## Preface：

\[Introduction of Sessions(Detailed description)]  
『Limbus Company』 and 『Goddess of Victory: Nikke』. Despite the stark contrast between dazzling youth and cruel dystopia, the starting points of the two directors are surprisingly consistent: a clear 'authorism' of "making the game I wanted to play." This session the two directors vividly share in their own voices how the projects they dreamed of survived and evolved within the cold 'live service' ecosystem where they had to face user feedback and metrics every day.  
  
\[Introduction of Sessions(Table-of-contents format)]  
1. Stark Contrasts, A Single Starting Point  
1.1 The Meeting of Opposite Worldviews (Radiant Youth vs. Brutal Dystopia)  
1.2 Identifying the Common Denominator Shared by the Two Masters: Making the Game I Want to Play  
  
2. Authorship and Live Service (Stubbornness and Compromise)  
2.1 How to Handle Conflicts Between a Director's Firm Planning Intent and User Feedback/Metrics  
2.2 The Compromises Reached Within the Live Service Ecosystem and the Final Stubbornness Held Until the End  
  
3. Global Expansion Mechanisms of Subculture IPs  
3.1 The Secret to How Thoroughly Personal Subjects Penetrated Japanese and Western Fandoms  
  
\[Career History]  
Yong-ha Kim  
- Developed Kingdom Under Fire, Shining Lore, Mabinogi, Mabinogi 360, and Mabinogi Heroes (Vindictus).  
- Producer of 'Qurare: Magic Library', 'FOCUS on YOU', and 'Blue Archive'.  
- Head of IO Division and Executive Producer at Nexon Games.  
  
Ji-hoon Kim  
- Launched and serviced 'Lobotomy Corporation', 'Library of Ruina', and 'Limbus Company'.  
- Founded ProjectMoon in 2016.  
  
Woo-cheol Jeong  
- Editor-in-Chief of This Is Game, a specialized gaming webzine.  
- Former game journalist at Game World, JeWoo Media (GameMeca, PowerZine), and Sigongsa (OnPlayer).

Yes, hello. This is Inyoung Kang from Nexon Korea.

In this talk session, we're going to bring in people with a lot of fandom.

Well, the crowd gathered as if the signing event had already been held before it started.


Today, this site is also a very large space, and many people participated while standing.

Thank you in advance and thank you for your understanding.

So let's get into our second talk session.


---

# 作者性
Making the game I wanted to play, with the theme of the live service operator of a Korean writer producer, Nexon Games Director Kim Yong-ha,

Project Moon CEO Kim Ji-hoon and This Is Game editor Jung Woo-cheol will host.

Please welcome us with a big round of applause.

Hello. Can you hear me well now?

Oh, I'm Jung Woo-cheol, the editor-in-chief of This Is Game as introduced.

I'm the moderator for this talk.

In fact, when I received the talk topic, I thought a lot about it.

Since the talk of authorism came out, I was thinking about how to solve this,

I accepted it immediately when I heard that Director Kim Yong-ha and CEO Kim Ji-hoon would come out, but I still have a lot of worries about how to solve it.

So, before we get into the real story, I think we should first talk about authorism, which is also the subtitle of today's session.

First, I would like to ask Director Kim Yong-ha to tell us how they define and think about authorship.

The word "authorism" is added, which puts a lot of pressure on me too.

In fact, I don't think I've ever developed a game thinking of it as authorism.

Rather, how to meet the needs of the market. When I first started developing, I thought I could make any game.

Well, I've played various genres and like them evenly,

But when I actually tried it, I realized that I'm not good at making a formula that everyone would like for all those different genres.

In the end, if you look at the market too much, you have to predict why someone won't like this and make it accordingly, but if you make it that way, you get more and more lost.

In a way, I've been in my career for a long time, but I've experienced not getting good results when I'm asking someone if this is a good thing.

After failing to some extent, I thought, "Ah, if I keep developing like this, I'll end up making games that no one can satisfy."

Then, maybe I should try what I really wanted to do now, even if I fail. Should I say that I listened to my own inner voice?

I think I made it with a little more of that thought.

That was a game called Curare.

After that, I was somewhat grateful that there were people who liked it when I showed them what I liked, and it was an opportunity to continue that.

What do you think, Kim Ji-hoon?

Yes, for now, I'll be nervous for a moment, and I'll wear some glasses.

I thought wearing glasses would improve my intellectual ability and make me feel less embarrassed...

The INT number went up like using a fantasy game item.

Yes, I'm trying to raise the INT number.

Yes, the next question was, what do you think about authorism?

That's right. It's a very heavy question.

Yes, that's right. I don't think it's as grand as making a game like authorism, and now I'm just going to ask this question because I think it's just going to be fun and I'm making a game that I wanted to do,

And as I was making it, there were people who liked it, and I was looking at the direction that those who liked it wanted, and I was changing my own thoughts and what I wanted to make, so I think this is what happened.

So I don't think it's a trend or anything like that, but I just did it, and that's how I ended up with what I was trying to make.

It may seem like authorship, but it wasn't intentional.

I'm also curious now, was there a complete game that you had in mind from the beginning and wanted to create?

Uh, when I first created the Robotomy Corporation, what I had in my head was different depending on what game I made before, but I had it in my head when I made Robotomy.

There was just something I wanted to make

And now, when I'm making the second one, Library of Luina, I'm not really able to make the game look the way I want it to look.

I wanted to make a game where you watch it like a diary on a ship during the Age of Exploration where automatic combat just happens like this,

Library of Luina somehow became a deck building game, so around that time, Slathers...

Was that when Slay the Spire came out?

That was when Slurd's Like was just in its infancy,

I wanted to try it because it was so much fun, but I tried various things, and in the end, rather than a game format, I wanted to tell the story and theme I wanted to convey,

Some scenes, and in order to capture them, I focused more on that rather than the gameplay.

I think the gameplay was so a means to tell the story that I wanted to tell.

As long as it was an experience that could be fun, it was enough, so it became the skeleton of Sludders in terms of the skeleton.

But fortunately, when I came to the Limbus Company, I watched the battle more like I wanted to do, and it became more simplified,

I think it made up for some of the disappointments that I had during the Library of Luna.

I'm actually a bit similar, but the game I played around the time I made Curare was Diffusive Million.

But I thought, 'Oh, if I make it, I can do it better than this.' It's too presumptuous to say that I'm good at it.

Thinking, 'Wouldn't it be possible to make it with different fun parts?'

In a way, what was more important was a beautiful girl, but I thought it would be an opportunity to make a game with a lot of beautiful girls, so I made it.

There was a game with a similar picture to what I initially thought.

But there was something I was a little disappointed about, so I think it was a process of supplementing the things after that, thinking, "Oh, it would have been better if I had done it this way.".



As a result, I think I came to the Blue Archive again.

Well, I think I had a lot of luck.

If Curare wasn't as good as I thought, I might not have made it this far again.

