that strong, or where the characters were that intelligent.
I know some will say that 'anything popular is crap', but Bleach & Naruto have very engaging stories, too (the manga, not the crappy Naruto filler). I admit, those two are getting a little long in the tooth, but at the outset, they were on the top of their game.
And once you get into lesser-known series (say, Hikaru no Go, Kekkaishi, Rental Magica, REC, Hayate no Gotoku, Dennou Coil, Code-E, Bamboo Blade, or Akagi) you'll find that there's a lot more to be had than robots, sentai and tentacle porn.
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Anyone care to recommend any other anime that is genuinely smart?
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I've seen some good writing, and a smart section or two, but Death Note towers above most series in that category. It's simply and absolutely phenomenal how the author can keep up that level of engagement.
If you find any, let me know, too! Even just with an OT comment as an AC to some random, recent comment. I'd love to find more anime like Death Note in terms of intelligence (or
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Those were only ones I've seen. (Score:2)
There's Grave of the Fireflies / anything from Studio Ghibli, too. (Have they _EVER_ made a bad movie?)
I don't want to list everything I've ever watched, though. I have seen my share of generic or derivative series (love sims turned into anime, CCGs or similar games turned into anime, sentai, robots, etc.), enjoyable things played out too long (Urusei Yatsura
But those I listed above were a
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Once you get over the novelty of the cultural difference most anime tends to be even less creative than your average sitcom.
I agree with this to an extent. There are definitely patterns that show up frequently in anime. Shy young man that ends up with a harem of hotties hanging all over him. One guy with "an unbreakable will" saves everyone against all odds. The current trend of "Shinigami [wikipedia.org]" type anime. The patterns are easy to spot after you've seen them a few times, and they can get tiresome after
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Of course that if you look at stereotypical genres, such as act
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rj
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rj
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Re:Japanese not creative? (Score:5, Insightful)
That is exactly what a lot of Asian economies seem to actually want. It seems they fear they will lose their work ethic if they outsource the "real work" to cheaper nations, and thus they keep their currencies artificially low and do not help boost local consumption. The US instead outsources a lot of the detailed work, turning us into marketers and lawyers instead of actual "producers". Whether this is a good thing or not depends on what you want to achieve. It has killed our manufacturing base and is eating into programming and hands-on tech jobs, but also gives us lots of shinny cheap trinkets and fat cars.
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When you have a certain population, the needs change from "how do I do this with less people?" to "how do I keep these billions of people busy and fed?"
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The USA had the world's largest industrial output, actually, as you can see in this article published by the http://ipsnews.net/news.asp?idnews=35402 [ipsnews.net] United Nations "Currently, the largest share of world industrial output is held by the United States (23.3 percent), followed by Japan (18.2 percent) and Germany (7.4 percent). China ranks fourth with 6.9 percent." I don't call that "dead."
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I'm not saying you're wrong, I'm just wondering how the real numbers can be so very off from my (and many others') practical experience.
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Re:Japanese not creative? (Score:5, Insightful)
However, if the situation in the US is remotely like that in the UK, I doubt that it was this "creativity" that let them take over the car industry. While they may have released some interesting cars over the years, the ones that brought them success in the UK were hardly radical or interesting.
No, let me rephrase that; they *were* radical in that (unlike most British cars of the 1970s) they included nice stuff like car radios as standard, were good value for money, and most notably were reliable. (Okay, so the early ones rusted badly in the UK climate, but so did a lot of cars at that time, and they seemed to get round that quite quickly).
But interesting in terms of design and appearance mass-market Japanese cars of the 1970s-1990s certainly weren't. In fact, I daresay that it's many of those cars that gave them a reliable-but-unimaginative reputation.
Re:Japanese not creative? (Score:5, Insightful)
What is clear that many countries, particularly in Asia, are really good at teaching children to pass tests, while other countries, such as the US, tended to have a much less goal oriented, less standardized, curriculum which could be argued to foster creativity. A reasonable intelligent and creative person could get through the social hazing project we called school, perhaps get through college, and then get on with the American past time or creating wealth. of course this left some people without an education, which is why we are now obsessed with tests. Make sure that every students is educated to same remedial level, just like the rest of the world. And before commenting on who smart the immigrants you meet on the street are, remember that those are the best of the best.
