Masahiro Sakurai on Creating Games

Join me as I kick off my new channel, "Masahiro Sakurai on Creating Games," with an overview of the kinds of things I'll be talking about. Why am I making a channel, exactly? You'll find out in this video.

This video offers a brief introduction to my major creative works as of 2022. I've been involved in numerous other projects as well, of course, but for games in particular, I chose to only include works that I've directed personally. When you hear the word "director," you might think of someone managing teams or providing general oversight, but in addition to that, I also come up with ideas and work on the actual game design, too.

Have you ever heard of something called "hit stop"? The thinking behind it can be applied to more than just hits—in fact, it'd be a waste to only use it there! By the way, an extra point regarding those additional effects shown at the end of the video: using slow motion only briefly and then returning to normal speed would make the effect even more impactful.

In the Game Concepts category, I'll be looking back at how I came up with the ideas for each of the games I worked on, in release order. I have lots of memories associated with these titles, but I'll try and focus on the inspirations and thought processes behind them. We'll start with my debut game: Kirby's Dream Land. Have you heard of it?

In the Planning & Game Design category, I'll talk about topics to consider when coming up with game ideas and mechanics. In this first entry, we'll explore frame rates, which are the frequency in which a game's screen is redrawn and a basic concept everyone should understand. Frame rates can sometimes play an important role in measuring time in games, too, though not as often as in years past.

In the Game Essence category, I'll explore the thinking behind "game essence" and how it impacts the push and pull at the heart of games. In this episode, we'll look at a theory I've discussed numerous times over the years. It's become somewhat well-known (at least in Japan), but as the framework for this category of videos, I'd like to take this chance to reintroduce it for those who are unfamiliar. By the way, the term translated as "game essence" (geemu-sei in Japanese) was a tough one for the translators, and led to a number of long debates. It seems there isn't a perfect match in English, but I hope you'll be able to pick up the meaning through context while watching these videos. The fact that a specific word doesn't exist for it means it's a concept worth exploring!

In the Work Ethic category, I'd like to talk about the ways we approach and prepare for our jobs. How we think and feel about our work is important—we're not robots, after all. The topics in this category are recommended for all lines of work, not just games! This time, we'll be talking about what it means to be a professional.

In the Grab Bag category, you never know what you're going to get. Here, we'll delve into topics that don't quite fit neatly into any of the other categories—though the conversations will still be largely focused around games. Today we'll be talking about how to enhance your game-playing experience by improving your home setup. I hope it makes gaming more enjoyable for as many of you as possible!

Isn't it strange how games stress you out in order to make you feel good? What's going on there?? Lots of games draw inspiration from other works, but rather than just mimic the rules of other games, wouldn't it be better to understand what makes them fun at a fundamental level and then use that to create something truly new and innovative? This is what I try to do, at least.

In the Graphics category, we'll talk about making art for games. I won't be sharing tool tutorials and such, but rather practical points to consider when creating game visuals. Hmm, that last image of a forest could've used a little more emphasis on the shadows...

In the Game Concepts category, I'll be looking back at how I came up with the ideas for each of my games. For this second entry, we'll look at Kirby's Adventure. Kirby's Adventure is the first game where Kirby had the power to copy enemy abilities. I'll talk about where this and some of the other ideas in the game came from, and touch upon the circumstances that led to its creation.

Watch this video, and you'll have what it takes to make your presentations a one-hit KO! If you want to get your proposals approved, the most important step is to trim the fat.

It's Grab Bag time again—the category where you never know what you're going to get. (Though I'll try to keep it related to games.) Despite being involved in the Game Designers Award for the Japan Game Awards, I feel conflicted about it. Why do game awards exist, anyway?

In the Animation category, I'll be sharing some of the tricks we use to express character movement. In this episode, I'll talk about how I communicate my vision for a character's movements to the art team when directing a game. You might even catch a glimpse of some Super Smash Bros. Ultimate design documents!

What defines an RPG? There are countless different elements that make up role-playing games. In this episode, I'll be taking a look at the risk and reward present in two core tenets of JRPGs: exploration and combat. We won't be digging into action-based gameplay this time, but the concepts covered within can still broadly apply.

In the Effects category, I'll be discussing some of the myriad special effects used in games. Additive blending and glare, when overused, can make a game look unrefined, don't you think? It depends on what you're going for, of course, but in general, it's best not to overdo it.

When I'm making games, I try to be sensitive about how long players have to wait before they actually start playing. People tend to get annoyed when they can't jump right into a game, so don't keep them sitting around—just let them play!

