Sony hate thread

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Three things I learned today:

1) David Jaffe is the lead designer and game director of God of War and co-created Twisted Metal.

2) He has a Youtube channel.

3) His PlayStation account was temporarily suspended for 7 days.

https://youtube.com/watch?v=skK4GrqUuVk
And bonus fact: Sony bans people off of PSN.

Evidently, it was because of a lesbian joke. Damn.
If you tie your social media to your PSN account you're subjected to both sets of rules. Because it will post shit from your PSN timeline onto your Social Media and stuff from social media wil appear on PSN.

People need to learn to compartmentalize.

Also you left out it wasn't just a lesbian joke, he was thirsting over Rivet.
 
So I decided to sell my PS4 since I haven't played it in over a year and I have absolutely no interest in anything coming out.

Why, exactly, does it take like four hours to factory reset a PS4? I deleted literally everything off of it but apparently I have to factory reset it to get my profile off of it. It told me 4 hours which I assumed was if you didn't delete all your save data and such, but sure as shit this thing is really taking 4 hours to factory reset.

That's nothing.

I sold my PS3 four months ago. It took mine 18 HOURS to do a factory reset.

The Xbox Ones I factory reset always took like an hour or two tops maybe. Definitely nothing long enough for me to remember.
 
That's nothing.

I sold my PS3 four months ago. It took mine 18 HOURS to do a factory reset.

The Xbox Ones I factory reset always took like an hour or two tops maybe. Definitely nothing long enough for me to remember.
What the hell did you do that it required 18 hours. You take out the HD, wipe it on your computer put it back and untie your account from the machine via the web browser or internal settings.
 
What the hell did you do that it required 18 hours. You take out the HD, wipe it on your computer put it back and untie your account from the machine via the web browser or internal settings.
I factory reset it. That's why it took 18 hours. I wasn't cracking that thing open with how fucking picky Ebay buyers are.

What did I do? I guess not play the piece of shit for 8 years. Leave it to Sony to expect me to have to take out the HDD and manually wipe it as well as use their shitty fucking website if I want to do something as simple as factory reset it.
 
Sony used to be great in the Ps3-psvita era but now they suck. And most of the studios that made games for them like japan studio (Ape escape) and liverpool (wipeout) are gone. What went so wrong?
Truth is they were only great from PS1-PSP. PS3 era is overrated but alright, though it's downhill from there. They earned the name Soyny with the PS4.

Westernization is the easiest way to sum up the problem.
 
Uncharted can be summoned up as a shitter prince of persia sands of time ( thoroughly recommend the sands of time trilogy
I only recall PS3 getting decent at the end of its life. If you were an adopter from before like 2011 it was fucking awful. All of the complaints about how lame Microsofts first party offerings are was basically Sony with the PS3. It seemed like for the longest time all they had was Uncharted (which I never understood the love for) and MGS4 (and MGS4 is *really* debatable because the only people I know who liked it were MGS fanboys).

Not to mention just how many 3rd party titles had so many issues due to what I assume was the cell processor. And the dogshit online and the hack attacks.
 
Uncharted 1-3 were the start of Sony fanboys realizing they liked mediocre movies over actual games because that's all Uncharted really is. They were never praised for good gameplay but for "great set pieces" and "amazing acting for a video game".
 
I would say that Uncharted was a tech demo of what the PlayStation 3 could do. And it succeeded. Its story, however, leaves a lot to be desired. If you pay attention to that sort of thing outside of dialogue.
 
When did the rot truly set in with Sony?

I'm gonna say the early 2000s. Here's why. TRIGGER WARNING: long, autism.

Sony was mainly known in the west for making serviceable but nothing special gear, like many Japanese electronics companies, back in the 1950s. However in the 1960s they went from imitating better known Western manufacturers to genuine innovation, such as with the first fully transistorised radios and TV sets. In 1968 came their biggest and most influential innovation - the Trinitron. Put briefly, this was an attempt to make a better, brighter, and more colourful television set. At that time, most TVs used a "shadow mask" which blocked up to 80 percent of the electron beam from hitting the phosphor. There had been experiments in the early 1960s with an aperture grille but they had not really gone anywhere. Sony bought a small company called Chromatic Labs and attempted to develop this idea but without much success until they hit on using three separate electron beams, one for each of red, green, and blue. This hit the market in 1968 as the Trinitron. It was more expensive than a traditional shadow mask TV but looked so much better. The Trinitron name became the standard for CRTs for the rest of the 20th century.

In the 1970s they developed the first home video format, Betamax, which contrary to popular belief was NOT better image quality than VHS. It laid the groundwork though of analog video on parallel tracks scanned by a moving head; JVC's VHS system perfected the formula by making tapes long enough and hard-wearing enough that you could record an entire film or sportsball game on it.

