In Jester's heart, whether it is the semi-finals or the others, these are some precious memories for him, and they are all from his understanding of electronic games in a ignorant period. It is simple, just a judgment made through the direct feeling of fun and not fun.

It is essentially true if you just judge the quality of a game through a simple and too subjective way of not having fun, but sometimes, as mentioned before, this simple way of judgment is not possible for a game designer. For example, the DQ mentioned before, is this good game good? There is no doubt that bad games can create an era of RPGs, become national RPGs, and even be prohibited from being sold on weekends to avoid causing riots?

But this work that has been praised in Japan has been countless people in Europe and the United States. Can this work be labeled as a bad work because of its mediocre sales in Europe and the United States?

Obviously it is impossible.

When a designer designs a game, he needs to be included in the target group to consider what type of games these people will accept, what kind of game experience these people want, what content these people want in the game, such as Europeans and Americans like more cars, guns and balls, while Japanese people like more fine Japanese RPGs.

Although Jester has always called the car gun ball three major cancers, in his heart, this is just a joke that has become a habit. He does not think that the plot game is more advanced than brainless violence, just for a car gun ball with a cool word. These games, whether it is just for the cool car gun ball or the Japanese RPG with a plot, are just to bring happiness to the players who play this game.

It's just that the audience is different.

Just like the words of Nintendo's old man Yamauchi, the game is simply to give people happiness.

That's why Jester asked people from the Japanese branch to take the initiative to recruit Hiroshi Sakaguchi, a young man who has not yet shown his extraordinary potential in making games, because Jester knew that he had the potential to become a top-notch game designer, but like in history, he still needed to experience at this time. In the original history, he also failed for three years before he understood how to make an excellent game.

And here I believe that under my guidance and with the hardship of one game after another, he will mature in a shorter time. As for why Jester did this, in addition to his own favorite FF series, he also wanted to open up the Japanese market.

Because only Japanese can produce Japanese RPGs that Japanese like, neither themselves nor most European and American designers have the ability to make a Japanese RPG game.

Now Nintendo has won the Japanese market and has dominated half of Japanese home game consoles. What he is going to do is a challenger. Although he can make super-matched games, Nintendo's game development lineup is really too strong. Not to mention those game developers who are clinging to Nintendo's thighs, just six major game companies have R&D teams that cover almost all game types.

At this point, even if you have the ability to be able to reach the sky, it is undoubtedly impossible to compare with it. Therefore, for Jester, you can only recruit game developers who have not yet joined the Nintendo lineup. For example, Glory, who are still very small but have great potential in the future, Jester has attracted a lot of people. Unfortunately, except Glory, there is no response from others.

And Gwangyo also agreed to transplant their "Nobunaga's Ambition" to the console that he will be released in the next year.

This is also the first third-party game company to officially release games for its own home computers, and so far the only one.

Before he officially released his console and proved that he would definitely succeed in home consoles, Jester did not expect that those game developers could take the initiative to cling to it, because it was natural, and he was still very open about these things, just like before Sony released the PS console, Ken Kutaraki personally asked a company to make games for the PS console, but was flatly rejected.

You will get angry if you are rejected? Jester doesn't think so. After all, your verbal promises cannot bring long-term benefits to the development of these games.

Although the greater the risk, the greater the gain, the greater the rewards, game companies are not gamblers. They are capitalists. They cannot give up the benefits they could get before they can get even greater benefits without clearly seeing that they can participate.

Although Jester is also training his own game design team, and there are only five or six completely independent R&D teams in Mars Entertainment, these are still not enough. Moreover, the styles of these teams are mixed and have not yet formed their own unique design style. In this case, it is not suitable to separate them and establish independent studios.

In other words, these people have not yet had the ability to independently design an excellent game.

Before, Jester had separated the game distribution rights of Mars Entertainment, so now Mars Entertainment is actually just a game development company. The difference is that this game development company is a little bigger, and in Jester's eyes, a game development company that does not need to publish its own games does not need to be too big.

In his vision, Mars Entertainment only retains three, up to four design teams led by themselves to complete the games they want to make, while the others are independent. Similar forms are equivalent to Blizzard and Northern Blizzard. Mars Entertainment is the parent company, and these independent studios are used as subsidiaries. Of course, the person in charge of these subsidiaries is the game producer.