In any case, the issue with american car makers is not one of intelligence or creativity, but one of arrogance. It was basically assumed that chauvinism would prevail and that people, in a free market that uses competition to fuel innovation no less, choose an inferior more expensive product. The arrogance cost the automakers thier bussinesses, and the American Taxpayers untold millions in a bailout.
The sad thing is that much of what the japanese did, at least to some degree, was to apply US technology. The US auto manufacturers would not invest in applying the technology. The US manufacturers would not plan for the rainy day. They felt the US government would take care of them with protectionist measures and bailouts, just like now. Back in 2000 it was written that oil prices were going to plummet due to oversupply, even though growth in India and Japan made it clear that the competition for the commodity was at best going to keep prices stable, and more than likely cause modest growth. So they continued to count on legislative loopholes and other sweetheart deals and continued to produce cars that now has us with only two, and perhaps one, viable auto maker.
Which is to nothing is simple. In the US we turn out all sorts of people, many who are innovative and creative. If one limits the sample to college prep school, we produce test takers to rival anyone in the world. We are a vibrant enough country with the best integration skills so we can attract the best talent. Which is good, because after about the third generation, it seems taht the ability of an US person to be innovative in the marketplace sags. Which is why our car industry is kaput. The hungry bugger nipping at our toes simply has more to gain, so works harder to get it. Most of us eat and have a reasonable place to stay no matter how lazy we are.
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I don't think it is every useful to presume abilities based on race.
I was not "presuming abilities based on race"; that's something you read into it.
If I presumed anything (and I would argue that what I said was reflecting and to some extent arguing *against* others' views anyway), it was on the basis of national *culture*, not race.
And yes, that's a generalisation of people in all societies to some extent, but it does exist, and it does have an effect on the large scale of things.
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The cars looked unimaginative, but the proof was in the pudding: people preferred the cheap, efficient, and rel
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they were coming up with games like Space Invaders and Pac-Man almost 30 years ago.
By copying Space Wars, Defender, and the like, yes.
Space Wars was certainly *not* the same as Space Invaders; beyond being set in space and involving shooting, the gameplay design was quite different.
Defender came out two years after Space Invaders.
And I don't see how either of your examples influenced Pac Man.
The Japanese hardly had a monopoly on arcade masterpieces.
I didn't say or imply anything remotely like that.
What I *did* give were examples that demonstrated that the Japanese were just as capable of coming up with inventive arcade game ideas as the Americans.
Unless, that is, you're a typical Nintendo fanboy who doesn't realize that companies like Atari or Midway even existed, or that video games existed before Donkey Kong.
Stupid (and incorrect) kneejerk assumption
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or the anime world...
Re:Japanese not creative? (Score:5, Insightful)
My old officemate from Singapore, who only lived here (Japan) 3 years as opposed to my 7, figured it out, I think.
Historically, Japan has had a highly connected, functioning, modern economy for much longer than most places. Even though they were technologically backward when the West came chugging in, socially, they may have been better developed. This might explain why they were able to retool and thrive even as the world political landscape changed in the late 1800s. It was a matter of acquiring new physical tools, not new values (there were some radical changes in values as well--but not to the extent that, say, Papua New Guinea faces).
Because of this, part of the culture is an understanding that you are just a cog in a machine. The downside to that is that I find that people are generally incompetent, by my standards. BUT, get them in their field, and they are often stunning. They know absolutely everything about it, and it consumes their mental life. I mean, if they care. The mean is just kinda plodding along, same as anywhere.
So, whereas we conceptualize creativity as a trait which will manifest itself everywhere, it may be that the Japanese simply focus on one single thing. This would explain a lot, like how a nation where seemingly no one knows how an internal combustion engine works, even conceptually, can be the unchallenged master of the world automotive industry...
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However, it is evident that if it were possible for Barrack to shatter that stereotype, conditions would have to be such that the stereotype had the unfortunate circumstance of also being true.