UI—short for user interface. In this category, I'll be talking about the on-screen elements of UI in games, such as menus and other display information. Clarity alone doesn't necessarily make for good UI, and today, I'll explore that concept in more detail.

When I was a kid, I was blown away by how I could use my hands to move things around on-screen. We play games by receiving information with our eyes and ears, then sending information back with our hands—making the feel of the controls vitally important. I always try to keep this in mind when programming, designing, or setting parameters.

In my latest Game Concepts video, I'll be taking a look at Kirby Super Star and breaking down the two major themes it was built on. By the end, you'll understand exactly how I came up with them.

Working with computers can be a real headache at times. You have to tell them everything in precise detail, and even then, they don't always behave how you want them to. But in the midst of this, there's one thing you should never forget. Find out what in this second video in the Work Ethic category, which applies to all kinds of work—not just games!

I've also prepared a Programming & Tech category—though I'll do my best to keep things simple. Given the confidential nature of tech, not to mention the vast variety in people's work environments, I think it's best to avoid getting too technical and instead focus on more general topics. This time, I'll be talking about file naming and labeling, an important consideration in any development project.

This episode is a bit like a note-to-self about a topic I wish I'd been more proactive about in the past. Rewarding players is a big part of what makes games fun, but how do you do that effectively?

It's time for another grab bag! For game dev work and for concentration in general, physical fitness is vital. A little exercise can go a long way, after all. I think about this topic often, so I'd like to share how I make exercise a bit more fun.

For the first video in the Audio category, I'll be talking about tempo. When I'm supervising music composition, I find myself requesting tempo revisions quite often. Composers don't always have a full picture of a game's progression, so it's up to people like the director to step in and make sure everyone is on the same page.

We've talked about "game essence" before, but game essence isn't the only thing that makes games fun! In this video, I'll talk about some types of games that don't rely on game essence for fun. The possibilities for fun in games are endless. Sorry for the wait: From this episode onward, the jingle at the start will be slightly quieter, and the titles of other developers' games will be displayed on-screen. I took so much footage for this episode...

This time, I'll share the story of how the original Super Smash Bros. came to be. I've also included footage of a game that's never been seen before... Game historians won't want to miss this!

It's 3DCG, so elements often get lost. The screen is zoomed out, so it lacks impact. Inbetween-frames get generated automatically, so it feels unlively. For all these reasons and more, "too much" is "just right"!

Computers can't be reasoned with, and sometimes even the best-laid game dev plans will require a spec change. If you run into a problem, you need to consider possible solutions, speak up and share with your teammates, and then work together to course-correct as quickly as possible. The longer you neglect a problem, the greater the damage it may cause.

This is a topic I talk about frequently with artists who work on Smash stages. The fact that it comes up so often means it can be useful in many situations...and also that it can be pretty tricky to get right!

It's Grab Bag time again! As someone who has worked on plenty of large-scale game projects over the years, I often wonder... Why do games today cost nearly the same as they did decades ago?

How does one balance the different volumes for various sound effects in game design? You can find out how I do it in this video. I'll give you a hint: it's not about how flashy an action is.

Today, I'll talk about how the appropriate display size for game text isn't necessarily the same for each language. I hope this one isn't too tough to follow for non-Japanese speakers...

I'm sure there's no shortage of aspiring game developers who watch this show. Well, it's time to get out there and break into the biz! This time, I'll be talking about what you need to do to get a job making games.

If your visual effects are too flashy, they'll end up outshining your characters. It's important to find ways to keep effects impactful without interfering with other elements.

Lead-ins, attacks, follow-throughs... There are various ways to refer to them, but these fundamentals of attack animations are the focus of today's video.

Most action games feature the ability to jump, which tells you just how important a move it is. Today I'll dive into the topic in detail, as well as share some insight into a secret jump design of my own!

This topic can be relevant to more than just games, so it felt right at home in the Work Ethic category. Game proposals are meant to summarize what your new game is going to be. Today I'll discuss the method I use to help people understand my ideas quickly.

Today's Grab Bag video has nothing to do with games, but I have a feeling it's something you've all been wanting me to cover. I think I can oblige...but just this once! Sharing videos of my cat is very YouTuber of me, isn't it? #cat

In the Game Concepts category, I talk about how I came up with the ideas for each of my games. In the case of Super Smash Bros. Melee, the concept was really quite simple! A speedier pace was merely one of its results.

The Fiend's Cauldron: a perfect fit for a topic in the Game Essence category. What is it, you ask? Find out by either playing Kid Icarus: Uprising, or by watching this video!

