-----------------------------------

Nagoshi: I'd like to ask you to take a close look at SEGA's new racing game, the color schemes of the cars are like the actual vehicles. This was made possible by the kind consent of the BPR.

Goto: Oh, it's a street course isn't it?

Nagoshi: Yes. In terms of racing games, a circuit race is the most "realistic" and easiest to reproduce. Since our main objective is to provide the opportunity of fulfilling entertainment through our products, we must also include as many unique highlights as possible. In this sense, it's best to incorporate street racing as the course design.

Goto: Players might get bored if only one track is available?

Nagoshi: Not necessarily. Many of the members of our design team are automotive enthusiasts. And we find racing games with permanent circuits quite acceptable.

Goto: In reality, people aren't allowed to race on ordinary streets. It would be very exhilarating and fun if we could though.

Nagoshi: The vehicle audio sounds, from engine rev to tire squeal, were recorded at Fuji International Speedway, Japan. I have to say that we actually experienced the thrill of running at the limit while out there.

Goto: I bet the circuit felt much wider and longer than you expected it to, didn't it?

Nagoshi: Yes. The straight seemed to be never-ending.

Goto: Exactly. It's all one-way, wide and safe. Ironically driving on a circuit could seem difficult because there aren't any limits. (Laughter) In the worst case, one can find themselves taking too much care to control the car.

Nagoshi: My car becomes fearsome when I reach high speeds. (Laughter)

Goto: What is it?

Nagoshi: I picked up a 20-year-old Ferrari last year.

Goto: Great feeling isn't it?

Nagoshi: Absolutely. It's like sitting on the ground.

Goto: These days the better the car becomes, the weaker the feeling of speed. When driving at 100 km/h in a compact car, it seems like you're almost flying. But the same speed in a bigger more expensive car is reached at ease and without any real exciting sensation. On the other hand, in a Ferrari that can bring you to speeds of 300 km/h, there's a feeling of power and speed even at 100 km/h. That's the feeling that explains the sheer fun-to-drive characteristics.

Nagoshi: You're entirely right. When it comes to sports cars, Ferrari is at the top of the list.

Goto: In considering the car as a means of transportation, one that's easy to drive and fast is the best choice. In Europe, having a fast car can reduce travel time. That's why fast cars are practical there. But there's a clear distinction betwen cars that are fast in terms of a method of transportation and real sportcars.

Nagoshi: Designers of modern driving games must understand the true definition of a sportcar. "It may be like this." is no longer acceptable. A decade ago, driving games were simply controlling steering movement and throttle. But now, cars go over bumps and curbs. Even the coefficient of roll resistance is applied to the formula for driving control.

Goto: Now that virtual reality has come on the scene, people are eager to own the amazing cars introduced through computer gaming.

Nagoshi: If I may say so, the foundation of development relied on our dreams. We were the first generation of super car enthusiasts. Super cars were the toys we dreamt of.

Goto: I believe that games are one way of bringing dreams to life. Many years ago, before Ferrari had gained the popularity it has now, a distinguished automotive journalist by the name of Shotaro Kobayashi wrote about his impression of a Ferrari in Car Graphic magazine. His words were as beautiful as the pictures accompanying the article. When Mr. Kobayashi happened to visit Honda for coverage of a story, one of my colleagues openly asked him, "Say Shotaro, what on earth led you to write a report 100% in favor of Ferrari? You know even the car has negative points." His answer was very simple, "Such a story would be a problem if I wrote about a car anyone could afford. The Ferrari is a car that everyone dreams of. One must not give dreams a bad name."

Nagoshi: I support Mr. Kobayashi's view. There is a responsibility not to take the dreams of other people from them.

Goto: The important point for us is to let readers live the actuality of driving the cars of their dreams, even if they can't afford to buy one.

Nagoshi: Michael Schumacher once said in an interview, "All the people gathering here want to see Ferraris. The rest are simply for decorative purpose." As I listened to him, I found myself nodding my head in agreement. (Laughter) Maybe I expected him to say so, and felt great satisfaction. (Laughter) I was extremely happy because I had the opportunity to look around Maranello with you before developing the new video entertainment. My approach toward production was completely different thanks to that pilgrimage to Ferrari.

Goto: And we've become to know each other well.

Nagoshi: Yes. It was wonderful to go there. And also to speak with you, Mr. goto. These things have been truly rewarding to me. These things have been truly rewarding to me. On returning to the laboratory, I will tell my people that I have talked with you, and surely work through the night. (Laughter) A chat with you is much more refreshing than a filling meal.

-----------------------------------

Nagoshi: If I may change the subject a bit, let me ask about your achievements. What did you do at Honda early in your career?

Goto: I joined Honda just as emission control emerged as the most important automotive issue worldwide. It was a field 180 degrees opposite of my interests. Basically I wanted to pursue the ultimate in performance, but emission control requirements cause a negative effect on power. At first, I wondered why the company didn't involve me in something more interesting. To my surprise, I gradually became more and more involved in the program. In those days, emission control was quite new, and the daily routine was full of new things.

Nagoshi: I understand what you mean. I'm often asked if my low times continue in series. Yes, it's true in a sense. But it's also easy to be a front runner.