In 1979, they developed the Walkman. While not the first portable music player (there were battery powered record turntables like the Victrola and Dansette in the 1960s) it was the first one to be able to play music on the burgeoning cassette tape format in stereo at a good enough quality, and unlike portable turntables you could move around with them strapped on to your belt without them skipping all over the joint. It was also far more convenient than lugging a 17 kilogram boombox everywhere and didn't annoy people as much on buses or trains, and with a headphone splitter and a line in to record with it was arguably what "democratised" music in the 1980s. There were loads of variants of this such as a twin deck Walkman and even professional grade Walkmans aimed at musicians with a stereo microphone podged into one corner of the case so you could record your jam sessions on the go.

In the early 1980s they developed the PS-F9, known as the Flamingo by collectors. This was an attempt at a record Walkman in that it was a battery powered pocket-sized linear tracking vinyl turntable.

In the late 1980s they developed the first CD changers, usually with a big drawer that held six CDs in a carousel fashion.

In 1992 they developed the Minidisc, a music format that had all the advantages of the cassette tape of portability, customisability, and recordability but by being digital rather than analog avoided the main drawback of the cassette which was that copies degraded noticeably in fidelity per generation. It, and Philips' DCC, were considered so threatening by the RIAA that they sponsored legislation to basically nobble it.

In 1995 they released the PlayStation. At that time, consoles were aimed mostly at tweens and teens and PC gaming was more "adult" if you will. Fewer cartoon hedgehogs and more in-depth strategy stuff or graphic violence. The original Playstation had two main selling points:

- It used discs rather than cartridges. Stamping CDs is cheaper than assembling plastic boxes full of ROM chips. They were prepared to run the risk of piracy to cut costs and ease distribution in this way.
- It hit the twenty-something market. Games on it were "mature" enough to appeal to people for whom blue hedgehogs might be juvenile but still fun enough to not be seen as "boring" like a lot of PC games at the time were. It slotted the demographic nicely.

So, what could possibly go wrong? You have a company known for making quality and innovative products at a reasonably affordable price (yes, there were specialist manufacturers like Revox and Nakamichi for cassette tape decks, Wharfedale for speakers, Rega for record players, and so forth, who did better in their field) and which was willing to take on entrenched interests in their pursuit of making quality gear that was accessible and useable.

Well.

They bought Columbia, a major Hollywood studio, and BMG, a major record label group. This was sort of an attempt at enforcing vertical integration. They'd had such woes with the Minidisc and the RIAA / MPAA trying to nobble their products because muh piracy that they thought that if they owned the content creators, they could circumvent such activities. Unfortunately this was a poison pill.

All of a sudden they weren't the hardware industry battling armies of lawyers any more. They were the people who retained the armies of lawyers. People who came through Hollywood and the music industry suddenly had their own pet hardware manufacturer. Those people saw Napster, and they were S E E T H I N G. This was like the cassette tape times ten. One of Sony's executives said of Napster, "We will block it at your cable company. We will block it at your computer." And lo, the challenge was thrown down.

A few years later, they made headlines for all the wrong reasons when they put malware on music CDs. This was their absolute lowest point and absolutely emblematic of their mentality at the time.

They backtracked and recalled all those CDs, but the rot had set in. They were no longer a hardware or electronics manufacturer. They were now a content producer primarily. Now, their executives are content people. Their values are those of content people. In the 2000s that was "muh piracy" and nowadays it's wokeness because Hollywood. When was the last time you bought a Sony product that was a game changer the same way as the Trinitron, Walkman, Flamingo, CD changer, or PS1 was.

A long fucking time, I'll bet.

Their TVs are okay but nothing special. Their smartphones are not up there with the top end of Android manufacturers. Their stereos are distinctly meh. Their 40th anniversary Walkman was an Android phone with some hard buttons on the side, the phone bits pulled out, and a leather case to look like the original Walkman. Their laptops are badge engineered Chinesium. On the other side, they own huge catalogues of record labels and film studios. Those pull in way more than their physical products, revenue wise. The PS2 was the best selling console ever, but the PS3 was a hard to develop for slab sold at a huge loss, and the PS4 and PS5 are basically gimped PCs in fancy cases with needless custom OSes.

This is why they are so shit. They stopped innovating other than in ways to gouge consoomers.
 
When did the rot truly set in with Sony?

I'm gonna say the early 2000s. Here's why. TRIGGER WARNING: long, autism.

Sony was mainly known in the west for making serviceable but nothing special gear, like many Japanese electronics companies, back in the 1950s. However in the 1960s they went from imitating better known Western manufacturers to genuine innovation, such as with the first fully transistorised radios and TV sets. In 1968 came their biggest and most influential innovation - the Trinitron. Put briefly, this was an attempt to make a better, brighter, and more colourful television set. At that time, most TVs used a "shadow mask" which blocked up to 80 percent of the electron beam from hitting the phosphor. There had been experiments in the early 1960s with an aperture grille but they had not really gone anywhere. Sony bought a small company called Chromatic Labs and attempted to develop this idea but without much success until they hit on using three separate electron beams, one for each of red, green, and blue. This hit the market in 1968 as the Trinitron. It was more expensive than a traditional shadow mask TV but looked so much better. The Trinitron name became the standard for CRTs for the rest of the 20th century.

