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StarTopic Nintendo First Party Software Development |ST| Nintendo Party Superstars

Reader mode
MisterSpo said:
ActionLibrary was first used for Super Mario 3D Land on 3DS so predates both Lunchpack and KingSystem; it has roots right back through the Mario Galaxy games on Wii to GameCube titles like DK Jungle Beat and originally Super Mario Sunshine. It's most recently been used for Bowser's Fury and F ZERO 99, so we don't yet know if it'll be retired in favour of ModuleSystem (or combined with that) or if the latest version of ActionLibrary will be used for the next 3D Mario. NST might have used ActionLibrary for F ZERO 99 simply because it's an engine their staff are familiar with; we know NST can also now use ModuleSystem given that's what Mario vs DK was made with.
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Tangent: It is cool seeing NST so involved with more projects again. During the Wii-Wii U gen was so rough hearing how things like H.A.M.M.E.R fell apart, and the sense of disillusionment. Nevermind they were in the Minis mines for years.
 
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Mer.Saloon said:
Tangent: It is cool seeing NST so involved with more projects again. During the Wii-Wii U gen was so rough hearing how things like H.A.M.M.E.R fell apart, and the sense of disillusionment. Nevermind they were in the Minis mines for years.
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Yeah, an NST resurgence definitely wasn't a story I was expecting from this generation. Pretty neat to see them doing solo projects again, and I'm hoping F-Zero 99 and MvDK Remake are just the start

(selfishly hoping they could become a home for some of Nintendo's other dead racing IP like maybe Wave Race and Excite)
 
BlackthornOrion said:
Yeah, an NST resurgence definitely wasn't a story I was expecting from this generation. Pretty neat to see them doing solo projects again, and I'm hoping F-Zero 99 and MvDK Remake are just the start

(selfishly hoping they could become a home for some of Nintendo's other dead racing IP like maybe Wave Race and Excite)
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Yepper, the great renaissance of NST is upon us and I am proud and blessed to be witnessing it. NST had always been the underdog dev of Nintendo and I legit weep of the hand they were dealt between say, 2007-2017? Yeah I think it could be traced to the first Minis game with Mario vs Donkey Kong 2 on DS and the behind the scenes deterioration of Project HAMMER which were both in 2007 IIRC, and seemingly the first sign of a turn around was being co-developer of Snipperclips with SFB Games in 2017.
 
Tye said:
I’m still waiting for NST to make a sequel to their secret best game—Aura-Aura Climber!
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There's not enough demand for this game to get a sequel, so I'm hoping that NST will do a new Wave Race game with RTX for the Nintendo Switch 2.
 
joveroy said:
www.famitsu.com

『スプラトゥーン3』“サイド・オーダー”インタビュー。ミズタの包帯やヒメの新衣装の値段、秩序の街の住民の設定など、スミズミまで聞いた | ゲーム・エンタメ最新情報のファミ通.com

2024年2月22日に配信された『スプラトゥーン3』のダウンロードコンテンツ“エキスパンション・パス”の第2弾である“サイド・オーダー”について開発者にインタビュー。
www.famitsu.com www.famitsu.com
Side Order famitsu interview
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So this interview credits Toshiyuki Sudo as the sound director, which makes sense I guess. I remember some people claiming that he had the same role for the base game, but the Ask the Developer interview seems to contradict this?

Then again, it seems like Toru Minegishi didn’t actually compose much for the game and he’s seemingly working on an EPD 7 project now.

If true, it’s interesting how a number of Splatoon leads have passed the torch. First with Sakaguchi and Amano and now Kenji Matsumoto and Yoshiteru Fukuda with Side Ordee. If true, I assume Sudo came on board when Minegishi was still working on Mario Maker 2, but we’ll never know for sure.
 
N75 said:
So this interview credits Toshiyuki Sudo as the sound director, which makes sense I guess. I remember some people claiming that he had the same role for the base game, but the Ask the Developer interview seems to contradict this?

Then again, it seems like Toru Minegishi didn’t actually compose much for the game and he’s seemingly working on an EPD 7 project now.

