Visual Fan Book Interviews

This is a translation of the interviews found on pages 97-107 in the “Remember11 -the age of infinity- ビジュアルファンブック” (Visual Fan Book) by Enterbrain. The book contains character profiles, a 100% walkthrough, concept art and musical scores for the OP and ED. It was released in June 2004.

This post contains a translation of the first 3 interviews with the producer, director and scenario writer. There are 3 other interviews with the graphics and music team that have been left untranslated.

Credit to kzchn for helping me translate portions of the interviews.

Note: If you’ve got any corrections, leave a comment or contact me and I’ll update it accordingly.

Raw Scans

Table of Contents

  1. Producer: Ichikawa Kazuhiro
  2. Director: Nakazawa Takumi
  3. Scenario: Tsukishio Hagane (Uchikoshi Katorou)
  4. Character Design: Hidari
  5. CG Director: Koshimizu Takayuki
  6. Music: Abo Takeshi


Producer: Ichikawa Kazuhiro

Producer of the “Infinity” and “Memories Off” series, KID’s hit titles. Currently working on “Memories Off ~Sorekara~”.

What was the aim of Remember11?

Q: What were you in charge of this time as the producer, Ichikawa-san?

First of all, my role is to create plans to allow the game to develop smoothly. During this time, I was able to leave most of the details to the director, Nakazawa.

Nakazawa was passionate about the project and it seemed interesting, so I started asking if we could somehow manage to make it part of the “Infinity” series. Even if I don’t say much here, Nakazawa will talk a lot about his passion during his segment. I will just add my small part here.

Q: So did you give instructions about the content of the game?

Regarding the scenario, the goal was to make something that had a continuous sense urgency from the opening of the game. The speed of the game feels like a thriller movie, which I feel is part of what makes “Remember11” attractive. However, even if I don’t explicitly say that, the rest of the staff thought so as well. Of course, we also tried to make in enjoyable for players that played the entire series so far, as well as those playing for the first time.

Q: Is that the reason why you removed the genre’s tradition of “romance”?

We didn’t necessarily have to remove the element of romance. However, we wanted to create a work in a broader framework than ever before. We also wanted to appeal to female users, and I think we succeeded in that. Compared to previous titles in the series, it seems this one had a greater ratio of female players. I don’t think it’s necessary to always create love stories, and I think I will make similar titles in the future.

Q: Will there be more additions to the “Infinity” series?

Yes, we’ll continue after this. However, I can’t say anything certain about when the next work will be released. I guess it’s done when it’s done (laugh). Even as an SDR project, there’s always a conscious effort to make it more appealing to a wider audience. If you’re wondering if it will be a direct sequel to Remember11… that’s a more difficult question to answer. I’m not saying the answer is “no”. I’ll keep considering it while observing the reaction of the players.

Q: Do you have any last words for the players?

Hmm, let’s see. Ah, of course there are differences of opinion when creating something, and conflicts will inevitably arise when trying to create something better. However, there is no reason to think that Nakazawa and Tsukishio (aka. Uchikoshi Kotaro) have a bad relationship, as people are saying. Of course Nakazawa isn’t hated by the staff (laugh). There are some parts that were left undone in this work, so I’d like to make better works in the future. Also, I’m leading the production of “Memories Off ~Sorekara~” which will be released this summer, so be sure to keep an eye out for it!

Producer & Director: Nakazawa Takumi

One of the directors of KID who worked on many popular works such as “Ever17”, “Memories Off 2nd” and “Close to ~Inori no Oka~”. In this work, he also serves as a producer and a director.

I wanted to remove the restriction of “romance”

Q: How did the production of Remember11 begin?

At first it was gradual, but after I got the green light from the company a year in, it came out in full swing. Even though I had the basic idea, I didn’t think it would be part of this series. There wasn’t a lot of deep meaning in the original draft. At that time, it was necessary to expand the company’s strategic “Infinity” series, but there was no time to create a new project from scratch, so I reluctantly made use of an existing project. It was easier said than done, and it took many meetings to get there. After the company made its decision, I spent a considerable amount of time with Tsukishio-san (aka. Uchikoshi) to reconstruct the plan for the series. We might have spent the same effort if we just remade it from scratch. It’s rather ironic (bitter smile).

Q: The genre isn’t “romance adventure”, is it?

That’s right. Since Ever17 has aspects of that, I wanted to take a risk and try something else. There are a lot of promises and tropes you should adhere to when making a “romance adventure”, so I wanted to remove that and work more comfortably. Fortunately I was able to convince the higher-ups in the company. Was that… self-confidence? (laugh) I had a feeling it would be interesting in the planning stage. But when I was in the middle of making it, I was extremely anxious. It’s hard to maintain the story tension. I was reminded of that over and over again.

Q: Was there any pressure on you?

That’s right. It was originally made as a standalone and I was enjoying it, but making a sequel comes with a lot of pressure (sweat). If there are two previous works, there are restraints that make you start thinking “should I do this?”. However, I was careful to make it playable even if you didn’t play the previous entries.

