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Takashi Ichimura Translated by blackoak. Central Works: Dodonpachi Dangun Feveron Dodonpachi Daioujou Ketsui Guwange Progear no Arashi Espgaluda series Mushihimesama series Deathsmiles series Dodonpachi Daifukkatsu —Please tell us what your thoughts are as Cave celebrates its 16th anniversary. Ichimura: I've been involved with all the games, from Dodonpachi to Dangun Feveron, Guwange, Progear no Arashi, and everything after. So its a very deep feeling for me, to have been on the same path together for so long. For every project I have memories of struggles and challenges, but since this work is an extension of my hobbies, its all been fun. In game production, too, the final stage of development is always difficult, but when a project starts I'm able to work at my own rhythm. Of course as the deadline approaches I have to really focus and it can be stressful... (laughs) —From a layman's perspective, the work of a programmer is quite unique. Ichimura: Generally speaking, it can be difficult to know what the work of a "programmer" is. While I might be the main programmer on a given project, other things like character programming will be handled by someone else, so there's a division of labor that goes on like that. Usually about 3 people will be involved total, though its also quite common for the ports to be done entirely by one person. Personally I think it can be problematic when you get too many programmers on one project, because programmers as a group are very straightforward, logical people. Its always "Its this way, so we have to do it like this." And programming itself is very much like that. People often say that programmers think too highly of themselves, or that they see everything in black and white and have no friends, but personally, I'm such a laid back person that I haven't noticed that. That may have something to do with the whole "takeyari kara kakuheiki" phrase, actually... [[ translator note: this literally means "from bamboo spears to nuclear bombs." Its isn't a set phrase in Japanese; Ichimura will explain its meaning and origin below. ]] —Its the programmers who determine the difficulty of the game, right? Ichimura: That is set by the programmers, yes. For the arcade games, it usually gets set after the first location test. We use about a 3 minute portion of the game as a base, and set the difficulty from there. The difficult part is when the game doesn't stress the player's abilities enough and we have to adjust the balance to be more challenging. That's something that we really do by intuition, and it would be very difficult to imitate I think. Part of the game's appeal will be determined by the programmers, so we're involved in a lot of the planning as well. I think some people may be familiar with the phrase "from bamboo spears to nuclear bombs," but that came about while we were designing one of the attacks of the bosses from Progear. People said they weren't satisfied with the danmaku patterns, so we really cranked up the difficulty on it, and that phrase "from bamboo spears to nuclear bombs" was born. So in that sense, it is indeed true that programmers have a huge effect on the difficulty level. [[ translator note: Japanese threads suggest it was the 5th boss or midboss, but its difficult to tell since it seems to have entered the "NicoDouga" lexicon and is used to describe any situation where the difficulty is suddenly ramped up ]] —Starting with Ikeda, please tell us if there's anyone you've clashed with at Cave. Ichimura: I don't think there's ever been anyone. Being so laid back, it might just be that I'm not noticing. It could be I'm too laid back, and possibly I've been annoying everyone around me all this time. When things get busy, there's times when being this laid back can really backfire. (laughs) When I'm making a new game, although I want pour all the accumulated know-how I've acquired into it, if that's all I do then I'm not satisfied personally. So I'm always wanting to try out and add new things. Of course challenging oneself is good, but if there are too many challenges, it can cause us to fall behind schedule. So I always want to set my challenges such that I just barely make the deadline. (laughs) But around the time I was developing Deathsmiles II, I wasn't involved in anything else and could focus on that game... or so I thought! Even though I really wanted to challenge myself with that project, it turned out there were deadlines that had to be met and I really couldn't. But for those parts in my games where I couldn't rise to the occasion, I always try and improve them for the next game. —Being so laid back, what are some of the projects you struggled with? Ichimura: Probably Mushihimesama Futari... although it sold very well. (laughs) That title has so many game modes, and each one is quite substantial