Vortex Gaming

'One-Way Road Series'In this series, we meet domestic and international game developers who steadfastly walk their own path based solely on their own philosophy, without yielding to rapidly changing trends and external environments.

This time, we shed light on Japan's indie scene, which is classified as a subcategory of doujin games and has relatively low recognition. The sixth developer we met is indie game creator 'ImCyan', who has been consistently walking the path of horror games since 2009.

ImCyan's representative work `Tsugunohi` is a game characterized by its unique gameplay style of simply walking to the left and its distinctive atmosphere. It is made with RPG Maker and most of the works have a short volume of less than 30 minutes, but it is an impressive series that captures eerie and terrifying horror within that short volume. Over the past 10 years, it has expanded into more than 10 series, and a compilation version has been officially released through Steam and Nintendo Switch.

We directly listened to the story of indie developer `ImCyan` about the background and driving force that allowed him to consistently walk the path of horror games alone for a long time of 10 years.

※ The interview contains somewhat grotesque images and horror elements inserted into the horror game 'Tsugunohi'. If you are not immune to horror elements, please be careful when viewing the article.

■ Indie Developer 'ImCyan' Who Has Walked the Path of Horror Games, and His Representative Work 'Tsugunohi'

Q. Please introduce yourself!

= I'm ImCyan. I'm an indie game creator who mainly produces horror games with the 'Tsugunohi series'. I first released a game I made myself online in 2003, and this year, 2023, marks the 20th anniversary. Recently, I released the Nintendo Switch build of Tsugunohi, and I also released a collaboration title with Hololive's VTuber 'Houshou Marine'. Nice to meet you!

Q. For Korean users who have never experienced developer ImCyan's works or the 'Tsugunohi' series, please introduce what kind of game the 'Tsugunohi' series is.

= 'Tsugunohi' is a horror game where you can enjoy horror simply by walking straight to the left. We continue to make sequels by changing the stage or directing in the game. The advantage of working alone is that I can immediately incorporate what I feel like 'I want to make this' into the work. I think this light step is an essential quality for an indie developer. My goal is to continue to create and release more short horror games in the future.

Q. The Tsugunohi series is a work that advocates the 'everyday encroachment real horror' genre. It seems that continuing the series in the same way for more than 10 years is by no means an easy task. Is there a special reason for consistently sticking to this genre and method?

= I've long thought that `game development` is a task that takes up too much time. So, I came up with the idea of making a short, impactful game that wouldn't take too long and would capture people's hearts.

I made the first Tsugunohi 10 years ago, and at the time, I was so engrossed in the works of Junji Ito, a master of Japanese horror manga, that I read a lot of horror manga. Many of Junji Ito's works are drawn in a one-episode format, and I thought that if I made a game in this one-episode format, I could continue to make it without overdoing it, even if I made it alone. That was the beginning.

Of course, I didn't intend to become a horror game specialist from the beginning. At the time, I was also making several prototype games using the same side-view direction as 'Tsugunohi'. There was 'Planet Love Story' with a picture book-like style, and 'Seolhwa', a Japanese-style adventure with battle content, but the most well-received was 'Tsugunohi'. I think I was able to continue the series until now because I won an award at a game contest event and met the editorial department of VAKA Co., Ltd.

Q. The title of the game, 'Tsugunohi', seems to be a mix of 'next day' and 'atonement', and I'm curious about what motivated you to choose this title.

= As I mentioned earlier, I used this title because I was trying to complete a short story in a short period of time. While thinking about how to save time and money, I thought it would be a good idea to create `a game with horror directing that repeatedly uses the image of the same road`, and from there, I came up with the idea of `horror expression that gradually changes every day`. With the direction set, I came up with a pun that the letters `next day` gradually change to `Tsugunohi`, and used it as the title.

Q. The Tsugunohi series is a game where you don't have to worry about making mistakes, you just have to 'walk'. Some people even call it a walking simulator. I'm also curious about the reason for adopting this method.

= When I play various types of games, I sometimes get the feeling that `a game is exciting and fun just by walking`. I think the act of walking is the most basic element of enjoying the game's worldview, so I always emphasize background descriptions when making games.

At first, I made a horror RPG with battle content, but there was a disadvantage that if the play time was too long or the controls became complicated, I would quickly lose interest when the game was over. As a result of deciding to delete the existing system with the idea of making a game that could be enjoyed more lightly, I think I was able to express `a game that is fun just by walking`.

