What does this price mean?
129.99----
Hawk's lips twitched.
A brand new NovaSwift costs less than $140 according to the official price.
This game is almost more expensive than the new handheld console!
What the hell is this?
robbery?
No, that's not right.
"Limited-time original price?"
Hawk looked at the detailed explanation in small print on the screen.
This model essentially means that the company loses money in the first week to make a profit, selling at an extremely discounted price.
Prices will then increase after the first week.
The problem is----
Even with discounts, the price is still unacceptable.
Suddenly, their previously firm intention to buy began to waver.
This is no small sum; for the average player, it's not something they can simply buy by gritting their teeth.
"Humm----Damn it, let's go for it!"
One hundred dollars, though expensive, is something Hawk is willing to trust GAMENOVA one more time, after all, GAMENOVA has never disappointed its players.
There must be a reason why it's expensive.
However, not everyone is willing to accept this outrageously expensive price.
For many gamers who grew up with Atari, GAMENOVA's actions have undoubtedly triggered their PTSD once again.
What is this? Is it using its platform monopoly to justify its price hike strategy?
This business model is no different from robbery.
Therefore, after the release of this PV, which can definitely be considered a top-notch production with a star-studded cast, a lot of discordant voices emerged in the industry.
Lin Lixin himself was also helpless about this pricing.
Even if he wanted to make affordable games, GAMENOVA isn't a charity.
They can't really sell consoles at a loss and then sell games at a loss too, can they?
In order to make the "weak" 16-bit NX machine able to run the original PS version of Biohazard, they could only put in as much material as possible.
The final solution was to package a 16-bit graphics chip at the 1-micron level.
It uses an architecture almost identical to Nova Radeon, except that it will be used entirely for pre-rendered backgrounds and 3D space calculations.
If it weren't for the similar architecture, just setting up this production line would have required tens of millions of dollars.
"This really wasn't something I did on purpose to trick you guys----"
Lin Lixin silently put down the price list.
I'm a kind person who cares about all the players in the world.
As for willingness to pay?
No one involved in the Biohazard development project had any concerns about this.
If even a game like this can't sell, then everyone can just disband and go back to making small games.
"I really need to learn from Zilog and Motorola sometime; cost control is truly an art."
As he pondered this, Lin Lixin gently pressed the keys of the Steinway grand piano in front of him.
He has already returned to the headquarters in California ahead of everyone else.
Because he needs to handle the game's soundtrack, it's really inconvenient for him to be in Denver.
Deep, resonant notes emanated from the piano.
Under Lin Lixin's deliberate direction, this impromptu tune carries a distinct sense of repression.
Choosing the right music style for this groundbreaking Resident Evil film was actually quite a difficult decision.
Looking at the entire Biohazard series, if we were to find a composer who can be considered the "soul" of the franchise, it would undoubtedly be Masami Ueda.
Starting with Biohazard 2, he took on the role of the series' lead music producer.
It also created a classic.
It was even used as background music by a television station with some mysterious Eastern influence.
It can be said that Masami Ueda is the representative of the music in the Resident Evil series.
However, the original Makoto Tomozawa and his unique and quirky musical style are also very valuable for reference.
Unlike the typical Biohazard style of later installments, this one was originally just intended to capitalize on the success of " Sweet Home."
During the period when it was still Capcom hadn't yet developed a fixed style for it.
In this environment, Makoto Tomozawa, with his own understanding, delivered a truly perfect answer.
The combination of a large amount of deep American orchestral music with typical Japan horror movie melodies makes the music of the first Resident Evil game unique in style.
Rather than being part of the narrative, the music in the first game served more to create a terrifying atmosphere.
Aside from safe houses, almost every piece of background music serves this purpose.
Oppressive, creepy, eerie----
Its existence is solely to make players feel uneasy.
Simply judging two people's different styles from the perspective of a binary opposition of superiority and inferiority is obviously neither objective nor rational.
Both composers did their best in the circumstances they faced.
Masami Ueda's compositions are indeed stunning, elegant, beautiful, and with a lingering aftertaste, while also possessing an indescribable sense of grand narrative.
These are things that Makoto Tomozawa couldn't do.
But this wasn't because Makoto Tomozawa was less skilled, but because of the original Biohazard—
There's absolutely no follow-up to this IP series yet!
When the original Biohazard was first conceived, there weren't so many complicated details; it really was just a biohazard leak that occurred in a mansion.
Although the concepts of Umbrella Corporation, Wesker, T-virus, Tyrant, etc., have been mentioned in the work.
But at this point in time, neither Spencer nor our classmate Li Sanguang were actually anything more than a pipe dream.
Before the first Biohazard was released, Capcom was truly living hand to mouth.
One wrong step and the entire company will be dragged down with them.
Under these conditions, this first-generation Resident Evil, adapted from " Sweet Home," and the entire Mansion Incident already constituted the Resident Evil IP.
All of it.
There are no grand narratives, only the terrifying experiences of a few special police officers in the mansion.
The series of oppressive and terrifying pieces that Makoto Tomozawa composed for it serve precisely this purpose.
"Hmm----"
After much deliberation, Lin Lixin decided----
Why make choices? I want them all!
Yes, there's really no need to choose between the two.
By simply combining the strengths of both, he has the opportunity to create an album that is a culmination of both.
With the Grammy Award just around the corner, it would be great to work hard and get a nomination along the way.
With this in mind, the Porky's piano music played throughout the entire afternoon at the GAMENOVA headquarters.
Of course, even Lin Lixin couldn't possibly handle such a massive project all by himself.
He was only responsible for some of the main tracks, including the theme interface, the archive safe house, and the ending theme.
The remaining tracks, which needed to be more stylistically intense or to fill in some gaps in the game's soundtrack, were naturally assigned to N.M.B Music Studio at the Japan branch.
Actually, if given the chance, Lin Lixin would like to poach both Masami Ueda and Makoto Tomozawa from NMB.
But in this day and age, these two are not even considered future-level talent reserves; it's simply out of the question.
"Fine, fine, I might as well contact MCA and record another new album."
Lin Lixin shook his head and focused on arranging the music.