IGDA Scholarship: CEDEC2015 & TGS2015

Apply here: https://goo.gl/x1RYVD
Application Deadline: July 6 (Mon) *Japan local time


The IGDA scholarships programs provides opportunities for students to attend major game development conferences around the world, including GDC and E3.

Here at IGDA Japan, we are pleased to introduce a scholarship program for CEDEC (Computer Entertainment Developers Conference) and TGS(Tokyo Game Show). thanks to the generous cooperation of CESA(Computer Entertainment Supplier's Association).

Applications are now open till July 6 . Chosen applicants will be given a game
studio tour along with the choice of either a CEDEC Regular Pass, or a TGS Business Day Ticket for free. Both CEDEC and TGS are one of the biggest game developers' conferences, in Japan and Asia respectively. Our goal is for the chosen scholars to find both the conferences and their time with other scholars fruitful.

Course 1: CEDEC
August 25 (Tue)  Studio Tour / Convivial Gathering
August 26 (Wed)  CEDEC
August 27 (Thur)  CEDEC / Developers Night party
August 28 (Fri)  CEDEC

Course 2: Tokyo Game Show
September 16 (Wed)  Studio Tour / Convivial Gathering
September 17 (Tur)  Tokyo Game Show (Business day)
September 18 (Fri)  Tokyo Game Show (Business day) & "Sense of Wonder Night"
September 19 (Sat)  Tokyo Game Show (Public day)& "Indie Game Corner"
September 20 (Sun)  (Tokyo Game Show (Public day))

- Each schedules is subjected to change without announcement.
- A One day ticket for a Public Day(Sep.19) at TGS will be given to every scholars.

Scholarship Details

- Either a CEDEC Regular Pass or a TGS Business Day Ticket will be provided.
- Scholars will be given a tour of a game studio in Tokyo area, where they will get the opportunity to the studio in action and talk with its developers.

- A relevant industry professional will also be assigned to the scholars as a mentor during the event period.

Studios Tour in 2015

CEDEC course
- Aiming Inc.
- GeePlus,Inc.

TGS course
Aiming Inc.
- DeNA Co.,Ltd.

How many students are participating?
A total of 18 applicants will be chosen, 9 for each event.

- Scholars can only choose one conference (either CEDEC or TGS)
- former scholars for CEDEC and TGS scholarship can't send any applications. Other scholars (GDC, E3...) will be acceptable.
- Associated costs such as travel fare, accommodations, and meals are NOT covered by the scholarship program
- The studio tour is subject to cancellation based on the studio’s schedule. However, scholars will still be able to attend the conference they chose.
- Every scholars have to write a report in English or Japanese after programs. They will be uploaded on website (check them).
- Every scholars have to cooperate with our survey. It will be send to studios which cooperate tours.

How To Apply

Please carefully read through the conditions below before filling out the application form. A link to the application can be found at the top of this entry.

Prerequisites (applicants must fulfil the following conditions)
- daily conversation skill in Japanese (This program is open for international students but Japanese speakers should have priority for selection)
- Applicants must be 18 years old or older
- Applicants must be a currently enrolled student in a vocational school or college, or a recent graduate
- Applicants must be fully interested in working in the Japanese game industry
- Applicants must be a IGDA member (registration can be done, an IGDA membership number is required as part of the application form)

Deadline: July 6(Mon) *Japan local time

Mentors wanted!

IGDA Japan is currently looking for game industry professionals who wish to provide an exciting and fruitful experience for chosen applicants of the scholarship program. Mentors will accompany the scholars during the period, helping them with career advice, introductions to other professionals, or with any questions the scholars may have. Please be aware that mentors are asked to accompany the scholars for at least one hour a day during the event (either during CEDEC: August 26 - 28, or during TGS: September 17 - 19).

If you wish to become a mentor for the CEDEC2014 & TGS2014 scholarship program, please email us (contact information at the bottom) with the following details by July 31st (Fri):
- Your name
- Company name
- Job title
- Experience in the game industry
- Latest title you worked on
- Mobile number
- Facebook link (if applicable)
- Estimated time you can accommodate for the scholars during the event

*Please note that mentors will NOT be provided with a CEDEC or TGS pass

Is your studio ready for a student tour?

IGDA Japan is currently looking for game development companies who are interested in giving chosen applicants a tour of their studio. For more details, please contact us at the email address below.


For all queries regarding the program, please contact Kenji Ono (IGDA Japan Chairman) at info@igda.jp .

