"Speaking of this... I wonder if you have heard that our young people in China prefer a novel called "infinite stream" than ordinary fan works..."

"Sorry, Chu Fangjun, are the words "infinite flow" and "infinite fantasy" you said are the same?"

Speaking of "infinite flow", Miss Sugida Takashi, who was the Japanese translator, interrupted Chu Fang with a little embarrassed expression, and proved with facts that not only these middle-aged presidents and vice presidents have never heard of "infinite flow", but even her, a young man who works in the cultural industry, have never heard of "infinite flow".

However, this was originally expected by Chu's side - if they had heard of "infinite flow", Chu's side could only think that they had probably begun to consider the infringement issue of China suing "infinite flow".

"The so-called 'infinite stream' is similar to Japan's "Killing the City"... The original Japanese name is g, a, n, t, z, and the manga of "gantz" is somewhat similar. It tells the story of a group of people who are desperate about life being brought to a closed space by a mysterious ball of light, and then survive, fight, and complete the task in one mission world after another. After returning to the closed space, you can also exchange points for various powerful items or abilities in the mission world to strengthen yourself."

Because Chu Fang mentioned "gantz" in his explanation, Miss Sugida Hide immediately succeeded in establishing an intuitive impression in her mind, but among the others, only Yoshiki Tanaka, who was a famous writer, immediately realized the interestingness of this story. The three presidents and vice presidents who are also engaged in the cultural and entertainment industry do not have the professional qualities of game producers, editors and writers.

"The reason why this 'infinite stream' has become a genre is that it only takes different characters and different mission worlds. You can write many different stories with similar settings.

The most popular mission world among readers is not the original world created by the author himself. It is the world of various novels, animations, games, and movies. Readers like to watch various characters created by the author. They take risks in those non-original worlds, interact with those popular characters, and change some unsatisfactory historical stories of that world.

Taking "The Legend of Galaxy" as an example, the author can create one or several characters by himself, as teammates or enemies, teleported from a closed space by a mysterious ball of light to a place in the world of "The Legend of Galaxy" and then issue a command - either living until a certain time ends, or helping the alliance or the empire to win.

In this mission world, in addition to completing tasks specified by the mysterious light ball, they can also discover various "side missions", such as saving people who will die, killing characters who should not have died, changing a certain plot, and getting rewards for this.

If anyone likes Willie Young, he can save Willie Young, and even take the character out of the world of "The Legend of Galaxy" after the mission, and follow the protagonist to another world - such as "Starcraft", "Pirates of the Caribbean", and "Dragon Ball" adventures.

It can be said that the works of "Infinite Stream" are composed of fan stories."

Chu Fang explained the content of "infinite stream" to these copyright owners in detail. It naturally caused the other party to frown - the idea that he said was similar to a star fight sounded quite interesting, but like fan works, it was a naked infringing work.

However, Sce's president was not here to discuss the infringement with Chu's side today. He thought for a moment and understood the request that Chu's side did not expressly state:

"Chu Jun, the second game you want to make is this kind of "infinite stream" world, right?

We can contact us on behalf of us. At least the copyright we own is definitely fine with Sony.”

"Thank you, but what I want is not authorization. It is a sharing of cooperation.

——I hope to cooperate with all authorized companies, and each company can make it by itself. Or entrust a third-party company to create a mission world with its own copyright, and then connect to my unlimited game.

I may acquire some copyright production task worlds, but my only task is actually only responsible for maintaining and improving game ai, and my profit only comes from technology and service costs.”

"This way of cooperation...it's indeed an infinite game!

Your company has become a platform and technology provider, and all RPG games... No, all types of games can be accessed on this platform, regardless of whether they need your company's AI technology."

After hearing about Chu Fang’s real request, Sce’s president couldn’t help but exclaim. Chu Fang was indeed very thoughtful, and his ambition was really great, and he wanted to use his game as a platform to access other games.

The game designed by Chu Fang allows players to create a character that can be used in many games. No matter which game you play, you can accumulate experience and strengthen and upgrade your game characters. It is not technically difficult. The key is to adjust the balance of each world. Even third-rate game companies can do it. Whether the task world is fun depends on the ability of each company.

But this is the problem - since third-rate game companies can make such games, why should Sony and other companies get Chu Fang to get a commission from it?

The president of Sce asked Chu Fang this question in a very tactful way, and Chu Fang seemed to have expected the other party to have this question, and answered confidently:

"That's right, if you just want to make the mission world an ordinary RPG game, then third-rate or even less-than-class companies can do it, but even the most well-made RPG game is just a strong point in the picture.

We can give up the Japanese rpg that wins with scripts. The current sand table games and open rpg games are closer to the mission world I described, but their game Ai is far from enough, and they cannot communicate well with players, and cannot accurately and reasonably deduce the impact of players' various actions on the plot.

Such a mission world is just a new map with different flavors. Players have passed the mission and won all the rewards worthy of it, and they have no meaning to re-enter this map.

And even if the game designer designs the task hard, because AI is too rigid, as long as advanced players find out the routine and summarize the strategy method, the players behind them will just follow the strategy to get rewards step by step.

Due to the limitations of ai, all our games are like this now, so game designers have to find ways to summarize the game's reward mechanism, addiction, psychological satisfaction, and competitive consciousness, and strive to capture players psychologically so that players can continue to play because of addiction rather than because of happiness.

——Of course, the reason why players are addicted is because they feel happy, but this ultimately means that they have 'technical knocked down' the player. The game itself does not capture the player's heart, and may not even make the player feel interesting. Even the excitement has to be maintained by factors such as selling meat, horror, speed, and blood.

The world in this kind of game is not a ‘different world’ where you can really adventure, nor is it the mission world I need.

The AI ​​technology I used in the trial version of "The Legend of Galaxy" can allow AI to respond more accurately to players' language and actions, and technically enhance the realism of the game world - isn't you so anxious to come to me because of this?

With this AI that is close to human intelligence, the virtual game world is closer to the real world, and players will also devote themselves to the game because of the charm of these fantasy worlds themselves, instead of repeatedly obtaining those negative joys and stimulations like taking drugs, and wasting their lives boredly.

——Of course, in my infinite game, there are also many elements such as monster swiping, upgrading, unboxing, and pk, but in addition, I think my game has a more important and positive thing that can tell players openly!”

In front of SCE's president, Chu Fang not only explained his technical advantages, but also his game production philosophy full of "positive energy". However, the president and two vice presidents in front of him were unmoved at all, only Tanaka Yoshiki, who was a writer, showed an expression of appreciation.

But thinking about it, two of the three are the presidents and vice presidents of the game company, while the remaining one is the vice presidents of the comics and light novels publishing house. If they really care about the physical and mental health of consumers, they will not allow their companies to produce or publish works that do not violate the law, but are specifically for sensory stimulation and have no nutrition at all.

After all, a commercial company must first make money, and secondly, it must make money without illegally; if necessary, it will add the principle of making money without morality; if not necessary, it can even remove the principle of making money without illegally.

As for consumers and producers, they are not something commercial companies need to consider. Capital is such an ugly monster.

But if possible, SCE's president does not object to the fact that his game has stronger technical competitiveness and more beneficial "positive energy" - after all, "positive energy" is also money, which is not only a highlight in publicity, but also a moral commanding height, which can allow both the company's products and the company itself to gain a moral advantage in competition.

The most critical issue is...

Is the AI ​​technology that Chu Fang possesses really powerful to this level? This is simply artificial intelligence in science fiction!

If it is true, then its value will be amazing. How can it be used only to make games? (To be continued...)
Chapter completed!