"Pengpeng! 'Queen of Newspaper Industry', what a great name!"

"Who would have thought that our family would have a 'queen'!'

Tao Yumo read the newspaper, his face was dancing with joy, and he spoke plausibly, but he couldn't tell whether he was praising others or hurting others.

"Auntie, auntie, show me! Show me!"

Dongdong pulled her sleeves eagerly and begged. She reluctantly handed the newspaper to the little one and flipped through the newspaper a few times. Dongdong was disappointed to find that except for a few numbers and letters, the rest of the content in the newspaper

He didn't know any of them.

No, he also recognized his mother’s photo.

Dongdong clumsily held the newspaper and came to her mother, showing off and saying: "Mom, mom, look!"

"What are you looking at?"

"You are so beautiful!"

Tao Yushu Zhan smiled, while Lin Chaoyang laughed and scolded: "Good boy, you don't care enough about studying, but you are self-taught by flattering."

Tao Yumo said sarcastically: "Brother-in-law, your son has a family background, and you've done a lot of flattering to my father."

When Tao Yushu heard this, he slapped her hard, and Lin Chaoyang responded: "Mr. Tao really turned into a serf and sang. Is there no one in this family that you care about? You just mocked us, Mr. Tao."

Tao Yumo said quickly: "I didn't, I'm not, don't talk nonsense! I was just praising our great Tao Dong!"

After saying this, she did not forget to give her sister a flattering smile.

Tao Yushu gave her an eye roll and said, "Okay, you two, stop playing tricks and eat quickly."

For two consecutive months, Tao Yushu had been busy with acquisitions most of the time, and had very few dinners at home. It was rare that the family was all together today, so Lin Chaoyang specially cooked two more dishes.

While eating, Tao Yushu asked: "I heard from your brother-in-law that the newly released game is selling well?"

Listening to his sister's words, Tao Yumo couldn't help but his facial features flew wildly, "It's not just good, it's quite good——"

Sugar Games was founded in April. Compared with small start-up game companies, this company’s innate conditions can be said to be very good.

There are sufficient funds and talents, and except for the unreliable boss, there are almost no shortcomings.

In the third month after the company was founded, the entrepreneurial game "Monopoly" was launched.

Before the Sugar Game version of "Monopoly" was launched, there were already similar games on the market in Hong Kong, but most of them followed the game rules and trading strategies of board games, and the game style was extremely rough.

Based on these games, "Monopoly" polishes the trading strategies more carefully. Under the main pen of He Zhiwen, a professional cartoonist, the painting style is particularly exquisite, far superior to similar games.

"Monopoly" sold more than 2,300 copies in its first week of release.

After three consecutive weeks, the sales of "Monopoly" continued to grow, with cumulative sales reaching 11,200 copies in the month of launch.

Thanks to the development of Hong Kong's electronics industry, electronic product hardware has always been very cheap. In comparison, software is more expensive, costing two to three hundred Hong Kong dollars. The same is true for game cartridges.

"Monopoly" is a strategy game with less content, priced at HK$150.

Comics and games are not separated. The distribution of "Monopoly" is handed over to Yulang Organization. Yulang Organization entrusts the factory to be responsible for software production, game promotion and sales, and both parties share it 50-50.

The sales volume of 11,200 copies of the game corresponds to a turnover of HK$840,000.

"Monopoly" was already a semi-finished product when it was received by Sugar Games. The development cycle was only two months, and the development cost was only about 120,000. After paying taxes, Sugar Games' net profit was about HK$550,000.

After talking about the revenue from the game, Tao Yumo couldn't help but feel regretful.

Due to the development of the electronics industry, a booming pirated game burning business has emerged in Hong Kong.

When you walk into a Xiangjiang video game store, you will always see a sign hanging on the wall with a bunch of lists written on it. Each line of numbers on it represents a line of code.

If you buy your own cassette or floppy disk, you can get the store owner to burn a copy of the most popular games for you for 15-20 Hong Kong dollars. In comparison, genuine games that cost two to three hundred dollars are uncompetitive.

The sales volume of genuine games in the first month of their launch accounts for almost half of the entire game life cycle. In the next year, "Monopoly"

Tao Yushu was already snickering if the revenue brought to Sugar Game could be the same as in the first month.

"If there was no impact of piracy, it wouldn't be a problem to double our profits from Monopoly."

"Since you chose this direction in the first place, don't think about this kind of thing.'

"I understand, I'm just saying it."

Tao Yumo also knew that with the rampant piracy in the Hong Kong game market, it would be very difficult for "Monopoly" to achieve such results.

"Sister, when will those places be available on the market?"

The "those places" mentioned by Tao Yumo refer to the Gulf Islands and several countries in Southeast Asia.

Whether it's comics or games, it's impossible to achieve great development if you're stuck in Hong Kong. You have to go out.

The sales of "Monopoly" in the Bay Island and several Southeast Asian countries have been entrusted by Yulang Agency to local agents. However, due to censorship, the release time of the game in various countries and regions varies.

"It has been launched in Malaysia, and it should be available in other places soon."

