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Now, I think it has come to a point when the PC architecture and technologies have advanced, particularly in terms of the Japanese way of expression, such as, 'In this game, we feel very strongly that we are very capable.' I agree that maybe Japanese game technology is behind because there were no previous experiences, or a base in that PC market in Japan back then.

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TM: Until the PS3 was launched, regarding the 360 and PS3, it is true. It's very unusual within the Japanese industry right now. This engine, though, seems quite high-end. So as long as the converting process can be handled correctly, it shouldn't be a problem.Ī lot of companies in Japan have mentioned that they feel that the Japanese game market is falling behind in terms of technology, partially because PC development and advances in that sort of technology have been happening mostly in Western markets, and support is in English. The PS3 is a very powerful machine, and it's very expansive. In that sense, I don't think it's that big of a deal that you have to start with the PS3, technically. But the VRAM size can be handled by adjusting texture sizing, so that can be taken care of.

TM: Actually, there's SPUs for PS3, and multicore for 360 already. It's always a challenge to do multiplatform - how did you address the multiplatform issue for contemporary systems? Depending on the title, you can always just add something else that doesn't exist in this one. Then we have the ability to use plug-ins that can accommodate other tools. Not to cover everything, but to cover the base.

TM: Actually, we didn't consider making a base that can work for all titles. What were the most important considerations for Square Enix, in terms of developing an engine? How did you make the engine versatile for the type of games that Square Enix wants to make going forward? We kind of picked what we found was effective or useful, so we basically put all these good things in this one engine together. It's basically all based on our experiences. TM: Actually, we didn't use any resources. How challenging was it to build this engine? Did you build it completely from scratch? If not, what resources did you have previously? Or was it just completely designed from the ground up? That also sounds like our company too, Crystal. 'Crystal' is something that we wanted to use, because it many different colors, so we wanted to use that meaning too. At the time, we were trying to figure out the official name for that, and we wanted to come up with something that would reflect the company. But in September of 2007, version 1.0 was released.

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TM: Actually, the initial name that we used - White Engine - we just used it as like a code name. Why did you decide to change the name of Square Enix’s internal engine from White Engine to Crystal Tools? I was also the director of PlayOnline, and technical supervisor for Final Fantasy XII. Also Final Fantasy Tactics and Vagrant Story.

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TM: Since I joined Square, I've done Secret of Mana, and the second in the series of that - Seiken Densetsu 3 - I don't know if it's been released here. To begin, can you give me some of your history in games? To learn more about the history of the effort, why Square has licensed Unreal Engine, and whether Japan is being held back by not licensing locally developed technology, Gamasutra talked with Murata, who elaborated on how the work behind Crystal Tools was an amalgamation of all the experiences gained on working on large scale productions like Final Fantasy. While the company has also licensed Unreal Engine 3 for some future development, Crystal Tools general manager Taku Murata has previously said that its internal engine was designed to cater strongly to the demands of Square Enix's developers. Originally known as the White Engine, Square-Enix's Crystal Tools initiative has taken shape over the past few years as one of its key efforts to standardize cross-platform technology for its forthcoming titles, being used not only for Final Fantasy XIII, but also its forthcoming MMO.