Then, if you listen to what the two of you say, it ultimately leads to one path. I think you will conclude that you made what you wanted to make and made a game you wanted to play.

As a result, I think authorism can be summarized in terms of how much the producer or the person who wants to create the content to serve the game captures that taste.

Then, in a way, in the process of making it, I accept these two people with a completely different feeling.

In the case of CEO Kim Ji-hoon, I understand that he establishes the worldview, narrative, and rules of the game and then turns them into content and makes them into games.

In the case of Director Kim Yong-ha, I know that he first keeps in mind what the user's experience will be and creates the game accordingly.

In the process of creating each of these games, if there are any pros and cons to the way the CEO is making it now, it would be good to talk about it.

Director, if there are any pros and cons to this method, please talk to each other.

Yes, let's start with me. First of all, I'm going to cross my legs a little bit, I'm sorry about this, but I'm going to do this because I feel a little more comfortable with this.

Yes, I'm sorry.

First of all, I felt like the way I made it was that I decided on the worldview, story, and story first, and then built up the gameplay accordingly.

Yes, I still think that's pretty much what you said, but the advantage in this area is that I haven't made many games, but I've been trying to make games since I was a student.

Every time I played, I felt a bit of a wall because there were times when I couldn't draw an image of what the game I wanted to make would look like.

However, when it is drawn that I want to clearly show a specific part of a certain worldview or story, at least not the detailed appearance of the gameplay, but the idea of how a certain scene should come out of the game is drawn like a milestone, so the story,

So, what kind of story do you want to show, what kind of scene do you want to express, what kind of character do you want to appear in, what kind of pose do you want the character to take, what kind of line are you in, what kind of situation are you in, that was a twist, ta-da!

Like this, or the image of facing an ironic and tragic situation.

I tend to think of things like that and imagine things from there.

Did you start working like that at the beginning from Robotomy Corporation?

Yes, during the Robotomy Corporation, we didn't have this at first because we were making it a bit baseless.

At first, the Robotomy Corporation would just have questions that we could talk about later, but as we did it, we realized what I could do well and what I could have fun with. At that time, survival,

Survival was the point.

Literally, if the game doesn't sell any more, the company will have to close down, so the Robotomy Corporation said, "I have to create a story and set it up in a way that I really enjoy, so even if it fails, I won't have any regrets," so I put that in.

Having experienced some of those things, when I was thinking about it in the second game, the method I mentioned earlier began to be more outlined.

Yes, that's right. At the same time, Library of Luina did not release a completed game at once, but serialized the story while updating it with early access, so I felt and learned something else in the process of doing it, and now that Limbus Company has come, I think my habits have become a bit like the development method.

I think that's why the game was so successful.

It's true on the inside, but I don't know how long this will last, but since you had an experience that worked well in your own way, I think you'll probably go that way afterwards.

Because I didn't think from the beginning that I should make a game with a certain experience at the center, but at first, when I was playing Curare, I just wanted to make a gameplay with a beautiful girl collection game as a diffusive millionths or an extension of the existing grammar, so I was stronger.

What made me think more about the experiential part was that I made a VR game after that.

I made a VR game called Focus on You, and it's now a beauty girl adventure game,

That was a little bit more of an experience game.

Because in VR, the device that is usually used to give a sense of immersion is called presence, and at that time, in order to give a sense of immersion, how do you feel like you are in that world now?

So, it was very important.

In terms of the grammar of VR games, so as I developed the game from that perspective, how can I make this girl's presence or that world,

So, I started thinking more about whether to make it feel like it really exists, and as that has been extended, even in the Blue Archive, as if putting together a puzzle one by one about what world the player should enter and what kind of experience it would be good to have,

Did the Focus on You moment become a more triggering moment, and you have a clearer framework to do something more play- or experience-oriented?

That's right. Because Focus on You was a first-person game because it was a VR game.

But curare wasn't a first-person game. Because it was a game where the three main characters were separate from the player and the narrative proceeded, and that was the view of the world, but as a VR game, it was a first-person game.

When I created a world that I felt, I thought it would be nice to feel a bit of Blue Archive as an extension of this.

I'm also a catchphrase at our headquarters, and now I have a catchphrase like 'Creating this world I want to enter',

Then, in this world I want to enter, I started thinking more about how to make this world feel real.

So, I think the first thing I thought about in Blue Archive was what kind of world it was and what kind of person the player was, so I paid a little more attention to things like who was there and what kind of relationship they had.

Also, what was impressive about the Blue Archive was that when you play on a smartphone with the cell phone itself, the teacher gives orders and communicates in itself, and the concept that the UI itself is just the screen that the teacher uses,

And now things like 'adult cards', they're actually adult cards.

Yes, I understand the taste you are pursuing in the areas where such things overlap with reality.

Really, but you made it so well, but I think it will be very difficult to continue doing it in the future. Yes, I'm really looking forward to it.

Hey, it wasn't easy.

Because there is a game-like compromise.

Because there is a certain beauty of formality in the game, and if you make it uncomfortable to force a certain sense of reality in the beauty of formality, the sense of immersion may be broken.

Yes, right. There are always limitations, but what else can I do within that, well, I now compare games to cooking a lot, but anyway, even if I compromise on what I think is delicious, I think it's very important to make it and taste it.

Whether it's the next new one or something, how do you taste the UX that you can feel after that? This is a very difficult problem.

I'm working hard.

Yes.

Ah, each other's games feel a bit different right now.

So, in the case of CEO Kim Ji-hoon, the game has a strong dystopian feel, and in the case of Director Kim Yong-ha, as you said, beautiful girl,

It deals with a bit of a bright and youthful feeling, but in a way, even though each other's colors are very different, I think the part you're talking about now that clearly sees each other's colors is that you're fans of each other.


---

# 长期运营
Then, I think we should move on to live service for these games, but the story is,

These games are not actually package games, but games operated as live services, so they have no choice but to receive feedback from users.

In a way, the game has no choice but to change depending on the user's feedback.

Uh, first of all, what I want to ask CEO Kim Ji-hoon is that his worldview is thorough and perfect, it's a bit hard to say, but he's a bit firm, so when he applies it to the game, users say, "Ah,

I don't think this is right. I think there will be a lot of feedback like, "I think this needs to be changed like this."

When you receive such feedback, I wonder if you tend to change or modify your worldview or game a lot, or if you are firmly pushing your worldview.

Uh, yes. First of all, if you are a fan of Project Moon, you may know the actual case where some modifications were made.

During Lao Lu, there was something like the complete opening of the gun flow layer, but this is

Still, I have the world, appearance, and pride that I want to create as a creator, so I definitely "want to show this."

There is definitely a bone that says, 'This seems like something fun'.

There are definitely bones, but as we attach some flesh and other things to these bones, some things may need to fit the current trend.

Some things may have been misconstrued and literally caused a setting error, and those things are definitely now a bit heartbreaking, embarrassing, and embarrassing, but I change it even though I don't want to admit it.

