Video Game Tycoon in Tokyo-Chapter 941: More Plans

Even without expanding the player base, simply appealing to the nostalgia of these longtime 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 former focused on emotional storytelling while also expanding into real-time combat and open-world gameplay fitting the new era.

The latter brought together many of Final Fantasy's iconic characters in a crossover brawler. Thanks to the brand name alone, Dissidia became a fan-favorite.

These two series didn't need to be made by the original Final Fantasy development 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 Development Division, led by Umihane Shiratori.

His team had rich experience in action game development, so Takayuki felt confident leaving these projects in their hands.

Next, something like Bayonetta 2 could also be greenlit.

This round of new game development would basically outline the direction for Gamestar Electronic Entertainment's next three years.

Large-scale game development 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 investments in older games.

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 development 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 game was to continue generating profit, the only direction was to add crossover content, cosmetic outfits, and similar additions.

These crossover elements wouldn't be limited to Gamestar Electronic Entertainment'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-game chat emojis, or other cosmetic content that wouldn't impact game balance.

Then there was Dead or Alive: Xtreme Beach Volleyball, which would continue pushing new character outfits.

The main appeal of that game had never really been the volleyball, but the characters themselves. So there were no concerns about game balance.

The game'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 some online games.

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 game. At the right moment, it could serve as the company's vanguard into full-fledged online gaming.

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For now, though, he would continue to dominate the traditional buy-to-play game market.

2014 quietly came to an end, and at the year-end Game Awards, Sun Knight, the new title from Surrey Electronics, won Game of the Year.

Brown Entertainment's latest shooter also achieved great results—both in terms of sales and awards—marking a major breakthrough.

But that was largely because Gamestar Electronic Entertainment hadn't focused on first-person shooters in the past two years.

At present, Gamestar 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 games, 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 came directly to Gamestar Electronic Entertainment—no middlemen taking a cut.

That didn't even include seat fees for major official tournaments, advertising income, and other related revenues.

In terms of profitability, Counter-Strike was no worse than annual best-sellers like FIFA or NBA games.

Titanfall followed the same path—loot boxes and skins that didn't impact gameplay 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 Gamestar's continued investment 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.