This is a translation of an interview that was featured in the Higurashi no Naku Koro ni Booster Book, published on December 11, 2004. Ryukishi07 talks about Angel Mort and its uniform design, the characters in Himatsubushi and his inspirations behind Tatarigoroshi's content.
Translation was made by rockmor, found here
Welcome to the tragic village
Editor: Today I, an employee of Mandarake, and Yano Yoshinori, who is in charge of publicity and business of Higurashi no Naku Koro ni, are talking to Ryukishi07.
For starters, it’s finally November, so how it’s going for Higurashi no Naku Koro ni Kai?
Ryukishi: The request manuscript has made a safe landing, so I am going to put all my efforts into writing again starting today. Yatazakura-san keeps pressing me with things like “Quickly give me the manuscript” and “You aren’t going to put there even more backgrounds that I don’t know about, are you?”, and the work is going on. Higurashi in winter is pretty scary, you know. You can’t take pictures anymore after the snow has fallen. So, was it the year before last? I said: “It would be nice to have an outdoors scene”, but the location was already covered with snow. It was a lot of pain. And, first of all, we are in Tokyo, right? So, when I carelessly wrote about a bus-stop with a tin roof, it resulted in fierce criticism. “Where does such a thing exist!”. I am starting to think that maybe I should just ask for background pictures through my Production Journal.
Yano: People’ve been saying things like “I found out Hinamizawa in Shirakawa-go!” on the Net lately. I am sure you will get a lot of pictures if you announce that you are gathering background images that look like Hinamizawa in order to use them in the game.
Ryukishi: We’ve been struggling a lot with indoors scenes too, surprisingly. The biggest reason why there are no scenes in Rena’s house is that we can’t make a scene that will take place inside her room. She has a very normal girl’s room, full of things that young girls like. I would like to take pictures of a room like that, but it’s not that could be found in my surroundings… That’s why it’s difficult to write about Mion’s room as well. I haven’t written scenes within Mion’s room yet, but for that occasion, I came up with two different types of rooms. First one is diplomatic room, that is only visible to common people. Another one is a private room which is very cute. If she is asked whose room it is, she would quickly close the door and deny it with all her might *laugh*. This person who can’t hide a lie is my type of Mion.
Yano: The model for Mion’s house in real Shirakawa-gou is a gasshou-zukuri house (a house with a steep rafter roof), isn’t it?
Ryukishi: Sonozaki house is actually a local museum. There are many gasshou-zukuri houses there, so you can choose freely. Lately, it seems that there were a lot of fans visiting Shirakawa-gou not only for sight-seeing but also to take a look at the local clinic for example, which I guess looks pretty suspicious to the locals *laugh* I won’t lose when it comes to being suspicious, though *laugh*
Yano: It would be nice if the museum gets more visitors thanks to Higurashi *laugh*
Editor: If Higurashi becomes more popular, there may be a movement to use it for PR of Shirakawa-gou. There was an autograph session on the local foods fair in Hiroshima because of a manga that was set there lately.
Ryukishi: I will be happy if Higurashi will help to promote Shirakawa-gou even a little…
Yano: Even though the story is tragic *laugh*
Editor: “Welcome to the tragic village”, or something like that *laugh*
Ryukishi: *laugh* It’s a wonderful place, really. I’d even escort you to Miboro Dam or the bridge from where Keiichi-kun was pushed off by Satoko if I had an opportunity. Especially, below that bridge there is a swamp, or rather a lake, that served as a model for Onigafuchi swamp, and there are logs floating on its surface. You can see only half of a log, and it is reflected in the water, which looks very beautiful. By the way, the bridge of forestry office is located right near it.
Editor: If anyone of you who are reading this interview is planning to visit the real world of Higurashi, please respect the privacy of the place.
Ryukishi: Thank you in advance.
Editor: By the way, as a fan of uniforms, I can’t leave out Angel Mort when talking about Higurashi (ruined everything). I can’t imagine those designs appearing in 1983 at all.
Ryukishi: It was originally an outfit for a mascot character of our homepage, her 4th outfit. Because my name is Ryukishi07, at first she was wearing something resembling an armor, then it was changed to a uniform in style of Pia Carrot, which became the general direction from there.
Editor: You love uniforms too after all?
Ryukishi: I do~ (more than anything else).
Editor: In the end, is Irie-sensei the character that reflects you the most?
