When November ca around, a surprising piece of news erged from the United States.
Led by several large companies, a collective lawsuit involving many small companies and individuals was filed in California, USA.
The defendant was GaStar Entertainnt, and the lawsuit covered various aspects, including monopoly lawsuits, technology patent restrictions, and image infringent lawsuits.
All these lawsuits were bundled together, and the plaintiffs initiated a joint lawsuit, indicating that GaStar Entertainnt had indeed offended so people.
The main initiators were several bosses from the film and television industry.
They were the first to express dissatisfaction with the use of Unreal Engine in film and television developnt.
For a company, if it didn't have any lawsuits, it didn't seem like a big company at all.
Whether you did good or bad, there would always be soone looking to cause trouble for you. This was fundantally unavoidable.
Takayuki was prepared for this. Since competitors couldn't defeat you head-on, they would try to find other ways to take you down.
So when Matsubashi briefed him on this matter, he simply let Matsubashi handle it.
Having had previous experience, GaStar Entertainnt's legal departnt was very strong now.
Among them was a legal advisor who had served two presidents, as well as several renowned patent and copyright lawyers.
GaStar Entertainnt was a generous employer, and these lawyers prioritized money above all else, especially in cases like business disputes, which didn't involve morality. They loved them because they made money and gained fa.
GaStar Entertainnt's legal departnt was dubbed the strongest in the industry, just like Nintendo and Disney's legal departnts in previous lives, because they had suffered losses in this area before and had subsequently strengthened it at all costs.
With the experience and lessons from their predecessors in previous lives, GaStar Entertainnt naturally wouldn't slack off in this area.
These companies wanted to slow down GaStar Entertainnt's pace, ideally even crush it completely. Who asked them to have nothing better to do than to work on film and television effects, thus making unnecessary enemies for themselves.
But while they were making more enemies, they also gained allies.
When Tukalev learned of this, he didn't consult GaStar Entertainnt but instead used his own connections and relationships to trouble those film and television companies.
Now deeply cooperating with GaStar Entertainnt, especially seeing the potential of IPs in electronic gas, if they could obtain authorization for future filming, perhaps they could also earn a lot. He didn't want GaStar Entertainnt to run into trouble.
And if he didn't do sothing, he'd be a bit heartless. GaStar Entertainnt had helped him a lot before. Although it was a mutually beneficial matter, he still had to rember this favor.
Without GaStar Entertainnt, he might as well quit the film and television industry and go back to Russia to raise pigs.
Detroit Film Group, which had also benefited from Unreal Engine, naturally also wanted to help GaStar Entertainnt.
Through his influence in the film and television industry, at least several film and television companies that were wavering decided to drop the lawsuit, and so even began to promote the use of Unreal Engine.
It was really a money-saving tool. Honestly, not using it would be foolish.
At the sa ti, there was a person nad Hunter. Originally, he was Tukalev's competitor, but instead of joining the others in suing GaStar Entertainnt, he contacted Matsubashi, hoping to obtain authorization to use Unreal Engine.
If he could get authorization, he was willing to persuade so people to reduce GaStar Entertainnt's enemies.
For these goodwill gestures, GaStar Entertainnt would naturally reciprocate.
To Detroit Film Group, they promised to continue providing more detailed customized services for special effects production in the next ten years, aiming to improve special effects while reducing costs.
Accepting Hunter's request, they signed a ten-year authorization contract at the sa price as with Tukalev, $50 million over ten years, payable annually. They would also be listed as premium partners like Tukalev, providing the best after-sales service.
As for Tukalev, as a deeply cooperating partner, GaStar Entertainnt was even more generous.
From now on, they could discuss projects related to adapted movies, such as a big animated movie adaptation of Pokémon.
Tokyo TV was currently lacking a channel for movie promotion, and by simply connecting them, it would help both sides strengthen their capabilities, which was very cost-effective.
The legal matters were left to Matsubashi and the legal departnt to handle. After rewarding those who showed goodwill towards GaStar Entertainnt, they returned to focusing on developing electronic gas.
That was their main job.
Although the lawsuits seed troubleso and diverted a lot of energy, they didn't affect the developnt team at all.
Gas continued to be produced and released steadily.
Blood series, various sports like football and basketball, and titles like Dragon Quest 6 and Mario Land 3.
These gas all landed in November, and each ga's sales easily surpassed half a million, with Mario and Dragon Quest easily breaking a million in sales.
During this period, several exclusive third-party studios for GaStar Entertainnt developed many high-quality gas.
"When it's from GaStar, it's a masterpiece."
This phrase gradually beca popular.
Because up to now, GaStar Entertainnt's gas had only varied in audience, but there had never been a ga that everyone disliked.
Even third-party gas on their consoles were of top quality. Players could buy them blindly; there were no gas that weren't enjoyable, only those that didn't suit your taste.
This was quite terrifying.
It was like a film and television company producing movies that were universally acclaid and successful, sothing almost impossible.
Only the electronic ga industry was a completely new industry, which subconsciously made people feel that GaStar Entertainnt's success was natural, without any doubts in this regard.
If this were applied to other industries, there would probably be so wild imaginations that could even co up with Takayuki being a ti traveler.
However, most of the gas developed by GaStar Entertainnt recently were lighter in tone. The characteristic was that the developnt cycle was short; generally, it only took one or two months to develop a ga.
With multiple studios working together, producing five or six gas in a month was not a problem at all.
The reason for developing only short-cycle gas now was that most of the staff had been reassigned to develop gas for the GS1 and GBA ga consoles.
At the sa ti, developnt kits for GS1 and GBA had also been distributed to the most loyal first-party ga studios.
This allowed them to familiarize themselves with the new gaming system in advance and prepare for the developnt of new gas.
By the ti the consoles were released, they aid to have over twenty launch titles, satisfying the appetites of the vast majority of players.
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