#And they would have no experience with using illusions so they would not know how to make it break less easily and once it breaks have no id

[kaibutsushidousha]

The Hundred Line special guests interview from Famitsu issue 1895

A game is composed of multiple elements, like "plot", "characters", "world", and "experience". In what order do those get constructed when you make games?

Jirou Ishii: Me first. I can't present a project unless I have all parts sorted. A game only becomes a project when you have a plot, a cast, a world, and your gameplay sorted out. Of course, sometimes I can only come up with fragments of the story and characters, but I need to have some ideas, any ideas, in store for later.

Alright. You next, YOKO.

YOKOTARO: I work mainly with action games, so the process might be different from visual novels. For action games, you need to start from an estimate of the gameplay mechanics, and only then you're allowed to come up with a story, cast, and world that fit with this estimate. By estimate, I do mean a budget. Eventually, you will find some cases where the estimate will pre-establish the number of characters in your cast, and even force you to redistribute who is an ally and who is an enemy to work with that. Wait, this wasn't supposed to be a conversation about money (laughs).

Kazutaka Kodaka: But since you made it about money, I have to mention how The Hundred Line was funded from Too Kyo's own pockets and we had strict budget plans to follow. But as the game kept growing, the initial budget only lasted a few months. Mostly my fault for not knowing when to hit the brakes.

YOKO: And how much did it cost? Saying the price in yen would qualify as gore, so let's use Ronpas as the currency here.

Kodaka: I mean, I could just tell you the price in yen here and now. It's not like the interviewers would be allowed to put the number on the magazine.

YOKO: Still on the topic of money, with how inflated localization costs have been these days, I sometimes get requests to cut scenes shorter. With how colossal The Hundred Line is, how much did that weigh on your budget?

Kodaka: The Hundred Line was a collaboration with Aniplex, meaning the production costs were split between us. All procedures were carried out on agreeable terms. Well, agreeable on our end. I can't say for certain Aniplex felt the same (laughs).

In what order was the world of The Hundred Line constructed?

Kodaka: A major factor in defining the direction of the story and the characters was my age. I felt like this was my last chance to write ensemble casts and believable teenager dialogue. As for the gameplay, we went with a tactical RPG because that's what I assumed would be the cheapest.

YOKO: Oh, you fell for THOSE illusions?

Kodaka: Oh yeah, that was a total illusion alright (pained laughs). Considering this was my collaboration with Uchikoshi, we initially positioned the plot as the main item and the TRPG gameplay as just a bonus to hype up the plot. But the desire to improve the TRPG only grew as development progressed, so we kept tweaking the battles until the last day available for it. With how much we managed to add in terms of story volume, polish, and gameplay, this title is the closest thing I can call to my ideal game. Now I'm ready to die without regrets (laughs).

Ishii: So can we count the game as your will?

All: (laughs)

The Hundred Line has 100 routes and endings. Can we get YOKO's and Ishii's opinions on this length?

Ishii: It's outright amazing. Relatively short visual novels, like PARANORMASIGHT: The Seven Mysteries of Honjo or Urban Myth Dissolution Center, have been major successes lately. This game runs contrary to the trend, if anything running closer to the lengthy VNs from our careers.

Kodaka: Our goal was making a VN that the player can keep playing over time. To accomplish that, we made multiple route types, and allowed the player to interpret the ending that satisfied them the most as the true ending. This concept for this new IP came from a wish to create an aspect that would get the people of the current year to question our sanities. The best we had to offer was quality and quantity in terms of text and illustration, and that's why we created 100 routes.

Ishii: The closest thing I can think of in terms of how different the routes get from each other is Banshee's Last Cry. That game as a VN with TRPG elements instead of a pure sound novel is an amusing idea. The elements of continuing the game until you're satisfied is also an aspect I feel competes with Gnosia. All that has me very interested in The Hundred Line.

Kodaka: Making the TRPG match the plot was much harder than we imagined. We needed to fine tune the difficulty to make every battle winnable using only the characters currently featured in the story. Which is made more difficult when you have a huge number of routes with crucial differences on who is and isn't in the roster, something really time-consuming for a simple consistency check. I was often going "wait, it doesn't make sense for this character to be at this moment of this route".

Looking at the story branches, this game has a lot in common with YOKO's work.

