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Interview: Console Wars Author Blake J. Harris Discusses Film Adaptations and the Struggles of Sega

Posted by Jake Shapiro

Sega of America does what Sega of Japandon't.

A couple weeks ago we reviewed Console Wars: Sega, Nintendo, and the Battle That Defined a Generation by New York City-based author Blake J. Harris, about the bitter rivalry between Sega and Nintendo in the early 1990s through the eyes of Sega of America head honcho Tom Kalinske. The review sparked a heated discussion about Sega and about the book's polarising narrative non-fiction approach, so we reached out to Mr. Harris for a more in-depth discussion of Console Wars and his writing process. We asked about the book's two upcoming movie adaptations (a feature film with Seth Rogen and Evan Goldberg, and a documentary made by Harris himself) and about the true battle in Console Wars: not Sega vs. Nintendo, but Sega of America (SOA) vs. Sega of Japan (SOJ).

Thanks for taking the time to discuss Console Wars! Could you start by telling us a little about yourself and how the Console Wars project came about?

First off, I wanted to begin by saying that I enjoyed your review of the book. Given the narrative style that I chose, it would have been very easy for you to object to the book as a whole and use lots of four-letter words and villainous emotions. So I really respect your taking the time to show what the book does nicely (and who might enjoy reading) as well as criticizing where you thought it lacked. Not all reviewers would have been as fair, and believe me, I have the e-mails to prove this. But before we talk any more about reactions to the book, let me answer your question and explain how it all began…

Videogames were not just electronic playthings; they were the social lubricant of my childhood.

A little over three years ago, my brother gave me a Sega Genesis for my birthday. This was the console that we had growing up, the source of so many fights and friendships, and booting it up after all these years brought back a mountain of memories; ToeJam and Earl all-nighters, NBA Jam tournaments, and a vicious childhood jealousy based on my little brother being so much better at videogames than myself. What I soon discovered was that not only were my memories of this time really vivid and visceral, but that like a magician with his colorful handkerchief they just kept coming and coming. That’s when I began to realize that throughout this time of my life videogames were not just electronic playthings; they were the social lubricant of my childhood.

This realization was less of an epiphany and more of an oh-yeah-no-duh moment, but what followed these memories were all sorts of questions. Where did Sega even come from anyway? How were they able to take on Nintendo? And, most importantly: what kind of wild and crazy things were going on in boardrooms thousands of miles away that so directly influenced my life at the time?

We're glad you took our criticisms in stride! One of the most divisive elements of Console Wars, as you mentioned, is the almost novel-esque narrative style you chose. How did you pick this approach over a more traditional oral history?

To be perfectly honest, I have to admit that I didn't realize there was anything divisive about my decision to write Console Wars in the style with which I did. My favorite business writers — like Ben Mezrich and Michael Lewis — have reached that upper echelon of non-fiction writing by transforming dry facts into lively stories, and as someone who greatly admires the way those guys are able to make seemingly faceless business entities (such as Facebook, Salomon Brothers or the Oakland A's) become exciting, relatable and intriguing, that was always my goal from the get-go.

As informative as it can be to provide the infamous “who, what, where when, and why,” I believe that sticking to the facts can often be just as misleading. A great deal of life is a matter of context, which is why when it came to writing Console Wars I decided that capturing the spirit of the times, and the thoughts, feelings and motivations of these characters were important to me as any fact.

The best reviews of the book that I have received are undoubtedly from the characters themselves.

That being said, I realized from the very first chapter I wrote that writing dialogue for others can be a presumptuous endeavor. So to avoid this from becoming a problem, I shared these chapters in advance (often as soon as I finished writing them) with the real-life players to ensure that the story was as authentic as possible. I asked them to review the dialogue and actions to make sure that the language felt like their voice, the internal thoughts were captured accurately and that the content was either directly what was said or at least mimicked the premise and tone of the conversations. In this way, it became a rather collaborative experience. And, to this point, the best reviews of the book that I have received are undoubtedly from the characters themselves who feel that my style managed to capture the magic of these times.

Interesting that you mention Michael Lewis, as we noted the similarities between his book Moneyball and Console Wars in our review, and their movie connection through Scott Rudin (who produced the movie adaptation of Moneyball and is producing the Console Wars feature film as well). At what point in the process did Rudin get involved with Console Wars, and how did that all go down? What was it like working on a book that's been cinema-bound since before it even hit shelves?