If true, it’s interesting how a number of Splatoon leads have passed the torch eg. Sakaguchi and Amano. If true, I assume Sudo came on board when Minegishi was still working on Mario Maker 2, but we’ll never know for sure.
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From Ask the Developer Part 3
Minegishi:
Yes. Our sound director composed the music, and oh my... He really gave it everything he had!
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Referring to Anarchy Rainbow by Deep Cut, which is composed by Toshiyuki Sudo. (Edit: We didn't know who the composer was until the soundtrack was released though.)
 
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Chiffon said:
From Ask the Developer Part 3

Referring to Anarchy Rainbow by Deep Cut, which is composed by Toshiyuki Sudo.
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I guess that settles it then. Weird that Minegishi says that he was in charge of the overall sound. Maybe because he gave the series it’s sound to begin with?

Anyway, thanks for the confirmation.
 
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Nemesis24 said:
I don't mean another big AAA of course, I dont expect a new mario. But not even a smaller title surprised me, after Odyssey I definitely expected more. As for Koizumi, it just feels weird to me because Takahashi and Tezuka are also on the board and on the leadership of EPD and you see them in credits all the time, but koizumi is barely existent in the gen. Its funny because in the beginning a lot of us thought he would be a lot active but as far as development in the era, he has been distant and honestly i only remember of him when he appears in the directs.
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Takahashi is the EPD General Producer, aka Miyamoto's old job, he's in all the credits because he oversees literally all of EPD. It's like Furukawa being EP in every game because he's the company president.

Tezuka is automatically involved in everything related to classic Mario, so he ends up as producer in every 2D Mario, Yoshi game.
 
I wonder what impact the increased size of EPD's buildings will have on the organization of the development teams. Beyond the increase in headcount, which Takahashi himself said he was a little wary of, because he feared a dilution of internal philosophy, I wonder if it will also be an opportunity to form new experimental project groups. After all, that's how Splatoon was born, for example.

Furukawa had explained that he wanted to do more things in-house. It's going to be interesting to see how this translates, because external collaborations with Namco, with Grezzo, with Good Feel, with Mercury Steam etc. seem to be going very well, and there's not really a situation comparable to Hudson Soft or Flagship.

On that subject, I wonder: are the floors Nintendo is currently renting supposed to provide a transition before the new building is ready, or will they accumulate both?
 
boodream said:
On that subject, I wonder: are the floors Nintendo is currently renting supposed to provide a transition before the new building is ready, or will they accumulate both?
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I seem to recall someone (probably EAD Ninja) posting about this when someone brought that up previously (like ~a year ago?), leaning towards the former.
 
boodream said:
I wonder what impact the increased size of EPD's buildings will have on the organization of the development teams. Beyond the increase in headcount, which Takahashi himself said he was a little wary of, because he feared a dilution of internal philosophy, I wonder if it will also be an opportunity to form new experimental project groups. After all, that's how Splatoon was born, for example.
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The translation may have been a bit off as the internal philosophy worries about the risk of expanding too fast rather than overall expansion. It's promising that Nintendo is hiring a larger rate of college recruits and mid-career developers; they've also opened up to temp project-based hiring (Zelda, Mario, Splatoon, Ring Fit etc.). However, the reality is that their workforce is still conservatively small given their unparalleled success and increasing consumer demand. They still haven't shown any commitment to diligently expanding their R&D outside of Kyoto to other thriving cities in Japan, besides the smaller operation in Tokyo.

Inside their development quarters, Nintendo has always had a program lead experimental group spearheading projects. It's how a lot of different IPs were born like 1080 Snowboarding, Stage Debut, Kirby Tilt N' Tumble, Wii Sports, Wii Play, Pikmin --- probably 95% of Kawamoto's games.


boodream said:
Furukawa had explained that he wanted to do more things in-house. It's going to be interesting to see how this translates, because external collaborations with Namco, with Grezzo, with Good Feel, with Mercury Steam etc. seem to be going very well, and there's not really a situation comparable to Hudson Soft or Flagship.
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The collaborations with big Japanese companies has been steadfast since the GameCube, and that hasn't really changed. We initially saw Namco, Capcom, and SEGA collaborate with Nintendo on first-party projects. Now it's more Bandai-Namco and Koei-Tecmo continuing those alliances in the modern era. The smaller contract developer workings (Camelot, Good-Feel, etc.) is just customary practice.

