The situation mentioned by Fengdao actually exists, and Shinichi Iwahashi has also heard of this in the industry. Not only that, there is such a person around him.

Before Dreamsetrue's official debut, one of the jobs he used to eat was to write the music for the game.

Nowadays, musicians are not easy to do. In other words, no matter what age, musicians are the majority. While some musicians are making their mark and becoming famous, another group of musicians have to find a way out for themselves.

Either they can make their debut smoothly and cannot make their debut, or they can go behind the scenes to provide songs to other idol singers. If they don’t get the share of this, the booming gaming industry and the booming animation industry will become their way out.

It goes without saying how developed Japan's gaming industry is. In terms of gaming hardware, Japan has almost achieved a complete monopoly. On this basis, Japan's game software is also ahead of the world, and has been brewing in the mid-1970s and now dominates the world.

In Japan, there are companies that make a fortune by making money by playing games, players who become celebrities by playing games, coffee shops saved by desktop gaming consoles, and great players who reach out to the game industry to obtain huge benefits.

Since that's the case, there are musicians who rely on writing music for the game to support themselves.

Of course, the game industry cannot accommodate so many musicians. So, another part of the musicians were sucked away by the animation industry and wrote music and theme songs for the animation.

However, as for musicians, not many people who have been determined to be animation and game soundtracks from the beginning, but they still cannot find a suitable way out in the mainstream music industry, so they can only switch to music for games and animations.

The reason why I have this idea is that the soundtrack cannot be the protagonist in games and animations. Being a musician who works for games and animations can be said to have sacrificed part of himself and given up his pursuit of music.

At this moment, Fengdao mentioned to him that underground musicians were switching to the game and animation industry, which was somewhat regretful. However, when Shinichi Iwahashi heard that Fengdao talked about this, he felt like he was inspired, and another new possibility suddenly flashed through his heart.

...

The underground music people in Fengdao's mouth were sucked away by the game and animation industries for their livelihood, but Shinichi Iwahashi saw the opportunity from this.

At this stage, he would immediately take action whenever he thought of it. Therefore, after meeting Matsushima, the next day, he would meet Watanabe Manyumi and tell her his thoughts.

“Working with animation production companies?”

When Watanabe Manyumi heard Shinichi Iwahashi's proposal, her reaction was a little subtle.

Shinichi Iwahashi nodded seriously, "Yes, I cooperate with an animation production company. In this way, I can still get the chance to get the animation theme song and soundtrack. Isn't it a good idea?"

After saying that, looking at the face of Manyumi Watanabe who had not made any noise, he suddenly said, "...it's really easy to care about."

"What?" Wanmei Watanabe was stunned.

Shinichi Iwahashi smiled and said, "Your face is written now."

"Can I have so many words written on my face?" Watanabe Manyumi heard that Shinichi Iwahashi was teasing her with what she said before, and also gave him his words back.

"Do you want me to try it?" After finally killing me, Shinichi Iwahashi climbed up the pole.

Watanabe Manyumi won't accept his words.

He stopped when he got better, and it was almost the same. Turned the topic back and continued to talk about the serious business, "I guess you think it's a bit of a loss in price with the animation industry?"

"It's not about losing the price." Wanyumi Watanabe shook her head, "It's because there are too many restrictions."

Shinichi Iwahashi refuted her, "On the contrary, I think there is a lot of potential."

Shinichi Iwahashi knew very well how prosperous the game and animation industries in Japan were. Not only that, he also knew how prosperous these two things could be.

Since the 1970s, Japanese animation has been exported to foreign countries in large quantities, and later, it has carried out cultural exports with the Japanese game industry.

The Swiss children who watched "Girls in the Alps" said the Rabbit Country boy who said "Coach, I want to play basketball!" and the plumber and electric rat who were Guo Jia's business card could explain everything decades later.

Compared with live-action films such as movies and TV series, animations and games are more easily accepted by viewers outside the country.

One of the important reasons for this is that animation and games have downplayed the different customs and appearances between Japan and other countries, and weakened the resistance of foreign audiences to different cultures from their own countries.

In a two-dimensional world, any element can be used as you wish. Even if the core of the story is still Japanese, Omelet elements can be added naturally.

East Asians and Westerners can appear in the same picture without any sense of incongruity. Japanese teenagers can be blonde and blue-eyed. In the two-dimensional world, the "country" is blurred, the "race" is blurred, and it becomes "world-oriented".

Even if you don’t understand Japan, don’t like Japan, and are blinded by yellow people, you can easily accept animations and games made by Japan. This feature is an important reason why animations and games can be loved within the world.

Animation sounds easy to connect with young people at first glance, but animation is not only something that can only be used for young people. On the contrary, works that can truly move towards the people are by no means simple children's works.

If animation works are not simply aimed at children but also for adult audiences, then providing and singing theme songs for animation can become a very good publicity path.

Shinichi Iwahashi, who is very confident in Japan's animation industry, will never think that it is a price loss if it has a connection with the animation industry.

"...If you want to say this, you should say it is very wide." Shinichi Iwahashi said to Manyumi Watanabe.

If the door to the mainstream world was not opened to those musicians, they would not choose to give music to games and animations. But for Shinichi Iwahashi and Manyumi Watanabe, even if they set up a record company, they were still on the periphery of the industry. In the eyes of the industry, it was no different from those musicians who had to give music to games and animations for their livelihood.

Dreamsetru's debut single was paired with Greegao's advertisements, which earned a lot of exposure on TV, which was also an inspiration for Shinichi Iwahashi.

That is, the theme song and advertising song are very strong in publicity. If the style of the song matches the content, the effect will be better.

Among all the propaganda techniques, Shinichi Iwahashi likes this one quite well.

If you like Flying Over the Bubble Age, please collect it: Flying Over the Bubble Age.
Chapter completed!