"Nagoshi Studio's 3rd Anniversary: Insights into Their New Game, the Current State of the Studio, and the Vision Behind Their Brand Video"
This is an English-translated article from an interview with Toshihiro Nagoshi featured in the Japanese gaming media "Famitsu.com."
There is a game creator named Toshihiro Nagoshi.
After joining Sega in 1989, he was assigned to the 8th Research and Development Division. Under the guidance of Yu Suzuki, the creator of the Virtua Fighter series, he gained experience and directed and produced Daytona USA, which became a massive hit. He continued to launch successful original IPs, such as SpikeOut, Super Monkey Ball, and Like a dragon, establishing himself as one of the top creators in the industry. He frequently appears in the media, and many game fans are likely familiar with his name.
In November 2021, Nagoshi left Sega and founded "Nagoshi Studio" with a team of trusted colleagues. Since then, while he has been active on his own radio show (TOKYO FM’s Nagoshi Studio Presents THE Future Lounge, airing every Thursday at 9:30 pm) and in media appearances, there had been no further news on his game development beyond his initial announcement to create a high-end game aimed at a global audience.
In this context, the brand video MAKE/HUMAN was unveiled to mark the studio's third anniversary.
What Were His Intentions in Creating This Video? What Is He Currently Thinking, and What Strategies Is He Crafting? Famitsu Group Representative Katsuhiko Hayashi Asks Toshihiro Nagoshi About His True Intentions
Three Years of Nagoshi Studio
Hayashi: It’s been three years since the studio was established, and it seems the team has grown considerably.
Nagoshi: Yes, gradually. Right now, we have about 80 people, including contractors.
Hayashi: When I spoke with you during Nagoshi Studio’s first anniversary, you mentioned wanting to expand to around 50 people, but you’ve already surpassed that.
Nagoshi: Yes. I didn’t expect that we could achieve our vision with just 50 people. We weren’t recklessly expanding the team, so I didn’t anticipate a rapid increase in staff. But fortunately, we’ve attracted talented people, bringing us to where we are now. That said, given that it’s a worldwide title, we can’t complete it with our current team alone, so we’re also working with external partners.
Hayashi: I see. I’d like to hear more about the details of your work, but first, as we celebrate the third anniversary of Nagoshi Studio, could you share your thoughts on these three years?
Nagoshi: It went by so quickly. About a year after starting the studio, people would ask, “How far along is game development?” But we were far from full-scale development at that point. November 1, 2021, was just the official founding date; we didn’t even have a server or a landline. In fact, on that day three years ago, there were only two of us, myself included.
Hayashi: Two people don’t get much done! (laughs)
Nagoshi: Right, we couldn’t really do full-fledged game development (laughs). From there, we worked on solidifying our ideas while simultaneously recruiting staff. It wasn’t until about six months in that we had a clear direction. So, I feel like we’ve only truly been making the game for a bit over two years now.
Hayashi: From the start, it wasn’t as if everything was planned out in detail, so it’s only natural to feel that way.
Nagoshi: The only thing that was really set initially was, “We’ll use Unreal Engine 5.” And even that engine got updated over the last three years (laughs).
Hayashi: Indeed (laughs). So, I’d like to ask you again—what was your main motivation when you decided to go independent three years ago? What was it that made you want to take that step?
Nagoshi: If I was going to make a game, I wanted it to be something new, something I couldn’t do at my previous company. Sure, it wasn’t that I couldn’t create something new at my old company, but in a large organization, certain things are challenging. And if you look at events like the Tokyo Game Show, it’s clear that it’s not only domestically but also globally rare for major new titles to come out all the time.
Hayashi: That’s true.
Nagoshi: Of course, there’s motivation in responding to fans who say “That was fun!” by giving them sequels to hit titles. That’s important, but at the same time, there’s this part of me that still wants to create something entirely new.
Hayashi: As a creator, it’s natural to feel that way.
Nagoshi: However, even if you have those feelings, time just slips by without anything actually moving forward. To combat that kind of situation, you need someone who says, “I’m going to create something new!” and actually starts taking action. My biggest motivation for going independent was the thought that, by taking on that role myself, I might be able to set a successful example.
Hayashi: So, your strong desire to create something entirely new with your team was a major factor?
Nagoshi: Yes, that’s right.