YOKO: True. I created my route splits to add replayability to the Drakengard series. Those were times when everyone kept saying short games weren't worth it. But in the current year, making something with 100 different routes and endings is the more dangerous play.

Koutarou Uchikoshi: From a creator's perspective, my reaction to Kodaka's project pitch was "Let's rethink this one" (laughs). I showed him a flowchart with 100 routes to hammer it how rash his idea was, but that only got him more motivated…

Kodaka: I got so excited about our game (laughs).

So the document written to make him quit backfired?

Uchikoshi: Honestly, from a player perspective, I saw The Hundred Line as something that appeals both to the crowd that wants to rush it and the crowd that wants to take their time. If we actually managed to make the whole thing (laughs).

Kodaka: I remember the people at Too Kyo being really split on the volume. Due to that, I asked my close friends about their opinions on the game's length. Most Japanese friends were put off by the amount of text, but the American friends explained that only the really hardcore crowd plays Japanese games in the US, so this length would be like Christmas in July.

YOKO: Eh, I feel like the Japanese crowd is also huge on the "I want to see every ending, I want the full experience".

Kodaka: Absolutely. I certainly prefer people experiencing everything, but it's perfectly fine to walk away whenever you feel satisfied.

Uchikoshi: This might work somewhat like RPG side quests. You don't have to clear all of them, but each one you experience deepens your understanding of the game.

The Hundred Line is split into visual novel sections and tactical RPG sections. What do you believe a visual novel needs to be in this age of such rich genre diversity?

Kodaka: The most memorable title I played recently is Until Then. It felt like one of the old ones, going on extensively while still following the principles of "everything matters". We did have games that were unproductive with their high length, but nowadays, I believe the norm is keeping it short. Shorter stories mean more time-efficiency, bringing their narrative formats closer to manga chapters, TV episodes, or movies. Although I can't conclusively say one method is better than the other.

Can we consider The Hundred Line to be your personal answer to this dilemma?

Kodaka: No, not an answer to the VN genre, just an answer to the question of what VN would the current me make. Saying I hold the answer to such an indie-dominated niche would be in bad taste. I personally want large titles to be produced more often, and would love to see my game revitalizing the genre upon release.

Your thoughts, Ishii?

Ishii: I believe we could soon be getting a roguelike-style title, like the Gnosia I mentioned before. The number of games that can pull off the right balance of storytelling and roguelike gameplay is still close to zero, but I expect a high-level title to appear and codify the genre in the near future. Also, writing a visual novel has always been a battle against flowcharts and loading multiple save files. I believe in game design innovations that can create stories that eliminate the need for flowcharts and save files. I'm very excited both to discover and to create story formats never seen before.

What do you have to say, YOKO?

YOKO: I believed the advancement of technology would blur the lines between action, RPG, and visual novel. My prediction didn't come true. The genres are still as distinct as they always were. But the definition of visual novel changed. Back in the days of hardware limitations, what we currently call sound novels were the only possible style of visual novel. But now that any form of presentation is possible, the labels changed meaning. The story sections in Uncharted and Detroit: Become Human are very similar, so I imagine the only reason why only the latter gets called a visual novel is because it doesn't have action gameplay.

Uchikoshi: Good point, Detroit and Uncharted share the same base 3D character adventure controls. The only difference really is the emphasizes on their movement.

Kodaka: Visual novel and adventure game are labels used interchangeably in Japanese, but in my opinion, the English-speakers stick only with the former because it's the one that makes sense.

Ishii: Calling it a novel really draws emphasis to the writing. At the risk of going off-topic, a key similarity between novel games and basic literature is the added attention to the story text through the absence of any other element. But classic literature cares too much about being narrated in first person, and with that being the only POV option, the worlds of novels feel biased at best and barren at worst.

YOKO: Ishii, do you think you could make money with pure literature?

Ishii: Sounds doable, I already made Bungo and Alchemist a hit (laughs).

All: (laughs)

And Uchikoshi's thoughts on visual novels?

Uchikoshi: I believe Detroit: Become Human to be the ultimate form of VNs as we currently know them. Wonderful visuals, too. But if you asked me if the ideal visual novel is a live-action movie with route splits, my answer would be no. Being able to control movement is important. One project I want to create later down the line is what would Detroit: Become Human would look like if it came from the mind of a Japanese man.