Still, there are certain points that I can't change, the important point of not changing, that if I change even a little bit, it can't actually be called my game and it can't be called my story, so I don't change those parts, but in terms of the ideas of the players or the employees in the company, this is something that I've created.

If it's possible to attach it in this society, I'm thinking of leaving it free or making some modifications.

But I try not to modify it as much as possible.

Because I find the worldview and story interesting and important, but the story or setting that happened before suddenly

If you change it, it's like revising the Warhammer Codex. If you suddenly change it, the story that comes out suddenly can change at any time.

Yes, have you actually changed a lot of things?

In fact, during the ending of Lao Lu, I think I gained enough mentality to talk here.

During Lao Lu, I got greedy and then made a big setting error, so the ending was a bit sloppy.

So it's changed a lot from what I originally thought.

I went a little bit overboard from what I originally thought, from what I originally intended to make.

So, when he overcame what he originally wanted to make in the past, Jihoon made something now...

It has a live feel.

Yes, when it came out, there was a setup error, and even when I saw it back then, I thought, "Oh,

This wasn't right," and there were a lot of things that lacked description, so

Now, for a week, I made something up, I just made a story, and I did something.

Yeah, so I've changed it quite a bit.

Yes, I try not to do those things as much as possible.

But I'm also trying not to do something I never do.

That's right.

So, Director Kim Yong-ha, how do you actually stick to the plan?

Every plan has a plausible plan, but it doesn't seem easy.

But you've just said that it's user feedback, and I think that user feedback is a little bit less dependent on you in some ways.

Because they publish and provide their own services.

But anyway, I'm trying not to show it as much as possible,

Well, as I always say, I like to get attention, and it's the joy of my life, and the reason I made this game is to see what people are writing or what reviews they're posting based on reactions like game updates and things like that. Do you do a lot of ego searches now?

Oh, I do it a lot.

Yes, I do it a lot because it's just fun, reason for existence, and motivation.

So, once the broadcast is updated, there are streamers who do it right away, and I feel very proud as I just look for it and watch the replay, especially the highlights, and see their reactions.

Yes, but then I see something that's disappointing again, and then I'm disappointed again, so I fix it again, and there are other things like this.

Yes, again yes.

But since it is not self-published, rather than talking about it now, it has been around since curare in the past.

Now that we are proceeding with a separate publishing place, it is actually not easy to match the perception with the publisher at first, so the feedback from there was not easy.

Live should continue to be serviced anyway, but the new character was like, "Uh, we're fine like this," but "Uh,

I don't think this is right." For example, "That might be okay in Korea, but

Well, it could be a problem in other countries," and I'm like, "Oh, is it? Do I have to match it?" The same thing...

Oh, I'm not talking about Blue Archive right now.

Since I've experienced it many times in the past, I think the feedback from such a place must have been really difficult in a way.

The part that made it difficult to go as planned is not the user's feedback, but actually the feedback of the publisher, the publisher,

If you don't meet the specifications, they won't market it.

I think it's really good to be free from that.

Oh, that's not the story right now.

Yes.

Oh, yes. I want you to know that this is not the story now.

Yes.

The story of the past, yes, yes, it was a story of the past.

Okay, so I have a question here.

I think that user feedback or publisher feedback can expand or narrow the scope of creation of their own games, but I'm curious about how you two are taking this.

Does it expand, or do you take it as a hurdle that restricts your creative freedom?

The feedback, for example, was pushed despite publisher concerns. So

Oh, if the user says, "What's wrong with him?" "This was a character that shouldn't have appeared." If they say,

Then, in our experience of taking your feedback more seriously and saying, "I'll go," there were more good things in the end.

Therefore, in such cases, user feedback becomes a strength.

That's why what we thought, what we originally tried to protect, was not ultimately the user, teacher, teacher, but

If they are confident that they can reach the hearts of users more, they seem to respond more positively to creation.

Well, feedback like a lot of fan art about the characters we created is also very helpful to me.

And among those secondary creations, what became a hot topic recently?

There is a student in the PV who was only revealed up to the neck but not the bottom, and there are various opinions.

What kind of side is this? Well, we've decided on that now, but seeing various opinions also stimulates us. Yes.

In the case of CEO Kim Ji-hoon, he has a firm worldview and pushes ahead with what he wants to do, so I think he can take it differently.

So, this question is about how much freedom the user's feedback limits or helps in creation?

Then, first of all, only when there is feedback and response from users, I think I am making a game product that exists.

In the end, it has to be consumed, this.

Even real works of art may eventually have to be exhibited, but I think art can still be resolved a lot as self-satisfaction.

In the end, I make a selling game that makes money,

In the end, this is what needs to be consumed, so if you look at the reactions of players and fans who like this and see which one they like more and which one they tend to like more, you can refer to that.

If you reflect it right away, it's a bit

My pride was hurt and I was a little embarrassed, so I didn't reflect it right away, and I felt like I was being interrogated.

Yes, something doesn't want to do it right away, but if you do it right away, the power of those who want to do it now may increase.

People with loud voices on the Internet, yes, it may seem like I end up just following those opinions, and that's because I don't tend to write comments on the Internet anymore.

I don't use it, but I also watch a lot of YouTube and things like that.

At the same time, I also have certain thoughts and tastes.

But I think there will be a lot more people like that, and even if they don't talk anymore,

Even if you don't write, if your taste doesn't match, you may leave or something like that. Yes.

Since I'm not the type to write and speak out, I tend to try to empathize with their perspective and operate it.

I'm really jealous of things like Dorong in shift-ups, but I also want to do something like a pep talk now.

But now there's also the atmosphere of the worldview and

Yeah, so I was just saying something and...

Then, hey, but there's something that came to mind while I was talking, and there's a case where I got feedback and decided to do it quickly.

Ah, I always prepare to drive a pottery.

Uh, but there was a time when I hit Dogeza the fastest as a YouTuber.

At the time, we didn't want to be on the air, so, ah, live broadcast, I'm actually a very introverted person who doesn't really like going outside.

It's still live, but I'm very nervous. Yes.

We need to do a live broadcast to differentiate Korea.

Oh, humans don't go out and our teachers won't like it when humans come out.

So instead, something like a Virtuber is because I also like Virtubers these days.

Although it is a bit outside the worldview of the Blue Archive, I thought it would be a good idea to create something related and try it anyway, so I prepared hard again.

Quite yes, I prepared quite a bit.

Yes, I think so.

Yes.

But yes, we did something wrong.

I watched it in real time, actually.

The day I wrote the apology was my vacation day.

Actually, I was going to take a break at home after taking a vacation.

Ah, I can't do this.

I thought I should stop doing this right away, so right away...

I'm curious, why didn't you use a character from the Blue Archive world when you were a Virtuber?

Ah, there were several reasons for this now.

