Interview News

On Ne no Kami, Crowdfunding, and More – An Interview with Sekai Project

Decay Interviews Sekai Project (05/2016)
Written by Decay

Sekai Project is nothing if not controversial. From their use of crowdfunding to the way they handle 18+ releases, they’ve come under fire for many of the ways they’ve run their business. Yet they’re also possibly the most successful VN localization company of recent time, releasing a number of hits on Steam and garnering quite a following. Their latest venture is an IndieGoGo campaign for the yuri VN Ne no Kami, which as of this writing sits at 82% funded, just days after its launch.

Audun Sorlie aka Audi, a man of many roles at Sekai Project, was kind enough to field my questions relating to Ne no Kami, crowdfunding, Maitetsu, their adult releases, and more.

Decay: First of all, thank you very much for taking time out of your day to answer our questions.

Audi: Very happy to speak with you, pleasure is all mine! You’re the one that has to take the time to make sense of my English grammar anyway.

Decay: Ne no Kami, your latest crowdfunding campaign, seems to be a yuri fantasy adventure. What sets it apart from your other yuri VNs?

Audi: What I feel truly sets Ne no Kami apart is the organic and believable connection between the characters, that genuine spark that comes through their interplay. I feel far too often in general entertainment we are just simply told to feel that these people are in love, but the writing in Ne no Kami is strong enough for me to actually think “yeah this is exactly how I felt when I saw Phoebe Cates in Gremlins”.

Decay: How much of Ne no Kami is a serious story? Will it have anything for fans of the fluffy, slice of life-style of yuri?

Audi: It does certainly have elements of comedy, science fiction, thrillers, so there’s something for everyone, but the emotional weight is still rather serious and handled with care.

Decay: The sequel is still several months away from release in Japan, are you already working with the developers on the translation? Can we expect a simultaneous English and Japanese launch?

Audi: Yes indeed! We are working closely with Fenrir vier-san to ensure a smooth launch both in Japan and in the West. The first part was met with universal praise so he’s got his work cut out for him to follow it up, but I can tell you he’s well on his way to surpass his previous works.

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Ne no Kami

Decay: Sekai Project seems to be publishing disproportionately large number of yuri VNs lately. Is the market really that big for them, or are you at SP just huge yuri fans?

Audi: I think it comes down to the fact that well written female characters are so much fun to read. It’s not so much the genre itself as it is just the quality of the stories, and it just so happens that yuri tends to be more emotionally provocative and endearing. For myself, I just want great storytelling, it could be about a moose marrying a 1000 year old ghost if it’s just written well enough.

Decay: The Ne no Kami campaign is already over three-quarters funded after just a couple of days. How much of a relief is it to see it be so successful?

Audi: Of course, it’s absolutely amazing to see such response, because I been working on this for a while and care so much for the characters and the creator himself, so for him I just feel very happy. I felt like the art and the premise was strong enough to warrant a good reaction, so I’m glad to see I was right about that.

Decay: You’ve recently been using IndieGoGo instead of Kickstarter. Are you satisfied with how IGG has worked out for you, and will you continue using it in the future?

Audi: IndieGoGo is more lenient with 18+ material, which is why we been using their platforms for certain projects. You’d be surprised how difficult it can be to get 18+ projects off the ground in general. Overall IGG is very good and I personally enjoy the more direct interaction I can have with the backers through their service. I always enjoyed talking to fans, and IGG makes that a little bit easier than KS in certain ways.

Decay: With both Ne no Kami and KARAKARA, you’ve employed the “flexible funding” feature of IGG, which grants you all of the money pledged regardless of whether you’ve made the goal or not. Why have you chosen to do so? What will happen if one of your projects fails to meet its goal?

Audi: For most of our projects, we back the development ourselves, and then bring project to a crowdfunding platform. The VN market in the West in still fairly young and unpredictable, and we wanna give these stories the proper treatment. So for a campaign like KARAKARA, it’s a way for us to allow these games to grow through the support of the fans. If the demand isn’t there, the game isn’t going to grow any bigger. Developers and producers often need guarantees, and crowdfunding is a very good way of giving them that.

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KARAKARA

Decay: Lately, there seems to have been a somewhat lower frequency of crowdfunding campaigns from you. Are you afraid of relying too heavily on crowdfunding? Do you think people will get crowdfunding fatigue at some point?

