It’s undeniable that there’s been renewed interest in certain retro genres as of late, but there’s one old-school arcade genre that rarely sees any modern-day love: the third-person crosshair shooter. The likes of Cabal, Blood Brothers, and NAM-1975 simply aren’t being made anymore in any format, and that’s extremely unfortunate.
So when Natsume announced that Wild Guns – a SNES game that served as both a loving tribute to the genre and one of its last great examples in the past few decades – was getting a revised an enhanced PS4 reissue as Wild Guns Reloaded… well, I knew that Gaming.moe would have to do something involving the game. This site is built on love for classic gaming genres and underappreciated gaming gems, after all! Even more exciting was the news that original development staff from Natsume-Atari was working on the game. Not only were they going to adapt the game for a new platform, but they planned to add all-new levels and characters as well! My hype was officially through the roof, and I doggedly pursued the chance to interview the game’s creators for a rare look into the creation of a true modern retro revival.
Thanks to the help of Mika and other great folks over at Natsume, we were able to arrange a discussion with Mr. Taka Maekawa, the game’s producer over at Natsume-Atari in Osaka. Please enjoy this exclusive interview about the creation of Wild Guns Reloaded — which, by the way, is now available on PSN and in a limited physical release!
I went to MAGfest in the DC metro area again this year, after having a lot of fun last year and putting on a really cool panel. Besides doing another panel (which will be up shortly, with notes), I also had the opportunity to partake in some of the musical festivities – it is the Music and Gaming Festival, after all!
Above: Manami Matsumae plays the keyboard in a live performance of Mighty No. 9 songs at MAGfest 16.
Among the performers at the show was Manami Matsumae, a storied game composer currently working with BraveWave. She’s perhaps best known for her work on the original Rockman/Megaman. Her body of work encompasses many more great tunes, however, including several of Capcom’s early-90s arcade classics. She graciously took some time out of her busy schedule to chat with us during the event, and the result was some very cool anecdotes about working on the Capcom sound team during the great Japanese video game boom of the 80s and early 90s.
It’s weird to think that Mario, one of the most influential and important action game series ever, not only has an RPG spinoff, but has multiple such spinoffs. The original Super Mario RPG felt like a unique, one-off affair back in its time, but the groundwork laid by that title has since spawned the Paper Mario and Mario and Luigi series. After years of doing their separate takes on the Mario universe – and producing some all-time classics in the process – the two series recently crossed over in the 3DS game Mario and Luigi: Paper Jam. (Can we stop and ruminate on the sheer brilliance of that title for a bit? It works beautifully on so many levels.)
I had the opportunity to talk with Mr. Akira Otani of Nintendo and Mr. Shunsuke Kobayashi of Mario and Luigi series developer Alphadream about the creation of this 2D/3D adventure. Read on for some fun little tidbits about what went on behind the scenes of this game’s creation!
Please note that since this was an email-based interview, it’s a bit shorter and doesn’t have quite the same back-and-forth as the interviews I do in person or over voice/IM. There will also be minor spoilers for events about halfway through the plot. Please be aware, and I hope you enjoy it!
Sometimes, a personality associated with a famous game is so visible and so spoken-about that we ascribe all elements of a game’s creation to them, rather than recognizing the true team efforts that many of these titles are. Such is the case with the original Resident Evil/Biohazard – you’ll often hear Shinji Mikami given full credit for the title, when in truth, Biohazard wouldn’t have taken the industry by storm if it wasn’t for the entire team who made it a revolutionary horror experience. Kenichi Iwao is one such individual: his scenario and storywriting for Biohazard set the stage for two decades of sequels, offshoots, and lore to follow. It’s not his only claim to fame in the business, either: Iwao has worked on many beloved titles like Demon’s Crest, Einhander, and Parasite Eve II. He also carefully created the sprawling worlds and stories of the Final Fantasy XI and XIV MMOs. It’s an honor to have to opportunity to interview one of these great unsung heroes of the game industry.
We had a unique opportunity to sit down with Iwao and discuss his lengthy career in the video game industry, and he surprised us with some of his answers to our questions. What do Steve Jackson and MSX games have to do with Biohazard? Read on to find out!
Special thanks to Alex Aniel of Brave Wave Music for assisting with this interview.
Much as I take pride in my knowledge of gaming history, there are a few areas that I could stand to learn more about. One company whose history I don’t particularly know that well – though I’ve always meant to learn more about – was Human, a Japanese developer and publisher prominent through the late 80’s up until the end of the 32-bit era. Human was known for a lot of things: Fire Pro Wrestling (perhaps the best-regarded wrestling game series of its time), a game design school that produced fascinating experimental titles like The Firemen and Septentrion (S.O.S. in the West), the groundbreaking Clock Tower series, and a sudden collapse that left the firm in shambles.
So when I was offered the opportunity to conduct an interview with Hifumi Kono, the former Human employee who went on to found developer Nude Maker, I jumped at the chance. I was eager not only to learn a bit more about Human’s history, but also to look a bit deeper into the game that defined the company’s later legacy, the Clock Tower horror game series, and its spiritual successor Project Scissors/NightCry. Read on for a candid look at Human’s past, Clock Tower’s influence and how it symbiotically benefited from Biohazard, living on pachinko earnings, and what happens when you play a classic Western horror game without speaking the language.
Remember watching that Metal Gear Solid V: The Phantom Pain trailer that was unveiled at E3 2013? Do you remember first hearing those sweeping, powerful notes of the game’s vocal theme, Sins of the Father? I bet you do. But how much do you know about the amazing voice behind that and the Peace Walker vocal theme, Heaven’s Divide?
You might be surprised to find out that Donna Burke, the vocalist behind those two songs – and the voice of the in-game IDroid – has a very long and storied history doing English voices and musical work for numerous games from within Japan. Her list of previous projects includes numerous classics and fan favorites, and through her music and talent agency Dagmusic – which she owns and manages – she continues to provide the Japanese game industry with valuable voiceover and sound services.
I had the opportunity to talk with Donna about her past and previous work, how she came to Japan, what the English voiceover industry in Japan is like, all those different English accents, and – of course – those amazing Metal Gear songs. Read on!