GameDev

Resident Evil, nightmares, and contact with an alien. Ikumi Nakamura in quotes

Resident Evil, nightmares, and contact with an alien. Ikumi Nakamura in quotes

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    Ikumi Nakamura became a symbol in the video game world after her powerful performance at the Ghostwire: Tokyo presentation at E3 2019. This little-known artist and creative director at Tango Gameworks captured the attention of hundreds of thousands of fans by introducing the new game from the creators of The Evil Within. With her charismatic style and passion for the project, Nakamura instantly won over the audience, becoming an icon among gamers and fans of the gaming industry. Ghostwire: Tokyo promises a unique gaming experience that blends action and horror elements, and Nakamura played a key role in promoting it.

    Her active gesticulation, interesting accent, several witty jokes, and sincere approach made the otherwise ordinary presentation more engaging and memorable.

    In just a few days, Ikumi has become a true internet celebrity. Social media users began creating fanart and memes, and her fans in Russia nicknamed her "the sister of the genius Hideo Kojima." Such public interest in her work testifies to the high level of audience engagement and the popularity of contemporary art in the digital age.

    During rehearsal, I barely moved. Right before the performance, a female director came up to me and advised me to forget about rehearsals. She assured me that I would "glow" on stage and that the audience would like me if I just was myself. Then she pushed me onto the stage. Perhaps no one noticed, but when I saw almost four thousand spectators, I was overcome with fear and panic. However, I did not forget the director's words.

    At that moment, my pronunciation, which I had worked so hard to improve, disappeared. I wanted to convey that we were creating an exciting game that I really enjoyed, and that I wanted it to be appreciated. I did my best to get that message across.

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    After the presentation, I felt disappointed and compared myself to the character from "Tomorrow's Joe" who lost the match. I thought everything went badly, but a colleague reassured me, reminding me that I had been discussed on Twitter and in the press. In that moment, I realized how important it is to be honest with myself. E3 opened my eyes to the fact that if you truly think something is great, you don't have to overdo it—simply expressing your opinion is enough.

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    Ikumi Nakamura didn't appear on the gaming horizon by chance. Her career in the games industry began in the mid-2000s, and since then she has dedicated almost 18 years of her life to this fascinating world. During this period, Nakamura had the opportunity to work with renowned developers such as Hideki Kamiya, with whom she collaborated on the stylish action games Okami and Bayonetta. She also collaborated with Shinji Mikami, creator of the iconic Resident Evil series, on the horror duology The Evil Within. Nakamura continues to make a significant contribution to the gaming industry, creating unique and memorable projects.

    Screenshot: The Evil Within / Tango Gameworks

    Despite her alluring appearance, artist Ikumi Nakamura creates art imbued with dark themes, bloody scenes, and terrifying transformations. Many note that her work contains elements of madness, grotesque, and surrealism. While the artist herself partially acknowledges this, she also refutes such interpretations, citing the influence of TV series and urban mythology. Nakamura's work represents a unique combination of visual aesthetics and deep psychological subtext, which makes her work especially appealing to connoisseurs of contemporary art.

    Many players believe that I am drawn to creepy and grotesque themes, and there is some truth to that. I strive to take games lightly and not take them too seriously. If I were asked to compare myself to a Marvel character, I would choose Deadpool, who has stepped away from the Avengers. My goal is to create a game rich in dark humor and ironic situations.

    I am fascinated by urban legends and the occult. I am also interested in alternative science and its application to the study of ghost phenomena. Remembering the TV series "Fringe", which left a strong impression on me, I came up with the idea of ​​creating a game that would combine these themes. This game will allow players to immerse themselves in a world of mysteries and secrets, exploring paranormal phenomena through the lens of alternative science and myths.

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    Ikumi recalls watching Clive Barker's Hellraiser with her father almost every day as a child, though she kept this activity a secret from her mother. She also enjoyed films like Return of the Living Dead and the Japanese horror film Pulse. These iconic films had a significant influence on her perception of the horror genre and shaped her taste in cinema.

    Watching horror films strengthened the bond between father and daughter and also had a significant impact on Nakamura. These films became a source of inspiration for the unique monster designs that the artist plans to develop in the future. The horror genre not only brings people together, but also stimulates creativity, which allows Nakamura to develop his skills and bring his ideas to life.

    Screenshot: Resident Evil / Capcom game

    Nakamura has been fascinated with horror games since childhood and dreamed of creating them. She played Resident Evil on the original PlayStation with her father, as well as Devil May Cry on PlayStation 2. Although Devil May Cry can be considered more of an action game, it does have horror elements. However, Ikumi preferred Resident Evil, as it was more reminiscent of the classic horror films that aired on TV. Horror games have always inspired her creativity and the development of a unique approach to creating her own projects in the genre.