IGDAスカラーシップ for CEDEC2015 & TGS2015

申し込み https://goo.gl/tlZafZ
締め切り 7月6日(月)






8月25日(火) スタジオツアー
8月26日(水) CEDEC参加
8月27日(木) CEDEC参加/デベロッパーズナイトパーティ参加
8月28日(金) CEDEC参加

9月16日(水) スタジオツアー
9月17日(木) 東京ゲームショウ ビジネスデイ参加
9月18日(金) 東京ゲームショウ ビジネスデイ参加
9月19日(土) 東京ゲームショウ 一般公開日参加  インディーズゲームコーナー参加
9月20日(日)(東京ゲームショウ 一般公開日)自由参加



■スタジオツアー協賛企業 2015

CEDEC コース 株式会社Aiming









②学生証のコピーをスキャンまたはデジタルカメラなどで撮影の上、info@igda.jp までメールしてください。その際にメールの件名を必ず「スカラーシップ2015申し込みの件」とし、本文に名前・学校名・応募コース(CEDECまたはTGSのいずれか)を明記してください。










IGDA日本代表 小野憲史(info@igda.jp)








・インディゲームを買う〜すばらしい! インディゲームはあなたの時間とお金を消費します。しかし、これはまだボランティア活動ではありません。


・カンファレンスの運営を手伝いましょう〜カンファレンスのほとんどは、たくさんのボランティアスタッフによって運営されています。あなたのお気に入りのカンファレンスの運営を手伝ってみませんか? 多くの場合、イベントの無料参加権が得られるだけでなく、同じような情熱を持つ素晴らしい人々に出会ったり、カンファレンスがどのように運営されているのか、舞台裏から知ることもできます。




(日本語参考訳作成 小野憲史)



























スカラーシップとしての最後のイベントはINDIE STREAM FESの参加で、これは世界中のインディゲーム開発者向けのパーティでした。そこで『ロックマン』の生みの親として知られる稲船敬二さんをはじめ、たくさんのクールな人々に会いました。首都圏からはるか遠方までさまざまな企業の開発者と話をする機会があり、アメリカ国外でもゲーム産業はこんなに盛り上がっているんだと誇らしく思いました。



My name is Forrest Pruitt, and I was selected as a 2014 IGDA Japan scholar. For me, this meant traveling from Tennessee in the United States to Tokyo for the Tokyo Game Show. It was my first time visiting Japan, and I had no idea what to expect. I was apprehensive about many things before the trip; not speaking japanese, the insane public transportation systems, being an obvious gaijin (foreigner), and not having anyone I knew in the area all made me quite nervous. All the same, I was incredibly excited to have the opportunity to attend an event I had dreamed of attending since I was a young child. I have always been intrigued by Japanese culture and interested in the Japanese game industry, so I was ecstatic to have the chance to meet actual developers there.

I arrived a few days early to get my bearings and do a bit of sightseeing. I spent time riding the JR line trains around, trying to get a feel for how to quickly get from place to place. I visited the Imperial Palace Gardens, the Shinjuku area, and Akihabara on my first day, mostly wondering around and observing a culture so different from my own. I spent far too much time in the arcades in Akihabara (they are so much bigger than back home!) and soaking in the otaku (geek) culture around me.

After an exhausting first day (my FitBit tells me I took more than 40,000 steps that day), I headed back to Chiba and slept well. The next morning, I was to meet the other scholars and the organizers of the scholarship, namely Kenji Ono and Ogata Miyuki from IGDA Japan and Naoki Matsuyama as our translator. Waiting outside the JR Ochanomizu train station, I was worried it would be difficult to find each other, but it did not take long for a large group of us to accumulate and for the introductions to begin.

I can’t express how amazed I am at the group of people that made up my 2014 IGDA Scholars program. These impressive individuals were an international group with backgrounds that touched all areas of game development, from fellow programmers to artists to designers, to producers. If there were not ten of us, I would spend time talking about each one of them-- suffice it to say, they are incredible people doing incredible things.

Our first studio tour was at Ubiquitous Entertainment Inc. (UEI). Here we heard from two individuals in different roles; one on the business side of things, and another who is a researcher and developer. Games are only about ⅓ of what UEI develops; the rest is in the areas of business solutions, R&D, and content development. They claimed to have created the first MMORPG for mobile devices before smart phones existed. The main technology they demonstrated for us was enchant.js, a Javascript game engine. There are already thousands of games developed by hobbies and some professionals  use it in Japanese markets.

A few UEI employees showed us around their studio. We got to see the desks of around 50 (many were at home after an all-nighter the previous day), each containing manga, collectible figures, or empty coffee drinks. The environment was open, with many developers sharing the same space. It seemed like a pleasant and bright working environment.

Afterwards, we were taken back to the small lecture hall to hear about MOONblock, a drag-and-drop, web-based game programming environment. It is set up to make teaching game development easier, as well as making rapid prototypes. It is pretty neat, and can be viewed online.

We left UEI and took the train to Land Ho!, a development company of around eighty people. Skipping lunch due to time constraints, we went quickly. Kenji was kind enough to buy 'Calorie Mates' for all of us- a surprisingly nutritious and delicious thing that resembled a thick cookie designed for eating on the go.

The company was originally created by former SEGA developers, and started making games during the Dreamcast era. They have worked on horse racing simulators (apparently a popular genre in Japan), as well as some of the Just 'Dance! games', 'Crimson Dragon', and many others.

