Japan has always been a sticking point for Xbox. I've heard some people at games publishers describe the brand's fortunes in the country as 'cursed'. That seems a bit dramatic, but let's roll with it. Some argue that it all started with the name.
The DirectX box - the Xbox - was always a sort of unfortunate name in the territory. An X is a 'batsu' - a cross used to indicate you've gotten an answer wrong in a test or somesuch. You'll often see Japanese cross their forearms in an X shape at oblivious tourists doing something they shouldn't - a non-verbal way of saying 'don't do that'. This is why on earlier PlayStation consoles, X and O were reversed in Japan - O for 'OK', and X for 'Cancel', the opposite of the West. In the West, X marks the spot. At the electoral ballot box, you place an X next to the person you want to represent you. In Japan, a lot of the time, X means 'no'. The No-Box.
Even if you don't buy that cultural element, it's undeniable that Xbox has had its struggles in Japan. Even its best-selling generation, the Xbox 360, trailed all rivals by millions of units. Since then, it's only gotten worse. But this has never just been about Japan as a market to sell consoles.
This has been a problem for Xbox. Xbox has never particularly been a place to play 'games from Japan'. Some third-parties have been committed to Xbox, while others aren't. It's true that Sony 'money-hats' things like Final Fantasy to keep them off Xbox, but Xbox misses out on countless Japanese titles regardless. Smaller publishers, like Nippon Ichi, just skip the platform because it isn't worth their while. The only way to reverse that is to build an audience within your install base for those publishers to sell to - and that's where first-party output comes in. I'd argue that one point of first-party product is to set an example - and the example Xbox initially set was little output from Japan.
In the 360 generation, this changed: the company inked a range of exclusivity deals for games like Square Enix's Star Ocean 4 and Infinite Undiscovery or Capcom's Dead Rising.
It also bankrolled first-party development on games like Lost Odyssey and Blue Dragon from Final Fantasy creator Hironobu Sakaguchi, or generally-forgotten but genuinely enjoyable B-listers like Musou knock-off Ninety-Nine Nights and FromSoftware slasher Ninja Blade. For two entries, Xbox was also the exclusive home of Dead or Alive, and was ahead of the fighting game guest character curve with the inclusion of one of Halo's Spartans in the fourth game. Beyond that, Xbox's relatively lax approvals process and PC-like development environment meant even within Japan it enjoyed the odd exclusive, becoming the defacto home for things like pervert simulator Gal Gun.
Then… well, who knows what happened? To put it nebulously, things just changed. Big time. After a huge influx, Xbox simply stopped publishing games from Japanese studios. By the time we got to the Xbox One, Microsoft could only count a handful of Japanese exclusives or even titles that were primarily associated with Xbox thanks to marketing deals and the like. The most prominent, Dead Rising, was a Japanese IP from a Japanese publisher, developed in Canada. That arguably speaks to where the company's commitment to Japan ended up.
Xbox had released big-budget Japanese games before, but they were almost always agreements with big publishers or independent developers. 'Xbox Game Studios Japan' developed the cult hit Phantom Dust, then closed. But Tango gave Xbox a real development foothold in Japan, with one of the country's most respected creators at the helm.
"I've talked for a long time about our desire to have more of a first-party presence in Japan," Phil Spencer said in a retrospectively toe-curling official interview to celebrate the Bethesda deal closing. "[Acquiring Tango] is a great step there. Thinking about the map of where these teams are, and talking about all the games they're working on… I can't wait to speak to the Tango team and get to know them."
Not four years later, here we are: Tango Gameworks has been shuttered. It's a gut punch.
More than anything, though, it's a gut punch because it sends a message. The wrong message, really. Xbox had one major studio in Japan - no more. Xbox is making deals with third parties and independent creators, yes - it's got something in the pipes with Hideo Kojima, for instance - but like I said, the first party is your north star. It's your best foot forward. The message becomes this: Japanese games are not a priority for us.
No amount of Spencer pow-wowing on the Final Fantasy fanfest stage with the Square Enix CEO changes that. No amount of co-marketing money thrown at Persona or Yakuza to get Xbox versions and Xbox logos on the trailers can undo that message. Publishing a Kojima game might help a bit - but not as much as having a beloved Japanese studio in your actual stable. In the end, Kojima is just a gun for hire - whatever he makes for Xbox will be compared to Death Stranding and his big new spy franchise at Sony.
This is without getting into the optics of this closure contrasted with footage of Xbox's executives lamenting the closure of Lionhead in an official 2021 documentary. "How do we not repeat the same mistakes?" Xbox's Sarah Bond says of Lionhead's demise. "You acquire a studio for what they're great at now," Spencer adds, which under the harsh light of 2024 generates a vibe more toxic than a FromSoftware swamp. "Your job is to help them accelerate how they do what they do, not them accelerate what you do."
Under Xbox, Tango Gameworks did what it did well. It released a critical darling and commercial winner, at least based on executive gloating on social media, which is about the only metric we have for Xbox publishing success in the Game Pass era. Their reward was closure - and in less than half the time it took Xbox to shutter Lionhead.
But like I said - true, fully internal, fully-owned first party is your first impression. It is where perception of your brand begins. Perception is reality; and Tango Gameworks' demise is now the banner-bearer for a particularly negative one. Xbox's leadership team has a Fuji-sized mountain to climb to dispel that.
With the closure of Tango Gameworks, Xbox sends an accidental message: it is not a platform for fans of Japanese games
No matter what Xbox leadership says in its livestreams or in statements, one thing remains true: it's relationship with Japan never came first.
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