章節 112: Artists, musicians, and special effects teams
Current generation consoles are limiting many things. At present, "Midgard" is approaching the limits of the current console generation.
Ayano Tsukino still wants perfection, but she also understands the limitations. So, she can only hope that the Super Famicom will be officially released soon. This way, she can make better games with better performance.
Speaking of which, the Super Famicom has already begun its pre-launch phase. According to the normal marketing schedule, the official release should coincide with the first anniversary of the establishment of Yuxing Electronic Entertainment Company. By then, the sales of the Famicom will also officially reach two million, which is also something worth celebrating.
Tsukino shared her recent experiences in game development with Takayuki and then discussed the potential challenges in the upcoming game development. After that, she left.
Following that, "Midgard" officially entered the marketing phase of the game.
For players, having a first-party game released every month for the Famicom has become routine.
When "Midgard" was announced, players were no longer concerned about whether a game was a new IP. They began to focus on whether the game was a first-party game from Gamestar Electronic Entertainment.
If it was, then they didn't need to worry about the quality of the game itself. They didn't need to worry about whether the game was fun or not; they just needed to anticipate how fun the game would be.
This time, after players saw the screen and played part of the content of "Midgard," they roughly figured out that it seemed to be a platform-jumping game. However, this time, it had a sci-fi background, which was relatively rare.
The protagonist's name seemed to be Samus, and her profession was a space hunter. This time, the character's mission was to defeat space pirates and retrieve Midgard creatures that could affect the cosmic balance.
Because it was only a half-hour trial play, the full picture of Midgard had not been fully revealed, and players couldn't discover the charm of the Galaxy City-type game itself.
This was also a surprise left by Takayuki for the players.
To truly experience the fun of Galaxy City-type games, you needed at least an hour or two of gameplay. The half-hour trial play was just right before the complete enjoyment of the game erupted, leaving the rest of the suspense for players to experience themselves.
At this time, the Fifth Game Development Team and the development team of the "Final Fantasy" game also placed information about the musicians and artists they could find on Takayuki's desk.
There were about thirty people's profiles in total.
Takayuki picked them up one by one to check.
Many of them were already well-known musicians and artists.
The money to hire them was secondary; the main thing was to see if their styles matched "Final Fantasy."
There were also works of these artists and musicians in the materials.
Takayuki glanced through the works of the artists, then shook his head.
Some of these artists' styles were either too traditional or too cartoonish.
"Final Fantasy" was a game that leaned towards darkness more than "Dragon Quest." If the artists weren't chosen well, it could easily affect the tone of the game itself.
However, he wasn't in a hurry to find artists. If necessary, he could ask his mother. She was a well-known artist and always had some unique resources.
Right, Daisuke Ikeda from Kasuga Corporation should also have some familiar friends who might be able to help.
Takayuki put aside the profiles of the artists and then picked up the profile of one of the musicians.
There was a CD in the profile, containing some works and recordings of the musician.
Takayuki inserted the CD into the CD player in the office and started playing it.
Soon, the screen of the television showed images and works of the musician.
After listening to three or four pieces, Takayuki wasn't particularly satisfied.
Similar to the artists, these musicians' compositional styles didn't quite match his vision for "Final Fantasy."
Takayuki shook his head with some regret, feeling that it might be difficult to find someone who met his requirements in the short term.
Take it slow.
Takayuki listened to the remaining musicians one by one, also unsatisfied with each one. So, he set these materials aside for now.
At this moment, the door opened, and Makoto Matsubashi walked in.
"President, here's the list of visual effects personnel you requested to recruit recently. Please take a look."
Takayuki turned around and sat back at his desk, reviewing the list of visual effects personnel.
Takayuki had already planned to build a dedicated game visual effects team himself.
Of course, outsourcing and hiring outsiders to do these things would save money.
But outsiders would ultimately find it difficult to realize the visual images in his mind.
Only a team trained by himself was easier to trust.
At present, the overall film and television visual effects in this world had reached a level similar to that of around 2004. Movies like "The Matrix Revolutions" were released in 2003, so the overall film and television visual effects technology in this world was quite advanced.
In the future, electronic games would inevitably have better graphics, so he needed to plan ahead.
While others were trying to improve gameplay, he also needed to focus on improving the graphics.
Moreover, "Final Fantasy" was also a major consumer of special effects in the future. Having a dedicated special effects team was imperative.
Takayuki briefly checked the information of the personnel on the list.
Most of them were selected by Makoto Matsubashi from other film and television companies, and many of these people were dispatched workers, the kind of employees that companies could dismiss at any time.
Their lives were relatively uncertain. In Japan, someone with a long-term employment contract and someone with a temporary contract were almost like two different classes of people.
Even though those with long-term contracts might not earn as much as those with temporary contracts, it was only temporary. Long-term contracts ensured that these people would have a stable income and less worry about their lives.
Takayuki had instructed Matsubashi to focus on this point when finding people.
These dispatched workers were the easiest to attract and poach.
Most importantly, these dispatched workers often did the most tiring and arduous work in their companies.
While these jobs were tough, they also allowed them to grow quickly, making them very valuable resources.
After looking through the basic information on the list, Takayuki signed and stamped it, then handed it back to Matsubashi.
"Okay, these people are all good. Try to recruit them as much as possible, and you can slightly increase their salaries."
"Understood."
Matsubashi nodded and took the folder, then glanced at the profiles of the artists and musicians on Takayuki's desk, seeming hesitant.
Then, she hesitated for a moment and said, "President, are you looking for people to make music for the game?"
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