For years, I've had the privilege of interviewing some of my favorite game developers, including a few I never thought possible. But rarely do I get to speak with someone responsible for what's arguably my favorite game of all time. That's why this conversation with Christopher Ortiz, aka kiririn51 of Sukeban Games, is so special. We've covered their titles on TouchArcade for years, even when VA-11 Hall-A was slated for iPad (a topic I revisited in this interview). With Sukeban Games' newest project, .45 PARABELLUM BLOODHOUND, officially announced, I had the opportunity to chat extensively with Christopher about the game, fan reactions, VA-11 Hall-A, inspirations, Suda51, The Silver Case, and, of course, coffee.
TouchArcade (TA): Tell us a bit about yourself and your role at Sukeban Games.
Christopher Ortiz (CO): I'm Chris, a game creator who wears many hats at the company. When I'm not glued to my work, I enjoy spending time with friends and indulging in delicious food.
TA: Our last conversation was in 2019, around the time VA-11 Hall-A launched on PS4 and Switch, following its PS Vita and PC releases. Even then, as a fan, the game's popularity in Japan was astounding, with significant merchandise and promotion. You recently visited Japan for Bitsummit. What was it like seeing the reception to VA-11 Hall-A and now .45 PARABELLUM BLOODHOUND?
CO: Japan feels like a second home, despite the government's occasional disagreements. Returning felt like a homecoming, deeply emotional. It was my first time exhibiting at a game event since Tokyo Game Show 2017—seven years! Seven years of attending events and yearning for that energy. Now, I felt like a pro wrestler returning from retirement to a new world and industry; lost, confused, unsure if I still had it... but my worries were unfounded. People hadn't forgotten us and continued to support the studio. I'm incredibly grateful and won't take that for granted. This experience fuels my drive moving forward.
TA: VA-11 Hall-A is one of my all-time favorite games; I replay it every holiday season. When you worked on it years ago, did you anticipate its immense success, including multiple figures, with a new Jill figure on the way?
CO: I never expected it to sell more than 10-15,000 copies, but we knew we had something special, or we wouldn't have persevered. The scale of its success was overwhelming, and I think we're still processing the unexpected consequences.
TA: VA-11 Hall-A is available on PC, Switch, PS Vita, PS4, and PS5 (via backward compatibility). What happened to the announced iPad version? Are ports handled by Ysbryd, or are you involved? An Xbox release would be fantastic if possible.
CO: I playtested an iPad build, but it didn't progress for some reason. Maybe I missed an email. You'd have to ask the publisher.
TA: Sukeban Games started as just you (Kiririn51) and IronincLark (Fer). How has the team evolved since then?
CO: We're now a team of six. There have been some changes, but we prefer to maintain a small, close-knit operation.
TA: Following up on that—how has it been working with MerengeDoll?
CO: Merenge is a powerhouse. She has an uncanny ability to translate my ideas into visual form, making it a pleasure to work with her. It's unfortunate that some projects she was leading on got canceled due to circumstances beyond our control, but that's life. One day, people will witness Merenge's full potential. .45pb showcases a lot of her talent, which is fantastic.
TA: Can you discuss working with Garoad on the VA-11 Hall-A music? Like the game itself, the soundtrack is a personal favorite.
CO: Michael and I share similar musical tastes and influences, so the process was very collaborative. He'd create a track, and I'd love it. We'd repeat the process until the soundtrack was complete. Sometimes I'd send references; other times, he'd create something original that inspired game visuals, which then inspired more music. This synergy gave the game a lasting identity.
TA: VA-11 Hall-A developed a very vocal fanbase and a substantial amount of merchandise that consistently sells out. The vinyl box sets have had multiple pressings, and that SLUT shirt keeps selling out. How much input do you have on merchandise? Is there anything you'd like to see made that hasn't been yet?
CO: I don't have much input on merchandise creation; I mostly approve or reject designs after others have made the key decisions. I'd like to be more involved with .45pb, now that I have a better understanding of the process.
TA: Playism's Japanese release of VA-11 Hall-A included a fantastic art book cover. I wish I could get that piece signed and framed. Can you discuss the inspiration behind it and how you pay homage to your favorites in your work?
