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TVTranscript
00:07You gotta do what?
00:08I gotta believe!
00:10The beat started with a dog.
00:12Those characters are so endearing and entertaining.
00:15You know, it's a great story.
00:16To a large degree, the gameplay is based on the rhythm and action mechanic.
00:21But what makes those games so appealing is the great characters and narrative.
00:25No one had seen anything like it before.
00:26And it was original and it was funny.
00:28Him like Harappa the Rapper is on the level.
00:31I mean, it's perhaps the first truly musical video game.
00:35And went on with a dance simulator.
00:37We basically brought the game here from Japan and made it popular.
00:40So we know what we're doing when it comes to these music games.
00:43Let's go Behind the Revolution.
01:02The personality of the game is just happiness.
01:04So the world is full of all these passionate air guitarists who, you know, would love to be able to
01:08make music and really just have no way to do that.
01:10I was really proud to work on something that people liked so much.
01:12Even if it didn't succeed financially as much as we would have liked, I think critically, people really, really appreciated
01:17it.
01:17This game is insane.
01:19The people who play it are insane.
01:20And watching someone play it is insane.
01:25And explore the rhythm of music games.
01:47Masaya Matsura, a popular Japanese recording artist, grows up with a variety of influences.
01:54When I was in junior high, I always listened to Led Zeppelin.
01:57And in high school, I listened to contemporary jazz, punk, progressive rock.
02:00So my tastes were very mixed, from different generations, like the 60s and 70s, to European, American, and Japanese music.
02:06Basically, I started my music career in 1984 by having my own band.
02:10I was signed with Sony Music.
02:12Masaya takes advantage of the available technology to enhance his sound and has an idea.
02:17So back then, I always felt frustrated with using ready-made software.
02:20You know, usually I'd have to use composing sequence software to make the music.
02:24But they weren't good enough to achieve my goals.
02:26So I felt the need to create new software to compose my own music.
02:30Masaya Matsura, who is a famous, actually, well, actually not that famous, but he was a guitar composer.
02:37He did music for guitar in Japan.
02:38When I realized that I could get something going in the game industry, I rushed into it.
02:42Matsura is tapped by Sony executives to create a game.
02:46Around 1993, I got a letter from Mariyama-san, who was the chairman at Sony Computer Entertainment.
02:51The letter said, I want you to make something on the PlayStation. That's it.
02:55And development of a secret project begins at Sony.
02:58So I started to think about something for the PlayStation and developed Parappa the Rapper.
03:02How am I gonna pay for it?
03:03Almost no one knew about it.
03:05Towards the end of development, people still didn't think this was really a game.
03:08Everybody thought this was some kind of interactive music software.
03:10Just because the rhythm is slow, that don't mean that you can't flow.
03:15Parappa the Rapper was actually another one of these experimental games that came out of Sony Music.
03:20If you think about it, it's like, a game like Parappa the Rapper is on the level, I mean, it's
03:26perhaps the first truly musical video game.
03:28It's almost like a hip-hop Moulin Rouge sort of thing, you know what I mean?
03:31Where the music is so in there and it seriously enhances the gameplay, you know?
03:38It's the fact that you can play that game again and again and again because you want to hear those
03:41songs.
03:42I composed the music and I produced and created the game content.
03:45Alright, we're here, just sitting in the car. I want you to show me if you can get far. Step
03:50on the gas. Step gas.
03:52Thanks to Technicolor environments, truly unique two-dimensional characters, and of course, it's catchy music.
03:59Parappa is an immediate success following its Japanese release in December 1996.
04:04The game sells nearly 800,000 copies.
04:10That's it for today.
04:14And opens up a whole new audience to gaming.
04:16It was so exciting because there was a woman at Sony who never played games, and when I saw her
04:21laugh and scream while playing Parappa at lunchtime, I felt something then.
04:25I think everybody at Sony felt something.
