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  1. We're back with even more 360. More Pork. More Sweets. More soul. More Nyaa.
  2. Hideki Nomura Translated by blackoak. Central Works: Ketsui Espgaluda series Mushihimesama series Ibara series Muchi Muchi Pork! Deathsmiles II Dodonpachi Daifukkatsu He primarily does character design and the interface/menus. On Ketsui he did part of the maps, and on Espgaluda II and Mushihimesama Futari he did the world/setting. —It looks like you're very busy right now, but how are things going? Nomura: The project I'm working on right now, Akai Katana, is at the final critical stage. Everything has to be completed within one week. Normally I'd have more time, but I have so much other work to get to... Right now, I-san of our subcontracted staff is sitting next to me, and he works very quickly, so I've had to hand the next design drafting work to him. I want to get started on the modeling, but without the design drafts the team is stuck... but they aren't something you can just come up with in an instant, they take time. You have to look at all the materials we've come up with for the game and draw new patterns too, and when you finally think its right you can hand it over. So while I'm waiting for all that, I'm not doing anything at all. Only when I-san returns can I finally get to work. (laughs) So I can't even really get started on my work until the evening. —You also work on the interface and menus. What kind of difficulties arise there? Nomura: The world of the game and the menus are connected, I think. For instance, if its a mecha game, it would be strange to have a Japanese aesthetic in the menus... a mecha game should have mecha styled menus to make the game consistent, so I always work on them myself. The truth is I should probably give that kind of work to someone else, but I always end up doing it. I'd like to give more work to others, but we don't have enough employees. (laughs) And I feel bad giving so much work to the subcontractors, knowing they'll be stuck here all night. So I usually portion a certain amount of time for it and then just do it myself. Once its decided whether the game will be mecha or character style, and the general world and setting of the game are known, then I put the menus together. Because without any kind of motifs or themes I can't do anything. For this game, the katana is the motif, so I try out different backgrounds and search for interesting visual materials until I find something that fits. The truth is I don't have enough time to do it all, with only two weeks to make the character select screen, name entry screen, and ranking screen. I'm barely able to keep on schedule. I always say I'm not going to do anything else while I work on the menus, but in the end something extra always gets put on my plate. —With all that work, how have you not collapsed?! Nomura: While I'm working on a project, its somewhat mysterious, but my body never breaks down. Even now, I can't remember the last time I took a break, and for days and days now I just go home and go straight to bed. Somehow, I just keep going on... because if I collapse now, its all over for the project. (laughs) Though, it has happened that I collapse the moment a project is over. (laughs) Its probably because I'm so tense and keyed up while I'm working. After a project is completed I'll sleep for over 12 hours. Well, actually, the truth is that we're always crunched for time. Location tests, game shows and events, release deadlines... it never lets up. Projects don't always start out busy. Lately the busiest part has been all the initial planning, and once that is over, to a certain degree you can decide your own schedule, and work on the things you want at your own pace. Of course, in the final stretch its always hell. That reminds me, I had my health checkup today, and I've lost a ton of weight. (laughs) Aside from not eating much at night, I haven't changed anything in my diet but I'm still losing weight... it might be from never taking a real break. And yet the doctor said to me, "you've gotten a lot better!" I had mixed feelings about that. (laughs) I moved not long ago, and I'm close enough to walk to the train station, so that's good. —Maintaining your health seems difficult... Nomura: During our last project I had some free time, so I would go running at night. I'd run to the Tama river, but I never lost any weight. No matter how much I ran I didn't lose weight, though I know why that is. After you exercise food becomes a lot tastier... I'd get back and have a beer and such. I figured since I was sweating it was ok. (laughs) When I was running crazy distances in the middle of the night I lost nothing, but now with all the hard work I've been doing at the office, I've lost 5kg. Its a mystery to me. When I was running, before coming back for overtime I'd go have dinner at a place nearby. They didn't have fish there, it was only meat. I was eating a lot of heavy food then, and it probably wasn't good for my health. I'd have an American burger one day, and a Japanese style burger the next... you can't lose weight like that. (laughs) Now that my wife and I live together, I think that's had a very positive effect on my health as well. —You've definitely been working hard for quite awhile. What are some of the more memorable titles you've enjoyed working on? Nomura: Ketsui was very memorable. I joined Cave because I wanted to work on shooting games, but at first, fate