That's also a project that's only done in Korea, so yeah,

So, if it is too closely related to the Blue Archive, it will have to be connected to other areas, but in a way, Korea is a later service, so the impact should not be affected again.

And adult circumstances, yes, that's right.

In a way, it's an adult's situation.

If I could, I would have wanted to do the Blue Archive character. Well, that would have been easier to accept and liked.

However, I thought that what Blue Archive has planned now may be that the more closely interacting character and worldview of this Virtuber, in some ways, may continue to go to areas that cannot be done in the process of meeting the needs of that area in Blue Archive.

So now I've separated it.

We've separated it and prepared to have some degree of connectivity, but a lot of that stuff ended up

Uh, if the teachers don't accept it, it's useless.

So I quickly thought, oh, I was wrong about this, and I quickly folded it.

Still, I think it would have been very accepted if I used the Blue Archive character.

It may not be, but now that the character is consumed in a different way than originally thought, or it will have no choice but to change.

I thought there would be a penalty when I did that.

When I receive so much feedback, I usually prepare a quick apology like just now,

Anyway, you're dealing with it.

Anyway, it's the nature of live games that you have to deal with.

Anyway, you can't fight back with the users.

As a result, we accept it all, calculate it, fix it, correct it,

So, in this process, managing one's own mentality and stress seems to be increasingly important, and I think that only by managing this can the direction of the game be adjusted as a result.

So, it's a trivial and personal question, but I'm curious about how you manage your mental and stress.

Mental management is actually not easy.

It's not easy to manage,

It's hard, but the longer the live goes, the harder it gets.

And it never happened because I wanted an accident to happen,

It always happens at unexpected times, so it's not easy to recover.

So, whenever an accident occurs, I tend to have a new hobby.

Is that why you created Cheonggyecheon?

That's not it.

Initially, after starting the Blue Archive service, there are some stability issues, so when it explodes, I keep looking at the bulletin board.

Or I can't keep telling my friends who are fixing it right now.

So I had to do something during that time anyway, and I needed something to distract me a little bit, so that's when I started assembling the keyboard.

So you don't do ego searches then?

I did enough ego search.

But the more you do it, the harder it can get and the more you miss it.

Oh, I'm watching it.

I'm looking at it, and I'm a little mesmerized while I'm looking at it, and I'm a little bit of a meditation where I need to drop it a little bit, and I can separate it, and I'm picking up the switches one by one, and I'm lubricating it now.

Then you find a little bit of peace of mind, and then you look again, and you're like, ah, yeah.

And now you're repeating it.

There was another one after that, and after that, they brewed coffee again, and so on.

In the case of Kim Ji-hoon, do you have any secret methods for managing him?

Yes, I actually wanted to ask you this, since you are a senior now, how do you manage your mental health?

I managed my mentality when I was doing the Robotomy Corporation 10 years ago, and now when I was doing Lao Lu 5 years ago, I thought that in a few years, I would have a strong mentality and become something that was not swayed.

But even now, I'm still very anxious, shaky, and stressed,

Yes, and then I just looked for it again and it ended up like this.

So if I don't look for this, I go to a lot of psychological counseling, and even in counseling, I'm told to keep my distance and not look for it, but if I don't look for it personally and keep my distance, I'm a little bit too immersed in my own creation, and if I don't look at it without thinking about breaks or anything like that, it's a little

I feel like I've lost a little bit of affection, I feel like it's a dereliction of duty, I feel like I'm not doing something,

But the game itself, Limbus Company, is about showing hell and facing it.

Yes? You're like that too.

I'm looking at hell.

Yes, as I tasted hell, I thought, "I don't know if I'll be able to go to heaven if I get to Cheonggyecheon someday."

Oh, I've been going through hell, and now that the company has grown to a certain extent, I've met other representatives, and I've met all of you, and I've always asked you how you manage your mental state,

In the end, everyone says it's hard even if you're old, whether people live the same way.

I don't think I'm getting used to it either.

Just one more hobby to escape from, and while that hobby is immersed, still for a moment,

Yes, let's see it again when the time is over for about an hour.

Both of you eventually say that you can't manage your mind, that stress keeps accumulating,

Oh, I don't think there's anyone in the world who's mentally managed.

People don't change.

Unless it's something like Sakyamuni.

Yes, in the end, I have no choice but to accept that this stress in live service is inevitable in the field.

But receiving this feedback is because these days, you are also doing live broadcasts.

In the end, this live broadcast is the only way to continue to be stressed in real time.

The reason why you still do this is because you do live broadcasts.

I accept it as if you are doing it because you think it helps in game development.

I'm a little curious as to why they're doing a live broadcast.

Yes, I'm holding out hard and creating a myth, yes.

Rather than doing this because I thought it would be helpful in game development, I used to like Virtuber like Yoga.

So I just liked it and wanted to try it, so I just did it as a hobby.

Yes, I did it, and I got more attention from it, and in the end, the mental part that I was a little bit stressed about was that when I couldn't say something in real time, I was a little frustrated and stressed.

So, I think I actually relieve my stress when I broadcast.

Rather, it seems to be working out, and somehow, a lot of people like it now, and now my wife has an uncle, and now she's creating a myth and doing it cutely, and she's talented.

Oh, thank you, yes.

So sometimes when I see fans, when I first see them, they say, "Why is my face like this when my voice is the same?"

Some people are having a hard time, and the red medicine is now complaining of pain. Anyway, in the end, I think this is the answer to the mental management you mentioned earlier, and by doing this live communication broadcast, I can manage my mental state, so I can cheer up without getting tired of game development. Yes.

I originally didn't want to do a broadcast.

You liked it.

I don't like going out.

You appeared on KBS.

I started doing that because I like to experience new things.

Yes, somehow, when I was thinking about whether to just do this or not, I said let's give it a try, but now it's a big stain in my life.

I left it behind.

Once it comes out, I can't erase it.

That roasting media was like that, so I asked them to delete it at first.

Oh, I asked KBS to delete it, but it didn't work.

Ah, so I just gave up.

Yes, I watched a lot.

Yeah, so I was afraid that something like that would be left again, so I actually didn't think that I should go on the air or anything like that on my own,

When it comes out now, I tend to regret saying, "I won't reject it and let's try it."

But when I come out again and see users who actually say this or respond to it, it gives me strength again.

Also, I heard that many people have accepted Blue Archive in a good way and are playing with affection, so not only me but also my development colleagues and the operation side that we serve together receive a lot of support.

Not only broadcasts, but also offline events, we tend to do a lot of those.

Even offline events, when you actually meet users offline, they all smile anyway.

You should have come and visited me. I don't usually stab with a knife anymore, so fortunately, you congratulated me. No, it's not.

So I think I'm still, yeah, I'm still, yeah, I'm still, yeah, I'm still determined to work hard again so that I don't get stabbed.

As a result, I feel that receiving the love of fans live is somewhat helpful in managing mental and stress.


----

# 全球化

In this regard, we will expand the scope a bit and are currently live with domestic fans, but in reality, the game you are currently serving has expanded globally.

