This year,On the eve of Bitsummit, after years of development, the pixel-3D game Tokyo Stories suddenly announced a partnership with Japanese indie publisher Happinet. The game's demo also returned to the public eye at this exhibition, sparking considerable discussion among players. At the time, we reported on this in the form of a demo report; interested players can refer to it—《Tokyo Stories》 Bitsummit Demo Report: Getting Lost in Shibuya.
And just last weekend, at the"Fusion Game Festival" in Shenzhen, Happinet once again brought the demo version of Tokyo Stories offline. Although the content was the same as the version we played at Bitsummit, it underwent further localization upgrades, allowing domestic players to enjoy a smoother gaming experience.
Also present at the event alongside this demo was the game's producer, Mr. Yuki Ikeda. Throughout the day, he stood personally by the demo stations, hoping to gather feedback from Chinese players that would be meaningful for future development. Taking this opportunity, we spoke with him directly on-site and followed up with a more detailed interview via email. The interview yielded a wealth of information, and the following transcript may contain topics of interest to you.
Mr. Yuki Ikeda
Below is the original transcript of the interview:
Q: Whether it's the art style, the unique camera angle transitions, or the sense of loneliness, Tokyo Stories reminds people of your previous work, rain. Could you share the creative inspiration behind Tokyo Stories? Why did you want to develop such a work? How do you define the similarities and uniqueness of your works?
Ikeda:《rain is a game I made together with this work's art director, Terashima. I believe there are commonalities between this work and rain, such as fixed cameras, an uninhabited city, and a calm, restrained presentation style.
At the same time, I feel that this work is also attempting to build character development and storytelling in a more modern way that incorporates the context of anime culture. Some aspects of this were intentional, but many changes perhaps stem from an internal evolution—Since the era of rain, we have participated in the development of many IP-based games and encountered various content works, so new creative directions naturally emerged.
Additionally, at that time we had a stronger longing for overseas cultures, but as we grew older, our gaze naturally turned toward where we began—Tokyo. I think this might be one of the factors contributing to the changes in this work.
Q: The "Pixel x 3D" art style of Tokyo Stories left a deep impression. Was this presentation style decided from the start? Why did you choose this art style, and how was it technically implemented?
Ikeda:I have always admired pixel art, but not with the intention of creating something similar to the Famicom (Famicom) or Super Famicom era styles, but rather hoped to create a new form of pixel art expression. Since our artistic skills lean more towards 3D, we have been experimenting repeatedly—if we could cleverly utilize 3D assets to achieve a pixel art style, we could rapidly produce a large number of scenes using various camera languages, thereby creating a game of substantial scale.
In this process, our focus was not on pixel art stemming from the lineage of video games, but on pixel art expressions originating from the field of illustration.
Although those works are essentially single illustrations, unlike traditional2D pixel art, which uses flat representations. Instead, they use lenses with perspective effects, freely configuring viewpoints in space to depict landscapes and characters.
To achieve this effect, weBlender, constantly experimenting with combining 3D assets and camera angles to find the right production method. We achieved good results, which led us to further refine and solidify this presentation style in Unity, evolving into what you see today.
Q: Tokyo Stories depicts and shapes an empty Shibuya, Tokyo. Why was this location chosen as the narrative stage? What role did this setting play in the script and gameplay design?
Ikeda:Shibuya, Tokyo is a place we actually visit in our daily lives and a famous area frequently featured in various games. However, this work places special emphasis on depicting places like back alleys and small paths—spaces that are often not highlighted in many games.
Although the stage for this work is an empty Tokyo, interestingly, real-life Tokyo is similar: one moment you are on a busy street filled with people, but if you turn into a narrow alley nearby, the crowd suddenly thins out, and you might hardly see anyone at all.
I think it would be interesting to convey a sense of slight strangeness, as if one were in a special kind of space.
Regarding the plot,The setting of an "empty Tokyo" will gradually reveal various different aspects and meanings as the game progresses past the midpoint, so please look forward to how it develops.
Q: When depicting a Tokyo that is empty yet evokes nostalgia, what visual details did the art team prioritize?
Ikeda:To create that back-alley atmosphere, we deliberately added elements like outdoor air conditioning units and exposed pipes, and designed numerous graffiti tags, posters, stickers, as well as trash and cardboard boxes. Through this slightly exaggerated environmental presentation, we make it easier for players to sense the characteristics of a location and the atmosphere of the area itself.
Additionally, since the final visuals undergo pixelation, we paid close attention to how models and textures would look after processing. For instance, we designed outlines and shapes that remain clearly recognizable even after pixelation, ensuring that the visual impact isn't diminished by the conversion to a pixel art style.