Great question. Not only Moneyball, but Scott Rudin also produced The Social Network (which was based on Mezrich's The Accidential Billionaires). So to have the opportunity to work with the guy who did both those films (and many, many more great book-to-film transitions) I am fully aware that I'm the luckiest bastard on earth.

How it happened was like this: In January 2011, I was given the opportunity to meet with Seth Rogen and Evan Goldberg to discuss this project (at that point, I had interviewed about 100+ people and had an early draft of the book proposal). A few months after they were on board, they mentioned the project to Scott who was surprised that the Sega/Nintendo story had not already been told. I met with him a few days later, and we talked about the story, the characters and my assassin-like process of tracking all these people down. He asked if he could bring the project to Sony (who he has produced many films with over the years) before my agent sent out the book proposal to publishers, which at this time contained a chapter outline and about 10 chapters from what would become the book. I basically said "you're the greatest producer there is and one of the best storytellers in the world, so I'm on board with whatever you think is best." Two days later, this article hit the internet, which was basically my way of finding out Sony wanted to move forward with this dream-come-true for me.

So, as per your question, it was a pleasantly strange experience for me to write a book knowing that all of these film pieces were in place. But the cinematic avenues on the horizon didn't influence the way I approached the actual writing of the book (it intimidated me at times, I will admit that, and challenged me to write something Rudin-Rogen-Goldberg worthy), but I always wanted to tell this story in a way that I believed both gamers and non-gamers alike would appreciate. My goal with this book was to write a story as rich with information as DisneyWar but that read like The Da Vinci Code.

How much direct involvement will you have with the film adaptations of Console Wars? What led to the decision to make both a documentary and a narrative film, rather than just one or the other? How far along are they in development?

I've been co-directing the documentary with my business partner, Jonah Tulis. We shot about 15 interviews last year and are currently in post-production. It's coming together wonderfully and really fun to tell a similar story (as the book) from a different medium. The reason why we thought it was important to create a documentary, in addition to a book and feature film adaptation, was to capture all the wonderful media from that era. The commercials, the news stories, the trade show presentations and other assorted never-before-seen footage.

As for the feature film adaptation, I'm serving as an executive producer. With Seth and Evan attached to write and direct, the film could not be in better hands. We've been working with them on the documentary for almost two years now and the next step for them on the feature is to begin writing the script. Creatively, they (along with producer Scott Rudin) are the captains of the ship, but I'll be here to assist them in whatever capacity suits they need from beginning to end.

Will most of the major characters from the book be in the doc, from Sega of America and Nintendo of America? What about Ólaf Ólafsson from Sony?

Yup, most of the major characters from the book will in the documentary. Like the book, the only person who declined to speak with me was [Nintendo of America founder] Minoru Arakawa. This was not very surprising given his previous track record with the press, but sad (in my opinion, at least) that someone who was often described to me as caring so much about his team, would let them down by not sharing his perspective at Nintendo's leader during this time.

For both the documentary and the feature film, will you be able to secure the rights from Sega and Nintendo to show real game footage, as well as some of the things you mentioned like commercials and trade show presentations from the era?

It's basically just a TBD situation. It's often been rather frustrating for me [dealing with SOA and NOA]; not just because I love both companies (so feeling the opposite emotion from them is offputting), but also because I genuinely believe my book can and will help both Sega and Nintendo and I wish they would be more supportive to that end.

Console Wars is about the rise of Sega, but it's also about the downfall; you seem to place the blame for Sega's fall from grace largely on Sega of Japan, as Sega of America is impeded at every turn by the meddling parent company often for no apparent reason other than self-defeating jealousy and rigid cultural differences. In our review, we criticised Console Wars for neglecting to provide Sega of Japan perspective on the situation. Were you able to interview many SOJ figures in your research? As you ask multiple times in the book, "what the heck is wrong with Sega of Japan?"

Getting people from SOJ to speak with me made my troubles with gaining access into the Land of Nintendo seem like a walk in the park. In short: the reason why so little of SOJ's perspective is included in the book is because very few from SOJ were willing to discuss their experiences with me (and those bold souls who did were not willing to do so on the record). That being said, I would have felt like my portrayal of the SOA/SOJ relationship was unfairly one-sided if not for two things:

Getting people from SOJ to speak with me made my troubles with gaining access into the Land of Nintendo seem like a walk in the park.