Audi: Well SP as a company is always growing, always working hard to bring out a wide array of adventures and video games. With growth comes more security, experience and ability, so naturally we can take on more projects in-house completely over time.

As for fatigue, I think it really just depends on the demand and the product. People always say they are done with crowdfunding, but then a Shenmue 3 type thing comes around and dreams come true. It’s hard to gauge, really.

Decay: Do you think Sekai Project will ever stop relying on crowdfunding, or is that a tool you think you’ll always be using?

Audi: How long have you been holding in this question? 😉 I’ll try to be as honest and transparent as I can in this answer satisfy your readers. So for us, crowdfunding has been essential to allowing us provide the fans with the greatest VN’s out there. For an upstart on their 3rd year of operation, we’ve grown substantially and this is very much thanks to the fans’ support through crowdfunding. We are all video game industry veterans and VN fans that came together to seek out old classics and new adventures, so for us, it’s all about bringing out great content, never about making a dime.

I think there is a general misconception about what is actually done by doing a crowdfunding campaign, as if people are footing the bill for us and we rake in the goods. It couldn’t be farther from the truth actually. Ironically, no one ever makes money off of Kickstarter, it’s impossible, with all the variables, deductions, expansions, the campaigns themselves never make anyone any real money, it all goes into the product.

For VN’s, the market is still so young that despite there having been 1 or 2 active publishers in the West with a focus on VN for less than a decade, the companies in Japan are often very strict and wary of going into the English speaking market, which is understandable. So with a crowdfunding campaign, it almost always comes down to the same thing no matter which company is doing it, it’s about showing the demand from the fans and showing the strength of the marketplace. Additionally, for us, we can give back by offering lower prices for the backers than the retail price and also allow them to get premium content that without crowdfunding would be relegated to Japan or like a press kit. For example, people still love to physically own content, and this is a perfect way to allow this to happen without filling up our storage with 10.000 unsold copies of whichever game.

What I can say is that since I joined the company, I been very active in improving communication and presentation of the crowdfunders, and trying to make everything more clear to the consumers. Over the last year, we have taken on more projects and released them without resorting to crowdfunding because we continue to stabilize and grow, but for certain projects, they are too big and need more guarantees to be truly viable.

So hopefully this allows some of your readers to better understand that Kickstarters are not there to pre-order a game, it’s there to ensure the project is financially viable and not bankrupt the developers and publishers by going with a dud. If it makes any of you happier, know that we are always the loser even when the campaigns are successful, because there’s always unforeseen roadblocks that causes trouble.

Decay: For the first couple years of Sekai Project’s life, you’ve released very little through Denpasoft, your 18+ brand. Why is that? Were you unsure of the 18+ market?

Audi: I wouldn’t say we were unsure of the 18+ market as much as it was us as a company needing to stabilize and become more organized to delegate some focus over to Denpa. I been working fairly hard on the Denpa side to get it more active. 18+ is one of those things where people yell really loud for it to happen, but they are slow to pull the trigger so we didn’t want to flood the site with whatever. We wanted to pick great art and great stories (though sometimes those are not mutually exclusive in a title).

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NekoPara Vol. 2

Decay: In recent months you’ve been releasing much more 18+ content through Denpasoft. Have those releases been performing well, and can we expect to see more of them?

Audi: You can look forward to lots more! It’s an ever growing catalog. Denpa is going well and we see growth all the time. I am very happy with Denpasoft and am always looking for ways to improve it.

Decay: Sekai Project has been licensing a fairly wide variety of games lately, but perhaps the most surprising one was Maitetsu, which features some very young-looking romantic interests. What made you want to license that one in particular?

Audi: Maitetsu’s world and characters are so rich and beautiful that the game just blossoms as you read it. This is probably gonna be the dumbest answer you’ll ever get out of me, but to me the feeling I get from Maitetsu is like watching Postman Pat. It’s this warm unity between the characters in a little village, and the characters all have such distinct personalities that really shines through.

I look forward to all the posts about how Sekai Project wants Postman Pat eroge now.

Decay: Are you afraid of any potential backlash from mainstream press outlets due to Maitetsu’s subject matter?

Audi: Certaintly, Maitetsu is a title which in Japan has a playfulness that can quickly be seen as lewd and absurd in the West, we are mindful of that and always talking to Lose about how to approach the game.

Decay: An 18+ release of Maitetsu is something there seems to be a lot of demand for, is that something you’d be interested in providing?