Both creators and players have a habit of getting immersed in games, but we sometimes need to take a step back to see the larger picture. Because the one offered by the TV screen itself is quite small indeed.

It's time for a new category: Team Management! Games are often made by teams, so I'll be discussing how to best manage them to keep development going smoothly. Today, I'll be talking about how to maintain visibility among members of a team.

The modeling team is always eager to make things incredibly detailed, but you need to strike a balance! I like to encourage them to focus that energy toward the elements players will see most frequently.

I've been wrapped up in video games for a long time, so I'm familiar with games of both the past and present. There's no point in just dwelling on the old days, but at the same time, we wouldn't be where we are now without our past accomplishments.

These days, a great number of people are involved in adjusting a game's balance, so being able to change parameters on the fly is vital. This might be difficult to explain without showing the tools we use, but I'll do my best to keep things simple.

I've talked about hit stop before, but this time I'll be sharing specific details of the hit stop techniques used in Smash Bros. Ultimate. I hope you enjoy your taste of these secret ingredients!

Today, I'll talk about the need for leniency on the part of game developers. Making games means making rules, but sometimes it can be more fun if we allow the player to bend them in their favor. Of course, cheating in competitive games is unacceptable.

The first part of an attack animation is called the lead-in. While these might look like nothing more than the simple drawing back of a weapon, there's a lot of thought and craftsmanship that goes into them.

I'm asked about this topic often, so today I'll be introducing some of the various roles on a game development team. Please keep in mind that team makeup and the names used for these roles may vary between teams and also regions.

The simplest approach to a game's controls is to distill them down to a single button! But let's not let simplicity lead to sloppiness. I think it's important to differentiate the different gameplay styles, for starters. Note: I’ve noticed that numerous comments have mentioned games that use a directional pad or analog stick together with a button, but in this episode, I’m focusing exclusively on games that literally only use a single button.

I've spoken previously about writing proposals, but this time I'd like to talk about maintaining momentum as you do so. Lay the groundwork for your game, then finish that proposal in one quick burst!

You see the name often on this channel...but who exactly is Sora Ltd.? You could just say it's just me, really. In today's Grab Bag episode, I'll share some info about my company. If I hadn't chosen to go independent, this channel might not exist.

When I'm doing sound checks for my games, I always make sure to listen on cheap TV speakers, too. But, why? Isn't it better to check how things sound in a high-quality studio?

Today's episode is a bit like a Let's Play, where I'll be providing running commentary as I go hands-on with a game. The game in question has some incredibly well-crafted accessibility settings I'd like to walk you through.

Today, I'll be talking about explosion effects. It's not enough to just show a blast of orange fire and be done with it. There's actually a series of steps we use to impart the appropriate impact.

The title refers to a method I use often when thinking up ideas for a new game. I break down the key points, mull them over, then try to see if I can't think of anything better or more innovative. This is where daily game research really comes in handy.

When you buy games, do you prefer to buy them physically or digitally? As for me, the answer is...in this latest Grab Bag episode!

Kirby Air Ride was actually my first time making consecutive games on a single console! At this point, I was doing supervising work for numerous projects including the Kirby anime series, so why did I go back to being a director? I'll touch on that, the concept behind the game, and the struggles we faced in this episode. By the way, I went independent after finishing my work on Kirby Air Ride.

If you're part of the dev team, you have the potential to change things. Don't wait to take action or talk to someone! While this is a Team Management episode, it crosses into the Work Ethic category, and can apply more generally to most jobs.

The center point in a game is the spot the camera is focused on. It's always there, but you can't actually see it. While the center point generally follows the player character, it shouldn't anchor to them. Why is that?

Of all the different poses, attack poses are quite possibly the most vital. If they don't come across well, your whole game will suffer! Today, I'd like to share some of the things I kept in mind with these poses while working on Smash Bros.

The CG models we make for games don't come with a built-in sense of scale. Whether they're giant-sized or the size of a tiny plastic model, if it's the same shape, it's the same object. Because of this, you need to do what you can to make them feel like they belong in your game world.

Many games rely on repeating the same gameplay, which naturally leads to simplistic and repetitive sequences. Fetch quests are one such example. In this video, I'll explore a few ways you can make these straightforward errands more fun.

If you want your players to truly experience the thrill of flight, you need to also include the not-so-thrilling stuff like crashing and falling! Opposing elements, when implemented correctly, will heighten and amplify the best parts of your game.

It was thought that the COVID-19 pandemic might not hit the game industry as hard as others, but it forced us to completely change the way we work. In this Grab Bag episode, I'd like to spend some time talking about how that panned out for Sora.

