"I wanted to create something that no one had created before." Fumito Ueda in quotes / ITech content

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Fumito Ueda is an outstanding creator of unique art games, known for his atmospheric worlds. Ueda's games are captivating due to their profound sense of solitude, harmonious visual style, and minimalist design, creating an unforgettable gaming experience. Players value the ability to interact with non-player characters, whether human or animal companions, which enhances the sense of connection and immersion in the game world. Ueda's unique approaches to game design and art make his works iconic in the video game industry.

Fumito creates touching stories using a minimalist approach. He avoids unnecessary words and emphasizes gameplay elements and interactions, striving to minimize the use of traditional cutscenes and dialogue. This allows players to more deeply immerse themselves in the emotional atmosphere and better understand the characters and their experiences.

Instead of screenshots from the original version of Shadow of the Colossus, this article features footage from the remake developed by Bluepoint Games. The images from the remake look significantly more attractive and technologically advanced. Although this is not Ueda's game, the remake's creators have carefully adapted Shadow of the Colossus from PlayStation 2 to PlayStation 4, preserving the spirit of the original and improving the visuals.

Ueda has been developing video games for over 30 years. During this time, he created three original games in collaboration with Sony, and also worked on two projects at Sega, where he acted as an animator and cutscene director. His works are distinguished by a unique art style and deep emotional content, which has made his name iconic in the video game industry.

The team I worked with now works at Polyphony Digital. In the late nineties, they were actively developing the Gran Turismo game. At the time I was creating my second game, they already had the fourth part of this famous series in development.

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Throughout his career as a developer, Fumito adheres to the main principle: to create unique games that have no analogues. He strives to follow his vision and develop projects that push the boundaries of the gaming experience. This approach allows him to bring innovative ideas to the industry and inspire players to new discoveries.

From the very beginning of my career, I have paid close attention to visuals, striving to stand out and offer something fundamentally new. My goal was to create unique content that had no analogues. Regardless of the genre or type of game, I have always realized that I wanted to offer players something original and memorable.

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Before becoming an innovator and authority for major publishers like Sony, Ueda had a long journey. His story began with a passion for video games, drawing, and fishing. This interest eventually led him to a career as an animator at Warp Studios, where he was able to develop his skills and make a significant contribution to the industry.

Fumito was born and raised in Tatsuno, a small town in Hyogo Prefecture. According to Ueda, the town felt more like a village. As a child, he enjoyed watching TV, playing video games, and fishing, which shaped his interests and inspired his future career in game design.

I spent a lot of time playing the Famicom, especially the Disc System. One of my favorite games was Smash Ping Pong, which left a lasting impression. Konami's sports games have always been high-quality and fun to play. Smash Ping Pong is a true classic, and its influence on me is still felt today.

I also loved the Sega Mark III, known as the Sega Master System in the US. I was drawn to that console for its ability to display more colors than the Famicom, which contributed to my interest in art and drawing. I bought a Sega Mega Drive right after it came out. I haven't bought a Nintendo console since the Super Famicom.

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Memories of time spent playing video games will always be pleasant, but fishing remained a true source of pleasure for me. I caught fish both with a rod and a net. Building my own net became a fascinating process for me, during which I thought about how to improve my skills and catch more fish. Fishing brought not only the joy of the catch but also the opportunity to immerse myself in nature, enjoying the peace and tranquility of the waters. This experience became an important part of my life and opened up endless horizons of fishing for me.

In the life of little Fumito, there was one passion that surpassed all others.

I didn't consider myself anything special among my peers. Drawing has always been my passion, and I spent most of my classes creating manga and comics. I also drew portraits of my friends and caricatures of them, sometimes making up stories to make friends with them. After class, I enjoyed visiting my friends to share my drawings. They looked at my sketches with interest and laughed. I remember how I sometimes had a hard time containing my laughter in class when I saw my work.