Not sure what the Flagship reference is for? Hudson?

boodream said:
On that subject, I wonder: are the floors Nintendo is currently renting supposed to provide a transition before the new building is ready, or will they accumulate both?
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Both!? Those floors are are being used as transitionary, but they will probably keep them given the municipal tax breaks they are receiving for renting the space out. They already have the second Mario Club unit there, and Monolith Kyoto as well.
 
EAD Ninja said:
Not sure what the Flagship reference is for? Hudson?
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The creation of ND Cube to house the Mario Party teams was linked to the closure of Hudson, while the integration of the Flagship teams at Nintendo stemmed from the closure of Flagship. These were specific situations, not comparable with current external collaborations.
EAD Ninja said:
The collaborations with big Japanese companies has been steadfast since the GameCube, and that hasn't really changed. We initially saw Namco, Capcom, and SEGA collaborate with Nintendo on first-party projects. Now it's more Bandai-Namco and Koei-Tecmo continuing those alliances in the modern era. The smaller contract developer workings (Camelot, Good-Feel, etc.) is just customary practice.
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That was the point of my question. Current external collaborations are successful and work very well. For example, I can't imagine EPD stopping working with Studio 2/S on Mario Kart and Smash, or appropriating this structure or its developers. In the same way, I can't imagine the people at Grezzo who work on 2D Zelda ending up working directly as EPD 3 employees, or the people at Good-Feel who work on Yoshi or Peach ending up working directly as EPD 10 employees.

As a result, I have no idea what Furukawa is referring to when he publicly declares that he wants to do more things in-house and outsource less.
 
boodream said:
That was the point of my question. Current external collaborations are successful and work very well. For example, I can't imagine EPD stopping working with Studio 2/S on Mario Kart and Smash, or appropriating this structure or its developers. In the same way, I can't imagine the people at Grezzo who work on 2D Zelda ending up working directly as EPD 3 employees, or the people at Good-Feel who work on Yoshi or Peach ending up working directly as EPD 10 employees.

As a result, I have no idea what Furukawa is referring to when he publicly declares that he wants to do more things in-house and outsource less.
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Personally, I think this might refer to how something like Donkey Kong, despite being a big and recognizable IP, doesn't have a consistent home, always being passed around from developer to developer. From Rare (DKC) to EAD (Jungle Beat) to Retro (DKC Returns and Tropical Freeze), it's a bit more of a volatile situation versus something like Mario Kart, even after Bandai Namco is helping with that game.
 
boodream said:
The creation of ND Cube to house the Mario Party teams was linked to the closure of Hudson, while the integration of the Flagship teams at Nintendo stemmed from the closure of Flagship. These were specific situations, not comparable with current external collaborations.

That was the point of my question. Current external collaborations are successful and work very well. For example, I can't imagine EPD stopping working with Studio 2/S on Mario Kart and Smash, or appropriating this structure or its developers. In the same way, I can't imagine the people at Grezzo who work on 2D Zelda ending up working directly as EPD 3 employees, or the people at Good-Feel who work on Yoshi or Peach ending up working directly as EPD 10 employees.

As a result, I have no idea what Furukawa is referring to when he publicly declares that he wants to do more things in-house and outsource less.
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the vibe I get is less about taking things away from studios like Good-Feel or Grezzo, and more about finding ways to create space for franchises that don't have homes and have fallen through the cracks

so not so much "we want to make Mario Kart and Smash completely in-house, or stop working with Grezzo/Good-Feel" but rather "it'd be nice if we could get to a point where there's a dedicated internal team that can just focus on, for example, DK or Star Fox rather than bouncing them around from developer to developer". So technically outsource the same amount, but proportionally outsource less in the future
 
boodream said:
As a result, I have no idea what Furukawa is referring to when he publicly declares that he wants to do more things in-house and outsource less.
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You've had two good responses to this and to add to that, I'd also suggest Furukawa wants more titles like Super Mario Bros Wonder, where almost every aspect of development is handled by internal divisions and Nintendo subsidiaries (EPD, SRD, Mario Club, Nintendo Pictures etc). If I remember rightly very little work for this game relied on external contracting.

Obviously, every game is a multi-team set up, but the more of that diverse pipeline Nintendo owns and controls, the more efficiently they can assign resources across their development environment. So it's not like they want to expand aggressively to eliminate outsourcing, but they do want to efficiently utilise what they have as best as possible.
 
boodream said:
The creation of ND Cube to house the Mario Party teams was linked to the closure of Hudson, while the integration of the Flagship teams at Nintendo stemmed from the closure of Flagship. These were specific situations, not comparable with current external collaborations.

