Support NeoGAF

[nial]

Full story here:

[GDC 2025] Creating a game filled with a sense of fun. A story of traveling 10 planets leading up to the birth of "Astro Bot"​

"ASTRO BOT" is a 3D action game developed by Team ASOBI exclusively for PS5. It has been highly praised as a work that can be enjoyed by a wide range of people, from casual players to avid gamers, due to its operation feeling that makes use of the PS5's functions, playful stage gimmicks and actions, and warm design.

Behind the development was the philosophy and mechanism unique to Team ASOBI, which is to turn gameplay into a toy. In the session "The Making of 'ASTRO BOT'" by director Nicolas Doucet at GDC 2025, he introduced the game in a way that was like an Astro "space trip" traveling around the GDC 25 galaxy.
Let's report on the session, which was full of thoughts and information.

"Astro Bot" was created by Team ASOBI, one of the PlayStation Studios. The team specializes in "playable technical demos" that take advantage of the features of new hardware, such as "THE PLAYROOM" and "Astro's Playroom". The team started as a small development team within the SIE JAPAN studio in 2012, and became a first-party studio following organizational restructuring in 2021.
Currently, there are about 65 people in the Tokyo office. About 80% of the members are Japanese, but the team is diverse, consisting of 12 nationalities.

Planet 1: Original Pitch - Everything that went into the first step​

The "Astro Bot" project was first proposed within the company in May 2021. At the time, prototype development had already begun, but the pitch (a presentation to propose a game plan within the company) was revised 23 times before it reached top management.



The presentation materials were in comic format. The world view of the game, the basic loop of rescuing the bots, the metagame structure of repairing the mothership, and everything else were depicted as storytelling comics, and were put together in a way that was fun to look at and stimulated the imagination.



The following four Key Pillars (core concepts and values) were clearly defined during the pitch:

• Crafted Gameplay

The action has been thoroughly polished to make every second of your control feel enjoyable.

• Techno Magic

A magical experience that makes full use of PS5 technology, including physics calculations and haptics.

• PlayStation Fiesta

A loving production that celebrates the history and characters of PS.

• Overflowing Charm

The aim is to create an experience that will naturally bring a smile to your face through art, animation, music and more.

At this point, ideas for gameplay that takes advantage of the DualSense wireless controller's technology and the key concept of Precision Theater Killer were also incorporated.
In addition, illustrations of "special rescue elements" that allow you to use the abilities of famous PlayStation characters by rescuing them, using Kratos from "God of War" as an example, are also shown. There is also "that" scene where past PlayStations and peripherals are gathered together, which suggests that the ideas for the various elements of "Astro Bot" were there from the early stages of development.



New ideas such as underwater and time stop were also prototyped at an early stage, and an "experiential pitch" was created by lining up several prototypes in a small test room. A document outlining the direction of the art was also prepared so that new artists and animators could easily join in even in the middle of the project.
Initially, the development team was expected to be 80 people and the development period to be three years, but in the end, the budget was kept the same and the development period was extended to three and a half years, with about 65 people. However, this turned out to be a very good decision. This was because the team had more time to face the game, which led to an improvement in quality.

Planet 2: How to generate ideas​

At Team ASOBI's development site, the starting point is always the idea of "play".
When a new project begins, it starts with brainstorming. The sessions are held in small groups of 5 to 6 people, and participants are not only game designers, but also artists, programmers, animators, audio designers, and more. The idea is to generate better, unexpected ideas from diverse perspectives.
Post-it notes are used to generate ideas, and the ability to sketch quickly is emphasized. It is said that approximately 24 to 36 ideas are generated in one session.



What you should be conscious of when doing this is "combining functions ." For example, you could combine the DualSense's gyro function with fluid simulation technology to come up with a gimmick that lets you control the device as if pouring liquid.



A method of using the office walls as an idea archive was also introduced. Although it may seem like an old-fashioned method, being able to see ideas as a "space" stimulates the team's creativity.
Since this method could not be used during the pandemic, a digital gallery was introduced instead. However, it was difficult to create the same creative flow as in a real environment because it was time-consuming to open and search files and it was difficult to come up with intuitive ideas.