Oh, I'd love to play that.

Uchikoshi: I still have a lot I want to create, but at the rate AI is evolving, I'm afraid the market will soon be dominated by AI-generated VNs.

YOKO: I'm also pretty concerned about AI running all game creators out of their jobs. In 50 years from now, people might think of us the same way we think of wandering bards nowadays.

You think AI would be able to create the outlandish worlds and stories you come up with?

YOKO: Yes.

Ishii: Same opinion (laughs).

Kodaka: I think it can copy an author's technique, but not their personality. For example, it could create a game script that resembles a David Lynch movie, but if the real David Lynch were to write for game, he wouldn't write it in the same style he uses for writing movies.

YOKO: I think a high-end AI would go beyond that and be capable of perfectly replicating the man's behavior. Its output would be based on the intention rather than the instructions.

Kodaka: The idea of an AI that fails deadlines tickles me (laughs).

YOKO: I believe we're slowly leaving the era of asking it to copy the style of our favorite creators and entering the era of asking it to create scripts catered to our tastes. The AI determines what the player likes and generates the route they would want to read. Just an idea based on how quickly the area is developing in the user recommendations department.

Kodaka: That would reduce the amount of experience people can share with one another, slowly fading away the concept of a bestseller from public consciousness worldwide.

The Hundred Line will be the first IP directly owned by Too Kyo Games. What do you believe to be the significance of owning franchises instead of only creating them?

YOKO: I don't own any of my series. I own partial rights to a manga, but for the games, I generally give everything to the client. Being real with you, owning a game franchise is not, by itself, something that makes money. But if you don't care about the money, then owning your series has one merit in the form of easier creative control. But I can control my franchises by having a relationship of mutual trust with the producers that hire me, which includes being able to tell them when I don't want a product to be made, so in my case specifically, I'd say I don't need to own anything.

Kodaka: Same here, I don't find IP ownership that significant. I may own The Hundred Line but it's not like Too Kyo Games can leverage that to make anime or stage play adaptations in our studio. We still need partner companies and production staff, and that makes the process not much different from how it would have been if the franchise rights were elsewhere. The only reason why I was so insistent in making The Hundred Line our first IP was because one of the foundation goals of Too Kyo Games was to own one franchise, didn't matter which. But with how huge of a project The Hundred Line was, it was maybe my last guess for which series we would get to keep.

Ishii: The Hundred Line really feels made with the intention of becoming a series. Kodaka already made a successful franchise out of Danganronpa, so I've been noticing the subtle details enabling the series expansion of The Hundred Line.

Kodaka: Whatever I did there was mostly unintentional. But my past successes were a basis for the creation of this new plot, cast, and world, so I could see it naturally coming out with franchise potential.

YOKO: It doesn't need to be conscious or intentional. Kodaka and Uchikoshi have a propensity for sequel hooks. A fetish, even. The games they make carry the seeds for sequels at their deepest core. I can see the sleeper agents in them.

Kodaka: I don't know about that (nervous laughs).

YOKO: You two can't help yourselves trapping characters in enclosed environments, to suffer until they reach their cruel demise. This inexplicable impact is something both of you share. It's honestly impressive how your games are so similar in plot but so different in flavor.

I agree (laughs). Onto a different subject now, tell us what makes a game built at your studio, or as a freelancer, uniquely good or uniquely difficult.

Kodaka: You think YOKOTARO still remembers anything from your employee days?

YOKO: I do. It felt really limiting, having to commute to work every day and work together with people who didn't vibe with me. The freelance life is a comfort to me. I have the freedom to choose when I go to the office and who I work with. Even when the client pitches a weak project my way, I can change it into something fun as long as I respect the important points of the budget estimate.

You're allowed to alter the client's base concept for the game?

YOKO: They get pissed because I only report that to them after the point of no return, but, y'know… negotiation skills can take you anywhere (laughs).

Ishii: I actually feel like I had more creative freedom in my employee days. I was fiercely determined to create something new, motivated by my need to charisma check the corporation in order to get my projects approved and secure a better budget. I looked really assured, since I thought casually giving them permission to fire me if it flopped was normal. That's also a reason why I wanted to be a director who supports creators after I went independent. But in reality, it's really hard to come across a director willing to quit the company for their mistakes whenever. When I say "If you're willing to put your job on the line, I'll provide you with everything you need", the default answer is "Sir, I have a family to feed". This conflict in worldview was the biggest obstacle of my early independent career.

