Sony has a new guru in charge of all in-house games development. Luxuriating in the job title of President, Worldwide Studios, his name is Shuhei Yoshida, and we were there, at Sony’s London Studio, when he first faced the press in the UK. We decide to quiz him about where he sees Sony’s in-house development for the PlayStation 3 going, his background and where the UK stands in Sony’s general development scheme of things. A personable, impeccably polite chap with a fine grasp of English, he has been a PlayStation man since the earliest possible days. So read on…
Shuhei Yoshida’s roots
Q: Tell us about your background: you’ve been based in the US, haven’t you?
Shuhei Yoshida: Yes, for the past eight years, and I’m still based there now. But I joined the PlayStation project in February 1993. At that time, Ken Kutaragi’s team was purely an engineering team, and I was there as a non-technical person, to help them develop business plans and software strategies for the team. My first job with them was to help them convince Sony to make the investment and start the business. So, that was successful and the company was established in the November of that year. At that time, I was assigned to be the manager of the third-party relations group, working with Namco, Konami and Capcom.
I moved to game development in 1996, and managed our internal studio in Japan for four years. When I moved to product development, there was only one team making games for SCEI – Kazunori Yamauchi’s team. They were finishing their second game, Motor Toon Grand Prix 2, and working on a prototype of Gran Turismo. I helped them finish the game, the game was very successful and they became an independent studio. I helped people to form new teams, which made games like Ape Escape and Ico. I moved to become the head of the US development group in 2000 and held that position until last month.
Q: Now you’re stepping into a large pair of shoes vacated by Phil Harrison. What are your first impressions of the job, and what directions are you looking to take?
SY: I’ve known Phil since 1994, when he became the official evangelist for the PlayStation project. I’ve always been impressed with how good he is at articulating very technical things to non-technical people. Then he moved to product development in Europe, and we were peers – I was running the group in the US and he was running the group in Europe, and we met regularly. So when he became President, Worldwide Studios in 2005 and became my boss, he asked me not to just run the US group, but to participate as a part of Worldwide Studios management — to form and lead the strategy for the entire group. Phil’s departure was unexpected, and we miss him, but as far as where we are going, we have so many things we are already working on, so I just continue that drive.
Shuhei Yoshida on collaboration between Sony’s many internal development teams
Q: When I visited the London Studio recently, everyone was keen to stress that there is a new spirit of collaboration between Sony’s in-house development teams.
SY: That was one of the key initiatives that Phil and I worked on. Before, we were part of each regional organization of Sony Computer Entertainment, so we were a little bit at arms’ length, and didn’t necessarily share information from an early stage. But after Worldwide Studios was formed, we have been sharing our technology and developing a common infrastructure. After two and a half years, the distance between the London Studio and Foster City in the US might as well be as close as the distance between London and Liverpool. I may be exaggerating, but we feel as if that is already happening.
Q: You have shelved the development of Eight Days and The Getaway: what was the thinking behind that?
SY: People were doing the right things on the projects, and there were things in the games that were working really well, but the projects were coming to the end of the pre-production stage, and that is the time when we evaluate every product. Because after that, we would assign more resources to them, and they would really become major investments. This is a regular appraisal process for every project. We do evaluate and cancel projects all the time, because we do start more projects than we finish, and if we finished the same number of projects that we started, that would mean we were not taking any risks at all, and that wouldn’t move our industry on any further.
There are many new ideas that sound very interesting, but we don’t know whether they would really work, or how much it would take to accomplish our vision – that’s why we use the early pre-production stage to try new ideas and measure how much it would take to develop the product. With all that understanding, and with all the other projects that are going on – perhaps other projects are at the same stage and demanding lots of resources from many fronts, because we support many platforms in PS3, PSP, PS2 and PSN – there are more things we want to do than we can, given the number of people and resources. So, it was not like Eight Days was in jeopardy: it was making
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