CO: When I drew that cover, I was going through a difficult time, though I didn't fully realize it at the time. We were focused on surviving the collapse of our country and other challenges. At our old office, we listened to a lot of Gustavo Cerati, specifically his album Bocanada, and its music kept us going. When asked to create a piece for the art book, I paid homage to it. I admit it's a bit overt now, and I'd approach it differently today, but I'm still proud of it. My approach to inspiration has evolved, and that will be evident in .45pb.
TA: You and Fer have discussed VA-11 Hall-A extensively, but I have to ask about the incredibly well-written and designed characters. Looking back, did you anticipate certain characters becoming as popular as they did?
CO: I expected Stella to be popular due to her viral gifs before release, but you can never truly predict these things. I knew some aspects would resonate, but I can't articulate why. The moment a hunch becomes a science, the magic disappears. Formulas are detrimental; you have to let things flow and become their own thing.
TA: I jokingly call N1RV Ann-A my "Silksong," but I'm patient. I still revisit VA-11 Hall-A often. Do you revisit your work on N1RV Ann-A or VA-11 Hall-A while working on other projects?
CO: I jot down lore and character notes for later. I enjoy drawing Sam, creating new designs and characters, experimenting with the game's overall look, ideas for cinematic shots, one-liners, environments, and atmosphere. I even imagine "what if this wasn't a bartending game?" Once .45pb is finished, Nirvana's development will accelerate, depending on whether the inspiration remains. So far, it hasn't waned.
TA: As a huge Suda fan, I'm curious about your thoughts on No More Heroes 3 and Travis Strikes Again. While I love No More Heroes 3 (over 11 playthroughs), I think Travis Strikes Again might be Suda's most "Suda" game.
CO: I really enjoyed No More Heroes 3's combat, but I wasn't a fan of the writing. Maybe it was COVID; game development is tough, especially with tight deadlines. It seems like it started with one vision and had to change to be released. A shame, but it is what it is. I hope they focus on original games moving forward, rather than sequels and reboots. Re-releases are okay, especially for lost media. As for Travis Strikes Again, I agree; it's the best of the newer games. It feels like reading someone's diary, and I appreciate that. I didn't see that much in 3, outside of continuing plot threads from TSA.
TA: What are your thoughts on Grasshopper Manufacture under NetEase and the announced remasters? Suda even mentioned wanting to bring Flower, Sun, and Rain to Steam.
CO: NetEase is a large corporation, so I hope Grasshopper receives the necessary funding and time to create.
TA: VA-11 Hall-A's journey from PC to PS Vita was unique, involving many parties across regions. I remember buying the Japanese release for the box art, despite the lack of English. For the Switch and PS4, you wanted the Japanese release to include English. How has it been getting your own merchandise in Argentina, with delays and import fees?
CO: I don't import anything anymore; I don't want to deal with Argentinian customs. Protectionist policies are foolish. It's fine to make electronics more expensive to support local markets, but there's no Argentinian PlayStation or Steam. Only idiots create such policies. Brazil does the same. It would be great if they stopped.
TA: You've utilized PC-98 and PSX aesthetics. When .45 PARABELLUM BLOODHOUND was announced, I was blown away; it looked perfect. The reception has been largely positive, but I can't imagine what you and the team went through leading up to the reveal, with N1RV Ann-A and all. How have the last few months been?
CO: We've been focused on our work. No crunch, just fun. We party, we eat, we travel. We touch grass. There's been self-doubt, for sure. We tried to manage expectations before the reveal, bracing ourselves for apathy because it's not Nirvana. But when it came to working, there was no hesitation. I'm happy with the announcement, but now we need to buckle down and finish the story.
TA: .45 PARABELLUM BLOODHOUND has been revealed, is wishlisted on Steam, and immediately reminded me of Vagrant Story x Sukeban Games' vibe. How has it been interacting with fans online and offline?
CO: It's been incredibly fun, despite the comparisons to older games. I don't mind, but some comments are mind-boggling. I was surprised by the amount of fanart after the reveal. A fan even brought us a drawing we displayed at Bitsummit.