Uchikoshi: Could it be a generational gap thing?

Ishii: No, a lot of people from my generation are strongly stability-minded, so I think I'm the only one built different.

What compromises have you been through in your freelance career?

Ishii: Once I was no longer capable of making super niche games, my first feelings were conflict and despair. I wasn't sure I'd be able to accept the person I'd become after many so many concessions to my identity, even knowing I had to do it to earn my daily bread. Nonetheless, most jobs I worked with after going solo were commercial successes. And my journey of self-search, analyzing what made them big hits, is still not over.

Kodaka and Uchikoshi went independent with the creation of Too Kyo Games. Did you notice any differences?

Kodaka: In my "salaryman era", when I had something I wanted to do, it was harder to assemble the necessary parts. Nowadays, if I ever feel like making a game for a manga or anime franchise, I can give it a shot. Being able to adjust mine and Uchikoshi's workloads at my discretion also makes life a lot easier. I can tell that trying to direct and write two or more games at the same time is too much for me, but where I have more minor roles, I have the option to move things forward by working on the weekends.

Uchikoshi : By becoming a commissioner rather than a commissionee, I learned that hierarchies were never real. When I relied on the company's salary, I assumed I was supposed to obey their request no matter how impracticable and the people being paid have no right to refuse. Then, at my first job as the one asking for things, I made my first impracticable request and heard a "No, that will not be possible. Not an option." (laughs). Turns out money and labor are items traded at the same rate. One side is not above the other. I want to be able to more confidently say no to impossible jobs.

Now we'll be moving away from the topic of work and talk about the real-life events and pieces of media that resonated with you in the past few years.

Kodaka: I've been too busy for games and movies these past couple of years. The only form of media I've been enjoying lately is wrestling. Each match ends on the same day it starts, and that's enough time to spend not thinking about my job. Things finally calmed down lately, and I took the chance to beat Metaphor: ReFantazio and Like a Dragon: Infinite Wealth back-to-back so I won't get stuck behind the times. As for movies, I watched Mobile Suit Gundam GQuuuuuuX Beginning and Conclave.

YOKO: The movies I recommend are The Wild Robot and Petals and Memories.

Huh, not a lineup I'd have expected.

YOKO: I rarely go to the theaters on my own, so whenever I'm invited to a private screening of a movie, I always try to take the opportunity. The Wild Robot impressed with how much content it could pack in only 2 hours, and I spent the whole second hour crying. I genuinely had to fight not to make any noises in the theater room. Petals and Memories is another emotional piece. When I watch something that plays out too similar to what I write, my head goes into work mode and I can't focus again, but those kinds of titles that have nothing to do with my inner world are incredibly effective at pulling my heartstrings. I heavily recommend both of these titles. Please let me use the magazine's space to deliver lengthy sinopses of them.

What about you, Ishii?

Ishii: Shanghai's immersive theater is impactful. The viewers go to a theater styled like a 5-6 room apartment and walk around the residence, following the plot unfold in real time where the actors go. It's so high quality that it made me feel something I haven't since the first time I played Dragon Quest on the NES.

Kodaka: Were the actors speaking Chinese?

Ishii: I went in accompanied by Chinese-Japanese bilinguals. I had 3 people interpreting it for me, but depending on what was happening on the scene, all three would get too panicked to translate. That part only added to the amazing immersiveness. The theater also has plays that don't rely on spoken dialogue, so I could go along for the ride and get the most out of the interactive experience.

What about you, Uchikoshi?

Uchikoshi : The most recent game that really got me was Nier: Automata.

Kodaka: From, like, 2017?

YOKO: Are you just saying stuff to be funny?

Uchikoshi : I mean it! I don't believe any game has surpassed Nier: Automata yet. It really consumed my brain and I'm not just saying this because you're sitting right here. The story is just so deep and philosophical.

YOKO: I hate to be the bearer of bad news, but I will never make another that lives up to your standards!

Uchikoshi : Can you elaborate?

YOKO: I've grown too old to have skills (laughs).

