Hideki Kamiya Reflects on Scalebound Cancellation and Publisher Differences

Devil May Cry creator Hideki Kamiya has weighed in on the cancellation of Microsoft-backed action RPG Scalebound, suggesting that the project might have unfolded differently under a Japanese publisher. Speaking to VGC, Kamiya compared his experiences working with Japanese and Western publishers, highlighting differences in development culture and creative freedom.

"What it feels like when working with Japanese publishers is that the development culture feels closer to mind, and they tend to be more understanding toward creators," Kamiya said — Hideki Kamiya.

Kamiya elaborated that game development, especially when innovating new mechanics, requires a certain patience from Microsoft. He cited his own experiences with titles like Bayonetta, which introduced the Witch Time mechanic, and The Wonderful 101, with its Unite Morphs system, as examples of inventions that benefitted from creative latitude.

"On the Japanese side, my impression is that they see you’re trying to make a new invention. They understand the struggle of trying to give birth to something new, and they watch over the process with patience," he explained — Hideki Kamiya.

By contrast, Kamiya described working with Western publishers as a different environment. He suggested that overseas companies often prioritize finishing a product quickly, placing pressure on developers to conform to familiar formats rather than explore new ideas.

Kamiya has expressed interest in seeing Kojima revisit the P.T. formula, suggesting a new horror project could capture the same tension and innovation that made the original demo iconic.

"For foreign companies, if you’re trying to invent something new, because the shape of it isn’t clear yet, there tends to be pressure. I get the impression that they feel a sense of safety following an established format," Kamiya noted — Hideki Kamiya.

When asked specifically about Scalebound, Kamiya reflected on how the cancellation might have been influenced by these differing approaches. "I do think it would’ve been different. I don’t mean that if it had been a Japanese publisher, the game would necessarily have been completed and released, but I imagine the process itself would have played out differently," he said — Hideki Kamiya. He emphasized that Japanese publishers are generally "more open to new challenges," while Western publishers often prioritize seeing a finished product as quickly as possible.

Kamiya’s comments offer insight into the tension between innovation and market pressures in game development. Scalebound, which promised ambitious action-RPG gameplay with a bond between protagonist and dragon companion, remains a high-profile example of a project halted despite significant creative potential. Kamiya’s perspective suggests that cultural differences in publishing philosophy can directly impact how a game’s development is managed and how much creative risk is tolerated.

With his current studio, Clovers, Kamiya continues to pursue projects that merge the mechanics and ideas he has cultivated across his career. His reflections on Scalebound underline the importance he places on the development process itself, valuing the freedom to experiment as much as the eventual release of a finished product.

This discussion also highlights broader conversations within the industry about how publishers balance innovation with commercial expectations, especially for studios attempting to deliver original gameplay experiences. Kamiya’s experience serves as a case study in how creative vision and corporate priorities intersect, and how regional approaches to publishing can shape the trajectory of ambitious game projects.