04:27They didn't have all the trappings of games, and a lot of people who weren't traditional gamers actually really got
04:33into that game and bought PlayStation, especially female gamers in Japan.
04:36In fall 1997, Parappa is introduced to American audiences.
04:40I mean, the Japanese market is so much different than the American market.
04:43And you've seen that consistently.
04:45I mean, for instance, a great example is the Parappa the Rapper games.
04:49Huge overseas, but in the United States, it really didn't find an audience.
04:51I mean, it found a cult following in the U.S., but it was mainstream fare.
04:55It was a top seller over there.
04:57And I think it's just the difference in cultural taste.
04:58I am the number one ruler of the seven seasons.
05:02The skunk over here will bring you love.
05:05In the case of Parappa, really what those games are about are the character and the story.
05:09I mean, those characters are so endearing and entertaining.
05:12You know, it's a great story, and to a large degree that, I mean, the gameplay is based on the
05:16rhythm and action mechanic,
05:18but what makes those games so appealing is the great characters and narrative.
05:21You want to sit there and make Parappa freestyle and make it sound different, and it's just, it's so rewarding
05:26to have so much control over it.
05:28In fact, they actually made the music a part of the gameplay.
05:30I mean, that game is truly visionary.
05:32The best thing is anybody in the world can play these games.
05:35Yeah, I know. I gotta believe.
05:40Other game companies take notice, like Konami with Beat Mania in 1998.
05:44And that was a DJ simulation game in which a person would press five keys according to the screen and
05:52scratch a turntable.
05:53And when all done in rhythm, it would make music.
05:56That game, that caught on and eventually led to other music games and got BMI as a general name for
06:03all of their music game series.
06:05And gamers get ready for a new revolution.
06:27In 1998, Konami takes the arcade success of Beat Mania and starts a revolution.
06:39Konami's been doing innovative arcade games for a number of years.
06:42And specifically, probably say in the last five years or so, Konami's really gotten good at peripherals and really, I
06:50guess you call it tactile arcade experiences where you're using guns and you're using dance pads and boxing gloves and
06:57things like that.
06:57Dance Dance Revolution is introduced in Japan and lures new audiences into arcades.
07:03Largely thanks to DDR's unconventional interface.
07:06Honestly, it's just innovative in the fact that there's no joystick, no buttons per se.
07:11It's basically pressurized floor panels.
07:13And the creative thing is like, you know, you can do up, left, down, right, but you can up with
07:18your hand, left, elbow down, right, and just go with how you want to do it.
07:23And that's what makes it all creative.
07:25Dance Dance Revolution.
07:26Now, that was pretty humbling because I know I can't dance already.
07:30And then I start playing Dance Dance Revolution thinking, wow, I can actually learn how to dance if I do
07:35this right.
07:36And I was just worse than I started after trying to step here and move here.
07:41And it's just way too confusing and much too hard for me to play.
07:45But I know it's really popular.
07:48And it's definitely fun watching other people play that.
07:50I remember the first time I was over in Japan and I saw Dance Dance Revolution and I thought someone
07:55was having like a conniption fit or something.
07:57I didn't know what was going on.
07:59I was about to call the police.
08:00Like, was the dude having a seizure?
08:02DDR requires players to use their feet to press arrows on a dance pad as tunes blare.
08:07In DDR, you're not actually affecting or controlling the music.
08:11The music is playing and you're following along the way a dancer follows the music on a dance floor.
08:15And that's what those games are about.
08:17I mean, what can you say about Dance Dance Revolution?
08:19What are they up to, like, the 20th mix now?
08:22This game is insane.
08:23The people who play it are insane.
08:25And watching someone play it is insane.
08:58After the success of Dance Dance Revolution in Japan, Konami decides to bring the phenomenon to the U.S. market
09:03in March of 1998.
09:06Konami America has had a history of DDR in the U.S.
09:10We basically brought the game here from Japan and made it popular.