Ryukishi: A-ha-ha-ha *laugh* The world of the game values putting clothes on (cosplay) rather than undressing. It’s an all-ages product, so I put in there my own type of eroticism. No, a naked body can’t even be called erotic. Rather than that, put that cosplay on~ *laugh*
Yano: Speaking of erotic, you’ve made an ero-doujinshi once, right? Even if it was an all-ages one, and everyone was with their clothes on, it was more erotic than any 18+ doujinshi.
Editor: What did you say?!
Ryukishi: Ah, there was something like that, wasn’t it *sweat* It’s embarrassing, don’t talk about on public, please!
Editor: When was it released?
Ryukishi: I think… it was more than 4 years ago. The name “Ryukishi07” was actually made for this. After that, we’ve released 7 original card products for Leaf Fight. We’ve put the most energy around the time we were creating sets based on AIR and Pia Carrot. There were no any titles that were interesting enough to work on after that. And after struggling with what to do next, we’ve decided to make an original product.
Editor: I bet those who bought that doujinshi at that time couldn’t even imagine that its author would create something like Higurashi.
Ryukishi: Only 20 copies were sold back then… By the way, I even touched that in a Staff Room a little bit, but before I took the name Ryukishi07 I took part in creating a 18+ doujinshi, though it sold 5 copies at most *bitter laugh* There are still unsold copies laying inside the closet at my home. I think it was also about cosplay *laugh*
Editor: Speaking of that, you’ve actually made a cosplay of Angel Mort uniform back in your orika (original cards) times?
Ryukishi: I spent around 200.000 yen on one dress *sweat* It was a one-off made-to-order suit. It was made by a shop called Pare Ideal. I guess most cosplayers should know it? Please check them out. If you look at full order product list, there would be a picture under Rena title.
(After that, the discussion about difficulty of outfits, cute/not cute designs, characteristics of knee-socks, etc. continued for some time).
Editor: You are very knowledgeable about this stuff *laugh* There is a cosplay shop on this floor, you should definitely visit it.
Ryukishi: Yeah, definitely. I love looking at cosplayers, but even if it’s just an outfit on a mannequin it impresses me. …Hey, I completely forgot that I am being recorded *bitter laugh* Well, it’s a bonus for a Comiket catalogue, so it probably won’t be seen by normal people *laugh*
The mortal angle
Editor: Speaking of normal people, there are a lot of them who play Higurashi, isn’t it so?
Ryukishi: I guess it’s true. I was surprised when saw somebody asked “What is Tsukihime?” on an anonymous imageboard. I was sure that only doujin people play Higurashi. Because of that, we’ve received a lot of complaints from people who weren’t able to follow the hardcore staff in the Staff Rooms. I am planning to make two types of Staff Rooms next time. There will be a screen with two choices: “Serious Staff Room” and “The usual thing” *laugh* Of course, there will be an annotation saying: “Because of the global flag the option you didn’t pick will be deleted” *laugh*
Editor: Like in the Box Selection Game, right? By the way, the catchphrase from the advertisement said: “This game doesn’t have choices”, didn’t it?
Ryukishi: I guess people who saw the Box Selection Game were pretty surprised. I’m sure they weren’t expecting any choices to appear. However, my failing was that people saw it as Ryukishi’s objection to implementing branching paths in the game. But in fact, it’s just a continuation of “In Love With The Rain Clouds” or “Gears and Fires and The Taste of Honey”. I wrote it as a follow up to themes such as “There is nothing more boring than when you know the outcome of a choice”, “It’s the most fun when you can’t predict the color of the autumn sky”, but it was perceived as “That’s why Ryukishi07 hates branching paths”…
Editor: You wanted people to read it as another episode of the story.
Ryukishi: Yes. If 07th Expansion was a bigger circle and if we had more scenario writers, I could delegate the writing of sub-scenarios to them and then we could have branching paths. It’s not like I hate them or something like that.
Yano: Flag management is a pain too.
Ryukishi: Even just making the Box Selection Game resulted in a huge debugging *sweat* It should go into the next scenario once you finish it, and every time you release a new game you have to test play everything from the beginning, and it’s quite a pain. With mini-games, it becomes even more difficult, and it’s very hard to look for errors… I can only respect those circles which make fighting games or other complicated products…
Yano: By the way, the mini-game people play the most is Renapan, it seems.
Ryukishi: It’s because it’s hot *laugh* It’s completely identical to an old game called Punch-Out, and when I saw it the first time I thought that it would be cool to have Rena on the first screen, then Satoko on the second screen, then Mion on the third one or having every character using their own moves, and maybe I wanted too much. By the way, BT-san who creates mini-games is Rika fan. That’s why, in every mini-game, there is always Rika, but there is no Mion at all *laugh* Hmm, maybe BT-san hates her *laugh* Though I am very glad that Mion became this popular, really. I thought that maybe she will end up being the least popular during the planning of the game.