Audi: Well there certainly is a loud crowd of people, don’t know about their numbers but I hear their voices even in my sleep. Again, it’s something we have to look into and figure out because the subject matter is not just controversial but can be detrimental to many of our partners. We work very closely with companies like Sony and such, and their cool with us working the Denpa 18+ stuff separate from them, but one false move and suddenly the VN market is gonna hurt from it. It’s one of those situations where we have to pick our battles and figure out the best course of action.

Decay: Sekai Project’s co-founder Raymond Qian has recently tweeted about his doubts over the recently-announced 2236 A.D.’s chances in the west. What do you think makes it so hard to sell these kinds of story-heavy titles in the western market?

Audi: I wouldn’t say I disagree with that, but my job is to prove him wrong. Dovac is the hardest working man in our company, and he knows the challenges of the market. We all like to think that the greater stories prevail, but simple put, most people want that 10 minute gratification or else it is deemed boring. Mainstream still has a hangup that all VN is erotic and exploitation, so there’s that too. So even though it’s a hard sell, it’s essential that we continue releasing these type of story-heavy games to push the medium forward and showcase its strengths. 2236 AD is really wonderful, so I can only hope people do give it a chance.

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Maitetsu

Decay: Much of Sekai Project’s catalog consists of doujin VNs that are frankly rather obscure. How do you find these titles? Who usually approaches whom?

Audi: It depends. I mentioned earlier we all come from a background of working in the video game industry and/or the VN industry. Some developers approach us through word of mouth that we work hard and have very good dialogue with our development partners, others are friends or associates that we kept eyes on over time. It really depends. We want to provide developers big and small a way to bring their stories to a larger audience.

Decay: What about Ne no Kami specifically? How did you and Kuro Irodoru Yomiji, the doujin circle behind it, come to work together?

Audi: I believe our co-founder Chris Ling had the pleasure of meeting with them through some mutual associates and we saw the passion and quality of their work. Sacrament of the Zodiac was a short and sweet title with really wonderful art, and was like a blueprint of how they write their characters, it just felt much more believable than many of the other VN yuri characters which sometimes can feel flat.

Decay: You’ve also been publishing a lot of EVNs lately. How do you decide which ones to support?

Audi: EVN we approach a little differently because that truly is a brand spanking new market, though I don’t know if we had a spanking EVN yet, might wanna get on that. We get a lot of pitches and requests for EVN, and like our Japanese partners, we wanna help EVN grow and become a stronger genre as well.

Decay: What is it like being a publisher of EVNs, compared to translated Japanese VNs? Do you exercise any creative control over your EVNs?

Audi: With EVN they are often in pre-production or early production when we begin our work together, so we have an easier time communicating on content change should there be a need. However, we at SP never really involve ourselves in content creation as such beyond suggestions, so it’s really up to the dev. Yes it is true, SP never wants to censor anything, it’s a shocking revelation, I’m sure.

Decay: Some of your published EVNs have a rather questionable reputation among the VN community, such as the Sakura series. Does this bother you at all? How do you think you can turn that around?

Audi: Well I think Sakura is more about the artwork and whimsical writing than anything else, and for that they work really well. The characters look great and series is constantly growing stronger and better. The upcoming Sakura Dungeon for example is a dungeon RPG kinda like Wizardry, so like many other game series, just gotta let it grow and show some support. Mega Man 1 was not the best Mega Man, but over time it grew great. Though Mega Man 3 is the best.

In fact, I’ll speak more for myself in answering this in that I find EVN’s greatest challenge is just that it relies too heavily on set expectations and tropes. Just because you read a VN that takes place at a Japanese high school, does not mean every VN has to take place in Japan. For me, I want to see and hear stories that comes from your experiences, your life, your influences, and those go back much further than the VN you read in 2013. I think people think that their own culture and experiences aren’t interesting, but they really are, and I would love to see more variations and diversity from EVN developers. Are you Swedish and grew up near the woods? Then a VN with nature, trolls and woods that comes from your own imagination and culture would be much more authentic and personal than writing about Koji Whataeva meeting his childhood friend who has grown breasts over the summer and wants to go to the cherry blossom festival to show off her cleavage in a kimono.

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Highway Blossoms

Decay: Although you publish plenty of standard bishoujo and yuri titles, you deal with very little yaoi/BL. Your last attempt at a licensed BL translation ended in a Kickstarter failure. Will you ever try to translate another BL title?