That was the point of my question. Current external collaborations are successful and work very well. For example, I can't imagine EPD stopping working with Studio 2/S on Mario Kart and Smash, or appropriating this structure or its developers. In the same way, I can't imagine the people at Grezzo who work on 2D Zelda ending up working directly as EPD 3 employees, or the people at Good-Feel who work on Yoshi or Peach ending up working directly as EPD 10 employees.

As a result, I have no idea what Furukawa is referring to when he publicly declares that he wants to do more things in-house and outsource less.
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Furukawa want all games made by internal team, he worried that Nintendo can rely forever on outsourcing for it games, ideally with the new development center, Nintendo can have more internal development
 
boodream said:
The creation of ND Cube to house the Mario Party teams was linked to the closure of Hudson, while the integration of the Flagship teams at Nintendo stemmed from the closure of Flagship. These were specific situations, not comparable with current external collaborations.
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Remember, NDCube was founded 12 years before the closure of Hudson. It originally was a joint venture between Nintendo and the biggest advertising firm in Japan called Dentsu, hence the "ND" in the name. Nintendo had at the time 78% of the shares of the company, while 13% of the shares were owned by Dentsu and the rest were owned by other shareholders. Nintendo bought out Dentsu's minority shares a few years later anyway. The developer was positioned as another Japanese development subsidiary under the Nintendo brand in that era were it seemed like Nintendo was pulling away from all their Western funded studios. The original management and development personnel structured at ND Cube fizzled out, and Nintendo basically restructured the developer with several ex-Hudson staff.

It's also important to remember that Nintendo and Hudson had a joint venture themselves Monegi Co., Ltd (Manegi Co., Ltd.) that basically had some of Hudson working as a Nintendo subsidiary (games, game support, development tools). Monegi was dissolved, Hudson closed down, and ND Cube was restructured with several of those employees.

As far as Flagship, which was a Capcom-SEGA-Nintendo funded company focused on planning and script design: there's no real indication of Nintendo poaching or hiring staff from Flagship. Hidemaro Fujibayashi was always a Capcom employee (senior planner in Capcom Production Group 1). Nintendo hired him directly as the Capcom project leader of the Nintendo-Capcom Zelda games. Flagship went on to continue being contracted for their planning support on other Nintendo games like Kirby and Fire Emblem before the company dissolved and went to other developers like Engines Inc.


boodream said:
That was the point of my question. Current external collaborations are successful and work very well. For example, I can't imagine EPD stopping working with Studio 2/S on Mario Kart and Smash, or appropriating this structure or its developers. In the same way, I can't imagine the people at Grezzo who work on 2D Zelda ending up working directly as EPD 3 employees, or the people at Good-Feel who work on Yoshi or Peach ending up working directly as EPD 10 employees.

As a result, I have no idea what Furukawa is referring to when he publicly declares that he wants to do more things in-house and outsource less.
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I really think it's about not needing to rely on outsourcing to release important Nintendo IP. This could be applied to future installments of their big internal IPs (Mario, Zelda, Mario Kart, Splatoon, Animal Crossing, etc.), which are only getting bigger in scope and increasing in production fidelity. It could also apply to some IPs that Nintendo wants to reestablish (Donkey Kong, Star Fox?). I don't think there's a big deal with having some assets outsourced to outside developers, but not having enough resources to smoothly develop games is a hindrance.
 
Giancarlo said:
Furukawa want all games made by internal team, he worried that Nintendo can rely forever on outsourcing for it games, ideally with the new development center, Nintendo can have more internal development
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what is this furukawa statement you guys are talking about? I dont remember that so i most likely missed some investor call
 
Nemesis24 said:
what is this furukawa statement you guys are talking about? I dont remember that so i most likely missed some investor call
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nintendoeverything.com

Nintendo planning major office expansions for more in-house development

Nintendo has announced plans for two major office expansions in Japan as it looks to boost in-house development.
nintendoeverything.com nintendoeverything.com
based on: https://www.nikkei.com/article/DGXZQOUF108JR0Q1A211C2000000/

The new fields where we will utilize our cash can be broadly classified under two themes: building software assets and building a foundation for maintaining and expanding relationships with consumers.