Hayashi: To be honest, have the past three years been enjoyable for you?
Nagoshi: Well, it’s been… there have certainly been tough moments. Building something entirely from scratch in a new environment is challenging.
Hayashi: I see. That makes sense.
Nagoshi: Going back to what we discussed, gathering staff while also working on the concept has been tough. But I expected that from the beginning, so I didn’t feel too discouraged. I had a kind of determination built from years of working, so I didn’t let it get me down. So, when asked, “Has it been enjoyable?” my honest answer would be, “Not that much, to be honest” (laughs).
Creating at Nagoshi Studio
Hayashi: What was the biggest challenge in the first year?
Nagoshi: We hired people who had experience with a variety of titles across diverse companies, so while everyone had expertise and knowledge, their methods and approaches to creation were entirely different. There’s pride in each person’s way of doing things, so we couldn’t simply tell everyone to follow one method. Instead, we had to carefully consider which approach would be most effective for our title and ensure everyone was on board with it. That was challenging.
Hayashi: It sounds like laying the foundation for your creative process was difficult.
Nagoshi: Yes, but I anticipated this somewhat. Even within Sega, teams had different approaches depending on the game they were developing. Here, we had people with all kinds of knowledge and techniques. So, I wanted to make use of their expertise and hear about how things were done at other companies.
Hayashi: Certainly.
Nagoshi: And as we discussed various methods, we’d think, “This seems promising; let’s try it.” Not all methods produced the desired effect, but sometimes, we’d find something that worked well and felt necessary for building our future games.
Hayashi: Rather than merely following existing methods or imposing them, you’re aiming to create a unified team by listening flexibly to various opinions.
Nagoshi: That’s right. New staff joining our studio often have the preconceived notion that most of us here are ex-Sega, but actually, that’s now a minority. It’s important to incorporate different approaches as well.
Hayashi: Oh, I see.
Nagoshi: We truly have staff from diverse backgrounds, each with unique personalities. That might be one of the most interesting aspects. Whether they’re designers, programmers, or planners, many of them have achieved significant results at other companies. So, while it’s not as if there are conflicts, there are common trials, like “I think this way is correct” or “If possible, I’d prefer this method.” Because everyone is highly skilled, it can be confusing at times. But when we discuss, try out different methods, and end up with improved results, it feels like, “Yes, I’m glad we chose this approach.”
Hayashi: Healthy conflicts, healthy trials and errors.
Nagoshi: It’s not exactly a gamble, but I think it’s crucial to trust in the skills of the staff who’ve come here and let them take on challenges. Bringing together people who have worked on different parts of different titles from different companies to create a large-scale, new title is exciting. From a leadership perspective, it’s also incredibly nerve-wracking. But if we don’t take risks, there’s no meaning in establishing a new studio.
Hayashi: In a typical company structure, where the rules are relatively fixed, it can be difficult for staff to voice ideas like, “I think we should do it this way” or “I’d prefer to try this.” But Nagoshi Studio seems to have a very healthy environment for open discussion.
Nagoshi: I think there are varying degrees depending on the person, but it’s definitely a place where discussion is encouraged.
Hayashi: It’s great that discussions are part of everyday life within the studio and that they escalate up to you, Nagoshi-san.
Nagoshi: I think discussions happen on the ground even in regular companies. However, when you return to reality, you often have to prioritize budget and deadlines above everything else. That leads to a situation where, even if you know you could make something 85% instead of 80%, you may have to settle for 80% to keep moving. Still, sometimes maintaining something at 80% brings its own value, so it’s hard to say which is correct. It’s a tricky balance.
Hayashi: But at Nagoshi Studio right now, you have the flexibility to say, “Let’s try it out,” don’t you?
Nagoshi: Yes. Everyone joins expecting to try new things, so if we couldn’t experiment, it would feel like a letdown. If people felt, “I didn’t need to leave my previous company for this,” it would be disappointing.
Hayashi: It sounds like these accumulated challenges and opportunities to try new things are shaping a high-quality creative outcome.
Nagoshi: Yes. I wouldn’t say we’re operating with extreme speed, but in terms of quality improvement, we’re definitely seeing solid results. We haven’t compromised on the initial concept, which means things are taking more time. But that’s part of the purpose of establishing a new studio, so I think that’s okay for now.