in terms of content, but we had a severe schedule with a very short development period. Up the very last minute before release it was still being worked on... it was really terrifying. We did make it though. (laughs) If I were to name a project that was memorable, but not necessarily a struggle, it would be the first game I worked on, Dodonpachi, which really opened up the possibilities of danmaku shooting for me. Also Mushihimesama, I think. We had just decided to create a new pcb hardware, and I was involved with designing it from the beginning so that project left an impression on me. I don't have anything against danmaku shooting, but if that's all you make, you eventually end up wanting to try out something new. I've never been very good at danmaku games... I can't dodge the bullet patterns. (laughs) With danmaku games, the enjoyment comes from "seeing and dodging" the bullets. But I prefer a high speed, rhythmical game in which you get into a rhythm dodging different patterns. So it was like, aren't you guys getting tired of playing danmaku games?! I wanted to play something more intuitive and immediate. Shooting games can definitely be that way, but I think racing games have more of that rhythm and flow I like. —Yeah, that is definitely important for racing games. Ichimura: I've actually been into racing games for a long time. And not just games, I also love real cars, and take my own to the circuit. I used to do cart racing too, though what I do at the circuit isn't as crazy. (laughs) Race carts run so close to the ground, so the sense of speed is intense. At the circuit I race at the speed itself is of course higher, but the sense of speed is more relaxed. The car I drive, by the way, is the standard 1600cc FF Levin. It just a normal car without any flashy paintjob or stickers. (laughs) Before I drove at the circuit, long ago I used to race downhill. That was before Initial D was popular, and I was living in Hiroshima at the time and would race in the hills around there. I don't do it anymore, but I still occasionally get the urge to. —Cave also released the racing game "Touge" for consoles, but were you involved in that? Ichimura: I worked on "Touge 3," but only a little. I didn't do the main programming, but I helped out with the debugging. As someone who's actually raced, I thought it was a very fun game. It also features the 180SX, which my friend happens to own, and I've driven it and done drifting with it, so I made sure the game matched the actual car's handling. I've sort of got a thing for the 180SX. It just feels good when I drive it. My friend says the Silvia and the 180SX are both really solid cars for drifting. Saying all this probably makes you think I'm some street racer. (laughs) You often hear that when people get behind the wheel their personality changes, but I'm also laid back there, too. (laughs) On normal roads I'm the kind of relaxed driver that taxis get angry at. Of course on the circuit, its another story. (laughs) There's no one who wants to drive safely after paying their money to drive on the track. —Is your desktop at work crowded with racing and car stuff, then? Ichimura: There's many people at Cave who adorn their desk and monitor with items from their hobbies, but I don't really do that much. Well, the truth is there's actually so much stuff scattered around my desk that I don't have the room. On the ground there's a monitor and X360 development materials, and there's so much stuff scattered all over the place the path to get to my desk looks like an animal trail or something. (laughs) And behind me there's a communal supply cabinet... or at least, it was supposed to be, until it got overtaken by all my clutter. Other employees have been getting mad at me about it so I've been cleaning it up little by little. (laughs) But for my work, when I do debugging, I have to have two sets of monitors and computer equipment, so it just gets cluttered. —Was it your love of cars that led you to the game industry? Ichimura: When I was a student I didn't have any interest in cars; all I did was play games. I was looking for work in Hiroshima, where I lived at the time. As for cars, my friend at the time introduced me to them and that was the beginning of my interest. I was really into Ridge Racer at the time, too, so that might have been an influence. I liked other games besides racing too, of course. Fighting games were really popular then and I played a lot of Garou Densetsu (fatal fury) and Street Fighter II. And in my third year of college I only had one lab class a week, so other than that I was completely free, and I went to the game center all the time. That pattern of slacking off while studying programming began in my second year of college. The first company I worked at was a kind of surveying company, and since this was right after the bubble had burst, there were a lot