Later this month on September 27th, NIS America will release FuRyu’s action RPG Reynatis for Switch, Steam, PS5, and PS4 in the West. Ahead of the launch, I had a chance to talk to Creative Producer TAKUMI, Scenario Writer Kazushige Nojima, and Composer Yoko Shimomura about the game, inspirations, collaborations, how the project came into being, Final Fantasy Versus XIII, coffee, a potential Xbox release, and much more. This interview was conducted in parts with TAKUMI’s portion being done on video call with Alan from NIS America translating and then it being transcribed and edited for brevity. The portion with Kazushige Nojima and Yoko Shimomura was done over email and is towards the end of this interview.

TouchArcade (TA): Tell us a little bit about yourself and what you do at Furyu right now.

TAKUMI: I’m a director and producer at Furyu. A lot of my work involves creating new games and working on brand new projects. For Reynatis specifically, I’m the person who came up with the main idea for the game. I produced it, I directed it, and I saw pretty much everything through from the beginning to the end so anything and everything related to Reynatis, I handled everything.

TA: I’ve been playing FuRyu’s games through many publishers in the West from the 3DS days, leading into PS Vita, PS4, PS5, PC, and mostly on Nintendo Switch. It feels like Reynatis has the most hype around it from any game which I’ve seen from FuRyu. How does that make you feel as a creative producer?

TAKUMI: First of all, I’m very happy. I take it very positively. I’m just simply pleased that people like it so much. About the buzz and attention it is getting, it feels like it’s actually more from abroad than inside Japan. I’ve been checking things out on Twitter and I noticed that a lot of times whenever they post information about the game, when they post trailers, when they post things like that, a lot of the comments that they’re receiving are from people outside of Japan. And so he says it seems like the fan base for this game abroad is large, or will be large.

And it also seems like, as you mentioned, up till now, this game has been receiving more feedback and more positive user interaction than any other FuRyu game in the past. So I’m really pleased to see how it seems to be being received in the West so far.

TA: Okay, so the game is obviously available now in Japan for people who live there to buy on console. How has the response been from players in Japan for the game?

TAKUMI: As someone who’s liked Final Fantasy Kingdom Hearts and things like that, I feel that the fans of those works, basically the works of Tetsuya Nomura in particular, seem to have really latched onto the game. They really appreciate what I’m doing and I really get the sense that they kind of understand everything. I’ve seen that as they’ve been playing the game, they’ve been noticing things and seeing how the story progresses and being like, “Oh, yeah, that’s how it should be,” or, “Yeah, I kind of expected that to happen.” And so they’ve gotten really excited and really delved into the world of Reynatis. They’ve also, kind of without really even being prompted, have kind of taken things farther to the next level, like, “I wonder where he’s going to take the story from here. I wonder what’s going to come next. I wonder…” All these little sub things that he hadn’t really had a chance to maybe flesh out or think about yet are things that the fan base has already decided to move forward with and already decided to start thinking about what’s going to come in the future.

Of course a creator, that makes me feel incredibly pleased and also kind of gets my creative juices flowing as it were, too, to think about what I want to do next. On the gameplay side of things, FuRyu games always kind of have areas that stand out a little bit more than others or have things about them that make them kind of unique and very FuRyu you could say. A lot of players have come to appreciate those things, too, and really enjoy those things as well. So for the people who really have always appreciated FuRyu games and have played them up until now and enjoyed them, they seem to be liking and enjoying the game as well. So far on both of those fronts, it seems that user reaction has been positive and people have really been enjoying it.

TA: I’m glad you mentioned Kingdom Hearts and Final Fantasy because from when the game was revealed, a lot of my friends who are hardcore Kingdom Hearts fans and who have been following Final Fantasy for a long time, everyone brought up Final Fantasy Versus XIII’s trailer and everyone’s trying to draw parallels with that and talking about how is this connected here, is that connected there? Can you comment on whether Final Fantasy Versus XIII’s trailer and that whole hype cycle over there had any influence on the project.

