Famitsu Interview with TAKUMI, Kazushige Nojima, and Yoko Shimomura

[b]Creative Producer TAKUMI, Scenario Writer Kazushige Nojima, and Composer Yoko Shimomura discuss the modern-day fantasy setting of the game, the strong desires of the creators, and more![/b] * This article was originally published on the NIS America website. You can find the original content at the following link: [i]Famitsu[/i] Interview with TAKUMI, Kazushige Nojima, and Yoko Shimomura ([url=https://www.nisamerica.com/reynatis/special/famitsu-interview-part-1]Part 1[/url]) and ([url=https://www.nisamerica.com/reynatis/special/famitsu-interview-part-2]Part 2[/url]). [i]REYNATIS[/i] made an impact when it was revealed during the Japanese Nintendo Direct: Partner Showcase in February. In this all-new action RPG, fantasy meets reality as a battle between magic and order unfolds on the streets of Shibuya, Tokyo. Here, the citizens of Shibuya fear magic and the power it holds, forcing wizards to conceal their inhuman abilities or face oppression. The game's Creative Producer TAKUMI, Scenario Writer Kazushige Nojima, and Composer Yoko Shimomura were recently interviewed by the Japanese gaming magazine Weekly Famitsu, where they provided many interesting new insights on the title. Please enjoy the translated version below! ———————————————————————————————————————————————————— [i]REYNATIS[/i] is set in the year 2024 in Shibuya, Tokyo, where magic exists. There, worlds collide when Marin Kirizumi, a young man seeking freedom, and the officer Sari Nishijima, who strives for order through the regulation of magic, meet. [img]https://clan.cloudflare.steamstatic.com/images//44899105/605cb8730e413b3741fbb96309bba3b82ccfe9dd.jpg[/img] The game's credits include high-profile creators such as Creative Producer TAKUMI from FURYU Corporation, Scenario Director Kazushige Nojima, and Composer Yoko Shimomura. In this interview, they share exclusive anecdotes from the game's development, such as the background and concept of the work, highlights from the scenario, and the behind-the-scenes of the game's music production. ※This interview was conducted with the support of the Tokyo Shibuya Sakura Stage, which was completed in 2023. It is the most recent facility to have the exterior of the actual building appear in the game. [b]TAKUMI[/b] A game creator from FURYU. He serves as the Creative Producer for [i]REYNATIS.[/i] [b]Kazushige Nojima[/b] While at Square Enix, he was responsible for the scenarios of [i]Final Fantasy VII, Final Fantasy VIII, Final Fantasy X,[/i] and [i]Final Fantasy X-2.[/i] Currently, he works as a freelance game scenario writer, with credits including [i]Kingdom Hearts, Kingdom Hearts II, Final Fantasy VII Remake,[/i] and [i]Final Fantasy VII: Ever Crisis.[/i] He is the Scenario Writer for [i]REYNATIS.[/i] [b]Yoko Shimomura[/b] During her tenure at Square (currently known as Square Enix), she worked on music for titles such as [i]Live A Live, Super Mario RPG,[/i] and [i]Kingdom Hearts.[/i] Currently a freelance composer, her credits include numerous titles such as the Kingdom Hearts series, [i]Xenoblade,[/i] and [i]Final Fantasy XV.[/i] She is the composer for [i]REYNATIS.[/i] [h2]TAKUMI's passion for the game's clear concept and setting persuaded Nojima and Shimomura[/h2] ———————————————————————————————————————————————————— —— First, could you tell us about the concept and theme for [i]REYNATIS?[/i] [b]TAKUMI[/b] The concept for [i]REYNATIS[/i] is “suppression and liberation.” The game's story, world, and music are all designed to convey the strain of suppressing yourself and the joy of letting yourself be free. The theme is "people who find it difficult to live with the pressure to conform." For example, I think standing out is looked down upon in Japanese culture, and the concept of sameness is highly regarded. I personally have distinctive hair colors and clothes, so I'm often looked at with curiosity. I'm sure that there are people who have experienced something similar just for having a different way of thinking, or preferences that don't align with others. Because of this, they won't express their individuality. This title is an antithesis to that aspect of Japan's culture and way of thinking. It includes the desire for everyone to express their individuality more, and offers support to those who want to express their individuality but are unable to. —— I see. And what is the meaning behind the name [i]REYNATIS?