They have a lot of fandom there globally, right now.

But in a way, rather than saying that I would provide this service to this market, I created the game I wanted to play and the game I wanted to make, and this became a case of laughter.

Then, what do you think was accepted when you said what kind of charm and merit was there in the game you created that made users accept and acknowledge you overseas and become fans?

Actually, I think I was a bit lucky.

Blue Archive was also serviced in Korea first and in Japan and other regions, but it didn't work well at that time.

There were many other things that I thought would be okay at the time, but things didn't go well, and there were many things that I thought we should have paid more attention to, but we didn't do well.

Looking back on things like that, in a way, with the Blue Archive, we intentionally released Japan first from the beginning.

The CEO said that I need to be able to succeed in Japan in order to be especially successful in other genres.

Because there was something, when we first designed the worldview of the game, the system, and various other things, how could we now keep up with market trends while still doing what we wanted to do?

I think I thought a lot about how to find the intersection of the parts that give us our own taste that I mentioned earlier.

One of them was now called a school project.

In a way, the school material is relatively more classic in Japan than in Korea.

I thought that adding a special taste in the category of such school materials might work in Japan, so I took it now.

And in fact, we couldn't have done it on our own, and the Japanese publisher also worked very hard, so there were some parts that made it happen.

There was a good response because many things matched, but I don't think it's easy to say that we designed and aimed for everything.

I was very lucky.

In the case of CEO Kim Ji-hoon, I think there were many difficulties in terms of culture and language expression of the country because he had to tell a unique story.

Can you explain in detail how you wanted to deliver the Project Moon series games to their overseas fans when you went abroad,

and what process you went through?

Yes, but before that, what was it called, Blue Archive? Among the things that made it successful in Japan, the refreshingness,

The unique cleanliness that can only be achieved in the real Blue Archive, the feeling, sensation, and cleanliness,

Yeah, I think that was really unique.

The atmosphere itself, the impression, no matter how many school materials there are.

Well, at first, we said that our headquarters wanted to create a certain ideal, this world, and our goal was to create it.

Now, how and which aspect can we like more and the public like more?

Yeah, it, if it's too ideal, it looks fake.

That's why I thought a lot about how to put in some parts that are not like that and that would actually happen, and how to make it feel real as a player, although it is an area of reality.

Fortunately, many conditions were met and we worked hard, so I think we got a thankful result.

Yes, as you said, luck played a major role, and I think fans liked it globally.

However, at the same time, what we are trying to do now is to make use of it as much as possible. Although the Project Moon company is not large, it now has its own translation team inside.

As far as I know, I don't know about these days, but when I looked into translation in the past, I think games were translated by outsourcing companies specializing in translation or something like that.

Now, while doing Lao Lu, Limbus Company, I think it will be a global simultaneous launch that Korea and Steam will release at the same time.

Since we were doing simultaneous launches, speed was important, and to do that, we decided that we would need a translator who would just translate with us when writing a scenario in real time.

But you can't translate it until the scenario comes out.

That's right. He's probably in the back, so it's going to be really hard for him.

So the translators are having a hard time,

And somehow or another, what's important now is that translators also have a love for this worldview, so they just thought it would be fun if it was conveyed well, so I think there's something they're doing with a little bit of passion in that tight time frame.

Have you had an internal team since Limbus Company? Or since the previous one

From the previous work in the internal team, there were things like Japanese and English.

In other languages, fans have now translated it directly into fans.

So anyway, the reason why I don't speak another language other than Japanese or English is Japanese.

In English, I can still get the context when I read and listen to the sentence to some extent,

"Isn't something a bit strange like this?" Or, "Isn't this a bit okay?" In the case of other languages that can make the same judgment, even if I look at whether this translation works well or not, I don't know.

I decided that I couldn't just manage areas I didn't know, so I focused on English and Japanese.

While speaking English and Japanese, what I asked the translators to do was because the Limbus Company worldview now has words with motifs from various countries, some are French words and some are now Korean.

Literally, the TCHORT group came out again this time in that update.

But when I translated this, there was a question of how to translate it into English, but now with something like Slave Hunter, the intonation is completely different.

Anyway, the TCHORT group is a bit more Anyway, yeah, literally, what I'm pursuing is this worldview with the TCHORT group of this worldview and the Slave Hunter, so I took that as a main point, and the most Korean thing I learned in moral class is global.

Just literally, what I can produce, what I ate, grew up, and experienced in Korea, where I was born and raised, can be very fresh to someone else's eyes.

I didn't copy it, but I wrapped it well and processed it, so I think they liked it globally.

Because I'm lucky enough that the worldview has continued to some extent since the previous film,

And because the expression method and things like that are constantly in contact, it seems that even those who do localization can work with the development team to match the consensus.

I think those fans continued to grow, and they followed along and understood the context more.

Yes, so thank you.

In a way, both of your games have been listed as successful overseas games anyway.

But if we look at it from a media perspective, the standard of success is sales.

I don't want to talk about sales here, but when they go out and meet overseas fans, how do they feel in contact with fans who feel, "Oh, our game was successful?"

Could you please point out how you express yourself when you see what you feel and where and how you feel it?

CEO Kim Ji-hoon first, yes. When I opened a game booth as an offline event in Korea and now in Japan,

Now, fans line up for a really long time, and sometimes on the talk game show, 20 minutes after the event starts,

There was a time when the queue was filled up to the closing time in 30 minutes and the queue was closed.

So, there were times when I felt a very overwhelming feeling in terms of popularity that touched my skin and on-the-job aspects.

But now, unlike how it looks physically, what was also very meaningful is that I now receive a lot of fan letters from various fans and from various countries.

I can't reply to all the fan letters now, but yes, among those fan letters, there were people who were now fighting against some incurable disease.

Or there were people who suffered domestic violence due to poor family circumstances.

Now, those people have become a bit of a force in life in each country's language,

And it gave me strength to endure, and when you say that you want to live more because you are curious about this story in the future,

It was definitely very meaningful to me because I thought it could be meaningful in life for someone like this.

And one of the points I wanted to make a game like this was that I played Persona 4 when I was in high school.

Now, when I was in middle and high school and had a middle school illness, I was in a situation where I was gradually lacking in social skills.

But when you play Persona, the community system is important.

Now, while playing tarot cards, it breaks the quest within Persona and communicates with the people around it,

That's now becoming stronger with in-game stats and things like that,

But I also have to do all those all-communications so that I can see the Jin ending again.

That's something for me.

Because it gave a message that allowed me to communicate more with reality and valued relationships with people more,

You felt like you were explaining to yourself again about such a game or what you were influenced by.

That's right. Yes, that was good.

Yes, what about you, Kim Yong-ha?

In a very similar experience,

I'm like, "Oh, good job making this game. I feel like I worked hard and anyway, I'm glad I cheered up and continued the live.

