| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| Q: The PS5 version also uses the function of the handle such as haptic feedback, right?
Ken Kimura: Since this is an action game that often requires attacks with hand seals, we have made various adjustments in order to make players feel the natural power of the hands. Players must also feel a strong sense of touch when pulling the cable (laughs), which is a game that matches haptic feedback very well.
| Q: Where do you seem to have seen the movements of your hands, and are there any specific reference objects?
Ken Kimura: We all decide what kind of shape and movement of the hand is more beautiful according to the actual hand movement. Although the subconscious may be influenced by what works, in fact, it still puts looking handsome in the first place, and there is no particularly specific reference object.
Masa kimura: Growing up in Japan, you must have seen a lot of works with the themes of Yin and Yang Masters, Spirit Exorcists, SurrenderIng Yokai, or Ninjas. We mixed them all together to create cool-looking hand movements. Therefore, in the eyes of players, they may feel that although they are familiar, they are also fresh.
It's an original work that only today's Tango Gameworks can make
| Q: Influenced by anime works, perhaps the action of "knotted mudra" is a household name in Japan. Is the main plot of the game figured out by director Kimura?
Ken Kimura: Yes, the plot synopsis were designed by me first, and then written by the script team.
Masaa Kimura: When I first read the synopsis of the first edition, I felt as easy to understand and interesting as a juvenile manga. The bondage between people and the unfolding of the plot to reach the battle should also resonate with this age group like a juvenile manga.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| Q: The PS5 version also uses the function of the handle such as haptic feedback, right?
Ken Kimura: Since this is an action game that often requires attacks with hand seals, we have made various adjustments in order to make players feel the natural power of the hands. Players must also feel a strong sense of touch when pulling the cable (laughs), which is a game that matches haptic feedback very well.
| Q: Where do you seem to have seen the movements of your hands, and are there any specific reference objects?
Ken Kimura: We all decide what kind of shape and movement of the hand is more beautiful according to the actual hand movement. Although the subconscious may be influenced by what works, in fact, it still puts looking handsome in the first place, and there is no particularly specific reference object.
Masa kimura: Growing up in Japan, you must have seen a lot of works with the themes of Yin and Yang Masters, Spirit Exorcists, SurrenderIng Yokai, or Ninjas. We mixed them all together to create cool-looking hand movements. Therefore, in the eyes of players, they may feel that although they are familiar, they are also fresh.
It's an original work that only today's Tango Gameworks can make
| Q: Influenced by anime works, perhaps the action of "knotted mudra" is a household name in Japan. Is the main plot of the game figured out by director Kimura?
Ken Kimura: Yes, the plot synopsis were designed by me first, and then written by the script team.
Masaa Kimura: When I first read the synopsis of the first edition, I felt as easy to understand and interesting as a juvenile manga. The bondage between people and the unfolding of the plot to reach the battle should also resonate with this age group like a juvenile manga.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| Q: The PS5 version also uses the function of the handle such as haptic feedback, right?
Ken Kimura: Since this is an action game that often requires attacks with hand seals, we have made various adjustments in order to make players feel the natural power of the hands. Players must also feel a strong sense of touch when pulling the cable (laughs), which is a game that matches haptic feedback very well.
| Q: Where do you seem to have seen the movements of your hands, and are there any specific reference objects?
Ken Kimura: We all decide what kind of shape and movement of the hand is more beautiful according to the actual hand movement. Although the subconscious may be influenced by what works, in fact, it still puts looking handsome in the first place, and there is no particularly specific reference object.
Masa kimura: Growing up in Japan, you must have seen a lot of works with the themes of Yin and Yang Masters, Spirit Exorcists, SurrenderIng Yokai, or Ninjas. We mixed them all together to create cool-looking hand movements. Therefore, in the eyes of players, they may feel that although they are familiar, they are also fresh.
It's an original work that only today's Tango Gameworks can make
| Q: Influenced by anime works, perhaps the action of "knotted mudra" is a household name in Japan. Is the main plot of the game figured out by director Kimura?
Ken Kimura: Yes, the plot synopsis were designed by me first, and then written by the script team.