Editor: Speaking of bonuses (mini-games), there is a room with a live size doll appearing in the Staff Rooms. Whose is that room?
Ryukishi: It’s my room *laugh*
Editor: So it’s yours *laugh* I feel a strange sympathy when I look at a pile of parcel packages there *laugh*
Yano: Didn’t you also appear secretly somewhere in the game?
Ryukishi: Yes, in Angel Mort. We actually took photos for it in Jonathan’s by photographing each other in turns, so both of staff members are there in every image. It’s pretty blurred, though, so you won’t understand. I had more thoughts about Angel Mort backgrounds. Like making it more stylish.
Yano: Maybe it’d be better to make it at Korona (古炉奈)
Editor: You are right, that place doesn’t look like it belongs to Akihabara, it’s stylish and tasteful.
Ryukishi: It is on Akihabara, but doesn’t feel like Akihabara. There would be a silent pressure if you’d try to read a doujinshi there *laugh*
(Everyone remains silent for some time)
Ryukishi: One thing that I wasn’t able to write deciding Angel Mort setting is that it’s a place that seems like a normal famires (family restaurant), but it would make a normal family sick. In the last scenario, I couldn’t implement this theme at all. There will be a scene in Shion’s preparation room in the next arc, but I can’t find a chance to speak about the actual place. If you think about it, was there even a point in making the story take place in a village?
Editor: So you just wanted to talk more about maid cafes? *laugh* Was the theme of this time’s story “horror and mystery occurring in a remote village, but also with lots of moe!”?..
Yano: Putting an Western analog game shop in the village is fascinating too.
Editor: Speaking about Western analog games, does the name Angel Mort come from Magic the Gathering? There is Moat which only flying creatures can pass, and a flying creature Serra Angel. I thought that the name came from combining those two cards.
Ryukishi: Unfortunately, that’s not the case. The name Angel Mort comes from the words “mortal angle”. Mort is shortened mortal and angel is an anagram for angle. Magic the Gathering is really fun, isn’t it? I stopped playing it because I can’t manage my cards well, but I’d like to play it again in the form of Portal or something like that if I’d have a chance. The problem is managing decks *bitter laugh* In the past, if you used a rubber band to fasten the deck, the rubber band would melt and stick to the cards, so I put my common cards on the top in on the bottom of the deck. I’ve really should use some other method to keep my cards.
One thing that is bad about MtG is that the latest expansion is always stronger. You would lose if you don’t keep buying new ones. On the other hand, Leaf Fight had the strongest cards in its early days. I’ve thought “Aren’t the cards too strong?” from the time I started playing. Speaking of strength, Yu-Gi-Oh is even more ridiculous. You can sometimes completely turn the situation upside down with just one card, which is called “Executing the trap card!”. That’s why the right way of playing Yu-Gi-Oh is to just have fun and not worry about win or lose. Will you go with balance or groove? If you make a mistake here, designing the cards becomes painful.
By the way, I have two brothers, and there is a card game which I only play with them. Because it is made purely for us three, we made art and rules ourselves. It’s a draw&drop game based on mahjong. However, the scary thing that is different from mahjong is that you can take cards from the ones your opponent discarded no matter what you hand is, so you are able to get a yaku just from discarded cards.
Editor: When I was playing Akasaka’s scenario I thought: “Ryukishi07-san seems to really love mahjong”. Is that true?
Ryukishi: Pretty much *laugh* Just today I was invited by an old friend: “Hey, how about this Sunday?”, but I am too busy with Higurashi until the end of the year… Either way, I really love analog games, not only mahjong. It feels really good to hold cards in your hands. There is a word kirifuda (切り札, a trump card), and it means to cut (切る/kiru) a card out of your hand. No matter how the technology would advance, you can’t beat the feeling of analog cards. Such moments like when you draw a card are really fun.
Yano: In card games there are cards, in sugoroku there are dies. Mahjong has tiles and chips, Game of Life — money.
Ryukishi: Exactly. The money in Game of Life are fun too. It’s boring to just write down numbers in your notes. The fun thing is when you collect that small money. Then you suddenly scatter them and say: “Crawl and pick them up!” *laugh* I have plenty of ideas for my own games too… After all, that game that I was making before Higurashi was a card caring game. I have a lot of ideas for card games.
