In this world, Disney didn't exist—but there were companies like it.
One such company had once planned to build a massive the park in Tokyo. However, generous policies offered by Osaka officials at the ti swayed them, and the company ultimately chose Osaka instead.
This differed slightly from what Takayuki rembered—Osaka was supposed to have Universal Studios.
Because the the park ended up in Osaka, Tokyo was left without a large-scale amusent park of comparable stature.
The Japanese governnt later funded the construction of one themselves, but it had always run at a loss. It had never turned a profit and was consistently listed as a financial burden across successive administrations. There had been countless attempts to offload it.
However, without a the park, Tokyo's tourist appeal would've taken a hit, and the governnt wasn't willing to let that happen. So even if it ant operating at a loss, they continued to run it—though clearly without the sa level of care as a real comrcial operation. The park hadn't added a new attraction in nearly a decade, and as a result, its visitor numbers had steadily declined.
This, however, gave Takayuki a golden opportunity.
Once the Ministry of Education put the proposal forward, the Ministry of Transport quickly voiced support as well.
...
Soon after, the Tokyo tropolitan Governnt also realized that once Gastar The Park was built, their own loss-making park could simply be shut down. No more propping up a money pit—why not? All they had to do was give up a little in tax revenue, and in return, a the park centered on video gas could potentially draw in far more tourists. It wasn't a hard decision.
A dedicated task force was set up across Tokyo's departnts to oversee and support the project.
By 2014, all administrative approvals were finally completed, and Takayuki officially secured a large enough plot of land for the park.
The land was located in Chiba Prefecture—the very place where, in the original world, Disneyland was built. But now, it belonged to Takayuki.
While the authorities assud Gastar Electronic Entertainnt would take at least another year or two to begin construction, they were stunned when Takayuki gave the order to break ground on the very day the approval was finalized.
A project of this size would also incidentally solve a significant employnt issue by creating thousands of jobs. And once the park was fully operational, the number of staff required would be substantial.
What surprised everyone even more was how wealthy Gastar clearly was.
Without hesitation, Takayuki transferred $5 billion USD into a dedicated construction account, to be managed by the bank and a team of professional brokers. The funds would be disbursed to contractors according to project milestones.
Other companies usually set funding tilines and then delay payouts—but Gastar directly wired the entire construction budget into one account for all to see: We have the money. You don't have to worry about getting paid.
As a result, construction companies flocked to bid for the project.
Gastar's business lines were ringing non-stop, flooded with inquiries from contractors.
But Takayuki didn't concern himself with such operational details—he didn't need to. He left those to the professionals. His only goal was to see the dream of a video ga the park finally realized.
According to estimates from the project team, the park would be built in six phases, with plenty of room reserved for future expansions.
Each of the six phases would be thed around a different ga IP.
The the for Phase One had already been finalized by Takayuki—naturally, there was no suspense: it would be based on Gastar's iconic franchise, Super Mario.
Construction for Phase One was expected to take a year and a half—the fastest tiline they could plan for.
This announcent was made official at that year's Gastar Carnival, and it thrilled players around the world.
The idea that a the park entirely devoted to video gas would one day beco reality sent waves through social dia—on announcent day, the global conversation was dominated by it.
By mid-2014, construction officially began on the Super Mario The Park, with a projected opening in early 2016.
anwhile, Gastar's ga developnt entered a period of relative calm throughout 2014.
For the entire year, there were no major new project announcents or releases. Even 2077 remained tightly under wraps.
Of course, the usual "annual releases" still continued.
With Need for Speed on pause, Forza had beco the new flagship for racing gas, now slated for biennial releases.
Assassin's Creed continued its yearly cycle, seeking to squeeze the remaining value out of the open-world template.
Then there was Final Fantasy. After Final Fantasy XI, the franchise had been dormant for a while—but this year, Final Fantasy XII was officially announced.
FFXII was destined to be a classic for the series and also served as a bold new experint. It combined standard JRPG chanics with major overhauls inspired by Final Fantasy's own lore and style. If it sold well, Takayuki planned to move forward with an online Final Fantasy XIV, confident there would be an audience.
Also in 2014, a new spin-off in the Mario franchise was announced: Luigi's Mansion.
This ga drew inspiration from the Ghostbusters films in the original world and reimagined it as a family-friendly, cartoony adventure. It required modest investnt and could be developed and released within the sa year.
The Legend of Zelda also saw a remaster: Link's Awakening HD, rebuilt in Unreal Engine.
Even Dragon Quest got a new title—though not a mainline entry. Instead, it was a sandbox open-world spin-off called Dragon Quest Builders.
This ga borrowed heavily from Minecraft but layered in Dragon Quest's signature RPG elents. Construction was reimagined through functional thed buildings, designed to imrse players in exploration and creativity.
Because the first-party developnt team was fully tied up with 2077, Dragon Quest Builders was handed to a secondary studio. Since it wasn't a mainline title, Takayuki didn't mind handing over creative liberties, as long as they expanded on the core gaplay and story he'd laid out.
In Takayuki's eyes, all these were relatively low-cost projects. This year marked a "quiet phase" in Gastar's developnt cycle.
But if Takayuki had said that out loud, others might've responded with a giant question mark.
"You call this a quiet phase?"
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