A creative work will continue to exist for all-time. Even in these YouTube videos, I'm still discussing games I worked on decades ago. This is why it's important to do all you can now, so you don't regret it later.

When balancing a complicated game, numerous people may be adjusting parameters, so it needs to be clear which parameter does what, no matter who's looking at the data. Today I'll talk about how I tackle this detail.

Ever feel like the music in large-scale titles these days doesn't leave much of an impression? That's because the soundtrack has to fit the game experience! NES fans, think you can name each game whose music plays in this video before its title appears on-screen?

What do all game directors have in common? Not much, it turns out. But the one thing I can think of happens to tie into exactly why they have so little in common.

Most games feature enemies that frequently appear to bar your progress. Some people might even say you can't make a game without them. But are they really necessary?

With all the subscription services available nowadays, consumers have a tremendous amount of media available at their fingertips. But it also means that creators have to compete not only with new releases, but with countless works from the past as well.

Players are busy people! They value their free time! They don't want to wait for the fun to start! ...This might just be the mindset a game designer needs.

Officially, my credit in Meteos is listed as "game design." My goal was to create a puzzle game with risk and reward in mind. At the time, I put together an animated proposal to help explain the concept, and I'll share it with you today in this video!

All games need rewards, but simply having them isn't enough. You also need ways for players to spend or use them, which will ultimately lead to making your game more fun.

I've been told it's an unusual skill, but the ability to count frames—even just approximately—can really come in handy when making games, since they control the flow of time. In this video, I'll show you a few tricks that might help you do it yourself!

The follow-through is the period of recovery that follows certain animations such as attacks. The real takeaway from this video is just how long this period can be!

The shorter a game's load times, the better—but there's no removing them completely. You can try to cover them up, you can label them clearly and let players catch their breath, you can use the time to teach players about the game's world or controls...

The effects I've discussed so far are all present in the visuals of games, so if you watch carefully, you can learn even without explanation! Today, I'd like to slow down and take a deliberate look at some effects. Let's see what they can show us!

It's time to introduce a new category: Marketing! No matter how good your game is, it may as well not exist if people don't know about it. It's not enough to only put effort into developing something special—you need to spread the word, too!

In today's Grab Bag episode, I'll talk about my struggles with dry eyes. Though they have felt a little better lately... I especially notice smartphone and HDR screens putting a strain on my eyes.

Competitive games tend to be rather complicated. The same goes for Smash Bros. Ultimate, if you ask me. So...how exactly do we lower the barrier to entry for these kinds of games?

My advice today doesn't apply only to game creators—everyone can benefit from taking it to heart. If you want to get your creative engine going, you'll first need to give it a shove. Don't wait—get moving already!

Like time, speed is a vital factor that influences every part of a game! But if you can't convey it properly when writing spec sheets or parameters, you won't get anywhere.

Since games rarely come with instruction manuals these days, using tutorials to teach the controls is more important than ever. If possible, you want players to learn, but also feel like they're making progress at the same time.

I touched on this a bit in my Meteos video, but today, I'd like to take another look at the game essence in falling-block puzzle games. Rather than imitate other games, you'll do much better if you understand the core principles!

When your game is finished and ready to be shipped, that's called "mastering up," or "going gold." Congratulations—you did it! But I should warn you, it's not nearly as big a relief as you might expect...

A team of two should get the job done twice as fast, right? Well...it's not that simple. The more members you have on a team, the more work you need to put into management and communication.

Sound effects in games tend to be exaggerated, but making them realistic may help convey more information. There's nothing wrong with either approach, as long as you strike the right balance for your game.

For game directors, the ability to convey their vision clearly to team members is an absolute must. Today, I'll be introducing a practical method I like to use when supervising the creation of graphical assets.

This episode, we'll be looking at a school of thought regarding game animation which was used by a renowned film director on a certain title.

I doubt too many of my overseas viewers will know about this handheld digital game. The proposal I made for it back then was quite animated, so let's give it a good look!

When making a game, it's possible to add effects to your text and subtitles. Depending on what kind of game you're making, these can be great tools to increase the emotion and expression beyond what's expected from just plain text.

Today, I'll give a general overview on how to manage and track tasks over the course of a project. No matter what the scope is of your game, you'll want to have a system like this.

People play games to feel good! Don't hold back on praising them at every step along the way!

Without the Famicom (and NES), the video game industry might have grown in an entirely different direction. Today, I'd like to talk about what it was like experiencing this legendary game console back in its heyday.

A study found that players feel anxiety after defeating an opponent, and relief when they themselves are defeated. You'd expect it would be the opposite, right?

