Can't believe it's already been a year! Playing the demo and then doing my first hndr playthrough felt like it was yesterday! Didn't mention it either but I've officially been into hndr for now a year and 1-2 months! I'm so glad to be in this fandom and wouldn't have met/spoke to some amazing people! ❤️❤️❤️
Hello!! Just like to spread some awarness for this one person who, this is mostly on twitter, basically copies roleplay accounts and seem to argue with others on the blue bird app. They also have a discord and an alt which the users are included in the doc as well! (Some of their messages/their account has them shown as being a spammer as well). Doc wasn't made by me but made by a friend of mine and I would like to share it!
Too Kyo Meeting <Part2: Sound & Design Edition> Report ②
日本語版はこちら。
This is a continuation of Report ①.
⚠️ This article is based on notes taken during the event and personal recollection. It may contain inaccuracies or phrasing that differs from what was actually said. Please regard it as a general record of the flow and remarks rather than a precise transcript.
⚠️ This is an extremely LONG post, so please be aware before expanding it.
🟠 “A Word for Kodaka!” Segment
This was a segment where Too Kyo Games employees spoke their honest thoughts to Kodaka.
The first message came from Komatsuzaki. It was roughly two lines long and essentially said: “You work too much, so please make sure to get proper sleep and rest. Also, drink in moderation and take care of your health.”
Takada: Are you his mother? (laughs)
Kodaka: ...All right, next.
In my notes, I wrote, “It feels like a long time buddy partnership,” though I am not entirely sure who said it.
MC: Next is from Kudo.
Kudo: Mine is basically the same! I really want Kodaka-san to take a proper break. In the end, if he rests, that means we can rest too, so for everyone’s sake, please take some time off (laughs). And please drink in moderation as well...
Kodaka: If I do not drink, my genius brain just keeps producing ideas one after another, and everyone ends up even busier. So drinking is how I put the brakes on.
Takada: But still... you really work anyway.
Kodaka: Well, making a game costs billions of yen. Naturally, more and more responsibilities pile up. Honestly, I sometimes think I would earn more as a freelance writer. But having all these additional tasks is also part of the fun of game development. So, in that sense... I would like everyone to work like draft horses.
Takada: You can rest after you die (laughs). Just kidding!
Takada’s “A Word for Kodaka!”
Takada: We have worked on Dangan, Rain, Handora, Shuten, and more, but I have started to feel that the kind of music I compose has become somewhat biased. I can create other styles too, so I thought I would take this opportunity to give an internal presentation. I brought four older tracks to play.
Takada: For the first one, there is a film called Project A starring Jackie Chan.
Kodaka: Most people here are not from that generation. There are a lot of younger people.
Takada: (laughs) Well, anyway, I composed a piece inspired by that. Could you play it?
— The track plays —
(It was likely inspired by the theme “東方的威風” from Project A.)
Kodaka: This is far too Jackie Chan.
Audience: (laughs)
Kodaka: It is so Jackie Chan that if we turned this into a game, we would have no choice but to include Jackie Chan himself.
The second track followed. It was a bright, pop-singer like song with male vocals.
Takada: This is a character song from an otome game (romance game). I have been wanting to work on otome game music. What do you think? How about Too Kyo releasing an otome title?”
Kodaka: An otome game? I would like to make one, actually. I have been thinking about it for a while. I had the idea of making an otome game featuring only unusual looking men, like Yamada, Ginzaki, and Hoshi-kun. I thought that might be interesting.
Takada: I wonder how the audience would feel about that (laughs).
Kodaka: Or maybe we could have Akira Ishida* and Ogata-san* voice them. That might work. Yes, let’s do that.
* Byakuya Togami's VA.
* Makoto Naegi and Nagito Komaeda's VA.
Shima: Would not it be better to have a cool character like Komaeda instead?!
Takada: Let us ask the audience. What do you think?
Applause from the audience.
Kodaka: All right, let us do it. Someday.
The third track was played next. It had male vocals in the style of Mazinger Z.
Takada: This one is inspired by Mazinger Z. The vocals were performed by Fukuda-kun*, who is running the sound effects back there in the audience. What do you think of something like this?
*This refers to Jun Fukuda. He is a sound designer who has worked with Takada for many years. In addition to creating sound effects, he frequently participates in Takada's music as a guitarist.
Kodaka: ...It does not really resonate with me.
This was the first time I heard Fukuda's sing, and I was amazed at how talented he was. I think he's just as much of a musical genius as Takada!
At some point, the topic shifted to how energetic Takada is.