of game designers working there. At that time I saw an advertisement that Cave had put out, and it said something like "The Company That Made Donpachi!" When I saw that I thought, "ah, this is calling me!" and it was like a shock ran through me. (laughs) Donpachi had just come out in the game centers and I played it a ton and liked it, and I thought this was the kind of company I wanted to work at. The X68000 and PC-98 computers were popular at that time, and I bought an X6800 in college and had been studying it. I had made some doujin shooters for it, and Cave's advertisement said they wanted someone who knew X68000 assembler, so it seemed like the perfect fit to me. —If you had a PC back then, you must have owned a lot of different game hardware by now? Ichimura: Of the recent hardware, I own a PS3. The World Cup is going on right now so I've been playing nothing but "Winning Eleven." Yesterday I lost a match between Holland and Japan, and Japan ended up losing in real life too, so I'm refusing to play today's Japan vs. Paraguay match. (laughs) I watch the matches on TV, but I just to be safe I record them on my PS3 with the Torune software, too. In that sense I get a lot of use out of the PS3, not just with games. Torune is great. For 9800 yen, if you use it you won't need a video recorder anymore. I also own a PS2, which is still on active duty. I own a Wii, too, and lately I've been playing Metroid Prime on it. I received an X360 recently, but I haven't opened it yet. (laughs) Since I use it at work all the time I had no intention of buying one myself, but I think someone gave it to me with a feeling of "you of all people should have one!" (laughs) There's some X360 games I want to play, but I don't really have a place to put the console right now. I'm at least planning to play Ridge Racer on it. For games, the X360 is quite good. The previous model hardware had a huge power supply, was noisy, and made me worry about how hot it got, but the new model seems to have solved these problems. As for older hardware, the first I bought was a Sega Mark III. Actually, I had been into radio controlled cars for a long time, and I traded one with a friend for a Sega Mark III. (laughs) Buggy mode radio controlled cars were really popular in my area at the time, so much so that you could get a game system for one. Radio controlled cars is still one of my hobbies, actually, and since I can't go to the race circuit every week, I get my fill with my radio controlled cars. I have a PC at home, too, and I make libraries and middleware on it. I have a lot of game consoles, and I still go to the game center occasionally too. Not to play anything specifically, but just to see what's new and what's going on. My friend is obsessed with the game "Border Break" right now, so lately I've been going there a lot with him. (laughs) —You like mecha and racing games, but how about moe?! Is there a character you'd like to marry? Ichimura: Basically I just love mecha games, so there isn't a character like that for me. (laughs) Its also the case that making mecha characters is easier for me than human characters when I'm designing a shooting game. And the characters in Cave's games... they're all weird or strange in some way. (laughs) Hmm, if I had to name someone, it would be Reco from Mushihimesama. Now that I think of it, I want to try flying around on her beetle Kin'iro! As a racing fan I'm curious about how a flying beetle would feel. —When you say that, it makes me think you must have done some of the voices for Cave's games... Ichimura: Its true that Cave has a long tradition of using employees or designers to help with the voice work, but I've never done it myself. I'm bad at that kind of thing so I don't even want to try. (laughs) People have asked and I've steadfastly refused. Actually, with Guwange, Inoue did ask for my help, but it was for some enemy character doing some weird "guohhhhh" voice thing, and I absolutely didn't want to do it. (laughs) —Speaking of the mecha titles you've done, please tell us about Ketsui, which I understand was very popular at Cave, too? Ichimura: Yeah, when it comes to my love of mecha shooting, Ketsui is a game that was fun even when I was making it, so its very dear to me. I also still enjoy playing it, as the bullets are fast and I'd have to say it really emphasizes rhythm and flow. I didn't have much to do with the character and ship design, so I was able to focus all my energy on the bosses, and for each one I struggled to come up with cool attacks and bullet patterns. But it was also really fun thinking those up. —Speaking of boss characters, you've done so many, but are there some that you particularly like? Ichimura: I'm very fond of the stage 5 boss of Dodonpachi, the first game I worked on at Cave. Also Hibachi from Daioujou. I had been wanting to make bullet patterns like that but I