This immersive game event spans the entirety of Kabuki-cho in Shin- juku, Japan. The player works along- side shady detectives like a former yakuza, an unbeaten gambler, and a safecracker to solve cases and be- come the seventh detective at the Seven Detectives Agency. Once play- ers check in and receive their game kits with instructions, they attempt to solve various mysteries while interro- gating cast members at real Kabuki- cho locations and obtaining items that serve as clues. Digital tools play a big role, too, with video clips and LINE chat app conversations with various characters. When they solve six cases, they gain access to “the final problem.” The depth of experi- ence escape-room game company SCRAP has built up, along with a deployment that captures the contex- tual changes in Shinjuku’s districts, contributes to making players feel like they have become real detectives.
KATO Takao|Born in Gifu Prefecture, 1974. Raised in Kyoto. Representative of SCRAP Co., Ltd. As the founder of Real Escape Game, he set off the boom in puzzle-solving games around the world.
NISHIZAWA Takumi|Born in Kanagawa Prefecture, 1989. Raised in Kyoto. Content director planning the Real Escape Game at SCRAP Co., Ltd.
HIRAI Masataka|Born in Kanagawa Prefecture, 1981. Project designer, scriptwriter and filmmaker. In addition to Real Escape Game, he has worked on a wide range of projects and their publicity.
HORITA Nobu|Born in Tokyo, 1968. TV writer. Currently working on Ze- nryoku! datsuryoku times, Moshimo tours, and Todai-ou, etc.
IWAMOTO Tatsuro|Born in Chiba Prefecture, 1976. Illustrator, character designer. In charge of character design for the game Ace Attorney series and the animation Monster Strike.
There are tons of detective novels, films, and video games. This game, though, makes the player a character in the story. The elaborate direction is superb, giving shape to a bold set- ting of real Kabuki-cho batting cages, bars, and so on that set the stage. I felt it should be judged as a work of art. Playing this new diversion feels different than reading, going to the theater, playing video games, or solv- ing an escape room. Future versions will be able to take individual experi- ences from different occupations and present them as a full-fledged story with real geographic areas and situ- ations. A karaoke machine offers this kind of casual work experience. If this game expands into similar offer- ings, other jobs can have their day in the sun—not just detectives. Even a shuttered district can make a come- back. This is district-wide karaoke, and it has a lot of potential. (KAWADA Tomu)
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