Drawing has always been more than just creating images for me. The most rewarding part of this process is sharing my work with friends and observing their reactions. I can't enjoy art alone; sharing my creations is important to me. This aspect of interaction enriches me as an artist and gives meaning to my work.

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I don't have any drawings left because I always gave them to the people I depicted. In elementary school, my works won prizes in a competition. Later, I entered other competitions, but, unfortunately, none of the prize certificates survived. My parents didn't keep such things.

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In high school, I began studying industrial design, and that's when I realized that I wanted to connect my career with art or design in the future. I was drawn to this field because it combines creativity and functionality, allowing me to create aesthetically pleasing and practical solutions. I am confident that working in design will give me the opportunity to realize my ideas and contribute to the development of visual culture.

I enrolled in the Faculty of Arts at Osaka University, where I had to choose a major in my third year. I chose abstract art, but I didn't take my studies seriously.

The game designer explains that he chose the abstract direction because it allowed him to quickly and easily create work for credits. This approach allowed him to focus on developing his skills and experimenting with various artistic forms, which in turn contributed to the improvement of his professional competencies in the field of game design.

Everything can always be done at the last minute, for example, finishing a project two days before the deadline. That's an acceptable approach, right?

I was a rather unsuccessful student. During my college years, I often went on long motorcycle trips, sometimes lasting up to 36 hours. Frankly, I look back on those times with nostalgia.

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As I approached graduation, I realized that the situation had gotten out of control. I was worried not only about my desire for creative work in the future, but also about how much time I was wasting. If I continued in this way, I would not be able to realize my true ideas and projects. So, I began to study the necessary subjects in depth and began to take myself more seriously. Previously, I devoted a lot of time to my motorcycle and playing airsoft, but now my priorities have changed.

While in college, I worked at a video store, where I had the opportunity to watch a lot of movies. I had a friend who was a film major, with whom we spent a lot of time making our own films. Although I may not have been paying enough attention to my studies, I took other aspects of my life very seriously. This experience at the video store and collaborating on films played a significant role in shaping my understanding and passion for cinema.

Over time, Ueda realized an internal conflict. He came to the conclusion that instead of wasting time riding motorcycles and watching movies, he could immerse himself in the world of real art by visiting museums and galleries. However, as he himself admits, he never did this in practice.

Fumito came to the conclusion that he was more interested in being creative and creating unique works. He wanted to focus on his ideas and projects rather than wasting time studying other people's work.

After graduating from college, I decided to sell my motorcycle and buy an Amiga computer, which became my tool for working with graphics. From that moment on, my professional career in the field of computer graphics began.

The realization that I could not make a living by creating drawings was the starting point for my creative path. I took part in group exhibitions, like many art college students, but I never had the opportunity to organize a solo exhibition. This realization pushed me to seek other avenues of self-expression and professional growth in the art world.

I once thought that an old man with a cane, who was actually an undercover art dealer, would notice me in a gallery. He would stop in front of my work and exclaim, "Oh, look at this!" This idea of ​​meeting an art connoisseur has always inspired me.

In reality, the chances of successfully organizing a solo exhibition were extremely low. Moreover, the cost of holding such an exhibition ranged from 200,000 to 300,000 yen, which is approximately 2,000 to 3,000 dollars. I could not afford such expenses.

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Fumito Ueda began his career in computer graphics (CG) before moving to the gaming industry. As Ueda himself notes, during that period, he sought to explore all available opportunities and directions that could enrich his experience and skills.

I have always been fascinated by animation. In the past, I created small animated flip books that allowed viewers to enjoy moving images. This passion became the foundation of my interest in creating animated projects and exploring various animation techniques. With each new project, I discovered new possibilities and approaches, which only strengthened my passion for this art. For me, animation is a way to convey emotions and create unique stories that capture attention and leave a lasting impression.