Kodaka: You even composed the opening theme for this event.
Takada: Yes, I did. I also created the movie. It was my first time using Final Cut Pro.
Shima: Takada-san really does everything.
Takada: I just like trying new things.
Kodaka: I am the complete opposite. I cannot handle new tools.
Takada: I also arranged the background music that was playing before the event started.
The fourth track was then played. It was a stylish vocal song.
Takada: This is an ending theme for a horror game. We recorded it at the same studio where Celine Dion has recorded. This single track cost around two million yen. With two million yen, this is what you can achieve.
Kodaka: Two million is a bit...
Takada: Not possible?
Kodaka: I do not think we can allocate two million...
---
🟠 Special Guest Segment
At this point, Aka Akasaka took the stage.
Kodaka: We really appreciate you coming. Aren’t you busy with the anime adaptation of Oshi no Ko?
Akasaka: No, not really (laughs).
Kodaka: Some of you might be wondering why Aka-sensei is here. In fact, the original concept for TooKyo-chan was created by him, and later illustrated by Mengo-sensei*.
*This refers to manga artist Mengo Yokoyari, who is responsible for the artwork in Oshi no Ko.
Akasaka: That’s right. When I received the request, I happened to be at an overseas event with Mengo-sensei. We were at the airport, so I bought a sketchbook there, drew it on the spot, and sent it in. I had to pay in euros, so it was a bit expensive (laughs).
On the screen, Mengo-sensei’s published illustration appeared on the left, and Akasaka-sensei’s original concept drawing on the right. The concept sketch included handwritten notes about TooKyo-chan’s character settings.
Shima: Wait, you drew this, Akasaka-sensei? You’re really good at drawing!
Kodaka: Well, he is a manga artist.
*Perhaps because he is so strongly associated with being the original creator of Oshi no Ko, Shimadoriru seemed surprised, but Akasaka-sensei's original TooKyo-chan sketch was very charming, with a softer and fluffier feel compared to Mengo-sensei’s version.
Kodaka: I like this note that says, ‘Wears her boyfriend's suit. Takes life lightly.’
Akasaka: I never expected that to be shown publicly (laughs). Maybe I shouldn’t have written that.
Kodaka: Have you played TooKyo’s games?
Akasaka: I’ve played The Hundred Line and Rain Code. As for Danganronpa, I’ve played the main entries. There are quite a lot of titles, so I can’t say I’ve completed absolutely everything...
MC: From your perspective, what impression do you have of TooKyo Games?
Akasaka: I always feel like they are constantly challenging themselves with something new. It’s as if they look at the spirit of the times and think, ‘Let’s poke at it.’ They don’t simply follow trends. You can tell from the beginning that they must be setting up something, yet every time they still manage to surprise you. It feels exciting, like opening Pandora’s box.
Kodaka: Game development takes three to four years from start to finish, so it’s impossible to predict trends. You never know what will be popular by the time the game is released. If you try to follow what is currently popular, it may already be outdated by launch. So we aim to create something that doesn’t overlap with others. At the very least, that way it won’t feel old-fashioned.
Akasaka: Danganronpa still feels fresh no matter when you look at it.
Kodaka: On the other hand, Oshi no Ko clearly reflects the times.
Akasaka: Yes. Up until then, I felt that many idol themed works that were popular seemed somewhat artificial. I wanted to see what would happen if I presented something more grounded and appropriate.
Kodaka: You also have a very sharp sense for portraying young women. Do you research that extensively?
Akasaka: Since I was a child, I’ve always been surrounded by girls. My family was mostly women...
Kodaka: Your father too?
Audience: (laughs)
Akasaka: Well, my younger sister would often bring her friends over. At dinner, her friends would sometimes be sitting at the table with us. One day, she even brought home a girl who had run away from home, and she stayed at our house for a few nights. Once, when I was about to take a bath, I walked in and found her there wrapped in a bath towel. I panicked and said, ‘Oh, sorry!’
Kodaka: So you experienced something like a classic lucky pervert situation?
Akasaka: In reality, the reaction was much more awkward and uncomfortable (laughs). Maybe because I was always surrounded by women, I find them easier to write. Also, I am somewhat aware that there is a bit of a maiden inside me. That probably comes through.
Kodaka: People often tell me that I tend to write strong female characters like Enoshima or Shinigami-chan. I have two older sisters, so I grew up with the assumption that women are stronger. I don’t idealize them. Your portrayal of ‘scary women’ feels very real.