Q. As the series has continued for about 8 episodes, it seems that it is not easy to find material to continue making the Tsugunohi series. I'm curious about what methods you use to get material for new short horror games every time.

= I'm always looking for hints in my daily life that can be connected to my work, and I take a lot of pictures outside. When deciding on the stage for the game, I first narrow down a few candidates and then decide through consultation with the publisher, VAKA Co., Ltd. Once the stage is confirmed, I start collecting data in earnest and find people to cooperate with to concretize the game material.

Q. In 2021, 'Tsugunohi' was officially released on Steam. I'm curious about the background and process of collecting the previous works that were distributed for free and releasing them through Steam.

= Tsugunohi is a short-tempo short series, and to be released on Steam, it must be a game that guarantees a play time of at least 2 hours. To meet these conditions, we bundled 9 works together so that the total play time would exceed 2 hours and sold them as a set.

Of course, since the games were originally distributed for free, we added two original titles that can only be played on the Steam version so that those who are new to Tsugunohi through the Steam version can purchase it for a worthwhile price, and we remastered three old series.

Q. Later, an official Korean translation was applied, allowing Korean users to play 'Tsugunohi'. How did you decide on the Korean translation and proceed with it?

= The translation of Tsugunohi was originally only in Chinese and English, but it was confirmed by indicators that the number of users connecting from Korea and purchasing it was considerable, and it was determined that many users were looking forward to the subsequent Tsugunohi, so we applied official Korean.

Q. I'm curious about the background of releasing the previous work 'The Sound Calling from Showa', which was not included in the Steam version, in the form of DLC.

= The planning for the Tsugunohi Steam version was in early 2020, and 'The Sound Calling from Showa' was not completed at the time. In the end, it was not included in the release build, and was later released in the form of DLC. The DLC 'The Sound Calling from Showa' has added '2nd Round', which has enhanced directing compared to the original, so I hope those who haven't enjoyed it yet will look forward to this part.

Q. Among the various Tsugunohi works, is there a work that you would most recommend to gamers who 'have never played Tsugunohi'? I'm also curious about the reason.

= I highly recommend 'Tsugunohi: The Crossroads of the Ethereal Angle', which was released at the time of the Steam version release. It is also an original series specially made for Steam. I also recommend 'Tsugunohi: Ai's Silent Cry', which is a collaboration with the Japanese virtual YouTuber 'Kizuna Ai'. I hope you will check out the work to see what kind of horror expression is possible when making a horror game with a virtual idol as the main character.

Q. In the case of 'Saishu - Tsugunohi Another Story -', which series fans call 'Tsugunohi Episode 4', it was not included in the Steam version, but unlike other Tsugunohi series, it was a work that stood out for its RPG-style gameplay. I'm also curious about the background of challenging this change.

= I thought that the game system of walking through a closed space like the 'Wizardry' series was well suited to the horror genre. Also, I thought that a horror game that expressed everyday spaces like 3D dungeons was an idea that could not be seen in 2014, and I made this work based on this idea.

'Saishu' is also planned to be added to the Steam version in the form of DLC. If you have any opinions on which of the past works you would like to see added as DLC, please feel free to send your opinions through the official page. We are waiting for the voices of gamers.

Q. What other horror games have you made besides the Tsugunohi series, and what differences did you try to include in each work?

= First of all, in 2005, I made a horror RPG called 'Lost Maria'. At the time, RPGs were a trend, so I aimed for a decadent worldview horror RPG with chuunibyou elements. I insisted on horror directing where the face of a ghost appeared during battle, and I put in a system where the main character gets stronger by eating the entrails dropped by enemies to create a grotesque and unique worldview. Korean user '@caswc' has provided a Korean translation, so Korean users can also play it in Korean, so if you are interested, please play it.

Next, I made 'Saishu - Tsugunohi Another Story' and 'Uramiko - Tsugunohi Another Story 2-', which I introduced earlier. Both works are 3D dungeon-style horror games, and I aimed to create a 'scary game just by looking back' by taking advantage of the first-person perspective. I think that the exploration element will allow for a more realistic game experience.

Since 2016, 'Shikiyoku' has strongly introduced character elements to aim for a more dramatic horror story.