I initially didn't have a deep understanding of the differences between full and partial animation, but I always found this art form impressive. Animation isn't just about creating static, beautiful images. When examining animatic frames individually, you might notice that some may be less polished than others. However, when these frames are combined into a cohesive whole with smooth transitions and movements, the result becomes truly captivating. This is why I chose the Amiga platform for creating animation. This decision allowed me to experiment with various techniques and create original animation projects.

After graduating from college, I found a job at a company in Osaka that used the Amiga to create computer graphics. I got a part-time job in the new "CG Department". However, when I started working there, it became clear that the department had no real projects or tasks. In my free time, I used the computer to work on my own projects and freelance assignments. Some of this work became the basis of my portfolio, which I presented to Warp Studio. They liked my projects and offered me a job. Until that moment, I had no confidence in my abilities or the quality of my work. For effective search engine promotion, it is important to consider SEO optimization of content. High-quality content should be unique, informative, and relevant to user queries. When writing text, it is necessary to use keywords and phrases that are relevant to the topic. This will help improve the visibility of the page in search engines and attract the target audience. It is also important to monitor the structure of the text, using headings and subheadings to facilitate the perception of information. Optimizing meta tags and image attributes also plays a key role in SEO. Regularly updating content and analyzing its effectiveness will help maintain high positions in search results.

While working at Warp, Ueda realized the importance of experience for his development and aspired to become a more skilled game designer. His dream was to create his own games, but to do so, he needed to go through a long and intensive process of study and practice. Ueda worked hard to accumulate knowledge and skills that would help him realize his ambitious projects in the future in the gaming industry.

I chose this studio because they were new, like me. I thought their horror games were really fun. At the time, their game D had just been released on the 3DO platform. I think I saw an ad for the studio in an issue of Famitsu magazine.

Working at Warp was exciting and memorable. I spent a year and a half at this studio, which only had 15-16 people. Every single one of them was dedicated and passionate about what they did. This created a unique atmosphere conducive to creativity and collaboration.

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At Warp, there was a saying: "Don't sleep in your chair." This expression emphasized the importance of active participation in work. When a person falls asleep in a chair, they not only fail to fulfill their duties but also fail to fully rest. Therefore, colleagues recommended lying down if they felt sleepy. These words had a profound meaning, and now I understand their significance in the context of productivity and health.

Ueda, Despite all the difficulties, he admits that he was happy at Warp. At his previous job, he created animations for flying logos, dreaming of the opportunity to realize his own projects. Working at Warp allowed Ueda not only to do what he loved, but also to rediscover the joy of showcasing his creations. This atmosphere of inspiration and freedom helped him return to his roots and realize his ideas.

Working at the studio gave him valuable experience, especially in the fields of animation and directing. This practical experience significantly enriched his professional skills and allowed him to deeper understand the processes of creating animated content.

In Project D, I was only involved in one scene. The development of the game Enemy Zero began around the same time. Officially, I worked as an animator, but I spent most of my time rendering character animations.

I also gained experience as a cutscene director. We were given scripts describing what should happen in each scene. For example: "Laura performs a certain action here." Then, as animators, we developed the visual structure of the described action, defining how it was carried out and what purpose it served.

I had partial creative freedom when developing cutscenes. When I watch these videos back, I think to myself, "If I were in charge of the project, I would have implemented this differently" or "If I had the opportunity to change the script, this scene would have looked so much better." My experience working on Enemy Zero helped me realize that I wanted to make my own game.

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Fumito Ueda got the opportunity to create his game thanks to Sony Computer Entertainment. He prepared samples of his work and, based on his vision for the project, was able to arrange a meeting with company representatives. This meeting was an important step in his career and allowed him to realize the ideas that would later become the basis for his famous games.

After the discussion, Sony representatives offered me a permanent position with them. By that time, I had accumulated sufficient funds and was eager to realize something significant, to challenge myself. I wanted to take on the role of director and create a scene for a film myself. So, I approached Sony with a request: "I have an idea I would like to realize. Can you wait three months?" To my surprise, they invited me back and offered the opportunity to direct a film based on my script, but on the condition that I work for them.