TAKUMI: So that question is a sensitive question, it’s a sensitive topic. There’s things that I can and cannot say in regards to it, but one thing I want to point it specifically is that as a fan of Nomura-san’s work and as someone who saw that original trailer for Versus XIII, and purely wondered what would this game have been like, what kind of game would this have been, how would it have played, and all these things like that running through my head, as a fan, I wanted to put myself on the same level as other fans. And as a representative of that fan base, I wanted to create my own take on it. If this game would have come out, maybe it would have turned out like this. So that feeling in terms of how Reynatis is related to Final Fantasy Versus XIII, you could say it’s something like that.

I can’t speak too much beyond this little window of speaking, but I have talked to Nomura-san. They’ve talked about several things about this,and the idea is that Nomura-san knows what he’s thinking and the things that they’ve talked about. As a fan and as somebody who really loves these works, I really wanted it to be from one fan to all the other fans out there. I feel like that group of fans who did love those games, that’s who Reynatis is for.

At the end of the day, all that really comes from that specific title is the inspiration. So seeing that initial trailer and that initial thought of “I wonder what this would be like” was an inspiration, certainly, for Reynatis. Reynatis is something that is wholly his own. It’s something that totally came from me as a creator. It is dyed in my own color as a creator. Everything that I wanted to express as a creator is what’s in this game. It’s not a copy or a rip-off of something else that’s come before, something that might have existed. It’s completely wholly my own. This was simply an initial spark of inspiration to make me think about what this world would be. Everything else about this world that is Reynatis is something that I made myself and created myself.

TA: So out of the many FuRyu games I’ve played over the years since Lost Dimension and stuff like that, my favorites are The Caligula Effect 2, Crymachina, and The Alliance Alive. Every single game usually has I’d say 75% of it is really good with memorable story, music, and stuff like that. But there are some aspects which fall short, and we usually see either technical shortcomings or some people might not like the gameplay or something like that. So I wanted to know if you’re happy with the current state of the game because I know there are updates planned.

TAKUMI: The game originally came out on July 25th in Japan, and from there, we had an actual play session where we streamed it, and there were people watching on Twitter, commenting, and since then, people have had a chance to play the game and receive their comments.

Obviously, to recreate the game, or to do things on a fundamental level, that’s impossible, but obviously, small things that we can brush up, as we are going through, for example, boss balancing, the amount of time that enemies come out, little quality of life features that kind of have to do with those things, all of those things will be addressed in the updates that are coming out. There’s an update coming out on September 1st in Japan, and then either with that, or a little bit before that, we plan to, again, start addressing some of those issues

Beyond that, obviously, if there’s any bugs or any kind of technical flaws or things like that, those are all intended to be addressed to over the coming months, because the last DLC is scheduled to come out in May, and so up until that time point, we are going to continue to work on the feedback that we’ve received, and implement as much as we can, as is reasonable and possible, into the game.

One thing I also want to point out is that specifically for players in the West, the version of the game that you be getting, essentially, will be a version that’s been refined and brushed up, compared to everything that’s come out in Japan, so please look forward to the best version of the game when it does come out here in the West.

TA: So I read the NIS America translated Famitsu interview with Takumi-san, Yoko Shimomura, and Kazushige Nojima in two parts (here and here). It was the two-part long interview and was really nice. So first, thank you to NIS America for translating that officially for us. Secondly, I wanted to touch on the part about how you approached both of them because it was very interesting and funny. I wanted to just ask you about that. How did you approach them directly? Is it just something like you messaged them or do you approach their representatives or the companies at all?

TAKUMI: It was pretty much what I said in the interview. Most of this was direct. I reached out to them directly. I didn’t contact them through a company. I didn’t do super formal emails or uptight things. The thing about Shimomura-san specifically is that Furuyo had actually done some work with her in the past on some other titles, so I kind of had an in there, but even still I ended up reaching out to her through X / Twitter.