■ 20 Years of Horror Game Development Experience, a Veteran Indie Developer's View of Japan's Indie Scene

Q. I would like to hear what ImCyan, who has lived as an indie game developer for the past 20 years, thinks 'indie game' is. And do you think you are a 'indie game developer' that meets that standard?

= I think indie is about making ingenious games that compete with one idea. Games like Tsugunohi that simply move to the left were possible because they were indie games. I like creating graphic backgrounds and atmospheres, and I've always liked horror elements, so I'm doing well as an indie game developer making short horror games like 'Tsugunohi'.

Q. What kind of special characteristics do you think the `Japanese indie` industry has? You have been active since 20 years ago, when the concept of indie games was not well known, so you must have a unique perspective.

= In Japan, since the 1990s, an atmosphere has been created where doujin games can be easily made, starting with the `RPG Maker` tool. The threshold for individual production was relatively low. Doujin games made by individuals tend to have weak promotional power, but the `game live broadcast culture` that gained attention along with Nico Nico Douga in the late 2000s greatly contributed to discovering high-quality doujin games.

In the 2010s, indie games such as Ib and Angels of Death gained attention and expanded recognition to the female audience, and later had a greater impact through media mix. Since then, there have been more game live broadcasts through YouTube, and the quality of doujin games has gradually increased. I think that Japan's unique market was able to be established by solidifying the mutual relationship between the layer of people who make doujin games and those who do game live broadcasts over a long period of time.

Q. There is a perception that there are many long-lived indie developers in Japan, like ImCyan, who has been active as an indie developer for 20 years. What are the reasons and know-how that made this possible?

= I've been making games since I was a student, but at the time, there were few ways to make money with indie games, so after becoming a member of society, I had to work at a company to earn money. I worked as a designer during the day and made games after returning home.

The reason why I can continue to maintain indie game development is because I am developing games jointly with the support of VAKA Co., Ltd. There was an indie game contest in 2013, and I was able to win an award by applying for it. I am very grateful because they are supporting individual game creators. If there is any know-how to be able to work as a game developer for a long time, I think the first step is to find contests or competitions directly hosted by companies with capital and apply for them with your own work.

Q. If you have any horror movies or games that you personally like, please introduce them.

= The work I respect the most is 'Siren'. It is a group drama with various characters of all ages, and I have never seen a horror action game where you can directly control various characters like this game. The profound setting of the background story is also an attractive work.

The everyday horror that can be seen in the graphics visuals of 'Twilight Syndrome' is the direction that Tsugunohi aims for.

'Corpse Party' is a small-scale indie game that started with RPG Maker, and it was the work that made me want to make games. In addition, I think that 'Pell Em Full to the Sinner' is a work that has a novel expression using the RPG Maker system from the graphics.

I don't call them horror games, but I like distorted games like 'Baroque', 'Clonz Gate', and 'Garage', and depressing games like 'Serial Experiments Lain', 'Teach Me Goodbye', and 'Doki Doki Literature Club!'. In manga, as I mentioned earlier, I like the meticulous descriptions of Junji Ito and Kanako Inuki.

Q. I'm also curious about your perception of the Korean indie game market. Are there any Korean indie games that you are interested in?

= There are quite a few. 'Last Light', 'The Coma 2', 'Cat in the Box', 'Causality', 'Gate 0: The Ghost Gate', etc. Since I'm making horror games, I'm interested in the horror indie games being made in Korea.

Recently, I have been very interested in the dark setting and visuals of Project Moon's 'Limbus Company'. I also think it's attractive to share and continue the same worldview through multiple series.

Q. What kind of game do you want to develop in the future, and what are your development plans for 2023?

= I plan to continue making new works in the 'Tsugunohi' series in the future. In future new works, I want to create works that allow you to enjoy not only horror expression but also the depth of the worldview and setting. The direction I want to challenge is to create a realistic horror game that is intertwined with reality. I want to gradually introduce this system into Tsugunohi.

Connecting the real time and the game, as I tried in 'Ominous Night's Food Shop', showed a very good match with the keyword 'everyday encroachment' that I am aiming for. I am thinking of continuing to introduce these various attempts in other works in the future.

Q. Finally, I would like to hear the reason why indie developer ImCyan is consistently walking the path of 'horror'.

= I think making horror games is a `lifework` that I want to continue for the rest of my life. I want to continue to create new works and release them to the world, and someday create a work that can be called a `masterpiece`. That is my goal.

Webzine InvenReporter Park Kwang-seok
2023-10-06