Playing to Wiin

Nintendo and the Video Game Industry's Greatest Comeback

Daniel Sloan

• Publisher: Wiley
• Year: 2011
• ISBN:
  9780470826935
• Edition: 1
• Topic: Business
• Subtopic: Decision Making
• Index: Business

How Nintendo reclaimed its spot at the top of one of the world's most competitive industries

Nintendo was once the dominant force in home video gaming--until Sony and Microsoft pummeled them with powerful new consoles. As those two giants battled each other for market share, Nintendo looked dead and buried. Then, true to its secretive, low-profile approach, Nintendo roared back into the market with its revolutionary Wii console and portable Nintendo DS system. Taking a completely different approach to gaming while embracing its creative roots, the company was back at the top of its game.

But how did a struggling Japanese family company, with its origins in nineteenth-century playing cards, come to dominate a competitive, high-tech industry? Playing to Wiin details the key succession issue for Nintendo, the development of the DS and Wii consoles, and the creation of remarkable new gaming software. All these factors combined to drive Nintendo back to the top of the gaming world.

• Reveals the business strategy that led Nintendo back to the top of the gaming industry amidst fierce competition from bigger rivals
• An inspirational story of a stunning business turnaround and the hyper-creative minds behind it
• Written by an acclaimed financial and business journalist based in Tokyo

Offering a fascinating inside look at a market-leading company once left for dead, Playing to Wiin is a must-read for executives and leaders interested in one of the greatest business turnarounds in history.

CHAPTER 1

Leave Luck to Heaven

After more than a half a century as Nintendo’s president and with hundreds of billions of yen to show for it, Hiroshi Yamauchi approached retirement and the new millennium financially secure. Yet even though prosperous and a legend in his own industry after more than a half century in charge, he was in dire need of a hit product and a worthy successor to manage it.

Yamauchi had led Nintendo to a corporate pinnacle in the 1990s, yet despite the fire still raging in his words and deeds, the hour for transfer of the corporate baton was at last nearing. The imperious 74-year-old Yamauchi, only the third boss in Nintendo’s 113-year history, would—as he did with most company issues—decide when and how he would leave the headquarters of the Kyoto entertainment giant.

Yamauchi, a man who had known only one company in his entire career (and only one title—boss), had floated the idea of departure before. But he’d always stepped back from it, returning to the exacting management style that had established one of the world’s great companies and made him both loved and loathed. Nintendo had become synonymous with the game industry’s tremendous growth—from dark arcades and bars to living rooms across the world—a global business estimated around the year 2000 to be worth more than $20 billion.

As a soon-to-be-retiree, the dapper Yamauchi remained a handsome gentleman with slicked-back gray hair, tinted glasses, and a fondness for purple suits and ties. His astute leadership and blunt style included occasional outbursts at game industry competitors and suppliers, as well as at reporters covering the industry. This overt indifference to traditional Japanese business operations—and appearance—had included refusal to pick a successor at any point in his long tenure.

This time, though, Yamauchi’s retirement appeared a done—if not immediate—deal, although it would come at a very critical juncture for the former industry No. 1. After its high-tech, TV-linked entertainment console had flopped badly in the late 1990s, Nintendo was now badly trailing Sony and its PlayStation video game franchise.

The handheld console business was still sturdy and plans for next-generation game machines were under way. Nonetheless, Yamauchi intended to keep everyone guessing as to what was in store for his family heirloom, saying only, “I’ve been thinking about it for more than two years now, but I want to retire before this summer. Nintendo isn’t going to work under one person anymore, though it will be run under a group-leadership system.”1

However, the real nagging question for Yamauchi, Nintendo’s over 3,000 employees, and investors in the global firm was whether any new boss—or even bosses—would be able to run the greatly expanded business, which some gamers and company analysts said had lost its way since dominating the industry only 10 years earlier.

ORIGINS

Fusajiro Yamauchi, Hiroshi’s great-grandfather, launched “Nintendo Koppai” in September 1889 as a hanafuda card business. Fusajiro saw Kyoto’s gamblers as well as its landed elite, students, and laborers as yearning for the turn of a friendly, well-made card. The city had been home to Japan’s emperors from the 8th century into the 19th, but like the entire nation it had endured a ban on card gambling for about 250 years.

The new Meiji Era government, as a sign of its progressive agenda, decided to allow card games using pictures instead of numbers—one of many changes under a new Constitution that included weightier moves such as national elections and the end of serfdom. With the end of the card-playing prohibition, Fusajiro had a ready market for his “flower cards,” which stunned players with their beauty. They presented 48 paintings in 12 suits based on the months of the year.

