During this lecture series, Takayuki initially felt nothing special when he first saw Tanaka.
But the second ti they t, Takayuki began to feel a vague sense of familiarity.
At first, it was Tanaka's appearance that felt familiar. However, given how busy Takayuki usually was, it wasn't surprising that he wouldn't recall soone he'd only t once years ago.
Eventually, he rembered. It seed Tanaka had been there the very first ti he t Aiko and the other two girls. He was the one who asked for an autograph.
"Yes, Takayuki-sensei! My na is Tanaka! My father used to be a newspaper editor, but he's now an independent columnist covering the video ga industry. He said he's t you several tis!"
"Hm?"
Takayuki was a little surprised. He hadn't expected that.
That explained the vague familiarity—not just from Tanaka himself, but also perhaps from having seen his father multiple tis.
At that mont, Takayuki recalled a middle-aged man.
Back when Gastar Entertainnt was just starting out, the gaming environnt wasn't particularly favorable.
The television industry was relentlessly suppressing the rise of video gas, hoping to preserve its own dominance.
Most major newspapers, affiliated with these TV networks, followed suit and tried to stomp gaming down.
But there was one exception—Nihon Keizai Shimbun (The Nikkei) and its affiliate, TV Tokyo.
TV Tokyo was part of the Nikkei Group, and as fate would have it, one of the Nikkei's senior executives was Takayuki's angel investor—his father's old acquaintance and the only shareholder with independent equity.
This high-ranking figure was open-minded about the gaming industry due to his vested interests. Under him, a newspaper editor nad Tanaka was one of the few journalists openly praising video gas at the ti.
Takayuki rembered eting him several tis and thinking he had a sharp eye.
Who would've thought this young Tanaka was his son?
Takayuki smiled and said, "What a coincidence."
Tanaka nodded. "Takayuki-sensei, I've always dread of becoming a top ga developer like you. Do you think I have what it takes?"
"Well... that's up to you," Takayuki replied. "I can't look at soone and say they're destined for greatness. You have to prove it with your own efforts."
Takayuki wasn't about to sugarcoat things. So people, no matter how hard they work, never quite beco the best. It's just how the world works—part luck, part talent.
Still, he made a ntal note of Tanaka. If the opportunity arose, he might keep an eye on him.
But he hadn't co here to catch up with old acquaintances. Turning to both of them, he said, "Tanaka just raised a concern that adding too much content to a ga might create problems that multiply exponentially. That's a valid concern, and now's a good chance to show you all the real power of the Unreal Engine."
He grabbed a nearby laptop and started operating it.
"Up to now, you've probably only thought of Unreal Engine as a simple editor or a ti-saving tool for developnt. But I see it as the industrial-grade core of a video ga factory—a master machine capable of producing many things."
"yer, you ntioned wanting to add fishing and horse racing features to Assassin's Creed, right?"
"Yes! Is that even possible?"
"Of course it is. While it might not directly tie into the main gaplay, I said from the beginning that we're creating a world that's rich and detailed. Even if so features go completely unused by players, the richness cos from those very details."
At that mont, Takayuki thought back to a ga he knew intimately from his previous life: Red Dead Redemption.
That was a pri example of an open-world ga done right.
It allowed you to do almost anything you could imagine.
And its developnt team had managed to balance industrialized production with deep, aningful gaplay.
This was the direction Takayuki hoped the industry could move toward.
"Actually, both the fishing and horse racing systems are already built into the engine. You can just call them up."
Under Takayuki's deft hands, the Unreal Engine seed to co alive with magic. One by one, functions were activated and embedded into the evolving ga frawork.
At the sa ti, other teams received the updated frawork and saw that new fishing and horse racing systems had been added.
Tanaka watched in awe, as if a new world had opened up before him.
He used to overthink every detail in ga developnt—worrying about limitations and obstacles. But now he realized, maybe you don't need to worry so much. Add what seems fun first, and refine or remove it later if needed.
yer, on the other hand, was overjoyed. His creativity had been validated in a big way. He was bursting with ideas and couldn't wait to get back to work on them.
Takayuki gave Tanaka a pat on the shoulder and said, "Stop worrying about ga size or system limitations. That's not your job. Your only job is to make the ga fun. Unlike the past, we don't have to be stingy with mory or storage anymore. That's one of the biggest perks of this era."
Then, he walked off, leaving Tanaka deep in thought.
Elsewhere, many other developers were now seeing the true power of Unreal Engine.
Previously, they hadn't been using it to its full potential. They'd been trying to implent simple features in overly complicated ways, not realizing Unreal could handle them with ease.
Could it be that all of Gastar Entertainnt's hit gas were built this efficiently? Just by mastering Unreal's full capabilities?
No wonder they could develop gas so quickly—the true power of the engine was beyond anything they'd imagined.
Awed but inspired, the developers began diving deeper into learning the engine.
They realized how they'd underestimated it before—just like soone who spends eight hours doing sothing in Excel that a master could finish in one.
There was no comparison.
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