Audi: Absolutely. I think sadly that KS campaign fell a bit by the wayside and it deserves another chance. I often speak with LGBT and yaoi fans at conventions and always tell them I really wanna bring out more for them to enjoy, because there is great content out there. I actually ghostwrote gay Harlequin titles for the UK market in my late teens so maybe I need to just do it myself and have SP publish it.

Decay: This also goes for otome games, SP has yet to release a major otome game yet. Why is that? Do you have any plans for translating otome games in the future?

Audi: Yes, we’d love to do otome games of course. Just gotta find the right one and have the right time to do it. Otome fans, scream at us what you want and we’ll keep trying to give it to you. It will happen.

Decay: You’ve recently started publishing manga, starting with Gate. Do you plan doing more manga in the future?

Audi: We also announced the Sakura Spirits manga recently, so you can be sure there are other mangas around the corner. Just keep checking back.

Decay: What about other mediums? LNs? Anime? Maybe even TV dramas? Is there any medium in particular Sekai Project would really like to expand into?

Audi: For now, we are primarily focused on video games and manga, and figuring out how we can delay them further just to make people angry. Who knows what will happen in the future really, I personally would see anime as a logical next step but I wouldn’t know how and when.

Decay: And lastly, I’m told that you were close friends with the late Ryu Umemoto, composer for YU-NO, Eve Burst Error, and many other visual novels, and that you have a message to share with us. Would you like to share that message now?

Audi: Ryu-san was one of my closest friends and the loss of him has had an immense impact on my life. In fact, Eve Burst Error was my very first VN back in like… I’d like to say ’96. What struck me was the energy between the dialogue, visuals and music, and the music especially floored me. I always took note of the name Umemoto from the credits, and began to pick up games randomly if I knew he had done the music for them despite not really getting to fully enjoy the stories, the music was a story in itself. This was before the Internet could answer all your questions, so information on him was scarse at best.

It wasn’t until 2008ish that I became friends with another musician in Japan that was impressed by my knowledge of PC-98 and video game composers. He made me list my favorites for giggles but when I eventually professed that no one could match someone named Umemoto Ryu, he stopped dead in his tracks and looked at me asking if I knew Umemoto-san. I didn’t of course, but it turns out he did. In fact, they were sharing offices! So one thing led to another and I began to exchange emails with the man who I had idolized for so long.

We became very close friends, and eventually even visited eachother and working together. I saw that his health was getting worse, but Ryu-san never spoke about himself, he cared for everyone else and he was always in good spirits and never let anyone truly know about his condition. Last time we spoke was on my birthday in 2011 when he gave me a quick ring and joked he would join me for a late birthday party in a few months (he was planning a trip to my place in Europe). Sadly the next call I would get was with the news that he had passed away.

Ryu-san was to me the most complete person I ever met, someone who thought and spoke so clearly, yet had the most complex understanding of the world. His music speaks for itself, and the stories he told with his music still leaves me speechless. But as a friend, as a brother as he would say, just the sweetest man in the world. I can’t express enough how much I loved his presence and support, and how dearly I miss him. I promised his family to take care of his estate and continue to promote his name and music, so I always try my best to share the wonderful memories that I have.

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Audi with Ryu Umemoto


We’d like to thank Sekai Project and Audi for taking the time to answer all of our questions, and doing so with full honesty. Speaking from my own perspective, SP’s recent efforts to reach out to the community more with their Q&A streams and interviews have impressed me a great deal. I appreciate their transparency and I hope we can see more of this in the future.

About the author

Decay

Hello, I'm Decay, an avid fan of visual novels and a regular poster on Fuwanovel. Also, I now review and write about VNs officially for Fuwanovel? Yeah, that started happening at some point. You may also see me on VNDB as dk382.

26 Comments

  • Why are you translating already fan translated VNs ? I don’t intend to buy games I already finished long ago.
    What a waste, there is so much VNs I’d like to see translated.

    • To allow new audience to enjoy them on modern systems and, more importantly, in a legal way? I really don’t understand that attitude in the community…

      • Well, a new audience won’t see the difference between a newly translated VN and an old fan translated VN, so they should please everyone by prioritising non translated VNs.
        Have you heard of supply and demand ? SP is a company, not a NPO.