seemed to be against me. I wanted to make shooting games, so I brought a bunch of my mecha design drawings with me to the interview, but after the interview they told me, "Ok, well, starting tomorrow, you'll be working on our snowboard game." I was very surprised, "What, snowboards?!" (laughs) Well, I figured it was good that I had even passed the interview. My first project was with the snowboard team, and my next three projects were all snowboard games as well. While making those games I started to think, "Am I only capable of drawing snow...?" At this rate I was thinking of quitting, but then like a godsend a space on the shooting team opened up, and that was for the project Ketsui. I was told to work with Tanaka, who was managing the backgrounds and maps for the game, but when I was all of a sudden asked to draw like him, I couldn't do it right away. So at first, for many days I stayed up all night, and I slept at the office for 9 straight days. Though I did go home to take a bath each day. —Weren't there any sentou (public baths) near the office?! Nomura: I don't like those for some reason... my routine was to go home, take a bath, eat dinner, and come back to the office around 11PM, and work until morning, getting some quick rest before the next day. It was tough when I couldn't go home for my own birthday though. I spent that birthday all alone at the office with a bentou lunch. (laughs) But a nice employee from the mobile content division did bring me a cake. I was happy to make that connection, but the game development team at Cave is full of people who work very quietly and keep to themselves, so I was a little worried at first. Working on the backgrounds for Ketsui, I did the maps for stage 2, the final stage, and the menus. It was very memorable for me, being entrusted with work that was so hard and challenging. If only I could have started doing work like that from the beginning. Espgaluda II was the first project I was the lead on, so in a different sense that was very memorable. I had to think of all the character names, but there aren't too many names that will sound cool if you take them from butterfly names. (laughs) I think Espgaluda was a very complete work, so I struggled with thinking how I would connect a sequel to it. There were many difficulties, and at first I fought with the programmers. (laughs) It was over a development tool I needed. Before Galuda II, when I created the data, I'd have to compress everything by hand so it could fit into memory. But if I was going to do all that for Espgaluda II, it was going to take over 6 months of work, so I asked them to make a tool to automate the compression. They came back and told me they couldn't really do it, to which I replied, "well, I can't do my job either then!" It was a stubborn back and forth like that. (laughs) Finally, the tool did get completed, and without it I don't think the game would have been finished. (laughs) Because of that one fight, everything, including the console port, went smoothly, so I'm glad it happened. The development time for Espgaluda II was only 6 months, which was rather short. So during that time I rented a futon and slept over at the office. I set it up in the corner of the office, but that was near an emergency exit so it was problematic and the security guard made me move. (laughs) I had no choice so I moved to another part of the office, but that was where other, non-game development staff were working. When they'd arrive for work in the morning I'd be forced to wake up, so I couldn't really get any respite anywhere... I'd end up going to sleep at 7 and waking up at 8. That was my life. —Did you also fight with other employees about everyday things? Nomura: No, not at all. You can't really work with people if you have bad relations with them like that. Of course there's been times when I've had to force a smile and hold my tongue. On the project we're working on now, I blew up once. Though when I look back at it now, it was probably for the best, too. (laughs) Basically there haven't been any real conflicts between everyone... just the normal extent of "well, I'm not sure if this is the best way to do it" and so on. I don't think its good to completely criticize another person's ideas. When we have meetings to decide on new titles to develop, Ikeda will come up with some insane idea and I'm left wondering who the hell these people are I'm working with. (laughs) I really like Dodonpachi, and when I'd bring some "normal" ideas inspired by that design I was told "its too normal." To mention some weirder ideas of mine, for Espgaluda II I made a character that only had a head and neck, and everything below was a tank. When we brought that out at the AM show, the players said, "It looks like he's speaking, but I don't see his lips moving..." That's because his face is actually elsewhere. (laughs) After people understood that, in a weird sense he became a popular character. The idea for him was "a man who abandoned his flesh to become powerful", and having spent so much time on this idea, I had a lot of fun and really went all out with designing him. I even designed parts of his body that you can't see onscreen when he transforms. [[ translator note: I haven't played Espgaluda II so I'm not exactly sure who this refers to. Madara's second form? ]] —Speaking of transformations, was anime a big influence on your love for the mecha style? Nomura: For mecha stuff I love Gundam, but the transformations