I also receive fan letters when I go abroad, in Japan, or in the United States, but I am very sorry that I could not reply to all of them.

At that time, there are very similar parts in that content.

So, this game comforted me a bit in my life anyway, and I was inspired by this, so I decided to pursue a career as a teacher and am preparing for it.

Or there are people who say that they have become actual teachers, so anyway, I think it's too exemplary to say this.

I think I feel a bit of responsibility to continue playing games that can give good influence.

And I think I feel rewarded.

But personally, what I personally felt was that I was a bit happy when a lot of secondary creations came up.

Well, I've been doing a lot of virtue work since I was very young, so artists and artists I respected when I was young sometimes mention Blue Archive on X or draw fan art.

In such cases, I think, 'Wow, there are people around the world who respond to what I make anyway.'

I feel grateful, but I'm also very grateful that there are so many booths, yes. Again this time

There are quite a few booths, so I'm going to go again.

To say thank you.

Oh, no, it's not.

Yes, I'm personally curious because Blue Archive is the sole headline of Japan Comiket.

But I don't think you serviced it thinking it would grow this big.

So now you're saying you got lucky.

If you ask me if I haven't aimed for that now, it's the area I want to do.

The area I want to do is the area, and in order to reach that, what should I do to achieve the genre code that comes out of Comiket now? In our opinion, what kind of worldview should it be, how should the character be created, and what kind of development should it be? We made various efforts to do so, but it doesn't always happen as it is.

Everyone actually hopes that there will be a lot of secondary creations and will make games,

In particular, in the case of a genre like ours, 100% cannot be guaranteed, but I feel grateful that many people helped us because many other conditions were met.

You did aim for it, right?

Sure.

Yes, like that bucket list, there is a bit, yes, there is always something like participating in the Tokyo Game Show or creating a booth somewhere.

Yes, but once that happens, you have to keep looking for the next one, so in fact, you have to continue the live performance, so you have to keep working harder after that.

Oh, and I can't have a similar pattern, so I'm working hard and trying to figure out how to make it now, and if I'm familiar with it, I have to make it taste familiar but feel different.

----

# AI

Then, I think we need to skip the topic a bit.

If we've talked about live services and fans' love so far, I think we need to move on to a heavier topic.

Now the era has passed into the era of Artificial Intelligence,

In a way, Artificial Intelligence is being used a lot in all industries, but especially in games, Artificial Intelligence should be used.

There's a lot of talk about not using it.

Whether this Artificial Intelligence is ultimately used as a tool, whether it is used as a means to achieve the creative intention of the developer or creator, or whether it is used as a means to achieve its purpose, I think the means are different in many ways.

I think the two of you here are thinking about Artificial Intelligence right now and how it should be used or not used.

I'd like to hear your thoughts on that.

Oh, it's a very difficult topic, and if I do it wrong, it could be a trap question, but I think it's because the game is a bit savage.

It's both technology and some kind of art.

In terms of technology, I think AI can be fully utilized.

In particular, in terms of technology, such as areas that have developed a lot these days, such as processing routine tasks quickly or supporting coding very well, I think it is good to make full use of the areas that have developed with AI.

However, some people may not think that art or games are art, but in any case, I think there is definitely a part of creation that requires the personality of a human or a team.

However, I think that if that part is diluted using AI, it cannot be claimed to be of that much value, so I think we should look at it separately.

Well, technically, in a way, filling in the part where there is a correct answer can be done with AI, but some unique part,

Well, I think that fans who want it to come out as an artistic part that has to have our own taste should put very strict restrictions on that part.

It was a personal opinion. In my case,

AI Guide

One of the reasons why I have a greater antipathy to games or movies like this when they are used as creative works is,

Anyway, consuming games and creations is a bit of a hobby that goes beyond food, clothing, and shelter.

In that regard, at least the fun I pursue now is a bit like the juice of the creator's pain.

It seems that fans now like the taste of tears sweetly, the taste of tears that have been squeezed and dropped drop by drop.

The more painful it is for us, the more they like it.

But even if you make the same thing, you have to have "Oh, what pain did I go through while making this?" in a way,

Oh, well, it's not that you just like that part, but in a way, it's a bit sincere in that part, no matter what worries you have.

The reason why we consume this, and the reason why we chose this, is because it tastes like Kim Ji-hoon's tears.

But now with AI, you don't know if it went in or not,

Also, anyway, if you just create it with AI, if you create it very quickly, so I think we need that now and there will be a game genre that fits.

There must be something that can be created quickly with AI.

Also, what people who don't like that like is that even in reality, there are quite a few things that can be compared to AI.

Now, even though there are a lot of industrial products, there are people who like handmade products.

There are also people who like organic food.

So, someday, even games will have to have something like an organic mark attached to them.

Instead, this can now be made as slow as slow food, something like that.

Instead, there is no AI scent.

I think there could be an era where we could just do a certification mark, the opposite version of the AI Certification Association, and just stamp it now, but anyway, the important thing is the time and pain of the creator and how much it cost, and even if it gets faster using AI, it should be concentrated as much as it gets faster and eventually use the same time, so I think it's the direction that fans like and want.

Well, I think it's good to be able to test various ideas quickly.

Then, it seems like the part where people actually execute and create the results with better ideas should be done by humans.

As a process of refining one's ideas, it's okay to write, but it's good to be able to do 1,000 things in 10 hours instead of 100 things in 10 hours, but now they hate it if you only work for an hour.

Anyway, whatever it is, porridge or rice, work for 10 hours and melt it. Wouldn't it probably be more painful?

Yes, in the end, it becomes more densely painful, and I think AI tells you in an average value what is close to the correct answer.

They give very exemplary answers.

So what kind of

In a way, there are times when you need to write a more formal article.

Well, for example, when I reply to an e-mail, I ask myself to use something similar to a typical reply I sent in the past, based on what I used,

I don't feel like I wrote it because it's so exemplary.

So, should I call it taste, or maybe some human flaws or biases that I may have are more important in some ways.

I think it's actually a little bit essential to have that in moderation.

In the end, it's humanity, and it's the humanity of that person, and now it's got to have a taste like Yongha, and it's got to have a taste like tears.

I think I'm thinking more about how to make that part better,

So even if I write an answer with AI, I just write it from scratch again.

Yes, as a result, AI can use it as a tool in the creative process, but AI itself as a tool for producing results,

So, I think you are saying that AI itself is not the answer by producing results.

I think there are games in that area and content in that area.

I think there will be, but I heard that there are more than twice as many games on Steam as before.

But in a way, there are all similar AI slops,

I don't think those things are chosen.

So, in this era, in this period where we are sitting here, AI is being evaluated like this, but one year, two years, three,

I don't think I can stop using AI after 4 years.

If you're using AI as a tool when you're making a game with AI, assuming how many rules you're going to use AI with,

How much do you think you can use?

Well, I have some certainty about this now, and I'm going to keep up with the big companies that have been ahead of me.