1. When I was in Tokyo, [former Sega president] Hayao Nakayama graciously invited me over to his home for tea. We spent a few hours reminiscing about his days at the top of Sega's ladder. Our meeting was contingent upon the matters discussing being off the record, but that time we spent together was invaluable to me for gaining a glimpse into his personality and adding a great deal of context to the events I had been researching.

2. A few years ago, I was hired by Sega of America to direct some short documentaries at Sega of Japan. And there in Tokyo, with my own eyes and ears, I witness first-hand an enormous level of friction between both sides of the company. I won't get into specifics, but I will say that at every possible turn it felt like SOJ went out of their way to make this SOA-led project much more difficult than it needed to be. I have to admit that prior to this trip, I thought that the SOA employees I had been speaking with were retroactively shifting a lot of blame to their counterparts in Japan, but witnessing the cultural rift in person shifted my perspective several degrees. I realize that two decades have passed since the time period I wrote about (and, therefore direct, comparisons aren't fair), but I left there with much more sympathy for Tom Kalinske, Al Nilsen and the other SOA rebels.

So getting back to your question, I certainly did ask several times in the book "What the heck is wrong with Sega of Japan?" Although I would have loved to hear much more of the story from their perspective (and perhaps even their own version of "what the heck is wrong with Sega of America"), the unwillingness to speak with me made that an unfortunate impossibility.

Now, whether or not you agree with my depiction of the SOA/SOJ relationship, the facts are the facts: With almost exactly the same hardware and software during this era, Sega of America eclipsed over 50% of their market and Sega of Japan failed to ever break even 25%. I think that disparity is enough to make anyone ask "What the heck is going on here?"

It felt natural to conclude your book with the end of Kalinske's saga, but of course that leaves out the story of the Dreamcast as well as Sega's modern day situation as a software-only publisher. With how much time and energy you've put into researching the company, is there any urge to write a Console Wars 1.5?

Absolutely. I spent over three years writing and researching Console Wars and I can say with absolute honesty that my interest and excitement about the story grew with each day. So I have to admit that it's sad in a way to no longer be writing the book. As you mentioned, from a narrative standpoint it made a lot of sense to end the book with Tom's resignation; not only did his departure signify the end of an era at Sega, but I felt really good about where the story left Nintendo (still making fantastic games, but now armed with a killer instinct) and Sony as well (the new king of the hill, though strangely firing or forcing out the key players stateside). But even though Tom left Sega in 1996, my interest in the company and the incredible cast of characters still in the industry is stronger than ever. So, to answer your question, I'd love to write about Sega's Dreamcast era for the same selfish reason I initially wanted to write Console Wars at the very beginning: personal curiosity.

You've got the two films coming up (and a Wikipedia musical!) — what's next for you? Can you reveal any sort of timetable for when the movies will be released? We hope you're not done writing about the video game world.

Between the documentary and the musical my days have been jam-packed, but once things settle down a bit I'd like to return to the videogame world with a series of articles focused on characters and topics that didn't quite make sense for the book, but are incredibly compelling and deserving of their own spotlight.

As far as timetable, Jonah Tulis (my co-director) and I are currently in post-production on the documentary and things are looking great. We're looking to have a cut of the film done by the end of the year. And as for the feature film adaptation of the book, Seth and Evan are hoping to get started on the screenplay this fall, so things are shaping up for an exciting year ahead!

We'll be sure to check out both films, and good luck with the musical. Thanks so much for taking the time to talk with us.

It was absolutely my pleasure. Thank you so much for taking the time to learn more about the process.

Photos courtesy of Blake J. Harris. You can check out Console Wars at the book's official website and follow Mr. Harris on Twitter at @blakejharrisNYC.

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User Comments (30)



MAB said:

Living through those times, I never thought of it as a console war... More like a golden era of gaming...




unrandomsam said:

Nintendo helped Sega pretty substantially when it came to the Genesis by stopping all the best TG16 stuff being released outside Japan. (Maybe not necessarily the best but better versions of well known stuff).

The Sega stuff I liked mostly came from Japan anyway. (The Sonic I like the least Sonic 2 didn't have enough Japanese influence).



ajcismo said:

Great interview. I was in high school and then college during the height of the console wars and had no idea how much the internal friction at Sega had influenced the results that we're all still feeling today. There was little on the internet in general, so most of us gamers had to rely on magazines (which were sometimes months behind on news and didn't publish anything that the companies in question wouldn't want published since they were also advertisers) and simple word-of-mouth at a game or comics store (which was probably 97% bs).
@ MAB: Word up dude. I had an SNES, my buddy had a Genesis, we would literally spend every friday night at one of our houses with a bunch of game rentals from our respective systems and it was awesome.