Q: Are the real-world elements found in the shattered illusion scenes during gameplay also based on actual scenery from Tokyo? Were there specific references?
Ikeda:Regarding buildings and scene props, we did not directly copy anything that exists in reality. Although some locations and items were referenced from real-life objects, much of the content was designed and created from scratch.
Q: The choice of fixed cameras is relatively rare in contemporary games. How does this design chemically react with the core experience of "searching in an empty Tokyo"?
Ikeda:Fixed cameras were a common presentation method in the earlyPlaystation era, and I believe my first encounter with this technique was in the PC version of Alone in the Dark.
I remember it gave me a sense of presence I had never experienced in games before.
As technical limitations decreased, developers gained the freedom to construct3D spaces, and this system gradually faded from the mainstream during its development. However, I have always loved the unique third-person perspective offered by fixed cameras, which is why I also employed this design in my previous work, rain.
At the same time, it fits very well with the pixel art presentation style. Since players cannot freely rotate the camera, I believe this can instead stimulate curiosity and imagination about what lies deep within the alleys and the various unseen parts of the scenes.
Q: Since its initial exhibition, the most prominent visual feature of Tokyo Stories has been the overall color choices for scenes and characters. Without spoilers, could you share the intent behind these color selections?
Ikeda:From the very beginning, we hadthe idea of "depicting Tokyo with pixels."
Building on this, to ensure that anyone viewing the various scenes in the game can immediately recognize them as belonging to 《Tokyo Stories》 visuals, we chose to focus on nighttime scenes, attempting to portray them using a very limited color palette ranging from blue to green. You could say we intentionally narrowed our expressive techniques to reinforce the unique identity of this work as a game.
As for the characters, we determined their design directions after considering how to maintain their presence within such a world. However, when adopting a pixel art style, too many details can make the screen look cluttered. Therefore, we do not rely on complex details to shape the characters, but rather focus on expressing their characteristics through color combinations and silhouette outlines.
Q: The game creates a unique atmosphere where loneliness and healing coexist. Could you discuss the core narrative concept? In an empty city with little NPC interaction, how will players primarily piece together the stories of the two girls?
Ikeda:The stories of the two characters will slowly unfold, revolving around their shared memories.
As they continue to explore various parts of Tokyo, the stories hidden deep within their hearts will gradually come to light.
Why is this place empty? What is this Tokyo trying to convey?
As the journey progresses, the true inner worlds of the two characters will gradually be revealed to players.
Q: Without high-intensity action or fierce combat, how did the team design exploration routes and puzzle mechanisms? To ensure players remain immersed and curious throughout the entire process without feeling bored, what special considerations were made in the map's interaction design?
Ikeda:There are still parts of the game content in the exploratory and experimental phase. Therefore, I cannot definitively tell you what the final game will look like. However, players should be able to enter various different scenes and have diverse experiences when playing, so I don't believe it will be a bland or monotonous journey.
Q: For adventure games that emphasize atmosphere, sound is a crucial second layer of narrative. In terms of sound design, how did the team use environmental audio to express the emptiness and solitude of an uninhabited Tokyo, while using the ebb and flow of the soundtrack to guide player emotions?
Ikeda:This time, instead of inviting a traditional video game composer, we invitedHip-Hop music producer (Beatmaker) Newly, to handle the game's music.
Although much content is still in production, I believe we will present a brand-new method of sonic expression and musical application.
Q: The game's visual style and music are very appealing, offering great immersion when moving between scenes. How do you balance atmospheric immersion with gameplay? Was the music composition considered in relation to the scenes and narrative?
Ikeda:Currently, we are quite satisfied with the presentation of the work. To prevent players from experiencing visual fatigue, we designed areas with various different styles, considering the unique highlights and charm of each area before proceeding with the design.
Similarly, regarding gameplay, we don't want players to just repeatedly perform the same types of actions. Therefore, we design varied gameplay content for different scenes, striving to let players experience a rich diversity of mechanics and sensations throughout their journey.
Although this development method indeed increased the difficulty of production, we enjoyed the creative process while steadily completing the game step by step.
Q:In the game title,"Stories" is plural; does this hold any hidden deeper meaning within the narrative?
Ikeda:It is not yet at a stage where we can provide detailed explanations, but this Tokyo is composed of many interwoven stories.
Some of these stories belong to different people, just as everyone in the real world has their own experiences; others are multiple stories carried by the same individual.
We hope to depict such an empty Tokyo, and the countless stories that exist within it.
Q: Could you briefly introduce the game's female protagonist, "Suzu"? What kind of character is she, and what was most important to you when designing her?
Ikeda:I think she is a modern girl who is introverted yet carries a hint of aloofness.