[/i] [b]TAKUMI[/b] It is based on two different words. First, in Latin, “renatus” means “birth,” or “rebirth.” In Spanish, it can mean both “king” and “birth,” so it holds the meaning of a “born king.” As you play the story, you'll understand the meaning behind “birth” and “rebirth.” [i]REYNATIS[/i] as a title was a result of combining all of these things. In addition, the word itself has a significant meaning when it appears in the game. [img]https://clan.cloudflare.steamstatic.com/images//44899105/3155896560d82b1cb41ed6ff4bd7ff0a4b8fae17.jpg[/img] —— You're working with renowned creators to produce this title. Can you tell us more about how you went about asking Mr. Nojima and Ms. Shimomura to participate? [b]TAKUMI[/b] When I thought about who can create a dark setting along with the young men and women who live in such darkness, Mr. Nojima immediately came to mind. Then, when I imagined what profound, sublime music would go along with that, I thought of Ms. Shimomura. So, I politely reached out to them. —— What was it about them that made them immediately come to mind? [b]TAKUMI[/b] I really like dark fantasy and action RPGs, and I've played the Kingdom Hearts series since I was young. Since they're games that I've played since childhood, they've influenced my values and sensibilities. That's one of the reasons for their involvement with this title. —— So TAKUMI reached out to the two of you because you were involved in the production of Kingdom Hearts. Mr. Nojima, what kind of impression did you have when you were approached with this opportunity? [b]Nojima[/b] There aren't many people who will provide a concept and theme that is easy to understand from the initial explanation stage of the project. Because of that, it felt refreshing when TAKUMI clearly presented the concept of "suppression and liberation.” I also happened to have some time available… [b]Shimomura[/b] You intentionally made time, didn't you? [i](laughs)[/i] [b]Nojima[/b] Yes, I wanted to do it, so I made time in my schedule [i](laughs).[/i] I want to work with people that I haven't had the opportunity to work with before, so I accepted the request to work on [i]REYNATIS.[/i] —— What about you, Ms. Shimomura? [b]Shimomura[/b] When I received the request from TAKUMI, he said, “I absolutely want you at the helm!” He really impressed me with his passionate proposal. “Well, if you're that intent on it…!” was what I told him when I accepted. —— Thank you very much. What were some of the words that left an impression on you in your interactions with TAKUMI? [b]Shimomura[/b] Hmm… It left an impression when he told me, “I got in touch with Mr. Nojima!" [i](laughs)[/i] That's because he previously said, "I'd definitely like to ask Mr. Nojima to handle the scenario.” Considering how busy you are, Mr. Nojima, you haven't made your contact details public, have you? [b]Nojima[/b] No, I haven't. [b]Shimomura[/b] There was the problem of whether or not we could get in contact with him before requesting his involvement, so I approached Mr. Nojima using my own SNS account. —— That's what happened behind the scenes?! [b]Shimomura[/b] I think there's a part of me that is hesitant to say this, but I could really feel TAKUMI's strong desire to get in touch with him. So, it made me happy to hear him say, “I got in touch with Mr. Nojima!” [b]Nojima[/b] Hearing that story makes me smile [i](laughs).[/i] TAKUMI I wouldn't have continued this project if I couldn't have both of you involved. I told my boss that if either of them wasn't available, the project would be over [i](laughs).[/i] [b]Shimomura[/b] The conversation wouldn't have moved forward if Mr. Nojima hadn't given his okay. Once his participation was confirmed, work on the music quickly progressed. I also think that games are based on their stories, so I was deeply impressed by the way TAKUMI thought about his work and how he wanted to request music after the scenario was decided. [h2]“The ultimate chūnibyō” and music born in a desperate environment color the game[/h2] ———————————————————————————————————————————————————— —— Were there any works that influenced you when developing [i]REYNATIS[/i] ? [b]TAKUMI[/b] Definitely Kingdom Hearts and the Final Fantasy series. They've both had a significant impact on my values. —— Are their settings similar to this game? [b]TAKUMI[/b] Not exactly. I'd say this has its own unique feel. These characters exist in a dark world with their own respective desires. The game's atmosphere is shaped by them becoming involved with one another in various ways over the course of the progressively deepening story. —— What kind of direction did you give Mr. Nojima? [b]TAKUMI[/b] I asked him to prioritize the central concept, settings we definitely wanted to include, and specific scenes we had in mind for the scenario. —— From your interactions with Mr. Nojima, was there anything that left an impression on you? [b]TAKUMI[/b] How we defined “chūnibyō” left an impression on me. We often used the term in the planning and setup, but since everyone has their own perspective on what “chūnibyō” is, Mr. Nojima and I worked to make sure that we had a mutual understanding of what we felt was the “ultimate chūnibyō.” [i]Translator's Note: You may be familiar with the term “chūnibyō” from Japanese anime, manga, or video games. It is said to have been coined in 1999 by the comedian Hikaru Ijūin, where he used it as a self-deprecating term to describe cringey things middle school kids do to look cool. It was later popularized on the internet in the mid-2000s as a term that referred to people or characters who have an inflated sense of