For Naora-san, who was the illustrator for the game, it was a PM to him on X / Twitter. Kaburagi-san, who also did the illustrations, I spoke with him on X. Nojima-san, they did a lot of LINE. Even once the project had begun, a lot of the communication was still done via PMs and via private messaging and things like that. At no point was it ever really a very formal thing. I would just kind of reach out to people as necessary and say, “hey, what do you want to do about the music?” or something like that. It’s a lot rougher than you might have imagined in terms of how a company normally performs its business.

TA: That’s hilarious. It makes sense why you contacted them because they are very talented folks, and while the premise and game seem interesting, I wanted to know what prior works of theirs made you reach out to them individually? What are your favorite works by them?

TAKUMI: Well, basically, I’ve been playing Kingdom Hearts since I was a kid. I think the big part is that my personality and values were formed by Kingdom Hearts. So, when it comes to Shimomura-san’s music, I have a strong image of Kingdom Hearts. And then, in connection with that, I’ve been playing titles like Final Fantasy VII and Final Fantasy X. I think Nojima-san’s scenario has a strong feeling from that. I think I’ll just say that I wanted to do Nojima-san’s scenario with Shimomura-san’s music.

for Shimomura-san, obviously, most people think of Kingdom Hearts. It’s a really, really special game. It’s a series that I started playing when I was little. It influenced my values and who I am as a person. So, that was someone that I really wanted to work with specifically.

In terms of Nojima-san, obviously, I’m a big fan of Final Fantasy VII, Final Fantasy X, and works like that. I wanted to work with them because I just wanted to work with them. I liked their work and he wanted to work with them.

TA: I wanted to know, before the game started production, what games did you play that maybe inspired some aspects of this thing? Did you start doing research and playing more action games from other developers to see how they are?

TAKUMI: I’m honestly an action game fan to begin with. So, whether it be older titles, whether it be more recent titles, I feel like I’ve played them all. Whether you’d want to call that research or not is kind of something different, but I have played them and I have enjoyed them and obviously, there’s a lot of things that I’ve taken inspiration from, you could say, from within that.

However, one thing I want to point out really specifically is that, and this is something you know as someone who’s played many FuRyu titles, is that FuRyu size-wise and scale-wise doesn’t have the budget to do something like a Final Fantasy VII Remake or a Rebirth. That’s just on another level. When I was creating the game and thinking about what I wanted to do, I thought carefully about what would be fun for the players. What will the players enjoy? Let’s make that and then let’s also try to make everything within the game something that’s fun.

So for example, even beyond the gameplay, you have the scenario, you have the story, you have all of these things that individually are disparate, but all of them together are what makes Reynatis the experience that it is. I want players to experience it as a whole and not so much as an action game solely, for example. If you compare Reynatis to something like Final Fantasy VII Rebirth, it’s obviously not going to compete on that level. Where it can compete is on this level as an entire package, as a game experience that is the sum of its parts beyond being some specifically one thing.

TA: Can you talk about how long Reynatis has been in production?

TAKUMI: About three years, give or take.

TA: So how was it working for the team during the pandemic?

TAKUMI: The pandemic was just at its peak. I think it was a time when we couldn’t meet face to face and talk about it. But I don’t think I was in that much trouble. The development company that was actually developing it was basically all-in-one, and we were able to work with the top development team. If we had been able to communicate with them, I think we could have made the game without any problems.

After the pandemic actually settled down, we were able to meet face to face. We were able to communicate while eating together. I don’t think there was a big problem in terms of development because we couldn’t meet face to face because of the coronavirus. Things kind of kicked off right at the beginning of the pandemic, specifically when it was really difficult to go out and actually meet people.

Truthfully, at the very beginning, we didn’t have a lot of opportunity to actually meet face to face and talk about things.However, A, as time went on, and B, because we were having lots of meetings and things like that, the people that we were working with to develop it, all of them actually were in the office. Because we had a good direct line of communication with the development staff, the head of the development staff, we felt like there were no issues there.

Also, as the project continued, things loosened up, and so I was able to meet people face to face. We were able to go out to eat and talk and have meetings and things like that. So things proceeded smoothly. Even in the midst of the beginning of the pandemic, when it was more difficult to meet people, I don’t feel that it really impacted the work negatively.

