Clover Studios (Okami, Viewtiful Joe) closed...

[London Geezer]

I get the feeling Nintendo might be more interested in picking them up instead of Sony, not only because they seem to have a better relationship with Capcom. Makes more sense in my foggy brain for some reason.

 

[macabre]

Maybe this is the right thread to ask, sorry for OT
Does anyone know what`s up with NanaOn-Sha ? Do they still exist ? Their site hasn`t been updated for a year now.
http://www.nanaon-sha.com/

 

[StefanS]

GameWatch reports that the expected costs of closing clover amount to 400,000,000 Yen. (currently 3.35 million USD).

 

[slider]

GameWatch reports that the expected costs of closing clover amount to 400,000,000 Yen. (currently 3.35 million USD).

I have no idea if that's a lot or usual for this sort of thing. Anyone have any idea?

How big was Clover? I've had a hunt around but with little luck. Although I did read on Wiki that Clover is an independent studio funded by Capcom. Does that mean there's no obligation for Capcom to make redundancy payments or absorb the staff to other departments? Bummer.

 

[LunchBox]

OMG!
NOOOOOOOOOOOOOOOO!
Those titles were very original.
It's a shame indeed.

 

[Inane_Dork]

Sounds like what happened to Sega's Smilebit studio.

 

[heavenlyglory]

Just read the news...

BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

 

[Carl B]

This is all my fault...

Viewtiful Joe, I always wanted to play you!

 

[Sis]

Another link:

http://www.next-gen.biz/index.php?option=com_content&task=view&id=3994&Itemid=2

One thing that surprised me:

Q: We’ve heard that the famous creators such as [Resident Evil creator] Mr. [Shinji] Mikami, [Okami producer] Mr. [Atsushi] Inaba and [Devil May Cry director] Mr. [Hideki] Kamiya have quit, is this true? Why didn’t they come back to Capcom?

A: Mr. Mikami had already left Capcom in November 2005 but signed on a separate contract with us. Mr. Inaba and Mr. Kamiya have also left Capcom in June and July of this year respectively. Naturally, we had hoped that Mr. Inaba and Mr. Kamiya to come back to us, however, both of them told us that they wanted a new challenge at a new environment.

Very sad...

 

[22psi]

sighs, this is one of the things that is wrong with the industry. No wonder EA games do well.

 

[GB123]

If they do make their own studio, perhaps MS should fund a couple projects much like they are doing with Mistwalker, could be a benifical move on MS's part if the situation should arrise.

 

[Sis]

If they do make their own studio, perhaps MS should fund a couple projects much like they are doing with Mistwalker, could be a benifical move on MS's part if the situation should arrise.

The problem is that this kind of gamble makes a lot of sense from a well-established publisher--one that can afford to experiment and take more risks. Microsoft is not really in that position. The likelihood of ever seeing a return on investment in a Ico or Okami type project is really small, unfortunately.

 

[GB123]

The problem is that this kind of gamble makes a lot of sense from a well-established publisher--one that can afford to experiment and take more risks. Microsoft is not really in that position. The likelihood of ever seeing a return on investment in a Ico or Okami type project is really small, unfortunately.

I'm not so convinced, 360 needs games which are unusual to appeal to a wider audience, to be honest I’m getting bored of the same old thing from 360 games (but then I’m not a fan of western games) it's obvious that this game failed because of Capcoms inability to advertise it correctly.

I also think that a game such as this would do better in some way on the 360 because it wouldn't have to fight against 1000's of other titles.

Or perhaps my thinking is just overly optimsic.

It's kind of a huge shame anyways, a next -gen Okami could have been stunning.

 

[Dot50Cal]

I cant quite put my finger on it, but perhaps this contributed http://sexybruceioh.ytmnd.com/ (Work Safe, but very wtf)

 

[Dr. Meaty]

This is the kind of crap that makes me want to give up, pop open a Budweiser and watch some Jerry Springer. DE-FENSE! Uh, uh, uh!

 

[Inane_Dork]

So which publisher will fund games made by these guys? Does the startup have much real hope of continuing their work as-is? Or will they be forced into a more conventional mold?

 

[hongcho]

Microsoft Game Studio or someone like it that has a deep pocket should just pick up the Clover Studio (or its key producers/designers/developers)...

There should be something more than just the bottom lines for a few creative folks...

Hong.

 

[Farid]

It's kind of funny now to remember that Atsushi Inaba in his introductionary speech, as the president of the newly created Clover Studio company owned at 100% by Capcom and located inside Capcom walls (...), crticised the fact that this industry didn't "think as a consumer" enough and that it was a reason for the low sale of numerous games on the market...

Anyway, I won't lie and say that I'm in any way surprised by this news. As soon as I heard that Clover Studio was to have its independence from an economical and decisional standpoint, and that their projects were Viewtiful Joe games and Okami (and then later God Hand), I knew that it was just a matter of time before an "internal restructuration of the human ressource in Capcom" A.K.A. Capcom board closing down Clover shop.