self-importance, act like know-it-alls, or believe they have special abilities. If you do things like drinking black coffee even though you don't like the taste because you think it makes you look more mature, you might be a chūnibyō![/i] —— A mutual understanding of “chūnibyō”? How interesting! [b]TAKUMI[/b] First, to ensure there weren't any discrepancies in how we defined the “ultimate chūnibyō,” I shared anime and movies that depicted my perspective. That way, we were sure we were aligned. —— And Mr. Nojima understood TAKUMI's interpretation of chūnibyō and reflected it in the scenario? [b]Nojima[/b] Yes, though it did take me some time to comprehend. For my generation, it was not cool to be a chūnibyō, and people would make fun of you for being one. When I told TAKUMI that, he said, “It's okay to poke fun,” so I added a bit of corniness amongst all the coolness. —— Does this mean that there are chūnibyō characters? [b]TAKUMI[/b] Yes. One is the main character, Marin Kirizumi. I wanted Mr. Nojima to give Marin what I think is the ultimate chūnibyō factor: he's strong when he means business, but he's cool when he can't use, or chooses not to use, his powers. [img]https://clan.cloudflare.steamstatic.com/images//44899105/977799c2dc4af0fa80b64a354d3fe2f30c440bb7.png[/img] —— We'll certainly pay attention to Marin's character! How did you go about writing the scenario after you received directions from TAKUMI? [b]Nojima[/b] At first, the setting wasn't decided - just the idea of it being somewhere in an existing city where the main characters were intent on fighting each other with magic. That, and that there was another world. So, my first thought was, “Why are they focused on this?” I started by thinking about the purpose of their fight. —— You started with the “why”? [b]Nojima[/b] The chūnibyō atmosphere is one thing, but I felt that it was important to consider what the characters in the story are thinking and the purpose of their actions, so that's where I started. —— Were you free to write the scenario how you saw fit? [b]Nojima[/b] Although there were some elements that I had to include, I was given a lot of freedom. The process was that I'd write the plot, receive feedback, and repeat until I gradually began to understand the materials and it started taking shape. —— It sounds like you were able to write the scenario you wanted. [b]Nojima[/b] Yes. Even in this dark world where the characters go through hard times, I was able to create an atmosphere where they can banter with one another. But the main character Marin isn't used to that kind of thing [i](laughs).[/i] I was making a lot of calculations. At one point I was thinking I could let him join in more, but maybe it was still too early, so then I added scenes of him getting teased by his companions. I think I was able to make it into the kind of story I like. [img]https://clan.cloudflare.steamstatic.com/images//44899105/ff1e55411dafbbe7a50b3615ba41b10c9d7171e4.jpg[/img] —— That makes me want to see more of the story. What kind of direction did you give Ms. Shimomura? [b]TAKUMI[/b] I used the scenario that Mr. Nojima provided as the base and created a list of locations and scenes from the game. Alongside that, I included keywords, emotions, and imagery that conveyed my vision for each song. I also requested for Ms. Shimomura to definitely use an orchestra for certain songs. [b]Shimomura[/b] TAKUMI was very clear with his directions and pointed out exactly which songs he wanted to be orchestrated. Music, especially orchestra, costs a lot of money, so my first job was to compose each song according to the budget while also keeping his directions in mind. —— There was a strong preference towards utilizing an orchestra. What about non-orchestral music? [b]Shimomura[/b] He shared his ideas with me, but he didn't require for anything to be done a certain way no matter what. However, there were some that were open to interpretation, so that made some of the requests more difficult than others. [b]TAKUMI[/b] As I mentioned earlier, I shared the emotions, imagery, and keywords that I wanted to express, and from there Ms. Shimomura was free to incorporate them into her music as she saw fit. [b]Shimomura[/b] I can definitely do that, but it's a lot of pressure [i](laughs).[/i] I'm the type of person that doesn't have much confidence, so I'm always nervously composing while thinking, “What if it's not a good song?” However, TAKUMI would immediately give me his feedback, so that would lift my spirits up. It was like I was playing a game of catch with him, and I think it helped to motivate me to compose. —— Please tell us about something that left an impression on you during the music production. [b]Shimomura[/b] Actually, there was a recording last month (January 2024) where we absolutely had to record three songs. But, just before the recording, I had the desire to record strings and piano, so I was working on them until the very last minute. With the schedule looming over me, I asked TAKUMI in the middle of the night to listen to the compositions I'd adjusted. Somehow, I managed to make songs that I was satisfied with. Being able to create songs that could only be born in such a desperate environment and mental state – that's what left an impression on me. —— Was it like having your back to the wall? [b]Shimomura[/b] It was more like a hellish battle that I couldn't afford to lose [i](laughs).