MAB said:

@ajcismo Yeah same here mate, nobody cared about that nonsense back then like they do now... The serious fights only happened when someones controller got stealthily unplugged by a quick flick of the big toe



JaxonH said:

I was born in 1984, so when I was 7 years old, the Super Nintendo was just being released. Naturally it was the chief present under the tree that year. It wasn't until 2nd grade when I started spending every Friday/Saturday night at my friend's house, that I was introduced to the Genesis. He was a Sega nut- I remember reading his gaming magazines hyping up the 32x, Sega-CD, Saturn, and even a rumored Neptune console.

We played Sonic day and night, and we would draw Sonic (we were both aspiring artists for our age- he actually grew up and became a real artist out near Seattle). Fun times, those years were. I had an art portfolio with over 100 drawings of Sonic characters, and I learned the games 7 ways to Sunday. I can't even recall how many times I played and beat the different Sonic games. Too many, I suppose. I saved up and bought a Genesis for myself (of course), but never did move onto other Sega consoles. When the N64 released, I was back in Nintendo's grasp (didn't help that my Sega friend moved across the country).

I never looked at things like a "console war", just different gaming clubs is all. You had kids like my friend that were Sega fanatics, others like my brother who loved Nintendo, and then there were those such as myself who just kind of went with the flow and enjoyed a little bit of both.



ZurrrrBlattTron said:

Well I was born in 95 and didn't get my first videogame till 2002 (gamecube) so I barely experienced the console wars but my older brother who was born in 84 had the N64 and got a dreamcast though my cousin and I was so confused as to why I couldn't play N64 games on a dreamcast haha. XD but still to this day the console war doesn't interest me.



ZurrrrBlattTron said:

@JaxonH Claps hands in school as a kid you was either a Die Hard Sonic fan or a Die Hard Mario fan and I was in the middle for every sonic game I had I had a Mario game as well, I used to draw Sonic and Mario teaming up to defeat bowser and this extreme Sonic fanboy would used to scream "NO NO NO NO NO! SONIC AND MARIO ARENT IN THE SAME GAME THEY'RE DIFFERENT GAME CHARACTERS!!! " I always wondered about his reactions to Sonic and Mario in the Olympics and Sonic in smash



GreatPlayer said:

My first console was NES, but I thought that most games were lackluster except Adventure Island and Double Dragon 2. I did not like Mario 1 or Toki Toki Adventure (aka Mario 2) back then. Then a few years later I got Mega Drive with Doraemon (Japanese anime character), and I just loved how colourful the games were. Afterwards, I got Sonic 2, Bare Knuckles 2 (aka Street of Rage 2), Shining Force 2 (I felt it was better than Fire Emblem), Landstalker (best ARPG hands down), Fantasy Star 4... I remembered arguing with my friend which console, SNES or Genesis, was better. SNES had no games that can match the speed in the Sonic series.



Mega719 said:

"but now armed with a killer instinct " is that a unintentional reference?



0utburst said:

I didn't know there was a console war back then. My friends and I played both systems then moved on to PlayStation 1. After that we went all PC gaming. We haven't touched PS2, PS3, N64, GC and the Sega consoles after the megadrive (aka Genesis).



Subie98 said:

@outburst in my opinion you missed out.

Myself I was a fortunate child I had my first system at 4 yrs old when it came out. Nes Been gaming since.



opeter said:

My first ever console was (still is) the Nintendo Wii ... but I remember, these old SEGA and Nintendo commercials on ORF (Austrian State TV Channel).

Like these here:

Or these:

Here where I live, we hadn't really a chance, to buy consoles ... you had to smuggle it through the Austrian or Italian border
Off course, if you had the money.



Nintenjoe64 said:

@ajcismo @MAB Being an 80s or 90s gamer was better in the sense that you wouldn't get ridiculed daily on the internet for whatever you chose to do but the playground animosity that came with major multiplatform releases was pretty bad in my school. The hate that came each time magazines like Gamesmaster would 'prove' which console was better based on ports of Street Fighter 2, Mortal Kombat and Bubsy the Bobcat was pretty intense.



retro_player_22 said:

Well Sega of Japan created the Saturn and Dreamcast while Sega of America created the Sega CD and 32X. I say Sega of America should had listen to Sega of Japan more, there were more games released for the Saturn and Dreamcast in Japan than their were elsewhere and I blame SOA for that. Bernie Stolar was against JRPG which is why the Saturn never got Ogre Battle, Princess Crown, and Grandia in the US. Also Shenmue 2 was suppose to be released for the Dreamcast in NA, heck it was already in translated in English for Europe but SOA choose to port it to the Xbox instead. Not good on SOA's part.