Hayashi: Many companies in the industry are struggling to recruit people lately. Given that nearly 80 talented people have joined Nagoshi Studio in the past three years, things seem to be going well. Has recruitment been challenging?
Nagoshi: If we find someone good, we reach out without hesitation. We would ask, “I heard someone good left such-and-such place; does anyone have a connection?” We also rely on our employees to introduce promising people. And now, of course, there are plenty of recruitment agencies, so we utilize those routes as well. I think we’ve made a strong effort in that area.
Hayashi: I see.
Nagoshi: Looking at the industry as a whole, there are more creators now who are reaching the age that, by older standards, would be considered retirement age. The environment makes it difficult for new titles to be born, so some people who used to be seen as career-focused are now considering the later stages of their careers as game creators. And when they think about what they want to apply their experience to one last time, some of them are looking for a new adventure.
Hayashi: I see.
Nagoshi: Of course, some people seek stability. Compared to the top ranks in other industries, the game industry has improved salaries and working conditions, which is a good thing. But, when thinking as “a creator with craftsmanship”, there are surprisingly many who, even if it means taking a risk, want to take on one final challenge in their own way. However, if they move from one big company to another, the titles they work on might change, but that lingering feeling of dissatisfaction may remain, with little change in the work environment. I think that’s why people have gathered here. It’s hindsight, but that’s my sense of it.
Hayashi: They probably felt that at Nagoshi Studio, they could try something new.
Nagoshi: Exactly. So, in response to that feeling, I think it’s essential not to waver in how we approach our work and what we create.
Hayashi: By the way, do you personally participate in interviews or meetings during recruitment?
Nagoshi: I always take part in the final interview.
Hayashi: When you evaluate someone in an interview, what do you prioritize?
Nagoshi: It depends on the role, but since the output is the result of teamwork, I prioritize whether they can communicate well with those around them. I want them to care about the quality of their output, but there’s a difference between having a dedication to creation and being stubborn about one’s own methods. Of course, some people are quiet, but being reserved doesn’t mean they lack communication skills. Fewer words don’t equate to low communication ability.
Hayashi: That’s true.
Nagoshi: So, during interviews, I try to gauge whether they can maintain their personal dedication while being open to new ideas. I look for that balance through conversation as much as possible.
Hayashi: Are you planning to increase your staff further?
Nagoshi: Our team has grown quite a bit, so we’re now in a phase of being more selective. But I still want talented people to join us.
Hayashi: So, it’s about hiring the right people for the right roles.
Nagoshi: Yes, exactly. We need the right people, and they need to be highly skilled. That approach has always been our standard, so that hasn’t changed much.
The Thoughts Behind the Brand Video MAKE/HUMAN
Hayashi: To mark this third anniversary, you released the brand video MAKE/HUMAN. I was pleasantly surprised—it was entertaining and impactful.
Nagoshi: Thank you.
Hayashi: Right from the start, there’s a scene reminiscent of Total Recall. The visual impact is strong, but I sensed that there was a deeper message behind it—something along the lines of, “We’re creating from the heart alongside our companions.” Could you explain why you decided to make this brand video and the message behind it?
Nagoshi: I’m glad you felt that way. MAKE/HUMAN is both for our studio employees and a message for people outside the company, including game users. We wanted to convey, “Why do we create?” and “What is our purpose?” with impact, so we chose to make it a brand video. We could have simply written this out in text, but when we thought about a way to express it as creators, we felt this approach suited us. So, we decided that making it was a way to express who we are.
Hayashi: I think it definitely captures the essence of “Nagoshi Studio.”
Nagoshi: It’s hard to express exactly in words, but it starts from the idea that “creating from the heart” requires both a strong personal commitment and an openness in communication. I hope people can feel that, even if only vaguely. I think each person might interpret that video a little differently, and that room for interpretation is something that comes from creating in a new environment. I want people to feel free to take from it what they will.
Hayashi: I see.
Nagoshi: Speaking of growth, our methods for creating games have also changed quite a bit. We now conduct motion capture regularly, not only in Japan but with staff frequently traveling to the U.S. It’s not that Japanese motion capture is lacking—in fact, there’s a sense of security with the longstanding relationships we have with Japanese studios. But going to the U.S. adds extra time, cost, and effort for a reason, allowing us to capture nuances in expression that we couldn’t otherwise. When we reveal this title, I hope players can sense, “Oh, that’s why they chose to make it this way.”