At Team ASOBI, we divide ideas into "classic" and "unconventional" to maintain a balance.
Classic ideas are things that existed in past games or mechanics that are easy to understand intuitively. They can be developed with little explanation, but in order to make them stand out, the quality of implementation must be high. On the other hand, unconventional ideas are appealing because of their originality and freshness, but in some cases there is a risk of destroying the worldview or confusing the player.

We consciously create both types, and then move on to prototyping. About 10% of the ideas that have been produced up to that point make it to this stage. The act of generating a large number of ideas itself serves as the soil for producing carefully selected, good prototypes.

Planet 3: Prototyping​

Team ASOBI says that prototyping is a very important part of their development. In fact, about one-third of the entire development time was spent on this process.
At this stage, they pursue purely "whether it's fun or not". If prototyping is done properly, the subsequent development will be very smooth. For example, if the idea of a "sumo-themed enemy character" comes up, the specifications will be kept simple, focusing on visuals and focusing on gameplay.



The ideas that emerge from the brainstorming are compiled into a simple specification document and sent to the gameplay programmer. At this time, the programmer is presented with several options. Since there are a huge number of ideas, this is to allow the programmer to choose what suits them and what they are good at, without being limited in any way.



What is unique here is Team ASOBI's unique development method. The programmer is responsible for all of the models, animations, sounds, haptics, and game code by himself. This not only allows the intention of the idea to be shaped as it is, but also allows for quick trial and error without having to spend time coordinating with other disciplines.

Once a playable prototype is completed, artists use it as a basis to refine the visuals. Even at this stage, the size and movement proven in the prototype are respected, and the core gameplay is maintained as much as possible.



This process extends not only to the enemy characters, but also to gimmicks and effects, as well as haptic feedback expressions and sounds. Of course, not all of them will be used in the game, but they will never be wasted. There are times when ideas are used at a leisurely pace, and the knowledge and sensations gained during development will always be used in the next step.



For Team ASOBI, incorporating "surprise elements" into the game is very important, so they check every element related to gameplay at the prototype stage and try and error. Another reason is that if gameplay prototyping is successful, subsequent development will go much smoother.
If the gameplay is firmly established, the rest can focus on "making the game beautiful". Just making it look beautiful is a difficult task, so it is important to proceed on a solid foundation.

​

Planet 4: Level Design Promises​

In "Astro Bot", it was important to give each level a unique character. To achieve this, the first thing that was done was to decide on a theme for each planet. Taking inspiration from movies, folk tales, pop culture, and other sources, the team added fantasy elements to create an original worldview.



To visually check the overall balance, the concept of each level was also posted on the wall. This avoids duplication of similar themes and ensures diversity. In addition, although the level design is basically decided by the game designer, if the visual theme is not decided, it is produced by the art and the level is decided to match it.



There was also a rule for gameplay. That is, "Mechanics can only be used once ." It costs money, but it keeps the experience fresh and gives each stage a clear characteristic.
Even if the same gimmick is used in multiple levels, the expression and flow are firmly differentiated. Conversely, elements that are deemed too similar were sometimes boldly cut even when the game was nearing completion.
These were costly choices, but because so many prototypes were created in a short period of time in the previous stage, they were able to secure a sufficient number of mechanics to cover the entire game.





And the most important thing was the sense of tempo. A game design with good tempo means that platforming and enemy encounters are rhythmically arranged.
Platforming, enemy appearances, checkpoint placement, etc. are carefully adjusted, and it is designed so that players can proceed at a comfortable rhythm, such as punch, punch, jump, punch, punch, jump, punch to rescue their bot friends.



The game is designed to allow immediate retry if you make a mistake, and is packed with features to keep you immersed in the game. The tutorial is also displayed in a small way in the corner of the screen without interrupting the gameplay. It is designed to disappear automatically if the player performs the correct operation.



Of course, music is also one of the major pillars that support the sense of tempo. Composer Kenny Yamamoto understood the rhythm and atmosphere of each planet and created music that perfectly matches the gameplay. Music functions as an important element in creating the "heartbeat" of the game.



The ingenuity behind the good tempo is seen in many aspects, such as the story told through a minimum of cut scenes, Astro's constant fidgety animation that makes you think "I have to hurry!", and development tools that allow real-time editing. Good tempo is not just an element of the game design, but is the very development culture of Team ASOBI.

