“We Must Resolve Unsolved Cases – Interview with Solo Developer SOMI [Part 1]”

When I requested a translation, I sent a game build with the words, “Thank you in advance. Please make sure to play it before starting the translation.” Two days later, I received the same content in emails from two different people. I cried a lot.
At that time, there was still no music in the game.

Quoted from the text

In January of this year, the new title from the Korean solo developer SOMI, “You Must Solve the Unsolved Case,” has garnered significant attention, recently recording over 5,000 overwhelmingly positive reviews on Steam. As the game’s system, sound, and story all receive high praise, many reviews use expressions like “moving,” “relatable,” and “healing” in common.

SOMI, who has worked in the legal profession for nearly 20 years in Busan, South Korea, has released six works over the past decade, including the “Guilt Trilogy,” which consists of “REPLICA,” “LEGAL DUNGEON,” and “The Wake.” Known for works imbued with social messages, he has expressed a desire to create “a world completely separate from himself,” which has piqued the interest of users who enjoyed “You Must Solve the Unsolved Case.”

Today, SKOOTA conducted an interview with the indie creator SOMI, who is garnering global attention beyond Korea. We aim to convey lively discussions about the behind-the-scenes stories of this work’s production and the thoughts within it, covering aspects that users who have played his games are likely to be curious about.

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20-Year Legal Professional and 10-Year Game Developer SOMI: “Game Development Started from Accidents and Curiosity”

— Recently, we welcome the famous indie game developer SOMI, who is stirring up a lot of buzz not only in Korea but also in Japan. Could you please give us a brief self-introduction?

SOMI: First, I don’t think “famous” suits me at all (laughs). I am SOMI, a solo indie game developer who has been quietly making games in Busan, Korea for about 10 years. I released “RABBIT HOLE 3D” in 2014, and I’ve put out six works since then. My notable works include the Guilt Trilogy, consisting of “REPLICA” (2016), “LEGAL DUNGEON” (2019), and “THE WAKE” (2020). This January, I released my latest title, “You Must Solve the Unsolved Case” (2024), and I’m currently working hard on promotion.

— I understand that you’re not a full-time developer, but balancing your primary job with solo development. Given that you have been in game development for 10 years now, what kind of creative activities were you involved in before entering the gaming industry?

SOMI: During my college years, I had a strong desire to become a novelist. I wrote short stories and entered literary contests, truly striving for a debut as a novelist. I didn’t have the skills to debut properly… so that was an experience I had. Before that, in high school, I wanted to be a manga artist and spent my time copying manga with great intensity.

— Could you share how you transitioned from wanting to be a novelist or manga artist in college to becoming a game developer?

SOMI: I majored in law in college, so I still work in a legal-related job now. I’ve been at my current workplace for about 20 years, and in my daily life, I’m very accustomed to the routine of an office job, like a hamster wheel. Amid this, I thought that having my own creative activity, creating my own works, or engaging in very creative activities could become the driving force in my life and a way to express my thoughts and stresses. So initially, I decided to self-study programming. Through that, I created apps and released them to app stores, such as an app for tarot readings and another that sends emails a year later. Those are the kinds of projects I made.

— From what you’ve shared, it seems like you were trying various things rather than sticking to just one. How did you eventually settle into game development?

SOMI: After self-studying programming and creating and selling apps, I reached a point where I was contemplating what to make next. At that time, there was a very popular game on mobile called “Super Hexagon” (2012). It’s an amazing indie game, but at that moment, I didn’t know what an indie game was, and I wasn’t one to enjoy games that much, to be honest. Even after playing that game, I couldn’t grasp how incredible it was. In that moment, I thought, “If I just create something like this, I might be able to do it better.” That wild imagination led to the creation of “RABBIT HOLE 3D.”

— I believe the atmosphere now is quite different from that of “RABBIT HOLE 3D” (laughs).

SOMI: In fact, I still have a strong affection for rhythm games. So when people ask, “What do you want to create next?” I often respond, “I want to make a real rhythm game.” I also really love chiptune music and have this small ongoing goal to create an amazing rhythm game that surpasses “Super Hexagon” using chiptunes.