In the 1970s they developed the first home video format, Betamax, which contrary to popular belief was NOT better image quality than VHS. It laid the groundwork though of analog video on parallel tracks scanned by a moving head; JVC's VHS system perfected the formula by making tapes long enough and hard-wearing enough that you could record an entire film or sportsball game on it.

In 1979, they developed the Walkman. While not the first portable music player (there were battery powered record turntables like the Victrola and Dansette in the 1960s) it was the first one to be able to play music on the burgeoning cassette tape format in stereo at a good enough quality, and unlike portable turntables you could move around with them strapped on to your belt without them skipping all over the joint. It was also far more convenient than lugging a 17 kilogram boombox everywhere and didn't annoy people as much on buses or trains, and with a headphone splitter and a line in to record with it was arguably what "democratised" music in the 1980s. There were loads of variants of this such as a twin deck Walkman and even professional grade Walkmans aimed at musicians with a stereo microphone podged into one corner of the case so you could record your jam sessions on the go.

In the early 1980s they developed the PS-F9, known as the Flamingo by collectors. This was an attempt at a record Walkman in that it was a battery powered pocket-sized linear tracking vinyl turntable.

In the late 1980s they developed the first CD changers, usually with a big drawer that held six CDs in a carousel fashion.

In 1992 they developed the Minidisc, a music format that had all the advantages of the cassette tape of portability, customisability, and recordability but by being digital rather than analog avoided the main drawback of the cassette which was that copies degraded noticeably in fidelity per generation. It, and Philips' DCC, were considered so threatening by the RIAA that they sponsored legislation to basically nobble it.

In 1995 they released the PlayStation. At that time, consoles were aimed mostly at tweens and teens and PC gaming was more "adult" if you will. Fewer cartoon hedgehogs and more in-depth strategy stuff or graphic violence. The original Playstation had two main selling points:

- It used discs rather than cartridges. Stamping CDs is cheaper than assembling plastic boxes full of ROM chips. They were prepared to run the risk of piracy to cut costs and ease distribution in this way.
- It hit the twenty-something market. Games on it were "mature" enough to appeal to people for whom blue hedgehogs might be juvenile but still fun enough to not be seen as "boring" like a lot of PC games at the time were. It slotted the demographic nicely.

So, what could possibly go wrong? You have a company known for making quality and innovative products at a reasonably affordable price (yes, there were specialist manufacturers like Revox and Nakamichi for cassette tape decks, Wharfedale for speakers, Rega for record players, and so forth, who did better in their field) and which was willing to take on entrenched interests in their pursuit of making quality gear that was accessible and useable.

Well.

They bought Columbia, a major Hollywood studio, and BMG, a major record label group. This was sort of an attempt at enforcing vertical integration. They'd had such woes with the Minidisc and the RIAA / MPAA trying to nobble their products because muh piracy that they thought that if they owned the content creators, they could circumvent such activities. Unfortunately this was a poison pill.

All of a sudden they weren't the hardware industry battling armies of lawyers any more. They were the people who retained the armies of lawyers. People who came through Hollywood and the music industry suddenly had their own pet hardware manufacturer. Those people saw Napster, and they were S E E T H I N G. This was like the cassette tape times ten. One of Sony's executives said of Napster, "We will block it at your cable company. We will block it at your computer." And lo, the challenge was thrown down.

A few years later, they made headlines for all the wrong reasons when they put malware on music CDs. This was their absolute lowest point and absolutely emblematic of their mentality at the time.

They backtracked and recalled all those CDs, but the rot had set in. They were no longer a hardware or electronics manufacturer. They were now a content producer primarily. Now, their executives are content people. Their values are those of content people. In the 2000s that was "muh piracy" and nowadays it's wokeness because Hollywood. When was the last time you bought a Sony product that was a game changer the same way as the Trinitron, Walkman, Flamingo, CD changer, or PS1 was.

A long fucking time, I'll bet.

Their TVs are okay but nothing special. Their smartphones are not up there with the top end of Android manufacturers. Their stereos are distinctly meh. Their 40th anniversary Walkman was an Android phone with some hard buttons on the side, the phone bits pulled out, and a leather case to look like the original Walkman. Their laptops are badge engineered Chinesium. On the other side, they own huge catalogues of record labels and film studios. Those pull in way more than their physical products, revenue wise. The PS2 was the best selling console ever, but the PS3 was a hard to develop for slab sold at a huge loss, and the PS4 and PS5 are basically gimped PCs in fancy cases with needless custom OSes.

