IIf you were an avid video game fan in the summer of 1994, you probably remember where you were when the August issue of Edge magazine went on sale. By that time, Sony had already announced its intention to develop a PlayStation console (in October of the previous year). But it was the cover of the world’s most advanced gaming publication that really opened up this machine’s potential. Edge not only listed the specs in full, but also attached glowing endorsements from Capcom, Namco, and Konami. One developer breathlessly told the magazine: “This will revolutionize the way computers work today.” Suddenly, the entire structure of the console gaming business was under threat. All I needed was a boost.

Sony’s entry into the video game industry has become the stuff of legend (and will probably be fodder for a regular Netflix movie one day). In the late 1980s, the company was keen to gain a foothold in an increasingly lucrative business after the failure of its MSX gaming computers. So when the opportunity arose to build a CD-ROM drive for the soon-to-be-released supercomputer, Nintendo (SNES) console, Sony jumped at it. But behind the scenes, Sony’s engineering genius Ken Kutaragi was also designing a standalone system. playstationit can play not only SNES games, but also the new CD format controlled by Sony itself.

Nintendo felt a threat to its supremacy. As a result, when Sony announced the PlayStation at the big Consumer Electronics Show in Chicago in 1991, Nintendo actually canceled the deal and instead partnered with Philips to create a SNES-based CD add-on. It was immediately announced that it would be produced. Sonny was shocked and humiliated. Jilt Bride in the Cathedral of the Tech Industry. Various theories have been proposed about Nintendo’s motives, but the most obvious was that it was a highly protective company wresting control back from an ambitious consumer electronics rival. Whatever actually happened, the PlayStation was over. Or was it?

No, no. It wasn’t. Instead, an enraged Sony scrapped the Nintendo-based technology, and Kutaragi began work on a new console codenamed PS-X. This game console is designed around a powerful 32-bit Risc processor and includes a co-processor named Geometry Transformation Engine. Fast and detailed real-time 3D visual mathematics. At this stage in the early 1990s, the company made two important decisions. One was a development deal with arcade legend Namco to create new PS-X exclusive titles. The other was to send engineers on a worldwide developer tour to recruit developers. Support your console with exciting 3D graphics demos. Sony successfully capitalized on widespread dissatisfaction with Sega and Nintendo, which had bound publishers to restrictive and complex licensing agreements for years, while also captivating programmers and artists with its thrilling technology. By early 1994, 250 companies had signed up to create games for the machine, beating out the meager support gained by rival multimedia consoles such as the Philips CDi and 3DO. I could feel the momentum building.

When the PlayStation launched in Japan in December 1994, it launched Sega’s long-awaited 32-bit CD-ROM machine, ostensibly a similar 32-bit CD-ROM machine that supported the company’s biggest arcade titles, Daytona USA and Virtua Fighter. I played against Saturn. At first, Sony seemed to balk, and the launch of this machine didn’t draw the same chaotic lines that greeted the Saturn a few weeks earlier. But as the US and European release dates approached, both the hype and the software library grew. Titles like 3D fighting game Toh Shin Den, platformer Jumping Flash!, and racer Motor Toon GP exploit the visual potential of machines with rich, detailed 3D environments and smooth vehicle and character animation. I showed off. By the end of that year, Wipeout and Tekken had joined that list. These beautiful and thrilling games pack attitude and perfectly embody Sony’s philosophy that if it’s not real-time, it’s not a game.

Starting in 1996, Sony began seriously promoting the PlayStation as a lifestyle accessory rather than just a children’s toy. Geoff Glendening, head of marketing at Sony London, famously introduced the console to nightclubs and music festivals. Advertising giant TBWA was hired to develop a fresh image of the machine as cool and desirable, culminating in an award-winning production in 1999. double life commercial. But more importantly, the console’s friendly development environment and Sony’s excellent support for third-party studios ushered in an era of enthusiastic experimentation.

Now, when we look back at titles like Resident Evil, Tomb Raider, Tony Hawk’s Pro Skater, and Driver, we see open, explorable worlds, genre-defying design, and cinematic storytelling. Discover the origins of modern 3D game design. We’ve seen Namco ease its role as a semi-first-party creator and push the Ridge Racer and Tekken franchises to new heights both technically and design-wise. We’ve seen Japanese publishers break away from restrictive relationships with Nintendo and Sega and bring out gorgeous blockbusters like Final Fantasy VII and Metal Gear Solid.

But importantly, PlayStation also brought with it an undercurrent of whimsy and playfulness. From PaRappa the Rapper to BibliBong to LSD: Dream Emulator, music and imagery were explored, sometimes to disconcerting effect. And while people in their 20s loved Tony Hawk and Tekken, kids weren’t left behind. This era was also the era of beloved comic book platformers like Jumping Flash, Spyro, Croc, and Crash Bandicoot. When Nintendo finally released the N64 in 1996, it found that PlayStation had already captured the majority of its potential users. Another layer of Sony’s long revenge.

The original PlayStation went on to sell 100 million units over its 10-year lifespan. This broke the monopoly enjoyed by Sega and Nintendo and cemented a series of huge game franchises that still thrive today. At launch, there was uncertainty about the CD-ROM format, which provides slower access to data than cartridges, but Sony leveraged its music and film technology expertise to overcome obstacles and establish the format as the future. I did. Its industrial design was stunning, a sleek gray machine that fit next to my TV and video recorder in my living room. An innovative joypad. Those cute little memory cards. Start-up animation with music swells. The TV advert made me want it, and the launch price (£299 compared to the Saturn’s £399) made it more accessible.

However, looking back at the feature in Edge magazine that was published a few months before the game’s release in Japan, and which has since been followed by many similar reviews in the gaming press, it feels like something important is already happening. I did. Quotes, specs, and screenshots of demos seem to pop off the page. Even if PlayStation’s success wasn’t inevitable at that point, in the notoriously unpredictable video game business, it was as close as it gets.