— I heard that one of the apps you created even reached the third spot in the Korean app store. In some ways, it seems like your motivation was higher with the app. Why did you transition to game development instead?

SOMI: I think it was quite coincidental. Starting to create apps was also a chance occurrence… but I don’t think now is the time to share that story. The transition from app creation to games occurred when I was thinking about “What should I create next?” I thought, “A game that seems to require such low effort is gaining so much attention? Then I should…,” and that’s how I began. As I delved deeper, I came to realize, “Oh, creating games is genuinely a difficult process, and even a game that seems simple requires a tremendous amount of research and effort.”

From Form to Message: “Don’t Bring Politics into Games”

— Now that you mentioned “curiosity,” I have a question regarding that. Since you created your first game from curiosity, what curiosity drove the creation of your significant works, the “Guilt Trilogy”?

SOMI: After making “RABBIT HOLE 3D,” I created a 2D puzzle platformer game called “RETSNOM” (2015). I think the direction toward incorporating narratives gradually solidified during that time, with elements of storytelling being inserted into 2D games such as pixel art. When I created “REPLICA,” after releasing “RETSNOM,” I was considering what the next game would be, and I stumbled upon pixel art made on mobile screens. A specific image I found when searching online stuck with me, prompting me to think, “Are there any games that present the entire screen as a mobile phone screen?” At that time, there were no such games at all. So, I came in from that initial approach, thinking that if I displayed the screen entirely in pixel art, it would become very beautiful.

In other words, “REPLICA” was initially developed with the form in mind. The idea was to incorporate the mobile phone screen within the game, showing the process of a messaging app operating, with photos and various apps integrated into a system. After building that, I went through a process of inserting the narrative later on. By the way, the initial narrative I put into “REPLICA” was entirely different from the version that’s now released.

* The first work in the Guilt Trilogy.

— It’s astonishing that “REPLICA,” which can be said to be the beginning of the Guilt Trilogy, was created first with the form. You mentioned the narrative was completely different from what it is now. Could you elaborate a bit more on that?

SOMI: Initially, I was trying to base the story on the novel “The Talented Mr. Ripley” (1955). The storyline revolves around Tom, the protagonist, who kills another person and assumes their life. He approaches Dickie, the son of a millionaire, kills him, and impersonates him. The basic storyline involves Tom, who, right after killing Dickie, holds Dickie’s phone and, believing Dickie is still alive, tries to create an alibi for the murder when speaking to Dickie’s friends. I had crafted a structure like that and showed it to friends, conducting playtests during that time when the significant events of 2016 occurred. As you’re aware, in Korea, there were protests demanding the impeachment of President Park Geun-hye.

SOMI: There was also media pressure and various blacklisting incidents. During the escalation of authoritarianism in the nation’s climate, while watching other citizens fight in the streets, I felt shame towards my inaction. I wanted to do something as well, and thought about conveying that story through this game. So, I completely changed the narrative I was going to include. This gave birth to the current “REPLICA” and started the Guilt Trilogy.

— It was in 2016. Many people in Japan reflect on significant events of that year, so they may be surprised to know that your creation was influenced by those occurrences. However, dealing with social issues through games, as you mentioned, is something that has faced strong backlash both then and now. What were your feelings about that at that time?

SOMI: Yes, I remember that at the time, addressing social issues through games was very rare. I had never seen 작품 tackling political issues or various social topics happening within a country. Instead, I remember games where parodies were made of presidents fighting each other when I was very young, but after that, there were hardly any作品 that dealt with social issues in a direct or aggressive manner. The atmosphere surrounding the medium of games did not recognize it as an artistic medium, which narrowed the genre of video games significantly. I believe that as a media, games were overly condensed into the notion that “games need to be fun” or “games should provide an enjoyable experience,” effectively blocking various possibilities that could be realized through the characteristics of the medium from the get-go. I think the gradual shift we’re seeing today is partly because games have established their position as a form of art, while the prevailing notion that games must be fun is being maintained, leading to the realization that enjoyment can differ greatly from person to person.

Therefore, while some people find joy in very simple games, like a basic ping-pong game, others find immense pleasure in dissecting the changes in story structure and the relationships of characters that come out. I believe that a new generation of creators is emerging who recognize the potential for their games to reach many people, and they are approaching those who find enjoyment in a wide array of genres and layers.