So it's actually a pretty condescending thing to say about blacks that they would need some public figure to "dispel"
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When the Japanese first learned about RPGs, they saw it associated mainly with roguelike games, due to a lack of proper tabletop RPGs exposure. What they only took about that was the fact that you're a guy inside a dungeon looting treasure and killing monsters... Which was exactly what the American idealization of what an RPG was tried to avoid. The Japanese built on that concept and completely strayed away from what an RPG truly means. T
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Legend Of Zelda: Ocarina Of Time was released 9 years and 6 months ago, which I think is close enough to 10 years to seriously weaken your argument. I happen to be playing through it right now, and (graphics aside) it still compares well to the best of today's games.
The key to the Zelda series is that
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I guess the N64 isn't as easy on the user as the NES and SNES.
While this is true to some extend, Miyamoto always makes sure the learning curve isn't too steep for anyone. Zelda: Ocarina Of Time for example (a game that was supposed to be released at the same time the N64 was introduced, but was delayed and improved for 2 years by mr Miyamoto until he felt it was good enough) starts off with a village that is designed as a practice zone where you can get to know the controls and interface. If you are an experienced player you can get to the action right away, but if y
Re:The decay of time (Score:5, Insightful)
Starting with the N64/Playstation era, games have become much, MUCH easier, as a whole. Realistic save features, in-game tutorials, and more coherent hints at how to accomplish certain tasks make these newer games easier, to name a few reasons. Basically, a game doesn't have to be impossible anymore to give the player a decent amount of time with the game. Also, companies realized more people will be satisfied with a game when they can actually beat it.
True, some old games were not tough-as-nails difficult (especially from the SNES era, like Super Mario World, as you mentioned -- they started getting easier, already, then), but many of them were. These games have already lost their appeal, mostly. The more accessible games have not, but the younger generation of gamers are not as turned on by these games as they are newer games.
I think the original poster has a point that in 50 years people will not want to play these games. Some people will, but not the mainstream. Games will probably be similar to other media, like music and (as the OP alluded to) movies. For instance, I like music from when my parents were kids, but not much before that. There are a lot of people who are into classical music, and silent films, and old media, but these people are very niche. In 50 years, there will be people who enjoy playing Pacman, Super Mario World, and Grand Theft Auto IV, but this will not be mainstream taste among gamers.
As a side note, I will add my prediction that games like GTA IV and Guitar Hero will probably be even less recognized than Pacman or Mario games, in the distant future. The GTA series is very much a reflection of modern pop-culture, and thus, I would argue, has more of a time-stamp on it. Pong, Pacman, Space Invaders, Zelda, and Spore, for example, will age better, as the concepts behind them do not bear such a time-stamp.
This is one reason Miyamoto is reasonably heralded as such a genius. Not only is he responsible for resurrecting the industry, as well as ushering it into the mainstream, but the concepts he creates are enduring. They are not to be bogged down by ties to what is now modern and soon to be outmoded. His ideas are quite timeless, although clearly the technology that delivers them is not.
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Let's be serious here. There are VERY few games that are IMPOSSIBLE.
In current game design you are correct, but original arcade games were designed to not have a conclusion. You would just play for as long as possible and get the high score.
The end of EVERY game of Missile Command, has you dying from being overwhelmed. The concept of "beating" an early arcade game came from technical limitations where the chip would malfunction and you'd hit a "kill screen"; that became the artificial "ending" if you were good enough to say ... clear over 200 levels of Pacman.
This
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Either way there is no real innovation at Disney. Half the stuff they stole from the Japanese and the other half is just old stories retold with nice animation.
Walt was a good business man but I wouldn't say it was a man of innovation. Where as Miyamoto / Nintendo is responsible for so much innovation in gaming even if they're are just churning out Mario Party and other boring titles these days and Mario Galaxy has proven that they still have it.
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It's nearly impossible to find (Disney's done a great job suppressing it), but a great documentary is The Sweatbox [mouseplanet.com], shot by Sting's wife on t
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Nobody thought that was funny, huh? Oh well... I think this is my first post modded -1, Troll! Cool!
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Ah, okay, thanks for the reply.