Akasaka: My younger sister is extremely scary. So to me, scary women equal realism. Romantic comedies often gloss over reality, but I wondered if leaning into realism might make something feel new.
Kodaka: Oshi no Ko feels very grounded in reality. Did you conduct research for it?
Akasaka: For Oshi no Ko, I definitely did. For Kaguya-sama: Love Is War, I did not do research. That one was written purely from my imagination.
Kodaka: I cannot exactly research killing games, so I did not do any research for those.
Audience: (laughs)
Takada: It’s not like you can just drop by a killing game in progress to observe (laughs).
Akasaka: I probably do think quite a bit about ‘the times.’ I really love Neon Genesis Evangelion, but I sometimes wonder whether it would resonate the same way if people watched it now. At the time, it was revolutionary. Recently, there was renewed attention on the backgrounds of Akira, but nowadays there are many works with a similar style. It makes me think that perhaps it would not have the same impact today.
Kodaka: When we were making The Hundred Line, I was actually conscious of something like Evangelion. It kept being remade over and over, and it felt as though it might never truly end*. Well, while we were developing THL, it did finally conclude. But I wanted THL to feel like something that could continue indefinitely, where the point at which you stop playing becomes your ending. As it turned out, more people than I expected actually went through all one hundred endings.
*Coincidentally, two days after this event, on February 24, a new Evangelion project was announced and became a hot topic.
Kodaka: Who is your favorite character in THL?
Akasaka: I would say Darumi-chan. I like the Retsnom route. She reminds me a bit of Saya no Uta.
Kodaka: Darumi’s character was partially inspired by emails from people who had gone through emotional struggles, so in a sense, that might count as research.
Kodaka: What do you think about TooKyo’s art style?
Akasaka: I really like the pale, distressed expressions that Komatsuzaki-san draws. The heavy sweating, for example. It feels like the reactions are pushed further than usual. Where most artists might draw one or two beads of sweat and stop, he adds a third. It gives the impression of deliberately stepping one level beyond existing conventions.
Kodaka: We never really had mentors. Doriru, you studied art at university, right?
Shima: Yes, I was in the painting department.
Kodaka: Which one?
Shima: Oil.
Kodaka: Oil?
Shima: I was studying oil painting.
Kodaka: Ah, that kind of oil...
Shima: What?
Kodaka: Never mind. It seems no one is keeping up with my refined jokes. In any case, we do not have a particularly strong academic foundation. I was in the Film Department at Nihon University College of Art, but I was not writing scenarios as a student. I only began doing things in my own way after I started working in games. Komatsuzaki originally worked on UI design and visual effects, and Danganronpa was his first time handling character design. So we were really feeling our way forward. Our approach has always been that when in doubt, we choose the more daring option. For Ōgami, for example, there were several design proposals, but we chose the one that felt the boldest.
Kodaka: Komatsuzaki and I do not consciously aim for it, but our wavelengths match. Perhaps we both have strong individual quirks, and those happen to align well.
Akasaka: In manga, it’s often said that you have to explain what kind of work it is within the first five pages. But Kodaka-san’s games feel like the opposite. It’s as if they try to make you unsure of what is about to happen at the beginning.
Kodaka: Well, that approach is probably why they don’t become social phenomena like Oshi no Ko.
Takada: But it does feel like you’re trying to create something that others will imitate.
Akasaka: I’ve actually been told before, ‘Make something like Danganronpa.’
Kodaka: I’ve been told that too. ‘Make something like Danganronpa.’
Akasaka: (laughs) I’m sure you’ve been told that more than anyone else in the world!
Kodaka: When you start drawing a manga, do you plan everything from beginning to end?
Akasaka: I’ve asked a lot of people in the manga industry how much they plan ahead, and surprisingly, most of them don’t plan that much. They’ll say, ‘I’ve figured out these key points, but the rest is improvisation.’ I think I’m more structured than most, but even so, I rely on improvisation at times. And of course, there’s pressure from editors asking, ‘Could you give us just a little more?’ (wry smile). Everyone’s livelihood depends on it, after all. When they say that, I feel I should respond. With Oshi no Ko, I believed I was following a clear guide in my mind, but things don’t always unfold exactly as planned.
Kodaka: Do you think the mastermind in Detective Conan has already been decided?
Akasaka: ...I would assume so.
Kodaka: I sometimes wonder if it’s more like a ‘we’ve decided it’ scam. So many fans online have already proposed every possible theory that the author might feel boxed in.
Akasaka: No, surely it’s been decided. I think One Piece has its ending decided too.