were largely influenced by the Valkyries from Macross. In addition to buying Valkyrie plastic kits, I also did a lot of papercraft and made them be able to transform. I've always like arts and crafts like that. Liking shooting, I also like mecha stuff, but originally I was obsessed with Gundam and wanted to become an animator. But in high school I played a lot of different games and started wanting to work in that field instead. That was around the time I started drawing pixel art. The first company I joined had a pixel art test, and because I passed it I was hired. At first there were tons of things I didn't know, and the closest person to my age was seven years older than me, so I had many difficulties. Even though I learned the fundamentals of pixel art there, before I knew it pixel art was fading away, and 3D rendering became the mainstay. I occasionally still do cute pixel art for nostalgia's sake. —Is there a connection between your interest in pixel art and Gundam? Nomura: Yes, I was wanting to talk about that. (laughs) There are these really small building blocks called "Nano Blocks," and I am beyond obsessed with them. They're about 1/4 the size of legos and they make various different shapes. When they first came out almost no one knew about them and I thought it was rather lonely, but I've been posting my creations on my website and lots of people have come to see them. —And that relates to Gundam...? Nomura: It will be quicker if I just show you. (shows a picture of his Gundam nanoblock creations on his cell phone) You can see stuff like this on my blog, too. I generally spend about three hours working on them before bed. They're very small, so you can only make things you already have a general idea about. I can finish roughing in a piece in about 3 hours, and then I enjoy touching it up here and there. The things on my homepage are often too big to display elsewhere, so I post them there for posterity before breaking them down. —You should sell them at the Cave Matsuri event! Nomura: I've made all kinds of characters, including characters and crafts from Cave's games. But the problem is I can only make one; I can never make the same thing twice. (laughs) So I can't sell them. There's also a lot of difficulties with making them. My hands have gotten all swollen before from it. Tweezers are hard to use and if you can't use your hands, it just doesn't work. Sometimes when I'm working, I'll drop the piece and it will crash to the floor... then I'll be on my hands and knees searching for nano blocks under my desk in the middle of the night. (laughs) —Your talent for pixel art must help you out here. Nomura: Yeah, it might be true that my pixel art experience of long ago allows me to make these now. I used to build with legos too, but they were too expensive for what you could do with them. But when I saw nano blocks I thought, "this is it!" I became so obsessed with them, it was like this was my life's work. For a period I thought I might even try doing it professionally. I actually really want to release some things for Wonder Festival, but I haven't made any building recipes. After you've built something, you can't really deconstruct it and make a recipe after the fact. I would love to see nano blocks get more attention, and become better known. —For Cave's characters then, you must surely favor the mecha ones? Nomura: When it comes to drawing, I actually prefer the creatures in Mushihimesama, like the dragons. I like things that I can draw in one burst of inspiration like that. With mecha, I start to get stressed out trying to make the parts fit together. I love dragons, so in Mushihimesama I thought, well, its not insects, but maybe I'll add some dragons... and really enjoyed drawing those. —Was it drawing pixel art that attracted you to the game industry? Nomura: I started doing pixel art in my third year of junior high. In high school I got my motorcycle license and soon started spending all my time at the game center. Around then Ys on the MSX2 came out, and playing that was the thing that made me think I wanted to work with games. I was then employed by my previous company, and when I went to the interview it was in a small, 8-cho apartment. I was surprised, but when I went in and saw game hardware all over the place I finally realized, "Aaa, this is a game company!" I thought there would be a lot of fresh high school graduates like me there, but as soon as I got in they immediately gave me boss characters to draw! I thought of myself as an amateur, but it turned out I was able to do a good job, and I was very happy when I saw a commercial for our game on TV. At Cave, Ketsui was my first shooting game, but shooting games had been my first official work in the game industry, as well. At that time an amusement park had just been built near me, but everyone went to the game center. Even though Disneyland was within walking distance, everyone went to the game center anyway. So its pretty sad to me now, seeing the game centers dying out. I moved recently, but there's no game center near me so I haven't been able to go. Before I moved there was a really hardcore game center near me, though. —It seems like you've been playing all sorts of games for a long time now. Nomura: I really like strategy games for all the customizing you can do. I loved "Front Mission." I spent so much time customizing all the parts and changing the colors of the mechs and stuff, that it seemed like I would never even