thought I wouldn't be able to do it. (laughs) Hibachi is Ikeda's creation, but Ikeda and I have entirely different styles when it comes to shooting games. While working on Hibachi I realized that it was impossible for me to try and imitate Ikeda, so I switched gears and followed my own path. I think that comes across most clearly in Ketsui. With any endeavor, at first you start out trying to copy something as closely as possible, but at some point your differences start to come out. And I really think that the special something that attracts players to a game can't be easily imitated. Ikeda is very good at making the player dodge bullets. His games are built around players finding the correct path through danmaku bullet patterns, and therein lies their appeal. I, on the other hand, really like games that have a certain flow, where on-sight and reaction dodging are the main focus. —What do you think shooting will be like in 10 years? Ichimura: I get the impression things will be more casual. There won't be many of the kind of hardcore games you see in game centers, but things will probably be more like the smartphone games you can casually play anywhere, which are popular right now. Ranking and scoreboards will also be different, with the focus shifting more to different ways to communicate with other players rather than individual scoring competition. I think it will be interesting when people on a train can be playing something like Time Pilot against each other. There's a strong impression that shooting up till now is something for hardcore fans, and its difficult for beginners to get involved. As you can see with recent Cave titles, I think future shooting games will be made to have a wider appeal. So I think the direction we're moving in is more casual shooting games that anyone can pick up and play. —Are you interested in making casual shooting games in the future? Ichimura: I'd like to make a shooting game that doesn't feel exactly like a shooting game. Lately all sorts of new things have been happening in line with new hardware coming out, and I think we have to start pursuing those avenues. But my hands are full right now with researching various things, and I don't have time to start planning something new. I'd like to spend more time thinking stuff up, but when you also have to consider that a game needs to be profitable it gets really difficult. So for now, please just let me devote myself to programming. (laughs) There are several things I'd like to experiment with, too, but they're for platforms Cave isn't developing for. I'm thinking to just work on them in my free time at home, at my own pace. —Please give us a final message. Ichimura: I'm going to keep making shooting games with Cave, no matter what form they may take. I'd like to collaborate on more games with Ikeda... but lately he's been very busy and it might be difficult. And in the first place, its kind of weird to be talking about the Director actually programming games himself at the office. (laughs) I will keep making shooting games, so to all our fans, I hope you will keep coming along for the ride!
Junya Inoue Translated by blackoak. Central Works: Dodonpachi Esprade Guwange Progear no Arashi Dodonpachi Daioujou (part of the illustrations) Deathsmiles series * Mainly oversees character design, game setting, and story. On Deathsmiles he also directed as "graphics president." His manga "BTOOOO!" has been in publication since 2009. —Please share your thoughts regarding Cave's 16th anniversary. Inoue: It feels like the child who was so small is finally all grown up! (laughs) I joined Cave about 2 years after they had started, in the middle of Dodonpachi. Since they were in the middle of it, I wasn't given too much of the main work. Judging from the style of the team making Dodonpachi at that time, the main work was the bosses and stages, and things like the story, opening, ending, and ship select weren't thought of as very important. So my boss at the time told me, "Its not that important, so Inoue, you do it." Since I had essentially been told "do whatever" with the story and ending, I was really lost as what I was even supposed to do. (laughs) I mean, since the stages and the protagonists and the ships were all already completed, how in the world am I supposed to come up with a story after the fact?! Even now I wonder about that. Anyway, I ended up studying up on the prequel, Donpachi, and realized it didn't have that deep of a story. Well, now I could relax a little... and with that feeling my work at Cave began. Since then, I've quit the company but I'm still connected to them even now, with my work on Deathsmiles II this year. Its been a long, lasting relationship. Though Deathsmiles II will be my final game with Cave... (laughs) —Weren't you saying the same thing when Deathsmiles was released? Inoue: I… am a liar. (laughs) The truth