Current generation consoles are limiting many things. At present, "Midgard" is approaching the limits of the current console generation.
Ayano Tsukino still wants perfection, but she also understands the limitations. So, she can only hope that the Super Famicom will be officially released soon. This way, she can make better gas with better performance.
Speaking of which, the Super Famicom has already begun its pre-launch phase. According to the normal marketing schedule, the official release should coincide with the first anniversary of the establishnt of Yuxing Electronic Entertainnt Company. By then, the sales of the Famicom will also officially reach two million, which is also sothing worth celebrating.
Tsukino shared her recent experiences in ga developnt with Takayuki and then discussed the potential challenges in the upcoming ga developnt. After that, she left.
Following that, "Midgard" officially entered the marketing phase of the ga.
For players, having a first-party ga released every month for the Famicom has beco routine.
When "Midgard" was announced, players were no longer concerned about whether a ga was a new IP. They began to focus on whether the ga was a first-party ga from Gastar Electronic Entertainnt.
If it was, then they didn't need to worry about the quality of the ga itself. They didn't need to worry about whether the ga was fun or not; they just needed to anticipate how fun the ga would be.
This ti, after players saw the screen and played part of the content of "Midgard," they roughly figured out that it seed to be a platform-jumping ga. However, this ti, it had a sci-fi background, which was relatively rare.
The protagonist's na seed to be Samus, and her profession was a space hunter. This ti, the character's mission was to defeat space pirates and retrieve Midgard creatures that could affect the cosmic balance.
Because it was only a half-hour trial play, the full picture of Midgard had not been fully revealed, and players couldn't discover the charm of the Galaxy City-type ga itself.
This was also a surprise left by Takayuki for the players.
To truly experience the fun of Galaxy City-type gas, you needed at least an hour or two of gaplay. The half-hour trial play was just right before the complete enjoynt of the ga erupted, leaving the rest of the suspense for players to experience themselves.
At this ti, the Fifth Ga Developnt Team and the developnt team of the "Final Fantasy" ga also placed information about the musicians and artists they could find on Takayuki's desk.
There were about thirty people's profiles in total.
Takayuki picked them up one by one to check.
Many of them were already well-known musicians and artists.
The money to hire them was secondary; the main thing was to see if their styles matched "Final Fantasy."
There were also works of these artists and musicians in the materials.
Takayuki glanced through the works of the artists, then shook his head.
So of these artists' styles were either too traditional or too cartoonish.
"Final Fantasy" was a ga that leaned towards darkness more than "Dragon Quest." If the artists weren't chosen well, it could easily affect the tone of the ga itself.
However, he wasn't in a hurry to find artists. If necessary, he could ask his mother. She was a well-known artist and always had so unique resources.
Right, Daisuke Ikeda from Kasuga Corporation should also have so familiar friends who might be able to help.
Takayuki put aside the profiles of the artists and then picked up the profile of one of the musicians.
There was a CD in the profile, containing so works and recordings of the musician.
Takayuki inserted the CD into the CD player in the office and started playing it.
Soon, the screen of the television showed images and works of the musician.
After listening to three or four pieces, Takayuki wasn't particularly satisfied.
Similar to the artists, these musicians' compositional styles didn't quite match his vision for "Final Fantasy."
Takayuki shook his head with so regret, feeling that it might be difficult to find soone who t his requirents in the short term.
Take it slow.
Takayuki listened to the remaining musicians one by one, also unsatisfied with each one. So, he set these materials aside for now.
At this mont, the door opened, and Makoto Matsubashi walked in.
"President, here's the list of visual effects personnel you requested to recruit recently. Please take a look."
Takayuki turned around and sat back at his desk, reviewing the list of visual effects personnel.
Takayuki had already planned to build a dedicated ga visual effects team himself.
Of course, outsourcing and hiring outsiders to do these things would save money.
But outsiders would ultimately find it difficult to realize the visual images in his mind.
Only a team trained by himself was easier to trust.
At present, the overall film and television visual effects in this world had reached a level similar to that of around 2004. Movies like "The Matrix Revolutions" were released in 2003, so the overall film and television visual effects technology in this world was quite advanced.
In the future, electronic gas would inevitably have better graphics, so he needed to plan ahead.
While others were trying to improve gaplay, he also needed to focus on improving the graphics.
Moreover, "Final Fantasy" was also a major consur of special effects in the future. Having a dedicated special effects team was imperative.
Takayuki briefly checked the information of the personnel on the list.
Most of them were selected by Makoto Matsubashi from other film and television companies, and many of these people were dispatched workers, the kind of employees that companies could dismiss at any ti.
Their lives were relatively uncertain. In Japan, soone with a long-term employnt contract and soone with a temporary contract were almost like two different classes of people.
Even though those with long-term contracts might not earn as much as those with temporary contracts, it was only temporary. Long-term contracts ensured that these people would have a stable inco and less worry about their lives.
Takayuki had instructed Matsubashi to focus on this point when finding people.
These dispatched workers were the easiest to attract and poach.
Most importantly, these dispatched workers often did the most tiring and arduous work in their companies.
While these jobs were tough, they also allowed them to grow quickly, making them very valuable resources.
After looking through the basic information on the list, Takayuki signed and stamped it, then handed it back to Matsubashi.
"Okay, these people are all good. Try to recruit them as much as possible, and you can slightly increase their salaries."
"Understood."
Matsubashi nodded and took the folder, then glanced at the profiles of the artists and musicians on Takayuki's desk, seeming hesitant.
Then, she hesitated for a mont and said, "President, are you looking for people to make music for the ga?"
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