This is why they are so shit. They stopped innovating other than in ways to gouge consoomers.
Emily Rogers wrote a great summation of Sony's decline on her now defunct Not Enough Shaders (NES) blog. Thankfully, I was able find a good archived version of the article, with the graphs and everything, on the Wayback Machine here. Though it was written in 2012, it did a good job charting Sony's epic decline from 2002 (arguably its peak year or close to it) to 2012. Sony's market cap value that year was nine times less than what it was in 2000, its Return on Assets and Return on Equity had fallen year on year and its liabilities had increased dramatically in the same period. The company was overburdened by debt and budget deficits. Sony's market cap was $100 billion in 2000. By 2012, it was barely above $11 billion, which was actually lower than Nintendo's $15 billion market cap (currently, it hovers around $124 billion, while Nintendo's, for reference, is at around 8 trillion JPY, which translates to a little more than $77 billion). Sony had more total liabilities than Microsoft, Apple, Google, and Electronic Arts combined. She goes into more depth, but clearly, Sony started nose diving after 2002 and it never really stopped until recently. Sony mainly squeezed value in recent years with cost cuts: laying off staff, selling old headquarters, selling underperforming divisions. But the fact is, during this time, Sony came to be almost entirely reliant on Playstation to keep it afloat, a fact that largely still remains true to this day. So the question remains: why did Sony falter so badly?

Emily places the root on Sony's issues with an internal war within Sony, between the Engineers and the Executives. I'll quote her directly here:

Sony always gave full creative freedom to its engineers as a strategy to push quality and innovation. This is the vision that Sony’s founders always had when they created the company. Engineers are treated like rockstars for creating many of the different products and proprietary formats coming out of Sony. Is it possible that Sony’s loyalty to the creative visions of their engineers might be partially responsible for Sony’s financial problems? It’s easy to say that Sony should cut their costs and stop putting out super expensive products. But the truth is, Sony’s culture was built on giving engineers (not accountants) the ability to make the final decisions on Sony’s products. By giving engineers so much control, Sony forgot that making a profit is most important to the overall health of the company.

To promote thinking outside the box and innovation above all else, Sony became a culture of where failure is acceptable and has little consequence or threat to most engineers’ jobs. This is partly because the founders, Masaru Ibuka and Akio Morita, failed multiple times before having their first major success. The founders adapted this logic to Sony’s culture. This explains why engineers who have worked at Sony in Japan for a very long time have amazing job security even after numerous products have failed.

Gizmodo says, “There are countless examples of Ibuka and Morita’s successors following in their footsteps, taking up the mantle of the brash engineer, forging ahead despite warnings of over-ambition or even unprofitable results, all in pursuit of a now-mythical Better Way.”

The rivalries between engineers is part of why Sony has lost its identity over the years.

Sony’s strategy never comes together as a cohesive whole because their engineers are constantly in competition with each other to become famous for creating the next big proprietary format or gadget. There are so many proprietary formats or unnecessary electronics coming out of Sony that it makes Sony’s overall strategy and identity very confusing. The engineers all want to be the guy who creates something as big as the Walkman or PlayStation, they are all competing for that recognition inside of the company. However their ideas are created based on the love for technology, not long-term profitability.

She continues:

On April 2012, Hiroko Tabuchi wrote an article to the New York Times saying, “Sony remains dominated by proud, territorial engineers who often shun cooperation. For many of them, cost-cutting is the enemy of creativity — a legacy of Sony’s co-founders, Mr. Morita and Masaru Ibuka, who tried to foster a culture of independence. But the founders had more success than recent executives in exerting control over division managers.”

Businessweek had an article which explained how Howard Stringer couldn’t convince Sony’s engineers because Sony engineers only trust other engineers, and have very little trust for anyone else. Sony’s engineers refused to listen to Stringer that content was key because their egos were too consumed with creating hardware. This is part of why the creators of the Walkman, even though they had huge assets and an entire music record label, weren’t able to release an MP3 device before Apple’s iPod.

The way she explains it, the engineer guys in Japan hated the, primarily American, content guys, who wanted to produce music and television, and this led to an internal split within Sony itself:

“Stringer also encountered a hardware-worshipping culture that mistrusted him because he wasn’t an engineer. He was a ‘content guy’ who supposedly cared less about making devices than pushing movies and music. ‘Whenever I mentioned content,’ [Stringer] says, ‘people would roll their eyes because, ‘This is an electronics company, and content is secondary.” That resulted partly from longtime rivalries between engineers in Japan and generally better-paid movie and music people in California. Sony’s consumer electronics unit sometimes declined to send products for use in Sony movies even as Samsung was generating buzz with placements of its phones in blockbusters like The Matrix.” Earlier in 2007, Stringer told a reporter: “I HAVE said before that without content, most gadgets are just junk.”

William Saito also thinks in-house rivalries kept Sony from reaching their goals. Saito is a venture capitalist and council member on national strategy and policy at the Japanese government’s National Policy Unit. Saito argues: “The Japanese are very intelligent as individuals, but as a collective they become incompetent.”

