A. I'm a game developer based in Japan. I started creating games solo in 2020. I've been focused on titles with the 'RPG with too many...' concept, and I've released over 10 titles so far.

A. In 2020, I made a 15-minute short titled 'RPG that's too fast'. People moved so quickly they caused traffic accidents, and text boxes whizzed by before anyone could read them. It was a stupid game, but strangely, many people played it.

After that, I made 'RPG that's too weak', 'RPG with too much filler', and other entries. When brainstorming the next one, I looked at anime and manga I liked. They sometimes had characters with comedically descriptive names. I thought, 'What if the core fun is connecting names to the story, but I dial it up to an absurd degree?' That was the spark.

A. RPG1 worked because it spoiled the plot, then betrayed expectations in specific segments. If I just repeated that, players would see the trick coming. It would just be a watered-down copycat. To keep the surprise factor, I had to expand the world with more locations and organizations.

A. When RPG1 went viral on Japanese social media, I launched a crowdfunding campaign for the sequel. The massive support from fans was the biggest factor.

But that’s not all. Previously, I focused only on fast releases. I sacrificed things I considered essential for the 'ultimate RPG'—custom character art, equipment systems, music, and post-game content—all things I could have done if I’d had the time.

With the support from fans, I finally had the breathing room to dig deep. I collaborated with external partners and finally stuffed all my stubborn creative visions into this project.

A. It’s the combination of spoiler-filled names and dialogue that makes players want to yell, 'Wait, what?!' For example, there’s a line: "I am Lucius Die-Right-Away. I want to live to be 100." When a character states they will die immediately in their name, then claims they want to live to 100, the player can’t help but react.

Out of context, it’s unnatural. If I walked up to a stranger and said, "I'm Minuhinome, I want to live to be 100," it’s confusing. But by forcing that contradiction between name and dialogue, the comedy becomes inevitable.

A. For the player, the expectations are clear. The title acts as a pitch; there’s very little gap between what you expect and what you get. For me, the core concept is so defined that development is actually straightforward.

Also, because the premise is inherently silly, it’s easy to twist the tone into something moving or horrific to catch the player off guard. It’s surprisingly flexible.

A. RPG2 feels like a job well done, but there’s still so much I want to show. I definitely want to make another one. Maybe I’ll show 'how the Demon King was born' 1,000 years prior. Naturally, I’ll spoil it all in the title.

A. A fan who was doing the translation voluntarily reached out to me. I considered an unofficial patch, but as I prepared for the Steam launch, I wanted more Korean players to enjoy it safely, so I collaborated with the translator for an official release.

A. I was careful to ensure that players would understand, just like in Japanese, that 'this is a spoiler' the moment they heard the name. I don't speak Korean, so I couldn't be certain, but seeing how well it was received, the translator did a fantastic job with the humor.

A. I grew up playing 'Paper Mario', 'Final Fantasy 8', and the 'Xenosaga' series. 'Paper Mario' had an item called 'Damage-Hale' (Damage reduction). The way that name combines function and sound influenced my naming style for this series.

A. Rather than referencing one specific thing, I started from the question: 'Isn't this the general image of an RPG?' When players see 'Defeat the Demon King', they think, 'Oh, that’s just standard RPG fare.' Because the game is built on spoiling things, using elements that players can easily imagine makes the payoff much more effective.

A. I’ve never used another tool, so it’s hard to compare, but for RPG development, having the basic functions pre-built is a massive help. It lowers the barrier to entry significantly.

A. I used over 100 plugins—community-made extensions. They were used for everything from combat systems and visual effects to changing scene layouts.

For example, plugins for showing animations when poisoned or burned, detailed enemy AI patterns, and playing voice clips during dialogue.

A. I thought about a sequel vaguely, but it felt like a distant dream. About 8 months after launch, a famous streamer played it, and it snowballed. Seeing it spread on Japanese social media made me think, 'Now’s the time!'

Crowdfunding and setting a deadline locked me in. There was immense pressure not to just copy the first game. I knew some would say, 'The first one was better,' and they were right, but staying stagnant is worse than failing at a challenge.

Once development started, the workload—illustrator commissions, voice acting, etc.—exploded. I missed the first deadline, set a new one, and worked non-stop at my computer until it was done.

A. I always wanted to try it. I set a goal of 200,000 yen (approx. 1.88 million KRW) just to cover some voice acting costs. In the end, I received over 2.4 million yen (approx. 22.6 million KRW). It completely blew me away.

A. People often forget the details of movies or books they liked. If someone remembers this game and says, 'That story was genuinely great!', I’d be thrilled.

If I’m being greedy, I’d love it if someone who played this started making their own games and told an interviewer, 'I started writing because I played the RPG with too many spoilers.' That would be the peak.