    Playing Resident Evil, I experienced mixed feelings: fear and joy. These emotions inspired me to become part of the gaming industry. Resident Evil included a bonus disc with a recording of the developers having fun together. After seeing this, I told my mother that one day I would work with these people. Despite her attempts to dissuade me, I entered art school with the goal of pursuing a career in the gaming industry. The dream of working with the creators of one of my favorite games became my main driving force.

    My mom told me, "Don't collaborate with these people. They're just old people who drink a lot. You shouldn't do that!"

    Ikumi decided to study design so she could pursue a career in game development and fulfill her dream. However, her life changed dramatically after a tragic loss: Ikumi's father was killed in an accident. Nakamura noted that her life was thrown into chaos at that moment, but this loss motivated her to take her responsibilities seriously and focus on protecting her family.

    The tragedy became a catalyst for the future artist, prompting her to make a decisive decision: to join Capcom. Her father, who tragically passed away, was a big fan of the Resident Evil series. Ikumi was sure he would be proud if she could contribute to the development of a new installment.

    I placed a Resident Evil walkthrough guide and an original PlayStation controller in my dad's coffin so that he could continue playing his favorite game even in the afterlife. However, I forgot that in Japan the deceased are cremated, and as a result, his bones and the controller merged into one. I looked at this and remembered how he never stopped trying to beat Resident Evil, despite his poor skills in the game.

    Screenshot: Okami HD / Clover Studio, Buzz Co., Ltd, Vingt et un Systems Corporation

    In 2004, Nakamura, with no experience in the gaming industry, began her career at Capcom as an environment artist. Her debut project was the stylish action game Okami, starring the sun goddess in the form of a white she-wolf. This project became a landmark for Capcom, showcasing a unique art style and a deep story, which earned the game an important place in video game history.

    At the beginning of my career, I went to Osaka to work at Capcom. The first game I worked on was Okami. It turned out to be a very unique project, and I am proud to have contributed to its development.

    We had performance reviews every three months, and I always came in last. I was told that if I didn't improve my results by the next audit, I could lose my job.

    I was new and didn't have a clear idea of ​​how to do my job. Threats of dismissal were constant, which created an atmosphere of tension. I was given numerous tasks and assignments without any explanation of how to complete them. In search of improving my skills, I decided to reach out to colleagues in different departments of the studio. I asked everyone how I could work more efficiently and how I could be of assistance. As a result, I helped everyone who needed support, creating animations, small scenes, and environmental objects. This experience not only enriched my knowledge but also strengthened the team spirit in the studio.

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    I joined Capcom with the intention of creating horror games, but my work ultimately led to the creation of Okami. At that moment, I realized that I had been involved in the development of a game that turned out to be completely unrelated to the horror genre.

    After the release of Okami and the transformation of Clover Studio into PlatinumGames, Ikumi Nakamura expressed a desire to create her own horror game for the Nintendo DS handheld console. Her concept for the game was to include a series of minigames exploring "taboo themes." The project was approved, and Nakamura led a small development team.

    Many problems arose during the project's development. The horror theme turned out to be too extreme, which could negatively impact PlatinumGames's reputation. As a result, a year after development began, the project was canceled.

    I contacted Nintendo for a presentation, where they told me that if the studio released this game on the DS platform, it would negatively affect the project's reputation.

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    Screenshot: Bayonetta / PlatinumGames

    After working on Bayonetta, I I felt joy because the game reminded me of Devil May Cry, which was one of my favorites. I originally planned to pursue a career as an environment artist, but I soon realized that I was getting bored and longing for new experiences. While working on Bayonetta, the idea of ​​becoming a concept artist came to me. Ultimately, I chose the path of designer, which opened up new horizons of creativity and opportunities for self-expression.

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    After working on Bayonetta, Ikumi continued her path in the industry, joining the development team of Scalebound, an ambitious open-world action game for Xbox One. From the very beginning, the project faced many difficulties, including problems with the development, tools, and hardware of the Microsoft console. Despite significant efforts, the game was canceled several years later. Nevertheless, Nakamura says she learned valuable lessons from the experience that will help her on future projects.

    I thought a lot about the Scalebound project and its cancellation. Was I able to visualize Kamiya's ideas? We didn't have a clear concept or a clear vision. The publisher had their expectations, Kamiya had his, and the team had theirs. This lack of unity became a problem. As art director, I tried to find this unity, but unfortunately, I was unsuccessful. However, I learned an important lesson: a game director should have a clear idea of ​​what they want to create from the beginning. This will help avoid miscommunications and inconsistencies in the future.

