▲ Kodansha Team Leader Kyoichiro Hirata (left) and composer Yasuhiro Nakashima (right)
At this year’s Taipei Game Show Indie Game Awards, and Roger—developed by TearyHand Studio and published by Kodansha—took home two awards: the Grand Prix and Best Audio.
and Roger is a first-person point-and-click adventure themed around “cognitive distortion.” Featuring immersive, interactive sound design that shifts with each line of dialogue, the title has maintained an “Overwhelmingly Positive” rating on Steam. The game highlights the competitive edge of indie releases, delivering a powerful narrative and emotional impact despite its short playtime.
This recognition was further bolstered by the game’s collaboration with Kodansha Creators’ Lab, a creator-support program. Beyond simple financial backing, Kodansha offers close partnership across multiple dimensions, helping maximize a developer’s clear artistic vision. On this point, Kodansha Creators’ Lab Content Design Lab Team Leader Kyoichiro Hirata said, “The fact that the creator had a clear theme he wanted to express was the decisive reason for joining the project.”
To learn more about what kind of game and Roger is, how the collaboration with Kodansha took shape, and what comes next, we met with Kodansha Team Leader Kyoichiro Hirata and composer Yasuhiro Nakashima—who oversaw sound design—at Taipei Game Show for a conversation.
You’ve won two Indie Game Awards—the Grand Prix and Best Audio. How did it feel to be chosen as the best game among so many titles?
Team Leader Kyoichiro Hirata: Many people have enjoyed our game—starting with the indie showcase Sense of Wonder Night (SOWN) at Tokyo Game Show, and continuing through livestream broadcasts. I believe this award is the result of the enthusiastic response and reactions from gamers.
For readers who haven’t played the game yet, could you briefly introduce and Roger?
Team Leader Kyoichiro Hirata: I’m cautious about revealing spoilers, but simply put, it’s a game themed around “cognitive distortion.” The story begins when the protagonist, a young girl, wakes up to find a strange man posing as her landlord instead of her father. Players experience a point-and-click adventure in which they explore their surroundings from the protagonist’s first-person perspective and search for clues.
The artwork and gameplay stand out. What’s the meaning behind the title and Roger, and what do you hope players take away from the game?
Team Leader Kyoichiro Hirata: “Roger” is the name of a key character in the game. I hope players focus on the “relationship” between the protagonist and Roger. We often hear from players that it “makes them realize they need to value the people around them more.” I would be more than happy if this game could once again provide an opportunity for people to feel warmhearted toward those close to them.
It’s been receiving rave reviews, maintaining an “Overwhelmingly Positive” rating on Steam. What do you think users see as the game’s defining appeal?
Team Leader Kyoichiro Hirata: I think it’s the experience itself—how it evokes “deep emotional resonance,” something that’s difficult to find in other games. For some, it resonates intensely, almost mirroring their own personal experiences. I believe the fact that players can have such a dense experience within a short playtime of about an hour is what has earned it such positive reviews.
Honestly, I didn’t expect it to receive such strong reviews. Because it deals with somewhat sensitive subject matter, I was cautious and anticipated possible negative feedback. Fortunately, I’m very grateful for the positive response.
Alongside the Grand Prix, you also won Best Audio. What philosophy guided the sound design of and Roger?
Composer Yasuhiro Nakashima: While many existing novel games maintain a consistent BGM tone, we aimed for a “cinematic experience.” We adopted an interactive structure where the music changes in sync with the flow of the story and each line of dialogue. I believed the role of sound was to embody the “ineffable emotions” felt by Roger and Sophia—fear, discomfort, joy, and more.
In this work, our attempt to meticulously express those emotional strands created a deep sense of immersion for users, which ultimately led to a successful outcome.
Did you expect to win an award specifically for audio?
Composer Yasuhiro Nakashima: Not at all. This was my first game music project, and I never dreamed I’d win an award for my debut title, so I was very surprised.
Is this your first experience in sound design?
Composer Yasuhiro Nakashima: No. I’ve been working in sound design for about 10 to 15 years. I started out in video production and then transitioned into sound. I’ve consistently worked on music for films, dramas, animation, and TV commercials. The experience I’ve built over the years was a huge help for this project.
Was there a specific reason you moved from video production into sound?
Composer Yasuhiro Nakashima: I uploaded my music to SoundCloud, and one day, a German video director contacted me and said he wanted to use my music. That led to an increase in my work in Germany. Seeing people in a foreign country—people I had no prior connection with—requesting work solely based on my sound gave me confidence.
While video production was enjoyable, I found even greater joy in creating music.
And witnessing the immense joy that people derived from my music gave me the courage to make a significant change in my career path.
Could you provide an overview of Kodansha’s Creators’ Lab program?
Team Leader Kyoichiro Hirata: Kodansha’s Creators’ Lab program extends beyond traditional publishing to seek out and support creators across various fields such as games, film, animation, and XR. Apart from offering financial backing, we establish close collaborations by pairing game developers with dedicated manga editors who assist with scenarios and character development. Our support also includes marketing strategies and participation in events.
Initially focused on competitions, the program now operates on a continuous recruitment basis, actively seeking collaborations with creators on-site.
What prompted you to collaborate with Yona and Roger among numerous indie games?
Team Leader Kyoichiro Hirata: I was struck by the artistic clarity and thematic depth in Yona’s work at TearyHand Studio. With her strong vision, I believed that combining Kodansha’s expertise could enhance the final product, leading us to join forces on the project.
Can indie developers from Korea apply to this program?
Team Leader Kyoichiro Hirata: Certainly, Korean developers are welcome to apply. We aim to expand the program globally in the future. However, as our support system is currently Japan-centric, language barriers may exist for international developers during the application and collaboration process. Nevertheless, we are open to working with Korean developers if communication flows smoothly.
Is the game exclusive to PC, or are you considering other platforms like mobile or additional consoles?
Team Leader Kyoichiro Hirata: Presently, the game is available on PC and Nintendo Switch. We are actively exploring the possibility of expanding to other platforms.
Lastly, what message do you have for gamers who have yet to experience Yona and Roger?
Team Leader Kyoichiro Hirata: I am confident that playing Yona and Roger will leave a lasting impression on you. Instead of watching gameplay videos, I urge you to purchase the game and immerse yourself in the full emotional journey.
Composer Yasuhiro Nakashima: Don’t forget to listen to the soundtrack as well. It will deepen your emotional connection to the game even further after you complete it. Please rewrite the following sentence.