start the game. For the Super Famicom version of Wizardry, too, you could draw your own characters in game, and I'd spend tons of time on that without ever starting the game. My favorite game though was probably Tactics Ogre. I like that dark kind of atmosphere. I also loved Ys, the story and the music were so well done, and that is the game that inspired me to join the world of making games. —Tanaka was saying he hates strategy games. (laughs) Nomura: I tend to draw whatever I think looks cool, but Tanaka is more like, "There are not ducts here so the ship has no intake." He's taught me various things. (laughs) I was impressed because I had never met a person with so many particularities like him. I was glad to have been put on the Ketsui team, but at that time I had no idea how to draw airplanes and fighters jets with realistic weapons. So I figured I needed to study up, and I bought a bunch of reference books and poured over those. Up till then I had thought drawing a tank just meant sticking a cannon on and you're done. But recently I've been able to incorporate what I've learned into my designs. —Do you ever object to any of Ikeda's ideas? Nomura: We fight a lot... its a love hate relationship. (laughs) I think that's just how it is when you're a director... you can't always be liked by everyone. You can tell he really loves shooting games. There have been many times where I've wondered why this guy is working so hard, and even though he's the director, he's the last person to go home. He's really amazing. I would like him to spend more time training his successor, though. If we were to collapse, there'd be no one who could continue his work now. I understand though, because I'm also the kind of person who wants to do everything by myself. On this project, Akai Katana, Ikeda was one of the staff and gave us various ideas. Everyone added their own personal opinions, and even though we'd spent so much time mulling it all over, some new idea would come and upset everything we'd worked on. Of course, that new idea would have to be integrated into the old, and that's how you get a good game. The team is everything... individually, you can't do it all. —What do you think shooting will be like in 10 years? Nomura: I think the entire game industry, not just shooting, will be very different. More and more games and movies are starting to use 3D technology now, so I think we'll finally see hologram style games we dreamed about in the future. In the old Macross series, there was a scene where the ace pilot is at the game center shooting down the enemy fighters, battling with the Batroids that would appear in front him. I was impressed by that when I saw it. It will be interesting 10 years from now when we have games like that. —Please give your fans a final message. Nomura: If you're trying to get into the game industry, don't get discouraged. I faced such potentially discouraging situations many times, but it somehow all worked out! (laughs)
  3. Shinobu Yagawa (CAVE Arcade Technical Leader) Translated by blackoak. Central Works (He primarily works as the main programmer.): Ibara Pink Sweets Muchi Muchi Pork! Dodonpachi Daifukkatsu Black Label Espgaluda II Black Label (360 version) —What kind of work does a main programmer do? Ikeda (who was sitting beside him): Our work, as the name suggests, is the game programming that ties everything together. Within that, the work is divided into two types, with one group handling requests to "program such and such a section" and another group that actually does the main core programming. Yagawa: My job as main programmer is to create the game. Ikeda: That's a vague response. (laughs) Yagawa: Not it isn't. Its right on. —To your fans you are also known by the initials "YGW." Was this a name you used in response to Ikeda's "IKD"? Yagawa: No, it was nothing like that. (laughs) I also didn't make that name, the players just chose to call me it on their own. Ikeda: In my case, it was also to hide my name, but if you look at the staff roll it all comes out anyway. (laughs) —It seems programming is very important work--the heart of the game. Yagawa: I don't think its the heart of the game. Its merely one part that makes up a game. I definitely think its important, but the graphics and sound are both equally important. However you look at it, the total design and the properly adjusted balance are the most important things when creating a game. That is the thing that decides whether a game is interesting or not. —Is an evolving difficulty system (rank) the hallmark of the "Yagawa style"? Yagawa: People often say that, but I think its an exaggeration. I've also done games without rank, after all. But its certainly the case that my arcade games have that feature. Its not because of some particular insistence on my part, but rather because income at the arcades is equivalent with the amount of time one spends playing. It sounds bad, but it was one of my methods for increasing income for arcade operators. —In doing so, the difference between skilled and poor players really becomes apparent. Yagawa: Well, that's why skilled players spend a lot of money. (laughs) On the other hand, if you practice a game, and despite getting better you don't get to play for very long, I don't think you would want to keep playing. Personally, I've always liked shooting games, and I think being able to play longer and longer as you improve at the game is enjoyable. If you spend all this time improving at