The conversation at Land Ho! was mostly around the differences between working for publishers versus developers. As a developer, Land Ho! takes work from larger companies, completes the task, is paid a fixed amount, and does not get paid dependent on how well the game does in the market. Our speaker was clearly biased towards working for developers (as he himself does), but he discussed the pros and cons of both. Working in a studio at a publisher usually means more direction and specific tasks, but less individual impact on the game. Working for a developer can mean working on only what publishers will pay you to work on, but each developer has more power over the whole process.

We toured the offices of Land Ho! after this conversation. Their working space was spread across three floors, but still had an open plan like UEI. There was much we weren’t allowed to see, as they were working on at least one unannounced game. All the same, the environment seemed quite pleasant.

The final studio was Aiming. When we arrived,  we were greated by a number of the employees from a number of departments at Aiming.

Aiming is a relatively new company, having only started in May 2011. Aiming is a massive planner, producer, developer, and operator of online games in Japan with more than 400 employees. It had the fortune to grow very quickly, having created a few very successful Japanese mobile MMO’s in the past years.

Employees at Aiming attend ‘study sessions’ on Mondays and play games together throughout the week in an attempt to get all developers ‘on the same page’. This positive time together speeds up operations and is at the core of company culture. There are many possible roles at Aiming, some of which they described to us.

Planners create concepts, design game specs, create levels, and create the rules of the games in development. This role is equivalent to the Western ‘Game Designer’ role.

Operators deliver games to users and monitor/analyze live gameplay. Front-end operators talk to clients directly, seeking feedback, while backend operators perform analytics on the massive stream of incoming data. New employees tend to start in this position, to get a feel for the game works, how people perceive it, and what is being done to improve it.

Designers (Artists in Western studios) create art that conforms to the style of the game without interrupting or interfering with gameplay. This is especially important for mobile games, which operate on relatively small screens. Character, Background, Effect, and Motion Designers were discussed, as well as technical artists and illustrators.

Engineers use an incredibly large variety of tools to take the game plan and design and create the world. Web Engineers at Aiming mostly use Ruby, PHP, and relational database management systems to do their work. Bridge Engineers do localization, tech transfer, and global negotiation work-- basically, doing the work to get a game from Japan to another country. Server engineers use tools and languages dependent on the type of game, with the same going for Client engineers. In my experience, this is standard throughout the world; you pick your tools based on the individual project, because there are so many!

After finishing up at Aiming, the group had dinner at a Denny’s (surprisingly nothing like Denny’s back in the states) and split up.

The next morning, we all met up outside of Kaihin Makuhari station near the MASSIVE Makuhari Messe convention center. We traded a business card and a QR scan for our passes (a seemingly insecure system?) and waited for the moment we would be allowed to enter the TGS show floor. First on the agenda for the day was the keynote. To get to the hall with the keynote, we had to walk through the amazing, sensory-overloading floor of one of the largest game conventions in the world, which made settling down at the keynote pretty difficult.

The keynote was in Japanese, but they gave out translation receivers that allowed the English-only speakers among us to still understand it. It was in a roundtable format, with representatives from all across the Japanese market as well as a guy from King in the UK. The theme of  TGS this year was ‘Changing Games: The transformation of Fun’, and the people in the keynote seemed to all agree that this transformation was one from console/web to mobile. They offered advice on culturalization of games in and out of Japan, though most of the content seemed to be meant less for developers and more for the business and production minded individuals in the audience.

The second half of the keynote was sponsored and presented by Google. To put it gently, it was basically just a massive advertisement for Google’s Android platform and why developers should use it in their games. It felt like a talk that would have done better not as a keynote, but as a sponsored talk where people who had never heard of Google could go and become indoctrinated. Needless to say, I did not enjoy this part of the keynote.

After the Google talk, the other scholars and myself were set free onto the Tokyo Game Show floor. Because we were attending on business day, the crowds were not too large and we were able to move between booths with ease. I spent most of the first day with Jacob, an artist and Masters student from Australia, geeking out over the various games that would not be Westernized for years to come. We chatted with indie developers, took loads of pictures, and mostly just gawked at the sheer marvel of the show.

Tokyo Game Show is different than other game events, like PAX or GDC. There are very few talks that go on; they mostly let the games talk for themselves. I was expecting to fill my days with a mixture of talks and seeing stuff on the floor like I did earlier this year at GDC, but ended up finding myself with much more time just to wander around and see what kinds of games were being made in Japan this year.

After the end of the first day, some of the scholars got together and headed out to Akihabara to have dinner and sing some Karaoke. The whole evening was great. We went to a restaurant that you bought your meal from a vending machine, were given a ticket, and gave it to the cook at the counter. Afterwards, we went to a Karaoke bar with private rooms, and tunes from games to pop culture to anime, and everything in between. I feel like we all really bonded that night, and it is one of my fondest memories from the trip.

The next day, we went back to TGS and enjoyed the show more. I got a chance to play Monster Hunter 4G, a game recently released on the Nintendo 3DS, but with no scheduled release for the west yet. I played many more games and talked to more developers that day. At the end of the day, we all attended an event called ‘Sense of Wonder Night’. It showcased 10 independent games from all over the world that were in some way awe-inspiring. Most of the games are better seen than described, but if you are interested in seeing some amazing games, check out this years finalists.