    • Because:

      1) You might have played some VN years ago, but you aren’t the only inhabitant in the planet (last time I saw, there were ~7 billion of us!). Most of those most likely haven’t read that VN yet, so there is still a huge potential market for such titles.
      2) Legality. Not everybody feels good pirating stuff, even more if it is actually GOOD, and really want to support the author (and no, importing stuff from Japan isn’t a viable option for everybody)
      3) Convenience trumps over everything else – what do you prefer: torrenting a modified ISO from some chinese tracker (or even worse, spending MONTHS downloading a bunch of stuff from Mediafire or PD), waiting for a patch that might or might not work on your specific release, having to fiddle with your OS regional settings, and pray that the goddamned thingmajingy doesn’t crash when you reach the climax…, or plop down $10 in a Steam sale, click Install, then play the thing and enjoy yoruself? The answer is clear to me.

      So nope, you aren’t the only one that read VNs – while there are untranslated stuff really deserving of a localization, you must yield the chance to the newcomers too.

      • Nonsense.
        I want to please everyone while you want to please only the newcomers, you are selfish, not me.

        • The nonsense here is you.

          I’m not targeting newcomers ONLY – even seasoned players might have skipped an old title, or want choices, or simply have money to burn. By bringing choices you actually can please everyone. Just because a title is old and has a free patch available somewhere doesn’t mean “it’s unsellable, don’t waste your time!”.

          You should learn that there is market for everything, even for “yesterday news”. Look, I want to read new stuff, but I wouldn’t mind paying for, say, Tsukihime (might be a far-fetched example, but I had read that one 5 years ago, so go figure – hell, I would re-read it because it was good!)

          A good publisher should balance both kinds of releases: bring the hot new stuff, but give love to old glory too. Just like there is space for both dubs and subs on streaming places…

  • “I think there is a general misconception about what is actually done by doing a crowdfunding campaign, as if people are footing the bill for us and we rake in the goods. It couldn’t be farther from the truth actually. Ironically, no one ever makes money off of Kickstarter, it’s impossible, with all the variables, deductions, expansions, the campaigns themselves never make anyone any real money, it all goes into the product.”

    Uh, so Age made no money off the Muv Luv Kickstarter? They invested all of that $1 million back into the project, you say? Riiight…

    In almost every crowdfunded project I’ve looked at, there’s no true “money sink” to reinvest contributions beyond the funding goal. There’s stretch goals, yes, but those usually require a fraction of funds requested (stretch goal of interest – previous stretch goal) to actually implement. The statement in the interview is so at odds with my perception of how these projects work that I can’t help but cry “intellectual dishonesty” here.

    • I cannot speak for either SP or Muv Luv, but I’ll say that reward fulfillment is an extremely expensive process, usually far more expensive than anyone expects, even the ones seeking crowdfunding. The Muv Luv Kickstarter had so many physical goods that I legitimately would not doubt if they actually didn’t turn a profit on the KS alone.

      • The physical goods were also priced sky-high. Hardcopies alone added $20 to the price. At most retailers the price difference is $5 to $10–sometimes the physical version is even cheaper!

    • It depends on the project. My project uses a considerable amount of cash at all time for promotion and merchandising. So while my stretch goal may only cost say 10k, my special cost per month goes to alteast 1k a month.

      A strong campaign it what its about.

  • Great interview! Got lots of info on their stances regarding different genres and 18+ content. It was a good read. Oh, and here’s another +1 for a Maitetsu 18+ release/patch.

  • “Otome fans, scream at us what you want and we’ll keep trying to give it to you. It will happen.”
    thats a horrible move, people usually request stuff from every.single.platform the campany don’t work with
    i mean mangagamer most requested otomege last year was diabolik lovers that is the worst ever suggestion for localizing ever cuz of the content that could easly scare future buyers and supporters of the genre and it isn’t even for pc

  • Something isn’t sitting right with me well at ALL after reading this interview. Instead of clarifying worries and making things more comforting and assured, I only feel more unsettled.

    Primarily, I don’t see why they need to rely so heavily on crowdfunding as a means to see success (to their partners anyways). Wouldn’t concrete sale numbers be much more effective? They claim it’s not a preorder type thing at all but i call huge bullshit on that. Sekai Project seems untrustworthy as all fuck, and this only cements it.

    Won’t comment on their 18+ stuff since not enough has happened on that end but hopefully they’ll get things not already translated or small time no name titles/doujin things.