Moreover, there seems to be a shift in global perspective itself. I feel like the rise of games categorized as impactful, influencer games, or serious games is generating recognition as a genre. Awards designated exclusively for such games have emerged, and there are people thinking marketing would be favorable for these types of games. Due to various reasons, I think the overall atmosphere has changed significantly.

#미제사건은끝내야하니까 가 BIC_Festival 에서 ‘소셜임팩트상’과 ‘심사위원상’을 수상했습니다. 감사합니다!!!#bicfest2024 pic.twitter.com/KZnUKOmWC2

— SOMI 소미 🏳‍🌈 (@indie_somi) August 18, 2024

— I completely agree. That very recognition supports the rise of diverse games, including indie games, in today’s era. As someone living through such a dynamic period, do you still hear voices calling for “not to bring politics into games”?

SOMI: Yes, indeed. There are reviews for “You Must Solve the Unsolved Case” that say, “In the end, this is a game made with the intention of doing politics.” Additionally, during a time when various feminist issues were emerging in Korea, I took a strong stance against the ideological scrutiny for feminist suppression, pointing to a lot of criticism among gamers. Thus, I received numerous malicious comments, and each time a game is released, one can still see two major trends in internet forums related to the unsolved cases.

One trend goes, “This is a game made by a feminist developer,” leading to sentiments like “I will not even look; I should avoid it” and “You must definitely not buy it.” The other is, “This person has a legitimate viewpoint; it’s safe to trust and play this person’s game.” To put it simply, many people still view discussing a personal opinion, viewpoint, ideology, or philosophy through games as very taboo. This has been my experience both in the past and still persists now.

— I found it impressive that you expressed your gratitude for receiving the evaluation “You are the best feminist” in a related interview (laughs).

SOMI: I strive to be seen that way. There’s so much studying and learning to be done.

What I Wanted to Erase from the Game was None Other Than “Myself”: “I Wanted to Create a Completely Fictional World”

그래서 완전한 허구의 세상을 만들어 보면 어떨까, 싶었습니다. 누구도 상처입지 않고 누구도 악의가 없는 세계를 만들면 어떨까. 더 이상 현실에서는 만날 수 없는 사람들에 관한 이야기. 그렇지만 희망이 될 수 있는 이야기를 해 보면 어떨까, 싶었습니다.

— SOMI 소미 🏳‍🌈 (@indie_somi) December 28, 2023

— I’d like to get to the main topic. In an interview, I read that “You Must Solve the Unsolved Case” is being created as a “game with a face.” What do you mean by a “game with a face”?

SOMI: In my previous Guilt Trilogy, there were no illustrations of characters at all. Typically, people read dialogue while getting to know characters, and through that, they tend to infer, “Ah, this character probably looks like this,” or “They should be around this age.” One day, however, “LEGAL DUNGEON” was released with a terrible translation into Japanese. Despite the poor translation of “LEGAL DUNGEON,” the creators of “Gnosia” (2019), Puchi Depot, really loved my work.

So they reached out, and despite being on the verge of releasing “Gnosia,” they entirely reworked the translation from beginning to end, and furthermore, they created illustrations. With this illustration, the Switch version was sold, and the reactions from people were completely different compared to before. It’s merely a difference of one illustration when compared to the initial version of “LEGAL DUNGEON.” The translation issues had already been resolved before the release of the Switch version, so I felt at that moment that people’s perceptions of the character could change significantly simply through that illustration. I thought that while illustrations can limit people’s imaginations, they can also serve as a trigger to make them feel the reality of a character’s existence.

— I heard recent news that “Gnosia” will be adapted into an anime.

SOMI: That’s right! I think it’s amazing.

— Can we expect someday that SOMI’s works will also be adapted into an anime?

SOMI: If that were to happen, it would certainly be wonderful. Being able to see a work like “LEGAL DUNGEON” in anime or film would be the highest honor.

— Earlier, you mentioned that “having illustrations can restrict imagination.” Did you have a negative impression of illustrations prior to “LEGAL DUNGEON”?