is, I hadn't been involved in any of Cave's sequels so I was interested this time. From the start I had wanted to do sequels to the various projects I had worked on; there's ideas you just couldn't fit into the first game, and new ideas keep coming up even after its finished, and I wanted to somehow bring those to life. It ended up that when I talked with Ikeda about all this he was like, "Ok, you do it then," so the direction became my responsibility for Deathsmiles II. I was busy with my work as a manga artist, and I wanted to change the atmosphere from the first game, so I was going to hire a different illustrator and focus on direction myself... that was the plan, but somewhere along the way it turned out that I had come up with all these new design ideas, so in the end I did the illustration myself. Its controversial to change the visual design like this, but if I can't get the feeling of satisfaction I'm seeking from the first and second designs, I will change it again for Deathsmiles III. (this is also a lie) —In Dodonpachi, how did you come up with lines like "Shinu ga yoi"? [[ translator note: a translation would lie somewhere between the gruffness of "now, die" with the nuance of permission, ie "you may die now." the key point is that its not a crazed SHINEEE!!!, Hokuto no Ken style threat. ]] Inoue: There's always various tensions when you make a game, but with Dodonpachi I was pretty relaxed. So I think that's why that kind of catchphrase and character came about. I touched on this before, but I think that for each game you work on you have to take things according to their circumstances, and not be too hung up on particular ideas. I think that in a game's characters and background, you find the core of the story, and the world of the game flows from there. Many games at the time which were called "masterpieces" had a world and story which were closely intertwined, after all. But with Donpachi and Dodonpachi, that wasn't the case at all. So no matter how seriously I tried to create a backstory I thought I would never reach something on the level of the Raystorm games. With that being the case, I had a very blase attitude about it and the result was that I just worked on things in a very casual way, not taking it too seriously. (laughs) After I had finished working on Dodonpachi, sometime later when I saw the words that come up before the last boss, "Saishuu Kichiku Heiki," I exclaimed, "Ikeda!! Yet again you've put more of your insane pillow talk into this game!" To which Ikeda replied, "YOU wrote that!" (laughs) I guess I was so relaxed I forgot what I even did. (laughs) So please don't give me too much credit or respect for Dodonpachi. The one who deserves that is Ikeda, for the feat of designing those charismatic bosses. Only in doing so we'd end up adding some strange language to the game. At the time a senior employee at Cave (he was something like a director) was announcing to the development team that his image for the game was Uchuu Senkan Yamato, and I thought that here was a Star Wars lover who'd just revealed his true colors. With that, I told him I was thinking about refining the story for Dodonpachi to be more like 70s era sci-fi, and the phrase "shinu ga yoi" just came out naturally. I'd completely forgot about all that... (laughs) They seemed like phrases that Battleship Yamato villains like Lord Desler or Emperor Zwoda would say. [[ translator note: saishuu heiki is a normal word that means "ultimate weapon." Adding in kichiku, which means "brute" or "cruel" makes it "ultimate brutish weapon." An extra layer of meaning comes in from the fact that "kichiku" was popularly (mainly) used to refer to Americans and English soldiers as "brutes" during WWII. This would be more overt given the military theme of Dodonpachi. Also, regarding "pillow talk" or makurakotoba, the meaning is different from how we colloquially use the phrase is English; it refers to set phrases in classical poetry in Japanese, rather than erotic bedside banter. In other words, Inoue is referring again to Ikeda's known proclivity for using strange language. ]] —Speaking of Ikeda, from your perspective, what kind of person is he? Inoue: I probably shouldn't say too many weird things about him in public like this. But I have nothing to say but weird things! Strange people seem to always be drawn to him. One time, on the train he saw a man in a tank top who looked like he was about to be kissed by another man standing behind him. This guy in the tanktop was really well built, and the guy behind him seemed to have his lips puckered up as if to say "What a wonderful back! <3" Ikeda saw him posing luridly like this, as if he were waiting for the brakes on the train to suddenly be pulled so the man would fall into his waiting lips. Ikeda's always seeing weird things like that. He observes mysterious things too. On the