You ever wanted know why Sony produced those overpriced memory sticks for the Vita? Here's your answer:

James Surowiecki tells the New Yorker: “The Betamax video tape recorder failed in part because the company refused to co-operate with other companies. But in recent years the problem got worse. Sony was late in making flat-screen TVs and DVD recorders, because its engineers believed that, even though customers loved these devices, the available technologies were not up to Sony’s standards. Sony’s cameras and computers weren’t compatible with the most popular form of memory, because Sony wanted people to use its overpriced Memory Sticks. Sony’s online music service sold files in a Sony-only format. And Sony’s digital music players didn’t play MP3s, which is a big reason that the iPod became the Walkman’s true successor. Again and again, Sony’s desire to control everything kept it from controlling anything.”

Even Kaz Hirai was getting tired of it:

On February 3rd, 2012, incoming CEO Kaz Hirai told The Wall Street Journal, “I thought turning around the PlayStation business was going to be the toughest challenge of my career, but I guess not,” he said. “It’s one issue after another. I feel like ‘Holy s***, now what?’” He continued saying, “We really need to buckle down and be realistic. I don’t think everybody is on board, but I think people are coming around to the idea that if we don’t turn this around, we could be sitting in some serious trouble.”

And of course, it all comes back to the Japanese being Japanese:

When Hirai says not everyone is on board, he’s not joking. The idea of “buckling down” and “being realistic” typically means cutting costs and downgrading certain divisions, which would be a Sony engineer’s worst nightmare. Howard Stringer basically lost control of the company. It’s foreseeable that even more in-fighting may occur at Sony with Kaz Hirai running the show as a result of engineers protesting any cost cutting decisions that Hirai makes. Sony is so dysfunctional right now because engineers, not the executives, run the show. It will be difficult for Kaz to cut costs when Sony’s entire culture since the beginning of the company’s birth was founded on giving engineers freedom to create their ideas. If Kaz wants to be tough with cost cutting, he will have to completely reverse Sony’s entire culture.

However, that’s easier said than done. The most influential people at Sony have been there for more than 20 to 30 years, and they have been shown to flat out refuse drastic change. This is part of why Sony still acts like they are still the huge corporation that they were in the 90′s. The culture at Sony refused drastic change when Howard Stringer ran the show and the same will likely happen with Kaz Hirai.

Howard Stringer mentioned to Bloomberg that change has never come easily at Sony. This is mostly due to Japan’s lingering culture of lifetime employment that makes it difficult for Sony to shrink payrolls or close Japanese plants. Stringer also mentions Sony’s Japanese tradition of consensus building which makes it difficult for Sony to respond quickly to the orders of a strong leader. Howard Stringer says: “People mostly say to me, ‘You don’t need to do this. Why are you doing this?’”

Then, we finally comeback around to the clusterfuck that was the PS3 and we realize its all come full circle:

PlayStation 3 is a great example of Sony giving too much creative freedom to its engineers by allowing them to create the Rolls-Royce of game consoles without any watchful supervision over the project to pay attention to the costs of materials. The engineers had very little respect for both Sony’s executives and former President and CEO Howard Stringer. The engineers tried hiding the costs from any non-engineer who would be a threat to their creative vision.

A Wall Street Journal article (via Kotaku.com) gave some more insight: “In developing the PlayStation 3 console, the device’s latest iteration, Mr. Kutaragi went over budget on development costs without informing Mr. Stringer, according to a person familiar with the situation.” The article continues by saying, “Mr. Kutaragi was notorious within the company for his reluctance to communicate with his bosses or other units. In 2005, Mr. Kutaragi hosted an event at a big electronics conference in Las Vegas to celebrate the U.S. launch of the PlayStation Portable handheld game machine — one of the company’s biggest products that year. He didn’t invite executives from Sony’s electronics division, which provided the parts.”

In 2006, Ken Kataragi said that PlayStation 3 was being sold too cheap and Sony was doing gamers a favor for giving it to them for $600. This is just another example of the arrogance displayed by Sony’s engineers and Sony’s top brass at the start of this console generation. In a 2006 article, PCWorld.com explained: “iSuppli called the PlayStation 3 an ‘engineering masterpiece‘,” with a motherboard that looks more like that of an enterprise server or network switch than a games console.”

According to iSuppli (in November 2006), the combined materials and manufacturing costs for PlayStation 3 came to about $806 for the model with a 20GB hard drive. This excluded the cost of the controller, cables, and packaging. For the $499 20 GB PS3, Sony took a loss of about $307 on each console they sold. For the $599 60GB model, they lost an estimated $241. By June 2009, GameSpot reported that manufacturing costs for the PlayStation 3 were down 70 percent. In a 2010 article from CNet/Wall Street Journal, Sony was losing 6 cents for every dollar of PS3 sales. At the time, the PS3 was selling at a retail price of $300 which means they were losing about $18 for every console sold.