The last event I attended as part of the scholarship was the Indie Stream Fest, a party for independent developers from around the world. I met many cool people there, including Keiji Inafune, the creator of Mega Man. I got a chance to talk to developers from companies local and from far away, and really get a better feel for the game industry outside of the United States.

The rest of my time in Japan was spent with the other scholars. We explored Tokyo together, seeing old temples, eating tasty food, and playing games in arcades. Some of us got together and celebrated my birthday, which happened on my last day in Tokyo.

I can’t express how amazing this experience was. I am incredibly thankful to IGDA Japan for the opportunity to see and explore Tokyo and the game industry there. I made some amazing friends that I have remained in contact with. I was able to network with developers in the Tokyo area, as well as gain insight into a gaming culture I had not had much exposure to. I had a fantastic time, and I want to encourage anyone considering applying to the program to do it. You will not regret it! (The University of Tennessee, Forrest Pruitt)

日本語翻訳:小野憲史, Internationalization Force, IGDA日本
Japanese translation: Kenji Ono, Internationalization Force, IGDA Japan



はじめまして! 私の名前はダンテ・メディナです。メキシコ人の学生で、現在はフランスのシュパンフォゲーム大学で、プロジェクト管理とゲームデザインの分野で修士課程に進んでいます。2014年の東京ゲームショウのスカラーとして、このエッセイの機会を活かして、このユニークな経験を自分に授けてくれただけでなく、西洋と日本のゲーム開発者をつなげるすべての仕事に対して、IGDA日本にたいへん御礼を申しあげます。今後のさらなる成功をお祈りしております。



UEIで作られたゲームとして、彼らは最初の携帯電話向けARPGである『メルルーの秘宝』を配信できていました。彼らはこのマイルストーンをARアプリケーションと『クリムゾンフォックス 渋谷の街に隠された暗号を探せ!』というARを用いた宝探しゲームと、ARナビアプリの『ARider』に焦点を当てて追求しました。最終的に同社は『天空のエリュシオン』という、骨太のモバイル向けMMORPGをリリースしました。




ランド・ホー80名程度のゲームソフトウェア企業で、1999年にセガの開発者が独立して起業しました。私たちはビジネスデベロップメントのゼネラルマネージャーと会議室に座り、スタジオに関する個人的な見解について伺いました。同社では数多くのゲームが開発されていて、その多くは有名なパブリッシャーから販売されていました。ヒットタイトルの中には競馬シミュレーションや、カジュアルなダンスゲームがあり、すばらしいものでした。一番有名なタイトルはXbox One専用ゲームの『クリムゾンドラゴン』で、2013年のE3でマイクロソフトから独占で発表されました。







パーティに参加させていただいたことも、たいへんありがとうございました。中でもIndie Stream Fes 2014はもっとも重要なものでした。そこで私は学生の間はとても難しいと思っていた方々とお会いできました。驚いたことに、もっともゲーム業界に影響を及ぼしたと思われる方々ですら、たいへん気さくで気軽に会話できました。このパーティはスカラーシップのハイライトでした。才能にみちあふれ、周囲に影響を与える人々であふれた会場に自分がいられたことは、私の人生の中でももっとも貴重な瞬間で、忘れがたいものになりました。


日本は素晴らしい国です。私は以前にも日本を訪問したことがありますが、その素晴らしい風景や、興味深く世界に類を見ないゲーム産業をもう一度見たいという気持ちを抑えることが出来ませんでした。また、他のスカラーの存在無しには、このスカラーシップがこのように素晴らしいものになったと他に紹介することはできなかったでしょう。とても国際的で上下関係のないスカラーたちで、彼らと一緒にいてふさぎ込んだまま過ごすというのは不可能でした。このエッセイを読んでくださっているとしたら、改めてそのことを強調しておきます! 地球は狭くゲーム業界は小さな産業です。近い将来に全員のスカラーと再びお会いできることを楽しみにしています。(スパンフォコム大学、ダンテ・メディナ)

Greetings! My name is Dante Medina, I am a Mexican-born student currently pursuing a Master’s degree in Management & Game Design at Supinfogame, France. As a 2014 Tokyo Game Show scholar, I would like to take this opportunity to show my gratitude towards IGDA Japan not only for this unique experience they have gifted me with, but also for all the work they have done connecting Western and Japanese developers. I hope many years of success await this great organization.

As a student currently aiming to work as a producer, this scholarship allowed me to discover different game production methods than those I am learning about. I was able to broaden my horizons and see how unique Japanese game development is. Case in point, Ubiquitous Entertainment Inc. or UEI.

I was really impressed with this studio’s track record. Founded the 8th of August 2003, their founding member had already focused on innovation and on pushing available tech to its limits. Some of them were able to launch the first mobile phone with email back in 1999. Others quickly followed with the first mobile MMO game in 2000. Of course, this was only possible in Japan where mobile phones were extremely sophisticated compared to what we had in the western world at the time. Regarding the games they had made before working at UEI, some of them actually developed a game for Toyota which far exceeded my expectations of what an ad-game should be: they actually released a CCG with physical cards that could be used in game!