My Weekly Famitsu column, Think About the Video Games, ran for 18 years and 9 months. How did I manage to keep it going that long? You'll find out in this video.

This time, we'll take a tour through several stages from Smash Bros. Ultimate. As I expressed in my most recent Effects video, examining the assets that made it into the game will help explain things better than any presentation I could give.

This is the 100th episode! And the release date of Kirby's Dream Land. To commemorate (?) this milestone, I'll be sharing a presentation I gave in the past.

Let's say you buy a nice burger, only to find out it's cake when you take a bite. You wouldn't be too happy, would you? The same goes for games: a game's title and packaging should tell players what to expect when they dig in!

Most games with gravity have ledges that you can fall off. Today I'll be talking about a number of ways behavior is handled at such ledges.

Screen shake is a great way to immerse players in your game. Of course, you have to be careful not to overdo it, but using the entire screen to emphasize a given moment can be extremely effective.

When a player presses a button, they expect a response—so don't you think it's best to make sure they get one?

In theory, a game will feel best when player strength is balanced. But if enemies get stronger at the same pace the player does, there's less fun to be had.

So, you want to learn about cool poses and make your animations look better? Well, there's no better way than to pick up an action figure and start playing!

I've overseen all sorts of voice recording sessions for the games I've worked on so far. Today, I'd like to give a general overview of how the voice recording process happens!

When I went independent, it put the future of the Smash series in question. I'll discuss how I came to assemble a team to make Smash Bros. Brawl another time, but today, I'd like to focus on the planning and game concepts that went into creating the game.

I sometimes see proposals that hedge their bets, suggesting both a Plan A and a Plan B for accomplishing their goals. This should be avoided at all costs. Stick to the one plan you think is best!

Plenty of games release to great fanfare, but so many others are canceled before they're ever even announced. Making games can actually be pretty tough.

To immerse players in a game, we design detailed characters, scrutinize the backgrounds, create appropriate lighting and effects... It's a lot of work. Before digging in on all that, think about how your UI design can reflect your game's world!

The games and media we interact with when we're young shape our values as we grow older. You could say each person branches off in their own direction. With such diverse values in mind, I'd like discuss what you should consider when choosing a target audience.

Writing stories for novels, movies, and anime is quite different than writing for games! You can't go about it the same as with other forms of media. Today, I'd like to use a few examples to discuss what makes games writing different.

The system I'm introducing today keeps team members in meetings a bit longer, but its pros far outweigh that one con. Remember: managing a team means also factoring in the cost of keeping everyone on the same page! FWIW, our team liked this system, too.

Pixel art can be lots of fun, right? There are plenty of techniques out there for creating it, but today I'd like to explain a few we used back when we had limited colors and screen resolution.

Today, with permission from all related parties, I'd like to share some recordings of a game music concert series I was involved in called PRESS START. Fans of game music won't want to miss this very special episode! (c) Nintendo (c) CAPCOM CO., LTD. ALL RIGHTS RESERVED. (c) Konami Digital Entertainment (c) Nihon Falcom Corporation. All rights reserved. (c) Nintendo / MONOLITHSOFT

The player lost a life, and now they're rapidly losing interest in your game, too... Put control back in their hands before they give up on it entirely!

Without Family BASIC, neither Kirby nor Super Smash Bros. would exist today! In this video, I'll introduce this special peripheral from 1984 by recording myself actually using it. This really takes me back. I had lots of fun with this thing.

Have you ever found yourself exploring a huge world in a game, only to be looking exclusively at the map instead of the game itself? When you're creating a game, you should always be aware of where the player will be looking.

There's one big secret to enjoying sports or competitive video games as a spectator: be invested in one of the teams!

Scaling refers to changing the size of an object or polygon. While it's used less often than rotation and translation, employing it effectively can dramatically alter an object's feel.

Demos can make for great promotional opportunities for your games! But the act of making them is far more challenging than you might expect...

I've been writing an internal Daily Report for my projects for a long while now. It's become something of a habit for me. Today, I'd like to share a few of the many benefits this can provide. If you have the means, it's worth trying!

It's fascinating how thinking back to our childhood days conjures up different images and eras for each of us. In today's Grab Bag, I'll talk about how I enjoyed video games when I was still a child myself, back during the dawn of gaming as we know it.

Kid Icarus: Uprising was a jam-packed third-person shooter released early on in the 3DS's life cycle. In this video, I'll be introducing the concepts behind its creation. Personally speaking... I'm really glad we were able to make this game.

What's an absolute must for game designers? Taking in plenty of media, and putting out plenty of media! I can't stress this enough.