​

Planet 5: Toy-like gaming experience​

Through the development of "Astro Bot", Team ASOBI aimed to create a "game that feels like a toy". Every time the expressive Astro takes an action in the game, there is some kind of reaction. If you punch, the trees will shake, if you touch the grass, the light will come on. Even just running around is fun, and these small interactions are what make players want to try more.



In order to create a world that players will want to play in, the objects are made to react as much as possible, and the background objects are made into characters as much as possible. For example, a simple jump pad moves like a comical mushroom, and a punching bag bounces upside down, and the game is packed with humor that exceeds the player's imagination.



After completing their main tasks, the animation team focused on "breathing life into the world ." They brought a rich emotional expression to the game world.
One example of this was the "Wildlife Story" feature, in which NPC-like creatures react differently depending on the situation. An animal that had been playing a moment ago hides in fear when an enemy appears. When Astro defeats it, it pops out and starts playing happily. Just having these reactions makes the game world feel much more lively. These were sublimated into an experience where it's not just about clearing the stage, but also about having fun playing in the stage.

 

[nial]

Planet 6: Keep it simple​

From the early stages of development, Team ASOBI shared the common understanding that "it is not necessary to make a big game", and was strongly conscious of "simpleness."
Even if it is short, a game that is dense and can be played to the end is valuable. From the scale of the game, to the operation method, to the presentation, the purity of the experience is increased by "cutting down".



In terms of operation, of the DualSense's 18 buttons, only the left stick and two buttons are used for main operations. There are also scenes where [L2/R2] are used for some power-ups, but even there, a combination of short and long presses has been combined to achieve intuitive operability.



Menus and options are kept as simple as possible. There is no detailed customization, and the UI is intuitive. Voiceover is eliminated, and the total text volume is kept to 4,292 words.
The world map has also been reorganized, with nearly 90 planets categorized into galactic units. Visually and operationally, it is easy to proceed without getting lost.



By having the courage to cut back and eliminating unnecessary complexity, the game was created so that anyone could get into it right away, and even if someone else joined in the middle of the game, they could play it without feeling out of place.
By making the game small-scale, the team could have complete control over the entire development. From the player's perspective, a short, dense experience can be more appealing. The reality is that modern players leave many games unfinished, and there are an increasing number of titles that they cannot complete to the end. That's why they thought there was great value in a "game that you can play to the end", and they made sure to keep it simple.
They had no hesitation in making a compact game from the start, and said that they wanted to convey the message that "it's totally OK to make a small game", especially at a place where game developers gather, such as GDC.

​

Planet 7: Catering to a Different Playerbase​

"Astro Bot" was designed with both gamers and casual gamers in mind. Since it was expected to be the "first gaming experience" for small children, the first area has many safe zones where players can run around freely and does not require difficult operations. The main part is designed with just the right level of difficulty so that anyone can complete it, and there are also high-difficulty challenges for players who want to get into it.



The collection of bots was also devised to suit the player base. By adjusting it into three patterns: "You can see it, but you need to be creative to get it," "Humorous production," and "Special hidden bots," the balance between exploration and a sense of accomplishment is achieved.



The placement of the bots has also been designed to motivate players to collect them by having Ratchet & Clank appear at the first level, making the characters familiar to players immediately visible. The bots of popular PS characters have also been adjusted to suit the player base, with characters known by many people placed in normal stages where they are easy to find, and characters preferred by core gamers placed in high-difficulty challenges.

​

Planet 8: Hard Challenges and Speedruns​

Speed running was also a major element of the game, as a challenge based on the player's skill.
For Team ASOBI, speed running was a new challenge, but they were naturally drawn to its appeal during development. Hidden elements for advanced players, such as skip routes that use the "corners" of specific terrains and objects, were intentionally placed in the game, creating a structure that allows players to discover more the more they play.

The challenge stages also included a super difficult stage with a PlayStation button mark as its motif. These were extra content separate from the main game, and succeeded in naturally separating main players from the hardcore group.



The bots of PS characters that can be obtained through these challenges can be viewed at the "PlayStation Museum". The original character names were not explicitly stated here. This is because the design was to leave room for players' imagination and make them familiar to a wide range of people.
For example, in the case of a family, parents who know the original game will feel nostalgic for the character, and children who meet it for the first time will wonder what kind of character it is. This will spark conversations in the family, and "Astro Bot" will become a place to connect generations.