These software assets include games, and we aim to expand our game development frameworks inside the Nintendo group. We are not dismissing the possibility of M&A activities, but our first priority is to organically expand our own organization to continue Nintendo’s creative culture.
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N75 said:
Speaking of EPD composers, their last known game:

  • Koji Kondo - Super Mario Bros. Wonder (2023)
  • Kenji Yamamoto - Metroid: Samus Returns (2017) (may have composed/arranged for Dread, "Music Director" is a bit too vague and no soundtrack/sound selection has been released)
  • Minako Hamano - Donkey Kong Country: Tropical Freeze (2014) (may have composed/arranged for Samus Returns/Dread, "Sound Coordination" is a bit too vague and no soundtrack/sound selection has been released)
  • Kazumi Totaka - Animal Crossing: New Horizons (2020)
  • Masaru Tajima - Big Brain Academy: Brain vs. Brain (2021)
  • Masami Yone - Big Brain Academy: Brain vs. Brain (2021) (unknown whether he composed or was just the sound director/supervisor)
  • Kenta Nagata - Mario Kart 8: Booster Course Pass (2022-2023), Pikmin 4 (2023)
  • Hajime Wakai - The Legend of Zelda: Tears of the Kingdom (2023)
  • Toru Minegishi - Splatoon 3 (2022), Splatoon 3: Side Order (2024)
  • Shinobu Nagata - Animal Crossing: New Horizons (2020)
  • Mahito Yokota - Captain Toad: Treasure Tracker (2014) (may have moved into a management/supervisor role)
  • Asuka Hayazaki - Mario Kart 8: Booster Course Pass (2022-2023), Pikmin 4 (2023), Splatoon 3: Side Order (2024)
  • Toshiyuki Sudo - Mario Kart 8: Booster Course Pass (2022-2023), Splatoon 3 (2022) Splatoon 3: Side Order (2024)
  • Shiho Fujii - Super Mario Bros. Wonder (2023), Splatoon 3: Side Order(?) (2024)
  • Manaka Kataoka - The Legend of Zelda: Tears of the Kingdom (2023)
  • Shinji Ushiroda - Ring Fit Adventure (2019)
  • Megumi Inoue - Miitopia (2016) (likely moved into a supervisor role)
  • Daisuke Matsuoka - Super Mario 3D World + Bowser's Fury (2021), Mario Kart 8: Booster Course Pass (2022-2023)
  • Atsuko Asahi - Super Mario Maker 2 (2019), Mario Kart 8: Booster Course Pass (2022-2023)
  • Yasuaki Iwata - Animal Crossing: New Horizons (2020), Mario Kart 8: Booster Course Pass (2022-2023)
  • Naoto Kubo - Super Mario Odyssey (2017) (also did one arrangement for Smash Ultimate, credited in the Captain Toad 3DS/Switch ports, but I don't think those have any new music)
  • Yumi Takahashi - Splatoon 3 (2022), Splatoon 3: Side Order (2024)
  • Maasa Miyoshi - The Legend of Zelda: Tears of the Kingdom (2023)
  • Soshi Abe - Pikmin 4 (2023)
  • Sayako Doi - Mario Kart 8: Booster Course Pass (2022-2023), Super Mario Bros. Wonder (2023)
  • Masato Ohashi - The Legend of Zelda: Tears of the Kingdom (2023), Splatoon 3: Side Order (2024)
  • Haruko Torii - Nintendo Switch Sports (2022), Mario Kart 8: Booster Course Pass (2022-2023)
  • Takuhiro Honda - Nintendo Switch Sports (2022), Mario Kart 8: Booster Course Pass (2022-2023)
  • Kairi Hamada - Mario Kart 8: Booster Course Pass (2022-2023), Splatoon 3: Side Order (2024)
  • Tsukasa Usui - Mario Kart 8: Booster Course Pass (2022-2023), The Legend of Zelda: Tears of the Kingdom (2023)
  • Yutaro Takakuwa - Mario Kart 8: Booster Course Pass (2022-2023)
  • Chisaki Hosaka - Mario Kart 8: Booster Course Pass (2022-2023)
  • Reika Nakai - Mario Kart 8: Booster Course Pass (2022-2023)
  • Chisaki Shimazu - Super Mario Bros. Wonder (2023)

This should be mostly accurate, as Nintendo hasn't released a mobile game since 2019 and the only recent EPD 4 project that hasn't had credits is Game Builder Garage (wouldn't be surprised if Sudo worked on that, given that he was involved with Labo).