09:13So we know what we're doing when it comes to these music games.
09:16And it carries the Bimani line name, which is a pretty important name for the DDR series.
09:21DDR's popularity attracts a large fan base.
09:23And by 1999, 620 arcades nationwide reported having at least one DDR machine.
09:29It really started off slowly, kind of like it did in the arcades where, you know, it was a select
09:35few people that really knew about it and really enjoyed it.
09:37And then pretty soon people realized that this is crossing over into real life.
09:41And people know how to dance and they don't have to be video game fans to do that.
09:44When you show people that are outside of the video game world something like this, it really seems to grow
09:49fairly quickly.
09:50And DDR becomes a spectator sport.
09:53I was a fan of console gaming at home.
09:56And so, yeah, so I had a little bit of a taste of the arcade.
10:01But never anything to the extent of rhythm games.
10:06And so I met an arcade one day with my friends, which happens to be at Disneyland.
10:11And my friends were like, wow, James, did you really give this a shot?
10:13And so I go up, I kind of have an idea of the first song, and then the second song
10:18I totally bomb it.
10:19And by this time, there's probably 15, 20 people watching.
10:23But, you know, I kind of got a rush.
10:25It's like, I get a rush, like, you know, having fun.
10:27And also, I can find, I told myself, like, when I got off the machine, I was like, this is
10:32something I can get used to.
10:33I've been playing this game probably for about a year and a half.
10:36I started playing when I actually saw people dance on the machine, and then I was all about it.
10:40You know, I thought, oh, you know, everyone looks stupid by this.
10:42And now I'm like, oh, oh my God, moves.
10:44You know, what are you doing? What are you doing?
10:45And for some, DDR is more than just a game.
10:49And actually, this game for me came about because I got in a car accident.
10:52And after a little bit of a while, they said, you need to start getting to rehabilitative aerobic activity.
10:57And I remember this game, and that's how it came to be.
10:59It's a good, that's one good video arcade game that kids can exert their energy and, you know, actually getting
11:08some, what do you call it, cardio exercise and stuff.
11:12I've known people who've lost weight.
11:14There's one guy here where he used to be 450 pounds.
11:18He went down to about 290.
11:21So, it is. So, what can you say? Jenny Craig ain't got nothing on this.
11:25In 1999, the revolution breaks out of arcades and into homes with Dreamcast and PlayStation versions.
11:32Dance Dance really kind of came out of the arcades.
11:34We, a product manager here at Konami of America named Jason Enos recognized the phenomenon of Dance Dance Revolution,
11:41not just in Japan, but also growing in arcades here in the U.S.
11:44And they decided that it might make sense to try bringing the game to the home consoles.
11:49Right now, Dance Dance Revolution, at least for PlayStation 2, we know, has been a very successful game for us.
11:54Building on the success of Beat Mania and Dance Dance Revolution, Konami releases more arcade games in their Bimani series.
12:01The Bimani series consists of several different instrument simulations such as Keyboard Mania, which is a piano,
12:10Guitar Freaks for guitar, Drum Mania, Beat Mania for turntables and rhythm boxes.
12:17In 1999, Sega quickly follows with Space Channel 5.
12:21Space Channel 5 was very sexy. I mean, it was a great lead character that you really felt a lot
12:25of emotion to.
12:26It was kind of a neat story there. It was very stylized, and we had some really great artists working
12:31on it.
12:31And I kind of took a lot of stylistic risks.
12:33And we wanted it to be a music game, which we were really much in tune with, but at the
12:36same time be really turned on by the atmosphere of it.
12:39I mean, it was a very sexily charged game, I think a very stylistically charged game.
12:43I don't really know what happened. I don't know why it didn't sell as well as it should have.
12:46I think it was probably marketed enough in Japan correctly. I just think we were maybe appealing to a demographic
12:51that didn't exist enough yet.
12:53Samba de Amigo!