Our crown jewel
By @TumugiV !!! Thank you as always!!!!! pic.twitter.com/N1hbLMY25Q
— Sukeban Games (@SukebanGames) July 21, 2024
TA: When can I buy the key art as a signed poster?
CO: Maybe at release.
TA: What were your main inspirations for .45 PARABELLUM BLOODHOUND visually and gameplay-wise?
CO: A key concern for .45pb's gameplay was bridging the gap between visual novel/ADV fans (from Va11halla) and action-focused players. I looked at Parasite Eve's battle system, not to imitate it, but to solve a problem—creating a hybrid of real-time and turn-based gameplay. We often use past games to solve modern problems; we don't need to reinvent the wheel.
Visually, I remember being in Milan in 2019, feeling depressed and stateless. The mix of modern and old buildings, neon lights, and LED screens along the river sparked my imagination. That was the genesis of the game's look—a blend of old, new, and decadent. Moving to Buenos Aires solidified this, adding a South American roughness absent in most cyberpunk worlds (often inspired by East Asian aesthetics).
TA: Tell us about the team, including the composer, and how long it's been in development.
CO: Two people work on it daily (me and the programmer), plus Merenge for additional character and production design. The composer is Juneji, who's worked with us extensively. We have a lot of unreleased music due to canceled projects. There have been demoralizing moments; it's hard to work for so long and see projects fail, but we've remained close. I want the world to see their talent. We added a producer/mentor, which helps with non-game aspects. Development technically started in 2019, but the current iteration is about two years old. Before that, it was experimentation until we found the right gameplay.
TA: .45 PARABELLUM BLOODHOUND has a teaser, gameplay, and a Steam page. Are there plans for a demo in any of Valve's Steam demo fests?
CO: Maintaining a demo would be difficult, so we prefer to keep them for offline events. Never say never, though.
TA: Many VA-11 Hall-A fans are excited for .45 PARABELLUM BLOODHOUND. Will it be accessible to everyone?
CO: It's too early to say, but the battle system aims to bridge the gap between vibes-based and action-oriented players. It's not about satisfying both, but easing one type of player into a new system.
TA: What's your favorite aspect of .45 PARABELLUM BLOODHOUND right now?
CO: As a game? Definitely the atmosphere and script. I sometimes play it for fun and wonder, "What happens next?" only to remember I wrote it! The combat is fun once it opens up after the first chapter.
TA: Can you share a development/design anecdote for .45 PARABELLUM BLOODHOUND and VA-11 Hall-A?
CO: I mentioned the influence of Milan and Buenos Aires on .45pb's world. Early screenshots showed locales reminiscent of Hong Kong, but I scrapped most of it in favor of a "South American Cyberpunk" aesthetic after talking to a friend from China. I was consulting him on authentic fonts and billboard text, but then I thought, "Why try to be authentic when I can leverage my own culture?" It's a mantra I've followed since. I find terms like "cultural appropriation" silly, but the word "appropriation" itself is something I've considered. "Is it my place to tell this story?" "Is it okay if these characters speak this way?" I don't want to limit my creativity or hurt sensibilities, but I think more original works can be born if we leverage what makes us unique instead of imitating. It's about balance.
TA: Since the announcement, people have asked about console versions, even without a release year. Will this be self-published, or are you working with a publisher?
CO: We want to self-publish on PC and let others handle consoles. We're finding the right partner.
TA: What were the inspirations behind Reila Mikazuchi's design and character?
CO: I admire actor and singer Meiko Kaji. I love her films (Prisoner Scorpion, Stray Cat Rock, Lady Snowblood, Jeans Blues). Her look is captivating, and I wanted my own Meiko Kaji for .45pb. I needed a character who could convey pain and tragedy with just their eyes. As for the writing, my characters are always composites of people I know and myself.
TA: How many iterations did you go through for her final design?
CO: I always envisioned long black hair, pale skin, and a third eye. The outfit was the challenge. She started in a suit! Then a jacket, but finding the right one was difficult. Merenge helped with accessories.
