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  Chapter 182. A Monster

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  The handover on Cujoh Jolyne's side was done quickly.

  After all, thanks to her previous experieh Pucci stantly ing to her for budget requests, this process of signing off and approving funds had bee sed nature to her.

  Without aation, she swiftly sighe budget approval and ha over to Nasu Kinoko and his team, allowing them to retrieve the funds from the finance department at any time.

  At the same time, Akiyuki Shinbo, who had been on break after finishing the filming of "Battle Tendency", was quickly tacted by Jolyne. He only stepped in occasionally when Pucci was overwhelmed with work.

  Akiyuki met Nasu Kinoko and his team for the first time, but...

  "Director Pucci, what exactly is President Cujoh thinking?"

  This initial meeting didn't go as well as expected.

  After the meeting, Shinbo pio Pucci, "Diamond is Unbreakable has already been approved for produ. Why abandon such a good sequel to film a fan work? Isn't this a case of putting the cart before the horse?!"

  Shinbo had a valid reason to pin.

  After all, fan works sit at the lower end of the industry's peg order.

  If it weren't for some hugely popur faions, most industry insiders, who only care about cashing in on the popurity, wouldn't even bother with them.

  In this text, when Shinbo found out that not only had his director position for "Diamond is Unbreakable" been taken away, but he was also assigo diree unknown fan work, it was only natural for him to harbor some reseowards Nasu Kinoko and, by extension, Jolyne.

  It's like the rea of certaiern try audiences who, after witnessing the brilliance of "The Wanderih", would find it strange if they suddenly had a good impression of a movie like "Shanghai Fortress".

  " I take a look at this fan work you're talking about?"

  Pucci, standing beside Shinbo, was intrigued.

  Using the same metaphor as before, seeing "Shanghai Fortress" attempting to pete with "The Wanderih" would naturally spark curiosity, especially when audiences in that Eastern try were filled with newfound fiden their homegrown sci-fi after the success of "The Wanderih".

  Maybe "Shanghai Fortress" had something special after all.

  While using "Shanghai Fortress" as a metaphht be a bit insulting, the point still stands.

  Given that Jolyne had never made any mistakes in the past and had always treated her staff generously, Pucci believed there might be something more to this decision and tried to fort Shinbo, saying, "From the perspective of Green Dolphin Studio, President Cujoh's move makes sense."

  "After all, if reen Dolphin Studio wants to tihriving in this industry and surpass the loablished panies, relying on just one series won't be enough."

  "We o create a sed successful work, to establish more intellectual properties (IPs) and strehe studio's foundation."

  What happens when a pany has only one successful IP?

  Pucci had seen this sario py out too many times in his past life.

  Take "Ultraman" for example. The franchise was once glorious, but the dee of Tsuburaya Produs was a harsh reminder of the dangers of relying too heavily on one IP.

  Of course, one could argue that Tsuburaya's downfall was due to their own misma—rife with corruption and chaos—turning profitable projects into barely break-eveures.

  That's why, even with a national-level IP like "Ultraman", they still couldn't maintain the weekly release schedule that newer franchises like "Kamen Rider" and "Super Sentai" could manage.

  But if Tsuburaya's failure was self-inflicted, what about "Star Wars" across the o?

  Another national-level IP, "Star Wars", was also sold off to a certain mouse.

  Whether it was because the mouse offered too much, or because the traditional space enre had fallen out of favor, it all poio the danger of relying on a single successful IP.

  At least with multiple successful IPs, if one fails, you still recover the costs with another.

  Take "Kamen Rider", for example—even when several secutive releases were panned by audieoei still tio release new "Kamen Rider" series every week.

  This is the kind of resiliehat a mature pany should have.

  Jolyne probably realized this too, which is why she decided not to tih "Diamond is Unbreakable" and instead pursue other projects.

  No! Following this train of thought, maybe Jolyne had phis all along!?

  Otherwise, why did she separate them, giving each team their own project to lead?

  Pucci, filling in the bnks with his imagination, increasingly believed that the fan work Jolyne had chosen must be somethiraordinary.

  Shinbo, who had initially felt wronged, began to see the logi Pucci's expnation.

  If the fan work didn't have something special, why would Jolyne give Nasu Kinoko and his team full autonomy, not only allowing them to access the studio's budget but also letting them have input in the filming process?

  Was Jolyne really that foolish?

  There must be some hiddeail he hadn't noticed!

  With this in mind, Akiyuki Shinbo immediately searched online for Type-Moon and began to seriously look into the work that Jolyne had such high hopes for.

  He alsht Pucci along to brainstorm together, thinking that "two heads are better than one."

  But this was clearly unnecessary.

  Because when Shinbo mentioype-Moon and Nasu Kinoko's name, Pucstantly uood everything.

  This wasn't just another successful IP.

  This was a "monster" IP—an IP that might lie dormant during downtime, but onew tent is released, it would domihe gacha charts of every mobile game with an unstoppable force!

  For an IP of this magnitude, Pucci had only one suggestion for Akiyuki Shinbo:

  "Shinbo, should I just introduce you to the cast?"