Sony never learned from any of this.

She finally brings it all home with this:

That’s why Sony will sell PS Vita at a loss for three years. I don’t get the feeling that Sony looked at PS3 and said, “Maybe we should try to make a profit with Vita on year one”. There’s no sense of learning from past mistakes about taking major losses. There’s so many branches at Sony that the top executives seem clueless of what’s going on inside their own company, and nobody knows why Sony is selling so many television models when they are constantly losing money in that division.

She was completely right.

Though she gives her own final thoughts, allow me to present an idea. Take everything that was told in Emily's article, and reconsider Sony's decision to move the headquarters of its video game division from Japan to the USA. What does that tell you. I'll you what it tells me: the content people in America eventually won the internal power struggle. The Japanese engineers were eventually marginalized, corralled into their own little subsidiary which can keep making products that don't sell while the rest of Sony tries to go Hollywood. They are legacy businesses that Sony remains invested in out of misplaced pride and good old-fashioned Japanese stubbornness. Sony moving its gaming business to America and subsequent decisions to introduce censorship, force Japanese companies to go through their American business to despite the obvious difficulties of that, then close its Japanese studio, its main way to interface with Japanese developers to make games for its platform was a way of making it clear what had transpired. The Content people, no, the Hollywood people had taken over. Content was king, tech is secondary, and the Japanese better get used to it. I'll just quote The Verge here and link their article on the subject: Sony is no longer an electronics company.
 
Emily Rogers wrote a great summation of Sony's decline on her now defunct Not Enough Shaders (NES) blog. Thankfully, I was able find a good archived version of the article, with the graphs and everything, on the Wayback Machine here. Though it was written in 2012, it did a good job charting Sony's epic decline from 2002 (arguably its peak year or close to it) to 2012. Sony's market cap value that year was nine times less than what it was in 2000, its Return on Assets and Return on Equity had fallen year on year and its liabilities had increased dramatically in the same period. The company was overburdened by debt and budget deficits. Sony's market cap was $100 billion in 2000. By 2012, it was barely above $11 billion, which was actually lower than Nintendo's $15 billion market cap (currently, it hovers around $124 billion, while Nintendo's, for reference, is at around 8 trillion JPY, which translates to a little more than $77 billion). Sony had more total liabilities than Microsoft, Apple, Google, and Electronic Arts combined. She goes into more depth, but clearly, Sony started nose diving after 2002 and it never really stopped until recently. Sony mainly squeezed value in recent years with cost cuts: laying off staff, selling old headquarters, selling underperforming divisions. But the fact is, during this time, Sony came to be almost entirely reliant on Playstation to keep it afloat, a fact that largely still remains true to this day. So the question remains: why did Sony falter so badly?

Emily places the root on Sony's issues with an internal war within Sony, between the Engineers and the Executives. I'll quote her directly here:



She continues:



The way she explains it, the engineer guys in Japan hated the, primarily American, content guys, who wanted to produce music and television, and this led to an internal split within Sony itself:



You ever wanted know why Sony produced those overpriced memory sticks for the Vita? Here's your answer:



Even Kaz Hirai was getting tired of it:



And of course, it all comes back to the Japanese being Japanese:



Then, we finally comeback around to the clusterfuck that was the PS3 and we realize its all come full circle:



She finally brings it all home with this:



She was completely right.

Though she gives her own final thoughts, allow me to present an idea. Take everything that was told in Emily's article, and reconsider Sony's decision to move the headquarters of its video game division from Japan to the USA. What does that tell you. I'll you what it tells me: the content people in America eventually won the internal power struggle. The Japanese engineers were eventually marginalized, corralled into their own little subsidiary which can keep making products that don't sell while the rest of Sony tries to go Hollywood. They are legacy businesses that Sony remains invested in out of misplaced pride and good old-fashioned Japanese stubbornness. Sony moving its gaming business to America and subsequent decisions to introduce censorship, force Japanese companies to go through their American business to despite the obvious difficulties of that, then close its Japanese studio, its main way to interface with Japanese developers to make games for its platform was a way of making it clear what had transpired. The Content people, no, the Hollywood people had taken over. Content was king, tech is secondary, and the Japanese better get used to it. I'll just quote The Verge here and link their article on the subject: Sony is no longer an electronics company.
Except you have it all wrong.

Japan wanted to move the headquarters to America and then install people who would do the bidding for the main Japanese branch of Sony because Yoshida wants to have the company focus on it's own IPs and start being known for those. Sony (the Japanese parent company itself) has full control over the playstation brand like they've never had before. It's mirroring Nintendo when it was run by Yamuchi. Yoshida's whole mantra is about cost cutting and efficiency which was why he reformed Japan studio, after the kadokawa deal they already had about a dozen more companies added to their reserves who also made games and the people who left Japan studio made their own studios who are now considered external development. When he came into being the CEO in 2018 Sony was restructuring so they could effectively utilize all their branches as a single unit. They'd make their own hardware, they'd make their own media formats, they'd make their own music, and they'd make their own IPs to go along with them and have those be linked to games, TV and movies.