Be serious (laughs)

Uchikoshi : Also, I don't know if this counts as entertainment media, but I was on a promotional trip to the United States and something happened at the bar I was in. The American friend who took me to the bar suddenly walked to a huge black man and started a rap battle against him.

YOKO: Ok, NOW you're just saying things to be funny!

Uchikoshi : It happened! (laughs)

Ishii: You should have joined them.

Kodaka: Convince them to play Nier: Automata with your rap.

All: (laughs)

Uchikoshi : I couldn't parse what they were saying, and most of all, I was scared… I pretended I didn't know him until the rap battle was over. As Ishii mentioned just now, nothing compares to the immersiveness of a real life experience.

YOKO: So, in summary, what you're is saying people are better off dropping The Hundred Line and going outside?

Uchikoshi : No, I'm saying you should live real life experiences AFTER beating The Hundred Line.

Lastly, tell us your next plans and ideas.

Kodaka: I've been exceedingly busy for the last few years, working on multiple projects, with The Hundred Line at the center of it all, but now I finally settled down for the first time since forever. I gotta take a break from creative work and focus on promoting The Hundred Line until April 24th. Besides The Hundred Line, I also have another game already fully produced, so I will be announcing this one any day now.

YOKO: I do have an ongoing project, but nothing I can discuss at the moment… What kind of answer does the magazine even expect with this kind of question?

Hah, throwing the question back at the interviewer! Well, it's about the obvious, I'm fishing for info on the future of your known titles. An ideal answer would be something like "I want to make a new Nier sequel."

YOKO: Ok, so that's the answer I'm going with. I want to make a new sequel for whichever series you, the reader, personally wants the most.

Now we're talking (laughs).

All: (laughs)

Uchikoshi : Same answer as him.

Kodaka: Didn't you say you wanted to make a game like Detroit: Become Human?

Uchikoshi : That's the one I'm talking about.

What about you, Ishii?

Ishii: I got the perfect content for you. I'm ready to throw a bomb at my fans on April 28th. It's my personal passion project at the moment, but I started already expecting certain people to want to contribute once I have something to show them for it. Let's see how well that goes. Don't miss it.

Uchikoshi : April 28th? That's four… two…

Kodaka: I was trying not to say it.

All: (laughs)

YOKO: That Uchikoshi, doing the job of the Famitsu editors for them!

Uchikoshi : I knew that none of you were going to say it, so I had to… (nervous laughs)

"April 28th" coming from Ishii's mouth is a pretty solid hint.

Ishii: Yes, the 4/28 date matters. I hope my impact in the VN scene doesn't fall behind The Hundred Line.

—————————————————————————–

Links:

Writing team interview

Design team interview

Music team interview

[dioslesbianwife]

I know have I submitted two requests before this but hear me out.

Joefoe’s and jojo’s with a gem ( like Steven universe) reader. Reaction to them summoning their weapon and other gem powers. Maybe fusion as well. What type of gem the reader is can be up to you.

sure, i've never seen steven universe so i'm just going off what i looked up tho. hope u enjoy, ty for requesting <3

Dio

Immediately thinks you're some kind of divine being.

“So you’re made of… gemstone? Intriguing. Are you immortal like me, my dazzling little moonstone?”

Loves how elegant you look summoning a weapon (especially if it’s flashy like a whip or bow).

The first time you fuse with someone, he’s weirdly possessive- like who gave them permission?

Wants to fuse with you for power, but fusion with him would be chaotic and wild.

He insists it would be beautiful… but it might actually end in a whole-ass natural disaster 💅

Kars

Oh you’re a space rock? He’s obsessed.

Has like, ten thousand questions about gem biology, origin, your gem placement, how you regenerate, etc.

If your gem powers involve illusions or light refraction? He’s stunned by your adaptability.

He gets so competitive once he realizes fusion is a thing.

“Your kind multiplies power through compatibility. Fascinating. Fuse with me. For science.”

You might catch him trying to mimic your weapon summon with bio-manipulation.

Yoshikage Kira

He is suspicious of your gem powers.

"So you're not human? But still… beautiful.”

Your gem placement and glow entrances him, and he’d probably say some creepy poetic shit about how your gem reminds him of a heart beating.

Doesn't like the idea of fusion at first- he's a solitary guy. But secretly he’s curious.