Hayashi: So when people eventually see the work, they’ll be able to sense a clear difference in expression?
Nagoshi: Yes. And that’s also essential for creating human drama; fundamentally, creators need to be able to recognize those differences. MAKE/HUMAN is also a message about cultivating people who can see and appreciate differences. When creators understand what makes something distinct, they can aim for something new and unique. I think this applies to both building a studio and creating a game—you need high levels of both skill and heart. I hope that meaning comes across to people.
Hayashi: I’m excited to see what differences you’ll show us! I’d also like to ask a bit more about the content of MAKE/HUMAN. Where did the idea of your face splitting apart while seated come from?
Nagoshi: That was a proposal from the creative team we commissioned for the video. There were several ideas, but after about six months of refining, we settled on this concept. The video has vivid expressions, a somewhat realistic style, but it also includes a pop feel. We aimed for a texture and weightiness that, while pop, doesn’t feel light. The rap is presented in Japanese, English, and Chinese to convey a global message, so I hope viewers pay attention to the lyrics too.
Hayashi: It’s a great track; it really sticks with you, and you can’t help but watch it over and over.
Nagoshi: The song is by a Korean hip-hop artist named Primary, and the rap was done by BBY NABE. Initially, the track was used as a temporary reference, but after hearing it dozens of times, we reached the point where we couldn’t imagine using anything else, so we decided to keep it.
Hayashi: So that’s how it happened. You also host the radio show THE Future Lounge on Tokyo FM, where you have many notable guests. Do you get input and inspiration from that?
Nagoshi: Yes, I have various guests, from film directors and artists to comedians. This November, I’ll have Hitoshi One, who’s also been in the spotlight for his Netflix series Tokyo Swindlers. At Sega, I had official programs, but after going independent, I found I craved that stimulation. I’ve always loved radio, and it was something I wanted to try eventually. Hosting the show allows me to connect with creators actively shaping popular content today, and hearing their perspectives is fascinating.
Hayashi: It seems like you speak quite freely.
Nagoshi: There’s a script, of course, but we don’t feel too bound by it (laughs). I get the sense we’re able to ask the questions that I, the writer, and probably the listeners, are most curious about.
Hayashi: With how busy you are with game development, would you say that recording the radio show serves as a bit of a breather for you?
Nagoshi: I’d say it’s genuinely a relief. It makes a real difference whether I have a recording or not. Even if I’m working in the Ebisu office, if I’m holed up in the company, it’s no different than being secluded in the mountains.
Hayashi: That’s true! (laughs)
Nagoshi: I want to get out and take in new experiences whenever possible.
Hayashi: So recording the show isn’t just about gaining input; it’s also essential for your mental well-being.
Creating Nagoshi Studio’s New Game
Hayashi: In a previous interview, you mentioned that you’re working on a story-driven console game but had made a significant shift in the project’s concept. Has development been going smoothly since then?
Nagoshi: What we’re creating now is an action-adventure. We’ve gone through an experimental phase, then exhausted those experiments, and now we’re at the point where we’re preparing for the asset production phase. You could say we’re at the “eve” of the production phase. In that sense, things are progressing smoothly, but it’s a large-scale project in many ways. Also, while the game system might appear complex, we don’t want it to feel cumbersome... it’s challenging to explain without giving too much away (laughs).
Hayashi: (Laughs)
Nagoshi: Ultimately, we want to ensure the game is engaging without being tedious. Even though there aren’t many genuinely new gameplay styles out there, the market is already overflowing with titles globally that you can barely keep up with. Considering this, the sheer volume of content in console games might be excessive for the average gamer’s lifestyle. Many games are still being released, but I feel that the era where “volume” is a main selling point might be coming to an end.
Hayashi: That could be true.
Nagoshi: Of course, the game must first stand out among a crowded market. But the goal isn’t just to be chosen—it’s to make sure that players can enjoy it within a reasonable timeframe and look forward to what’s next. Still, one of the expectations, especially in overseas markets, is that a game has a certain volume—there’s this fixed idea that “a game should at least have this much content.” So, we’re continually discussing, “What is the appropriate amount of content when releasing a game?” Right now, we’re putting a lot of thought into estimating and measuring this ideal volume.