Masaa Kimura: When I first read the synopsis of the first edition, I felt as easy to understand and interesting as a juvenile manga. The bondage between people and the unfolding of the plot to reach the battle should also resonate with this age group like a juvenile manga.
| Q: A mysterious worldview coupled with a juvenile comic-like unfolding... Isn't that the king's way! Are some of the vague settings in the story also deliberate?
Masaa Kimura: Yeah, like urban legends, if you go too deep, it will become boring, so it is better to leave room for imagination. Moreover, this game uses the sense of inconceivability and violation as a selling point, and if everything is explained clearly, this part of the fun will be lost. Of course, there are many truths in the plot that will also surface with the development of the story, and I hope that everyone will pay more attention to the story.
Ken Kimura: The dialogue between Akira and KK also has a very youthful manga feel, so please experience it. By the way, from the very beginning, we thought that KK's voice actor was none other than Kazuhiko Inoue (laughs).
| Q: By the way, did Mr. Shinji Mikami make a lot of suggestions for this game?
Ken Kimura: He gave a lot of advice in many key places, many of which were far-sighted, and I didn't understand the meaning when I thought about it later. And these contents are often not specific instructions, but show us the way forward.
Masa kimura: Although this is a work that concerns the fate of the studio, he believes that since Mr. Kenji Kimura is a director, he should be fully entrusted to him. Mr. Mikami values the user most, and most of the time he thinks about how to impress the player's heart and how to keep the player motivated to play. So he only gives advice when development deviates from the basic direction, and it is generally left to Director Kimura to let go. However, until the development was completed, Mr. Mikami had been actively involved in the trial, and finally he had already trained his master of making a lot of money (laughs).
Ken Kimura: Because he plays a lot, he also asks for some opinions such as whether this place can be designed more casually. Mr. Mikami attaches great importance to the balance of the difficulty of the game and hopes to let more people enjoy this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| Q: The PS5 version also uses the function of the handle such as haptic feedback, right?
Ken Kimura: Since this is an action game that often requires attacks with hand seals, we have made various adjustments in order to make players feel the natural power of the hands. Players must also feel a strong sense of touch when pulling the cable (laughs), which is a game that matches haptic feedback very well.
| Q: Where do you seem to have seen the movements of your hands, and are there any specific reference objects?
Ken Kimura: We all decide what kind of shape and movement of the hand is more beautiful according to the actual hand movement. Although the subconscious may be influenced by what works, in fact, it still puts looking handsome in the first place, and there is no particularly specific reference object.
Masa kimura: Growing up in Japan, you must have seen a lot of works with the themes of Yin and Yang Masters, Spirit Exorcists, SurrenderIng Yokai, or Ninjas. We mixed them all together to create cool-looking hand movements. Therefore, in the eyes of players, they may feel that although they are familiar, they are also fresh.
It's an original work that only today's Tango Gameworks can make
| Q: Influenced by anime works, perhaps the action of "knotted mudra" is a household name in Japan. Is the main plot of the game figured out by director Kimura?
Ken Kimura: Yes, the plot synopsis were designed by me first, and then written by the script team.
Masaa Kimura: When I first read the synopsis of the first edition, I felt as easy to understand and interesting as a juvenile manga. The bondage between people and the unfolding of the plot to reach the battle should also resonate with this age group like a juvenile manga.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| Q: The PS5 version also uses the function of the handle such as haptic feedback, right?
Ken Kimura: Since this is an action game that often requires attacks with hand seals, we have made various adjustments in order to make players feel the natural power of the hands. Players must also feel a strong sense of touch when pulling the cable (laughs), which is a game that matches haptic feedback very well.
| Q: Where do you seem to have seen the movements of your hands, and are there any specific reference objects?
Ken Kimura: We all decide what kind of shape and movement of the hand is more beautiful according to the actual hand movement. Although the subconscious may be influenced by what works, in fact, it still puts looking handsome in the first place, and there is no particularly specific reference object.
Masa kimura: Growing up in Japan, you must have seen a lot of works with the themes of Yin and Yang Masters, Spirit Exorcists, SurrenderIng Yokai, or Ninjas. We mixed them all together to create cool-looking hand movements. Therefore, in the eyes of players, they may feel that although they are familiar, they are also fresh.
It's an original work that only today's Tango Gameworks can make
| Q: Influenced by anime works, perhaps the action of "knotted mudra" is a household name in Japan. Is the main plot of the game figured out by director Kimura?