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    The artist later joined the Tango Gameworks team to collaborate with Shinji Mikami on his new projects.

    Screenshot: The Evil Within / Tango Gameworks

    At Tango Gameworks, I was involved in the development of The Evil Within. While I also made a small contribution to its sequel, I was more interested in creating new ideas and concepts for projects. I began inquiring about a position that would allow me to realize my creative ambitions. As a result, I developed the concept for Ghostwire: Tokyo and was promoted to Creative Director.

    Before development began on The Evil Within, Nakamura and Mikami were working on another project, an experimental sandbox game called Noah. Shinji Mikami sought to explore a new genre and create a unique gaming experience that was unparalleled in his career.

    Ikumi Nakamura and Shinji Mikami Screenshot: YouTube

    Ambitious undertakings led to financial difficulties, forcing the Noah team to cease operations. Mikami chose a more stable path, focusing on creating games in the survival horror genre, in which he had the most experience. One of these projects was a game known as Project Zwei, which was later renamed The Evil Within. This game became an important contribution to the genre and attracted players with its unique approach to horror and an intricate storyline.

    Mikami strived to create unique games in new genres, rather than continue to develop existing ones. However, players from all over the world insisted that he continue to develop the horror games they loved.

    From the first day, I began to be haunted by nightmares. In them, Mikami did not show malice or aggression. Every time I came to the office, I was faced with a terrifying picture: he was dead, and a bag over his head. These dreams filled me with fear and anxiety, leaving a heavy feeling.

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    Screenshot: The Evil Within 2 / Tango Gameworks

    After the release of The Evil Within 2, Hidetaka Mikami gave Nakamura the chance to realize his ideas and develop a game from the ground up that could become the basis for a new series. This is how Ghostwire: Tokyo was born.

    During the development of Ghostwire, as with Bayonetta, my goal was to show players how impressive cityscapes and urban elements can look. As the project director of Ghostwire, I had significantly more freedom and opportunity to realize my ideas. This was my opportunity to create a video game that would fully reflect my vision.

    A few months after the memorable E3 show, Ikumi announced her departure from Tango Gameworks. The main reason for this decision was health issues that arose from the constant work on The Evil Within duology and the Ghostwire: Tokyo project. Ikumi's departure was a significant event for the games industry, highlighting the importance of balancing career and personal health. My journey up to this point felt like a long underwater swim. At one point, I encountered illness. While working at Capcom, I watched my senior colleagues sleep under their desks, completely immersed in work. Things have changed now, but when new ideas emerge and you work as a team, difficulties can arise. I experienced them, and they affected my health. It's impossible to develop games and take care of your well-being at the same time. Ultimately, I made the decision to leave before it was too late. Perhaps it was a kind of escape. I don't consider escape a negative thing. It's better to move on to something better than to continue overloading yourself.

    Screenshot: Ghostwire: Tokyo / Tango Gameworks game

    Ghostwire is A project I created and where I see myself as its founder. Even though I handed it over to others, this decision was not easy. I still regard this game as my brainchild. However, while I continued to feel regret, I realized that I would not be able to contribute to the project. Therefore, I decided to leave, despite the years I invested in its development.

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    Due to increased stress levels, I started having nightmares again. In these dreams, I come to work and find that all the studio employees have disappeared. In the center of the office stands an altar with a photograph. It is a picture of my boss. This dream evokes deep reflection on my fears and worries.

    After leaving Tango Gameworks, Ikumi began receiving offers from representatives of large gaming studios. Among them were such renowned figures as game director Cory Barlog from Sony Santa Monica, director J.J. Abrams, and creative director of Rainbow Six: Siege, Leroy Atanasoff. These offers underscore Ikumi's high level of professionalism and his demand in the gaming industry.

    Nakamura, having gained clarity, set off on a journey to companies around the world, seeking new experiences and understanding the key elements of a successful work environment. Upon returning to her homeland, the artist decided to found a small studio and implement her own project.

    I am someone who cannot give up on my goals. Previously, I worked as a designer and got too involved in the work of each department. Now I strive to curb these impulses and trust my team more. Having visited various studios around the world, I decided to increase the number of international specialists on my team. Learning about new cultures inspires me. Despite the language barrier, even without knowing English, I want to communicate with interesting people and learn from them. If I can assemble such a team for a new project, we will be able to offer players a unique experience.