SOMI: No, I never thought they were bad. When I was making “REPLICA” and “LEGAL DUNGEON,” I aimed to elicit the best possible images from users. For example…

Hmm, I actually thought “REPLICA” was a game that didn’t require characters. By emphasizing the abstraction around characters, I wanted to express that it was a situation anyone could experience. Alternatively, I aimed to highlight the prisoner’s dilemma situation or to focus more on the functionalities of the mobile phone in creating the game. In the case of “LEGAL DUNGEON,” during the conversation scenes, rank insignias appear as replacements for characters. One of the intentions was to emphasize that they were not seen as people but rather functioning as cogs within the system. Furthermore, in “LEGAL DUNGEON,” even the gender of the protagonist is barely mentioned. It remains undisclosed until just before the ending. I think that ambiguity allows people to engage in a more unrestrained imaginative process.

— I see. You realized a new perspective on your work through the illustrations from Kotori-san and, consequently, approached the creation of “You Must Solve the Unsolved Case” with the thought of “creating a game with a face.”

SOMI: I think my somewhat greedy side influenced this too. This time, I wanted to create it while really focusing on the children with faces… it was a personal desire or intention that I had.

— It’s a notable contrast that SOMI, who previously created child characters without faces, has now created child characters with faces in “You Must Solve the Unsolved Case.” How did this mindset influence the actual production?

SOMI: The task of creating characters with faces was indeed very distinct, and it’s something I later reflected upon. After finishing the game, I realized, “Ah, there was such a difference.” Unlike the guilty trilogy I previously explained, “You Must Solve the Unsolved Case” was developed with the narrative created first. It wasn’t a case of shaping the form first like with “REPLICA,” “LEGAL DUNGEON,” or “THE WAKE.” For “You Must Solve the Unsolved Case,” the entire story was crafted beforehand, and then I considered how best to present that narrative. Naturally, this led me to focus more intensely on that character’s appearance.

— So, unlike previous works, you developed the narrative first for this project. I would like to ask about something you mentioned in a past interview where you said, “While messages in games are important, the game must be beautiful and significant beyond delivering a message.” Could you elaborate on the meaning of this?

SOMI: I don’t have a perfect philosophy regarding this. However, while creating the Guilt Trilogy, I felt like I was constantly stripping away parts of myself during game development. In other words, my feelings of guilt at the time, aspects of society I wanted to change, messages like “You too should feel this way” or “What will you do in this situation?” There was a strong aspect of utilizing gaming as a medium to convey this situation clearly, and I think I felt this most acutely while creating “THE WAKE.”

이번에는,
누구도 죽거나 아프거나 상처입지 않는,
구조적 모순과 부조리에 대한 묘사가 없는,
차별과 갈등과 혐오가 없는,
모두의 성정이 선하고 악의가 없는,
오로지 따뜻한 애정과 인간미로 충만한,
그런 괴물같은 게임을 만들어 볼까 하는데요…

— SOMI 소미 🏳‍🌈 (@indie_somi) May 20, 2023

SOMI: That game turned into a personal story where only my experiences were included. So, the game development process became a way for me to relieve my traumas and underlying stress, but it also resulted in a game that relied too heavily on the author. Thus, when it came time to create the next game, I felt a desire to construct a “completely creative work.” In other words, I wanted to “create a truly fictional world.” This way, the characters that appear within it wouldn’t be related to me at all. The episodes within and the emotions that spring up from that would be something I felt was distinctly separate from my experiences in society or current reality. I wanted to create an unfamiliar space, aiming to build a perfect world in which, even if SOMI as a person is taken out, the work remains a complete world.

Yes, I wanted this thought to accompany me while discussing a theme of creating a perfect and beautiful world. Therefore, my approach to games and the thoughts regarding that theme have a side effect that stems from the existing notions I had about games. Rather than asserting that games should be a certain way or holding a specific proposition about something, I worked on previously existing ideas about games, so for this time, I wanted to create a game with an entirely new atmosphere—at least that’s how I hope it is perceived.

— Your desire to depict a world that can stand on its own without your presence feels complex and slightly lonely, and the emotions and warmth that everyone experiences through that world carry significant implications.