[/i] I was able to compose those songs because I felt the pressure. I wouldn't have been able to create them if everything had been going according to plan. I'd love for everyone to listen to the songs in the game and see if they can tell which ones they are. [img]https://clan.cloudflare.steamstatic.com/images//44899105/58d3359823f844b562fd5ff3f416aee10cdd893d.jpg[/img] [h2]Nojima and Shimomura rarely met face-to-face[/h2] ———————————————————————————————————————————————————— —— I'm sure Mr. Nojima and Ms. Shimomura have worked together many times. What are your impressions of one another? [b]Nojima[/b] Ms. Shimomura is a powerful person. But, we haven't had the chance to see each other very often. [b]Shimomura[/b] We don't see each other very often now that we're no longer Square Enix employees. —— You don't see each other very often, even when you're working on the same project at the same company? [b]Nojima[/b] It's not that we don't get along, but rather that we're working on the same project in completely different areas. It's like we get to know each other through our work. —— Ms. Shimomura, what is your impression of Mr. Nojima? [b]Shimomura[/b] When I was younger, I was scared of him. How should I put this… He writes scenarios, so I had the impression that he was an aloof person who liked to be alone, which made him difficult to approach. Also, ages ago at drinking parties for a certain title, Mr. Nojima would get angry and have arguments with me… [b]Nojima[/b] No way! Are you sure that wasn't someone else? —— Is it because you are both creators? [b]Shimomura[/b] Definitely. There are things that we both want to create, and we would fight almost daily at an izakaya (Japanese pub) due to our clashing feelings [i](laughs).[/i] I remember Mr. Nojima was very passionate about his ideas. At first, I had a strong impression that he was a person who liked to be alone, but I was surprised to see him get so fired up at times, too. I can see his earnestness when it comes to the creation process, and he's worked on many wonderful scenarios. He's a person that I've respected for a long time. [b]Nojima[/b] I don't remember that at all. I feel quite embarrassed. [b]Shimomura[/b] It's because of that that I'm surprised we can talk like this now. When I occasionally see him at a work-related party, he's always smiling. I can't figure out if maybe I didn't know Mr. Nojima's personality very well, or if he's become softer over time. But now, my impression of him is no longer someone who likes to be alone, but rather that he's a very kind person. —— What a past! What is your impression of TAKUMI? [b]Nojima[/b] My impression of him is that he's a passionate person with a flashy appearance. When I first met him, his hair was pink, so when someone with that appearance explained his idea for the project, I thought, "Ah, this person really wants to put his genuine feelings into this game." I felt like I was able to see the whole picture of the game. —— It sounds like you felt his desire to "show more of one's individuality.” What about you, Ms. Shimomura? [b]Shimomura[/b] He always thinks of others and is very considerate. Sometimes, I get a glimpse of TAKUMI's true self. For example, when conversing over LINE, he sends text that is politely written with consideration, followed by messages or stickers that show his true feelings. I find that discrepancy rather interesting, and he's a fun person to interact with. [img]https://clan.cloudflare.steamstatic.com/images//44899105/fa85456ae4f281f52a59282003ca5f86ab4361b9.jpg[/img] [h2]A fascinating soundtrack that has both Shimomura's unique touch and a different vibe than usual[/h2] ———————————————————————————————————————————————————— —— Tell us about the synopsis and setting of this title. [b]TAKUMI[/b] It takes place in Shibuya, Tokyo, in the year 2024, where magic exists. There, wizards are envied, hated, and feared. The general synopsis is that the story begins when two opposing protagonists, Marin Kirizumi, a wizard who comes to Shibuya for a specific reason, and Sari Nishijima, a magic enforcement officer who belongs to an organization that regulates wizards, meet. [img]https://clan.cloudflare.steamstatic.com/images//44899105/8de8715327133bae02ff2bcc121664a26612965e.jpg[/img] —— Thank you so much. TAKUMI, how did you feel when reading Mr. Nojima's proposed scenario and setting? [b]TAKUMI[/b] It was simple, yet amazing. [b]Nojima[/b] Although there was a lot of back and forth. [b]TAKUMI[/b] There was. I'd comment, “I'd like to include this type of setting,” and by the next week, I'd receive a completely overhauled plot that reflected what I'd requested. The turnover