0utburst said:

True I've missed a lot. I've only played Famicom back in the late 80s, a bit of SNES, more mega drive and a lot of PlayStation 1. I just came back to console gaming late last year and I chose the Wii U over the PS4. Reasons are: I can play Wii games, old Nintendo games through virtual console, and I have a kid so local multiplayer is what sealed my decision to get the Wii U.

I'm playing catch up and there are so many Wii games on my must-buy list. the others I'm still waiting to be released on Wii U VC since I'm in no hurry to get them on Wii VC.



ajcismo said:

Those of us who grew up gaming in the 80s and 90s also had the one place where there were no cheat codes, no mods (except maybe free-play), no flame wars or trolling and you proved your dominance on a level field: The Arcade. Ahhh good times, cue old guy music.



majorgamer said:

I love reading all these comments. Thank you everyone for sharing your age and experiences!

I was born in 1973 and I observed the explosion, death, and rebirth of home video game consoles. I watched arcades rise to the greatest heights, I put quarters on the lip of the arcade monitor, then I lamented when classic joystick games slowly got replaced by games with toy guns, guitars and gadgets or games that dispense tickets for twitch technique.

My first console was the Intellivision. I was stunned at the realistic graphics that the self-purported "Intelligent Tellevision" had. I revered the Blue Sky Rangers and Billy Mitchell was a god.

I reaped the benefits of the video game crash of 1983-84. I got tons of cheap games that just added to my already bloated collection of early Atari, Activision, Mattel and Capcom games. My first love: Dungeons and Dragons: Misty Mountain.

It was my brother who brought the NES into our family. He bought Pro Wrestling, Baseball and Super Mario Brothers. In short time we also had my second and best love: The Legend of Zelda.

I was well aware of the console wars and there impact on the games we saw on the west coast. My loyalties followed games then, and I so loved Sonic and Herzog Zwei and still feel that the Genesis Ghouls and Ghosts was simply more fun than the SNES version. I was baffled at the failed relationship between Sony and Nintendo and even more confused when Nintendo stayed with a cartridge-based system (N64).

Some of the moves these companies have made during the fat and lean times have given me the wisdom to better understand the current state of games, and given me perspective that has helped me predict the flow of the current console wars.

Many of you who were born in the 80's are starting to develop the same sense having witnessed the birth and death Sega. Those born in the 90's will understand the same things through the life and times of Nintendo and their struggle with the two Walmarts of gaming.

Thank you Nintendo Life for taking me down memory lane, and thank you readers and commentators for sharing your stories and memories.



Darknyht said:

I grew up playing my dad's old Intellivision, Odyssey 2 and the new C-64 before the NES released, and it was replaced eventually with the SNES. I then went to a relatives house and was introduced to the Sega Master System and eventually the Genesis.

The most distinct things I remember about the Sega stuff was that the controller always felt looser than the NIntendo stuff, which made playing the games not as enjoyable for me. Even went I picked up the Sonic's Sega Collection on Xbox that feeling still exists. The other big thing was that the Genesis Mortal Kombat had the blood.

I still however, have a fondness for what they did. I would love to see a Phantasy Star (not Phantasy Star Online but a true RPG) and Shining series come back on a Nintendo console. And I still have a great appreciation of Golden Axe, Comix Zone, and the Virtua series of games.



sdelfin said:

@retro_player_22 I've never heard anything about Sega CD being developed by SoA. It was definitely revealed and released first in Japan, where CD gaming was already accepted. Either way, the hardware wasn't bad. The 32X was a result of both divisions of the company not being on the same page, as I understand it. It was definitely Kalinske who was responsible for Sega's best years in North America. He knew the market and knew many of SoJ's beliefs didn't suit the Western market. When Stolar was in charge, things weren't so good, at least during the Saturn years. The Dreamcast launch was well done.