Yano: Then, I’ll be waiting for “07th Expansion presents”.
Ryukishi: Yes. Some time ago I was playing a shooting game called Touhou and though about a deck battle game where cards will be called spell cards. I would create a deck for each character and sell each deck separately. I already have story and rules prepared, but right now I am busy with Higurashi, so it would be cool if someone makes this instead of me *laugh*
Yano: It was ridiculous to think of making a doujin card set several years ago, but now it’s fairly easy to do. But there are not many people who make not only cards but also games.
Ryukishi: You can’t create rules for an analog game if you haven’t played one. Especially, when you come from only playing PC games, you are depending on numbers. However, there are should be numbers on cards, because you wouldn’t want to make calculations in your mind. In card games, you should be able to grasp the situation just by quick glancing on numbers. And also, and people who play card games should understand it, if the rules are easy, it can be surprisingly fun even if the rules are stupid.
However, explaining these things inside Higurashi is difficult, and especially for an unknown game such as it, people will leave on the explaining stage. I once thought of a game based on Resident Evil and tried to implement it into Higurashi. But when I started to explain the rules… The amount of text for one in-game day is roughly 20 pages, and that explanation took almost 10 pages. While doing that, I found out that the penalty is much more fun that the game explanation or showing off my knowledge. After that, I focused almost entirely on competition and penalties.
Yano: It’s the same reason why Akasaka-kun is so active at mahjong, isn’t it? *laugh*
Ryukishi: It’s because he can get big money that way *laugh* At the rate I’ve never heard of. By the way, Akasaka-kun tells Ooishi that he stopped because he doesn’t have luck, but actually it’s his wife who told him to stop. He is, in fact, a person who unconsciously has a desire to be yelled at by somebody, and so he is waiting for someone to become angry with him. On the other hand, Yukie-san is very kind to everybody, but deep inside she wants to control someone like a small devil.
A certain company has asked me to write a short story next year, and I was thinking about giving Yukie-san a small role, but she is such a good character that I am planning to suddenly make her a protagonist *laugh* Sorry if it fails to be published *bitter laugh*
(The following discussion of a short story was omitted due to various circumstances)
Editor: Then, please write a scenario about Akasaka’s school years if you have a chance. Shinjuku Mahjong Wandering Chronicles, or something like that *laugh*
Ryukishi: I was surprised that Akasaka-kun became that popular *laugh* Keiichi-kun isn’t able to grasp the situation until he is given a roundabout explanation, but Akasaka-kun can understand everything quickly. I was worrying that the story will develop too fast for the players to catch on.
In Investigation Files that come out in December, there is a conversation between Akasaka-kun and Ooishi, but it is too quick as well. They both understand what the other party wants to say before they say it, so there are a lot of phrases like “so, in other words…” and “I see”. On the other hand, I like the feeling when the conversation goes smoothly.
Yano: Like in Legend of the Galactic Heroes, when Lohengramm…
Editor: Talks to Kircheis.
Ryukishi: Exactly. That type of conversations. Either way, Akasaka’s conversations don’t piss you off. For me, either it a Western movie or a Japanese movie, I hate when a protagonist is slow on the uptake. “In these conditions, you should at least understand that it was 〇〇’s doing!” I hate the main characters that make me want to say such things.
Editor: By the way, while we speak about Western analog games, there is a game called Cluedo, right?
Ryukishi: Yes. I’ve played it.
Editor: I’ve thought that it was a model for a club scene with a culprit/weapon/crime scene game, but it also can be said about Higurashi as a whole, isn’t it?
(After that, it was pointed that the way the one big story of Higurashi is divided into 4 different bad end arcs is exactly like the system that is used in Cluedo. Higurashi no Naku Koro ni Kai, which is going to be released on this Winter Comiket, will also be divided into 4 arcs that will answer those possible scenarios with happy endings. The editor has asked if those Answer arcs will be the mirror reflections of the Question arcs. However, Ryukishi07, being a clever talker he is, has dodged the question with the help of Yano, who has covered him (?))
Editor: (After pulling himself together) Judging by the game content, you probably have a lot of Western games at home?
Ryukishi: No, it’s not the case. In fact, my father had a lot of Western games, and I liked to play with pieces even if I didn’t know the rules. I’ve lost many of them, which made my father angry *laugh* My parents organized a private cram school in our house. And sometimes they used a house of their friends. They had a game similar to Cluedo at their home. I didn’t understand what that game was at that time, but it had very realistic illustrations on its cards. So realistic that they could appear in The Village of Eight Graves, and that wouldn’t be strange. One of the culprits in that game was a nurse. Surely, it’s when I began to think that nurses are evil and suspicious people *laugh*
Yano: You are calling Takano-san a nurse, but wasn’t she actually a pharmacist?