Kodaka: Well, it’s fine if One Piece has. But with Detective Conan, there have already been so many theories, like Agasa being the mastermind, or Mitsuhiko, and so on. I’m curious what kind of forbidden move they might use at this point.
MC: Akasaka-sensei has also been involved in game development. Let’s take a look at this.
The main visual for Kami to Miko appeared on screen.
Akasaka: I handled the original concept, scenario, and character design for this.
Kodaka: It’s an escape game, right?
Akasaka: Yes. It’s a collaboration between SCRAP*, myself, and Shueisha Games. Quite some time ago, my editor introduced me to Kato-san, the president of SCRAP, and we went out for a meal together. I had already pitched my idea back then, but after that, there was no news for quite a while.
Then later, Kato-san contacted me and said, ‘That idea might work.’ He sent me a proposal. I read it and said, ‘This is great. What about adding this as well?’ And gradually, I steered his proposal back toward my original concept (laughs). That’s how it came together.
*SCRAP is a company in Japan that produces incredibly popular real-life mystery-solving and escape games, online events, book publications, and all manner of puzzle-related content.
Kodaka: How has it been, making a game?
Akasaka: It’s fun, but demanding. There are so many inconsistencies that arise, and you end up adding more logic just to fix them. Even after declaring something the final draft, there are still many revisions. There’s a puzzle where the answer is expressed using three symbols, and we had to prepare reactions for every possible combination of those three. It was a lot of work, but I hope people will check it out.
Kodaka: When is it scheduled for release?
Akasaka: It looks like it will be sometime this year.
Kodaka: After this, will you feel like you’ve had enough of game development?
Akasaka: No, not at all. I would like to do more. I was even considering applying to a game company at one point. Manga has become a bit exhausting, and after working on Oshi no Ko, I realized how nice it is to have partners. With the anime adaptation, I’ve connected with many staff members, and that’s been wonderful too.
Kodaka: So it’s a case of ‘humans are nice*,’ is it?
*This is the title of a very famous children's song in Japan.
Akasaka: Exactly. Humans are nice (laughs).
Kodaka: What Aka-sensei just mentioned is one of the enjoyable aspects of game development. Sometimes you are forced to change something due to circumstances beyond your control, but in the end, it can actually improve the work or lead to something unexpected. That is one of its strengths. So I would be very happy if you joined us.
There was also a remark along the lines of “We should definitely collaborate,” though my notes do not make clear who said it.
MC: “Do you have any questions for Too Kyo Games?
Akasaka: Yes. Are all of you enjoying your work right now?
Shima: Immensely.
(He said it in a very heartfelt tone.)
Kudo: Of course we are (laughs)!
Kodaka: We actually have a company gathering every three months where we all drink together at the office. We get along quite well.
Takada: There’s even a bath at the office, isn’t there?
Kodaka: A bath?
Someone interjected that it was starting to sound suggestive, though I cannot recall who said it.
Takada: Maybe just a shower? It really feels like a home. You could easily stay overnight.
Akasaka: It really does sound like an ‘homey workplace’* (laughs).
*Companies that describe themselves as having a “homey workplace” in job postings often imply they have extremely poor working conditions, much like forcing family members to work for free—a type of workplace environment frequently mocked in Japan.
Kudo: It is an homey workplace!
Takada: But really, we never fight, do we?
Kodaka: No, not really. There can be creative disagreements, but not actual fights.
Takada: That’s why it feels like a family.
Akasaka: It really sounds exactly like one of those ‘homey workplace’ descriptions (laughs).
Kodaka (looking at Akasaka): Why don’t you become part of the family?
Akasaka: (laughs) Like, ‘Welcome to the family, son.’*
*This line references a well known quote from Resident Evil 7, in which a character knocks someone unconscious and forcibly declares them part of the family.
🟠 Grand Prize Giveaway Segment
Various items that had been sitting in the Too Kyo Games warehouse were given away one after another to audience members whose seat numbers Kodaka called out.
From what I remember, the prizes included:
A figure of Komaeda (covered in quite a bit of dust) → given to seat number 77 as a “lucky seven” reference
Hundred Line merchandise sold in China
A Monokuma hoodie
A mug (Kodaka handed it over saying, “It’s probably a mug,” so this remains unconfirmed)
A Danganronpa hoodie
The limited edition box of Master Detective Archives: Rain Code Plus
A Darumi plush
An Ima plush
A Takumi plush
An Nigou T shirt
A Special Defense Unit T shirt
A Super Danganronpa 2: Goodbye Despair T shirt
A Danganronpa V3: Killing Harmony T shirt
A Monokuma headpiece
A stone ornament?