JakeShapiro said:

@retro_player_22 If you read the book, that's not true. SOJ created the CD and 32X as well. They launched the 32X because the Genesis had already been out much longer in Japan than in North America and Europe, so it was an older console that needed an update. The Genesis was released later in the West so the 32X was seen by Westerners as more of a rushed add-on.



retro_player_22 said:

@JakeShapiro Even if SOJ did make the add-ons, I'm still surprise that SOA choose to kill each and every bit of those hardware years after they were released. Fortunately the Sega CD was suppose to be the bridge between the Sega Genesis and Sega Saturn where Sega goes from cartridge to CD so the Sega 32X shouldn't even exist at all but it confuse me why they made it. Also when the Saturn was on its run, SOA did a poor job of rushing it to market and in the end burying it.

I know the whole stuff about the Saturn's hardware being difficult to developed for and most devs in NA had trouble developing games for the machine, but in Japan their were massive number of titles made for the system and SOA just took a passed on most of them. Then they completely kill it in the west and focus on the Dreamcast and then kill that one three years after launch. To me the Genesis should had last til 1996 (with Vectorman 2 being its last game), the Sega CD should be here til 1998, the Saturn should be here til 2001, and Dreamcast shouldn't be here til 2000 and last til 2005 or so. The Sega 32X shouldn't even exist, the Game Gear should be here til 1998 and the Sega Nomad should had been a Game Gear 2 (with its own library of games) instead of a portable Genesis.



jasonbra said:

@majorgamer "My first love: Dungeons and Dragons: Misty Mountain."

Loved this game. Played it endlessly. Intellivision brought me so many great memories.



AshFoxX said:

Am I the only one who finds it poetic that Sony is making a movie about Sega and Nintendo? After all they were the big three from 1994 to 2001.



AtlanteanMan said:

Sony and Microsoft have both had some great games/franchises under their respective logos over the years, but there's simply no hiding the fact that they're both software/electronics mega-corporations that happen to have videogames divisions. Sega on the other hand, like Nintendo, was a videogame company at its very core, and that is why longtime hobbyists typically remember the NES/SNES/N64/Master System/Genesis/Saturn era as the true Golden Age of Gaming. Things were much simpler then, and game releases weren't dictated nearly so much by eye candy and projected profit margins as they were genuine creativity, originality, and just plain FUN.

Sadly the market wouldn't support four console manufacturers and Sega was pushed out; given a choice I would happily trade both Sony and Microsoft's exit to see a console-supporting Sega back in the mix, because they simply meant that much to the hobby. Many fickle gamers who jumped from Sega onto the PlayStation and Xbox bandwagons would likely also be happy to go back given the way things are now. Sega's sheer number of original, iconic franchises and properties far outweighs even Nintendo's, but since they went third party Sonic is about all we've seen from them with any regularity whatsoever (again, the downfalls of games being greenlighted based upon profit expectations only). Valkyria Chronicles reminded us of what could have been and once was during Sega's glory days, but its sequels were promptly relegated to the PSP void, and the second never even came here (Sega even denied localization publishers the rights to license it).

As remote as the possibility is, given their numerous prior collaborations I still hold out hope for a Nintendo/Sega console partnership at some point. Not only would such deal yield IMMEDIATE benefits for Nintendo and its oft-struggling console sales, but only then would the graphics-jaded younger generation be able to see what all the fuss was about back in the Golden Age of Videogames. Because that mountain of AAA, iconic properties (Phantasy Star, Shining Force, Shinobi, Golden Axe, Skies of Arcadia, Panzer Dragoon, Out Run, Streets of Rage, Valkyria Chronicles, Afterburner, Daytona USA, LandStalker, Virtua Fighter...and on and on..) would be again unleashed in current-gen glory (and can anyone just IMAGINE what such a collaboration would mean for, say, Smash Bros.!? Just do it and take my money NOW, guys. Seriously.).

Such a development would change EVERYTHING, the very balance of the industry itself. The biggest thing preventing that from happening, sadly, is Sega themselves, for whatever reason. They've simply never appeared to have faith in so many of their most beloved franchises, and that is a true tragedy for all of us.



ericthecheese said:

I have read this book twice - it is that fascinating to me. I actually think the narrative style that Mr. Harris chose to write in makes this a better read for me. It reads like a personal diary of secrets and candid interviews rather than a dry, third-person point of view. I learned a great deal from this book, and I thought I knew about everything there was to know about the "Console Wars".



Alucard83 said:

The downside of Sony Playstation was the unbearable sometimes Load Times! Nintendo64 however didn't have any and saved a lot of load times. All consoles have their ups and downs. Depends what your wishes are

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