12:54And the highly original maraca-shaking game, Samba de Amigo, for the Dreamcast.
12:59The personality of the game is just happiness, right? If you put one word and you would describe Samba de
13:04Amigo as overjoyed, happy.
13:07And the barrier to entry in that game with the maracas, especially at the maracas, the music that goes with
13:13it and the silly monkey, you know, that wears a sombrero is just brilliant.
13:17You know, that game just speaks to what interactivity is all about.
13:26Although music games were gathering a huge following, were they selling well?
13:30The product wasn't extremely commercially successful, and I think, you know, there are a number of possible explanations for this.
13:39Nice try, but maybe you should practice a little more.
13:54By 2002, music games were gaining popularity in pop culture, and with releases like Britney's Dance Beat for the PS2
14:01and a Disney-themed version of DDR, it seemed like the genre was in danger of losing its edge.
14:06But a number of original music titles are also released, like Rez.
14:12We were going for a very pure feeling that hadn't been done in games yet. It was a new idea.
14:18It wasn't what people expected, and it was really hard to describe, but once people started playing it and understanding
14:22it, they loved it.
14:23I mean, it's a huge cult following. People love Rez.
14:25People that have played it, people that haven't played it, don't know about it, don't care about it, but it
14:29does have a big cult following.
14:31And Mad Maestro.
14:33Mad Maestro is great because people who aren't familiar, maybe, with classical music, this is a great way to actually
14:39learn.
14:40I mean, there's all these great, from Beethoven, Mozart, Wagner, everybody's in there, and it's a great way to learn.
14:47You know, I love that game.
14:48What was really nice about that is, it wasn't just timing, but you also had to do dynamics, so you
14:54could, depending on how hard you hit the button, you could play the music softer or louder.
14:59Even if you hit it too fast, then the music actually sped up or slowed down, depending on if you
15:05were right on the rhythm or not.
15:06So you really got interactive with the music, and you didn't even have to follow what they wanted you to
15:12do.
15:12With most of the music games being developed overseas, American Alex Rogopoulos saw a chance to change music games with
15:18his new company, Harmonix.
15:20My background actually was not in video games at all, other than as a player, but in computers and music.
15:26I was at MIT for seven years studying music composition and also computer music at the Computer Music Group of
15:31the Media Lab at MIT.
15:33And it was there that I met Iran Ngozi, who was a brilliant programmer and also an accomplished musician, with
15:40whom I started the company back in 1995.
15:42And we were both very motivated to work on what we perceived to be a huge problem in the world,
15:47which is that playing music is one of the most kind of primitively joyful experiences that life has to offer.
15:53And almost nobody gets to actually experience this because it's just so damn difficult to play a musical instrument.
15:59And just about everybody tries at some point to learn to play an instrument, you know, guitar lessons as a
16:04teenager or piano lessons or whatever.
16:05And almost all of those people give it up a few months later in frustration just because it's so hard
16:10and so frustrating.
16:11And so the world is full of all these, you know, passionate air guitarists who, you know, would love to
16:15be able to make music and really just have no way to do that.
16:17So we created this company initially not to make video games at all, but to create new kinds of interactive
16:22music experiences to let people who are not musicians have access to this kind of unique pleasure that comes from
16:28making music.
16:28We made a decision to become the company that pushed music gaming to the next level and brought it to
16:34the North American market.
16:36And so at that point we recruited a game development team, came up with the design, prototyped an idea and
16:43brought it to Sony back in 1999, I think.
16:47Pitched it to them and they got it to their credit, given how weird it was.
16:50And we began developing it for the PlayStation 2 and finally brought it to market in the fall of 2001
16:56as Frequency.
17:04In terms of critical acclaim, the product couldn't have done much better.
17:09We won, you know, frothing at the mouth, positive reviews.
17:12We won a ton of awards, including a British Academy Award.
17:16And anyone who actually tried and bought the game loved it.
