If there is one thing that remains stubbornly constant during the monotonous Seoul morning commute, it is the claustrophobic nightmare of the packed subway. It is so tightly squeezed that you wouldn't even sway during an emergency stop, making it nearly impossible to catch a glimpse of the riverside scenery—effectively killing any shred of romanticism one might have had. Once this repetition starts to layer with fatigue, a sense of hollow apathy inevitably seeps in. Perhaps it is because we know, deep down, that this cycle is as predictable as the onset of a monster in the opening act of a horror novel.

Is it inevitable that our thoughts turn heavy when the adult lives we once admired feel like a mirage, replaced by the crushing fatigue of a mundane, four-hour daily commute? It was during one of these soul-draining transit sessions that an idea for a horror visual novel began to take shape. Now, on the cusp of testing, we sat down with 'Gyeo-woo-sal-i', the lead planner at the one-person outfit Hanpage Studio, to find out exactly what they have in store for us with 'The Next Station Does Not Exist'.

'The Next Station Does Not Exist' is a horror visual novel seen through the eyes of Mia, a high school senior trapped on a subway train that runs endlessly to the announcement that "the next station does not exist." Players guide Mia, who wakes up with amnesia, as she navigates the 'cracks' in the world. To survive and escape, she must evade monsters known as 'Food Guests' and engage in a life-or-death struggle with mysterious 'Guides'.

Gyeo-woo-sal-i explains, "As a player, I am the type who immerses myself deeply in the story. Whenever combat mechanics interrupt the climax, it shatters the flow and leaves me impatient to get back to the narrative." They continue, "That is why, for my debut title, I designed it as a visual novel—allowing players to lose themselves entirely in the dialogue and psychological nuances of the characters."

The core of the experience lies in its multi-ending structure, where the narrative shifts in real-time based on your choices. Mia will encounter four different Guides, and the path to one of the five possible endings—four bad, one true—depends on how well you get to know them. The true ending, in particular, is designed to deliver the core message of the piece.

The four Guides you meet are: 'Pian', a handsome but inscrutable gentleman; 'Dongbaek', a stoic and reliable soul with a hidden sorrow; 'Mokryeon', a cheerful character harboring deep-seated trauma; and 'Hongmae', the tough, secretive leader of the group. Each has their own tale to tell, and deciphering their motivations is a key part of the experience.

Hanpage Studio’s central theme is the 'distortion of the mundane.' The familiar subway is transformed into a grotesque hellscape where the 'passengers of the crowded subway' become doll-like 'Food Guests' trapped in an eternal commute. The eerie encounter with 'Guides'—who spread the urban legend that those who lose their destination will never reach the next station—maximizes the dissonance with reality. To convey this visually, the art direction emphasizes discomfort, turning subway handrails into nooses and making advertisement models appear to stare directly at the player.

The one-person outfit 'Hanpage Studio' takes its name from the planner's surname, 'Han', with the ambition to leave behind 'an unforgettable page' in the lives of players. The nickname 'Gyeo-woo-sal-i' (meaning 'to barely survive') carries a self-deprecating nod to the difficult times they've faced, as well as a resilient pledge to weather the bitter winter.

Before diving into game development, Gyeo-woo-sal-i worked as a screenwriter for an animation studio and continues to balance freelance work with development. With a background as a novelist, they are no stranger to storytelling. However, the technical barrier of coding forced them to focus on planning and writing, while outsourcing the programming.

Recalling a moment in their dev diary where the code spiraled into chaos within three hours, they emphasize, "The most important thing is to accurately assess your own capabilities. Instead of trying to do everything alone, building a structure that guarantees completion is key." They add, "If you have the capacity, doing it all yourself is a valuable experience, but recognizing your own limits and seeking external help is a vital skill for any developer."

Focusing on writing doesn't exempt the developer from the headaches of project management. "Since this is my first production, I faced plenty of struggles with scheduling and communication, learning through trial and error in the field," they reflect. "It was a time where I truly realized the immense weight of a director’s role in balancing every element." They also expressed their sincere gratitude to the writers and companies that collaborated on the project.

Despite the challenges, the clear goal kept them moving forward. The process of expanding their writing into a game format was transformative. "Adapting text into a game forced a change in my very way of thinking. Things that worked in a novel created logical errors or flow interruptions in a game system," they note. "I learned that a game isn't just about me forcing a narrative on the user, but a process of breathing together with them."

Gyeo-woo-sal-i says, "I am deeply grateful for the interest and support received since the project's inception. I want to thank Director Gamja-manse for the animation PV. There were many moments I wanted to give up, but the support on social media kept me going. I will do my best to lead everyone who trusted me and boarded this train to the 'next station'."

With a trailer and Steam page coming soon, 'The Next Station Does Not Exist' spans approximately 130 pages of script, with an estimated playtime of 3 to 5 hours. There will be no separate demo; instead, a polished build will be used for a private test between late January and early February. Further recruitment for testers will be announced via social media. It is now time to watch whether Mia, the girl who lost her way, can reach the next station.