Producer Ino: Korean was always on the table for international support. However, with a staggering 6 million Japanese characters to translate, finding a partner capable of handling such an immense text volume proved difficult. It’s a shame we couldn’t launch with it, but thanks to the game's strong reception, Arc System Works Asia stepped in with a publishing proposal. We’re thrilled by their enthusiasm—from booth operations to events—and relieved to finally bring the game to the Korean market.

Director Kodaka: In the past, there was a rigid view that Korea was 'all about online games.' But seeing the passion from Korean users for titles like the Danganronpa series—even without official localization—convinced me that the demand for console gaming is real. I want to use The Hundred Line as a proper gateway to connect with these players.

Director Kodaka: When I founded Too Kyo Games, I had two goals: create our own IP and collaborate with Kotaro Uchikoshi. After a project with a previous publisher fell through, I decided to finish it ourselves, even if it meant dipping into my own pockets. Essentially, the inspiration was a mix of defiance, pure rage, and a deep love for the craft. We basically bet our lives on this, and with Aniplex’s help, we crossed the finish line—though, sadly, I racked up quite a bit of debt in the process (laughs).

Director Kodaka: In a crowded market, you need a competitive edge. Since we have so many writers, I thought, 'Why not overwhelm them with sheer volume?' The developers looked absolutely hopeless when I first pitched the '100 days, 100 endings' goal (laughs), but it allowed us to create a branching narrative where the genre itself changes based on your choices. You don't have to see them all, of course—stopping when you feel satisfied is a perfectly valid way to play.

Director Kodaka: The sheer workload was endless. We have a policy where the writers handle the directing scripts themselves to ensure the music, expressions, and pacing match their original vision. Between the writing, the scripting, and the depth of the SRPG sections, our costs and development time—and my debt—just kept climbing. But like I said, that 'defiant rage' kept us going until the end.

Director Kodaka: Luckily, it’s at a manageable level now. I can finally move past cup noodles and start adding a bit of salad to my diet (laughs). Please, buy the game with confidence.

Director Kodaka: This project was intended as a 'best of' collection of everything we’ve done so far. I didn't consciously try to dodge the Danganronpa style, and since I genuinely enjoy that tone, the resemblance is natural. That said, the works are not directly connected.

Director Kodaka: We added a high-difficulty mode due to user requests. On a personal note, I’m incredibly satisfied that we managed to create such a unique narrative experience and that the SRPG combat turned out far more engaging than I’d even anticipated.

Producer Ino: No plans for DLC adding characters or story currently. We’re focused on increasing sales and handling issues outside the game itself. Regarding series expansion, I’d rather avoid building 'illegal extensions' on the game—I prefer broadening the IP through media mixes. As for platforms, we’re open to it, but it’s a business decision that requires careful calculation.