Yes, I didn't create AI technology because I wanted to create a company that pursues technology, but I just created a game because I wanted to convey

As a vessel, games were the best, and if AI is suitable and accepted accordingly, I think I can follow suit and use it in my own way.

How to use this AI in a more advanced way is not an area I want to fight, so I'm going to follow the path.

You're already at a large company.

So, as I said at the beginning, I think the technical part and the artistic part are a bit different.

So, in terms of technology, the part that is still being used is when doing research,

When doing research or something, it organizes it in much more detail than just using a search engine.

He writes well too.

Well, since they just make a plausible sheet, I think that can still be used to do standardized work in a little more way.

In the coding part, for example, being able to catch bugs,

If that's what's going to allow us to focus on the content that we need to create, I'm wondering if it's right to use it actively.

But for example, if we draw illustrations, design characters, or write stories, and AI has that taste and dilutes any of our efforts, it would be very difficult, so we are wary of it.

As a result, AI should be used as a tool that reflects the intention of the creator, and there will be no number beyond that.

And there seems to be a conclusion that we will follow the footsteps of large companies to see the trend.

In fact, in terms of efficiency, AI is bound to be incredibly powerful than human work.

We're talking about authorism right now, but as a result, you have to make the game you want to make, and that's what most of the people sitting here think.

In a way, I think it is possible only when you are the decision maker or in a position to decide when you want to create it.

Now, the director has risen to that position by continuing to build a portfolio.

When you're the first person to do it and you're the decision maker, and you're talking about starting a business in the AI era, what tools does starting a business help you use to make your own game through AI?

Or could starting a business itself be the answer?

I think it will definitely help create an atmosphere, but now that Steam has come out, the entry barrier has been clearly lowered for game distribution.

In the past, as far as I know, we had to distribute through marts or retail shops to get through Wal-Mart, but now we have steam without that, so we can just release it.

Also, games can be made with Unity or Unreal Engine, so the start line itself has lower hurdles with AI, so anyone can make it, but not everyone can make it.

That's my favorite line.

Yes, anyone can cook, but not everyone.

Anyway, I think it's good that such a world comes.

But that's how many people wanted to do it now,

'I wanted to create something like this, but I couldn't because I didn't have the ability, I didn't have the ability to express, I didn't have the ability to express.' Even people who gave up on their dreams can create something if they have this kind of technology.

But now that there are more people and more things that lower the hurdles, I think how to be chosen from there is another matter. Yes.

It became so easy to make games.

Well, it automates the coding part a lot, so there is a new model called Devin that came out briefly last week and disappeared.

He almost made Dark Souls if you asked him to make it.

It seemed plausible.

But anyone can make it.

That's why anyone can now just create an action system like Dark Souls, for example.

Then, it will be more competitive to see how much of your own you can put in there.

In a world where similar things that anyone can easily make are pouring out, finding more of your own,

I think it will be important to find it more pointedly.

If you can do that now, how can you start a business?

Trying it would be a way to see some kind of authorism in the AI era or a quick result of being able to create.

But since I've been working in a company for a long time, I think there are advantages to developing in a company.

Being able to grow by taking one step forward from what can be created in a certain system of a company,

It took me a very long time to be able to experience trial and error within the shield to some extent, but I think there are some advantages.

Then, do both of you agree that the hurdles for developing games in the AI era have become very low, even if it is not for startups?

Then, the resulting hurdles would be lower, but the selected hurdles would be higher.

So, in the end, it has become easier to create personal games and produce results using AI technology, whether you start a business or produce results.

The reason why it has become very difficult to make your own taste and taste is that in some ways, it is a separate story whether it has business feasibility or commercial feasibility.

However, if you can do well in creating attractive products using AI tools like this, you can start a business.

I don't have a hunch about that, but if I do, I think I'll either study more or not.

Anyway, you can make it, but whether you can make it well is up to you to come.

I think the taste becomes too important.

Yes, that's right.

How to create that taste using AI seems to be a new area, so it's an area I don't know about.

Well, I think it's about to be the last question.

In the AI era, you are now the producer yourself.

Now, in this era, I think the roles of producers and producers in the past will be different from those of producers in the future.

I'd like to hear one last part about how you think the role of the game director will be organized and defined in the future.

Uh, what is it? I don't think the role of the director will change. However, in a way, if people who work in general work say that the technical part can be accelerated through AI, I think that expanding the field of view can lead to higher quality in all occupations, and I think they will work with a more directorial perspective.

On the other hand, in a way, how do you collaborate with people who have clear opinions and create synergy?

I think it will become more important to strengthen teamwork while aligning that consensus.

Will it play a role in making that person fit? Well, it's a good thing that more people have more perspectives, but shouldn't we also consider how to resolve those issues because they have to create synergy while resolving conflicts that may arise at the point of contact?

Are you working on it? Yes, are you working on it?

Wouldn't it be the area of the future? We might find the answer in the future.

Well, I think that when the AI era comes and AI becomes more common, in terms of the director role, if you look at what you can do for those who come here to listen,

If you look at it from the perspective of what competencies are important, first of all, I haven't been to another company and this is my first company,

Yes, I don't exactly know the role of a director or PD at another company, but I'll guess, even if it was a director or PD, their practical skills and techniques would have been quite important.

The expertise and things like that that you need when you're making a game, but now the demands for those things are a little bit lower, and like you said, you can coordinate relationships between people, or now that you're using AI, what do you have to do to make it more human and more like this person,

It's important to be able to create a taste unique to this director and bring it out.

It's literally a direction, but I don't know how to do it.

Yes, in the end, even if there are producers or directors, they have to keep the center, so I just imagine that it would be more important for someone to decide the flavor, the center flavor, and to harmonize the flavors that other directors can produce.

Well, I'm not sure now.

Also, in the company, you become a director step by step.

You don't just become a director from the beginning. Director, so

I think the company's direction and keynote will differ depending on what kind of director they want.

That's right.

Each company has a different direction, so now there are a lot of audiences here.


----
# 总结

Now, it's almost time to wrap up, and it's time to make a closing comment.

And there are a lot of people here who will eventually become like the two of you sitting here in the future.

If not from their own experience, what else they want to tell them,

In order to create a game like this that we must not forget this, we have writerism,

Since our title is Writerism, you can give some advice about not forgetting certain points in order to make the game you want to make.

If there is anything you want to talk about, please say one last thing.

Well, since we keep talking about taste, I think we should probably end by talking about taste.

I've been thinking about that a lot lately.

Well, in English, it's taste, and I hear that taste is important a lot, not just in the game industry.

Taste may be your taste, or it may be your taste, but in the end, I think everyone here likes games and is now thinking about game development.

What kind of game do you like? Among them, it could be a genre I like, it could be a system, it could be a worldview or a story I like.

In the end, I'm going to ask myself a question about what flavor I like, and I'm going to say it's a little bit of a zero-point adjustment,

I think it will become important to cut it more sharply.

