374 1999
By February 1999, the two-year-old online DVD rental service Netflix had already gained significant traction. Interestingly, the most popular video game on the platform was the epic RPG "Final Fantasy VII," showcasing the growing demand for immersive gaming experiences. In the film category, the blockbuster "Titanic" reigned supreme, reflecting the film's immense popularity even after its theatrical release.
Another exciting development was the rise of free demo discs. These discs, often bundled with gaming magazines, allowed players to sample the latest titles before committing to a purchase. This offered a valuable opportunity to test gameplay mechanics, graphics, and storylines, further fueling the excitement for new releases.
While 1999 was a banner year for video games, another Japanese import, the magical girl anime "Sailor Moon," was captivating audiences across the globe. Having already hit screens in the USA and Europe a few months prior, the show's vibrant colors, catchy theme song, and empowering female protagonists ignited a passionate following.
"Sailor Moon" resonated with viewers of all ages and backgrounds. Children were enthralled by the transformations, fantastical creatures, and epic battles. Teenagers connected with the themes of friendship, self-discovery, and battling societal expectations. Even adults found themselves drawn to the show's complex narratives, nuanced characters, and witty humor.
While the year 1999 was filled with exciting releases like "Titanic" and the rise of "Sailor Moon," KiShin Pictures UK was quietly embarking on a project that would change the landscape of children's cinema. The production of "Harry Potter and the Philosopher's Stone" (later known as "Harry Potter and the Sorcerer's Stone" in North America) was already underway, with the hunt for the perfect cast in full swing.
Casting was well underway, with the search for the perfect actors to bring the magical world to life. KiShin had already secured a talented young actress for the pivotal role of Hermione Granger, setting the stage for the film's eventual casting coup.
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By March 1999, the global phenomenon that was "Titanic" reached its peak at the prestigious Academy Awards. The film had received a remarkable fourteen nominations, tying the record for most nominations in Oscar history. And on the night of the ceremony, it lived up to expectations, securing eleven golden statuettes, another record tie for most wins.
The unparalleled success of "Titanic" reverberated throughout the film industry, solidifying KiShin Pictures' position as a major player. The film's staggering box office records and critical acclaim placed KiShin on par with established studios like Warner Bros., Walt Disney, and Universal Studios.
While Hollywood giants like Warner Bros., Walt Disney, and Universal Studios remained formidable competitors, "Titanic's" box-office dominance, record-breaking awards, and global cultural impact undoubtedly pushed KiShin to new heights of recognition and influence.
This newfound prestige opened doors for the studio, attracting talented filmmakers and promising lucrative collaborations.
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While development of the Unreal Engine at KiShin progressed steadily, Shin, the project's lead, harbored ambitious visions for its potential. He understood the engine's capabilities extended far beyond its current state and recognized the ever-evolving landscape of game development.
Shin remained aware of Microsoft's ongoing development of their own game engine. Though he didn't perceive an immediate threat, he acknowledged the potential for future competition and the need for strategic foresight. His aim was to push KiShin's Unreal Engine to an unprecedented level, establishing it as an unassailable leader in the gaming technology landscape.
Despite naming the engine after the popular Unreal Engine of his previous life, Shin envisioned something even more powerful. He had firsthand experience with the "Rage" engine, developed by Rockstar Games, and knew it represented the pinnacle of game engine technology. This internal benchmark fueled his determination to elevate the KiShin game engine to surpass even the most advanced engines in the future.
While the Unreal Engine continued its ascent as a widely adopted industry standard, Shin at KiShin had a different vision. He acknowledged the Unreal Engine's strengths in versatility and broad accessibility, but believed that true dominance in the long run lay in something more exclusive. This led to the birth of "KAGE," a game engine conceived and developed solely for KiShin's internal use.
The rationale behind this bold move was multifaceted. Shin envisioned KAGE as a platform tailored specifically to KiShin's unique needs and creative aspirations. This bespoke approach, he believed, would allow for deeper optimization, seamless integration with KiShin's development workflows, and the potential for groundbreaking features not readily achievable within the confines of a widely-used engine.
By keeping KAGE under KiShin's control, Shin aimed to secure a competitive edge. Exclusive access to a cutting-edge engine could translate into superior graphics, unparalleled performance, and unique gameplay possibilities, potentially setting KiShin games apart from the competition.
While KiShin's decision to develop an exclusive game engine, "KAGE," might seem like a bold leap, it wasn't taken in a vacuum. In fact, the company strategically planned to leverage its existing knowledge and resources to facilitate the process.
KiShin had already accumulated extensive data and expertise through its experience with the Unreal Engine and other platforms like "VG Engine." This valuable foundation would prove crucial in building the infrastructure for KAGE. By utilizing existing knowledge in areas like graphics rendering, physics simulation, and development tools, KiShin could significantly reduce the time and cost associated with starting from scratch.
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In April 1999, the handheld gaming landscape witnessed a surge of innovation with Suzuki's announcement of the "Suzuki Ultimate." The device's unique design instantly captured gamers' attention. It featured a clamshell form factor, boasting a main screen, a smaller secondary screen on the lower shell, a touchscreen with stylus support, and control buttons conveniently placed on both sides. This unconventional approach sparked curiosity and speculation about how games would take advantage of its dual-screen setup and touch controls.
The question on everyone's mind: how would it play?
The initial launch was a success, with over 40,000 units sold in just a day. Gamers were initially enthralled by the unique features and possibilities offered by the Ultimate. However, the competition didn't stay silent. Soon after, Tora entered the ring with their own flippable handheld, the "Tora Mini." Unlike the Ultimate's dual-screen setup, the Tora Mini opted for a single main screen and a central touchpad controller.
With two prominent players offering their takes on the "flippable" formula, it looked like a direct challenge to KiShin's dominant Game Boy Advance. Would consumers be swayed by these innovative newcomers, or would KiShin retain its throne?