Ōsuzuki Curry
A tote bag featuring chibi characters from the Special Defense Unit
A Hundred Line merchandise bundle
A complete set of all 100 Hundred Line button badges → given to seat number 100
Finally, a life size acrylic stand of Kodaka himself (very large) → presented to seat number 78, handed over personally by Kodaka, who said, “Please treasure it.”
After returning to the stage, Kodaka added, “I’ll probably end up crying later when I see it thrown away near the entrance.”
(It seems that during Part 1 as well, seat number 78 received a Kodaka acrylic stand, so he joked that there would probably be two of them discarded by the entrance.)
The giveaways moved so quickly that I could not note everything down. There were likely more items. With approximately 120 to 130 seats in the venue, the probability of winning was around 15 to 17 percent.
Aside from Kodaka’s own acrylic stand, the prizes were handed out by Takada, Shimadoriru, Kudo, and Togawa*. The scale of what was described as a “grand” giveaway was, in truth, rather over the top.
*He was on stage in Part 1.
Kodaka: There’s an upcoming The Hundred Line event, and applications for the 100,000 yen ticket are flooding in. Honestly, if someone just handed me 100,000 yen directly, I’d happily write a scenario for them, though.
---
🟠 Closing Remarks
Kudo: Thank you very much for coming today. Every time an announcement goes out about a The Hundred Line pop up event, the reactions we receive from all of you are truly encouraging. We sincerely appreciate your continued support.
Shima: I had a great time. I was nervous before going on stage, but thanks to all of you, I was able to enjoy the event.
Takada: Too Kyo Games will mark its tenth anniversary next year, which makes this our ninth year. I hope that next year as well we can hold another event like this and celebrate the tenth anniversary together with everyone.
Kodaka: Yes, it is a bit of an odd timing to hold this kind of event for the first time in our ninth year. We founded the company in 2017, and at the time we were not thinking much about long term prospects. I never imagined that nine years later we would be holding an event like this. We have simply gone with the flow day by day. I do not know what the future holds, and I imagine none of you do either, but I hope you will enjoy that sense of suspense. I would like you to stay with us until the very end, even if it means witnessing the downfall of Too Kyo.
---
With that, the second part concluded. As the audience exited, background music played, which appeared to have been specially mixed by Takada for this event.
In preparing this report, I referred to photographs, reports, and comments posted on X and Bluesky. I would like to extend particular thanks to those who shared especially detailed reports.
Too Kyo Meeting <Part2: Sound & Design Edition> Report ①
日本語版はこちら。
This is a report on Part 2 of the event “Too Kyo Meeting (過狂集会)”, hosted by Too Kyo Games, held in Tokyo on February 22, 2026.
⚠️ This article is based on notes taken during the event and personal recollection. It may contain inaccuracies or phrasing that differs from what was actually said. Please regard it as a general record of the flow and remarks rather than a precise transcript.
⚠️ This is an extremely LONG post, so please be aware before expanding it.
🔸 Speakers
On stage: Kazutaka Kodaka / Masafumi Takada / Shimadoriru / Yuki Kudo
Special Guest: Aka Akasaka (Appears from Report ②)
MC: Yoshida
Rui Komatsuzaki did not appear on stage and instead participated via messages.
Honorifics are omitted in descriptions throughout this article.
---
At the scheduled start time, a buzzer sounded and the venue went dark, followed by an opening video. As was later explained, the video had been entirely produced by Takada for this event, from composing the music to creating the visuals.
A powerful female vocal welcomed the gathered fans and reflected on Too Kyo Games’ journey so far. Footage from titles such as Akudama Drive, Death Come True, World's End Club, Master Detective Archives: Rain Code, Tribe Nine, The Hundred Line, and Shuten Order played in succession, ending with lyrics inviting the audience to enjoy the event.
With that, Part 2 officially began.
🟠 Opening Remarks
MC Yoshida greeted the audience and explained that live commentary and impressions were welcome during Too Kyo Meeting. However, if a warning appeared on the screen, attendees were asked not to share the corresponding content externally.
Kodaka then took the stage. As soon as he appeared, he began by teasing Yoshida, noting that although she had said after Part 1 that she would not stumble over her words in Part 2, she ended up stumbling quite a bit.
Kodaka: I mentioned this in Part 1 as well, but the autograph boards vary individually. It seems people have already started looking to trade them on social media. Trading is fine, of course, but Ginzaki and Moko is rare, so if you got that one, you might want to keep it. By the way, are there any people from the game industry here today?