time was very fast. [b]Nojima[/b] I'm not a fan of changing small things, so there would be instances where I'd completely change all of it. —— What were the elements that you absolutely couldn't leave out when creating this title? [b]TAKUMI[/b] I had a solid image of the game system, the group that Marin belonged to, and the antagonistic relationship between Marin and Sari, so I said, “Please be sure to include these!” in my request. While that request was the base, I wanted Mr. Nojima to express himself in the work, so aside from those aspects, I believe he wrote the rest as he desired. —— Although this title is set in the present day, it has strong fantasy elements. Ms. Shimomura, what did you think of the setting and plot when it was first described to you? [b]Shimomura[/b] The setting of a modern city with a dark fantasy atmosphere is very interesting. But, when I was told, “I want to include orchestral music!” in that type of setting, I was surprised to find that I couldn't envision it connecting with an orchestra. But I felt that this aspect was a fundamental element of the game, so I read the materials carefully to avoid any discrepancies. —— So, once you read the materials, you were able to envision the music. [b]Shimomura[/b] Yes. The magic in this title is not like the typical kind seen in other fantasy works. This magic system contains various intentions and speculations within it, as well as complex elements that can't be categorized as good or evil. So, after reading the materials, I was finally able to understand that it's not like, “it's unconventional and modern, so let's make simple modern songs.” With that in mind, I thought about why TAKUMI wanted to use an orchestra while I was composing. —— Did you have any worries during the composition process? [b]Shimomura[/b] Marin's theme was the first song I worked on. I had some trouble with it, so it was difficult. I had TAKUMI listen to one version I was halfway through and he said, “This is awesome!” I was then able to finish and finally completed our first song. From there, I felt like I was able to understand the setting, so from the second song on, I didn't worry as much as I did when creating the first song. —— When you say it was difficult, is that because that song would guide the game? [b]Shimomura[/b] I believe so. No matter the title, the first song is very important. In this case, due to the game's unique world, I was worried about what would happen if I misunderstood the setting when I was creating the music. So, after the first song was approved, I felt much more relaxed. —— Please tell us about what you kept in mind in terms of sound when incorporating that world into the game. [b]Shimomura[/b] Actually, I composed a lot of genres of songs that I don't usually create for this title. Although I made a conscious effort to give these songs a new feel, I believe I still made them in a way where you'll think “Oh! This is a Shimomura track!” when you listen. It would make me happy if you're able to sense the difference from my usual compositions. —— I can't wait to listen! [b]Shimomura[/b] There are a wide variety of songs, from acoustic orchestras composed of a small number of instruments to tracks that are entirely digital. Also, the arranger came up with very cool arrangements, so I was always looking forward to them while I was composing. I'd love for you to look out for the parts where you can hear the synergy with the arranger. [h2]A story that reflects the realities of the present day and young people's psyches[/h2] ———————————————————————————————————————————————————— —— Could you explain why Shibuya was chosen as the setting for this title? [b]TAKUMI[/b] When we shared the project internally, we wanted players overseas to be able to take one look at the visuals and immediately go, “That's __ in Japan!” That location was Shibuya Crossing. So, there was no question – it had to be Shibuya. [img]https://clan.cloudflare.steamstatic.com/images//44899105/a33c6f68137ea3bc23768d389958acd671759217.jpg[/img] —— The names of actual stores appear in the game, too. [b]TAKUMI[/b] From the beginning, I wanted to convey a message about the antithesis of a culture of conformity by having the world of [i]REYNATIS[/i] to be an extension of the real world. In order to achieve that, we tried to recreate Shibuya's cityscape as accurately as possible by including the real names of stores. I thought that would increase the immersiveness of the world and help people resonate with the game's themes. —— So the names of stores are used to create a realistic setting. [b]TAKUMI[/b] I don't believe there are that many games that have faithfully recreated Shibuya. The scenery is extremely realistic, so I hope everyone looks forward to it. —— How will Marin and Sari's story develop against the backdrop of Shibuya? [b]Nojima[/b] In the world of this game, wizards are looked down upon. It's a harsh society where, if you're discovered to be a wizard, you will even lose your friends. So, Marin has lived his life hiding the