    You asked some great questions and Audi was somewhat transparent but this only further cements my hatred towards Sekai Project. Hopefully once they stop relying on crowdfunding to try to show interest in titles and trying to churn out too much at once with what feels like little effort being put into projects already being worked on, they can turn around and better themselves.

    Perhaps this is something that will pass. Perhaps they can turn themselves around like MangaGamer did years ago. I don’t hold much faith in them. If they continue as they are, at this rate they’ll go down quicker than they’d hope.

    At least, these are my thoughts as a mere observer. Some things are off, I’m sure, but I don’t care. When they actually care about the projects they work on and stop trying to get too much going on at once without really taking their time on their current projects, maybe I’ll give them a chance. But as it stands? This interview shows loud and clear why nobody should invest their money into Sekai Project. They are untrustworthy, churn out new things almost every other week (an exaggeration, I know, but it suuuure feels that way), and with their lack of transparency and honesty, why WOULD anyone want to support them? It’s a shame they acquire the big name titles.

    Also… Sakura series? Whimsical stories? Really? Uhh… okay… sure… whatever floats your boat…

    • “Why would anyone want to support them?”

      Because they sure as hell have some neat, unique things being brought over, they support the EVN market far more than any other publisher, aside from WAS, everything they’ve done has indeed been released or is on track etc. etc. You’re looking for a scapegoat for odd reasons.

      And as much as I hate the Sakura games, they are pretty damn whimsical. Doesn’t mean good though.

  • Personally, I can believe that their crowdfunding campaigns don’t actually make any money (or at least a lot) of money for Sekai Project.

    However, the problem is the sales for the kickstarted product after it is released. Sekai should be getting a lot of money from that.

    Still, I’ll admit that a lot of my greviances with Sekai Project were related to Akabei Soft and Frontwing. Since they split off from Sekai (other than the Grisaia series and G-Senjou), and Sekai is taking Denpasoft more seriously, I dislike Sekai Project a lot less than when they first arrived. And to be absolutely fair, they were never as bad as Moenovel or NISA.

  • Thanks for writing up the interview, Decay. It was an interesting read.

    I won’t comment much since I lack understanding on how and why people feel this antagonistic about SP, I’d just like to thank them for the work they’ve done. I, for one, appreciate that they’re trying to bring more VNs to our side.

    An error I spotted:
    “We work very closely with companies like Sony and such, and *their* cool with us working the Denpa 18+ stuff”
    their -> they’re

    That’s all. Thanks again.

  • I think Audi’s pretty spot on with his description of crowdfunding. I can’t speak for Degica and wouldn’t dare too, but let’s say I know a few people involved in the Muv Luv project, and from what I could gather, it’s honestly not like anyone is making a profit from that. That goes for the company handling the release especially, Degica in this case. I feel like a lot of people really have the wrong impression, thinking that these companies are all greedy and devour your money with an evil laugh on their face, but more often than not crowdfunding projects can turn into a loss rather than profit, for “various reasons” complicating the release.

    I just had to support Audi on this, because I believe it’s unfair to always expect the worst from companies and their employees.

    • I don’t expect the worse, but I would like to see a better accounting that would convince me the companies involved are not profiting off these campaigns. The stretch goals always look like they’re priced far higher than they’d reasonably take to implement. It’s pretty telling when some of the stretch goals appear to cost more than translating the gigantic games themselves.

  • Great interview and I STILL don’t understand what’s wrong with SP. Keep on hating, they’re the best out there for the very reasons you guys hate them.

  • A great interview. Thanks for sharing it. It’s good to see SP is doing all they can to grow the VN market in the West.

  • A great read! One or two grammatical errors and typos, but otherwise a solid piece. Should hopefully enlighten some of the ignorant.

  • For otome games:
    Binary Star
    Sweet Clown 3 AM Can (one of my favorites)
    Bad Apple Wars
    Shinobi Koi Utsutsu (loved it)
    Beast Master & Prince (loved it)
    Wand of Fortune
    Re: Vice D
    Zettai Meikyuu Grim (any of them)
    Trigger Kiss
    Kenka Bancho Otome
    Clock Zero
    Kyoukai no Shirayuki
    Garnet Cradle PC
    Desert Kingdom
    Arabian’s Lost
    Okashi na Shima no Peter Pan
    Uta no Prince Sama (not the Music games please!!!)
    KLAP! Kind love and Punishment
    Ayakashi Gohan
    Prince of Stride
    Yunohana Spring!

    Thank you so much and I really hope we get some otome games! XD

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