A Special Conversation: Fumita Ueda and Tetsuya Mizuguchi, Part 4 (Final)

Finally, our journey together is at an end. With part 4 (links for parts 1, 2, and 3 are here, in case you need to catch up), the final installment, this special conversation between Fumita Ueda (Ico, Shadow of the Colossus, The Last Guardian) and Tetsuya Mizuguchi (Rez, Lumines, Space Channel 5, Child of Eden) is complete. We sincerely hope you enjoyed it, and that it gave you some things to mull over. At the very least, we hope it was interesting. Look forward to the Ico and Shadow of the Colossus collection coming out September 27th for PS3 (for those of you who missed it on the original PS2, shame on you), as well as Child of Eden coming out for PlayStation Move on the same day. Here's hoping that both Mizuguchi and Ueda have many long and prosperous years as game designers ahead of them.

“What was established with 'Genki Rockets' is continuing on in 'Child of Eden'.” 

~Tetsuya Mizuguchi

Ueda: When I tried playing Child of Eden recently, I really thought it was similar to what I've tried to do with my games, and my way of making them. Trying to make the game interface as simple and unobtrusive as possible, and making something that not only appeals to normal gamers, but broadens the audience to appeal to lots of different people, for example. On top of that, the balance you have between gameplay and visuals is amazingly good. It's not just interactive art, it's a very high-quality, complete game. I was once again impressed with the fact that more than being just an artist, you are a true game designer.

Mizuguchi: Thank you. I'm very flattered and honored that you think that.

Ueda: Did you personally make both the world view, the concept for the world in Child of Eden, and the plot for the game as well?

Mizuguchi: Yes, I made both the basis for the world view and the plot by myself, and put them down in writing. Then, as a producer, I had to sync the world view and the story with the actions of the music provided by Genki Rockets (ed. note: the music group responsible for most of the music in Lumines as well as Child of Eden). Of course, there were some things that weren't inspired by the music, but in general, I think I made the world and the story of Child of Eden with Genki Rocket's music in mind, so it fit together perfectly later.

Ueda: With something like Child of Eden, which is basically a shooting game with sound and images, there is of course a need for meaning, but not necessarily a huge necessity for an actual story. You must really like the story, if you were that particular about it, huh?

Mizuguchi: Heh, yeah I guess I was pretty particular about it, about all of Child of Eden actually. After all, when I made Rez 10 years ago, there were things that I wanted to express, to communicate, but due to various restrictions, specifications, and limitations, I couldn't. 10 years have passed since then, and I've realized that what I can do, regardless of anything else, is move people. I can stimulate their emotions, by making a game that connects them to music and conveys a little bit of a message while they're playing. It was something I tried to do in both Rez and in Space Channel 5, and I think I've finally learned how to do it. I feel that Child of Eden is continuing off of the things I learned and tried in those earlier games.

“I want young creators to have high aims.” ~Tetsuya Mizuguchi

Ueda: Mizuguchi-san, I think that game designers who can make games that appeal to everyone, not just game fans, are very few. In fact, you might be the only designer who accomplishes it at the level you do, so I really want you to continue making games with the same high level of motivation you've shown in all the work you've done so far.

Mizuguchi: Thank you very much. Personally, Ueda-san, I hope that you will surpass Studio Ghibli's Hayao Miyazaki; become a creator that gives dreams and touches people all over the world. I want you to become the best. I think that the works of art you make have the potential to change how games are viewed as entertainment.

Ueda: Oh....wow....I'm not sure if I deserve that, but thank you. It is true that the anime movies Miyazaki-san makes, while still being entertaining, also receive critical praise and are valued as examples of fine films. I do think it would be wonderful if games could achieve that sort of existence too, and be valued in the same way.

Mizuguchi: If we, the Japanese game industry, can find new ways of expressing and showing our culture, I'm sure our audience will spread, and gaming will become more accepted. I want that to happen, for our sake as well as for the future of gaming. So that happens, I especially hope that young creators, both existing now and coming soon, will have high aims and ambitions. Especially now, with the level of technology we have, there are really very few obstacles standing in the way of true expression anymore. In addition, when people around the world become more attentive of each other, we will be linked together more than ever before. Only if we have imagination, though, can we make this amazing world materialize.

Ueda: I agree, and I'm sure it will happen. For game designers, being able to use technology well is important, of course, but I feel that this generation is one that needs imagination more than anything else..... Speaking of imagination, Mizuguchi-san, you usually make 'arcade style' games, and I make games more for consoles, or 'consumer style' games, but I want to see some new people appear that can start making different types of games entirely, ones we can't even think of at this point. I think that will be interesting to see, if it happens.

Mizuguchi: Recently, with social gaming and such, many creators are making games and new forms of entertainment that tie people together, that have them form bonds over networks. I think that if there will be an entirely new type of game, it will happen in this sort of environment. I think now may be the chance for a whole new way of game development to be born, and I look forward to it.