Tao Yumo couldn't help but feel a little more hopeful. "Monopoly" sold more than 10,000 copies in the first month in such a small market in Xiangjiang, so its performance in other countries and regions shouldn't be too bad, right?

A few days later, Lin Chaoyang received a call from Liu Yi, saying that he wanted to invite him to do an interview in the name of "Hong Kong Literature". Lin Chaoyang readily agreed, and the two made an appointment to meet at the magazine.

"Hong Kong Literature" was founded in 1985, which is not a long time. However, due to its open and inclusive style, this publication has published many works by many Chinese writers from Hong Kong, Bay Island, mainland and Southeast Asian countries. In Hong Kong

The literary world gradually formed a strong influence.

The magazine's office is located on Morrison Hill Road in Wan Chai. It is not very large, with just two rooms. It is filled with books and manuscripts. It is no different from the editorial offices of magazines that Lin Chaoyang has visited.

This is the first time Lin Chaoyang has appeared in "Hong Kong Literature" magazine, and several editors seem to be very curious about him.

In the past ten years, literary exchanges between the two sides of the Taiwan Strait and the three places have become increasingly frequent. Lin Chaoyang is one of the rare writers whose works can be popular on both sides of the Taiwan Strait and the three places, and has great influence.

The interview was conducted by Tao Ran, the deputy editor of "Xiangjiang Literature". The interview was held in the back room of the magazine. The topic started with Lin Chaoyang's new book.

"Entering the Teacher" was first published in the Mainland's "Harvest" magazine on May 25, and was simultaneously published in the Mainland and Xiangjiang on June 25.

The novel has been published in Xiangjiang for nearly two months and has sold 94,000 copies. It has an excellent reputation among readers and unanimous praise from the literary circles.

One of the benefits of "The Great Era" being popular in Hong Kong society is that it has activated many potential readers of Lin Chaoyang.

If this sales trend continues, it will not be difficult for "Enter the Master" to sell three to four hundred thousand copies in Hong Kong a year.

"Last month our magazine published a literary review of "Enter the Master" called "The Quiet Picture of Death Painted Poeticly - Read One by One"

"Entering the Teacher>Impressions", I wonder if you have watched it?"

"I've seen it, I remember the author's name is Tao Ran." Lin Chaoyang smiled narrowly.

Tao Ran showed a bit of pride, "After the article was published, it received a lot of praise."

Then he said sternly, "But fundamentally speaking, it was given to the novel "Entering the Master", and my article was considered a blessing."

He asked again: "How did you come up with the idea of ​​writing about such a topic?"

Lin Chaoyang briefly explained the reason, and Tao Ran said with a smile: "So the readers of Xiangjiang should be grateful to the Xiao family. If they hadn't wanted to advertise, we wouldn't have seen such an outstanding work."

Lin Chaoyang waved his hand and said a few words of modesty.

"I saw that you said in your preface that you experienced life in a funeral parlor for a period of time. Is this a tradition of mainland writers?"

Tao Ran was born in Indonesia, but grew up in New China. He studied in middle school and university in mainland China. He and Tao Yushu are also alumni. They both graduated from Yenching Normal University.

I moved to Hong Kong in 1973, so I have a very good understanding of the literary tradition of the mainland.

"The cornerstone of mainland contemporary literature is realism. Observing and experiencing life is a basic task for writers."

"This is very good. From my perspective as a reader, the insights about the funeral industry in the novel are particularly impressive. This is also an important means to enrich the connotation of the novel."

"good."

"Since the publication of "Entering the Master", it has been highly praised by the literary circles and readers. Lun Lun wrote in "Suwen Literature" that it is a requiem for the crossing of life and death.

I’m curious, do the protagonists in your novels’ feelings about separation and death come from experiencing life?”

Lin Chaoyang said with a smile: "Most of the writers' creations are 30% true and 70% false. A complete interpretation of life becomes documentary literature. Creating based on real life and using personal feelings and imagination is the profession of a writer.

A different place."

The interview lasted for nearly an hour, and towards the end, Tao Ran joked: "I heard from a friend that your novel is very popular in Bay Island."

"Really? The novel was not published in Bay Island."

Tao Ran blinked, "Just because it's not published in Wandao, doesn't mean everyone can't see it."

Lin Chaoyang smiled clearly. The style of "Enter the Master" is calm and restrained, sad but not sad. It is very similar to the popular folk literature style in Bay Island today in terms of reading experience. It is normal for it to be liked.

Tao Ran asked curiously: "Will this novel be adapted into a movie?"

"Is this also an interview question?" Lin Chaoyang teased.

"Just my personal gossip."

After "Parasite" won the Palme d'Or at the Cannes Film Festival three months ago, it grossed HK$37.4 million at the box office when it was released in Hong Kong.

It broke the release record of literary films in the Hong Kong film industry and was widely welcomed.

Afterwards, it was released in the Gulf Islands, Malaysia, Singapore and other Southeast Asian countries and achieved good box office results.

Lin Chaoyang's novels are now a bonanza for film adaptations, and all film companies covet his works, but he has his own film company, so it is not the turn of other film companies to intervene in such matters as adaptations.

"If there is a chance in the future, I will adapt it."
To be continued...