His product soon outsold rivals because of the brilliant artwork on the mulberry-bark cards, which soon became available at shops in Kyoto and Osaka. Gambling with the sturdy cards became popular, particularly among Japanese yakuza, gangsters who wanted a new deck for each game. Eventually, demand exceeded manufacturing capabilities of the hand-painting shop, so the firm hired staff to begin mass production, adding space as the fledgling industry gradually expanded.

Fusajiro retired in 1929, passing the company to son-in-law Sekiryo, who had taken the last name Yamauchi as the clan had no male heirs. Sekiryo moved the company’s headquarters to a building next door in 1933.

Today, the small two-story launch site is relatively empty and anonymous, except for a “Nintendo Karuta” plaque that hints at what the Kyoto workspace eventually became. In its long history, the firm would continue to make cards, or hwatu, as the flowery decks still are known in Korea, intent on retaining its roots but incapable of surviving only on them.

A NEW GAME

Hiroshi Yamauchi became president in 1949, as Japan with post–World War II recovery. However, the actions of his parents, Kimi Yamauchi (the granddaughter of founder Fusajiro) and Shikanojo Inaba (a Kyoto craftsman who had married into the family with the intention of becoming Nintendo’s third president), had forced the young man to grow up quickly.2

Hiroshi’s father ran off when he was six, and his mother asked her parents to raise the young boy, leaving him without great sentimentality or deep family connection. Shortly before his death from stroke, Hiroshi’s grandfather tapped the young man—then still a Waseda University law student—to become his successor, hoping the brash upstart could put a modern varnish on the now six-decade-old enterprise of making and selling domestic playing cards.

Before agreeing to drop out of school and take the job, Hiroshi demanded that his grandfather dismiss other family members to leave no doubt as to who would steer the company leadership. On taking the helm, Hiroshi quickly grew unpopular, if not feared, as a result of his age and manners—a relatively obnoxious management style he brandished often over ensuing decades. He gradually replaced every manager and long-time employee in a further purge of potential opposition or divided loyalty. Meanwhile, Hiroshi began the hunt for a new business niche that would lead beyond Kyoto and even Japan.

That growth, however, was starting from a very low base for the company and all of Japan. In fact, one of the later things he had to do was stave off corporate bankruptcy, after a slate of side ventures ranging from instant rice to “love hotels” failed to take off.

At the time, Japan’s Ministry of International Trade and Industry had just been created, a fixed foreign exchange rate of 360 yen to the dollar was set, and stock exchanges were opened in Tokyo, Osaka, and Nagoya. Total exports from the country stood at ¥298 billion as of 1950—a level that rose to ¥51 trillion by the end of the century, or a jump from about $828 million in the postwar nation to about $500 billion.3

The newly minted executive changed the company name in 1951 to Nintendo Karuta (Nintendo Playing Card Company), aiming to promote its main source of income as well as secure deals with American firms, then the industry’s titans. Later in the decade, he signed a crucial contract with Disney for rights to put its iconic animated characters on his playing cards (now coated with plastic), a template for future business maneuvers that would broadly open Nintendo’s doors to children and the world.

Launching his own family, Hiroshi wed Michiko Inaba in an arranged marriage, as is often customary in Japan. The new family yoked two artisan clans of Kyoto and produced two daughters and a son. His family, though, rarely saw the busy company president, who concentrated on work and great expectations.

Outward Bound

The Disney deal proved incredibly lucrative, as sales reached over 600,000 card decks a year. However, Hiroshi soon learned that the card business in the United States was a fading star, unlikely to be a profit center of the second half of the century. With more ambitious hopes of expansion, Yamauchi took the company public in 1962 to raise cash for new ventures, and soon afterward shortened the company name to one word, Nintendo. He began a push toward worldwide expansion, although he kept the country’s ancient capital as his headquarters. Nonetheless, he decided early on that the ports of Japan would not be the end-destination for Nintendo’s products, while also encouraging a migration from cards to toys and electronic entertainment in the 1970s that proved the company’s saving grace.

Along with Kyoto corporate giants such as Kyocera, Omron, and Ricoh, Nintendo found that the road to success involved trial-and-error and missteps, and the nonstarters also included baseball batting machines, a taxi business, and even bowling alleys, all in a search for an avenue that would ensure demand at home and eventually across the globe.4

The marketing channels Nintendo had plowed in Japan with its playing cards, though, had become a clear advantage, if the firm could find another winner besides cards to market. To achieve this, Yamauchi created a new research and development department called “Games,” tasking a young engineer named Gunpei Yokoi to make a must-have.

One of Nintendo’s first hit products was Yokoi’s 1966 “Ultra Hand,” a scissor-like plastic gripper that extended children’s reach—and the company’s—into parents’ pockets. It sold more than 1.2 million units in its first holiday season. The 1970s saw greater movement toward technology, with Yokoi’s “Love Tester” game and a laser shooting gallery, first located in Nintendo’s old bowling alley sites and later co-developed for home play.