Ryukishi: She was going originally to be a pharmacist or a woman doctor. However, it wasn’t like the setting will break if she isn’t a pharmacist. I wanted to go away from a notion that a woman medic must be a nurse, but in the end, made her a nurse anyway. I also wanted to give her a cat, but there wasn’t a chance to write about it. She was going to be a mysterious woman, who acts honestly in front of her cat.
Editor: What a hidden moe!
Ryukishi: It’s the same as in Tabletalk RPGs. Actually, every character has a detailed story, their own mind and winning conditions, but as the camera is always following Keiichi, there is no chance to write about everything. On the other hand, I ended up exposing Keiichi’s father’s job a bit too much *laugh* I wrote openly about it in Tatarigoroshi, even though it would be better to hide it a bit more.
Editor: It’s a scene where Keiichi’s parents hold a party at their home. There were words like Ariake, Shimanaka or Purchase limit, that made me go “What are these random words that sound somewhat familiar!!” *laugh*
Ryukishi: That part was intended to be an object of an easy tsukkomi. The gap between those words and a setting (of a remote village in 1983 ) should make you go “What the hell!” and have fun. I’ll be happy if readers will think about this chaos in eras as me screwing around.
Editor: TIPS actually help to explore each character to some extent. At first, I was surprised when during a play I suddenly saw “You’ve got new TIPS” message, but after I got used to them I realized that it is a very interesting system.
Ryukishi: Thanks to TIPS, I didn’t have to include unnecessary bits in the main story, which made writing a lot easier. It also helped when there were things that are invisible from Keiichi’s point of view, but that I wanted to put in the game anyway. However, I can’t say that I have mastered that system myself. I’ve heard that a game called Machi is already using a system similar to TIPS. I have to study more and learn how to make my TIPS better.
Editor: I don’t know about Machi, but when you look up Higurashi on review sites, titles like Kamaitachi no Yoru, Kizuato or Hateshinaku Aoi, Kono Sora no Shita de… are often suggested among similar games. Do you play novel games like those?
Ryukishi: Of course. Higurashi was inspired by Kanon, AIR, KIzuato, Shizuku. Though, To Heart is already going in slightly different direction. I played a lot of horror games on Famicom, such as Otogirisou, Kamaitachi, Gakkou de atta Kowai Hanashi, and also Yakouchu, Zakuro no Aji, Majo-tachi no Nemuri, etc.
On the other hand, I almost didn’t play any mystery games. Mostly horror. I especially love Resident Evil, and in fact, I wanted to put in TIPS a diary similar to a diary from Resident Evil.
Editor: The “itchy tasty” one?
Ryukishi: That one, that one. I really loved reading the “What month, what day…” diary in Resident Evil. It may be unethical to enjoy reading thoughts of people who are trying to survive in extreme conditions, but in the end, I think that things like diaries from the ghost ship Ryoei-maru, all of the passengers of which have died, are very enjoyable as a horror. If you think about that, CAPCOM has already done a similar thing in Sweet Home for Famicom.
What was fun about that game is that before your party of 5 people was lost, there was another party of 5. Those 5 people each had his own adventure and left hints. “So-and-so got hurt, please bring a medicine” or “I found a way to the generator, but I don’t have a rope”. One by one those people have died, and in the end, you find a corpse. And you realize that it was that person who left all those messages. You feel sympathy towards that party who ended up in the same situation as you. However, they didn’t make it… I was moved by the loneliness of the direction of that game and honestly admitted my defeat. From that time, I fell in love with left notes and diaries.
On the other hand, what a lot of eroge get wrong is that even when a character dies, it doesn’t make an impact. And also, that there are too few scenes that depict a normal everyday life leading to that event. When you see a fun everyday life before someone gets involved in a gruesome incident, isn’t it majestic? Or rather, won’t it make your trauma bigger? *laugh* In the end, it is what I wanted to do with Higurashi.
Editor: It was especially noticeable in Satoko’s arc, Tatarigoroshi-hen. I even though something like “Hey, wait a little bit with such story developments”.
Ryukishi: Actually, I was thinking about a scene where Keiichi goes to Satoko’s home and find her naked, chained with a bicycle lock to a door lintel. However, that scene left unused due to story gimmick and direction. There were all sorts of scenes that I wanted to show… And there are a lot of them that I still want to appear in the story.