We were able, and I specifically was able to do my work without any problem, and things proceeded well. So there were really no issues from that sense in regards to the pandemic situation.

TA: So one of the things I noticed is, before the game was officially revealed for localization, there was a lot of hype around “NEO: The world ends with you. Everyone was speculating if this is part of the same universe or what’s happening And now we have an official collaboration, which is officially licensed and stuff like that. So I wanted to know two things: As a fan, play NEO :The World Ends with you and how did you approach Square Enix for the collaboration?

TAKUMI: I played the original on DS in the beginning. I played the smartphone game that only lived for a brief period. I played Final Remix when it came out on Switch and then of course NEO: The World Ends With You as well. I’m a simple fan just like everyone else when it comes to the series. I have played them all.

For the collaboration, I did go directly to Square Enix as a company and approached them from an official capacity as a company. Thinking in the console game space, looking at collaborations between companies it’s very rare. All I can think of is that there was a collaboration between Capcom and Konami using Metal Gear Peace Walker and Monster Hunter 2G. Aside from that, I can’t really think of anything else in terms of console creators coming together to make it. Because this is something that hasn’t really happened before, it had to be a bit more official. On the flip side, because it hasn’t happened before, there was really nobody I could talk to internally to be like, “Hey, so how do I go about approaching this? How do I go about making it happen?” I got a lot of feedback like “Oh, that’s impossible. You can’t do that.”

However, I have the kind of personality where I’m very strong and straightforward with things. I said “No, no, no, look, if it’s not impossible, there’s a way to do this. I’m going to find a way to do this.” The simplest thing in that case was to drop the plan, to go to Square Enix directly and say, “Hey, look, I’m making this game. I really like The World Ends With You. The setting for my game is also Shibuya. Is there anything we can do together?” That’s basically how the collaboration came about.

TA: Can you comment on what platforms Reynatis was always planned for? What was the lead platform?

TAKUMI: All of the platforms were decided from the beginning, but as you mentioned, you have to come up with a lead platform. In this case, it would have been the Switch and so the Switch was the main, and then the others came out from there.

TA: In the past, whenever I played FuRyu games, regardless of how much I liked them, the lead platform usually has some technical issues. I remember playing The Legend of Legacy on 3DS, which had a lot of technical issues, but now it’s perfect when you play it on modern platforms. Reynatis is a very visually striking and good-looking game from its trailers. So I was just wondering how it would run on Switch.

TAKUMI: I understand where you’re coming from. Even though the Switch is the lead platform, honestly speaking, this game pushes the Switch to its limits. Within me, there’s two rules I have to fulfill for this game. One is the producer, and the other is the director. As the producer, I have to be more mindful of things like unit sales. How many players are going to purchase and play the game? So within that, obviously, it makes the most sense that you release a game on as many platforms as you possibly can to maximize those elements.

On the flip side, as the director and as a player myself, it would have been great to focus on maybe one platform like PS5 or something to really push things to the next level. But at the same time, that’s a balance that I have to maintain within all things. There was a lot of internal struggle within how to handle that. But at the end of the day, the balance was essentially taken within those two elements of myself that I had to do. I’m happy with what came out.

TA: So far, FuRyu games release on consoles in Japan and get ported to PC for the Western releases. Has Furyu ever considered doing PC internally in Japan for these games?

TAKUMI: Actually, there was a title that came out recently that we did internally on PC. So it is something that we have been thinking about and working internally on. So yes, games are coming out made by us specifically for PC platforms.

At this point, Mr. Sonobe, FuRyu Localization Coordinator, added that FuRyu has established a partnership with NIS (America) to sell full-priced console RPGs due to their expertise in translation, promotion, and sales capabilities.

TA: The reason I ask is because we’ve seen a lot of promotions in Japan for Steam versions from publishers there. Like SEGA does with competitions for Like a Dragon and Steam Deck. Obviously you need to release on Switch, but you now also have a high end handheld PC. I see a lot of interest for Steam versions. Do you see more people recently asking for PC versions in Japan?

