Le 2008-04-19 17:07, Panda a écrit:
note au passage : si tu as un écran HD (720p ou 1080p) et que tu comptes jouer à des jeux Playstation, c'est possible ... mais ça brûle vraiment les yeux.

Le 2008-04-21 08:54, CBL a écrit:
la PS3 est trop limitée techniquement.

Le 2008-04-21 09:41, Neoclyps a écrit:

Les gars n'ont jamais eu de machines aussi puissante et sophistiqué entre les mains et ils trouvent encore a redire. Le soucis n'est pas le hardware ou le software mais le manque de motivation et (ou) d'ambition des responsables.

On parle de Konami là, à savoir des grands malades de l'optimisation qui ont donné les plus beaux jeux NES, SNES, PS et PS2.

Quand Kojima dit "We're using the Cell engine to its limit, actually.", on peut lui faire confiance.

Le 2008-04-21 08:54, CBL a écrit:
Kojima en personne déclare qu'il n'est pas complètement satisfait des graphismes d'MGS4 et spécialement de la taille des cartes. L'explication : la PS3 est trop limitée techniquement.

Ne me faites donc pas dire ce que je n'ai pas dit.

Le 2008-04-21 10:10, Mia a écrit:
Je ne crois pas qu'il faille accorder beaucoup d'importance à cette déclaration. Pas plus que la dernière fois où il disait que les 50 Go d'un Blu-Ray n'étaient pas suffisants pour MGS 4.
Le gars est un perfectionniste et éternel insatisfait.
Quant aux prousses techniques de la PS3, ça reste le top actuel et d'une bonne marge, donc bon.

Je retiendrai surtout ce passage de l'interview personnellement :



Mine de rien c'est fondamental.

J'ai peut être loupé un épisode, mais on déjà eu un jeu PS3 qui faisait "aussi bien" qu'un jeu 360?

Le 2008-04-21 10:58, Zure a écrit:
Sur le plan technique, et très spécifiquement en 3D, les dévs japonais n'ont jamais été des lumières. Leurs jeux sont souvent très beaux esthétiquement mais jamais en termes purement techniques. Donc oui les jeux Konamis étaient très beaux en 2D mais en 3D, beaucoup les ont surpassés techniquement à commencer par les titres de Criterion qui, eux, ont effectivement poussé la PS2 a ses limites.

A lot of companies in Japan have mentioned that they feel that the Japanese game market is falling behind in terms of technology, partially because PC development and advances in that sort of technology have been happening mostly in Western markets, and support is in English. This engine, though, seems quite high-end. It's very unusual within the Japanese industry right now. Do you agree with that?

TM: Until the PS3 was launched, regarding the 360 and PS3, it is true. I agree that maybe Japanese game technology is behind because there were no previous experiences, or a base in that PC market in Japan back then. Since then, things have changed. Now, I think it has come to a point when the PC architecture and technologies have advanced, particularly in terms of the Japanese way of expression, such as, "In this game, we feel very strongly that we are very capable."

I do think that in terms of the language barrier, yes, it still is a challenge. We do face those challenges in terms of communication, but in terms of technology, I don't think we're behind. We probably have conquered that problem...or probably we have gone across that point and advanced.

Why did the company also license Unreal Engine 3?

TM: We used the Unreal Engine for The Last Remnant because we had a particular Western -- European and American -- market in mind. I believe that the game engine reflected the culture and philosophy of the market, and the creator.

Actually, I wouldn't say that we would use Crystal Tools for everything. To create Final Fantasy, yes, Crystal Tools is ideal and it's good. But for other titles, we could use other engines as well. In that sense, it's always an option to use another method. Also, I don't mean that the Crystal Tools can only create Final Fantasy.

Could you elaborate more on how you say this engine is particular to the Japanese mindset? Is that in terms of the pipeline and workflow?

TM: Maybe I shouldn't say it's very Japanese-like. That's probably too vague. I'll say it's very Square-like. All the experiences that we've gained from large-scale production of Final Fantasy is being input into this engine.

Considering that Japan's developers have complained about Western engines being primarily in English, would you ever consider licensing out the Crystal Tools to other developers, like Epic does in America?

TM: We have considered that option, but at this point, considering preparing the documentation and the support costs, even if we don't think it's impossible...at this point, we are not doing that.

In terms of in the future, if you were to license the tech, you'd probably be the first company to license an engine in Japan. Do you think that this kind of thing would be accepted at this point? Because I know in the past it was very difficult to share technology in a public way over there.

TM: Things have changed compared to before. Koei actually licensed the Dynasty Warriors engine for Dynasty Warriors: Gundam. Capcom's MT Framework, I think they're licensing that too. Things have changed, so we're not the first one.

Why do you think this change has come about? It's all quite recent, within the last couple of years, I think.

TM: It's only my personal point of view, but before, they used to just own their own technology without sharing, and that's how they kept their play safe. But recently, they have probably realized the importance of sharing information on technology between developers, particularly for the next-generation consoles. It used to be that the European and American markets have strong PC backgrounds, so they're much stronger in that sense. So probably Japanese developers have realized that as well.

What do you see as the benefits of licensing an engine, versus building your own in-house? There's a lot of debate about that, even in the western market right now.

TM: It's much quicker to buy something, to purchase something that's already existing. That's easy, and it's probably less expensive than to create your own. The benefit behind having an internally designed tool is basically... the Crystal Tools we have developed because we wanted to use all the know-how that we have gained from experience in the past with the Final Fantasy series. We wanted to get all of the good experiences put into these tools. That's the benefit of this tool.

For existing licenses, do you feel it’s worth the trouble when you have to actually learn how to use it and fit it into your pipeline? It may be quicker to get, but it's harder to make it work right for you.

TM: That's why the Crystal Tools are much more familiar for Square Enix people.