last train of the night, he saw an old man go "UGH" as if he was about to upchuck the entire contents of his stomach, and yet he never threw up, but his mouth kept getting fuller and fuller, almost to bursting. Ikeda observes many things that one would just normally ignore. There's something in him that seems to attract these kind of strange people. Its a quality that can't be mimicked! Cave: (a Cave staff member who was sitting next to Inoue at the interview, hereafter "Cave"): Ikeda is always saying "Junya is strange." Inoue: He doesn't call me Junya! Ah, that's creepy! Cave: It would be funny at an event if you both did a routine with "Jun-chan" and "Ike-chan." I bet the fans would like to see that. Inoue: Yeah, it would be funny to see those two arguing. And with 1 mic between them. Ughhh, I'm disturbed! (laughs) —Do you often butt heads with Ikeda? Inoue: Quite often. If Ikeda is the King, then I am the Prince... neither of us will back down. But lately Ikeda seems to have withdrawn and is not too involved with development, so I haven't had much feedback from him. Cave: Whenever Ikeda calls me the phone calls go on and on. It gets to the point where even he says "I don't want to talk on the phone anymore." Inoue: Its worst when he's in high spirits, isn't it? Lately I've been keeping his number blocked. (laughs) Cave: When it happens that Ikeda has been talking for an hour and I can't believe he's still going on, I suddenly realize from the content of the conversation that its Junya he really wants to talk with. If only he'd just use email. (laughs) Inoue: Hey, these are important conversations! If you tried to do this in email it would take 8 times as long! Talking all these things over is the key to a good game. Cave: Why not just come to the office? Well, actually, then the meeting would never end... (laughs) It would be like, I'm STILL here?! There he goes again, just talking on and on with no consideration for his fellow man... Inoue: Oh, but there is. These are important conversations that will determine the basis of the game. "On men's moe obsession with girls" and so forth. When I first heard Ikeda say such things I thought, "what the hell did he just say," but due to his excellent powers of persuasion I have come around and sensed something very deep... he introduced me to some research materials, and I ordered them from Amazon... Cave: ... (embarrassment) Inoue: Ikeda called me one night at 11PM and shared his wisdom, "You can't make dressing in drag look so free and easy! You've got to make him look all frustrated, like he's saying 'No, no!'" As a result of that session I realized, "Yes! I've got it!" and the character Lei was born! —So that's how it was... by the way, which Cave character would you take as a bride? Inoue: Well, I'm not familiar with the characters of Cave's other titles, but if I had to choose one, I would say Windia or Irori. I have a lot of affection for the characters I've made, you know. You've got to love your own work, first and foremost. Though if that feeling is too strong, other people won't like it, you've got to be mindful of the balance. (laughs) So I feel I should say "daughter" rather than "bride," right? (I'm taking this too seriously) —...ok then. Of the games you've developed, which ones have a special emotional significance for you? Inoue: In their own way I feel a strong connection to various things, but in the sense of which one was the most challenging, ESP.ra.de. I felt inside that I had changed Cave with this game. Also, Guwange, for showing me that I could draw pictures like that. These two are most significant for me because I feel like I was able to express myself with them most fully. Deathsmiles, on the other hand, was more like "how do I make others happy?", and as far as my personal attachment goes, is therefore lower than Guwange and ESP.ra.de. Cave: The world of Guwange is very unique. Inoue: Cave made a big fuss about the Japanese aesthetic at first... I wasn't at the Guwange team at first. One day I took a peek at what they were doing, and they were saying the Japanese style would come from mechs with Japanese roof tiles as armor... and then I exclaimed something like "How exactly is that 'Japanese' style shooting?!" Well, after that, you know how it is... once you speak out you've got to help out, and I joined the Guwange team. So after that I aimed for a Japanese style that would include things like youkai, yuurei, the awe of sakura blossoms, the beauty of blood, the excitement of summer, and so on. To achieve this, I felt the image of Edo and Sengoku (warring states) periods were too close to current human civilization to be effective. The more ancient Heian, Kamakura, and Muromachi eras would really give a more "youkai" feeling to things. The divine presence of the kami and the sense of mystery would be greater, too. Cave: There aren't that