Mika truly lived up to being a student of Tokyo University of the Arts.
At the sa ti, she was clearly a very gifted individual with exceptional talent in illustration.
In just a short ti, she had already sketched out several classic poses of Bayonetta, the protagonist of Bayonetta.
At this point, the model could be built entirely based on the shapes she had drawn.
It really proved that talented people needed to be actively sought out and nurtured.
"You're hired. Your salary will be based on the standard rate for a full-ti ga character designer. If you can prove yourself with these two projects, your pay will increase accordingly."
Takayuki was already very eager to keep Mika Yoshida on the team.
Mika was delighted — being hired by the company she had dread of joining was a huge source of joy.
...
...
Especially since she had apparently gained the recognition of Takayuki himself — a godfather-like figure in the ga industry. That made it all the more aningful.
"Can I start working officially now?" she asked.
"Don't you still have classes?" Takayuki replied.
"Yes, I haven't graduated yet. But don't worry, Takayuki-senpai. If you assign work, I'll definitely do everything I can to et your expectations!"
"That's fine. Ga developnt isn't sothing that happens overnight. The tiline is a lot longer than you might imagine. We usually reveal new gas only after a good portion has been developed — rarely do we announce them too early. These projects haven't been fully revealed yet, so you have plenty of ti."
"I understand! Please look forward to what I can do!"
With a capable character designer now secured, Takayuki could breathe a little easier.
Of course, that alone wouldn't be enough. He would still need environntal artists, prop designers, and other art staff.
Ga developnt today was no longer like in the old days.
Modern gas demanded industrialized production. The division of labor had to be precise in order to ensure quality.
Takayuki began scouting for other visual designers.
But that was a lot easier than finding a character designer.
Scenery, props, and monster designs only needed to complent the protagonist. Mika Yoshida would be the lead designer for both NieR: Automata and Bayonetta. She was the core.
Once the visual design was secured, the next step was music.
Gastar Entertainnt now had its own professional in-house composers. All Takayuki had to do was delegate the musical direction.
With that, developnt on Bayonetta and NieR: Automata officially kicked into gear.
anwhile, Monster Hunter: World was also approaching a critical developnt phase.
At the sa ti, all those so-called "activists" outside were still loudly spreading their ideals — environntalism, animal rights, human rights. These topics were the flavor of the mont.
Takayuki completely ignored them. Other ga companies also seed to fall silent for the ti being.
Rather than caving in to these loud voices, many were now waiting to see how Gastar Entertainnt's showdown with these groups would unfold.
If even Gastar had to cave, forced to develop gas according to those people's ideals, it might very well signal the future direction of the entire industry.
But right at that mont, a surprising little event occurred.
It involved an elderly man, over sixty years old.
He had fathered a child later in life — a son who tragically died in an accident, leaving the father to bury the child. It was a heart-wrenching event.
Many sympathized, but people also forget. Tragedies on the internet are common; not all are rembered for long.
However, this one had an unexpected follow-up.
The man's na was Anthony — a typical Arican.
While sorting through his late son's belongings, he ca across his son's old ga console.
It was a GS1, the previous-generation console from Gastar Entertainnt.
Inside, there were clear traces of his son's play sessions.
He rembered how often they argued over video gas.
But now, there was no one left to argue with.
If... he thought... if his son could co back, even for a mont, he wouldn't care about gas anymore. He wouldn't argue. He wouldn't care if his son succeeded or failed in life — as long as he lived.
Looking at the console only brought sorrow.
He had intended to burn it.
But that day, so relatives ca to pay their respects, and one of the children took an interest in the console. Moved by emotion, Anthony handed it over.
He thought that would be the end of it — he'd live the rest of his life in loneliness and sorrow.
But one day, the child returned — with the ga console and a pile of ga discs.
Anthony was confused.
Then the child said sothing he would never forget:
"Uncle Anthony, I often hear my parents talk about Cousin Anthony. They said ever since he passed, you've always wished he could co back. So I was thinking, maybe there's a way — to bring back a part of him."
Without saying much else, the child turned on the console and inserted a disc — Need for Speed.
"What are you doing?" Anthony asked, confused.
The child calmly loaded a single-player ti trial mode.
"Uncle Anthony, look. That's Cousin Anthony."
He pointed at a ghost racer on the screen — a translucent image driving along the track.
Anthony stared at the screen.
Sothing stirred in him — a strange, unexplainable feeling.
"You're saying... that's Anthony?"
"Yes. This ga has a ti trial mode that records the best run as a ghost. This one was left behind from when Cousin Anthony played it."
Anthony was stunned.
The child then raced alongside the ghost, trailing closely behind it all the way to the finish line.
"What happened to the ghost?" Anthony asked anxiously as the translucent racer vanished at the finish.
"Don't worry, Uncle Anthony — there's more."
The child finished the race, and the leaderboard appeared.
Right there at the top was Anthony's son's na: Little Anthony.
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