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Thanks to a collaboration with Fang Cheng Studio and the pre-installation of several of Fang Cheng Studio’s products, their company’s VR integrated machines saw yearly sales skyrocket, already reaching over 1.3 million units, and it’s projected that this year they could hit 1.5 million units.

These sales far surpassed the second place, which was at 920,000 units. This made him extremely excited when interacting with others, often starting conversations with, “How could you know our Kirin VR integrated machines reached sales of over 1.3 million? Initially, I didn’t expect us to reach 1.31 million, but once we hit 1.32 million, it wasn’t a big deal, and by the time we reached 1.33 million, it mattered even less.”

Now, with “Botanic Garden” online, its superb visual presentation was particularly suited for their integrated machines, which is expected to trigger another surge in sales.

Having money allows for further research and development, illuminating virtual reality technology, and pushing the game industry towards even more vigorous growth.

Beyond that, the VR integrated machine is also a new platform.

This platform directly bypasses other mainstream gaming platforms, and the cooperative relationship between Fang Cheng and Gao Tianyun ensures a guaranteed sales volume for Fang Cheng Studio’s games.

Although Fang Cheng basically doesn’t care about this guaranteed sales volume, it has nonetheless alerted other game manufacturers to the business opportunities, prompting them to start considering reallocating internal resources towards VR.

Besides, the revenue share terms for the new platform aren’t as harsh, and it can satisfy traffic needs, making now seem like one of the best times to enter the market.

This process may take some time to manifest, but for the future of VR, it’s a crucial step.

When “Botanic Garden” officially went live, its first-day sales broke through 1.5 million copies, and not even the high price of 128 could hinder players’ enthusiasm.

Beyond the domestic sales of 1.5 million copies, what surprised Wang Xiaoying even more was the overseas market, which accounted for a million sales.

Fang Cheng didn’t pay much attention to the overseas market; after all, the cultural genes were here, and he preferred to be with people of similar cultural heritage.

As such, the studio’s games were almost devoid of foreign languages, and since their games couldn’t be cracked, nor was there a creative workshop, this left overseas players with only one choice.

They had to learn Chinese.

“Towards Death and Life” was manageable, and “Quiet Cultivation” was fine too, as the amount of text in both games wasn’t significant so players could understand after just a little study.

But “The Nameless” was truly a hassle; when the voice-enabled, players often saw the NPCs looking bewildered, not understanding what on earth the player was babbling about.

If you were lucky, you might get a yellow soup cast out demons, but if unlucky, the next second you might be mistaken for being possessed and get chopped down.

Even so, Fang Cheng Studio’s games still had a loyal fanbase overseas.

Even if they couldn’t understand, they were still captivated by the rich gameplay, fascinated by the bizarre gaming environment, willing to overlook their misunderstanding.

The emergence of “Botanic Garden” perfectly met one of their needs.

Even without understanding Chinese or being able to read the visitor’s notice, they could still stroll through the Botanic Garden and admire the magnificent scenery.

Images so poetic it tore through the barriers between East and West, weaving through the annals of history, allowing everyone to roam in beautiful landscapes and comprehend the profound mysteries.

The only regret was the lack of background music; there was only ambient sound.

If there had been accompanying background music, this game would truly have no weaknesses.

Even a week after launch, the daily online player count could reach two million. Logging in before bedtime to view the scenery had already become a habit for most players.

Those who couldn’t afford the VR integrated machine opted to buy VR glasses. While not as immersive as the integrated machine, the beautiful visuals still won hearts.

Of course, this game was not without issues.

Beyond appreciating the varied landscapes, some odd details caught people’s attention.

Just like Xiao Douzi initially noticed, the ubiquitous visitor notice also became a hot topic among players.

Due to the sheer number of players, the details they compiled were more comprehensive, and some content was particularly worrisome.

Why did these visitor notices seem innocuous at first glance, yet upon closer thought, they become utterly terrifying?

Why can’t you step on snow?

What’s the deal with having to turn back decisively when you see your shadow split into four?

When it starts raining overhead but the ground remains dry, why do you need to immediately find Alpha?

And why can’t you walk on water when it seems possible to do so?

All these strange rules sparked immense curiosity among the players.

As a result, deliberately violating the rules became another pastime for the players.

Players would often intentionally step on the snow, run onto the water to see if it held, and press forward when they had four shadows.

Whenever this happened, a floating machine would come to warn the player against the violation, and continued breaches would result in being logged out immediately, making it almost impossible to continue testing (tempting fate).

[Do you guys think this might be because the game was rushed, and that’s why there are so many bugs? Maybe every single place is a bug.]

[I want to believe you, but I’ve never seen a bug in Fang Cheng Studio’s games.]

[That’s right, I heard their lead programmer is the boss, Fang Cheng, a big wig in the coding world. He develops things quickly and well, reputed to have special programming techniques.]

[No wonder he makes money, no wonder he’s blessed with long life.]