TAKUMI: Please take this as my opinion specifically and not a representative of the industry. For me and the people around me, the two worlds are very different. There’s the world of console gaming, as we call it, and then there’s the world of PC gaming. Those worlds don’t necessarily meet, and it seems like the players of one specific place, like console or PC, generally want to keep their play experiences limited to that space specifically. If you were to divide it up into three things, you would have consoles, you would have PCs, and then you would have smartphones. And so these are kind of the three arenas that exist. And these are kind of the three arenas that people generally tend to stay in when they’re developing and releasing games.

I don’t even necessarily know people who play on PC who have a Steam Deck or who want to play specifically on it. If they want to play a console game, they would play it on console if they had the desire to do so. That’s kind of where I feel the industry is specifically in Japan.

TA: Because you mentioned smartphones, I think FuRyu has one title which is available in the West on smartphones through another partner, Arc System Works, which is The Alliance Alive Remastered. I believe it uses NIS America’s translation for English. Do you have plans as FuRyu to do more smartphone ports of premium games?

TAKUMI: As a company we don’t have a plan to make games specifically for smartphones. It is more that our division specifically is focused on making console games and we believe that consoles are a place that can provide specific experiences that can only be provided by console games. The reason you saw something like The Alliance Alive Remastered come out on smartphones, was because we felt that it would be appropriate and because we thought it would still play well on the smartphone. For something like a super hardcore action game or something that would require more intricate controls, that wouldn’t really be suitable to be on smartphones so it wouldn’t happen. Our plan and goal going forward is to develop first for console and to bring out the best we can do in the console gaming space. IF that work is suitable enough to be brought to a smartphone, and still be able to be played well, and it doesn’t lose any of its intrinsic fun that you have from playing on console, then we will think about it in the future, but it kind of is on a case by case basis.

TA: So I play FuRyu games on multiple platforms, but there’s one platform that hasn’t seen FuRyu support much. This question isn’t just from myself, but also from readers who usually want to know why some games aren’t coming to Xbox. only myself, but a lot of our readers also usually ask us to check in on the possibility? I know there could be many reasons for why, but I still wanted to ask you directly about this if there are plans to do Xbox Series X versions of these games from FuRyu?

TAKUMI: Personally, I would like to do Xbox versions of the games but the reality is that in Japan there’s not enough demand from consumers. There’s not enough recognition from consumers for the platform itself to be able to justify being able to make an Xbox version. To talk about things from a development standpoint, you have to understand that adding another platform to the development cycle means you have to account for that within the schedule. Within that as well, the development team has to have the experience to be able, having worked on that platform, to be able to develop it appropriately for that platform. Because the team doesn’t have that experience, it suddenly becomes a very high hurdle to clear and be able to make this game. I would definitely like for us to be able to do it. I find it would be something that would be interesting. It’s just the reality of it that it’s a difficult thing to do for the reasons I mentioned.

TA: Reynatis is coming out in the West in a few weeks. I wanted to know what you’re most excited to see when players get their hands on the game in the West?

TAKUMI: I really want players to enjoy playing the game for a long time. Nowadays, you kind of have an issue that when a game comes out, it’s not uncommon for spoilers to get posted, whether that be videos or things like that. We’ve worked really hard to make sure that those spoilers don’t get out there. One of the ways that they’ve avoided having things spoiled is by having this– we talked about it a bit earlier–but by having this free DLC release schedule going forward that will bring up new story content and secret story content.

There’s going to be one that comes out October 1 that will be global. NIS America will release the game in the West in September. So players will kind of have to catch up first, but after that, they get to experience everything in real time with the Japanese player base as well as the updates come out. I hope that this is something that encourages people to keep playing the game and to play it for a long time to come and to really enjoy what they’re playing and seeing all the secrets and things that they have, because these are things that, again, are going to be not spoiled because it’s all coming out at the same time once the game gets released in the West.

