Um, I was very fortunate when I joined Capcom. We had Mikami-san, who created Resident. Uh, we had Inafune-san created Mega Man, Onimusha, Lost Planet, and Dead Rising. Uh, had Funamizu-san who was the producer that basically made Street Fighter II famous and he also created Monster Hunter before he left, uh, Capcom, amazing parting present, uh, to give them. Uh, and then we had, um, of course Kamiya, Devil May Cry, Okami, Viewtiful Joe, et cetera. It was an amazing time to be a gamer, to be working in Japan and being surrounded by all of these amazing people. And so, I learned, uh, so much. Um, I would say one of the differences, uh, with the Japanese - and I don't want this to sound the wrong way, but a lot of times, they get a get out of jail free card. The press, I think, sometimes treat them with additional reverence than they would, like, with a Western creator. Partially, it's going through that filter of translation, and actually as an agent, I can tell you having a translation filter can help you navigate some very difficult questions in conversations, especially if you have someone like me who's done PR and - and knows how you can potentially spruce up an answer or alter it in a way so it's culturalized to sound better, uh, rather than what the base, exact Japanese text or, uh, language was. So, um, I think that they had a lot of leeway and got additional opportunities and, uh, wiggle room po - potentially over their Western counterparts. I do know they were incredibly overworked. Uh, at Capcom at one time, one producer was handed, like, 5 titles. Not an executive producer, either. Whereas in the West, you have, like, the UI producer, and there's, like, 8 producers on one title. So, there's that difference that comes with it. Uh, but in general, you know, in the - at the core of our hearts, we all just want to make the best game.
