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We'd been thinking about a guitar game for years because we thought music games were successful in Japan, and if you were ever going to make a game that was representative of popular music in the US, for us it would have to be guitar that was the instrument.
So we said: "We want to do a guitar game" and they said, "That's funny, we want to do a guitar game! From the time we first discussed it to the time it was released, it was a total of about nine months. We had to design the controller from the ground up while they did the software, but everything came together very quickly.
It's a challenge with next-gen and bigger budgets but Guitar Hero has proved that you didn't need million budgets, you didn't need the latest and greatest graphics and game engines to succeed.
We didn't go after the deepest storyline, the most complex or realistic or whatever, we just went after what we thought would be authentic and fun. Sony published those and at that time we were primarily a peripheral manufacturer.
They talked to us and Sony talked to us about building a peripheral for Frequency and Amplitude.
What you needed was original ideas and the conviction to take those ideas and bring them to marketplace.
There'll always be room for small publishers and developers in this business and I don't think the industry is in such a dire position as some believe. We look at the music game genre from a variety of different viewpoints.
In order to take a franchise like Guitar Hero and bring it to a global scale, do all the things that we envisioned over five years, we realised that we had to do them very quickly now because if became a big hit right off the bat.