SOMI: There’s indeed a lonely aspect to it (laughs).

— Did you expect the world you created, without your presence, to receive such applause and empathy from so many people before release, or was it entirely unexpected?

SOMI: Regarding this, I feel both “I expected it” and “I didn’t expect it” at the same time. Usually, my emotions fluctuate leading up to a release. There are days when I think, “Isn’t this completely a hit game?” and other days when I wonder, “Who would want to play such a dull game?” With these thoughts oscillating, when I sent the game to my developer friends or publishers, their reactions were not particularly favorable. I thought, “I’ve made another game for my own satisfaction.” But later, when I sent the game to translators to consider localization—I intended to release it in English, Japanese, and Chinese—I sent them the game build with the request, “Please make sure to play it thoroughly before starting the translation.” Two days later, I received the same email: “I cried so much.” At that time, there wasn’t any music yet. During that period, music was also being created concurrently with the translation process, and when I saw that email, I felt, “Oh, this will work. This is going to work.” In a sense, I felt a sense of relief. That might sound exaggerated, but I felt saved.

— That’s a very impactful story. Encountering such feedback while proceeding with the localization is significant. By the way, it seems we’ve talked a lot about translation in this interview. How did you approach the localization process for “You Must Solve the Unsolved Case” specifically?

SOMI: I’ve had trouble with translation requests in the past, so I’ve had very difficult experiences. Up until “REPLICA,” I couldn’t imagine generating income from my games, so the translations were terrible. After releasing a game with a poor translation and gaining popularity, fans voluntarily corrected the translations one by one. Then, with “LEGAL DUNGEON,” I set out to have a proper translation done, requesting a local translation company. However, the English, Japanese, and Chinese translations ended up being worse than machine translations, and I faced many hardships.

In the end, for “LEGAL DUNGEON” as well, as I mentioned earlier, fans ended up doing the translations. From “THE WAKE,” the English translation became almost standard before spreading to other languages, so instead of searching for those who could translate into English and Korean in the gaming field, I sought out those who translate domestic literary works into foreign languages. However, many of those well-acclaimed translators were too busy to focus on games. I contacted notable translators personally via email, mentioning that I was working on a game. Most declined due to the medium, but through some persuasion, I found the person I’m currently working with. Thanks to that individual, it feels like the game’s English version is properly conveyed. We’re still actively working together on that for “You Must Solve the Unsolved Case.”

「未解決事件は終わらせないといけないから」
発言者の証言を整理していくシステムの操作感とストーリーに没入させる翻訳精度がすごい🤔３時間以内でクリア出来る短編物だけど満足感高かった。 pic.twitter.com/WTho3rgUh6

— kuro🎧 (@kuro_chro) February 11, 2024

極端な話『未解決事件は終わらせないといけないから』の翻訳が機械翻訳程度のクオリティだったらゲームが成立してなかったし、日本で売れることもまずなかったと思うので、翻訳者さん様々ですよ。神社を建てて祀らなければいけない。

— ロッズ (@rods_skyfish) January 22, 2024

— Are there particular points you focus on when it comes to translation?

SOMI: Lately, there’s a term that’s been trending, “poetic prose.” I often pay attention to how well I can convey poetic prose in translations. Furthermore, translating and localization are quite different. I understand Japan places great importance on localization, and I’ve made efforts to incorporate thorough checks. For “You Must Solve the Unsolved Case,” I conducted two rounds of checks. I initially translated it into Japanese, and for the second round, I reached out to someone with a good understanding of the game and Japanese sentiment for another check. The content and atmosphere within the game can change drastically depending on wording, even the title itself, influenced by nuances. For example, there’s a daughter named Seika in the game in Japanese. I’m considering how to phrase her name so that she doesn’t get bullied at school—How should I read the kanji for this name? We engaged in feedback discussions on such matters constantly.

That’s why I tend to avoid working with translators who do not ask many questions during the translation process. Each piece of writing contains metaphor and a system of symbolism. Moreover, there might be source material or other media to verify the context. If we don’t communicate back and forth about these elements, I don’t think we can produce an accurate translation.

Therefore, I always advise translators to “Please feel free to ask lots of questions.”

(To be continued in Part 2.)