17:19We have a mountain of fan mail for people who, you know, picked it up, you know, more than a
17:24year ago and who are still playing it to this day.
17:27The product wasn't extremely commercially successful.
17:30And I think, you know, there are a number of possible explanations for this.
17:36One is that a lot of people never really even gave it a try.
17:39The game is sufficiently, uh, is sufficiently unusual looking that I think if you just glance at a screenshot,
17:45um, it's very easy to not really recognize what it is and just say, no, that's weird and kind of
17:49flip the page and move on to the next thing.
17:51The next thing for Harmonix was the highly addictive sequel to Frequency, Amplitude.
18:05Um, with Amplitude, it's a, it's a great music game simply because you get to actually construct the song.
18:10Um, they have, like, the drum phrases separated from the lyrical phrases, from the, from the bass phrases.
18:16And, uh, you just go through and string everything together.
18:19It's, it's, it's really great game for, for those enthusiasts that love to really get into the song.
18:24Like, where they actually listen to the lyrics and they listen to the, the guitar riffs.
18:27With Amplitude, uh, we really wanted to, I mean, there's still, uh, uh, you know, a healthy dose of electronica
18:33in the game.
18:34But we also really wanted to open up the appeal of the music to a much broader audience.
18:38And there's also a lot of rock and hip-hop from a really pretty stunning roster of mainstream bands in
18:43the game.
18:46After trying rock and roll with Um Jammer Lammy, Masaya Matsura returns with a dog that started it all.
18:53I started working on Parappa the Rapper in 93, and it was finally released at the end of 96.
18:57We spent more than two and a half years on it.
18:59So I got tired of listening to hip-hop and wanted something different.
19:02So in Um Jammer Lammy, we used rock music.
19:05It's based on a guitar playing game.
19:07We tried new things on it, like having real-time guitar effects by using the analog stick as a whammy
19:11pedal effect.
19:12And after that, we moved on to Parappa 2 for the PlayStation.
19:15Namco takes the wildly successful arcade experience of Taiko no Tatsuden and rushes it into Japanese homes in 2002 with
19:23a portable drum peripheral.
19:24And with the release of Donkey Konga from Nintendo, it seems that music games will continue to innovate and entertain.
19:31We're very inspired by the Japanese music games.
19:36Because I think just that core rhythm action mechanic is extremely addictive and really I think authentically emulates the buzz
19:43of playing live music.
19:45I think music games are here to stay. I think they have maybe yet to reach their true place in
19:51the world of entertainment media.
19:52Music is an important ingredient for various kinds of media.
19:56So now, more developers are aware of the role music plays.
19:59Still, many developers don't care about sound even though sound is one of the most important elements in the game.
20:05Soon though, everybody will realize the importance of sound.
20:12I wish Rez would be re-released. I think people still, you know, continue to experience it to this day.
20:16And a lot of people I meet, they love it. They think Rez is just the coolest thing ever.
20:20And, you know, they want the next one to come out. And I'm sorry, I don't think it's going to
20:24happen anytime soon.
20:25But I hope everybody enjoys it.
20:27I was really proud to work on something that people liked so much.
20:29Even if it didn't succeed financially as much as we would have liked, I think critically, people really, really appreciated
20:35it.
20:35So, I was really proud to be a part of that.
20:37It's something that people can really benefit from. It's good for all ages.
20:41They're really easy to catch on to. Even though they have really simple concepts, people like to play for the
20:46music.
20:46Just to show off in an arcade.
20:48People could also use Be Money and other music games as a source for, like, bringing goodness to the youth.
20:56So that, like, it would be, like, a good influence, which is something I would like to do.
21:00Show people that, you know, music, having music in your life is really great.
21:05And that, you know, some people just play just for their love of music.
21:10Where are you fantastic!
21:36Come on!
21:37There's this intro!
21:38How are you...
21:39How are you...
21:39Ha, ha, ha, ha.
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