a game, only to have it gradually end more and more quickly, then I don't think its very fun and it won't be played. —Does your own level of skill affect how you adjust the difficulty in a game? Yagawa: I'm not really playing shooting games like this anymore, but in the past I think I was pretty good. (laughs) Naturally, when you make a game you test play it, and I think there ends up being a relationship between the programmer's skill and the skill required by the game. Though I'm not sure if that's apparent to other people. Actually, among programmers, there are plenty of people who aren't very skilled, and when those people are forced to make a "difficult stage", they unfortunately have to rely on their imaginations to create it. If you don't understand how to make something difficult interesting, it ends up being guesswork. There is such a thing as "interesting difficulty", and when programmers tried to just guess what that was, it never turned out very good. I don't have much fun when I play games that are said to be "for beginners"... even though I'm not that good anymore. (laughs) When I was really into it I would finish simple games very quickly. If there were something after the first loop it would be fine, but if not, it would stop being interesting and I'd stop playing there. If the game doesn't have something past the first loop, or something else about it I can sink my teeth into, then I probably won't play it. —You said you aren't playing games anymore, but does that mean you aren't going to the game center, either? Yagawa: Not too often, but I still go from time to time. I don't go to do market research or for anything related to work... just to play. Though if I had fun playing something I have ended up remembering it for future reference. But I never go to the game center for the purpose of doing research like that. Lately I don't play any games other than shooting there. When I was going to the game center often, I liked versus fighting games as well. —What do you play at the game center now then? Yagawa: Shooting. (laughs) —Do you play Muchi Muchi Pork, your own creation?! Yagawa: No, as you'd expect, I don't play that now. (laughs) I play what we now call "retro" games, I guess. When I happen to see old shooting games there I get nostalgic and end up playing them. Sometimes there are games that I was obsessed with back in the day, but when I play them now... I can't believe how boring they are! I wonder why I loved this so much? Why did I spend so much money on this? ...alone in the game center, I ponder these things. I certainly thought they were interesting at the time. Games themselves are gradually able to do more and more interesting things, but old games must always remain old games, just as they are. I only stop by the game center on occasion, so the lineup is always changing and there's no game I'm really into right now. And I can't tell you what I've actually been playing or it will reveal the identity of the game center I go to. (laughs) If that happens, like it has with Ikeda, it will be difficult for me to go play there. Everyone knows Ikeda's face, so when he goes to the game center he's always approached by a bunch of people. He should try wearing a disguise or something... Ikeda: I don't want to go that badly. (laughs) —Do you feel like the shooting games you made are the best? Yagawa: That's not entirely untrue. (laughs) But if I said Battle Garegga, I'd sound like a weirdo. (laughs) For people who like shooting games or are interested in them and want to have a lighter experience, Armed Police Batrider is preferred, whereas Battle Garegga is more for when you want a disciplined, focused experience. Also, people often say this on the internet, but Gun Frontier... I've pretty much fully exhausted it now, but its the game I played the most. Hmm... I've played so many games.. I can't remember the titles! Ah, its not shooting, but I liked Samurai Spirits. But I didn't play Street Fighter II. By the time I thought I'd play it, I had missed the boat, and just kept getting destroyed. (laughs) —Since you love games so much, you must have a lot of hardware?! Yagawa: I don't own any. There isn't a single console set up at my house. The last ones I purchased were the Sega Saturn and the Playstation. I'm glad I bought the Saturn, but I only own one game for it. (laughs) That game, by the way, is Virtual Fighter. But since then I haven't bought a single game... as for my Playstation, I lent it to someone, I wonder where it went. As you can see from the state of my Saturn, there aren't any recent games I've wanted to play, so I don't own any consoles. Speaking of shooting games only, the Saturn had a lot of arcade perfect ports. But I'd rather go to the game center or buy the pcb. I have about 150 pcbs of shooting games alone. So if something is an original game I'd buy it, but I won't buy ports. —You own that many pcbs?! Yagawa: Yeah, and its definitely inconvenient owning this many. (laughs) I have no place to put them all. Many of them were bought for cheaper than you'd buy a new console game today. I don't have many in my bedroom, I keep them in a separate location... —Why don't you open a game center? Yagawa: Everyone says that. (laughs) Opening a game center now would be a big gamble. I'm can't spend the rest of my life that way! (laughs) —How about this... you could sell cheap candy to little kids and have each credit cost a mere 10 yen! Yagawa: Any way you look at it, it'd