Except for the financial responsibility of these subsidiaries or independent game studios, all other things are handled by the parent company. The parent company will not participate in the specific affairs of these independent game studios, such as what kind of personnel to recruit, what type of game to develop, and what content the game needs. Jester will at most give some suggestions on the game without interfering directly.

But of course, in contrast, the quality of the game also needs to be responsible for itself. If the game is produced and does not meet the requirements of the parent company, the parent company will definitely not sell it to smash the brand. The losses in R&D can only be borne by these game studios.

Jester knew that game designers who have truly achieved success were very proud and independent. They regarded their games as their children and, under no circumstances, would not allow other irrelevant personnel to intervene. Perhaps the term "child" is not accurate, and it may be better to use a wife. No one likes to see their wives being interfered with by others. This is an unforgivable violation.

Moreover, in Jester's memory, countless talented producers and their parent companies fell apart due to one reason or another.

He doesn't want this to happen in his studio.

After all, it is easy to get a thousand troops, but it is hard to find a general.

This is actually a reference to the later Sony Global Studio Plan. The studio is controlled by the parent company, but the division is distributed in proportion to the parent company and the studio. This also allows those outstanding designers to feel resentful because they cannot get the benefits of their works, and thus have the idea of ​​leaving the company. Countless outstanding designers leave angrily because of the contradiction between the parent company's game revenue share.

For example, the two CODs.

He doesn't want this to happen to his company in the future. The market for video games is so big that it is impossible for a person to eat enough.

However, if you want to go out independently to set up your own studio, you must prove your ability. How can a game designer prove his ability? There is no doubt that it is to make a big-name game, and this can also be used as a reward measure for your company in the future. Only those best teams can receive funding from the parent company to set up their own studio.

Only then did I have the matter of discussing the distribution of interests with my parent company.

Jester had talked about this before and Mark Seney, and Mark Seney also agreed. He didn't think as much as Jester. He just said a very simple truth from the perspective of a game developer: "No game designer wants to see the game he designed sells, but he cannot gain benefits from it."

Jester also believes that Mark Seni is right in this matter. There is no relationship in this world that is more reliable than interest binding. Only when others can get the benefits that suit his efforts when they depend on you can people continue to rely on you. Any other way to bind relationships will be futile.

Don’t try to eat for nothing by yourself, while others will do nothing for you. No one is a fool.

He pulled out a large stack of paper again, sorted out the next plan he had already written and put it in a folder to hold it up, and then Jest began his design on "Sarroman Snake".

This is also his main task today.

In fact, for a game that alternates horizontal scrolls and vertical scrolls and has a large number of random elements, it is unrealistic to directly design the level. When designing, you must discuss it with the artist and programmer, so Jester is only setting the framework of this game. In fact, when he designed "Dawn", he referred to some contents of "Sarroman Snake".

Regarding the weapon system, upgrade system, and monster settings in "Sarroman Snake", Jester did not take time to think about it himself. It was not that he didn't want to, but that he didn't have enough time. It was not that he had to re-produce these large and highly unified style settings, but that it was not a matter of slapping the head. It took a lot of time. So, in order to save time, he directly copied the original settings of K Club.

Moreover, Jester really likes the heavy taste reflected in the setting of "Saroman Snake".

When he first played "Saromani Snake", the image of the biological brain of the BOSS in the first level left a deep impression on him. While feeling disgusted, he even had a strange and curious heart. The gorgeous and weird scene design was a little grand, which inspired Jester very much, which made him admire the first-class Japanese designers at this time.

In this era, Japanese game designers are indeed much better than those in the United States.

Therefore, Jester does not intend to change his style and content settings.

The setting of "Sharman Snake" is actually very high-end. The English word of "Sharman Snake" is Salamander. The slightly withdrawn word means an elves representing the element of fire in ancient European alchemy. The specific image is a snake that looks like a lizard or lizard-shaped, with colorful spots on its body emitting flames, and is produced in a high-temperature crater.

Such a setting can also give players who come into contact with him a sense of mystery from the beginning. You must know that the greatest original sin of human beings is curiosity about mysterious things.

PS: SoO was defeated by Taeja today, which is a pity. After all, he was a man with an invincible halo before the finals. He was looking forward to his path to the Six Asian Kings...
Chapter completed!