Ken Kimura: Yes, the plot synopsis were designed by me first, and then written by the script team.
Masaa Kimura: When I first read the synopsis of the first edition, I felt as easy to understand and interesting as a juvenile manga. The bondage between people and the unfolding of the plot to reach the battle should also resonate with this age group like a juvenile manga.
| Q: A mysterious worldview coupled with a juvenile comic-like unfolding... Isn't that the king's way! Are some of the vague settings in the story also deliberate?
Masaa Kimura: Yeah, like urban legends, if you go too deep, it will become boring, so it is better to leave room for imagination. Moreover, this game uses the sense of inconceivability and violation as a selling point, and if everything is explained clearly, this part of the fun will be lost. Of course, there are many truths in the plot that will also surface with the development of the story, and I hope that everyone will pay more attention to the story.
Ken Kimura: The dialogue between Akira and KK also has a very youthful manga feel, so please experience it. By the way, from the very beginning, we thought that KK's voice actor was none other than Kazuhiko Inoue (laughs).
| Q: By the way, did Mr. Shinji Mikami make a lot of suggestions for this game?
Ken Kimura: He gave a lot of advice in many key places, many of which were far-sighted, and I didn't understand the meaning when I thought about it later. And these contents are often not specific instructions, but show us the way forward.
Masa kimura: Although this is a work that concerns the fate of the studio, he believes that since Mr. Kenji Kimura is a director, he should be fully entrusted to him. Mr. Mikami values the user most, and most of the time he thinks about how to impress the player's heart and how to keep the player motivated to play. So he only gives advice when development deviates from the basic direction, and it is generally left to Director Kimura to let go. However, until the development was completed, Mr. Mikami had been actively involved in the trial, and finally he had already trained his master of making a lot of money (laughs).
Ken Kimura: Because he plays a lot, he also asks for some opinions such as whether this place can be designed more casually. Mr. Mikami attaches great importance to the balance of the difficulty of the game and hopes to let more people enjoy this game.
| this article is based on the exclusive licensing agreement between Campfire Camp and Japan's Fami Pass, please revert with your consent.
The "Tokyo" and "Weird" in "Ghost Line: Tokyo" are far beyond the imagination of players, and the story is even more gripping, and the editorial board of "Fami Tong" interviewed the core developer of Tango Gameworks to introduce the charm of this game.
▲ Masato Kimura (Masato Kimura in the text), producer of Tango Gameworks. He served as the producer of "Evil Spirit Possession", and was also the general manager of the development of the studio, and also served as the producer of this game
▲ Kenji Kimura (Ken Kimura in the text), after Konami participated in the production of the "Hidden Dragon Spy" series, joined Tango Gameworks, served as the director of the game and was responsible for the design of the plot synopsis
Set in the mysterious "Tokyo", which is a mixture of old and new, and empty
| Q: How did Kenji Kimura join Tango Gameworks?
Ken Kimura: I worked as a planner at Konami and then joined Tango Gameworks in 2017. In 2018, the ghost line: Tokyo development team was officially established, and I started as a game planner and project manager, and then became a director by chance.
| Q: Mr. Masato Kimura, who manages the development, how did this game start to develop?
Masata Kimura: Possessed by Evil Spirits was the first game made by Shinji Mikami under the name Bethesda Softworks, and at the time we thought that the first game should be to develop a horror game that Tango Gameworks excelled at. New partners such as Kenji Kimura also joined in the process of developing the "Evil Spirit Possession" series, although some partners quit during this period because they did not adapt to the company. But as we stood in the company's shoes, we finally unified our goals or built an environment that would be easier to challenge new things, and it was natural for us to start new initiatives.
| Q: So that's when you started the game?
Masaa Kimura: Yes, it's just that the content of the game was not determined at the beginning. We initially made the game's art visuals and worldview before deciding on the game's content. The original visuals were very cool, convincing us that this was a game that was very different from previous horror games and could show a new style. And we've always wanted to advertise ourselves as a studio that can make novel games, so we decided on the content of the game.
| Q: Did you decide to set modern Tokyo at the beginning?