​

Planet 9: Feedback and review culture​

During development, Team ASOBI strictly implemented a two-week review cycle. This is the core of the team's development culture, and aims to repeat trial and improvement in short spans.



A plan is made on the first day (Monday) of each cycle, and a hands-on review is held on the second Friday with all members participating. Here, all the content created in the last two weeks is actually played and checked. It is amazing that this process was repeated a total of 103 times throughout the development period.



The review begins with experiencing the gameplay. After that, the team splits into art, audio, and technical sections to check the content. At the end, there is a session called "I Like / Let's Improve", where everyone lists one "good point" and one "point for improvement". This is not an evaluation of the quality, but rather an opportunity for the whole team to speak their minds, with the idea that "it is natural to talk about problems".
This creates an atmosphere where everyone can naturally voice their opinions, and fosters the awareness that "the whole team is developing the game together".



Friday afternoons after the review are used as free time. They value having "fun" after work. They play games that are trending in the industry, brainstorm new ideas, and sometimes just work. This cycle, which is more than just a review but has become established as a culture, supports the unity and creativity of Team ASOBI.

​

Planet 10: What's Behind the Success​

The session with the largest volume of information was on the last secret planet. The theme was "Learning from failure and what we gained through development".



Through the development of Astro Bot, Team ASOBI learned not only from successes but also from many challenges.
For example, designing open levels (stages with a high degree of freedom) made it difficult to maintain the tempo because players could move around freely, and as a result, they were forced to cut some levels. Also, porting gimmicks from VR titles did not work well at first due to differences in interaction design, but they were eventually able to resolve this by simplifying the structure. They also struggled with visuals that were both visible and beautiful.



The team then had a discussion about the ending. To avoid spoilers, I can't explain it clearly in this article, but the initial depiction of Astro was so strong that it even felt cruel, to the point that some within the team questioned it.
In the end, they arrived at a performance that "stirs up emotions but doesn't cause discomfort". This process was also an opportunity for the development team to reaffirm their identity as "entertainers". In this way, these were not just failures, but experiences that will help them create new experiences in games in the future.



The overall summary emphasized that what lies behind their success is not special magic, but "small accumulations" and "passionate efforts". In a two-week cycle, they repeatedly reviewed and improved the game, deepening the bonds between the team as they created it.
They also mentioned their strategy of "We don't have to aim to be the best, we just need to shine where we can do our best work". This is an expression of Team ASOBI's attitude of trying to deliver an experience that players around the world can truly enjoy, like "the best picnic on a quiet beach".



The team was not distracted by the scale or flashiness of the game, but instead used a modular, flexible design to create a work that could be enjoyed until the very end. They also played the game together regularly and exchanged frank opinions. This game-making culture that valued playing the game ultimately led to the team's unity and strength.
Finally, Nicolas Doucet concluded his speech by expressing his deep gratitude to all the team members, saying, "It was because of our passionate colleagues that this game was born and we were able to bring joy to so many players".

---

I had the opportunity to interview Doucet at Tokyo Game Show 2024.
When I told him that I was playing Astro Bot with my kids, he was very interested and kept asking me questions throughout the interview and afterwards, such as, "How are you having fun? Wasn't it difficult?"

He may have been interested not only as a game creator, but also as a parent. When I told him that I was enjoying it, Doucet smiled very happily and nodded repeatedly, saying, "I see".

At that time, I realized that the fun and warmth of "Astro Bot" is because it is made by people like these, but through this session, I understood even more. The trust within the team, the culture of playing the game together, and the attitude of expressing gratitude to your teammates at the end. All of these things support the "kindness" of this game.

(C)2024 Sony Interactive Entertainment Inc. Developed by Team Asobi. Astro Bot is a trademark of Sony Interactive Entertainment LLC.