Nintendo’s “Beam Gun” series employed opto-electronics that fired at virtual clay pigeons, while advances in the nascent U.S. gaming industry helped bring the arcade experience to home televisions. At the same time, Yamauchi tied up with Magnavox to sell the games in Japan. With Mitsubishi Electric, Nintendo developed home video game systems from 1977, called not so creatively “TV Game 15” and “TV Game 6,” using an electronic video recording player.

Hardware

Nintendo increasingly committed resources to gaming, resulting in Yokoi’s early brainchild, Game & Watch, which from 1980 became an alternative to plugging coins into machine arcades, as players could take the portable unit with them, enjoying the small unit until its battery ran down. The handheld G&W raised the bar for the mobility and utility of consoles, while its creation cemented a young software and hardware development team that was about to create something extraordinary.

To meet growing demand, the company built a factory in the city of Uji in Kyoto Prefecture. This move both increased capacity and gave Nintendo greater control of its own destiny. The implosion of former giant Atari taught Yamauchi the importance of software control and the need to sell proprietary cartridges made at his own plants or through loyal subcontractors with exacting oversight on quality and supply.

Nintendo moved increasingly into game and console production, and negotiations with parts suppliers and software makers usually came with advantageous terms for the growing Kyoto firm. Much of the profit from outsourced hits became Nintendo’s, while the risk and onus of development often sat with software makers, ultimately weighing on their future allegiance.

Nintendo’s U.S. beachhead was made by Yamauchi’s son-in-law Minoru Arakawa in the early 1980s, initially in New York and then in the Seattle suburb of Redmond, Washington, a move that helped write the history of video gaming. Essential to expansion was the creation of “Donkey Kong,” the brainchild of then novice game designer Shigeru Miyamoto, who (along with his Jumpman character, later to be known as Mario) helped make the Nintendo name eponymous with the industry, while creating essential branded content that made it easier to sell low-priced hardware.

Yamauchi had insisted on the unusual name for the gorilla arcade game, which became a key title for Masayuki Uemura’s watershed Family Computer, or “Famicom” in Japan, introduced in 1983. The machine was a marvel of simplicity and pricing. After becoming a domestic mega-hit, Yamauchi pushed it heavily to go global. That console, called the Nintendo Entertainment System (NES), landed when many world retailers had given up on gaming as a viable home business, after the industry’s early implosion.

By 1987, the NES was the No. 1 toy in the United States, while Miyamoto’s software game, “The Legend of Zelda,” joined Mario in a new pantheon of software immortals, becoming the first home video game to sell one million units. An array of games and branded content—with the plumber Mario, his brother Luigi, or other set characters, and a plethora of “Mushroom Kingdom” or other multidimensional settings, along with professions ranging from doctor to race car driver—would go on to dominate global sales for more than a quarter-century, while hundreds of millions of young and old would eventually trace their introduction to video gaming to Miyamoto’s work.

On the handheld front, Gunpei Yokoi’s portable Game Boy debuted in Nintendo’s centennial year of 1989, helping redefine the industry and putting the firm on even more annual holiday shopping lists. By its 100th anniversary, which at Yamauchi’s behest the company did not commemorate, Nintendo had become the most dominant firm in the global entertainment industry, and it had also become Japan’s most profitable.

As with many Japanese manufacturers, video game software and hardware production soared from the early 1980s. The United States was the key export market for games as well as other products, the destination for over 50 percent of the nation’s output, according to the Japan External Trade Organization.5

Nintendo was at the forefront of this expansion, while its stable of game favorites, later including Pikachu of “Pokemon” fame, with all appearing in branded films and TV, on trading cards, and on countless items of two- and three-dimensional merchandise. All of this made Yamauchi a very wealthy man, as well as an even tougher businessman, someone who demanded much and apologized rarely.

Pokemon alone saw licensing deals ranging from All Nippon Airways and automaker Chrysler to meat giant Oscar Mayer and fast-food chain Burger King, while Nintendo opened domestic and overseas stores, including in New York and London, to sell Pokemon goods.

“This is one of the many measures that I...

Table of contents

• Cover
• Contents
• Title
• Copyright
• Dedication
• Acknowledgments
• Introduction
• Chapter 1 : Leave Luck to Heaven
• Chapter 2 : The Kid
• Chapter 3 : Character Issues
• Chapter 4 : The Console Wars
• Chapter 5 : The Sony Shock
• Chapter 6 : Manifest DS-Tiny
• Chapter 7 : The Third Way
• Chapter 8 : Revolution in the Streets
• Chapter 9 : Wiining the Day
• Chapter 10 : Wealth and Legacy
• Chapter 11 : Bouts of Ennu-Wii
• Chapter 12 : 3D and the Next Small Thing
• Epilogue
• Index