As for games made by UEI, they were able to publish the first ARPG for mobiles named Meruru no Hihou. They followed this milestone by focusing on AR applications and games such as an AR-hunt game named Crimson Fox and an AR navigation app, ARider. Finally, they released Elysion in the Sky, a robust mobile-only MMORPG.

Besides consumer software, they are currently working on a very interesting project. Their R&D team is continually working on an HTML5 and Java learning game engine called enchant.js which is already powering a variety of Japanese mobile games. It’s very easy to use, and any finished game can be uploaded to their website 9leap where users can play and rate each other’s games. Last but not least, their enchant moon tablet makes it easy for people of all ages to start quickly developing games without writing a single line of code through the use of an enchant.js-powered engine named moonblock. The user-friendliness of moonblock is truly great, and it’s incredible seeing how many games have already been created by people with no programming experience whatsoever.
After a presentation of their company, we were given a tour of the studio and one of the artists talked to us about the production pipeline and the number of engineers and artist in any given project. Finally, one of their programming interns gave us a final presentation about the mobile optimization work for enchant.js he’s doing. He also talked to us about technicalities of the engine such as rendering techniques, type of shaders and how he intended to improve the reaction time, rendering speed and FPS count on mobile platforms.

All in all, UEI’s work extends far beyond game-oriented software and hardware. They’re always experimenting with new technologies and also creating new ones. It is truly great seeing a company working towards making game-making easy for everyone because I believe this paves the way to seeing more interesting and unique games in the future.

Land Ho! is an 80 people game software company founded in 1999 by former Sega employees. We sat down with the general manager of business development and he gave us a very personal overview of his studio. They have developed a lot of games, although many of their games have been published by a large number of famous and prestigious publishers. Their biggest hits include horse-racing games, although their casual-oriented dancing games have done very well. Their most famous game is the Xbox One-exclusive game Crimson Dragon, which was extensively promoted by Microsoft during their 2013 E3 conference.

They have developed games on a large variety of consoles and are always working on new platforms and with new technologies. What’s interesting about the studio is that they belong to the category of mid-sized developers, and they have decided to focus not only on original IPs but also on work-for-hire games. The adaptability of their team is admirable because they don’t focus only on one platform and they have launched a huge amount of games despite their size. It was very enriching to visit them and have them offer us an insight on their business practices.

As a developer specialized in mobile online games, Aiming has done exceedingly well. Founded in 2011, they now operate four studios in three different countries. One of their MMOs is currently Japan’s number 4 in number of active players. Their ambition of focusing only on online mobile games has paid off since now they have successfully released and are currently maintaining a large number of games on the Japanese mobile market. Their games include "Lord of Knights", hack and slash game "Valiant Legion" and "スマホでゴルフ!ぐるぐるイーグル", a successful golfing game.

What I liked most about Aiming is their work philosophy. Managers are very interested in the games that their employees play, and they even play and analyze games together. On Mondays, they hold a study session for the team. In order to maintain their launched games, they divide their team between client and backend and use this production methodology to keep their games updated with additional content and events. Moreover, they organize after-work get-togethers for the team! All in all, Aiming is a studio focusing on the well-being of their employees which in turn improves work environment. I was able to learn a lot from their work methodology.

At the end of the presentation and studio tour, a number of key creative members of the studio offered their time in order to look at the portfolios of all the scholars. I was able to talk with one of their Lead Game Designers and he kindly offered to look at my work all while giving me useful advice and speaking at length about their production pipeline. It was very useful to get a closer look and understanding of the differences and benefits of their work organization from the ones I am used to.

2014 Tokyo Game Show
Aside from playing and attending presentations from a couple of games I am looking forward to, we were able to attend three main events. The first consisted of a round-table between mobile game studios CEOs, marketers, directors and managers from companies such as BANDAI NAMCO and King. The subject of their debated consisted on how diversifying their game platforms and reaching a global audience impacts their business strategies. The second one consisted of a conference by Google and the benefits of developing for Android.

The third event and my personal favorite was the Sense of Wonder Night 2014. I had high hopes for this competition and I was not disappointed. It truly is incredible seeing games with new ideas, concepts and challenges being judged and rewarded on a grand stage. I was very inspired by the games being presented and I took my chance and, afterwards, took the opportunity to exchange ideas and engage in conversation with most of the contestants.  

I was able to do so thanks to the parties we were able to attend, most importantly the Indie Stream Fest 2014. There, I met people I didn’t even imagine I could meet while still being a student! To my surprise, even the most influential game industry people were very approachable and open to conversation. It was one of the highlights of the scholarship: being in a room full of talented and inspiring people was a very important moment in my life which I shall not forget soon.

I have thanked IGDA Japan over and over for their generosity and work in making all of this possible, but I will do so one more time because they deserve it: Mr. Kenji Ono and Mrs. Ogata Miyuki, thank you for everything. You have given me moments I will treasure for the rest of my life and my career.