TA: One of my favorite aspects of FuRyu games is always the art and music. That’s usually consistently very good. I wanted to know, are there any plans after all the DLC is out to have a Japanese release of the full art book covering everything and a full soundtrack?

TAKUMI: At the moment there are no plans specifically to do either of the things that you mentioned, but in regards to the music I really think Shimomura-san made a fantastic soundtrack and I would love to be able to get that out there to people in some fashion. So, hopefully we can do it, but there are currently no plans.

TA: Unrelated to Reynatis which we’ve covered a lot, I wanted to know what you’ve been playing outside of work in the last year, like in 2024, which you’ve enjoyed a lot, and what platforms you’ve been playing on?

TAKUMI: So for this year, I played Tears of the Kingdom and I played Final Fantasy VII Rebirth. Generally speaking, due to everything going on with Reynatis, I have a feeling that I didn’t get to play as much as I would have liked for everything else, but those are the two ones that I remember playing the most. Platform-wise, I probably played most on PS5.

As an addition, I’m a huge Disney fan and I’m also a big fan of Star Wars. All the information coming out about the new Star Wars materials has gotten, like, kind of reawakened that fire that I have, for the Star Wars property, so I’ve really been enjoying Jedi Survivor.

TA: What project that you’ve worked on so far is your favorite. If it is Reynatis, talk about another one as well.

TAKUMI: So I’ve only worked on two games: Trinity Trigger and Reynatis. To talk about Trinity Trigger, I was only the director on that game so I didn’t have the opportunity to do anything on the Producer’s role so thinking about the broader scope of things and how to reach out to customers on that. That’s something I felt was an area missing for me. I really wanted to do it. As a result of having that feeling on Trinity Trigger, I was able to, when the time came to Reynatis, I was able to take on the role of Producer, Creative Producer, and Director and therefore I was able to do everything that I wanted to do in this game. To oversee every single aspect of it.

By the same token, because Trinity Trigger was the first game I had worked on and I directed, I was able to do a lot of what I wanted to do with it. It is of course a title to him that remains really deep in his memory, but the game that I have the most affection for is Reynatis.

TA: For a lot of people, when they see FuRyu’s games, there are quite a few available on current platforms. Reynatis has the most hype. What would you like to say to folks who are excited for this who have not played a FuRyu game before?

TAKUMI: One of the things that I feel is most representative of FuRyu titles in general, is that they all have a very strong theme. If you look at each and every one of these games, the theme is very strong. The message reaching out to people is very strong. Reyantis is no different. This might be a rough or harsh way to put it, but if there are people who feel that they are weak, if there are people out there who feel like they are being put down by society, they can’t live and carry out their lives like they want to, I want you to play Reynatis.

One of the big themes in the game is that within Japanese society itself, there’s a very famous expression that you’ve probably heard many times before: “The nail that sticks out gets hammered down” People in Japan have a tendency to go with the flow, and supplement themselves into what the rest of society wants them to do or say, and as a result of that, many people kind of feel really pressured and they’re stifled within what they actually want to do. Whether it be in Japan or outside, if you feel that way, this is absolutely the game for you. The message within this is very strong and I feel like it will resonate with people who feel like they maybe are put down by society or that they are not a place they want to be in society.

Going back to what we spoke about before, while the game might not be able to compete in the arena of graphics or richness in setting, the game does have a message that resonates just as strongly as for Final Fantasy VII if not more. I believe it can compete and beat it in that. I think that because the message in the game is so strong, it will remain in people’s hearts and minds and it will be something that will be a really positive and memorable experience for them. I hope people pick up the game for those reasons.

This part of the interview with Yoko Shimomura and Kazushige Nojima was conducted over email.

TA: How did you get involved in the Reynatis project?

Yoko Shimomura: Via a sudden attack from TAKUMI. (laughs)

TA: What have you learned composing for games for many years now and how do you implement these learnings in your future compositions and recent ones like Reynatis?

Yoko Shimomura: It’s difficult to put into words. I think that experience does become a new power, but I mainly compose via feeling, so turning that into words is difficult.