be bankruptcy! And I'm bad with kids to begin with! Do you know how much the electricity and the rent alone would cost... if I could make a profit I'd do it, but its clearly an unwinnable fight. (laughs) If you don't have something other than games there, its really tough. —Well, how about having "Yagawa's Shooting 101" classes held there, too? Yagawa: There are many people more skilled and qualified than myself to host such a class. And I'm not even that good in the first place. (laughs) Now if we had some cute girls teaching it, we might get somewhere. Though if it were packed with shooting-loving young men, it might be a little... (laughs) So I'm sorry, but I won't open a game center! —It seems that if you could get more women who play games to come to the game center, then you'd naturally have more men come, too. Yagawa: Yeah, there's always been very few women. To relieve stress, it may be that people prefer music games and fighting games to shooting games. You know, when you play a shooting game, you actually get more stressed out. When you can say you love shooting games, I get the sense you're no longer a normal person. (laughs) And of course I include myself in that. Everyone around me who likes shooting is a weirdo. —That means the people at Cave must also be full of weirdos too, then? Yagawa: If we're talking about the development team... well, I can't deny it. (laughs) There are definite boundaries in our office... there's "over there" (the other departments) and "over here" (development), and the atmosphere is very different between us. Its like "normal people" and "strange people." When an inspector visited our offices, he said something like "The game development division is the most dirty." He said there were monitors strewn across the floor. (laughs) Even I wonder why they're on the floor? Its not like you normally play games with a monitor on the floor, right? In the midst of all that disorganization, my workspace is actually the clean one, I think. (laughs) You can clearly see the top of the desk, and there are no weird figures decorating it either. Even Ikeda has all these weird Tarako figures on his desk. Ikeda: Tarako Kyuupii figures. For some reason everyone gives them to me. (laughs) Yagawa: I don't really have any hobby items that I collect like that. —It seems like collecting pcbs exclusively would qualify? (laughs) Yagawa: But they're too expensive now, so I don't buy them anymore. And its a pain finding a place to store them all, and I don't have free time to play them at home anyway. —Wouldn't playing on your cell phone be convenient then? You could play it anywhere. Yagawa: By the time cell phone games had become popular, I had already mostly lost my interest. (laughs) The screen size is also too small. The controls can't be very complicated for them, and the response is bad... that's the deathblow for me. I've played shooting games on them, and to be honest, it wasn't very interesting. So I'm not interested in the PSP or DS either. Ah, I do own a DS though. I bought it only to play "Gundam Mahjong." (laughs) —Ah hah, you do own a game console! Yagawa: I actually own Mario for it too, but I had my fill by the second level and threw it down, "I'm done, I'm not doing this!" Long ago, Mario was popular on the Famicom and I have fond memories of it so I bought the DS version. I thought it was cool at first, but I couldn't take it after awhile... I personally have no interest in making games for a system with a small screen like the DS or PSP. So when people say, but can't it be fun even with a small screen? For me, no. (laughs) —Yagawa, you should apply your powers to make it interesting! Yagawa: Nothing I or anyone can do will make that screen bigger! You know, its not that I have a particular fixation with arcade hardware and games, but it does seem that if you don't release a shooting game in the arcade first it won't sell well. —Do you have any preferences for platforms to develop on? Yagawa: Not personally, but it is true that if you suddenly release a shooting game for a console system it won't sell well. Outside of that business perspective, I don't have any particular preferences. I do rather like older hardware though. I like the challenge of "doing the impossible" with older hardware, and pushing it as far as it can go. Hardware today is too powerful, and the threshold for someone to make a game has really gone down. With graphics too, even a relative amateur can pump stuff out. In the past you couldn't just start doing pixel art right away, and with programming as well, it used to be that you had to learn assembler first. Now with the PC and other development tools being so powerful, anyone, even untalented people, can just go ahead and make a game. So that's all the more reason for me to want to work with hardware around the same level as Cave's current hardware. —We're in the 3D era now. Yagawa: 2D is the foundation of shooting games, and there are almost no 3D games. Of all that I've tried, I've played very few 3D shooting games that were interesting. Graphically I think they are interesting, but its very difficult to tell whether a bullet will hit you or not. Ikeda: Today the arcade market of the game industry has really shrunk, and the focus is on consoles and the overseas market. Overseas fans know shooting games as 3D FPS games. That type is the focus of the market, but our speciality is 2D shooting... that doesn't mean we aren't targeting the overseas market, but