Japan is a great country and while I have visited it before I cannot wait to see its beautiful sights and its interesting and downright unique game industry once again. I would also like to mention how this scholarship wouldn’t have been so amazing without my fellow scholars. With such an international, varied and just plain fun crew, it was impossible not to enjoy it even more so a shout-out to you guys if you happen to be reading this! It is a small world and a small industry, so I’m looking forward to seeing all of you once again in the very near future!  (Supinfogame, Dante Medina)

日本語翻訳:小野憲史, Internationalization Force, IGDA日本
Japanese translation: Kenji Ono, Internationalization Force, IGDA Japan







次に訪れたのはランド・ホーで、元セガのスタッフによって設立されました。彼らは数え切れないほどのタイトルを手がけており、競馬シミュレーションやXbox Oneでリリースされた「クリムゾンドラゴン」のようなヒットタイトルも含まれていました。ほとんどのタイトルはパブリッシャーから発売されており、(スマホゲームでは主流の)自社パブリッシングや(クラウドファウンディングなど)スポンサーから出資してもらって開発されている他のタイトルに比べて、興味深い変化のように感じられました。デベロッパーとパブリッシャーの違いについても講演され、小規模から中堅のスタジオから見た、興味深い業界内の知見のように感じられました。話は同社の採用プロセスにも及び、同社が通年採用をしていて、外国人でも歓迎しているが、言語の壁が問題になるかもしれないと聞き、興味を持ちました。彼らはより規模の小さいスタジオとして、幅広いスキルを持った人材を採用したいと考えており、採用されればすぐに実戦投入されると説明されました。そして、ここが何か尖ったスキルを持つ専門職の求人を嗜好しがちな大手企業との違いだと述べられました。







ショウの終了後、INDIE STREAM FESに参加して、数え切れないほどの素晴らしいゲーム業界の人々と出会い、日本で働くことの可能性についても話をすることが出来ました。もっとも素晴らしかったのは「ロックマン」シリーズのクリエイターで、個人的なヒーローである、稲船敬二さんにお会いできたことでした。



My name is Jacob Paris and I was fortunate enough to be one of the scholars chosen to attend the Tokyo Game Show in 2014 with IGDA Japan. I study a Masters of Information Technology at the Royal Melbourne University of Technology (RMIT) in Australia.  I also run a small studio, working on software contracts and developing our own intellectual property, Grow, which we’re hoping to release on Steam early next year.

I’ve always had a love for Japanese culture, the Japanese games industry and the Tokyo Game Show which led me to visit the show once before during my first journey overseas in 2010. However, the business element of the show was something I’d never experienced and the opportunity is something I’m incredibly grateful for.

Of course, the IGDA scholarship afforded us countless other opportunities beyond the show itself, beginning with visits to local game development studios. The first studio visited was Ubiquitous Entertainment Inc. (UEI), a company invested in new and interesting technologies and software. They discussed their past and current projects, many of which were firsts in the industry. Of particular interest to me was a game development platform known as ‘Moonblock’ which made use of the companies own Javascript programming language ‘enchant.js’. It was a very simple, online platform that allowed for beginners to gain an understanding of the fundamentals of programming for games. Having worked a lot teaching children about game development, I thought it seemed like the perfect starting point and I intend to make use of it in the future. One of the speakers, Kevin Kratzer, also discussed how he managed to join the company through a university supported placement.

We were also shown around UEI’s studio where we had the chance to marvel at their desk set ups and discuss development pipelines with one of the lead artists.  I was surprised to hear that most art assets were given 3-5 days to complete, much more time than I was expecting. Due to their focus on new and emerging technology, UEI had a worker base primarily comprised of engineers.

The next stop was LandHo!, a studio established by a group of past SEGA employees. They’d worked on countless titles, including a range of successful horse simulators and the XboxOne release title, Crimson Dragon.  The vast majority of their projects were contract-based, an interesting change from the more self-funded or sponsor-funded projects of the other studios. They outlined the differences between developers and publishers, something they had unique insight into as a small to mid-sized studio. We discussed their hiring process and I was interested to hear that they were always accepting applications and also that they were happy to hire foreigners, though the language barrier could be an issue. They mentioned that as a smaller studio they preferred someone with a broad range of skills and they take this into account when hiring, a big difference from larger studios that hire for specialized jobs and skill sets.

Aiming was our last stop. A much larger studio, Aiming had almost 300 employees. They were only 3 years old, established when 100 employees left development studio 1-UP. They believed people would eventually want to play hardcore games on mobile devices and made this their focus. This was my first look at the Japanese mobile industry which differed greatly from the industry I saw in Australia. Whilst the western world was still highly focused on the potential of casual mobile games, Japan was focusing on more hardcore games and these were leading the charts. This made me a bit more optimistic about the future of mobile games.

I was very impressed with Aiming’s use of agile development practices and their dedication to playing and enjoying games together as a team. We were told details about the different development roles which gave us a good look at the way the studio was run.

