あずき

(古の)闇有利英雄になれました。 ⠀ ⠀⠀ ⠀ ⠀ ポタオデ POLARIS/HA-FW02 アンチポッチャマ

[あずき @warrawq]

お疲れ様ぺこ

[Katsuhiro Harada @Harada_TEKKEN]

I see.
I can understand how you feel.

From this point on, I’m not going to give you my personal opinion. Instead, I’ll talk about this from a general perspective, based on my experience working at a major game company.

If the company that owns the rights to that IP analyzes the business potential and concludes that it could generate profits commensurate with the company’s size, then a remake, sequel, or reboot is certainly possible. The phrase “commensurate with the company’s size” is actually a pretty important keyword here, so I can’t leave that part out.

Timing is another factor, of course.

For example, as Producer Ono has mentioned in interviews in the past, there was a 10-year gap between SF3 and SF4.

During that period, people were saying things like “the fighting game boom is over.” But in reality, namco had been consistently releasing fighting games for both arcades and home consoles throughout that entire period, and was essentially enjoying a complete monopoly on the market.

The scale of that market was actually quite substantial, averaging around 5 to 6 million units in home console sales. And in the arcade business, the revenue generated in the year a game was released was equivalent to the revenue generated during the first two years of its home console release.
Ono-san thoroughly researched those figures and apparently used that data as one of his convincing arguments to get the SF4 project approved.

In other words, finding the right moment when you can identify both a business opportunity and a realistic chance of success in a particular genre is extremely important. So it’s possible that the rights holder is simply waiting for that moment.

What’s interesting about timing is that it’s not just about the competitive landscape or the overall state of the genre. Sometimes, the longer an IP has been dormant, the more excitement its eventual revival can generate. (Although I have no idea whether Bloody Roar would fall into that category.)

Another factor is whether someone will emerge within the organization that owns the IP who has the confidence to BET on that IP, the authority to make it happen, and the willingness to take that risk.

The reality is that even when market conditions and business circumstances are favorable, an organization ultimately needs someone to take the lead.

And unless that leader has genuine passion or affection for the IP, the project isn’t going to get off the ground in the first place. (Or, in the worst case, even if they have absolutely no passion or affection for it, there at least needs to be a very strong business case with a high probability of success.)

When you look at it this way, getting all of these circumstances and conditions to align might sound relatively simple, but in reality, it’s quite difficult, especially when you factor in timing.

On the other hand, there have also been cases in the past where things were actually moving behind the scenes while everyone had pretty much given up hope.

A recent example would be DOA.

After DOA6 was released in 2019, there was a long period during which DOA fans were lamenting the fact that there had been no announcements of new games or even updates.

But behind the scenes, Producer Hayashi was actually carefully watching for the right timing and developing his strategy.

How can I say that with such confidence?

Well, that’s because Hayashi himself was regularly coming to me directly for advice, so I knew what was going on.

He would ask me about the market conditions for 3D fighting games, the state of the community (I was still on the front lines at the time, attending FGC events and observing the community firsthand), and what factors he should be taking into account if he were to start planning something new.

He was surprisingly passionate and thorough in the way he sought advice, and he was genuinely serious about bringing DOA back.

And as a result, we saw the announcement this year, didn’t we?

The same thing happened with VF, didn’t it?
Everyone had pretty much lost hope, but that despair eventually turned into hope.

As for Bloody Roar, I genuinely don’t know anything about it.

That’s why all I can offer is this kind of general perspective. But if you’re going to make your voice heard, I’d recommend making sure that your message reaches the company that actually owns the rights to the IP.

I’ve personally witnessed several cases where feedback like that became the catalyst for a producer to start seriously considering an idea, which eventually led to an actual game being made.
Or maybe one of the fans could even get a job at that company!

In any case, telling me what you want from Bloody Roar isn’t going to change anything.

So if you want to create even the slightest opportunity for something to happen, you need to communicate your wishes directly to the company that owns the IP, and do so

“in a positive and friendly manner.”
(This is really important, by the way. If you start your request with something like “I know you guys probably won’t listen to anything we say anyway, but…” remember that the people receiving those messages are human beings too. A lot of people would simply get irritated by that kind of opening and end up disregarding the request entirely.)

I also wouldn’t recommend online petitions.

(Of course, it depends on the scale of what you’re asking for, but even if you manage to collect tens of thousands of signatures, they generally don’t carry much weight. Anonymous online petitions are so easy to participate in that they tend to lack not only credibility but also any real sense of significance or commitment.)

Instead, figuring out how to communicate your genuine passion and enthusiasm directly to the people who can actually make decisions would be far more effective.

Well, that’s about all I can tell you.

I realize this is all pretty general advice, and you might be thinking, “Yeah, I already know all that.”

[Katsuhiro Harada @Harada_TEKKEN]

Wait, are you, by any chance, trying to give me a lecture??

You even went so far as to explain some of the technical aspects of game development to me… There are actually quite a few points I could challenge there, but technical arguments tend to become rather unproductive, so I’ll deliberately leave those aside.

Well, how should I put this… Okay, then. Let me address your arguments head-on, not as a matter of personal opinion, but from the perspective of someone who has spent over 31 years working at major game developers and publishers, and offer a few general observations.

I think your interpretation of the facts is somewhat influenced by personal assumptions, possibly due to a lack of firsthand industry experience or a relatively narrow range of information sources.

