Aside from the developnt of Chapter of Liberty City, the new round of ga developnt plans in 2014 also included a new Dragon Quest project.
However, for the mont, it was still just in the planning stage.
Since the First Developnt Division was already busy with its own affairs, Takayuki gave them a brief look at the new Dragon Quest title.
This marked the return of the Dragon Quest series with a new installnt after many years.
Although it was a new title, the gaplay remained a very traditional turn-based style. However, there was significant improvent in terms of graphical quality.
Takayuki planned to first have the manga artist properly write up the character designs and the story background, based on the broad narrative frawork he provided.
Writing sothing like this wasn't particularly difficult—Dragon Quest had always been a classic hero's journey adventure story. There was no need for major changes in this regard. If too much were changed, the series would lose its original flavor.
As for the turn-based system, while it might feel outdated in this era, for longti Dragon Quest fans, it would co as a delightful surprise.
These fans, now older, had strong spending power. Many had beco pillars of society. Video gas were no longer considered a luxury form of entertainnt for them. They could easily spend money to satisfy their nostalgia.
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Even without expanding the player base, simply appealing to the nostalgia of these longti fans would be enough for Dragon Quest to rake in huge profits.
Following that, a new branch of the Final Fantasy series was launched.
Takayuki recalled two titles that had left a strong impression on him: Final Fantasy Type-0 and Final Fantasy Dissidia.
The forr focused on emotional storytelling while also expanding into real-ti combat and open-world gaplay fitting the new era.
The latter brought together many of Final Fantasy's iconic characters in a crossover brawler. Thanks to the brand na alone, Dissidia beca a fan-favorite.
These two series didn't need to be made by the original Final Fantasy developnt team. Since they already differed significantly from the mainline titles, they could be safely handed over to a new team.
These two projects were assigned to the Second Developnt Division, led by Umihane Shiratori.
His team had rich experience in action ga developnt, so Takayuki felt confident leaving these projects in their hands.
Next, sothing like Bayonetta 2 could also be greenlit.
This round of new ga developnt would basically outline the direction for Gastar Electronic Entertainnt's next three years.
Large-scale ga developnt cycles would take three years, mid-sized projects would take one year, and smaller ones could be completed within six months.
Each title would be designed to seamlessly integrate with other products under the company's umbrella.
Lastly, there would be ongoing service-oriented investnts in older gas.
For example, adding new monsters to Monster Hunter.
But simply adding free monsters wouldn't be enough. Without additional revenue, developers' motivation could suffer.
Since the developnt team received a small share of sales revenue, if their hard work didn't bring them financial rewards, it would be discouraging.
However, Monster Hunter couldn't break the previously established rule that all monster updates would be free.
So if the ga was to continue generating profit, the only direction was to add crossover content, costic outfits, and similar additions.
These crossover elents wouldn't be limited to Gastar Electronic Entertainnt's own IPs. Takayuki could personally oversee collaboration pricing across teams, making it easy for them to incorporate various crossovers. The new content updates would then serve as exclusive products for die-hard fans.
For example, adding more announcer voice packs, in-ga chat emojis, or other costic content that wouldn't impact ga balance.
Then there was Dead or Alive: Xtre Beach Volleyball, which would continue pushing new character outfits.
The main appeal of that ga had never really been the volleyball, but the characters themselves. So there were no concerns about ga balance.
The ga's only objective was to make the character outfits as flashy and sexy as possible—without crossing the line.
Later on, randomized loot boxes could be added, opening a new path for monetization.
Takayuki also considered developing so online gas.
However, since his team's schedule was already packed, that idea would be set aside for now.
Still, he hadn't forgotten Final Fantasy XIV, the online service-based ga. At the right mont, it could serve as the company's vanguard into full-fledged online gaming.
For now, though, he would continue to dominate the traditional buy-to-play ga market.
2014 quietly ca to an end, and at the year-end Ga Awards, Sun Knight, the new title from Surrey Electronics, won Ga of the Year.
Brown Entertainnt's latest shooter also achieved great results—both in terms of sales and awards—marking a major breakthrough.
But that was largely because Gastar Electronic Entertainnt hadn't focused on first-person shooters in the past two years.
At present, Gastar was coasting on past FPS successes.
Titanfall and Counter-Strike continued to dominate the largest and most stable share of the market. With just those two gas, the company could earn stable profits by selling skins.
Counter-Strike, in particular, had transitioned to a free-to-play model, now making money purely from loot boxes. Since the loot box system was introduced, Counter-Strike had sold 500 million boxes. With each box and key combo costing around $4 to $5 on average...
That was $2 to $2.5 billion in revenue.
And this money ca directly to Gastar Electronic Entertainnt—no middlen taking a cut.
That didn't even include seat fees for major official tournants, advertising inco, and other related revenues.
In terms of profitability, Counter-Strike was no worse than annual best-sellers like FIFA or NBA gas.
Titanfall followed the sa path—loot boxes and skins that didn't impact gaplay balance, yet satisfied many players' desire to collect and show off—making it a win-win situation.
In this world, Titanfall was thriving far more than in the original world, thanks to Gastar's continued investnt in online matchmaking services. The system dynamically adjusted opponents more smoothly, ensuring that players of different skill levels would be matched with similarly skilled opponents—unlike the original Titanfall, where newbies would get thrown into matches with veterans flying around the map like superheroes, while they could do nothing but get stomped.
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