#but i think a multi platform release that includes mobile would not be Remiss

[bokujou-monogatari]

So, the Marvelous CEO stepped down.

Let's talk about that!

❕This post contains speculative discussion covering: Marvelous Entertainment, Rune Factory, Story of Seasons, and touches on other IPs in the Marvelous folio. Also some fiscal discussion! It might be boring 😅...❕

Following the money

For those unaware, Marvelous isn't doing so well fiscally. In response to a (consistently) poor earnings report from 2024, the current Marvelous CEO Sato Suminobu announced his retirement from the position to elevate Shinichi Terui (an executive director) in his place.

The reasoning for the poor fiscal reporting was cited as "too few core IP releases and low sales".

What does that mean for the future? Well, while this decision focuses on 2024's performance, let's first take a bit to recap the first-time releases from 2019 to now:

January 18, 2019: Travis Strikes Again: No More Heroes

June 3, 2019: Dead or School

June 9, 2019: Senran Kagura: Peach Ball

July 18, 2019: WACCA

September 13, 2019: Daemon x Machina

October 17, 2019: Story of Seasons: Friends of Mineral Town

February 6, 2020: Granblue Fantasy: Versus

February 25, 2020: Rune Factory 4 Special

August 25, 2020: Kandagawa Jet Girls

November 5, 2020: Shadowverse: Champion's Battle

November 10, 2020: Sakuna: Of Rice and Ruin

February 25, 2021: Story of Seasons: Pioneers of Olive Town

May 20, 2021: Rune Factory 5

(Almost a year later!) May 19, 2022: Deadcraft

October 17, 2022: Potionomics

November 2, 2022: Doraemon Story of Seasons: Friends of the Great Kingdom

January 26, 2023: Story of Seasons: A Wonderful Life

March 2, 2023: Rune Factory 3 Special

June 1, 2023: Loop8: Summer of Gods

October 3, 2023: Silent Hope

November 3, 2023: Fashion Dreamer

November 9, 2023: Cuisineer

(Almost a year later, again!) November 1, 2024: Farmagia

Dry Spells

From 2019 to 2024, 23 titles (please correct me if I missed any!) were delivered. 2022 and 2024 were undoubtedly fiscally dry periods, with one-year periods between releases.

Of the released titles in this period, 10 were from more notorious series; and 6 of those were from the company's self-described Flagship IPs (3 from Story of Seasons and Rune Factory respectively)!

Despite Rune Factory and Story of Seasons being flagship IPs, over half of the games (4/6) released 2019-2024 were remakes or remasters of previous titles (Story of Seasons: Friends of Mineral Town, Rune Factory 4 Special, Rune Factory 3 Special, and Story of Seasons: A Wonderful Life), leaving only 2 titles as standalone, new mainline entries in their respective series. Oh, and there was Doraemon too, I guess.

Even with the massive sales seen - with Pioneers of Olive Town being the fastest selling XSEED published title ever and Rune Factory 5 topping 500,000 units sold worldwide after an unprecedented comeback - the games still massively under-performed at launch. The backlash was so strong for Olive Town that the producer (Dai Takemura) was run off his social media platforms and formally apologized for the poor launch. Rune Factory 5 also suffered during the Japanese launch, garnering criticisms from Japanese and North American fans alike amid celebrations of the series' return. This left fans in each space wondering what their favorite series would look like after such rocky starts on the new Nintendo Switch hardware.

The Future, Sprouting

Despite the struggles and setbacks, and nothing to really "make it rain", the flagship series are continuing to grow with 2 new additions to Story of Seasons - a cross-play online multiplayer title, and the next mainline game (purportedly the 30th anniversary entry) - and 2 new Rune Factory games - with entry 6 in development, and Guardians of Azuma releasing in May 2025.

These games are really going to have to do something outstanding to make up for the broken trust of their fans. But with a company struggling with its financials, there's always going to be a tug of war between satisfying fans and generating revenue.

This is where speculative analysis on my part comes in.

Flexible and Mobile

Current market trends point towards more open-world, cel-shaded style games for mobile (ala Hoyoverse games, Wuthering Waves notably). And the Nintendo Switch is, after all, a glorified touchscreen tablet. It's not lost on fans that there's something going on in the background regarding the games' development, and how eerily alike they are in visuals into some of the bigger, heavy hitting and grossing mobile titles out there.

The style on its own is simplistic, colorful, and warm. It's also very fast to develop and refine - no overly complicated textures or super granular details. The art direction also makes it lighter than other games which have many materials or polygons. It just works.

However, that can point to speculation around development; whether the studio is trying to streamline into shorter times...or is headed in a mobile direction. Let's take a look at some recently released screenshots from Guardians of Azuma.

There are elements of UI design displayed here that would feel right at home on a device held in one's hands, and not just with controllers in palms! Make no mistake, mobile is not an insult here. In fact, mobile may be just the direction these series need in order to sustain themselves in the current market era. Mobile gaming currently accounts for (roughly) 110 billion USD annually, across the globe! Even indies like Stardew Valley can see sizeable mobile market gains from concurrent releases on app stores.