The Japanese developers don't give a rats ass about censorship since they want full on access to China and other larger markets over anything else, where Sony is already more established than it's competition. There's also the fact that Yoshida has tied anime to Playstation so all the smaller devs who make games for franchises are now more beholden to them. The Kadokawa deal is pretty major and companies like Falcom have already immediately benefitted from it. Sony is still backing the development of Falcom's games and they're also funding the Legend of Heroes anime series itself. The thing that articles left out which made the Relocation of Playstation headquarters initially look bad was that authors assumed there would be no Japanese translators. But 4 years in that's clearly not the case.

The stuff you're quoting is years old and it's not all that accurate, especially since their latest shareholders meeting had Yoshida tell what the future plans are going to be.

People are getting their wish of Playstation being run by Japan (Jim Ryan also is not an American) and it would be great if people would stop going BUT BUT CALIFORNIA because they've had nigh everything already there since the late 90's. The Japanese branches of playstation fucked up a ton of things in the past which was why the American division took over after PS3 launched bombed. The Americans were the ones who designed the PS3 revisions, the PS4, and the PS5.
 
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For a JRPG fan like me, I only recently learned that Sony were on the ball with JRPGs of their own back in the Playstation days. Wild Arms wasn't just a separate effort, but it was developed along with Arc the Lad and Poplocropolis (fuck me that name I cannot remember to spell), and all three were absolute smash hits out in Japan. You know how fucking astronomical it needs to be when you have a successful multimedia/collaborative franchise effort? Squaresoft was trying to do this with Legend of Mana, Chrono Cross, and Final Fantasy VIII-IX, and even they couldn't fucking pull it off.

In another universe, Sony would be banking off of an actual successful multimedia industry that does an in house Japan based developers studio well along with entertainment based electronics, being able to meet Nintendo face to face, not give a fuck about Chinese interests, and they would be dipping their toes into the anime market by taking over Crunchyroll and Funimation without controversy, or even more, considering Weeb Wars. But lol no, since the PS3 and The Last Guardian, things have been going to shit.

Until you actually make good anime shit and based games again Sony, I'm not buying a new console. This is not out of a sense of being appeased as a consumer, this is out of distaste for your piss poor management and wasteful approaches to the talent that you could had used to its fullest. Also, God of War is one of the most overrated games I've ever known since its conception. Fuck this shit.
 
Though she gives her own final thoughts, allow me to present an idea. Take everything that was told in Emily's article, and reconsider Sony's decision to move the headquarters of its video game division from Japan to the USA. What does that tell you. I'll you what it tells me: the content people in America eventually won the internal power struggle. The Japanese engineers were eventually marginalized, corralled into their own little subsidiary which can keep making products that don't sell while the rest of Sony tries to go Hollywood. They are legacy businesses that Sony remains invested in out of misplaced pride and good old-fashioned Japanese stubbornness. Sony moving its gaming business to America and subsequent decisions to introduce censorship, force Japanese companies to go through their American business to despite the obvious difficulties of that, then close its Japanese studio, its main way to interface with Japanese developers to make games for its platform was a way of making it clear what had transpired. The Content people, no, the Hollywood people had taken over. Content was king, tech is secondary, and the Japanese better get used to it. I'll just quote The Verge here and link their article on the subject: Sony is no longer an electronics company.
I also keep hearing more and more news of japanese third-party games being delayed on Playstation while they're released fine on Switch and PC

The thing is SIE (which is owned by the american branch) isn't playing nice with japanese developers anymore. Doesn't really matter how powerful your platform is if your business doesn't facilitate a good ecosystem for third parties, such as writing down in your reports the content of your games exclusively in english language for the californian rating board. I see Sony going down a similar path Nintendo did in the mid to late '90s, ask the guys during the N64 era. Arrogance does this. When you've dominated for so long you get the sense that you can get away with anything. Nintendo learned the hard way that business relations matter. The question remains as to whether SIE/Sony can learn this lesson before it's too late but I'm still not seeing a shift in policy whatsoever.

Not to mention the japanese home market, that Sony fanboys love to pretend to be irrelevant or dead as a coping mechanism, is pretty much dominated by Nintendo right now. PS5 game sales are an absolute disaster if you check Famitsu or Media Creates charts regularly (the boss of Famitsu/Enterbrain also did a study that I linked a while back), and the PS4 is on its way out.
 
Uncharted 1-3 were the start of Sony fanboys realizing they liked mediocre movies over actual games because that's all Uncharted really is. They were never praised for good gameplay but for "great set pieces" and "amazing acting for a video game".
The first 3 Uncharted games were "fun". They never pretended to be anything else than a modern Indiana Jones with quips. Then Christophe Balestra and Amy Hennig left ND and Druckmann took over the IP and destroyed it with the 4th game.
 