After this we were separated by our preferred roles (artist, programmer, producer etc.) and sat down to talk with members of each role from the studio. The artists spoke with Mr. Takayuki Hirota who provided plenty of useful feedback and insights. I was able to show him my game and he seemed very happy with it, telling me to continue my work and to send him through a portfolio if I ever thought about working or interning in Japan. This was incredibly exciting for me, as I’d never considered working overseas.

The following day we took part in the business side of the Tokyo Game Show, beginning with a keynote speech which highlighted the individuality of the Japanese mobile industry and spoke on future change. We had the opportunity to play a wide array of games and take in the starkly unique culture of the Japanese industry. It was definitely an amazing experience. The show was packed with people, even on these business days. We broke up into groups and met up at the end, sharing stories and showing off purchases.  We then sat down with some convenience store ice cream and chatted before heading out to a late night of karaoke. I was so happy to have some of my favorite anime songs come up on screen, even if I couldn’t sing the Japanese lyrics. It was a crazy and awesome night and one of my best memories from the trip.

The second business day was equally amazing, especially as we knew which games and booths we wanted to focus on. Myself and Forrest ran to the Monster Hunter booth and got to enjoy the cheers of the booth employees each time a player defeated a monster. Later in the day we attended the Sense of Wonder Night, an event to celebrate the creative efforts of independent developers from across the world. It’s an event I’ve always dreamt of attending and it did not disappoint: the games shown were some of the best I saw at TGS. Two came from fellow Australians and friends and it made me happy to see our independent scene so well represented on stage. My personal favorite was "Picolecetta", a game that focused on teamwork and set the audience cheering. Afterward we attended the TGS after party and spent the night delving into deep discussions of the game industry and the gaming community.

The next day was the TGS public day, though we took half of it off to visit a local café with some resident sugar gliders. After lunch we popped into the show, but it was so busy that we found ourselves spending most of the time checking StreetPass and chatting. The frantic halls of the public days made me even more appreciative of the opportunity to attend the more quiet business days.

Later, we attended the IndieStream event where I got to meet countless amazing people from the industry and even discuss possible work in Japan. Most notable for me though was the opportunity to meet Keiji Inafude, the creator of Megaman and my personal hero.

The trip was utterly amazing and I can’t possibly express my gratitude for all the opportunities IGDA Japan and especially Kenji Ono provided. Though the trips to studios and the show were undoubtedly wonderful, the greatest thing to come from the scholarship was the chance to meet my fellow scholars. They’re all such brilliant people who have enlightened me more than I could have ever expected. They’ve also become fantastic friends that I hope I’ll have for a lifetime.

This scholarship has opened up my eyes to the industry outside of Australia; a refreshingly positive look at prospects outside of my troubled local industry. I now know that I want to travel to other countries in search of opportunities. Once again, thank you to IGDA Japan and Kenji Ono for what I would not hesitate to call a life-changing experience.(Royal Melbourne University of Technology, Jacob Paris)

日本語翻訳:小野憲史, Internationalization Force, IGDA日本
Japanese translation: Kenji Ono, Internationalization Force, IGDA Japan







会社説明の後、一時間程度エグゼクティブの方々が私たちのゲームや作品を批評して、励ましてくれる時間をとってくださいました。このように大きな企業が学生の作品にコメントする時間をとってくれたことに感激しました。大変恐縮するとともに、自分たちのチームのゲームトレーラー「Rising Suns」を見ていただきました。どうだったと思いますか? リードプロデューサーの方がとても感激してくれました。私はとても満足しました。




TGSスカラーシップの最終日には、Sense Of Wonder Night (SOWN)に参加しました。これは今年度の優秀なインディゲームのノミネート作品を一堂に紹介する受賞セレモニーです。すべてのノミネート作品が素晴らしいものでした(すべてです、お世辞ではなく)。それぞれのゲームからさまざまなインスピレーションを得ることができました。制作者の方には御礼を申しあげます。このセレモニーに参加して、多くの素晴らしいゲームを知ることができ、インディゲーム開発者にお会いすることが出来たのはとても嬉しいことでした。私のもっとも好きなゲームは「Picolecitta」です。これはローカルの10人協力ゲームです。これらの10人のプレイヤーはお互いに殺し合ったり、撃ち合ったりすることなく、お互いに協力して各々のステージをクリアしていかなければなりません。一人も残さずにゴールにたどり着かなければならないのです。このようにゲームメカニクスが、全員が協力しなければならないように、非常に周到に設計されているのです。このゲームはベストオーディエンスアワードを受賞することは出来ませんでしたが(かなり惜しいものでしたが)私のベストゲームであり続けています。というのも、プレイヤーが互いに協力しあいはじめたとき、たいへん心を動かされたからです。


Hi my name is Allen Yu. I was born in Taiwan and currently studying at New York University (NYU) Game Design program. NYU Game Design is a very new program and is the hub of indie game communities of the east coast of the US. As one of the creative centers of indie games in the States, I am familiar with how indie games was created in the US, and also always curious about the indie game community in Japan, especially as a Taiwanese growing up by playing Japanese video games. Lots of my childhood memory is full of Japanese games. Thanks to IGDA Japan, they make my dream come true. I became a IGDA Japan Tokyo Game Show (TGS) Scholar and what’s even better is we actually got a chance to visit the game studios and companies in Japan!