Going through this list, it feels like the newer composers are popping up a lot more frequently
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Updated this again as we may not see any more changes for a while. Includes additions/changes since TotK. Removed Ryo Nagamatsu, but he was also credited on the BCP and Side Order. Added Kairi Hamada, Yutaro Takakuwa, Chisaki Hosaka, Reika Nakai, and Chisaki Shimazu. Shimazu and Hosoka could possibly be the same person who got married in between both releases?

Shiho Fujii was credited for Side Order, which is strange because she usually only comes back to work on new Squid Sisters/Chirpy Chips songs, but Yumi Takahashi did the City of Color remix and new song "Today's Nostalgia Today". Chirpy Chips did come back with new songs last year, but those were included in a free update as usual. I wonder if Nintendo considers any contribution after the release of the base game as part of the Expansion Pack?

There's one person who I'm not certain about: Yuki Ito. Side Order/S3 Expansion Pass seems to be the only project they've been credited in so far and Splatoon credits don't differentiate between composers and sound designers. The next Splatoon 3 OST with the Side Order/new update tracks hasn't been released yet, so I've left them off for now.
 
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N75 said:
Updated this again as we may not see any more changes for a while. Includes additions/changes since TotK. Removed Ryo Nagamatsu, but he was also credited on the BCP and Side Order. Added Kairi Hamada, Yutaro Takakuwa, Chisaki Hosaka, and Reika Nakai.

Shiho Fujii was credited for Side Order, which is strange because she usually only comes back to work on new Squid Sisters/Chirpy Chips songs, but Yumi Takahashi did the City of Color remix and new song "Today's Nostalgia Today". Chirpy Chips did come back with new songs last year, but those were included in a free update as usual. I wonder if Nintendo considers any contribution after the release of the base game as part of the Expansion Pack?

There's one person who I'm not certain about: Yuki Ito. Side Order/S3 Expansion Pass seems to be the only project they've been credited in so far and Splatoon credits don't differentiate between composers and sound designers. The next Splatoon 3 OST with the Side Order/new update tracks hasn't been released yet, so I've left them off for now.
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nintend has how many composers in total? feels like they have a lot
 
Quoted by: N75
1
Nemesis24 said:
nintend has how many composers in total? feels like they have a lot
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They've definitely hired a lot since the start of Switch's life. I think Nagamatsu is the only that left during this period (jury is still out on Naoto Kubo, as he didn't work on Bowser's Fury).

I guess it's just a result of staffing up for the years ahead. Most likely every department is significantly increasing.
 
Here is to hoping that Nintendo allows Monolith Soft to work on a Medieval RPG akin to Dragon Quest. And for those worrying about ARMS being continued, I am sure it did good enough to warrant a sequel.
 
TreeSign said:
Here is to hoping that Nintendo allows Monolith Soft to work on a Medieval RPG akin to Dragon Quest. And for those worrying about ARMS being continued, I am sure it did good enough to warrant a sequel.
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Yabuki will most likely want to do something with the franchise once MK is done. It is his passion project it looks like.
 
0
I wonder what Hideki Konno is working on? It’s been a long time since we heard about a smartphone version of Nintendogs, when it really looks like a no-brainer.

I always wondered why someone as talented as him had chosen to take care of smartphone games, I hope it was completely his choice and that he still has ideas and projects to develop because otherwise it is a waste.
 
boodream said:
I wonder what Hideki Konno is working on? It’s been a long time since we heard about a smartphone version of Nintendogs, when it really looks like a no-brainer.