(A few people raised their hands.)
Kodaka: Not many. Well, I suppose that means there’s nothing to learn from us.
With that, the self introductions began, and Takada, Shimadoriru and Kudo joined him on stage.
Self Introductions
Takada: I've been composing music for various games for a long time, but I also handle general affairs and accounting. I process everyone’s salaries, for example. Actually, I knew they were planning to go independent from the start. I had been invited to drinking gatherings where Kodaka, Uchikoshi, and Komatsuzaki were present, so I knew they were planning to go independent. But nothing seemed to be moving forward. Since I had experience founding companies before, I told them I would take the lead and set things up.
Kodaka: Actually, it was Takada-san who provided the initial capital when we established the company. At the time we set it up, I had not yet left Spike Chunsoft. I resigned afterward and then joined.
Kodaka: When I was making Danganronpa: Trigger Happy Havoc, I only knew about two game composers: Shoji Meguro from Atlas and Takada from Grasshopper Manufacture. By chance we ended up working together, and it’s been about fifteen years now. In the industry, Takada-san is definitely my senior.
Shima: I was originally working on projects related to Spike Chunsoft*, and I was approached when Too Kyo Games was founded. I have been involved with the Danganronpa series and AI: The Somnium Files, so I had worked with both Kodaka and Uchikoshi prior to joining the company.
*To avoid any misunderstandings: Shimadoriru was not an employee of Spike Chunsoft; he was invited to work on the projects as a freelance illustrator.
Kudo: I originally worked for an agricultural cooperative. I then joined a subsidiary of Dwango. While I was there, it was absorbed by Chunsoft, and Chunsoft later merged with Spike to become Spike Chunsoft. So in fact, I had been working at Spike Chunsoft.
After that, I changed jobs and joined DMM*. Around that time, I came across an announcement that Too Kyo Games was recruiting a graphic designer, so I applied and was accepted.
As for my current responsibilities, I assist Doriru-san and Komatsuzaki-san with various tasks, manage production schedules, coordinate outsourcing to other companies, and handle corrections and feedback.
*DMM is the publisher of Shuten Order.
Komatsuzaki's message consisted of just one line: I've been a company employee all along.
Kodaka then added further explanation.
Kodaka: Komatsuzaki-kun joined Spike as a new graduate, and after that he was working on a Dragon Ball game*. But after doing that kind of work for a long time, he started to feel like he had heard Goku’s voice more than enough. While smoking in the company’s smoking room, we would talk about how we really wanted to make our own games. Then Komatsuzaki-kun said that he could draw a little, so I told him we should do it together. Since then, I have worked with Komatsuzaki-kun more or less as a creative duo.
*The story of how Kodaka and Komatsuzaki began working together has been told in various places, and the Dragon Ball game mentioned here was later revealed at CEDEC+KYUSHU 2025 to have been Dragon Ball Z: Sparking! Meteor.
---
🟠 Top 3 Most Memorable Tracks
The first talk segment focused on the three tracks selected by Takada.
Takada: When I composed this piece, I struggled tremendously. The theme for Danganronpa came together in about twenty minutes, but this time that spark simply would not come. At some point I even started to resent Danganronpa (laughs). It felt like I was fighting against my past self.
Kodaka: I told him that I wanted it to feel like a detective story. As a reference, I gave him music from The Private Detective Mike* and said I wanted something along those lines. If you listen to it, you can clearly tell that was the inspiration.
*You can hear a bit of the song in the PV on YouTube, so here's the link: https://youtu.be/rxiypEOM_TU?si=_ZsNzEEi-g8d7zq8
Kodaka: I truly think it turned out exceptionally well.
Takada: It begins in an irregular meter, but I like how it does not make the listener consciously feel that irregularity.
2) HUNDRED DAYS (Daily Theme of The Hundred Line -Last Defense Academy-)
Takada: Anyone who has played the game has probably heard this enough times to develop a neurosis.
Kudo: You really do hear it hundreds of times.
Kodaka: We specify which music plays in each scene during the scripting process, and this track was playing constantly while we were working on the script.
Takada: I knew from the beginning that it would be heard repeatedly, so I thought carefully about how deeply to engrave it into memory. To me, a song with a strong bassline is a good song, so I paid particular attention to the bassline.
Kodaka: Partway through, the piano comes in, and that is when it really starts to feel like Takada-san.
Takada: Actually, the arrangement differs between the first 100 days and second 100 days. In the second 100 days, guitar, piano improvisation, and flute are added. I designed it so that the longer you play, the more you discover.