The first company we visited is Ubiquitous Entertainment (UEI) in Tokyo. This company is famous for developing ”NicoNico”; also they created the first MMO fishing game on mobile platform (which is played through emails) and the first mobile MMORPG, and was honored to be invited to Game Developer’s Conference (GDC) then. To me, this company is a perfect model of a technology-driven game company. Their programmer and engineer-based team, plus the advisors are professors from renowned universities, really puts this company into many advanced technology and diverse applications. For example, enchant-js, based on HTML5, is the easy-to-use game engines, and many game developers in Japan like the handy tool to help them create games fast; besides, MoonBlock is the simple and fast visual programming software for young developers, and it not only help to create a game, but also reveals its source code to look into how a game was built through actual code.

The second game company we visited is LandHo!. It is a game developer making games for many well-known game publishers and AAA game companies, such as SEGA, Ubisoft (which is my favorite game company), and so on. And they also made famous game titles too, for instance, Just Dance is a very popular dancing game I played before. The manager in LandHo explained the difference between game developers and game publishers, and walked through what’s happening in the game industry. We scholars had a very nice conversation with the manager: we asked many things we concerned about, and the manager answered with details based on his many year’s experience in the industry. It’s a very productive visit and I now have a better overview about the Japanese game industry.

The last studio we visited is Aiming.Inc. It is the leading company in the Japanese mobile game industry. Their downloads and number of active players in Japan ranked quite high. The executive introduced their company briefly, and I was surprised to see my hometown, Taiwan, has one of their international branches. The average age of this successful company is only 30 years old, with the very flat organizational structure, and casual atmosphere, it seems to be the most appealing working environment for young creative designers and developers. Each team in the company is task-based, divided into different tables to work and brainstorm with teammates. Also, not only the project-leading team, but also all the people in the company have the chance to play test the game and then give feedback. I saw a lot of sticky notes pasted on wall around office corners. This actually made me very excited, because the school has trained me to brainstorm and writing down whatever ideas in your mind on sticky notes and exchange and discuss with your teammates. I definitely know how powerful and how efficient this method is for brainstorming from scratch.

After the company’s briefing, we have about one hour left and the executives encouraged us to show our games or works, and then they will give us some feedback. I am very impressed that such a big company would willing to spend their time to comment on the student’s works. I really appreciate this opportunity and I presented the game trailer of our team: Rising Suns. You know what? The lead producer was pretty impressed by our work! I am so satisfied.

The game studios visit was a decent experience. The following event is the opening of Tokyo Game Show (TGS), and everybody was so excited about it. The opening talk is basically an outlook about Japanese game industry in the past year. To sum up, the opening talk is about:Firstly, the Japanese mobile game industry is changing the market and rules. Some Japanese game developers even think Japanese mobile games will take the revenge for the Japanese game industry, and recover Japanese games to its glory.

Secondly, the Japanese mobile games is going to the oversea markets. And these companies started seeing the oversea sales as a important indicator. Many companies mentioned Taiwan in their talk about oversea markets, because Taiwan is one of the most countries which addicts to Japanese games the most.

After the talk, we got to visit the game booths and played the latest games. It was very fun. What makes it better is because we were visiting during the so-called Business Day, so I got to talk to a lot of game developers and designers, exchanging what I learned from school and knew what is happening in the real world. It helps me to bridge the gap between academic and the real industry.

Last day of the TGS scholarship, we attended the Sense Of Wonder Night (SOWN). It’s a ceremony for all the nominated indie games this year and giving out awards. I have to say, all of the nominated indie games are awesome! (All of them, no kidding!) I was very pleased that I can almost get some inspirations from each games. I am so happy to join the ceremony and got to know so many awesome games and indie game developers and designers. My favorite game is Picolecitta, which is a local 10- players co-op game. These 10 players instead of killing and shooting at each other, they have to cooperate and help each other to pass through each stage. Need all of them to clear the stage and no one can be left behind! Thus, the mechanic is to cleverly design the way for players to help out each other. Even though this game didn’t make it to the last prize (but very close to win), it’s still my best game ever, because I was so touched by the moment that players starting helping out each other!

I feel I have to say thank you to all the IGDA Japan members, especially Kenji Ono San and Ogata Miyuki San. They are very considerate and always taking care of all the details. I feel very warm and touched. And thanks to indie game developers to create so many wonderful games, I believe you guys are making this world more beautiful with creativity. Last but not least, I would like to say thank you to my fellow scholars. They are from all over the world, USA, Mexico, Brazil, Australia, and Japan, but we feel like a big happy family (Kenji San is the daddy and Miyuki San is the mommy). It’s been very nice to be around with you guys and I actually learn a lot from all of you. You guys are the coolest and awesome people to get along with too. Thank you all and this will be one of the unforgettable memory in my life. (New York University Game Center, Allen Yu)

日本語翻訳:小野憲史, Internationalization Force, IGDA日本
Japanese translation: Kenji Ono, Internationalization Force, IGDA Japan