¡ÎGDC 2025¡Ï¡ÈÍ·¤Ö¡Éµ¤»ý¤Á¤¬Í·¤Ó¿´¤Ë¤¢¤Õ¤ì¤¿¥²¡¼¥à¤ò¤Ä¤¯¤ë¡£¡Ö¥¢¥¹¥È¥í¥Ü¥Ã¥È¡×¤¬À¸¤Þ¤ì¤ë¤Þ¤Ç¤Î¡¤10¤ÎÏÇÀ±¤ò½ä¤ëʪ¸ì

¡¡Í·¤Ó¿´¤ÈÃç´Ö¤È¤Î嫤˻٤¨¤é¤ì¤¿¡Ö¥¢¥¹¥È¥í¥Ü¥Ã¥È¡×³«È¯¤Îιϩ¡£GDC 2025¤Î¹Ö±é¡ÖThe Making of 'ASTRO BOT'¡×¤Ç¸ì¤é¤ì¤¿10¤ÎÏÇÀ±¤ò¤á¤°¤ëʪ¸ì¤ò¥ì¥Ý¡¼¥È¤¹¤ë¡£

www.4gamer.net

 

[nial]

An efficiently-made, GOTY-winner 3D platformer of high production values created in a modest development time of 3 years?
Is Hermen Hulst some kind of gaming god?

 

[bender]

An efficiently-made, GOTY-winner 3D platformer of high production values created in a modest development time of 3 years?
Is Hermen Hulst some kind of gaming god?

 

[Physiognomonics]

An efficiently-made, GOTY-winner 3D platformer of high production values created in a modest development time of 3 years?
Is Hermen Hulst some kind of gaming god?

Oh please Nial. This game exists because of Shu Yoshida and Doucet. Hulst just inherited that great team and couldn't say no because how awesome was the playable demo (yes ASobi had to produce a fucking demo to convince the managers like Hulst) and how little the development costs were compared to the billions they put lost in others ventures.

 

[nial]

Oh please Nial. This game exists because of Shu Yoshida and Doucet. Hulst just inherited that great team and couldn't say no because how awesome was the playable demo (yes ASobi had to produce a fucking demo to convince the managers like Hulst) and how little the development costs were compared to the billions they put lost in others ventures.

The bait worked.
The game exists thanks to the management that approved the pitch and allocated all the necessary resources for it all the way from 2021. There's no spin that could be made here.
BTW, you usually need to present a prototype (NOT a demo) in order to pitch a project. We especially know this from a canned Japan Studio game on PSP (Stamp, which is, ironically, pretty much proto-Astro Bot if you pay enough attention) that needed a prototype in order for it to be greenlighted.

STAMP Greenlight Presentation (November 18th, 2009) : Free Download, Borrow, and Streaming : Internet Archive

PLACEHOLDERDump credit: MrPinball64

archive.org

I hope the copium is good enough.

 

[N0S]

An efficiently-made, GOTY-winner 3D platformer of high production values created in a modest development time of 3 years?
Is Hermen Hulst some kind of gaming god?

 

[Tiago Rodrigues]

Oh please Nial. This game exists because of Shu Yoshida and Doucet. Hulst just inherited that great team and couldn't say no because how awesome was the playable demo (yes ASobi had to produce a fucking demo to convince the managers like Hulst) and how little the development costs were compared to the billions they put lost in others ventures.

The way you felt for that bait was delicious to witness.

But also, it's funny how when something was well done by Hulst y'all try to make it seem like they had nothing to do with it. Not every decision made since 2019 has been bad (clearly).

 

[Insanemaelstrom]

The more I hear about the devs behind the game and their thinking towards game development, the less suprised I am that Astrobot is as good as it is. Truly incredible devs.

 

[Kenneth Haight]

Amazing game. Hope they go balls to the wall in the sequel.

 

[Physiognomonics]

The bait worked.
The game exists thanks to the management that approved the pitch and allocated all the necessary resources for it all the way from 2021. There's no spin that could be made here.
BTW, you usually need to present a prototype (NOT a demo) in order to pitch a project. We especially know this from a canned Japan Studio game on PSP (Stamp, which is, ironically, pretty much proto-Astro Bot if you pay enough attention) that needed a prototype in order for it to be greenlighted.

STAMP Greenlight Presentation (November 18th, 2009) : Free Download, Borrow, and Streaming : Internet Archive

PLACEHOLDERDump credit: MrPinball64

archive.org

I hope the copium is good enough.

So it was not a bait. Don't pretend otherwise. Where did I say the accountants in charge didn't approve it? You think Concord team (Hulst's baby and the future of Playstation according to him) gave them a playable demo ? Show me your sources please, I can't wait.

 

[Loomy]

This is an interesting thread about the conception/development of a very good game that did very well. Can we wait until at least page 3 before it devolves into a stupid fight?

Anyone have any idea how long after the expo GDC typically shares full videos?