many games with such a Japanese taste to them. Inoue: Within the already small genre of shooting, the number of games with a Japanese aesthetic is yet smaller. Speaking broadly there's the Shikigami no Shiro series, but that Japanese aesthetic is rather slight there. There's also the Vasara games. Ikeda loved the image of Tokugawa Ieyasu smoking a cigar in that game, and he said to me, "I want to blown away like this." —You did some fine voice performance in those games too. Inoue: That was just playing around. I absolutely can't do vocal performances. Like Hitchcock or Tarantino, I wanted to leave my... fingerprints? (laughs) on my work. Its an expression of the feeling I have as a kind of director, wanting to shower my work with love! On the other hand, projects that I haven't had much attachment to don't have my voice in them... like Yanya Caballista... right? I tried doing some voicework for Satan Claws, but we found someone perfect for that role. And we've been doing full voice work for our games lately, so the pretense for me adding my voice is gone. I stepped back a bit for Deathsmiles IIX and only recorded my voice for the boss Tamekosu. I'm really bad at vocal performance. You know, my lies always get found out, so my acting sucks. My specialty lies more in coming up with lies. Cave: I think its funnier with Junya's monotone readings! Inoue: It makes the passionate fans happy when they see little chinks in the armor like that. They like to find our little faults and enjoy brandishing them about and teasing us. "Haha, look at this dialogue!!" kind of thing. They're laughing at us! Cave: I know (laughs). As soon as you say "Cave" they start grinning. Inoue: We can use that to our advantage, in a sense. After all, our games are pretty slapped together... (laughs) You now, at a live event recently SawaXXXX-san's ass was half-revealed, and it was kind of chubby, and he was jokingly scolded "you've been slacking off!!" But I say, that's good! Because you can see the little flaws. If you can't see those, its lacks charm. When you get down to it, Cave also has a strength not unlike SawaXXXXsan's ass. How do you like it, my "ass theory" (shiririron)? Or "shiriron," to say it like Ikeda! [[ translator note: the typically inane Japanese pun here comes from the fact that "shiri" (butt) and "riron" (theory) share the sound "ri", so combining them in one word sounds like the kind of silly catchphrase Ikeda would apparently come up with. ]] —Speaking of Deathsmiles, I hear you forgot the name of your own characters... Inoue: You must be referring to the time we were creating merchandise for Deathsmiles... Cave didn't know the name of the character's magic. So they asked me "What was the name of Suupi's magic again?" I'm really bad at remembering names so I always choose things that are easy to remember. The magic names were based off what they yell out: "ho, ho!", "ki ki ki ki..." "boo boo", that kind of thing. So I was trying to remember what Suupi called out when she used her magic, and I thought, "gaago", that's it! and emailed Cave back. Later I learned that it was actually "gyaasu". (laughs) Because of that I think we had to reprint some things. (laughs) Please, don't trust me! —Are there other names you came up with in a similarly convenient way? Inoue: At this age, I have a hard time remembering those names. You try remembering something like "Colonel Schwarlitz Longhena"!! If there were some keywords or something it'd be easier to remember. With "Irori" from ESP.ra.de, there's the common word "irori" ("sunken hearth/fireplace") that everyone knows, and it conveys an image of Kyoto, where she's from, and it also evokes the winter setting of ESP.ra.de... with all these allusions, its the perfect name. And it has "rori" [["loli" or lolita]] in it! Perfect! It has absolutely nothing to do with the Okonomiyaki restaurant near Cave's offices. Other than that, most of the names I choose are named after something already existing. I think Its easier to remember that way. For example, in Progear everything is named after parts like "Ring," "Bolt," "Chain," "Nail," and "Rivet." Deathsmiles too, there's kazedukai -> kaze -> wind -> Windia. Shireidukai -> yuurei -> a movie example -> Casper. The fire user was faia -> foia -> Folette. For Suupi, based on an image of an impoverished girl selling matches, it went: himojii (hungry) --> nemui (sleepy) --> su~pi~ --> Suupi. There's not much to it, you see? When I was at Toaplan and Batsugun came out, people complained that they couldn't remember the names of Beltiana and Alteeno.. "is that German?" So it comes from a reaction to that. (laughs) —How did you get into manga and games? Inoue: I've always liked manga, but for games, when I saw Makaimura at a game center, my destiny was changed. And it was in my second year of junior high, when you're most vulnerable to