fact that he is a wizard. He moved to Shibuya to go to college and encountered incidents and accidents involving magic, which led him to decide to live freely as a wizard. Sari, on the other hand, has a strong sense of justice and uses her magic to help people by working as a magic enforcement officer. Marin and Sari's stances are very different, and they repeatedly clash with one another, but… That's how the story unfolds. [img]https://clan.cloudflare.steamstatic.com/images//44899105/14020d70adce520afb3ca2b050a587ef62b2c983.jpg[/img] —— Players will experience the story from the perspectives of two people with different stances. [b]Nojima[/b] This game is organized into chapters, and the main character switches each chapter. In Marin's chapter, Sari appears as an enemy, and vice versa. You'll get to experience the main characters just missing each other, too. —— Dual protagonists who keep missing each other – how fascinating! Since you're just beginning to share information, I'm sure there are not many elements that can be talked about, but please tell us the highlights of the game's story. [b]Nojima[/b] I can't say much, as it would be a spoiler, but I think Marin's humanity is a highlight. He finds it difficult to get close to others, but he's happy when others are kind to him. However, instead of honestly expressing his happiness, he has this nonchalant attitude, which I find interesting. Since you can see Marin throughout the chapters, I think there will be moments while you're playing where you'll find yourself thinking, “This again?!” [i](laughs)[/i] The interactions between Marin and Sari where he tries to use her to achieve his goal are also a highlight. —— We won't be able to keep our eyes off of Marin and Sari! Mr. Nojima, you mentioned that you were able to create the scenario you wanted. Did you have any difficulties with that? [b]Nojima[/b] I usually create characters that are from fantasy worlds, but this time there are many characters that were created as realistic, modern youths. So, I had TAKUMI thoroughly check the dialogue of the young modern characters. It made me nervous every time I checked to see if anything was being said in a strange way. Also, I wanted to mix the magical elements of this game with actual events and create a history that mixes reality and fantasy, so I went back and studied actual history. —— You have to be dedicated in the pursuit of realism. [b]Nojima[/b] At first, I thought it was a hassle, but as I started researching various things, it got more interesting. In the end, I was very enthusiastic. —— You mentioned that you checked the dialogue of the young characters, but was there anything young people say that shocked you? [b]Nojima[/b] There's this character named Moa. When I received advice from a current female high school student about her, I was so surprised that I didn't know how to react. [b]TAKUMI[/b] FURYU is also involved in the photo sticker booth business, and through group interviews with high school girls, we were able to get a good grasp of their needs. In an internal interview, we asked them about what kind of nicknames high school girls these days give each other, how they talk, and so forth. Then, I passed this information to Mr. Nojima and asked him to incorporate it into the characters. —— You were dedicated to realism not just with history, but the characters, too. I'm looking more and more forward to this game coming out! To close things out, do you have a message for our readers? [b]Nojima[/b] This game is set in modern-day Shibuya. It was the first time I've created such a realistic world, and I had a lot of fun. I hope you all enjoy it. [b]Shimomura[/b] I took TAKUMI's ardent requests and feelings to create each song. I hope you can enjoy the music while playing in this wonderful setting. [b]TAKUMI[/b] This work should resonate with players who find it difficult to live with the pressure to conform. The game system is characterized by a sense of "suppression and liberation," making it unique, and the action aspect in particular is different from other titles. The synergy between Mr. Nojima's scenario and Ms. Shimomura's music has made it an enthralling title, so I hope you will look forward to playing it. It's for anyone who feels unable to express their individuality due to the pressure to fit in. [img]https://clan.cloudflare.steamstatic.com/images//44899105/a46193c4ae42f02421ce13150da439d4b071e791.jpg[/img] [img]https://clan.cloudflare.steamstatic.com/images//44899105/3affb826562c3849636a4199b6dc412adddc2568.jpg[/img] [b]+ Wishlist[/b] today and stay tuned for upcoming news, including content updates! * The content update schedule may be subject to change without notice. ———————————————————————————————————————————————————— [i]Interview by Weekly Famitsu. REYNATIS was under development and equipment, job roles, and functions referenced in this interview may be subject to change. Screenshots were taken from the development build. © FURYU Corporation. Licensed to and published by NIS America, Inc.[/i]