Masa kimura: It can be said that the positioning of this game in the early stages of the planning is actually the sequel to the "Evil Spirit Possessed" series, and in the process of enriching the planning content, we gradually decided to use Japan as the stage. If you are positioned in Japan, what will be interesting to players in Japan and other countries around the world? Or is the capital Tokyo the most suitable? In Tokyo, even in areas lined with modern buildings such as buildings, shrines and ancestral halls can be seen a few steps off the main road, and this modern urban style coexisting with ancient culture is very unique. If you use such an incredible city as a stage, you will definitely develop an interesting game. However, this game has nothing to do with Evil Spirits and becomes a new project.
| Q: Once the stage is set in Tokyo, the content of the game will be determined, right?
Ken Kimura: We initially planned to take Shibuya as the center of the stage, and we conceived a lot of ideas based on it. What should be designed in a magical space called Tokyo where old and new things are mixed and people disappear without a trace? I thought about it and suddenly had an idea—it would be interesting to make the "things that ordinary people can't see" that have existed in Japan since ancient times.
Masaya Kimura: When it comes to Tokyo at night, the neon lights and various signs on the main roads are very dazzling, but the contrast is quite strong when you walk into the roadside alleys and there are only a few dim street lights on a dark road. Walking on these paths, there will be many people who will feel uneasy because they imagine the monsters lurking in the darkness. What if these commonplace "ordinary" things are actually "non-everyday" next to them? Director Kimura's idea was settled as a concept for the game.
| Q: What is the reason for adding elements such as monsters and urban legends in this game?
Ken Kimura: There are mysterious creatures on top of buildings that no one cares about, or encountering monsters in narrow alleys – I often have such fantasies. Although yokai have been passed down by word of mouth since ancient times, it would be interesting if they also inhabited modern cities and could meet them.
Masaa Kimura: Most Japanese people either read books about monsters and urban legends, or they have heard these ghost stories from others, and they know a lot about them. Incorporating this affection for yokai and urban legends into the game can be said to be a unique idea of the wood director.
Ken Kimura: Our development team often discusses what yokai should appear in the game and which yokai to play with. For example, if it is a kappa, can you use cucumbers to lure (laughs). Of course, it is not interesting to simply let the yokai appear, but to make the protagonist grow up by encountering them in order to better integrate with the game.
A slightly creepy action-adventure game
| Q: It should be difficult to convey Japan's unique urban legends to overseas players, but what is the current response?
Ken Kimura: During the game, players will naturally understand what stories are in Japanese urban legends, so they can have fun even if they don't know anything about it before. In addition, there is no shortage of urban legends such as "ghost passengers disappearing from taxis" overseas, and although the forms of expression are different, there are similar urban legend cultures all over the world, so I think overseas players can also feel the fun.
| Q: One of the visual features of this game is the scenery of Tokyo in the rain. Judging from the wet atmosphere and the neon light reflecting the ground, this game is quite laborious in terms of graphic art.
Ken Kimura: We did spend a lot of time on the picture. The platforms for this game are PS5 and PC, so it also implements many elements that require high-configuration hardware. We paid particular attention not to making the game too scary, and not to process the scene too dark and dirty.
Masaya Kimura: I can say with certainty that this game is by no means a horror game, but a slightly creepy action-adventure game. The metropolis may seem gorgeous on the outside, but if you look between the gaps, you will find that something seems to exist. This slightly frightening atmosphere adjustment is really a big deal for us.
| Q: Shibuya is the main stage in the game, how much is the degree of restoration?
Ken Kimura: We didn't intend to fully recreate the actual street scene, at best we just wanted to set up a story stage that would be fun to play. As a tribute, we have also added some actual shops, as well as famous landmarks including Shibuya Station, Intersection, and Center Street. However, as long as you are a little far away from the central area, you will see a commercial street or shrine like Tanaka Ginza, and of course, you can also go to Tokyo Tower. Roughly speaking, it can be understood that we have condensed the attractions with Tokyo characteristics together to form the stage Tokyo in this game.
Masayuki Kimura: We really pay tribute to a lot of landmarks, so be sure to explore more in the game.
| Q: Is it interesting to visit the Holy Land?
Masa kimura: When the epidemic stabilizes, please be sure to come to Japan to see, there will definitely be familiar places that will make your eyes shine.
The feeling and thrill of mid-range combat is a charm that other games don't have
| Q: This game is a first-person action game with a viewpoint, but it is different from the so-called military FPS system. Regarding the adjustment of the action part, which parts are particularly intensive?
