Survivalist Pro
Survivalist Pro
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Suspecting as much, Nintendo decided to strike first. The day after Sony gave its announcement, Nintendo announced it was dropping Sony and was now working with its Dutch rival Philips instead. Sony was shocked at the public humiliation Nintendo had inflicted on it.
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Read More »Connect with gaming and metaverse leaders online at GamesBeat Summit: Into the Metaverse 3 this February 1-2. Register here. The following is an excerpt from Replay: The History of Video Games by Tristan Donovan. It should have been a coup. On May 28, 1991, at the Consumer Electronics Show in Chicago, Sony proudly revealed that it was working with Nintendo to create a version of the Super NES with an in-built CD drive. The two Japanese companies had been working together in secret on the project, tentatively titled the Nintendo PlayStation, since 1989 and with the hype about CD-ROM reaching fever pitch, Sony’s announcement should have been a highlight of the trade show. But behind the scenes, all was not well. Since agreeing to the alliance, Nintendo had become increasingly nervous about Sony’s intentions, fearing that it wanted to use the project to muscle in on the games business. Nintendo’s paranoia was justified. Ken Kutaragi, the Sony engineer who initiated the whole project, saw the partnership as the first step to achieving his dream of getting Sony to start making game consoles. Suspecting as much, Nintendo decided to strike first. The day after Sony gave its announcement, Nintendo announced it was dropping Sony and was now working with its Dutch rival Philips instead. Sony was shocked at the public humiliation Nintendo had inflicted on it. But if Nintendo had hoped to push Sony out of the games business the move backfired. Event GamesBeat Summit: Into the Metaverse 3 Join the GamesBeat community online, February 1-2, to examine the findings and emerging trends within the metaverse.
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Read More »Panasonic was the first company to buy the manufacturing rights to Hawkins’ system and in October 1993 it launched its 3DO console, the FZ-1, amid widespread media fanfare. Consumers, however, baulked at the $699.95 price tag that resulted from its advanced technology. “The realisation that the 3DO was not going to be a success came in stages,” said Hawkins. “The first arrow was poor 1993 holiday sales. In 1994 it was a big set back that all the developers who had welcomed our charitable $3 license fee per game were flocking to competitors with bad licenses and $10 fees. It was like the collapse of a union. If developers had been able to stick together they would have had collective bargaining power and could have permanently shifted the value chain.” One of the competitors developers were flocking to was Sony, which was finally starting to persuade the industry that it really could deliver on its promise of an advanced 3D games console with an acceptable price tag. Ironically, one of the big reasons for the shift in developer opinion was a game developed by rival console maker Sega: Yu Suzuki’s 1993 coin-op game Virtua Fighter. Having pushed the use of hydraulics in coin-op video games to the max with his 1990 360 degree-motion air combat game R360 — G-Loc Air Battle, Suzuki began exploring 3D visuals after seeing Atari Games’ Hard Drivin’. He decided to create a 3D driving game of his own but, rather than re-creating the contemplative pace of Atari’s driving simulator, he set out to make an exhilarating Formula 1-style racing game. The result, 1992’s Virtua Racing, used an expensive graphics microprocessor created by military contractors Lockheed Martin to move its Lego-like polygons around the screen at breakneck speed. It was an impressive and popular evolution of Hard Drivin’, but Suzuki had bigger plans for his next 3D project. One of the key objections to 3D graphics that developers had been raising with Sony was that while polygons worked fine for inanimate objects such as racing cars, 2D images were superior when it came to animating people or other characters. Virtua Fighter, Suzuki’s followup to Virtua Racing, was a direct riposte to such thinking. Released in November 1993, it featured fighters built out of polygons. The characters may have resembled artists’ mannequins but their lifelike movement turned Suzuki’s game into a huge success that exploded claims that game characters couldn’t be done successfully in 3D or that people would not warm to them. But while it was Sega that had proven the full potential of 3D, it was its newest rival – Sony – that capitalized on it. Sega had been wary of basing its successor to the Genesis console, the Sega Saturn, on 3D graphics and instead initially built a system that offered some 3D capabilities but was primarily a 2D graphics powerhouse. Sega’s caution meant that Sony had the upper hand when it came to 3D visuals. Teruhisa Tokunaka, chief executive officer of Sony Computer Entertainment, even went so far as to thank Sega for creating Virtua Fighter and transforming developers’ attitudes to the PlayStation.
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Read More »Soon Sony was winning over developers across the world. Japanese arcade firm Namco became Sony’s first big-name supporter when it decided to abandon Nintendo and throw its weight behind the PlayStation. Namco’s reproduction of its 3D arcade racing game Ridge Racer became one of the PlayStation’s flagship games when it launched in Japan in December 1994. None of this, however, was enough to put Sega out of the race. Sega still had its bank of popular arcade hits at its disposal and was an established player in the console business. Indeed, when both the Saturn and PlayStation launched in Japan in late 1994, it was Sega who took the sales lead thanks to the home version of Virtua Fighter. Within months of its launch the Saturn was fast becoming Sega’s most successful console in Japan. Tristan Donovan is a British non-fiction author and writer. His books include Replay: The History of Video Games, Fizz: How Soda Shook Up the World, Feral Cities: Adventures with Animals in the Urban Jungle. His latest book is It’s All a Game: The History of Board Games from Monopoly to Settlers of Catan. He is also the writer for Wondery’s “Business Wars” podcast series “Nintendo vs Sony.”
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