I always wondered why someone as talented as him had chosen to take care of smartphone games, I hope it was completely his choice and that he still has ideas and projects to develop because otherwise it is a waste.
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He was most recently a producer on Mario Kart 8's Booster Course Pass

He's pretty much always involved with Mario Kart (I believe the only expections have been Double Dash and the arcade games), so I think the safest bet is he's working on a new Mario Kart for early in the Switch 2's life cycle
 
BlackthornOrion said:
He was most recently a producer on Mario Kart 8's Booster Course Pass

He's pretty much always involved with Mario Kart (I believe the only expections have been Double Dash and the arcade games), so I think the safest bet is he's working on a new Mario Kart for early in the Switch 2's life cycle
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He is still involved and credited, but he still passed the baton to Yabuki. I just hope his current position in the smart device division isn’t just a golden closet.
 
boodream said:
I always wondered why someone as talented as him had chosen to take care of smartphone games, I hope it was completely his choice and that he still has ideas and projects to develop because otherwise it is a waste.
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He probably got that role because he was the producer of the 3DS, and in a way, smartphone games could have become Nintendo's second (mobile) pillar.
 
I read a comment online that Spike Chunsoft USA stated that if people wanted a new Pokemon Mystery Dungeon they should buy the new Shiren the Wanderer, since apparently Game Freak/The Pokemon Company lost faith in profitability of the Mystery Dungeon format. I couldn't find a source for that, but it sounded plausible enough.
 
SkaizoAgain said:
I read a comment online that Spike Chunsoft USA stated that if people wanted a new Pokemon Mystery Dungeon they should buy the new Shiren the Wanderer, since apparently Game Freak/The Pokemon Company lost faith in profitability of the Mystery Dungeon format. I couldn't find a source for that, but it sounded plausible enough.
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don't see any reason to believe that. the remake sold 2M copies and probably wasn't too expensive to make
 
0
SkaizoAgain said:
I read a comment online that Spike Chunsoft USA stated that if people wanted a new Pokemon Mystery Dungeon they should buy the new Shiren the Wanderer, since apparently Game Freak/The Pokemon Company lost faith in profitability of the Mystery Dungeon format. I couldn't find a source for that, but it sounded plausible enough.
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I believe this was the source of that info:



I dont believe them cause the remake did well, it will certainly sell more than Shiren. My guess is that they were busy.
 
Camelot: 38, april 2024
NERD: 75, june 2023
1UP: 88, april 2024
Grezzo: 91, april 2024
Good Feel: 131, january 2024
ND Cube: 132, 2022
SRD: 138, april 2023
Intelligent Systems: 198, april 2024
Game Freak: 212, november 2023
Hal Laboratory: 215, june 2023
Creatures: 232, april 2023
Monolith Soft: 262, december 2023
Next Level Games: ???
Retro Studios: ???
NST: ???

Nintendo Systems: 230, july 2023
Nintendo Pictures: 121, november 2023
Nintendo: 7.641, september 2023
 
I’m always surprised when I see Camelot’s numbers. It’s like they didn’t have to manage the transition to HD.

And in addition, if I am not mistaken they do not work only on video games so the staff are not entirely devoted to it either.
 
What is a bit unfortunate is that it suggests that they are not able to do anything other than a tennis game it is a golf game with each generation and that’s it.

And even the sports game lacks a little content or joy simply, unfortunately.

I understand that this is a very hard environment, that many studios have not survived the transition to HD, but being the studio of sports games of Nintendo offers a certain guarantee a certain readability anyway right?
 
I wonder if there's a future where 1-Up ever takes a shot at a solo/stand-alone game in addition to or in-between their support work

Having 88 employees sorta starts to put them in that zone where it isn't a wholly absurd notion, and iirc they're technically the Magical Vacation/Magical Starsign studio (obviously there's a Ship of Theseus aspect where no studio is really the same as it was 20 years ago)
 
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The two Nintendo GDC panels are here:

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Tunes of the Kingdom: Evolving Physics and Sounds for 'The Legend of Zelda: Tears of the Kingdom'

Developers of The Legend of Zelda: Tears of the Kingdom discuss structuring an expanded Hyrule around physics-based gameplay and evolved sound design! Join the game's Technical Director Takuhiro Dohta, Lead Physics Programmer Takahiro Takayama,...
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2D and Tomorrow: How the Developers of 'Super Mario Bros. Wonder' Find New Joy in Creating Classic Side-Scrolling Adventures

Following last year's launch of the Super Mario Bros.TM Wonder game, developers Takashi Tezuka and Shiro Mouri discuss the unique challenge of taking classic side-scrolling Super Mario Bros. gameplay and turning it upside downliterally. The...
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