obsessions, so I really got addicted. Thus began my disreputable life of going to game centers. After that, I temporarily set aside my goal of becoming a manga artist because I entered the game industry. Lately I haven't been able to play games at the game center, but I do occasionally play "Tomb Raider: Underworld" at home. As for manga, I draw at home and in the office for my own pleasure and to keep my skills sharp. (laughs) —Do you think making games and drawing manga have anything in common? Inoue: To me, they're pretty much the same. There's a world, and characters, and you're thinking of the best way to show all that as you create. You imagine characters and scenes, and you're trying to figure out what their goals, how they act, and finally you decide to show the best parts in this or that way. I really get into all that so its interesting for me. Following that logic, I think making games and making manga are the same to me. My style is to create a world and setting, and from that a story, so I don't spend too much effort establishing the characters (laughs). The Colonel was made much more deliberately, so that's a different story. But ESP.ra.de and Guwange were that way. I place a lot of importance on the packaging and the coloring. As there's 3 or 4 heroes in those games, I can't spend an inordinate amount of time drawing any single one. This story-centric way of doing things causes the same kind of things to happen in manga too. Though in today's era, its not really a good thing, but... —I imagine its very difficult to work on both manga and games at the same time. Inoue: I'm the type of author who really gets absorbed in one thing, and if I can't develop the world even deeper than the players and readers end up seeing, then I feel like I can't present it. So if I end up having to do too much, I can't focus on one thing at a time deeply and I end up losing interest entirely. When that happens the work falls apart. I'm always afraid of that. —Will you be attending future Cave festivals, where you get to mingle with your fans? Inoue: If I do some work with manga, then maybe... when I release something new I feel like I should attend, but it seems a little strange when I'm a guest everytime. When I think about how others might see my attendance it seems somehow improper, so I'm planning not to come for awhile. (laughs) That reminds me though, last year at the Cave Matsuri I met a guy who told me he had met his girlfriend because of Deathsmiles. I was very happy to meet someone like this. I was curious how it happened. I worked hard on making Deathsmiles a cute game that a girl could look at and not feel weirded out by, and wanted it to be a game that people who don't normally play shooting games could get into. So when I heard some two people got together through Deathsmiles I was like, "I did it!" Cave: Fans of your manga and fans of your games both come to Cave Matsuri events. Inoue: Yeah, there are many Cave fans who keep an eye on my work. When I did a signing event in Oosaka, close to 80% of the fans said they were fans since my Cave days. Those are the people who support me and my work. I have fun drawing pictures and such at the Cave Matsuri events, too. —If there's anything you'd like to say about Cave, please take the occasion now to speak freely. Inoue: I'd like them to make major games, like the kind you see on commercials. Doing that, of course, would mean graduating from the world of 2D shooting. But Ikeda is a person who operates on the logic of "is it interesting?", so I think its a waste for him to be so bound by 2D shooting games. I've been saying this for 15 years now. In the future the world of shooting games is going to get smaller and smaller, but I think it will remain without disappearing. It has a kind of strength, being a genre with a solid fanbase, and the games aren't expensive to create either. Even if it shrinks, I don't suppose it will completely disappear. Cave: Well, how about Deathsmiles III then? Windia's children's generation? Inoue: Don't tell lies! (laughs) That would change the setting in a strange way because it would have to happen before Windia went to Gilverado. I'd rather remake Esprade. I'd update the graphics and world and call it "Esupriredo" or something. "Guwange RPG" sounds interesting too. The character wouldn't be Shishin and them, but would be the player's own customizable avatar. I'd keep the stages short and increase their number and get to draw a bunch of different motifs. It would be like going on a pilgrimage through ancient Japan. Well, I should stop now. If I say any more they'll ask me to start drafting a design plan. —Please give any final message for your fans. Inoue: I, Junya Inoue, and Cave, are supported by the love of all our shooting fans. We will keep this devotion close to our hearts as we continue to do our best. Thank you for everything.