Princes of the Night

In 2016, I found myself working for the Japanese studio, Accela, Inc., on an otome mobile game titled “Princes of the Night.” It was a brief stint, but it opened my eyes to the sprawling universe of romance games.

An Unexpected Adventure

My journey with Accela, Inc. began quite by accident at the Japan Expo in 2016. I was at the convention, helping a friend with her booth, amidst the sea of nerds and otaku from all over Europe. That year, the event featured a handful of Japanese otome game developers, among them, Accela. Feeling bold and a bit cheeky, I offered my services to an English-speaking translator and representative of the studio. To my astonishment, he mentioned they were on the lookout for writers who could deliver quality work promptly.

Hitting the Ground Running

Just a few days post our initial conversation, and after a brief exchange of contact details, I was tasked with crafting a story roughly 60,000 words long. It was to feature multiple-choice questions, each bearing its point value, all within a month’s time.

What added to the challenge was that I had to continue a narrative already present in the game’s universe, a captivating title called “Princes of the Night,” which hovered between the worlds of Dracula and Castlevania.

Navigating New Territory

Adapting to an already established universe was a task in itself. However, the real discovery came when I had to internalize and decipher the unique codes inherent to otome gaming.

Back then, this particular game genre from Japan—where you step into the shoes of a young woman on a text-based adventure, aiming to woo or be wooed by a selection of handsome men—was just starting to gain traction in the Western market, especially in France.

Though I was familiar with the French studio 1492, the brains behind the “Is It Love” series, and had caught a documentary on otome games on the Nolife channel, I was largely unacquainted with this expansive and growing gaming galaxy.

Writing full speed

My work on “Princes of the Night” contrasted starkly with my previous endeavors like “Criminal Case.” Firstly, I was writing in English, which was a blessing. Crafting a story exceeding 60.000 words within a month was no small feat, and doing so in prose in any language other than my mother tongue would’ve been a monumental challenge.

It was also my maiden voyage into the realm of multiple-choice questions, and given their volume, crafting each one uniquely was a challenge. I’ll admit, some choices felt a bit contrived or even lackluster.

However, these hurdles were in many ways invigorating. The task felt more like genuine fiction writing than narrative design. And, honestly, I relished the sensation of being a holistic author, delivering complete stories rather than snippets or sequences tied down by design constraints and gameplay mechanics.

A Valuable Experience

My narrative about my time working on “Princes of the Night,” which, sadly, is now virtually untraceable, might sound a bit offbeat. Yet, it’s an experience I hold close to my heart. What saddens me the most is the game’s unavailability, at least in English.

Collaborating with a Japanese studio on what many would consider a niche title was, contrary to what some might assume, incredibly fulfilling. This marked my second professional gig, where I had to adapt to an established universe’s pace and nuances. This role affirmed my place in the industry, as there’s a distinct confidence boost and validation when one’s work is commissioned for a second round.