Ken Kimura: We conceived of the idea of using gestures to launch, pull cables, crush cores, etc., but in order to implement and adjust the comfort of operation, we spent a long time designing, and we also tried and made mistakes in the actual development.
Masaya Kimura: The main weapon released from his hand, the "Ether Shooting", is neither a knife for close-range combat nor a sniper rifle for long-range attacks. The mid-range combat in this game is the essence of the game, and the combat feeling and refreshing feeling achieved at this distance cannot be experienced in other games.
Ken Kimura: Because enemies are ghosts, invisible and have no flesh, how do you defeat them to make the player feel comfortable? I've been bothered by this for a long time. What does it feel like to touch something that is normally inaccessible? With this in mind, I gave the enemy the setting of the "core", and the way of fighting was also designed to expose the core to the enemy, pull it out with a steel cable and destroy it, and this combat design became an important breakthrough in development.
| Q: Does the "wire" in the title of the game refer to this tightrope?
Ken Kimura: Actually, we decided on the title of ghost line: Tokyo even earlier than the design of the game system. Instead, we took inspiration from the title and planned to include the cable element in the game.
Masaa Kimura: We diverged our thinking based on the keyword "connection", thought of "soul connection" and "connection between this life and the other world", and finally added "wire" to the title of the game. The result also coincides with the content of the game, and the name is really good.
Ken Kimura: Games that are closely related to a certain theme are easier for players to understand. Steel cables can be used in both combat and movement, and also symbolize the bondage of the Know-Man and KK, and the wire element can be felt in all parts of the game.
| Q: Can I also use steel cables when exploring? The scene of using the tengu to ascend the building is impressive.
Masaa Kimura: When you walk down the street, have you ever imagined something on top of the building opposite? If there are any facilities on the top of the building, it is another matter, and in general, ordinary people are not allowed to enter those places. However, because the game is set in an empty Tokyo, no one will be charged with climbing to the top of the building, and even standing in the middle of the road will not be blamed. The game allows players to move freely around the roof of the building, with the aim of allowing players to enjoy this non-everyday feeling and expand the fun of exploration.
Ken Kimura: From the perspective of exploring this level, there will also be places in buildings that are connected to the otherworld, such as taking the elevator downstairs and somehow seeing a forest in front of you. The game has prepared a variety of scenes, please be sure to fully enjoy these scenery. There are many attractions where we draw art concept maps first and then think about how to add them as elements of the game, thanks to these elaborate art concept maps, the final result presented in the game is also very amazing, and unique places like this abound in the game.
Masa Kimura: It's okay for players to go fast through the main line, but I hope that everyone will be able to explore and collect souls during the game, and enjoy the story of encounters with ghosts and monsters. While the game sets goals to some extent, how freely you enjoy the game is up to the players themselves.
| Q: There are many types of enemies in this game, what is your favorite visitor?
Ken Kimura: The umbrella visitor who appeared in the prologue phase is a character that existed in the early stages of development and invested a lot of our efforts, but I personally prefer the stranger of the sunny day doll. Our design philosophy for the enemy character is not to make the player feel hostile at first sight, but to let the player find its abnormality from the things they are accustomed to and then realize that it is the enemy, and the ultimate embodiment of this design concept is the sunny day doll.
Masaa Kimura: The design concept of the stranger is that although it is not felt in daily life, it is objectively possible to feel the presence of a sense of violation. For example, there is a kind of visitor in the game who wears a traditional Japanese bridal costume, and in the general understanding of the general public, the bridal costume is very beautiful, but if you look closely, don't you feel a little scary? There is also a kind of stranger is an office worker in a suit, the reason for this design is because although there are men in suits everywhere in Japan, some people overseas find this scene a bit scary, and adding a sense of violation and a slight sense of terror in life to the design of the enemy is one of the characteristics of this work.
Ken Kimura: The use of nursery rhyme-like music is also based on this reason.
| Q: Speaking of music, this game is also quite particular about sound effects. For example, if you bump into some sound, you can feel that the development team is also very careful about these subtle sound effects.
Ken Kimura: I'm glad you noticed the effort we put into sound effects, what kind of sounds do you think will remain in the city after the humans disappear?
| Q: It's true that it's hard to imagine what the downtown street will become, but I think you'll always hear something.
