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[Interview] Creating a Women's Story Game

Women's story game is a genre that has grown rapidly over the years. The women's game, which is commonly known as the opposite of the game, is obviously the main romance element, but recently, it has attempted to capture various elements such as card collection and PVP in text-based simulation.

And there is a company that has made such a women's story game in Korea. Women's story-based game, a company that has been steadily pushing the road, a story taco. As a result, it received a good response from the global world, and now it has become a developer who is quite known in the field. Such story taco will launch a new work and dangerous cultivation from the name.

What is the new game that includes a more diverse element, not a text-based story game? And what kind of features do women's game development have? Interview with the story taco Kim Hyundai, PD Along Ye-rim, and Kim Dae-cheon CPO, I could hear various stories about this.

Q. Please introduce the story taco. What developer is it?

Kim Dae-cheon: We are making a women's story game. In the global, dangerous people are known as brands. It has been nearly five years, but there is a steady inflow. In Korea, it seems to be becoming more and more known after continuing efforts.

We are challenging a lot of new game style. One of them is a dangerous cultivation that is a new work. There are about 18 games of the company as a whole, and it may be said that it is a representative of domestic women's game developers. There is also a partnership program for the concept of cooperation.

Kim Hyundai: I think it can be said to be a domestic women's game development master. In the beginning, it was very difficult because there was no game to be referred to. Since then, we are developing various games and developing through our own stacks.

Now, through the partnership program, we share various know-how accumulated. It is conducting various training, including the structure of writing scenarios, UI and UX systems. Development, marketing and localization are also helping. Companies dreaming of art and scenarios are partnership.

Along Ye-rim: Thanks to the accumulated know-how, the number of external suppliers has increased. Currently, it is growing rapidly.

Q. I often think of women's games as autome games. I wonder what the Tome game is.

Kim Hyundai: I think our company is making visual Nobel and women's casual games, not Tome games. Automata is a genre that started with a game of a specific game company. It means such a specific genre where women are the main characters, and many male characters come out and love.

I want to say that the game we make is exactly an interactive story game. Since the collection elements that see the character's reaction through the options are an interactive story game that acts as a charm, the structure is different from the previous Tome.

In the global, it uses the word interactive story game rather than visual Nobel, and is more well known. It would be nice to be a little more commercialized in Korea. Automaker knows that the word is not right, but it is also because of its recognition.

Q. What element seems to be the most important from the standpoint of developing a story game.

Along Ye-rim: The concept seems to be the most important. It is important to see how attractive you can reach the user and capture the user. Next is to create scenarios and characters. It's usually called concept play. How fun can you play with the character, how delicious is the setting? The same is true for scenario flow. There must be a psychological stimulus that makes you want to press the option. In fact, I want to leave it all horizontally, but I think it's a concept and a scenario.

Q. Story Take's game is almost centered on storytelling. What different points do you have?

Along Ye-rim: Let's look for a lot of trends.


Nowadays, do you study hard about what domestic and foreign users are looking for and exciting? After that, we decide how to express well without overlapping inside.

Q. I have made stories of various genres. Is there a difference in the inflow or preference of users by genre?

Kim Dae-cheon: I don't see much. On the contrary, there is a difference depending on the story progress, but it seems that each genre is not much. It seems to follow the quality of the scenario rather than the material.

Kim Hyundai: Those who enjoy the story itself pay more attention to the quality of the story than the genre. It is divided from this, whether it's bright, dark, stimulating, or thrilling rather than just keywords. I don't care much about the background.

Rather, the most important part is the beginning. If the story of episode 1 or 2 episodes is fun, you tend to play until the end. So I care very much from prologue to episode 3.

Q. I wonder how you bring the concept of the game and think about it.

Kim Hyundai: I go through a lot of brainstorming. Prepare a lot of stimuli and trendiness, and brainstorms backgrounds and character settings. Regardless of the job group, we decide a lot. If the theme overlaps a lot, the fatigue of users can increase, so I want to convey a lot of new things.

Along Ye-rim: So hybrids sometimes come out (laughs).

Q. Scenario writer who writes stories seems to be very important.

Kim Dae-cheon: There are so many scenario writers. Unlike the scenario writer of the game company, it plays a key role in attracting users.

Along Ye-rim: The scenario writer works with how many options will be made and how to get the response of the option. Scenario planning is also done at the same time. In the case of the game we produce, the flow of the game is really important. Therefore, the work itself is the center of scenario writers. In terms of media, it also serves as a director.

Q. I think the first impression of the game is the title. The story taco game has an impressive title.

Kim Dae-cheon: Recently, it has been titled in English to meet global sensitivity. Do you find a title that melted the story even though you can like it trend? Until last year, it was a method of translating the Hangul title, but recently, it is completely localized. And I try to translate a decent work into four or more languages. It is usually translated into Korean, English, Spanish, German, and Russian.

Kim Hyundai: In the case of dangerous cultivation, the English title is Secret Crossing. It's an example of completely different local rising. The feeling of appeal between Korea and Global is different for each word, so we set it up there.

Q. I think I should talk about the new work. Dangerous cultivation doesn't seem to be a general text-oriented story game. What kind of game is it?

Along Ye-rim: Romance is a game. You will use the Geisha system to see the romance with the character you selected. In addition, PVP and visit are included. There are a total of four characters, one woman. There is no secret character. Of course, if the game is perfect, you can create additional attack characters with extras, and the possibility is endless.

PVP is a method of winning and losing in the third round using a card and opponent card. Kama Sutra took advantage of the method of grabbing the idea through the shadow. In the case of a visit, the character's intimacy can be raised. If you touch, change your clothes, give gifts, or increase your intimacy, you can see hidden abductions. I created a system so that the character and my own story are in place.

Q. It is a game that cannot be used for youth. Is there a reason for this choice?

Along Ye-rim: There are many mental loves among women's games, and I think there are some users who want physical love. Then I tried it because it seemed to be a time. I continued to discuss the water level internally and decided to be a game that could not be used for youth. Due to the nature of the mobile platform, I often play the game alone, so I thought it would find that even if the grade was increased. It is the first time in the company to be unable to use youth.

Q. The concept that the attack character is a plant is unique. How did you come out?

Along Ye-rim: There were so many concepts in the meeting, and it all overlapped. So when I talked about the game, I remembered the seeds. After that, the stems stretched out like flowers and carnivores. Based on closed space, seed warehouse.

Voice is also included. Kim Born, Kim non-Jew, Park Noesis, and Choir Seung-hoon have been involved in famous voice actors. In the case of Voice, the main contents are all in the middle, and can be heard in the middle of the scenario.

Q. How did you choose the breed of the attack character?

Along Ye-rim: The character's name is varieties, and I decided to think about the varieties that can apply interesting and fun concepts. Held is a carnivorous plant called Helium Port. I wondered if it would be fun to make it obsessed. Series is a variety of thorns. So it's calm and there are a lot of thorns, so it's not coming to the outside, but it's actually a friend.

Did and Def ilia are transparent when they touch the liquid. So I wanted to be able to unfold imagination. Eve, a female character, is Ivy. I chose to play a variety of play through the vine.

Q. I wonder if we plan to carry out a popular web novel collaboration later. There are not a lot of web novels and webtoon collaborations in recent years.

Kim Dae-cheon: The request is coming but not received.


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