I didn't want to塑造 her as an overly passive character, so during the creative process, I aimed for her emotions and thoughts to resonate with players on some level.
At the same time, I hope players will accompany her and witness her growth throughout the story.
Q: The Tokyo depicted in the game's scenes seems to mix elements from different periods, appearing to be generated based on Suzu's memories. Will there be more variations in the full version?
Ikeda:What is certain is that this work does not simply capture Tokyo at a single moment in time.
This is certainly related to the work's setting, but I also believe it contains fragments of our own memories as creators—For example, the Shibuya scenery we longed for in middle school, the Shibuya districts we visited at night after starting work, and the bustling areas of Shibuya we rarely visit as adults. These memory fragments from different points in time have been rearranged and integrated into the work in a comfortable way.
Today's Shibuya actually has more of a futuristic city vibe, but we deliberately avoided such scenes, choosing instead to depict ordinary alleys, commonplace stairs, and other everyday spaces. I think this choice prevents the work's visual style from over-emphasizing a specific era, thereby presenting a appearance that relatively transcends time.
Q: During the demo, we noticed some simple dialogue branch options. What role do these options play in the narrative?
Ikeda:Although this work does not have branches that significantly alter the direction of the plot, in designing the options, we not only hope players will engage in various thoughts but also intend for these options to serve as a mechanism helping players better understand what Suzu is thinking and what she is struggling with.
I think that when people ponder issues, sometimes completely opposite thoughts emerge simultaneously in their minds. But when truly expressing their feelings into language, they deliberate on what phrasing to use and how to express themselves to avoid misunderstandings. People often consider these nuances and carefully choose their words.
Therefore, in this game, when players make choices, we display text around them that reflects the character's thought process. Through this design, we hope players can more easily understand the character's current thoughts and inner activities.
Q: After playing the demo, I noticed that the gameplay progression feels like a blend of puzzle-solving and interactive storytelling. Could you elaborate on the unique aspects of the game's narrative?
Ikeda:This is also a part we explored and reflected upon repeatedly. However, from a game design perspective, I think a unique aspect of this work is that it does not construct a fixed progression mode.
It's not that we deliberately wanted to break certain established frameworks; rather, we first connect the stories we want to tell and the scenes we want to present, while naturally integrating gameplay so it doesn't feel abrupt. Therefore, we temporarily decide the most suitable gameplay content for each scene based on its characteristics.
Precisely because of this, this work will not adopt that kind offixed and formulaic structure of "collecting items in the mid-chapter and solving puzzles to clear the chapter." Instead, we sprinkle various forms of gameplay throughout the game: parts that require exploration, parts that require puzzle-solving, and moments of aimless wandering. Through these diverse designs, the game presents distinctly different appearances and experiences at different stages.
Q: Currently, the demo doesn't showcase many gameplay elements. Will the full version of Tokyo Stories include elements like puzzle-solving, or is it primarily a narrative-focused, low-gameplay title similar to a walking simulator?
Ikeda:The demo version actually only covers the beginning of the game, so it doesn't include much in the way of"gameplay" elements—so it might feel more like a walking simulator.
Of course, narrative itself is very important to this work, but in the full version (and perhaps in future demo releases?), players will be able to experience more game-specific content, such as enjoying puzzle-solving and exploration, as well as appreciating dialogues between characters and various event scenarios.
Q: As a narrative-driven game, the plot shown in the Tokyo Stories demo remains somewhat ambiguous and vague. Is this ambiguity due to the limitations of the demo content, or is vague storytelling part of the game's style? Will players be able to see a clear and definite main storyline in the full version?
Ikeda:Although what everyone is playing now is just the beginning of the story, leading to this arrangement, I imagine many players might feel the plot isn't advancing quickly enough. Especially given that the narrative pace of many contemporary works is becoming faster, causing players to feel some impatience orfeeling of being "left hanging" is understandable.
On the other hand, in the opening scenes where you simply keep walking, players might personally feel Suzu's simple yet intense state of instability and comprehend her feelings towards Yuno.
As for the full version, please look forward to seeing the story accelerate and develop step by step!
Q: When changing scenes in the game, there are prompts indicating the current time. Is it possible for players to miss important information by not arriving at a certain point in time?
Ikeda:This is merely a presentation effect used to depict the passage of time within the work; there are no time limits, and you won't miss any content or events due to the passage of time.
Q: Does this work have multiple endings? What is the expected playtime for the game?
Ikeda:This game has only one ending.
As for the game's length, it has not been finalized yet, so please wait for further information to be released.
Q: Are there customization elements for the protagonist's clothing in the game, or do they change as the game progresses? For example, can backpack charms be replaced?