 

[Danjin44]

Amazing game. Hope they go balls to the wall in the sequel.

I loved Astro Bot but I’m hoping Astro Team make brand new game instead just making Astro Bot.

I like them to see what they do with new IP.

 

[Killjoy-NL]

"The team specializes in playable technical demos", but calling Astro Bot a glorified tech-demo gets people all mad.

The team does a wonderful job though. Their work is original and polished af.

 

[Rocco Schiavone]

Is Hermen Hulst some kind of gaming god?

 

[IFireflyl]

So it was not a bait. Don't pretend otherwise. Where did I say the accountants in charge didn't approve it? You think Concord team (Hulst's baby and the future of Playstation according to him) gave them a playable demo ? Show me your sources please, I can't wait.

Does it make you sad that the sky is blue instead of green?

This is a joke. Calm down.

 

[Loomy]

I loved Astro Bot but I hoping Astro Team make brand new game instead just making Astro Bot.

I like them to see what they do with new IP.

The one thing I was hoping for with this game, after loving Astro's Playroom, was local co-op. Playing Split fiction with my daughter right now and she loves Astro Bot, so that would have been awesome.

I'm guessing whatever they make next is going to be in a similar vein as Astro Bot.

 

[nial]

So it was not a bait. Don't pretend otherwise.

It was meant to provoke a reaction out of (you).

Where did I say the accountants in charge didn't approve it?

You made a pathetic attempt to credit a previous general manager that held that role until November 2019 over a project that did not begin production until 2021. Don't play dumb.

You think Concord team (Hulst's baby and the future of Playstation according to him) gave them a playable demo ? Show me your sources please, I can't wait.

I told you that creating a prototype/vertical slice (that you keep confusing from a playable demo) in order to pitch a project is an extremely common thing in the industry, and I even showed you an example of a (cancelled) first-party project from Japan Studio a full decade before Hermen Hulst was appointed as president of WWS.
BTW, here are my sources on Concord, coming from Shuhei Yoshida himself, the man who signed the prototype contract with Probably Monsters, former parent company of Firewalk Studios.

https://www.neogaf.com/threads/shuhei-yoshida-says-he-was-the-one-who-signed-the-prototype-contract-with-probably-monsters.1680969/

 

[Thief1987]

About 80% of the members are Japanese, but the team is diverse, consisting of 12 nationalities.

The most important thing that you need to mention on the game developers conference. After that we may talk about actual game... maybe

 

[nial]

The most important thing that you need to mention on the game developers conference. After that we may talk about actual game... maybe

You said it, Game Developers Conference. They're introducing, first and foremost, the studio itself.
Sad attempt at fake, culture war outrage.

 

[thicc_girls_are_teh_best]

An efficiently-made, GOTY-winner 3D platformer of high production values created in a modest development time of 3 years?
Is Hermen Hulst some kind of gaming god?

If it was pitched in 2021 wouldn't it have needed approval from Jim Ryan still? Guessing initial approval from Hulst, final approval from Ryan or something to that effect. Wonder if Yoshida was presented with anything as well just to help favorability in getting the concept approved, even if he was dealing with indies at that point.

Anyway, really cool to see, I'll give it a more thorough read tomorrow. SIE absolutely need more games like this: gameplay-first, no market-chasing trends (GAAS, crypto etc.), all-ages, whimsical, smaller budget, shorter dev time, smaller team sizes, and reflect the tastes of the brand very well. And if they don't necessarily want to keep using new-ish IP for the effort, they've got a vault of legacy ones to pull from that could fit in somewhere.

 

[nial]

If it was pitched in 2021 wouldn't it have needed approval from Jim Ryan still? Guessing initial approval from Hulst, final approval from Ryan or something to that effect

CEOs rarely do that work themselves, that's why they appoint these executive officers in the first place. Jim Ryan had to oversee the reports of several divisions, so he was pretty busy for that. I also recall several times where Shuhei Yoshida (when he was at the helm) explicitly stated that he would approve a specific project himself, so I guess that's how it goes.

Wonder if Yoshida was presented with anything as well just to help favorability in getting the concept approved, even if he was dealing with indies at that point.

I would say that it was virtually approved the moment Team Asobi got established in April 2021. They just needed to present the vertical slice to make it official, because that's how SIE operates.