TA: My favorite soundtracks done by you are definitely LIVE A LIVE, Radiant Historia, and Street Fighter II. I’m very curious about the Reynatis soundtrack. What has been your favorite part of working on it so far?

Yoko Shimomura: Thank you! The night before recording, even though I was totally worn out mentally and physically, I just had more and more compositions flowing out of me, which was fun. (laughs) I was really ablaze with the idea, “I’m definitely going to finish this!”

TA: As a composer you have a very distinct style that when someone hears a work by you, they know you composed it. How do you feel that your style is recognizable through multiple iterations of technology?

Yoko Shimomura: I wonder! I get told that a lot, but I don’t really understand it myself. People have said that in the past, my compositions tended to be different based on the work, so there isn’t really a feel that they were all composed by me. I think maybe my style hadn’t quite come out yet.

TA: Were you inspired by any other games when working on the Reynatis soundtrack?

Yoko Shimomura: I wasn’t influenced by any other work in particular.

TA: You’ve worked on the scenarios of many of my favorite games of all time. How do you approach different games today compared to how you worked in the 90s?

Kazushige Nojima: It depends on the game genre. For games where the narrative comes first, players today want a character who is a convincing portryal of a fully-fledged person, rather than a character that is an avatar for the player, as was common in the past. In that case, it then becomes important to give the world the character inhabits a sense of presence. I do like those old games that were more akin to a fairytale, though. I’d like to work on one again in the future.

TA: How did you get involved with this project?

Kazushige Nojima: I received a call from my old acquaintance, the composer Ms. Shimomura. She asked if it was OK to share my contact info with TAKUMI. Things started from there.

TA: Is it influenced by Versus XIII in any way?

Kazushige Nojima: I didn’t think it was when I was writing it, but I can’t say for certain.

TA: Having now seen the game’s scenario all the way, what is your favorite aspect of it, and what do you think fans of your other work should pay attention to here?

Kazushige Nojima: It’s difficult to answer this while avoiding spoilers. I think that Marin’s change in mannerisms [throughout the course of the game] is well-depicted.

TA: What have you enjoyed playing this year and have you played Reynatis yet?

Kazushige Nojima: I’ve been doing nothing but dying in it, but I’ve enjoyed ELDEN RING. I’ve also enjoyed Dragon’s Dogma 2. Embarassingly enough, I’m only partway through REYNATIS. Sure enough, I’m just not good at action games, so for the games I mentioned, I’m enjoying the atmosphere of their worlds. I think the game I’ve played the most of is Euro Truck Simulator.

TA: So now the last question is for everyone here. How do you like your coffee?

TAKUMI: I don’t actually like coffee. *laughs* I don’t like things that are really bitter. I generally go for iced tea or black tea. If I’m going to drink coffee, I’m going to put a ton of cream, milk, or sugar to drink it. It is kind of funny that in university, I worked at Starbucks so I had to know a lot about coffee, so it is kind of funny that way.

Alan Costa: I like coffee with milk or soy milk. If I’m drinking iced coffee, I like just an americano with just ice and no sugar.

The two responses below were via email.

Yoko Shimomura: I like iced tea. I drink it all the time. I like doubling up [on the bags] to make it strong.

Kazushige Nojima: Black. And strong.

I’d like to thank TAKUMI, Alan Costa, Chihiro MacLeese, Mr Sonobe, Anna Lee, and Lottie Diao for their time and help with this interview.

Editor’s note: I unfortunately lost the recording I took myself where the other attendees from NIS America and FuRyu mentioned how they had their coffee and could only include these two.

You can keep up with all our interviews here including our recent ones with FuturLab here, Shuhei Matsumoto from Capcom about Marvel Vs Capcom here, Santa Ragione here, Peter ‘Durante’ Thoman about PH3 and Falcom here, M2 discussing shmups and more here, Digital Extremes for Warframe mobile, Team NINJA, Sonic Dream Team, Hi-Fi Rush, Pentiment, and more. As usual, thanks for reading.