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    Screenshot: Ghostwire: Tokyo / Tango Gameworks

    Women play a vital role in the gaming industry, and this is especially noticeable at events like E3. After the conference, about 80% of the emails I received were from women expressing their joy and inspiration from hearing a female developer speak. For many of them, this event was a significant source of motivation and confirmation that women can succeed in this field. Moments like these highlight the importance of diversity in the gaming industry and inspire the next generation of developers.

    I was delighted to speak at E3, where I had the opportunity to network with several industry representatives. I learned that most studios treat women equally with men. However, in my opinion, the gaming industry is still too male-dominated, and I felt like I couldn't fully integrate into it. Focusing on who exactly works in the industry—men or women—doesn't advance it. The belief that gender influences professional achievement is counterproductive and only creates division. This issue is becoming increasingly visible in our society. Issues of gender discrimination and abuse of power are often discussed in the media. I believe there is a significant gap between what happens within the industry and what ultimately becomes known to the public.

    I believe that both men and women have the potential to significantly influence the gaming industry. Female authors create deeper, more layered stories that are easily understood by players. Furthermore, women often develop more diverse and multifaceted characters, which adds richness and variety to game worlds. In contrast, stories written by men often have a more linear structure, which makes them more accessible, but can limit the depth and diversity of the characters presented. It is important to recognize the contributions of each gender in game creation to enrich the gaming experience and expand the horizons of storytelling.

    After leaving Tango Gameworks, Ikumi announced her pregnancy. On her social media, she shared plans that, in addition to creating a new studio, she would be working on "the longest project of my life."

    I never planned to have children. For me, they were associated with games and hobbies. However, when I recovered, I felt as if an alien had taken up residence in my body. I flew around the world and visited many studios, constantly facing bouts of vomiting and morning sickness. It seemed like I had to endure difficult moments at each of these studios. It was a memorable experience, although, fortunately, I did not leave a mess in the toilets.

    I am happy to announce the launch of a new project - my child, who was born on June 1st. This will definitely be the longest project of my life. I'm sure it will bring a lot of happiness and joy into the world.

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    Ikumi Nakamura with a child. Frame: Ikumi Nakamura / Twitter

    Ikumi is currently raising her child and running her own studio, UNSEEN, while also occasionally working as a freelance consultant. According to her, the team consists of remote employees working from various parts of the world, and the main headquarters is in Tokyo. In the future, Nakamura plans to expand the business by opening offices in the United States and China, which will allow her to scale up her work and interact with international clients.

    I traveled the world and noticed significant differences between Japanese and American game development studios. In the United States, the emphasis is on creating a fun and comfortable working environment for developers. This made me think about the possibility of creating a studio where developers could fully create games, putting their heart and soul into them, like true artists.

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    As a developer, I strived to create a studio that would accommodate all the needs of my colleagues in the industry. We focus on creating an atmosphere where artists don't feel constrained by time. Our system allows employees to harmoniously combine work and personal life. They are free to take walks, visit doctors, or pick up children from kindergarten at a time convenient for them. Thus, artists do not face a choice between family and work – they have the opportunity to successfully combine both aspects of their lives.

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    Screenshot: Bayonetta / PlatinumGames

    Nakamura recalls being inspired by the Resident Evil series developers as a child. She strives to ensure that the staff at her new studio inspires similar admiration in the younger generation. It's important for young gamers to think, "I want to be a developer like that, too, and create exciting games." Nakamura hopes her studio will become a source of inspiration for future talent in the gaming industry.

    While working with the creators of popular games and pursuing her dreams, Nakamura continues to seek new opportunities for self-realization in modern projects. She actively directs music videos, designs for the action game Gungrave: G.O.R.E, and creates skins for multiplayer shooters like Rainbow Six: Siege. These new directions allow her to not only unleash her creative potential, but also bring fresh ideas to the video game industry.

    Screenshot: Gungrave G.O.R.E / Iggymob

    I played Gungrave for PlayStation 2 and was impressed by Yasuhiro Naito's character designs. I also really enjoyed the Trigun manga, which was an additional incentive to buy Gungrave. This game combines addictive gameplay with a unique art style, making it a true gem among video games of its time.

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    When Iggymob, the creators of Gungrave G.O.R.E., contacted me, I was delighted to receive the offer to work on the project. It was an honor to collaborate with Yasuhiro Naito, albeit in an indirect role. The studio had a clear idea of ​​the game's visual style, but the main concept was still in development. This created a unique opportunity to contribute to the aesthetic and atmosphere that would engage players and create a memorable experience.

    Helping develop the concept was the most exciting part of working on the Gungrave G.O.R.E. project. I got to reimagine and breathe new life into Naito-sensei's characters. This task was both challenging and exciting.

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