kEnjikanno, director of Sega’s legendary driving game Crazy Taxi, recalls the pivotal moment when he realized the game had made an earthquake-like impression. “I was heading to Las Vegas for promotional work,” he recounts. “I got into a taxi, the driver sped me off quickly and promptly reached my destination. Finally, he chuckled and said, ‘I’m a truly crazy taxi!’. It was a bizarre experience.”
Originally launched in arcades, The Zany, Pop-Punk Drive-Em’ -Up, is commemorating its 25th anniversary this month. Crazy Taxi was an addictive coin-operated thrill ride. The quirky nature of the game consistently exclaimed, “Are you ready to have some fun?” and “Crazy time is money!” with a plain, ordinary face amidst the chaos of just wanting to drive to Pizza Hut. Racing a green-haired Axel Yellow 1960 Cadillac El Dorado so swiftly that the front bumper crashed into a concrete hill in Sunny San Francisco. (My mom’s favorite character was Jenna, who drove the Ford Mustang.)
I can still recall spending the entire summer trying to master the “crazy dash” technique instead of playing outside with my friends. The subsequent ports on PlayStation 2, GameCube, and Xbox 360 were a hit, drawing millions of Crazy Taxi sales, proving that creating a hit wasn’t a walk in the park back then.
The rock band The Offspring contributed a turbo-charged guitar riff to the Crazy Taxi soundtrack, a time capsule from the turn of the millennium. The game captured the carefree hyperactivity of America pre 9/11 in the late ’90s/early ’00s. The era when the biggest concern for many youngsters was whether Stone Cold Steve Austin would retain the WWE World title.
Despite its successful cross-over, Crazy Taxi faced opposition from many early critics, as recalled by Kanno. “During the initial stages of development, more than half of the project team vehemently opposed the idea of a game centered around taxi drivers,” he reminisces.
Yet, Kanno was intrigued by the challenge of transforming the ominous taxi driver stereotype, prevalent in the 1998 Luc Besson action comedy film Taxi, into a more endearing figure. The crazy taxi driver is clearly not sinister. Kanno aimed to do for the taxi driver what Paperboy did for paperboys. “I told the team: ‘I believe it’s the responsibility of game creators to make mundane work appear cooler! We might be envisioning something unprecedented, but we have to do it.’
Recounting his childhood, Kanno describes taxis as somewhat magical. “In Japan, taxi doors open automatically. As a child, I pondered why the taxi doors opened upon approach while our family car doors remained shut. This intrigued me so much that I began to view taxis as these enchanting entities.” As he matured, Kanno delved into old Hollywood films, aspiring to capture the same thrill and glamour showcased in iconic driving sequences like the Italian Job and French Connection. Locations such as San Francisco were ideal. “What I most wanted to convey about Crazy Taxi was the dynamic feel of a movie car chase, as San Francisco, with its numerous undulations, always allows for such action to be expressed.”
Unlike most racing games, Crazy Taxi demands quick decision-making on your feet rather than memorizing the track. (This ethos of a chaotic approach can be seen in Simpsons: Road Rage, which essentially adopted the crazy taxi concept in the Springfield setting.) “It’s a game that constantly challenges players to make split-second decisions in evolving scenarios,” Kanno explains. “Therefore, I made other vehicles obstacles. The design isn’t about mastering all the routes and finding the perfect line, but about maneuvering through ever-changing traffic.”
Technical limitations at the time curtailed the planned multiplayer mode. Nonetheless, the leaderboard enabled competitive battles among friends. For those struggling to surpass the 2-minute mark while playing Crazy Taxi (FYI: One rooftop shortcut is a game-changer), is there a possibility of a modern multiplayer-enabled sequel? “I can’t divulge much,” Kanno responds. “But Crazy Taxi will soon have you grinning ear to ear once again!”
Source: www.theguardian.com
