![]() I went through a lot of ideas before he started to become my kind of protagonist. I started with the protagonist: he’d be fulfilling the assassin role, and he’d be exclusively a top. Sprite reference sheets used during production. Note: I was worried that I’d be overly influenced by the book series Uzuki had mentioned if I read it, so I worked out all the background and outline before reading it. Plus, it gave us an instant story and characters. ![]() Won’t it get too complicated to make anyone but the assassin the protagonist with that kind of premise?” But a hardboiled story set in a bar dealing with the underworld definitely did sound right up my alley, and it did seem like it could work as a BL game. I definitely remember that at first I said something like, “But I want to make the main character top, and I just know if we have an assassin protagonist, I’m going to want to make him bottom. It’s a story about an assassin coming to a bar, and there’s the bar’s owner, a pianist, a bartender… Wouldn’t you be into something like that too?” Uzuki continued, “My favorite novel series is Bloody Doll. After several hours of chatting, Uzuki said, “What about something set in a bar?” and that’s where No, Thank You!!! really got started. I recall consulting with Uzuki in a diner late into the night at one point. When I asked Uzuki what kind of game we should make, I got the response, “I think you should make something you like.”īut all I could think about was how I didn’t have the ability to make a BL game that I’d be happy with using the things I like (depressing western games, foreign detective shows, crime novels, and stuff like that) as inspiration, and even if I could pull it off, it’d be full of elements that would make it unviable commercially. The whole project really came out of nowhere and I hadn’t ever expected to be making a BL game, so I really wasn’t mentally prepared for it at all, and I didn’t have any ideas ready either. Since I had the most familiarity with BL as a genre, I was given the task of handling planning and whatnot. Sanpei would do the art, I would direct and Uzuki agreed to help out with the script. We kind of threw it out there as a joke at first, but by the winter of 2010 we were serious about making it happen. I believe that was back in the winter of 2009. It all started when Sanpei said, “Let’s make a BL game!” The topic came up somehow when we were talking to the president of our company. Hamashima, the game’s artist, is referred to by her BL penname, Sanpei here. This post contains some spoilers about the plot of the game, so if you haven’t finished at least one route yet, you might want to refrain from reading zontil you do.Īny answers not specifically attributed to a staff member are from Amemiya, the game’s director. This is a translated excerpt of the Q&A section of No, Thank You!!! Setting Sourcebook. We’ve got something a little special to share with everyone today: some background on how No, Thank You!!! was developed and a bit of insight into its creators.
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