(1) Oversimplifying the issue as “executives only care about numbers.”

Considering profitability and respecting the passion of creators are not necessarily opposing concepts. (I understand that this might be difficult to reconcile on an emotional level, though.)

(2) Overgeneralizing that the mid-market largely disappeared after 2008.

You’re attributing a complex structural transformation of the market to essentially a single cause.

(3) Citing the success of NieR:Automata while underestimating the importance of the business decisions and financing that made that success possible in the first place.
(Incidentally, Yoko Taro-san, like me, is a former Namco employee.)

(4) Treating “the passion of fans” and “corporate business decisions” as fundamentally opposing forces.

Even to continue delivering the games that fans want, a business needs to remain economically sustainable.

That said, I did notice that you explicitly qualified your argument with “from an outsider’s perspective,” so I understand that you’re at least aware that you’re commenting on the industry’s internal workings without actually having firsthand knowledge of them.

[あずき @warrawq]

アイラのアーモリー買っとけばよかった...^_^

[SurugaMonkey🍌 @s_monkey0113]

配信中の発言についてのお詫び

[あずき @warrawq]

ぺろっとサンダーで出ておもろすぎる、あの予告音だけでぺろぺろ

[セガプラザ公式 @seganewsnavi]

【2027 #セガプライズ 新作速報】
『ストリートファイター6』のフィギュアが、
今秋よりUFOキャッチャーに連続登場🔥
本日ご紹介するのは来春頃登場予定の「A.K.I.」です。
続報をお楽しみに！

FIGURIZMα ‐A.K.I.‐

#スト6 #FIGURIZM

[あずき @warrawq]

明日は👑

[あずき @warrawq]

緑文字って感じ

[高木 @Takagi_Progamer]

Good 8 squadに40-0で勝利！！
今回は出番がなかったけど、チームメイトが強すぎてやばいわw

今後もみんなで頑張ろ👊

RIDDLEの練習に付き合ってくれた皆様ありがとうございます！ @_MenaRD__ .@sasamostreet .@Amayui_Moka .@K_atl8 .@vicinalcorgi .@danotonari .@Shuto_fgc

[あずき @warrawq]

これほど応援しがいのあるチームあったか？タオル買います

[あずき @warrawq]

最高のチーム、リドル

[ユタポン @nico_yutapon]

クレイジータクシーで当選しましたが
ゲーム内BGMが版権関係で流せなさそうです…

ダメ元ですが
ギター、ベース、ドラム演奏が出来る方いませんか…
理想は当日の生バンドですが、収録音源の可能性も込でご協力していただける方を募集します

#RTAinJapan

[ウマ娘プロジェクト公式アカウント @uma_musu]

現地時間の2026年10月22日(木)、23(金)に開催を予定しておりました『ウマ娘 プリティーダービー 7th EVENT WORLD TOUR “THE STAGE” in LOS ANGELES』につきまして、誠に残念ではございますが、公演を中止せざるを得ない状況となりました。

スタッフ一同、開催を目指し関係各所とも調整を重ね、あらゆる方法を模索してまいりましたが、公演に必要な米国ビザを取得できなかったため、苦渋の決断ではございますが、公演の実施を断念せざるを得ない状況となりました。

公演を楽しみにお待ちいただいておりましたトレーナーの皆様には、ご迷惑とご心配をおかけしましたこと、また開催直前のご案内となりましたことを深くお詫び申し上げます。

また、今回の中止に伴い、下記内容に関しては払い戻しの対応を予定しております。

・現地観覧チケット
・配信チケット
・ウマ娘 × JTB 7th EVENT “THE STAGE” in LOS ANGELES OFFICIAL TOUR
・ライブビューイング

また、本公演に現地参加される予定のお客様への対応を検討しております。

お時間をいただくこととなりますが、今後の対応詳細につきましては決定次第「7th EVENT 特設サイト」にてご案内いたしますので今しばらくお待ちください。

改めてとなりますが、本公演を楽しみにお待ちいただいたトレーナーの皆様、また本公演の開催に向けて多大なるご尽力をいただきましたウマ娘キャスト、スタッフ、関係者の皆様にご迷惑をおかけいたしましたことを、深くお詫び申し上げます。

お知らせにつきましては、こちらをご覧ください。
https://t.co/DtIa2Oyj3o

[あずき @warrawq]

最高のデッキケース持ってるん思い出した、モダンはこれでええや

[あずき @warrawq]

ビボ勝ちすぎ

[あずき @warrawq]

いきなり5デッキ禁止(6デッキ)は結構すごいよな

[GoAgainMedia｜FaB総合情報サイト @goagainmedia]

【リビングレジェンドTOP10更新】
前回から、カッサイ、ダッシュI/O、アラクニ、ファイ、オシリオの５人のヒーローがLLに到達しTOP10ががらりと変わりました！
シンドラは今回のプロクエストシーズンが最後のプレイになると思われます。
#fabtcg

[あずき @warrawq]

妹に運転教える、誰の動画で最初見るか悩んでる、かじゅかかるびか

[かずのこ(Kazunoko) @kazunoko0215]

新しい動画です。キレちまったよ...😡

言った通りに運転しない妹に、つい声を荒げてしまうかずのこ【妹に運転を教える】 https://t.co/tDSAbdTH77 @YouTubeより

[あずき @warrawq]

7もおもろいやろがい！(最終バージョンは好みじゃ無いけど