"This subculture of programmers, using machines such as the NEC PC-9801 or Fujitsu FM Towns, gave birth to a vast underground game-making community--sorta similar to the indie game scene today, minus Twitter, Kickstarter, and Greenlight. The community was only aware of each other through magazine publication and game making contests. Many of these early developers continued making games with notable studios such as Square Enix and Falcom. The computers were too slow for, say, Wolfenstein 3D-style shooters, so the bulk of these games are visual novels or text adventures."
Ok, the title of this Kill Screen piece by Mariam Naziripour doesn't really convey why I found it interesting (not that furries aren't interesting). So let's take a step back: at this point, you're probably familiar with the term "visual novel." Some contemporary examples would be Analogue: A Hate Story or Zero Escape: Virtue's Last Reward. Closer to this article's focus is Hideo Kojima's cyberpunk detective story Snatcher--though it did have some goofy light-gun segments, as well.
It's intriguing to consider how the technology available to creators shapes their creations. These games, and their distinct low-bit-color illustrations, sprang forth from regionally released machines that had comparatively high-resolution screens but lacked the processor power to render fast-paced action on them. These concerns have since disappeared, but their impact on Japanese creators and games at large (particularly with the recent resurgence of interactive fiction) is still plain to see.