Ueda noted that his choice in favor of Sony was not determined by the powerful technical specifications of the PS1 console or the significant budgets that the publisher allocated to risky projects. The main factor was the influence of the rhythm game PaRappa the Rapper, in which the main character was embodied in the form of a rapping dog. This game left a lasting impression on him and inspired him to take further creative steps.

PaRappa the Rapper and I.Q.: Intelligent Qube had a significant impact on me. PaRappa, which I first saw at Tokyo Game Show, remains a particularly vivid memory. This project looked much more impressive than the 3D videos I was creating at the time. Although it was standard 3D, the developers masterfully used the torn paper effect, which added a unique and appealing touch. I even went back to Tokyo Game Show to enjoy more footage of this game.

The work of artist Rodney Alan Greenblatt had a significant influence on the creation of PaRappa the Rapper. His unique style immediately caught my attention, adding a modern artistic approach to the world of video games. I was impressed by how PaRappa the Rapper's graphics crossed the line between traditional art and game design. This style was perceived as something completely new, which made the game stand out among other projects of the time. Greenblatt truly managed to create a visual language that left a deep mark on the video game industry and inspired many developers.

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An animated short film Ueda created for Sony served as the basis for the development of the game Ico. In this project, Ueda was able to fully realize his vision, which allowed him to demonstrate unique design solutions and approach to art creation. It was through this creative process that he became known among Western audiences. Ico not only laid the foundation for Ueda's future projects but also had a significant impact on the video game industry, demonstrating the importance of artistic expression and emotional narrative.

We had a master document that detailed the project plan. In it, I outlined my ideas for creating a new gaming experience, different from existing games. This is a task that seems simple in theory, but in practice requires significant effort and resources.

I had always wanted to develop a game with advanced artificial intelligence. At the time, several games with impressive AI already existed, such as Wonder Project J and Hello! Pac-Man. However, I wanted to create an artificial intelligence that would respond to the player's actions, rather than simply commanding and clicking on an interface. I concluded that one way to achieve this goal was to integrate the player into the gameplay, allowing them to interact with the AI-controlled character. This approach could not only improve the gaming experience but also make interaction more natural and engaging.

As for the aesthetic graphics, it's most likely a reflection of my subconscious desires or habits. I didn't place much emphasis on being "super stylish." It's a natural part of my personality, the result of everything I've learned and absorbed over time. The same can be said about digital rendering of character movements, which is a continuation of my experience and practice in this area.

At the beginning of development, I had a clear concept for the project and was confident that everything would work out. However, as we moved into the active phase, the programmers encountered problems integrating various elements. In addition, debugging bugs proved to be a difficult task, since we were unable to make changes to the design document. As a result, we decided to move the development of Ico to the PS2 platform, which significantly simplified the programming process and made the overall development more efficient.

Developing games for the PS1 console took us a significant amount of time. Many start-up projects do not live up to expectations, since the developers have not yet fully mastered the hardware’s capabilities. I wanted to avoid releasing a low-quality game. Looking back, I think it would have been better if Ico had been released on the PS1.

The decision to release the game on the PS2 turned out to be absolutely the right one. The early version had many problems caused by hardware limitations. One might think that it would be worth throwing away two years of work and starting over. However, on the other hand, this gave us the opportunity to complete the project at a higher level. Now we have the chance to polish it and realize everything we had planned.

Ueda aimed to develop a game that would appeal even to those who are not avid gamers. At the time, he was concerned about the issue of people leaving video games, and he repeatedly reflected on the reasons why adults stop playing.

I'm not particularly interested in trends in the gaming industry. Periodically, I stop and notice: "This is where we are." However, what surprises me most is something else - why do people lose interest in video games? In today's world, video games have become an integral part of leisure, but many players leave this hobby. The reasons can be varied: from lack of time to changing interests. It is important to understand what exactly makes people give up gaming in order to bring them back to the world of interactive entertainment.

