Video Game Tycoon in Tokyo-Chapter 897: Progress

The progress of the Third Game Development Department was actually quite fast.

At least the programming work on hand had already developed about a third of what was needed.

At this pace, if they didn't consider some technical details and bugs, it seemed likely that Cyberpunk 2077's basic framework could be completed within another year.

With a basic framework in place, they could begin another round of promotional efforts to show players a glimpse of the game's potential.

In the original world, it took Cyberpunk 2077 eight full years from the first video release to its actual release.

And during those eight years, the game was only a half-finished product.

Although there were reasons like the lack of experience of the Polish studio and insufficient development staff, these couldn't be used as excuses for forcing the release of a half-finished game.

However, their marketing and promotional strategies were indeed textbook-worthy.

That was something worth learning from.

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Learning from their strengths and discarding their weaknesses was what Takayuki aimed to do this time.

Recently, Tsukino Aya had also been quite busy with work, but she adhered to Takayuki's rule of never working overtime, so her mental state was still quite good.

Even when faced with technical difficulties, she didn't push herself too hard.

Perhaps, unconsciously, Takayuki had fully influenced Aya, or maybe Aya's personality was simply like that.

The Stanford Legion team was also working steadily, neither rushing nor slacking off, which Takayuki appreciated.

At least he didn't have to worry about them burning out.

Next, he went to the Fourth Game Development Department.

This department was responsible for designing the side missions of Cyberpunk 2077.

There were many overlaps with the First Development Department, so Takayuki had assigned some of the character design tasks to the Fourth Development Department as well.

The people in this department looked just as anxious as the others.

Takayuki went over and tried to reassure them, urging them not to rush too much.

The game development cycle was originally eight years, so if they developed it for eight years or even ten years, that was fine as long as the game was excellent.

Of course, the development cycle shouldn't be too exaggerated; it couldn't go on for twenty years. That would make it the classic joke: "Grandfather, the game you've been waiting for has been released, I'll burn it for you."

Takayuki's requests for game details were actually similar to those in many classic open-world games from the original world, but this world hadn't yet solved these technical issues.

But Takayuki believed that, given time, this world would also overcome these problems, and excellent games would eventually emerge.

Lastly, he visited the Ninth Development Department.

They were responsible for the overall difficulty curve of the game.

To make a game enjoyable, the difficulty curve was also a very crucial detail.

The game had to be challenging for veteran players but not too difficult for new players. This balance was quite complex.

However, Takayuki didn't have any specific suggestions at the moment and would have to let their team work on it freely.

The Ninth Development Department had the highest level of freedom, so they appeared to be relatively relaxed with little pressure.

After visiting the four main Cyberpunk 2077 development departments, Takayuki began thinking about the game's progress.

At this pace, he estimated that the game would definitely be finished within ten years.

Then, all that was left was to wait patiently.

At the same time, the players would also need to wait patiently.

"Next, I need to check the progress on Sekiro and Ghost of Tsushima," Takayuki thought.

While Cyberpunk 2077 was in development, the other game departments weren't idle.

The latest Mario game was already in development, a Mario Maker-style game and Super Mario Galaxy 2, both of which offered a unique gameplay experience.

Then, there was the development plan for Bayonetta 2.

Bayonetta had a dedicated fanbase, much like Metroid had in the past. Takayuki planned to release a few more installments while the fanbase was still enthusiastic, then put the series on hold and develop other games.

This pacing was ideal—not too fast, not too slow.

Ghost of Tsushima would likely be the easiest to develop.

It was a standard open-world sandbox game, almost too standard, with little to distinguish it.

Oh, the one standout feature might be the game's artistic style.

In the original world, Japan had top-tier filmmakers like Akira Kurosawa.

Ghost of Tsushima had fully adopted Kurosawa's filming techniques and storytelling methods.

In this world, there were also a few filmmakers who were extremely similar to Akira Kurosawa, two or three of them, in fact.

Takayuki had noticed that the film and other cultural productions in this world were very developed, with many excellent works.

So when Takayuki decided to develop Ghost of Tsushima according to the Japanese government's requirements, he specifically directed the development team to watch the works of these filmmakers—similar to Kurosawa's style—over and over again, ten times or more, before beginning the game's development.

Since an open-world game was the most standard industrialized type, they needed at least one standout feature.

Imitating the storytelling and cinematography techniques of well-known films was the game's biggest highlight.

Also, adding a unique game filter to make it visually distinct.

Takayuki estimated that, barring any unexpected issues, Ghost of Tsushima should be near completion within a year, followed by six months of compatibility testing.

Then it could be launched on PC and home console platforms.

Moreover, because this game was an official government cooperation project, Takayuki also planned to release it on Suri Electronics' game console platform and some niche gaming consoles.

Since Suri Electronics had released its flagship products on their own home consoles, Takayuki couldn't be too stingy and had to reciprocate with some good products as well.

Sekiro and Ghost of Tsushima were two good choices.

As for Super Mario or The Legend of Zelda, those top-tier games couldn't possibly be released on a competitor's console.

Those were the company's prized possessions.

Suri Electronics naturally knew this, and they were already quite satisfied that Gamestar Electronic Entertainment was releasing games on their consoles. They didn't expect Super Mario or similar games to appear on their platform.

They knew that wasn't going to happen.