Kenzo Tsujimoto did not express his position imdiately.
Capcom had quite a few cards in its hand. Resident Evil was still under intensive developnt, and their current focus remained on fighting gas.
"Capcom will stick to its original plan," Kenzo Tsujimoto finally said, his tone revealing a stubborn competitive spirit. "The target audience for fighting gas doesn't completely overlap with action-adventure gas. If Sega wants to sell consoles, they need different genres of gas to anchor their lineup. We just need to do our part. ga Man X and Armored Warriors will definitely be ready by the end of the year."
Kazumasa Kozuki looked at Kenzo Tsujimoto and did not try to persuade him further.
Every company had its own way of surviving, and Capcom's solid foundation in the action ga genre indeed gave Kenzo Tsujimoto the confidence to go head-to-head.
"Then let's wish that we can all survive this winter and live comfortably," Kazumasa Kozuki said, raising his glass.
The three glasses clinked together, making a crisp sound.
Inside the office area of Sega's headquarters, a fax machine spat out several sheets of paper, covered in the characteristic static noise of international long-distance transmission.
Takuya Nakayama picked up this report from Fuzhou, China.
Fu Zhan of rcury Electronics Technology explained in the report that the developnt of "Investiture of the Gods: The Legend of Yang Jian" was nearing its end, with the core code finalized and currently undergoing final bug testing.
At the end of the report, Fu Zhan specifically ntioned Sega's announcent of a vacant first-party slot in December, proposing the idea of releasing this ga during the year-end shopping season.
These programrs from Fuzhou were certainly bold.
"Newborn calves are not afraid of tigers"—it was the perfect way to describe their current state.
The Japanese year-end video ga market had always been a fierce battlefield where major publishers fought tooth and nail.
As an overseas newcor that had never released an independent title in the Japanese market, rcury Electronics Technology lacked any intuitive understanding of just how treacherous this release window was.
Takuya Nakayama placed the fax paper on his desk.
The empty slot in the December schedule was, to a certain extent, Sega's way of leaving room for "Toy Story" to build long-term montum.
This cross-over work, technically supported by Pixar and endorsed by Hollywood industry standards, will land in North Arica at the end of November.
Its sales montum will undoubtedly sweep through the entire Christmas holiday season.
With the cross-sector appeal brought by the synchronized movie tie-in, combined with high playability and fun, and level design that closely aligns with the original film, "Toy Story" has the solid strength to beco a flagship title.
Takuya Nakayama could also guess a thing or two about the calculations of third-party manufacturers.
These established major manufacturers have their own survival logic and capital for trial and error.
But rcury Electronics Technology does not have such capital.
If their first ga is thrown into the at grinder at the end of the year, it will face the relentless slaughter of major brands.
Hisao Oguchi pushed the door open and walked into the office, holding a progress summary of the overseas cooperation project.
"You've seen the fax from rcury, right?" Takuya Nakayama pointed to the paper on the desk.
Hisao Oguchi pulled out a chair and sat down. "They want to get into the December slot. Fu Zhan is very confident in the ga's quality."
"Faith is one thing, market laws are another," Takuya Nakayama said, flipping open the summary report. "How have they been executing Plan A?"
Hisao Oguchi turned to the evaluation page for Investiture of the Gods: The Legend of Yang Jian.
"They've executed it very thoroughly. They abandoned the rash idea of chasing a full 3D free-roaming cara and adopted a 2D ARPG route with a fixed 45-degree isotric view. The backgrounds use 2D pre-rendering, and the characters use 2D sprite sequences. Jupiter handles this kind of 2D graphics with no trouble at all, maintaining a solid 30 fras per second with excellent stability."
Takuya Nakayama nodded in approval.
Given the technical limitations of 1995, chasing flashy but impractical 3D often ca at the cost of fluidity.
The core chanic of The Legend of Yang Jian was the 'Seventy-Two Transformations,' where the fluidity of action switching was paramount.
The SFC era's Terranigma and the MD platform's Light Crusader had already proven the maturity of this technical approach.
"How are they handling the visual impact? In today's 32-bit console market, 2D graphics are easily labeled as outdated by players," Nakayama asked.
"Magic weapon special effects," Oguchi Hisao answered. "Fu Zhan's team invested a huge amount of resources into the visual presentation of magic weapon skills. They referenced the vertex compression algorithm from Phantasy Star. For Yang Jian's three forms, the base human form is 800 polygons, the god form adds special effects to reach 1000 polygons, and the dog form uses low-poly optimization, kept to 600 polygons. The total budget is under 2500 polygons. By pre-loading the entire animation set into video mory and using vertex compression, they achieved seamless switching between forms. Under the 2MB mory constraint, this is an incredible engineering achievent. The saved polygon budget was entirely used for rendering lighting and particle effects. For example, when Yang Jian uses the 'Heavenly Eye', the screen creates a high-contrast beam penetration effect; when summoning the Howling Celestial Dog, there is a dedicated multi-layer animation overlay. This design cleverly compensates for the lack of depth perception in a 2D perspective."
Oguchi Hisao continued to add technical details: "The real-ti switching for the transformation chanism allows for instant response. Players can switch between human, god, and dog forms without opening a nu; the model is replaced imdiately upon pressing the button, with no loading lag."
The player can switch between Human, God, and Dog forms without opening a nu; the models swap instantly upon key press with no loading stutters.
"The Magic Treasure system has also been developed as a form-bound strategic toolbox, as requested. There is no traditional in-ga store; all Magic Treasures are obtained exclusively through main storyline progression and map puzzles. For example, obtaining the Howling Celestial Dog unlocks the Dog form, allowing players to squeeze into narrow spaces and break Jie Sect formations. The Magic Treasure combo system utilizes 2D sprite layering and collision detection technology. When the Human form summons the Howling Celestial Dog for a coordinated attack, the system simultaneously plays two sets of 2D fra sequences, calculating damage through underlying collision detection. The God form's use of the Qiankun Mirror to reflect enemy projectiles, on the other hand, utilizes a mirror-flipping algorithm. These effects are not only visually spectacular but also add no extra 3D rendering burden."
Takuya Nakayama flipped through the evaluation report provided by the testing departnt.
"What's the feedback on the art and music?"
"It's very distinctive," Hisao Oguchi replied. "For the music, they hired local masters familiar with traditional instrunts, sampling chi bells and the guzheng, then re-arranging them via MIDI. It has a very strong Eastern flavor, setting it apart from the Japanese fantasy RPGs currently on the market.
However, there are shortcomings in localization."
"Tell more."
Hisao Oguchi took out a text comparison table. "For example, for the 'Jie Sect cultivators' in the ga, rcury's translation directly used the kanji reading. Japanese players will be confused when they see this term. The legal staff in charge of supervision suggested replacing it with terms Japanese players are familiar with, like 'Heretical Mage' or 'Evil Taoist,' but I feel those translations are a bit superficial."
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