Goto: We had a clear goal, and had to concentrate on it and work diligently to reach it. For me, the process became very interesting and worth the effort. I was a member of Honda for 22 years. And the final seven years were dedicated to its Formula One program. But before my involvement in Formula One, I developed a turbo-charged engine for the small car City. That was Honda's first turbo-charged engine for the small car City. That was Honda's first turbo-charged automobile. At the time, I committed myself to designing a car that was fun to drive yet comply with emission and fuel economy requirements. To ensure fuel efficiency wasn't a difficult task at all. We simply reduced engine revolutions by introducing a long-geared transmission. But the car wasn't fun to drive, especially when I would take over mountain roads. I would return to the lab saying the concept was nonsense. Next, we installed a short-ratio gearbox and attempted to improve the fuel efficiency without taking away the driving fun. I used to drive along the Fuji Subaru Line together with a young engineer early in the morning before work. We had a great time, and found ourselves repeating over and over, "Hey this works really good!" (Laughter)

Nagoshi: I guess the feeling of "fun and interesting" are important factors. As far as the game is concerned, the quality is, in part, determined by the image of fun and interest that the project leader has in mind. If I didn't thave the feeling that I was producing it because it's going to be fun, the game would be destined to fail. For me, the most challenging thing is have a clear vision of how to incorporate the fun and interest I feel.

Goto: Wow, sounds difficult. In talking about driving. I think the real fun is felt when you think "MAYBE I control the car."

Nagoshi: I agree. One can really have fun at the threshold between having control and challenging for greater control.

Goto: Getting back to the story of the City Turbo, our comparative target was the Renault Cinq Turbo. People were all commenting, "Are you sure? The City has no chance of outperforming the Cinq." Okay, yes, the Renault was faster. But when it came to acceleration, our City was a good match.

Nagoshi: During the development stage, especially when the high hurdles come into view, determination becomes very distinctive. Even though the field of engineering is different between automotive and game development, the level of determination is on an equal plane. That is the major drive that leads to their goals.

Goto: You must attempt to match our product to the players who are eager to improve and be better. In this sense, the lap time should improve proportionally to the level of playing skill.

Nagoshi: That's right. There's a rather old-fashioned opinion that going out for a drive is more fun than playing a driving game. It's true. So, our situation is to try our utmost to add values to the game. A good game designer must incorporate added value into his imagination.

Goto: What about the sound quality in modern games?

Nagoshi: It's improving. The SEGA's latest product is a game that involves using all five senses. And a player can acknowledge a car's current status from its sound. Of course, in a game, visual presentation is the first priority, and followed by operational ease and sound. For me, the most astonishing aspect of a race was the sound: the roar of the engine and other things. I want all players to understand and experience the same astonishment and emotion that I felt.

Goto: Sounds surrounding a circuit are very loud. It's like a clear vibration that directly stimulates the body. In general, it's like an auditory sense. But at a circuit, it's an airy vibration felt by the skin.

Nagoshi: Yes. It's the feeling that tells me I'm at a circuit. Some people in the audience put ear plugs in their ears. What a waste!

-----------------------------------

Nagoshi: You were the managing director of the Honda Grand Prix team when McLaren overwhelmed the Formula One. What was your challenge at the time?

Goto: Rather than manage an entire team, I concentrated on corresponding the importance of racing to the outside world. most people can give 100% when they feel they're involved in a worthwile project. The most significant part of my work was to create the environment in which everyone could do their best.

Nagoshi: I understand what you're saying. I, too, always want to be involved in interesting work.

Goto: One can survive difficult times when the work they are involved in provides satisfaction. It is possible to do more because achieve achievements [sic] are eveluated exactly and praise is awarded accordingly. The same is true when it comes to games. I must confess, I'm not a good game player. (Laughter) No on ebut my youngest son, an elementary school student, plays with me. But I'm interested in driving games. Children will experience their first motoring pleasures through such games, and I hope that this game will make them think that motorsport is a fun field, and that they'll want to participate one day. Unfortunately, in view of the current situation in Japan, even entering kart is not easy. Because of this, I believe that driving games play an important role in opening the door to motorsport.

Nagoshi: If the door is opened wider, more competent drivers will emerge. World-class atheletes arrive on the scene once many people begin participating in the sport.

Goto: Yes. Japanese racing has not yet reached maturity. I'll say it once more, I hope that driving games will be the first step towards a future in racing.

Nagoshi: Some game designers tend to produce driving games without the actual knowledge of the car is. That's wrong. My advice to would be driving game designers is to, first get in a car and drive it. Buy a car that's light, fast and fun.

Goto: From a similar viewpoint, I welcome a driving game that closely reflects the real thing. In playing games, prospective race car rivers of the future should be able to obtain the preliminary information of a vehicle, including kinematics, operations and action/effect consequences. Performance should be reflected in a feedback loop; I can do it in a game, but not at the circuit. What's the difference? I like a game that has its own presence; a presence that's very close to reality. I really like this one.

Nagoshi: Thank you very much for the compliment. I hope you continue you [sic] to play it by yourself. SEGA is planning to export it to the area you're most involved with work, Europe, soon.