It also wouldn't be the first time either series appeared on mobile. A company with as long a history and staying power as Marvelous would surely see no small number of players and a steady revenue for Story of Seasons and Rune Factory by tapping back into that market. Perhaps we're due to see things sprout on that platform soon?

(What happened to that in-development Story of Seasons Mobile title, anyway...?)

[kaleidoscopiclights]

And there it is. I didn't expect Square Enix to release information like this so soon, but that timing is interesting. Between the cancelled titles, and Nintendo saying when they're going to announce the Switch's successor. (And the timeline that they'll be implementing these plans...)

Multi-platform being highlighted in this would be a given. Fresher hardware on the next Nintendo console means the games will keep up a little better and have more ~fidelity~. I know how important that is to SQEX. But I also can't help but think they realized how well their own multi-plat and exclusive Switch titles were doing. It would be silly and remiss to neglect the successor. And while I don't think X-box sales are going to have any kind of impact on software in any region, it really doesn't hurt to include them more often. (Presumably? Maybe it is that expensive.)

"focusing its development efforts and investments on titles with substantial potential to be loved by customers for years" This may be fluff and amount to nothing, but I dearly hope they mean it. I hope they deliver. One thing that saddens me the most about the changes in SQEX and Bandai Namco lately, is simply how boring they've become. Bandai treating the Namco titles how they do is one thing, but Square Enix is so baffling. FF has been drained of identity, SaGa struggles for scraps, Mana and Star Ocean are in a wayward space. Anything else pre-PS2 and not those titles really doesn't get any acknowledgement. But each of those properties is so beloved now because of a robust legacy of beloved titles. Even the least beloved games along them still has a sizable and devout fanbase. But newer FF entires don't do anything to build on the franchise in a meaningful way. I don't think XV and XVI are worthless, but they also just fall short of really delivering what keeps FF going strong in my mind. I have to wonder if they've really sat down and thought about the longevity of their older titles and characters. The only exception lately is Asano's works. He's somehow managed to use nostalgia to create something fresh with the Bravely and Octopath series, and has created two new brands and franchises with it that already show enduring love of customers for years.

"First, mindful of the need to launch HD titles that help attract additional fans to the Group, the Group will regularly release AAA titles in its major franchises to maintain and build upon its fan base. In addition, the Group will strive to increase its success rate in SD games by launching a carefully curated selection of titles. It will additionally explore ways to leverage its rich library of IP." Yeah, I bet! The HD stuff will be there. But their mobile/social games sector is hitting the big decline. I think it's a combination of trying to force some games out and probable mismanaging, but it's also just a shame that they have all this potential to be doing more when they're realizing all these new titles. (And celebrating old stuff in some ways.) I sincerely hope we see them also use their backlog of other titles and IPs. I'm super elated Chrono Cross got a remaster, but where in the world is Chrono Trigger? That should have had some sort of port at the height of Another Eden's popularity and a tie-in. I'd love for Dewprism to come back! Some things won't move much now probably, but they really are sitting on a potential treasure trove.

"The Group will retire its business unit-based organizational design and strive to establish an operationally integrated organization with the goal of revamping its internal title development footprint and bringing more capabilities in-house. In addition, while keeping balance between the creativity of its individual employees and the management centered on the organization, the Group will transition to a project management structure. To that end, the Group will redefine the mission for producers and other related employees and organize its internal supporting structure. Also, the Group will improve its development investment efficiency, by reviewing the overall management process of title development." If it's true that they've kept most of their team from Remake and Rebirth to cut costs on "Reunion," then they probably realized how smart that is financially, but also for how well that works for dev cycles. And if that's what they're alluding to a little more here, that's only wise. Hard to say completely, but I am curious what internal shifts will happen and what consumers will be able to see of it.

" The Group will build its flat organization by increasing opportunities of promotion by selection in order to pursue a new talent at our company and streamlining the process of decision-making. Specifically, it will roll out a new human resources system in line with integrated management of development functions, building a new system for hiring, promotion, and appointment of management. Moreover, the Group will rebuild training system for new graduates and introduce internal education programs to enhance capabilities of junior and mid-level employees." That sounds amazing on paper, and I hope it's carried out well. It's not as though everything sounded perfect all the time under Sakaguchi's management, but I do think their philosophy at the time (and in a way, the whimsy) helped them cultivate their incredible library to what it is now. Back in the day, people were given a lot of freedom to create, even while being forced on a project. But they also had so much room to grow and were being allowed to do things while also being taught things. It just doesn't sound like Square Enix does that anymore. Even Nomura said they have a hard time keeping (new) talent. I think part of that is probably the Rock Star Syndrome that always plagued the company, but was amplified after people like Sakaguchi kept leaving and leaving. Not enough people were reigned in. But Square back in the day was on a roll, and I think if they bother to nurture and cultivate some good in-house talent now, and especially do so on the creative front as much as the technical (and let them bleed over into each other!), they'd be able to repliate their previous success.