So, in a way, I hope you find something that you can taste well and that you prefer better.

I think it would be a good idea to upgrade the taste of those things.

I agree.

And now, if I were to talk about it from a start-up perspective,

Yongha, you've been talking a lot about luck, but when I look back, I always think luck was the most important thing.

Luck was the most important thing, but in the end, if I don't get lucky, it's been 10 years for me.

The company was founded in 2016, so it's been 10 years now, and there were definitely people who worked harder than me, and there were also people who were more capable than me, but there were many cases where the company went out of business or the team disassembled.

So, in the end, there is a saying that luck is important whether you succeed or not, so you have no choice but to blame luck.

Instead, I can't do anything about luck, so in the end, how long I can stay persistent until luck comes, mental and physical stamina,

I think this is the most important thing, but it's not easy.

When does this keep happening? One of the analogies I use is that in order to keep floating in the water, you have to keep swimming.

If you struggle and stop this, you will eventually sink,

In the end, I think whether I can keep shaking my feet is whether I can continue doing this or not, but it's still hard and I'm still not sure what to do.

I think the life you want to know is ultimately Gacha.

Gacha, however, if you draw a lot, it may take some time if you have a large number of trials.

How persistently do you continue to make efforts to feel a little in awe of it now?

It's like the part wins, yes.


----


# QA

Ah, we have 5 minutes left, so thank you so much for your valuable words.

And I think we should end the talk with this.

I think the audience will have a lot of questions about you two right away.

Let's move on to the Q&A session right away.

If you have any questions, please raise your hand and I will pay attention.

I might not be able to answer questions about the content of the game.

Because it's a spoiler, you can refuse to answer the question here, so that part of the question, yeah.

Same for me, yeah.

The person in the white shirt in the middle, thank you for the opportunity to ask a question.

From the standpoint of playing those two games, I am aiming for the original game drawings.

I felt that art also plays a big role in the elements that make up this unique game atmosphere and worldview.

I would like to ask if there is anything important you think about the art workforce that makes such art or the results that the art reaches.

Do we both have to answer about art?

First of all, it's bright and quiet.

It's bright, and art is really important.

Oh, it's very important.

Is this going to be a real thing, or is it going to be a deformed drawing style now?

Deformed... In fact, the fact that there are no male characters and only beautiful girls is also a big direction of art.

art In a way, a lot of what I'm finding in the flavors that I like might be the pictures that I want to see in that art.

So, because what kind of worldview is ultimately expressed through art and text,

From there, I tend to prepare by thinking a lot about art that can be seen more directly than text.

And how to find colleagues who can implement the art is something that we put a lot of effort into, especially at the beginning of the project.

Well, the point I see is that I prioritize whether the art was drawn as I wanted and within the time I wanted rather than how well it was drawn or not, so when I give feedback on art, everyone has their own aesthetic sense anyway.

There may be no right answer to that aesthetic sense, but what I am telling my company's art team is a clear order to make what I want.

So why is this pretty and why is this

If you don't know if you should fix it like this, it doesn't fit our company anymore.

If you just like this style and think you can modify it accordingly, then you pass.

Also, at the same time, there are times when I come up with something quickly and spontaneously, and there are times when I make corrections, so the quality can match that, but the speed and quantity can be achieved.

I see this as important.

Yes, in a live show, the deadline is really the most important in some ways, so that's right.

Who should I pick for the next question?

I don't know.

I don't have much time left when asking questions, so I think I can do it once or twice now.

I would appreciate it if you could call out the speaker who wants to answer and ask questions.

The person standing at the end there in black,

The person looking back now, yes.

Yes, that's me.

I'm really nervous to ask a question.

Thank you for the opportunity to ask questions.

I want to nominate both of you,

I'm currently working on a project with people like the two PDs.

Actually, I have the most curious thing.

As I mentioned earlier, we talked about mental management.

Actually, I was very sympathetic when I talked about PD Kim Ji-hoon.

PDs are always worried. Right?

Then there's going to be a lot of pressure in the process,

There will be a sense of pressure, and as a producer, if you make a wrong choice, you will feel the pressure of going down.

I'm also really curious about how you endure such things.

Actually, producer Kim Ji-hoon,

Whenever I see something related to Project Moon, I feel that there is a meme related to Mane, but I don't believe it.

Anyway, you've overcome a lot of adversity to get here,

I'm really curious about how you've endured all of that, and since then,

There must be a lot of people here besides me who want to become the leader and lead the project.

I wish there was some advice for those people.

Yes, for now, I am Manera.

Because it's been about 6 years since I took sleeping pills and antidepressants.

I'm taking some time off from counseling now, but I've been doing it for about two years.

But in the end, it's just hard on the body and mind, so I'm getting some fluids once a week,

So it's a bit like the Warhammer 40,000 emperor of mankind,

It feels like I'm sitting on a golden throne, but how do I endure this? From my perspective, I think it was a bit of venom.

Dokgi, if I let go or fail here, I'll end up going into a bit of a shithole. There's a sense of desperation,

The venom has been lifted a lot since I embraced it, but the founding members of the Robotomy Corporation in the early days now know that I have changed a lot.

But I was very spiteful and used that to speak a bit harshly, but I don't think this is the right answer and I think it's wrong.

If I hadn't done that, I wouldn't have been successful again, so I think this is a bit difficult.

But anyway, I'm still taking care of my mental health and stuff like that, and it's Manera,

So I can't answer.

What about you, Yongha?

Ah, I don't think it's actually easy to continue sober.

Yes, you said it was spiteful, but to some extent, it doesn't work well just with a sense of duty.

For example, what kind of team should you take responsibility for?

In a way, there is also the need to produce results for the investment.

Also, I want to run away because there are expectations from users, honestly, sometimes. Yes, but

After running away like that, there is no aftermath, so I think I have to solve it somehow, and in fact, not only me but also everyone else in charge of the PD has a certain determination and a bit of a strong heart, so I think I can continue.

Well, we can solve some problems that don't work well in development.

However, there are situations where it is a bit unbearable from relationships between people or certain feedback, so in the end, there may be your own way.

Well, getting counseling can actually be a very important solution.

If necessary, I think it is necessary to get a prescription, whether it is a nutritional supplement or not.

I also have experience.

Well, if you don't grab it somehow, you won't have the back, but in a way, even in the games you've led so far,

I think I have to work hard because I can't disappoint those who expect it.

Since our time is up, I think we should end the Q&A here.

Thank you again to everyone who came into each session today.

Thank you.

Yes, thank you.

Thank you for your hard work.

So that concludes the session.

Please give a round of applause to Kim Yong-ha, CEO Kim Ji-hoon, and editor-in-chief Jung Woo-cheol for preparing useful talks.

Yes, everyone. For the unfinished Q&A, there is a Networking Zone in front of the lobby.

You can talk to the speakers again in the Networking Zone.

So I'll see you in a little bit for the next session at 4:00.