Clover Studio, as a concept, described by Inaba as a studio making games for gamers, is a nice boutique project for a very big and profitable publisher or for a console manufacturer. For image and public perception reasons only. Seeing a company like Capcom that, at the time, was presenting their stockholders with new losses every quarters trying that type of endeavor was quite surprising (makes strictly no sense from a business standpoint).

 

[Angelcurio]

Game Industry biz published and excellent editorial dedicated to the closing of Clover Studio, they really really represent my own feelings with the editorial:

GI.biz: They'll miss you, Clover

One of the most disheartening things to happen to videogames in the last year is this week's announcement that Capcom's Clover Studio is being shut down, having recorded a 400 million Yen loss in the last year. On the face of it, compared to news like the delay of the PlayStation 3 in Europe, the demise of one studio doesn't seem like a major cause for sadness - but Clover Studio, in its short lifespan, demonstrated a level of creativity and innovation which made it into a beacon for the ability of games to leap beyond being pigeonholed as simple entertainment, and actually become a marriage of both entertainment, and art.

Founded in 2004 by Capcom in an effort to incubate creativity and address concerns that its portfolio was stagnating, Clover housed some of the publisher's finest creative minds - and set free of the corporate decision making structure, they proceeded to build titles which captured the attention and fired the imagination of game fans the world over. Viewtiful Joe and its sequels, Okami, and finally God Hand, are the lasting legacy of the studio - and while those titles may have polarised opinion, it's impossible to ignore the creative drive behind them, and would be nothing short of heartless not to give credit to the willingness to explore new kinds of gameplay and new visual styles.
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Of course, in the final analysis, Clover Studio lost money - and thus Clover Studio was shut down, with Capcom marking its passing with a vague comment to the effect that Clover had fulfilled its purpose. It would be easy to mock such a statement, but that would be cheap. Capcom may have bottled out of the Clover experiment when the losses mounted a bit, but unlike most publishers, Capcom at least had the guts to try the experiment in the first place.

The sad truth is that the vast majority of videogame publishers, contrary to the lip service which they pay to innovation and creativity, don't actually understand what it takes to drive that forward. Projects are killed off when they look like they won't have the kind of profit margin a publisher wants, or when their project leads fail to stand up in front of marketing and reel off a deathly dull list of other popular titles which their game is "a bit like". Entirely original ideas have nowhere to take root in a modern publishing environment - originality means risk, and why allow your staff to take risks when you could be burning them out on a movie license with a guaranteed return instead?

It's easy to scoff, from a business point of view, at the pleas for originality. Sequels sell; licenses sell. Innovation is risk, and often it's bad risk - Clover's games, despite their critical acclaim, still saw the studio losing just shy of three million Euro last year. Not a vast amount, but then again, if they'd been working on a tie-in to a summer blockbuster, they'd probably have made a profit - right?

Such an argument is as logical as it is predictable, and as financially sound as it is utterly incorrect. It's the kind of argument made by videogame publishing executives who wouldn't dream of lifting a joypad in their spare time, who see the medium in terms of products, quarters and bottom lines, and manage to look, at best, incredulous but indulgent when developers, fans or, indeed, journalists mention the word "art" in the context of videogames. As well as being blinkered and short-sighted (never a good combination on the eyesight front), it's inherently damaging - short-termism at its very worst.

Look to the movie business, and consider their business models with regard to smaller films. Giant movie studios and the moguls who run them create incubators for talent, funding the development of risky films and supporting the rise of new talent, new concepts and new directions. When studios or executives choose to fund films that are artistic, or creative, or simply worthy, they don't expect to get their money back, and normally they don't. Games industry executives viewing this situation must feel their jaws dropping - the movie business keeps sending good money after bad? Why? Are they insane?

Of course not. It helps that movie executives are, in my own experience, much more likely to actually love their medium than videogames executives are - but more importantly, they recognise that while you might lose money on ten small projects, there's a chance that the eleventh could be the one that opens up a whole new market, creates a word of mouth phenomenon, makes your studio into the creative darling of the film world and sees a new talent explode onto the scene. Not to mention making you a great big bucket of money - and if it doesn't, well, what's a few million bucks compared to what you're going to make from that Johnny Depp and Ben Affleck starring summer blockbuster you've got lined up?

That, in essence, is why we should mourn the passing of Clover Studio. The 400 million Yen (about 2.7 million Euro) which the studio lost would have been buried in the money Capcom will inevitably make from the next Resident Evil game. Equally, Electronic Arts could easily afford to fund innovation from the proceeds of its big franchises (and letting Will Wright do a project every few years and then referring to it every time someone says the word "innovate" doesn't count), as could Ubisoft, Activision, Sega... The list goes on, until it encompasses practically every publisher in the industry.

It's counter-intuitive, and enough to make a business graduate gag - but until this industry learns to make games which it knows won't make money, this industry will always play second fiddle to every other creative industry.

Link: http://www.eurogamer.net/article.php?article_id=68678

 

[London Geezer]

Great article, that's what i call journalism. However i can't help but feel that with the right promotion things would have been very different, and that IS the publisher's responsibility and failure.