Many people eventually stop playing video games. Observing my generation, I've noticed that many move on to other hobbies. At the same time, no one gives up movies and music as they age. I wonder why video games are the exception? I see a certain danger in this phenomenon, as it does not bode well.

Despite technical difficulties, a change in the release date, and the transfer of the ICO to another platform, the game was successfully released and quickly received positive reviews, especially from specialized publications.

Ico didn't gain popularity in Japan and sold poorly. The reasons for this phenomenon may be related to cultural characteristics and preferences of Japanese gamers, who were looking for more dynamic and intense gaming projects. In addition, competition in the video game market in Japan was high, which also affected Ico sales.

The game was released almost unnoticed, without much excitement and anticipation among players. All the emotions came only after the release. Later, we learned that our game was nominated for an international award. This was followed by interviews and discussions, which attracted attention to the project.

Positive reviews and laudatory comments about our project began to arrive, but not as quickly as we would have liked. After receiving the nomination, press interest increased significantly, and people began sharing their impressions, noting that it was a truly moving experience or that the game was wonderful. At the time, I struggled to find the words to adequately respond to such feedback.

Creating a piece of work takes significant time and effort, which can make it difficult to remain objective. Often, praise is perceived through a prism of self-criticism: instead of celebrating success, thoughts turn to shortcomings. We ask ourselves: “Why wasn’t more done?” or “How could we release this product with such flaws?” This tendency toward self-criticism can interfere with adequate assessment of the results achieved and slow down the creative process. It is important to learn to appreciate your achievements and learn from shortcomings in order to develop and improve your skills.

I began to question key decisions, wondering whether I should have added a health indicator or increased the number of enemies on screen. There was no one on the team who could support me and say, "You did everything right, Ueda!" This created uncertainty and forced me to reconsider my ideas and approaches.

After the successful release of Ico, Ueda began to reflect on the concept of his next work. According to him, at the beginning, his activities were mainly limited to reflection. Several old ideas that had previously failed to be realized floated around in his head. Ultimately, Fumito chose one of these ideas and began developing a new game.

At the core of Shadow of the Colossus is a sense of scale, although I didn’t fully realize it at the time. Huge bosses have become a kind of tradition in video games, and players are accustomed to them. At first glance, this is nothing new. However, I would like to point out that the key theme that I laid down in the game is cruelty.

Violence in video games is not a taboo topic. Developers often use this element as a means of self-expression. My goal is to show players my vision of violence and its impact on gameplay.

Players noted that Ico stood out for its visual design, but the gameplay did not leave the same impression. Shadow of the Colossus was created in response to this feedback, aiming to offer a more thoughtful gameplay. Initially, I planned to clearly separate the two games, but in the end, Shadow of the Colossus still inherited some features from Ico.

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Fumito Ueda admitted that he had difficulty writing dialogue, so he decided to eliminate it entirely in Shadow of the Colossus. In his opinion, this decision enhanced the atmosphere of mystery and encouraged the development of player imagination. Ueda aimed to create a unique experience where players could interpret what was happening for themselves, making the game truly memorable. This approach helped set Shadow of the Colossus apart from other games, allowing players to immerse themselves in the world without unnecessary words.

Games like Flashback, Out of this World, and Grand Theft Auto 3 create unique worlds that can be difficult to understand, especially for those who don't speak English. My limited knowledge of the language makes the story and gameplay more mysterious and captivating. This lack of understanding creates a desire to understand what's happening, which increases interest in the game. Western games like these are not only entertaining but also contribute to an immersive atmosphere, where every element becomes part of a captivating adventure.

The Iron Giant leaves a deep impression. The English version of this animated film feels more emotional compared to the Japanese one. I didn't always understand what the characters were saying, but I created my own interpretation of the events. This personal interpretation turned out to be more touching and memorable for me. The cartoon touches on important themes of friendship and selflessness, making it relevant for an adult audience as well.