Ikeda:Although there is much I want to achieve, it ultimately depends on the development progress, so it is difficult to give an answer at this moment.
Personally, I would love to add some special outfits, or let Ryo wear various mascot costumes.
Q: In the development team's view, which aspects of "Tokyo Stories" can resonate with today's players?
Ikeda:To be honest, I'm not entirely sure myself.
Although I vaguely feel that the current results are quite good, I wouldn't say that all of this was intentionally aimed for as a goal. More often, we are moving forward bit by bit through constant exploration and repeated trials.
In such circumstances, all we can do is continue to deliver the best we can at this stage.
Q: From the current situation, "Tokyo Stories" seems to belong to what we used to call "atmospheric games." Why did you choose to develop such a game when the industry generally pursues fast-paced experiences? What do you think is the greatest charm of "atmospheric games"?
Ikeda:Indeed, this game looks like it will become a rare type of title these days, but we have always believed that such games should have their own value, and we are creating with that conviction.
Q: "Tokyo Stories" was initially scheduled for release in 2023, but it subsequently faced a long delay. What were the reasons? Did you encounter any unexpected difficulties during the development process?
Ikeda:It's a long story, and this question is hard to answer simply in one or two sentences.
I think the biggest reason is that, given the scale we initially envisioned, the game simply couldn't be completed.
I have been involved in game development for nearly twenty years now, but I still find making games to be incredibly difficult....
Please bear with us a little longer!
Q: One week before Bitsummit, "Tokyo Stories" suddenly announced a partnership with publisher Happinet. How has this collaboration impacted the game's development? Can we view this as a fresh start for the development of "Tokyo Stories"?
Ikeda:At that time, when the project encountered various bottlenecks, we decided to entrustHappinet serves as the publisher for this title.
However, development work has been ongoing, so from the development team's perspective, it cannot be considered a"Restart." It's simply because it has been a long time since we last shared information, so from an outside perspective, it might seem like a "reboot."
Happinet has not only provided financial support but also offered tremendous assistance in promotion and marketing, which makes them feel very reliable!
Q: The game changed its development structure to continue development. What changes did this bring to the game content? What is the current development progress? Are there plans for multi-platform releases in the future?
Ikeda:The current development structure isHappinet is responsible for publishing, and CharacterBank is participating in co-development.
The game content itself hasn't changed significantly, but I believe the quality of the work and development efficiency have improved.
As forPlatforms other than Steam are still under discussion, so please stay tuned for future announcements!
Q: Given that your previous work, "rain," was developed jointly with SIE Japan, I see "Tokyo Stories" as continuing the SIE Japan tradition of "prioritizing artistic expression and creativity." In today's game market, what do you think is the value and significance of such works? Over the past ten years, how have your personal thoughts on the concept of "making games a vessel for art" evolved?
Ikeda:SIE Japan Studio was truly an excellent and creative team, and I have always believed that PlayStation itself is like a crystallization of imagination.
When I was in my teens, I was deeply attracted by many games from the originalPlayStation era games, which inspired me to dream of making games someday.
"rain" was also born from that cultural background, and even now, it remains one of my favorite games.
However, I believe that culture itself is created jointly by creators and players within it through various understandings and interpretations. Therefore, it is difficult to simply define what kind of style it is. But if I had to say, I do believe this creative direction is what we excel at.
Over the years, the game industry has undergone many changes. On one hand, games have become increasingly large in scale; on the other, a large number of small-scale titles have emerged. In this ever-changing environment, I sometimes feel that we ourselves haven't changed much.
From an industrial development perspective, products change constantly with trends and technological innovations; but from a creative perspective, I always believe that creation is ultimately driven by the creator's personal ideas and preferences.
So in this sense, perhaps even after ten years, we haven't changed much.
However, if I had to point out the most obvious growth, I would say it's that we are finally able to depict characters.
"rain," the characters had no visible appearance or dialogue; whereas in "Tokyo Stories," not only do we have modern character designs, but the characters can also speak. In this regard, it can be said to be a significant improvement.
I have never viewed the games I make as"art pieces," but I have always believed that games are an interactive medium of expression. What I am doing might be continuously following in the footsteps of those works from the original PlayStation era that filled me with admiration.
Q: Finally, please share a few words with our players in China.
Ikeda:This is an adventure game set in Tokyo. Tokyo is not only geographically close to China, but as a frequent setting in anime and games, I believe everyone is familiar with it. However, we also hope you can experience and appreciate this Tokyo reimagined in pixel art style.
We have also opened social media accounts for players in China, so we hope you will follow us to stay updated on future information!
Also, if we have the opportunity in the future, we look forward to visiting the cities where you live and meeting many of you in person!