Editor: I feel that those are very cruel scenes for some reason *sweat* All the TIPS regarding child abuse were pretty cruel, like, for example, “Statistics from the Ministry of Health, Labor and Welfare” which was quite shocking in both text and sound effects.
Ryukishi: I wanted to show that in some cases of child abuse even Child Guidance Center is powerless and can’t do anything. In fact, such administrative organs like Child Guidance Center act too slow. On the other hand, they are very quick when they finally decide what to do, and that is sad. I am often asked regarding TIPS called Law Text, why a law that was only adopted in 2000, appears in a story about 1983, and that is the same case. I wanted to show that the measures against child abuse are so slow that we had to wait until 2000 to child abuse be prohibited.
Yano: That somehow makes Higurashi a shakai-ha (social awareness) story.
Ryukishi: People sometimes ask me, why I am touching urgent topics, and, it may sound insolent, but it is a hidden message from me. I have written a bit about bunraku problem. Bunraku discrimination still can be seen in certain areas, even though it almost died out in cities. My hidden message is “Please recognize these as problems that exist in today’s Japan”.
By the way, I am writing an arc called Meakashi-hen right now, and after that Tsumihoroboshi-hen and Minagoroshi-hen will follow. In that Minagoroshi-hen, Satoko’s uncle will come back once again. Keiichi will fight with him one more time, but now he won’t be alone in this. When he fights alone, that results in Tatarigoroshi-hen. I am thinking about doing a story where he faces that problem together with his friends.
Yano: I like Akasaka-kun and Kameda-kun. I believe they will certainly play an active role in Kai.
Ryukishi: If Akasaka-kun will compete with Teppei at the same table, it will result in mahjong competition *laugh* Teppei will pair with one more player who is crazy good at cheating, and even though our side has great members too, we won’t be able to win against Teppei’s team. At that moment, like in Naki no Ryu, Keiichi’s hand will lay on Akasaka’s shoulder and he will say just one thing: “Wanna change?” *laugh* There was a scene in Naki no Ryu, where, when a “little brother” character is struggling with his game, Ryu appears at the last moment. And then an antagonist yakuza character says: “Nii-chan, you are loosing by several thousand points, and it’s already 3’rd match at the South”.
Editor: “Even if you change now it’s too late” *laugh*
Ryukishi: Exactly *laugh* And after that Ryu goes: “You’ll better quit being a criminal” and wins. I can’t help wanting to write a similar scene. Players seem to see Akasaka-kun as a hero too *laugh* I wonder, why he became that popular after having such a small role… *bitter laugh*
Yano: I think it’s because of that mahjong scene. Before that he was seen as “an elite young character who came from the center”, but after that, he changed and became equal to Ooishi. To the point that they were drinking together in Hokkaido.
Ryukishi: In fact, I put some of my life experience there. Meaning that “it’s good to have a heart-to-heart talk with a senior from work”. Young people nowadays can’t eat together, so if a senior from work invites them to a dinner or to have fun, they will 100% refuse. Even though, if you do that once, it will be surprisingly easy to communicate at work after that. Well, that senior should communicative enough as well, though.In fact, there was a time when I couldn’t eat together with other people too. I struggled with this for many years, and I still think that I have failed. I regret so much that I didn’t accept invitations from my seniors. Of course, whether or not I would have fun if I go playing with my senior is another question *bitter laugh* In the past, I was a bit gloomy, and even just seeing how people take care about me made me tired. For example, if a person who entered the company at the same time as me served me sake, I began thinking: “Ah, now I have to serve sake as well”, and became more and more depressed. That’s why I still don’t go to parties that I don’t have obligations to attend. One more reason is that I am weak against alcohol. Maybe, people who like Akasaka-kun are those who had a similar experience, or maybe its young people who don’t have experience at all, and who think that it’s cool that a young fellow stands on an equal footing as old men.
Editor: I see. Higurashi has been suddenly rising in popularity in doujin world since this summer, and was thinking: “Who is that genius who made such a debut?”. However, after having a conversation like this, I understood that it was neither a genius youngster nor someone who already had a career in this industry. It was a man called Ryukishi07, who has made Higurashi a natural continuation of his life experience as well as his doujin activities. Thank you a lot for such a precious opportunity.
- All those words are associated with Comiket
- Tsukkomi is a straight man in Japanese comedy genre called Manzai
- Ryoei-maru was a ship that met with an accident in 1926. All of its 12 passengers died or were reported missing