Kodaka: It is already available on the soundtrack, correct?
Takada: The digital version has been released. The CD version is still forthcoming, but I hope everyone will listen to the digital release.
3) Great Detective’s Deduction (Deduction Theme from Shuten Order)
Takada: I originally composed this as a definitive piece for a specific route*, but when I saw the finished product, it was being used in various places. I assume Nakazawa-kun liked it.
*In Nakazawa's commentary posted on the official Shuten Order X account, it is mentioned that ‘this was originally a song exclusively for the Ministry of Justice’: https://x.com/shuten_kyodan/status/1976211034982498790?s=20
Kodaka: This track feels close to Takada’s work from his Grasshopper Manufacture days. It reminds me of The Silver Case*.
*A 3D adventure game released in 1999.
Takada: Back then, I was working in the style of minimal music, creating variations through different combinations of sequences. I suppose it fits the game's atmosphere.
Kodaka: I like how it feels like a pro-wrestling entrance.
Audience: (laughs)
Takada: I composed it to match the scene where the courtroom platform rises. However, it was initially implemented incorrectly, and it started playing only after everyone had already risen and lined up. I remember asking for that to be corrected. I also chose it simply because it is popular (laughs). I thought I should include at least one Danganronpa track.
🟠 Top 3 Most Memorable Designs
In the next segment, each designer presented three of the most memorable designs they had worked on.
Shimadoriru’s Top 3
1) Early Art Board for Master Detective Archives: Rain Code
The illustration depicted a colorful Reasoning Death Match space within the Mystery Labyrinth. Yuma faced an enemy silhouette resembling Swank from Amaterasu Corporation. A large skeletal figure resembling a Grim Reaper loomed overhead, and something like the Mouth of Truth floated in midair.
Shima: This is an art board from the Spike Chunsoft era. Has anyone seen this before?
Kodaka: It might be in the art book*. If you have seen it, please raise your hand.
Almost no one raised their hand.
*It was later confirmed that it is not included in the official art book.
Shima: Then it seems it was never made public. I drew this at the proposal stage. Many of its elements were not actually reflected in the final game, though.
Kodaka: When presenting to producers who provide funding, stylish artwork is important!
Kodaka: At that time, we did not even have a meeting room, so we held meetings in karaoke rooms.
Shima: Yes, sometimes while eating.
2) Neo Chiyoda City Concept Art (from Tribe Nine)
I think it was a picture of looking up at a building like a huge dam floating in an orange sky... (my memory's a bit fuzzy)
Shima: I believe this has not been released either. I actually created image boards like this for every tribe, but none of them have been made public.
Kodaka: The world of Tribe Nine is made up of tribes that feel like super exaggerated versions of Tokyo's wards, but most of the locations haven't been revealed. It's a great shame.
Shima: I don't know anything technical, but Tribe Nine was amazing, right? The 3D quality was really high too.
Kodaka: Tsuki was quite popular too, wasn't it? The web novel Neo Neon Tribe (ねおねおんトライブ) is still ongoing, so please check that out as well.
Shima: I hope the remaining cities will be released somewhere eventually.
3) Concept Art for The Hundred Line -Last Defense Academy-
The illustration showed Takumi in class armor standing alone at the academy entrance, preparing to fend off a large group of School Invaders.
Shima: This has not been released yet either?
MC: It definitely has not.
Kodaka: Originally, we wanted the School Invaders to resemble grotesque, mascot-like creatures — almost as if Pokémon monsters have been peeled off, creating grotesque looks. I even showed those designs to someone who works at Nintendo, who said, 'Looks interesting!' However, when I later saw that Palworld was facing legal issues, I thought perhaps it had been a trap. I'm glad we changed it.
At one point, Kodaka remarked that there was something like a Pom Pom Purin with an extremely grotesque face.
Kudo’s Top 3
1) Merchandise Illustrations for The Hundred Line
The screen displayed illustrations of previously released merchandise: maid & butler, rock band, Animate goods (walking side by side), and morning routine-themed merchandise.
Kudo: All of these merchandise illustrations released so far were drawn in house at Too Kyo Games. Recently, one slightly erotic character* became a hot topic among fans (laughs), but I was told that having flushed cheeks would be good, so I drew it accordingly.
*She's referring to the following Yugamu. Since the official image wasn't viewable at a very high resolution, I'll link to a fan's post:
Kodaka: Danganronpa often collaborates with external illustrators for merchandise, but since The Hundred Line is our own IP, it is a strength that we can release official illustrations like these internally.