 

[Perrott]

The PSOne Combo

 

[envyzeal]

A visionary

 

[Physiognomonics]

CEOs rarely do that work themselves, that's why they appoint these executive officers in the first place. Jim Ryan had to oversee the reports of several divisions, so he was pretty busy for that. I also recall several times where Shuhei Yoshida (when he was at the helm) explicitly stated that he would approve a specific project himself, so I guess that's how it goes.

I would say that it was virtually approved the moment Team Asobi got established in April 2021. They just needed to present the vertical slice to make it official, because that's how SIE operates.

You are twisting facts to fit your narrative. Team Asobi was established under Shue Yoshida (when he had all powers) in 2012 by Doucet (after he allowed Doucet to work in Japan, Doucet is Yoshida's protegee). And nowhere I see those woke teams showing playable demos to the (now) accountants in charge.

The greedy managers just inherited the team and as they were costing them peanuts and they sorely needed that team to prototype and test their hardware, specifically their controllers, they had to keep them. The first VR game was made under the full will of Team Asobi and the free AstroBot game bundled with all PS5 was an idea of Team Asobi that insisted for it to happen.

 

[StueyDuck]

I hate to beat the same drum as i imagine so many others will.

but this is how development should go, reasonably budgeted games, decent turn around on development, shorter games with just pure Quality front to back, no filler.

And finally passion, you can just feel love from the devs when playing Astrobot.

 

[PurePlatinum]

This was indeed a great game but I think they should move away from the "PlayStation commercial" aspect of Astro Bot, and just start to create a wholly new world and characters for their next game...OR do something completely different from Astro.

Again, loved it, but I think this gimmick would ring a little hallow the third time.

 

[nial]

You are twisting facts to fit your narrative.

What did I twist, smoothbrain? The fact that this game started production in 2021, confirmed by the fucking studio head? That you need to present vertical slices in order to pitch a game, as I've shown you with an unrelated project to Astro Bot?

Team Asobi was established under Shue Yoshida (when he had all powers) in 2012 by Doucet (after he allowed Doucet to work in Japan, Doucet is Yoshida's protegee).

Team Asobi did not exist until 2021, a small R&D group is nowhere the same as a full-blown studio department, established under Hulst's tenure.
In fact, I would argue that this small group pretty much only consisted of Nicolas Doucet, and a ton of staff from the current game didn't even work on the previous games.
For example, lead game designer, Hironori Yatoku, who was a lead battle designer on Knack 1/2, but didn't work on the previous Astro Bot titles.
But eh, I doubt you knew about that. I don't think you care about Team Asobi, at all, you just want to complain about Hermen Hulst (general manager who oversaw the creation of the Team Asobi studio department established in April 2021) and LE WOKE Sony, lol.

And nowhere I see those woke teams showing playable demos to the (now) accountants in charge.

Are you just too fucking stupid? I literally showed you a previous general manager stating that they signed a prototype (stop calling it playable demos, for fuck's sake) contract.

The greedy managers just inherited the team and as they were costing them peanuts and they sorely needed that team to prototype and test their hardware, specifically their controllers, they had to keep them.

Those greedy managers gave Nicolas Doucet his own studio department to lead with total freedom when it comes to expansion and budget, though.

The first VR game was made under the full will of Team Asobi and the free AstroBot game bundled with all PS5 was an idea of Team Asobi that insisted for it to happen.

Team Asobi was not a thing back then, and you seriously believe that they didn't need to present a prototype for Astro Bot Rescue Mission in order to pitch it? Japan Studio literally HAD to do that for Stamp in 2009, shit JUST leaked.
You're just eternally retarded.

 

[yogaflame]

One of the best game ever made. The physics of the game is fantastic.

 

[Upper_Management]

This is an interesting thread about the conception/development of a very good game that did very well. Can we wait until at least page 3 before it devolves into a stupid fight?

Anyone have any idea how long after the expo GDC typically shares full videos?

Dude, I was looking forward to a discussion regarding the topic at hand. But without fail as with a majority of threads around here, it instantly goes nuclear into some dirt level fanboy arguments. Shit is exhausting.

 

[EN250]

• No bloated team filled with soyboys asking for unnecessary stuff to be shoehorned in the game

• No over the top muh auteur arsehole imposing some bs controversial story

• Not hundreds of millions in cash thrown on the altar of superphotorealistic graphics

Just an absolutely amazing game to play