If you ever fuse in front of him, he watches silently, then later asks, “Do you enjoy fusing with others?”

Diavolo

Gem? Power? Secrets?? He is simultaneously enamored and threatened.

You: summon weapon in a sparkle tornado

Diavolo: “You have powers that rival my Stand. I must control them… or erase them.”

He’s obsessed with your mystery and elegance but constantly afraid you’ll undermine him.

You fusing with others would unnerve him deeply- he only wants you “whole” and “his.”

Might try to sabotage any fusion that isn’t with him.

Enrico Pucci

Immediately equates your existence to some kind of divine truth.

“You are a creation not of evolution, but of purpose. Fascinating…”

Thinks your ability to fuse is akin to communion or divine union.

He’d want to experience fusion but only if it’s for his Heaven plan. 

“To feel what you feel… would bring me closer to God.”

Funny Valentine

Patriotism.exe has crashed.

“You… are not from this Earth. And yet you live to protect it?”

Very intrigued by your power and how it reflects your personality.

Thinks fusion is terrifying (two wills in one body? Bad for politics!).

But if you fuse with him and the result is a towering glamazon in red, white, and blue? He might change his mind.

Tooru

"Wait, so you’re a gem-person…?”

Gaslights and manipulates his way into learning your weaknesses.

100% would try to manipulate you into only fusing with him or hiding your gem powers so no one else gets close.

But he’s also hella entertained by your illusions and weapon summoning. “So shiny… so sharp…”

Rock human Gem human solidarity.

Jonathan Joestar

Genuine prince energy.

“You are… divine. Truly. I must protect you.”

So impressed by your powers, especially anything graceful or light-based.

Very respectful about your fusion abilities, would only do so if it meant saving someone.

Encourages you to use your powers to help others and even trains with you.

Joseph Joestar

“HOLY SHIIIIT YOU’RE A SPACE WIZARD?! I LOVE IT.”

Plays with your gem weapon like it’s a toy. 

Makes so many bad puns. “You could say you really ROCK my world- haha get it? Gem? Rock?”

Very flirty about fusion. “What if we fuse and become super sexy? Wait, we already are- ”

Ends up loving fusion because it makes him feel cool.

Jotaro Kujo

Stares at you for a full minute after you summon your weapon.

“Yare yare daze. You’re… something else.”

Silently observes your powers and becomes very protective. You’re durable, but he still guards your gem like it’s your heart.

Would only fuse with you in a life-or-death situation… and it would go SO HARD. Sparkly, cold, calm, and deadly fusion. 

Josuke Higashikata

“YO THAT’S SO COOL!! Can I touch your gem? Wait is that weird? Sorry!!”

Absolutely in awe of you. Thinks you’re the most magical creature ever.

Wants to fuse IMMEDIATELY. "It'll be like a magical bestie hug right?"

Buys you gem-themed accessories like you’re a real-life magical girl.

Helps you polish your gem and carries band-aids in case your physical form glitches.

Giorno Giovanna

Quietly reverent. “Your existence… proves nature is still full of miracles.”

Uses Gold Experience to heal your cracked gem.

You two are ethereal and scary when fused. A divine, glowing fusion with vines and light.

Giorno respects your intelligence and abilities, and sees your powers as sacred.

Jolyne Cujoh

“NO WAY- That’s your weapon?! THAT’S BADASS.”

Thinks fusion is interesting. Wants to try it at least once, then does it like 8 more times.

You two become the chaos duo. Loud, sparkly, and throwing hands.

She likes watching your gem glow in the dark like a lava lamp.

Would steal your fusion outfits and say they’re hers now.

Johnny Joestar

"So you're not even human, huh… cool."

Weirdly calm about it. You think he’d be skeptical, but he accepts it like, “Well, I have a magic corpse ghost that speaks latin. We’re even.”

You and Johnny would have a chill but deeply emotional fusion. Powerful, tearjerker-tier bond.

Likes watching you regenerate because it reminds him that people can start over.

Josuke Higashikata (Gappy)

“Wait, so your body is built around a gem?”

You two bond over being fusion-freaks of nature.

Tries to fuse with you out of curiosity but gets emotional when it feels… right.

You calm him. He stabilizes you.

Aesthetically? Your fusion looks like something out of a surreal fashion magazine.