2) In Game Event CGs for The Hundred Line and Shuten Order
Kudo: Rather than a specific illustration, it is the overall body of work. It was very challenging to ensure that the intent of the scenario and the character settings were never compromised, and I had extensive communication with the writers.
Kodaka: How many illustrations are there in total?
Kudo: A little over six hundred for The Hundred Line, and more than one thousand for Shuten Order.
Kodaka: There are more in Shuten Order?
Kudo: Yes, because there are five routes! Each title was demanding, and some of the production periods overlapped, which made it even more difficult.
Kodaka: In terms of workflow, the script specifies where illustrations are needed. Kudo-san writes the storyboard, the writer checks it, and once approved, the request is sent out.
Kudo: I explained the production process in the developer blog of The Hundred Line, so that would probably be the clearest reference.
※The article Kudo mentioned is here → https://hundred-line.com/special/blog/detail/?p=02
Takada: Ah, right! The developer blog!
Shima: Was there?
Takada: There was. You wrote one as well. The sound team contributed too.
※There's also an article by Shimadoriru → https://hundred-line.com/special/blog/detail/?p=13
※Sound Team articles → Part 1: https://hundred-line.com/special/blog/detail/?p=04
Part 2: https://hundred-line.com/special/blog/detail/?p=08
3) Mackerel Head Design Sheet (The Hundred Line)
Kudo: Actually, I drew this mackerel on my end. I knew it would be made into a 3D model, so I prepared three views. When it runs sideways, the face is supposed to turn toward the camera.
Kodaka: The cross section looks rather grotesque.
Takada: But it looks quite delicious.
Kudo: I love mackerel, so I wanted it to look properly appetizing. I put a lot of effort into it.
Kodaka: Regarding the comedy route, I was honestly wondering what exactly it was supposed to be.
Komatsuzaki’s Top 3
1) Makoto Kagutsuchi’s Masks (Rain Code)
Komatsuzaki commented on the wide variety of designs of Makoto's masks and how fun they were to draw. He also mentioned that he really liked the tofu motif among Desuhiko's badges (it was a fairly long comment, so my memory's a bit fuzzy).
Kodaka: Both Komatsuzaki and Doriru created an enormous number of designs for Rain Code. Makoto’s masks changing according to his emotions was interesting. At first, there was even an idea resembling a clown-like mask*, but we ultimately decided that something cute yet unsettling worked best.
*You can actually see the clown-like mask design in the art book.
2 and 3) Nigou and Sirei (The Hundred Line)
Kodaka: We adopted Nigou and Sirei exactly as Komatsuzaki-kun submitted them. Monokuma was the same. He loves drawing mascot characters, and I believe he especially likes Nigou's annoying expressions.
Kodaka: While writing the scenario, I struggled with how to differentiate Sirei from Monokuma. Sirei forces the members of the Special Defense Unit into war, yet their overall narrative position felt similar. After seeing Komatsuzaki-kun’s design, I thought an extremely deep voice would work for him, so we asked Hochu Otsuka to voice him. As for Nigou, Komatsuzaki-kun told me, ‘Nigou absolutely has to have a cute voice!’ That's how we ended up with the actress known for voicing Tony Tony Chopper in One Piece*.
*Ikue Otani, the Japanese voice actress for Nigou, is also the voice actress for Pikachu. Pikachu's voice is the same in every country's version worldwide, using her voice.
Takada: When I asked Komatsuzaki-kun to draw the cover art for the The Hundred Line soundtrack, he said, “Eh—Sirei and Nigou are fine, but I'd hate to draw any other characters”(laughs).
Kudo: Komatsuzaki-san is truly particular about Nigou and Sirei. For event CGs, everything involving those two was checked by him, or rather, he drew all of them himself.
Kodaka: His line work has a distinctive rounded quality that only he can produce.
Shima: I really felt that when I had to draw Monokuma for Danganronpa. That specific roundness was extremely difficult to reproduce.
---
After this, a warning appeared on the screen, and each speaker shared off the record stories and images that cannot be disclosed.
Although details cannot be discussed, most of the material seemed to be things that simply cannot be shared yet, so it would not be surprising if they are made public at some point.
Just wanted to share of video during my thllda gameplay! I don't speak at all but I think you could tell how I enjoyed a particular Takemaru mine based on how he says it lol :3
Also I read pretty fast which is why I was skipping in like the middle of the lines
origamiaround
tangentwithtanner
snowghoul
romaincrisis
titsay
kaledo-art
areudirty