Hayashi: With volume, there’s the balance of size and density.
Nagoshi: Exactly. We’re considering how to arrange the game’s density to fit an appropriate volume and size. But properly weaving drama into gameplay within a large space is something that, surprisingly, isn’t always achieved in other titles. You realize how challenging it is when you attempt it yourself (laughs).
Hayashi: So you’re tackling a significant challenge there.
Nagoshi: Yes. I know that if we can overcome this difficulty, we’ll have something truly unique to this game. This is currently our main focus, and I plan to keep pushing forward to reach the high bar we’ve set without giving up.
Hayashi: So, over the last two years or so, you’ve been refining the core elements of the game… and you’re finally seeing the vision take shape?
Nagoshi: Yes. We’ve been refining the drama, the game system, and the map layout through trial and error. But as we continue development, new and exciting titles keep emerging. As a creator, it’s natural to feel some pressure, even if the elements don’t directly relate to our game—they still stay in my mind.
Hayashi: But since changing direction, you’ve stayed true to your vision.
Nagoshi: To elaborate on the shift, in the early days of the studio, we had an idea we were refining with the planners. However, relatively early on, we decided from a branding perspective that it wasn’t something our studio should pursue. Since then, our direction has remained consistent.
Hayashi: I see. Regarding the current title, did you establish the genre or gameplay system first and then create the world and characters?
Nagoshi: While the drama takes priority, it’s somewhat parallel. Progressing the drama means progressing the game as well, so we have to refine the game aspects simultaneously. For example, if a part of the game is set up a certain way, the drama has to progress accordingly, and we might realize that the current form isn’t working. In the early stages, there were often times when one aspect stalled, and we had to backtrack and start over. From experience, I know that prioritizing one side too much throws off the balance. In projects where there’s some leeway, it’s better to advance both the drama and gameplay side by side, testing various options. This time, I trusted that we could work this way, so we approached it like that.
Hayashi: I can tell that there’s a lot you can’t reveal yet, and you’re carefully choosing your words. Honestly, I just want to ask directly about the game’s content (laughs). But I do get the sense that this is shaping up to be a large-scale project.
Nagoshi: We’re about to enter the asset mass-production phase, so it’s time to decide on the final volume. We’re currently considering whether we’re really satisfied with it. There’s a map, of course, but the current version is actually quite large...
Hayashi: It’s that expansive!?
Nagoshi: Yes, this time, we started by studying existing games and then decided to intentionally create a rather large map, complete with roads and highways. Now, we’re gradually shrinking it down to find the right balance for the gameplay.
Hayashi: Having a big map is attractive, but it’s also essential to have density in the gameplay, right?
Nagoshi: Exactly. We could add elements to fill in the density, but it’s no longer about repeating similar experiences—that doesn’t appeal to today’s gamers. To connect the map’s scale with engaging gameplay, we need to design the world and define why the protagonist exists in this world. The drama plays a role in supporting that. We’re just about to decide the ideal size that balances everything.
Hayashi: You casually mentioned “highways” earlier, so I thought it might be a contemporary setting, which would be exciting. But then, since it’s a highway, the story could range from nearly 100 years ago to the far future... so it’s hard to tell (laughs). There’s even the possibility you’re making a sci-fi game.
Nagoshi: Who knows? (laughs)
Challenges and Goals
Spending 90% of Each Day on Creative Work
Hayashi: Regarding the game currently in development, I assume you’ve also thought about the target audience you want to play it. Could you share some insights on that?
Nagoshi: If you’re asking whether it’s aimed at children… that would be a no. It’s definitely a game for adults. I expect the rating will be on the higher side.
Hayashi: So it’s intended as a Japanese-made, global release.
Nagoshi: Yes. But I’m aiming for a unique worldview that overseas studios wouldn’t typically create. I want people to think, “What’s that? I’d love to see what it’s like,” so we’re putting a lot of focus on that uniqueness.
Hayashi: You’re striving to make a game that only you and Nagoshi Studio could create.
Nagoshi: Exactly. “Like a dragon” also started with people saying, “What is this?” I’ve experienced the benefits of taking a bold approach that sparks that kind of reaction, and I don’t want to change that stance this time either.