its a fact that its a woefully small market for us. Well, the truth is its always been that way... (laughs) —Do you think shooting game fans themselves are changing? Ikeda: They might not be decreasing, but they aren't really increasing either. Though I think we gained a new class of players with the console version of Deathsmiles. —It seems like more than the games, there are people who became fans because they like the characters. Yagawa: I think its a good thing for characters to become popular, but personally I have no interest in characters, I don't care either way. (laughs) I don't need them! Or rather, I don't care if they're there, but they aren't necessary to make a good game. Though from a business perspective, I'm not sure. (laughs) —Do you think there is a trend in making games easier, not only in the shooting genre? Yagawa: I don't really pay much attention to that... though maybe that's why people say my games are difficult. (laughs) In the past it was normal to play and the memorize parts, or to watch someone else play and memorize what they did. Well, even back then, there was definitely a trend with making games easier, though I didn't want them to. (laughs) I think its natural that players should actively work at things themselves. To say it somewhat negatively, I make games for myself, and if I think its good then its fine, and this goes for difficulty settings as well. So I don't give much concern to what fans will think. It isn't that I don't hear others opinions, but that I listen to and reflect on them, but to what degree I incorporate their ideas is up to me. —Does that mean you often fight with others at Cave? Yagawa: It does! Actually, the only one I've clashed with till now is Cave itself. Its not Ikeda that I've fought with... its a little a hard to explain. (laughs) When I talk with Ikeda, its an exchange of opinions. But... we don't fight, since I too am just an employee. (laughs) I have a friend who likes shooting games and wants to make them, but he says he couldn't handle an office, and not being able to make what he wanted. And that's definitely how things are normally, I think. So those are the people who start their own company. However, I'm not really like that, and I can't do that. (laughs) I can't support so many people like that. Seeing how difficult everyone here is, I think its a real feat to be able to do that. —Is there anything you'd like to put on the record for Cave's 16th anniversary? Yagawa: Give me a raise. (laughs) Also, please give me more vacation time. And put some air conditioning or something in here! I know these are rather plain things, but they're important. With all this hardware on all the time, it gets excruciatingly hot depending on where you sit. People are always fighting over whether to turn the air conditioner on or off! Ikeda: Well, let's change your seat then. Yagawa: Also, please move the office closer to my house! Ikeda: That's not possible. Yagawa: It used to be at Kagurazaka, but now since moving to Shinjuku Gyouen its gotten even farther for me. I want them to build a tunnel from my house to the office. Ikeda: That is also not possible. Yagawa: But even when I'm busy, I never sleep over at the office, since the next day I'm just going to have to come in again. Even if it takes a little time, its better to go home I think. So please move the office closer to my house. Ikeda: Impossible. (laughs) —What kind of shooting games will you make in the future? Yagawa: Well.. I don't think I'll make any more. (laughs) I don't actually know for sure, but I do have my ideal project, which is to make something that I think is interesting. But I'm not sure how well that would be received. Its like what I said above, about how the games I used to play back then aren't interesting to me anymore. There used to be a lot of games that were challenging, but that if you memorized them enough you could make progress. These were fun games in their day. But if you play those games today, they feel more like work, and quickly become dull. 10 years from now, if things continue like this, commercial shooting games will probably disappear, and only doujins made by dedicated fans will remain. Its certain to be difficult, but I don't think shooting fans will ever disappear, as shooting games are easier than others to create on your own. Also, with PC development now, the things needed to start creating a game are more available, and in that regard shooting will not disappear, I think. I also want to do more events like the Cave Matsuri to promote shooting games. Ikeda: I really want to have more interaction with our players at those kinds of events, to strengthen the bond between the players and the creators. Right now it just feels like a place where we sell things, but I think it would be good to do other things. —Please give a final message to Cave fans! Yagawa: I am very grateful. But... I wish you had spent more money on our games. (laughs) Also, regarding pirated copies that people have been talking about lately... if you don't buy the game, there will be fewer and fewer people making them. Arcades are also fading away, you know. Speaking of that, if Cave opens their own arcade, I’ll lend them my PCBs. Ikeda: But, those aren’t Cave games! (laughs) Yagawa: Well, I have V-V, so it should be alright. Ikeda: Please don’t touch that one…
  4. Gandalf42

    Muchi Muchi Pork

    Muchi Muchi Pork flyer.
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