I also keep hearing more and more news of japanese third-party games being delayed on Playstation while they're released fine on Switch and PC

The thing is SIE (which is owned by the american branch) isn't playing nice with japanese developers anymore. Doesn't really matter how powerful your platform is if your business doesn't facilitate a good ecosystem for third parties, such as writing down in your reports the content of your games exclusively in english language for the californian rating board. I see Sony going down a similar path Nintendo did in the mid to late '90s, ask the guys during the N64 era. Arrogance does this. When you've dominated for so long you get the sense that you can get away with anything. Nintendo learned the hard way that business relations matter. The question remains as to whether SIE/Sony can learn this lesson before it's too late but I'm still not seeing a shift in policy whatsoever.

Not to mention the japanese home market, that Sony fanboys love to pretend to be irrelevant or dead as a coping mechanism, is pretty much dominated by Nintendo right now. PS5 game sales are an absolute disaster if you check Famitsu or Media Creates charts regularly (the boss of Famitsu/Enterbrain also did a study that I linked a while back), and the PS4 is on its way out.
In all the instances of those being delayed, the first one is due to them wanting to release it on the vita, the second one is the PS4 version getting canceled in favor of the PS5, and the other one was the PS5 version getting added at the last minute.

That's not anything major. Especially since more stuff has been added to the PS5 databases and people already know what's coming out.

Also them writing stuff in english was done entirely on Sony's end, not the developer. Many games if you buy it in one region and bring it to another will auto translate stuff depending on how you set your console. They the developer have to provide written documents which is normal for any publisher if you're putting stuff on a console platform.

Nintendo in the late 90's wasn't arrogant, that was way earlier, that was late 80's early 90's Nintendo.

Also SIE is run by the Japanese at this point, literally all of playstation is tied to Sony of Japan in every aspect. All the people in charge are Yes Men.


This is the earnings call transcript on literally everything Sony related. What you're saying isn't actually happening on the ground. The big thing is still the semi-conductors above anything else.

The TL DR of it is that their strategy to focus on IPs has paid off with partner groups. And at this point they have more things going for them then they had prior.

Thank you for your question. As to the net profit of JPY 1 trillion was achieved, on behalf of Sony Group, what has -- what kind of changes made it possible for you to achieve such a good result?

Well, it didn't happen overnight. We have accumulated steady steps and that outcome turned out to be this JPY 1 trillion. So maybe that JPY 1 trillion figure just stood out there.

But these changes take place every 10 years. Every year, you make some progress, every year and then you accumulate that. So when we reflect upon the last 10 years, of course, at the business -- the policy meeting that the CEO will present to you, Mr. Yoshida will give you more details. So maybe he will explain at the corporate -- the strategy -- strategic management meeting as to the strategic investment focused on IT.

Well, attractive IP -- sorry, attractive IP, there are some merchandising channels and opportunities and scale will increase, and that reflects this valuation and that's something you have to keep up with. It's inevitable.

But on the other hand, a lot of attractive products and candidates might appear. So in terms of M&A and IP and then other things, this market, I think, has become quite activated or vigorous. So we'd like to find a good candidate and we'd like to take active stance to try to continue investment.

As to the past investment, well, the time is still premature to evaluate how we did it. But as to the past investment projects, the estimation or the quotation or the -- was out of the -- deviated from the strategy, we didn't have such a case. So that was a reflection.

This mentions that that was no sharp decline in the switchover to PS4 to PS5 unlike the last 3.
Now about acquiring talents, excellent human resources. In order to attract them, we need investment. But for this, where do we look on our financial statements or balance sheet? There's a cash compensation and there's stock equity-based awards. In order to attract good talents, we need to launch appealing projects or programs, various things. But for us, we want talented people to come and we want to be such a company which attracts those talented people.

The investment in human resources, the focus is not on the number of people. We want to target people with high talent in recruitment. I think going forward, that's the direction we are going.

Now the past PlayStation, when there was a change of generation, the level of profit declined oftentimes, as you rightly said, because of the increase in network service and we carry on the customer base from the older generation to the new generation. So in case of PS4 and PS5, we secured compatibility so the users can enjoy seamlessly. So this is what we intended to achieve.
 
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The only thing Sony has now as a lucrative cash cow is Playstation. Even with their recent blunders. Their movies aren't selling well and their electronics division is fading into obscurity thanks to a rapid market.
 
The only thing Sony has now as a lucrative cash cow is Playstation. Even with their recent blunders. Their movies aren't selling well and their electronics division is fading into obscurity thanks to a rapid market.
Their movie division now count anime releases, merch and streaming services, all of which performed extremely well it seems.

Their electronics division is now also tied with stuff like their mobile game releases.
 
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