TA: VA-11 Hall-A saw VA-11 Hall-A Kids and Sapphic Pussy Rhapsody released afterward. Should we expect smaller projects like that ahead of .45 PARABELLUM BLOODHOUND?
CO: Never say never, but our plan is to release .45pb, let it be, and move on. No DLC. Ports are possible. If A24 or someone wants to make a movie, I'll listen.
TA: What does a day in your life look like right now?
CO: I'm a bit messed up right now. Usually, I work from 9 am to 4 or 5 pm, but sleep is elusive lately. The key is not to stress about it. When I'm not working, I go to the movies, walk around, and buy books I'll read eventually. Buenos Aires inspires low-key adventures. I love the culture, food, and nightlife, especially with friends. I'm a recluse sometimes; I uninstall messaging apps when I need to be alone.
TA: What have you been playing lately?
CO: Children of the Sun, Arctic Eggs, The Citadel, Lethal Company, RoboCop: Rogue City, The Evil Within, Elden Ring expansion, Kane and Lynch 2. We need more grit like that.
TA: What do you think of the current state of indie games?
CO: I'm always inspired by the unique games at indie events. That community and desire to create is great. Indie games are better than ever. BUT... I worry about relying too much on familiar concepts. Games like Arctic Eggs do it right; it looks like an old PSX game, but there were no PSX games like it. There's an over-reliance on "roguelike" mechanics. But it's not all bad; there's cool stuff, especially on itch.io. There's AAA slop and indie slop. Being indie doesn't make you inherently more creative.
TA: Any specific games you're looking forward to this year?
CO: Slitterhead. Also, Sonokuni, Elation For The Wonder Box 6000, Studio System: Guardian Angel, Eating Nature. My Twitter feed is full of cool indie games.
TA: If we did this interview on a call, I'd nerd out about The Silver Case with you. I'm glad I played it; the typewriter sound was initially overwhelming. What elements inspired you the most, and what's your favorite track?
CO: The Silver Case was a white whale. It was so inaccessible that my mind created its own version. The way it inspires me is related to filling gaps. The space between the real game and my imagination is where ideas for Va11halla or The Radio Wave Bureau were born. I can't pick a favorite song; the whole soundtrack has a vibe.
TA: Did you play it on console or PC?
CO: Every platform.
TA: The Silver Case's box art and aesthetic is amazing. What elements intrigued you?
CO: The stoic character designs. Takashi Miyamoto and Yoshitoshi Abe are my goats. I was also transfixed by the UI. I lament that The Silver Case didn't create a movement. Visual Novels could look so much better.
TA: You've met Suda more than once. How has that been? Has he played VA-11 Hall-A?
CO: Twice. I lament not knowing enough Japanese. We share interests, but there's a generational gap. I know he played my game, but I don't know if he enjoyed it.
TA: Are you up for another meeting?
CO: There's a story I'll share later.
TA: My Game of the Year is Like a Dragon: Infinite Wealth. You loved Yakuza: Like a Dragon. Did you play Infinite Wealth or Gaiden?
CO: I love Like a Dragon, but I didn't play Gaiden. Infinite Wealth felt overwhelming at launch; too many mechanics. Maybe later.
TA: VA-11 Hall-A is perfect for portable play. I loved it on Switch and found a mod adding full controller support to PC. I've been playing it on Steam Deck. Have you tried it?
CO: I did; it sort of works. It's not technically feasible to fix it; the Game Maker version doesn't work properly on modern Windows.
TA: I have more to discuss, but let's end with this: How do you like your coffee?
CO: Black as a moonless night. Even better with cheesecake on a beautiful afternoon.
TA: Next time, let's discuss The Silver Case.
CO: Absolutely!
Thanks to Christopher Ortiz for their time.
You can find our other interviews here, including recent ones with FuturLab, Shuhei Matsumoto from Capcom, Santa Ragione, Peter ‘Durante’ Thoman, M2, Digital Extremes, Team NINJA, Sonic Dream Team, Hi-Fi Rush, Pentiment, and more. Thanks for reading.