Ken Kimura: For this reason, we recorded a lot of ambient sounds in the empty time to express the sound of Tokyo after the disappearance of humans. We've crafted the PS5 version of the 3D sound to feel immersive even at the slightest sound. Empty jars often fall to the ground in the game, also to let everyone experience the sound of this game (laughs). In addition, in order to show the sense of violation of things that are not in the real world, we also use a lot of sounds that cannot be heard in reality.
Masaa Kimura: The sound team is really hard working, even in the empty late-night streets to listen to the sound. But even late at night, passers-by and cars occasionally pass by, and they have repeatedly conducted a lot of investigations in order to catch the feeling of the unreal sound of Tokyo.
| Q: The PS5 version also uses the function of the handle such as haptic feedback, right?
Ken Kimura: Since this is an action game that often requires attacks with hand seals, we have made various adjustments in order to make players feel the natural power of the hands. Players must also feel a strong sense of touch when pulling the cable (laughs), which is a game that matches haptic feedback very well.
| Q: Where do you seem to have seen the movements of your hands, and are there any specific reference objects?
Ken Kimura: We all decide what kind of shape and movement of the hand is more beautiful according to the actual hand movement. Although the subconscious may be influenced by what works, in fact, it still puts looking handsome in the first place, and there is no particularly specific reference object.
Masa kimura: Growing up in Japan, you must have seen a lot of works with the themes of Yin and Yang Masters, Spirit Exorcists, SurrenderIng Yokai, or Ninjas. We mixed them all together to create cool-looking hand movements. Therefore, in the eyes of players, they may feel that although they are familiar, they are also fresh.
It's an original work that only today's Tango Gameworks can make
| Q: Influenced by anime works, perhaps the action of "knotted mudra" is a household name in Japan. Is the main plot of the game figured out by director Kimura?
Ken Kimura: Yes, the plot synopsis were designed by me first, and then written by the script team.
Masaa Kimura: When I first read the synopsis of the first edition, I felt as easy to understand and interesting as a juvenile manga. The bondage between people and the unfolding of the plot to reach the battle should also resonate with this age group like a juvenile manga.
| Q: A mysterious worldview coupled with a juvenile comic-like unfolding... Isn't that the king's way! Are some of the vague settings in the story also deliberate?
Masaa Kimura: Yeah, like urban legends, if you go too deep, it will become boring, so it is better to leave room for imagination. Moreover, this game uses the sense of inconceivability and violation as a selling point, and if everything is explained clearly, this part of the fun will be lost. Of course, there are many truths in the plot that will also surface with the development of the story, and I hope that everyone will pay more attention to the story.
Ken Kimura: The dialogue between Akira and KK also has a very youthful manga feel, so please experience it. By the way, from the very beginning, we thought that KK's voice actor was none other than Kazuhiko Inoue (laughs).
| Q: By the way, did Mr. Shinji Mikami make a lot of suggestions for this game?
Ken Kimura: He gave a lot of advice in many key places, many of which were far-sighted, and I didn't understand the meaning when I thought about it later. And these contents are often not specific instructions, but show us the way forward.
Masa kimura: Although this is a work that concerns the fate of the studio, he believes that since Mr. Kenji Kimura is a director, he should be fully entrusted to him. Mr. Mikami values the user most, and most of the time he thinks about how to impress the player's heart and how to keep the player motivated to play. So he only gives advice when development deviates from the basic direction, and it is generally left to Director Kimura to let go. However, until the development was completed, Mr. Mikami had been actively involved in the trial, and finally he had already trained his master of making a lot of money (laughs).
Ken Kimura: Because he plays a lot, he also asks for some opinions such as whether this place can be designed more casually. Mr. Mikami attaches great importance to the balance of the difficulty of the game and hopes to let more people enjoy this game.
| Q: Finally, please say a few words to the players who are eagerly looking forward to this game.
Masaya Kimura: This is an original work full of originality that only today's Tango Gameworks can make. We'll be coming up with more of these unique games from now on, but before that, let's enjoy Ghost Line Tokyo.
Ken Kimura: In this game that we have worked hard together to develop, it is very interesting to even just walk the streets of Tokyo, not to mention the new experience of action games, so stay tuned!
Translation: Half-Yuan Editor: Shiina Pear