Hayashi: Listening to you, it sounds like you’re deeply involved in the development. Previously, you were in a general director role, but what is your position now, and how are you involved?
Nagoshi: My involvement varied slightly with each project at my previous company. I managed the entire development and was involved in the company’s operations, so I couldn’t spend all my time on direct creative work. I kept a balance. Now, of course, there’s still the “president’s duties,” but they don’t take up too much of my time.
Hayashi: Is that so!
Nagoshi: Yes, thanks to Sato (Daisuke Sato), who’s been with me for years and handles much of the company’s operational tasks as a director. Because of his work, I can dedicate more than 90% of my day to creative work, so I’m very grateful to be in such an environment.
Hayashi: So your role isn’t just overseeing everything from a high level…?
Nagoshi: I do oversee the whole project, but I’m also directly involved in various aspects of game creation. For instance, with the scenario, I’m not just supervising—I’m writing it all myself.
Hayashi: That’s impressive.
Nagoshi: Although, the scenario has become quite extensive, which has been challenging.
Hayashi: Well, that was your decision… (laughs).
Nagoshi: I’m also carefully involved with the game system. To be honest, if I were creating the same type of game I’d made before, it would go more smoothly. But I’m focusing on the coherence between the game system and the scenario, making sure everything aligns in every event, which is an overwhelming task. But yes, if someone says, “Wasn’t that your decision?” they’d be right.
Hayashi: That’s the struggle of creating something new.
Nagoshi: It is. It’s quite tough.
Hayashi: But you’re determined to do it.
Nagoshi: Absolutely. The thought, “I’m going to make this happen,” is my driving force.
Hayashi: I’m more and more excited to see it. Should we expect that the title announcement will take a bit longer?
Nagoshi: Since NetEase Games has many studios besides ours, I’m sure they have a plan regarding the timing and order of announcements. I don’t know the details, so I can’t say for certain.
Hayashi: Do you personally want to announce it sooner?
Nagoshi: Naturally. I’m not the type to wait too long before announcing something. I’d love to see everyone’s reaction as soon as possible.
Hayashi: That makes sense. You must be curious about how the players will respond.
Nagoshi: Yes. Companies like FromSoftware are continuing to excel, and in China, titles like Black Myth: Wukong have been hits. It’s clear the gaming market is gradually evolving. It’s not that I feel envious, but I have a strong desire to show that we’re working hard, too.
Hayashi: You mentioned earlier that you’re about to enter the phase of mass-producing assets. After that, I imagine you’ll work on refining and balancing. Do you feel you’re approaching the finish line?
Nagoshi: Naturally, we’ve established a development schedule with everyone involved. It’s just a matter of working toward that goal. In my experience, as development progresses, we eventually have to work backward from deadlines to finalize each part. I don’t want to compromise the game’s quality, but soon, we’ll be at the stage of deciding how to handle these challenges—whether it’s the schedule, budget, or making tough cuts.
Hayashi: That sounds very real (laughs).
Nagoshi: Even so, technology has advanced significantly in just the last three years. I’ve come to reappreciate the importance of technical artists, and we also need to think about how to embrace “AI-driven automation.”
Hayashi: AI has advanced tremendously in recent years.
Nagoshi: In game development, especially within entertainment, we’ve been engaging with AI from an early stage. In that sense, I believe our approach could set an example. It’s important to approach AI with a sense of responsibility. Additionally, we’re starting to question things like, “AI makes things easier, and we know it enhances quality, but should that be the end? What are things that can only be achieved by humans?”
Hayashi: So it’s about figuring out how to incorporate AI while still maintaining your unique style.
Nagoshi: Exactly. I don’t see AI as an enemy or a threat to people’s jobs. We’re constantly discussing how we can use AI to make those who work with it shine even brighter.
Hayashi: I understand. I can sense the struggle you’re experiencing, yet you seem genuinely happy when you talk about making games. It’s great to see. Many people are eagerly awaiting your work, so could you share a final message with them?
Nagoshi: It’s been a long time since I’ve been so directly involved in creating games, and every day feels fresh. And I have to admit, I’m rather impatient, so as soon as the timing is right, I want to quickly share, “This is what we’re doing!” I might actually be more eager to share this than you all are to know. So please wait just a little longer—I’m looking forward to that day.