Fumito Ueda, the creator of Shadow of the Colossus, decided to forgo detailed explanations of the world's structure and plot. His goal was to quickly draw the player into the gameplay without lengthy introductions. This approach allows the focus to be on the core element of the game—exploration and fighting colossi—making the experience more immersive and intriguing.

Complicated backstories in video games don't appeal to me. When developers accompany their projects with extensive books detailing the plot and world, I usually don't pay attention. Only in those cases when the game world is truly captivating do I begin to care about the small details. However, such games are few and far between.

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Shadow of the Colossus, unlike Ico, achieved significant success both creatively and commercially, both in the West and in Japan. The game received rave reviews from critics, numerous professional awards and recognition among players, and was also awarded platinum status. Following this success, Hideo Ueda began to think about his next project.

The game designer had an idea he wanted to develop. However, Ueda had doubts about whether this idea could become the basis for a full-fledged game. He realized that both the audience and the publisher once again expected something unique and original from him.

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I've always dreamed of creating a game like Ico. Even though it wasn't financially successful, I decided to make Shadow of the Colossus, targeting hardcore players. However, my next project shouldn't be a repeat of what I've already done. I wanted to create a game that would leave a deep mark on the players' hearts for years to come.

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The Last Guardian became a landmark project in the world of video games. Hideo Ueda once again realized the bold ideas that were characteristic of his previous works. However, as with the development of Ico, the project faced difficulties associated with the postponement of the deadline and the transition from the PS3 to the PS4 platform. These circumstances had a significant impact on the development process of the game and ultimately led to the long-awaited release, which became a real event for fans of the genre.

The development of the project was initially planned for a short period, but the process was delayed, in part due to the need to transfer from one platform to another. These changes negatively affected the motivation of the team, and I also felt uneasy about it.

The Last Guardian was received less enthusiastically by players and critics than Shadow of the Colossus. Despite generally positive reviews, many reviewers pointed out certain shortcomings. The main reasons for this were the long wait for the game's release and technical problems, among which the low frame rate was particularly prominent. Fumito Ueda, the game's creator, was worried about both the feedback and the technical state of the project.

Despite the approaching release of The Last Guardian, I don't feel like the game is finished. There's a lot of anxiety in our studio, even with all the support we've received. It's likely that a sense of relaxation won't come until several months after the game's release.

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Most of Ueda's design decisions were highly praised, particularly the animation and interactions of Trico, the massive creature that accompanies the protagonist in The Last Guardian.

I aimed to create a character that was unique and unlike anything else in video games. Many people are used to dragons and dinosaurs in fantasy worlds, but I think it would be more interesting to imagine a creature that combined the traits of a dog, a cat, and a bird. This would allow for a character that players could easily connect with emotionally, drawing on familiar traits from real life.

"I aimed to create Trico as realistic a character as possible, so that players would feel his presence nearby. My goal was not to design a traditional game, but to focus on the emotional experience the player has. "It was through interactions with Trico that I wanted to convey unique feelings and experiences beyond standard gameplay."

Despite the fatigue and frustration accumulated during the development of The Last Guardian, Fumito Ueda continues to create unique games at Epic Games. His works are known for their deep emotional content and innovative gameplay, making them appealing to a wide audience. Each new game demonstrates his skill and commitment to originality, underscoring the importance of his contribution to the video game industry.

In 2018, Ueda announced the development of a new game and released a single image. Since then, the game designer has given virtually no interviews or revealed any details about the project. The main character is expected to be a mysterious "cloaked man," and the game will be comparable in scale to such well-known titles as Shadow of the Colossus and The Last Guardian. Interest in the project continues to grow, and fans eagerly await new announcements and information about gameplay mechanics and visual style.

This year, Fumito plans to announce a new, mysterious project that will attract audience attention. He is expected to share important details that will reveal the nature and specifics of this project. Stay tuned for important updates.