Producer and director, two opposing jobs

Q: What did you struggle with when making this title?

First of all, because the scenario is complicated, the writing itself was serious. No matter how carefully you plan, there are parts that don’t really click together. Communication of intent was also serious because there were many writers involved.

After adding the images and voices, there may be some contradictions you spot for the first time during the debugging stage. If the game is up to a certain point, I can fix it by adjusting the lines of the protagonist, but the characters now have voices… It’s not possible to record or rewrite (bitter smile).

I was also struggling from a position standpoint. I was simultaneously working as a producer and director, and these two roles are opposing. The director is trying to make the work better, but the producer has to finish by the deadlines and sell it. The conflict that arose… I want to do better, but I don’t have the time. Things like that. I was very stressed. At that time the other producer, Ichikawa-san, was sick and I was expected to listen to opinions I was not convinced of. It was tough since the roles were indivisible.

Q: You also had to do the staffing.

I decided to outsource the CG creation to Hidari-san. Although casting was handled by Cytron-san, I work in squeezing them out.

Hidari-san creates amazing images that leave a great first impression. There was a range in style, I was simply impressed. This work has a dull view of the world on a snowy mountain in the winter, but Hidari-san had previously created similar pieces in the past. So I thought he would be a good addition to the team.

Q: Please tell us about some highlights.

A sense of urgency, tension, a looming fear, and the madness of humans in extreme conditions. I was enthusiastic trying to express these things. These were the things that could not be expressed structurally in the previous work. This was what I wanted the players to see. Also, the players said that the pacing of the first half is bad in Ever17, so this time I wanted the players to experience events in quick succession, to see what comes next.

After deciding to go in this direction and after discussing with Tsukishio-san (aka. Uchikoshi), we went with a slightly stiffer literary style. To put it simply, I usually do the monologues the same as the first person narrative. But in this work, even if the character says “X-san” when speaking out loud, they are referred to as “X” without honorifics in the protagonist’s mind. This is a more talkative style. I’d be happy if you feel a different atmosphere than before.

The true meaning of 11 is that it is in binary, not decimal.

Q: What is the meaning of “11” which is also in the title?

It’s the year 2011, on the 11th day, the tagline is 11 characters long (ワタシを殺す・記憶の迷路 ― The labyrinth of memories that is killing me), and so on. I have used the number “11” in many forms, but this is only the surface. The real meaning isn’t “eleven”, but the binary number 11, or “three” in decimal. The arc number is 3 in this story. It is the third entry in the series, there are 3 settings, the transfer occurs in 3 locations, and it’s a bit farfetched but there are 3 characters other than the protagonist at both the snowy mountain and SPHIA. The time period for transfers is 33 minutes… And it is said that the Trinity gathers three components together to represent a single phenomenon. The logo represents the person this refers to. The three interconnected rings. Think about it a little (laugh).

Q: What is the significance of the message that appears in the endings?

Symbolically, it expresses a common theme in the series that “the viewpoint that sees the world (ie. the observer) is trapped in an infinite loop”. Also, one of the themes behind the story was “what is the relationship between the characters in the game and the player?” What if the player’s existence is recognized as “the hand of God”?

Although I wanted to convey those ideas, they didn’t fit. Many people said it was difficult to understand or that the explanation was lacking, so I’ll pay attention to that next time.

Q: Finally, could you give a message to the fans?

You may have enjoyed the game, but there were many people who did not. I’m carefully watching your opinions. Next time I’d like to create works that everyone can enjoy, so thank you.

Scenario: Tsukishio Hagane

He was involved in the production of the scenario for many titles such as “Ever17”, “Memories Off” series, etc. He is usually known as “Uchikoshi Kotarou”, but he used an alias for Remember11.

Challenges in deploying complex scenarios with “three key points”

Q: Please tell us the background of the development of Remember11 first.

I think the project itself started in December two years ago (ie. December 2002). Nakazawa-san created the project plan, and that’s when I began participating.

Q: Each title in the series had its own features, starting from Never7 and Ever17. Is the body-swap phenomenon the main gimmick in Remember11?

Yes. For that reason, the structure of the scenario is more complex than ever. Various forms of entertainment use the theme of swapping a boy and girl including the movie 転校生 (Transfer Student). Since there are a number of novels and games that use two perspectives to tell a story, I don’t think it’s that outrageous.

However in the case of Remember11, it is an important phenomenon that is structured like a Ghost Leg Lottery/Amidakuji where each personality is exchanged in the Kokoro and Satoru Routes. When Kokoro’s personality enters Satoru’s body, Satoru’s personality will shift to the viewpoint on Kokoro’s side. In writing this scenario, we had to keep that in mind.

Q: There were other factors that made the structure somewhat complicated.

Thats right. We had to make the viewpoints at the cabin and SPHIA consistent while taking into account the flow of time, making sure it didn’t rewind or advance further than it should. The structure of Remember11 was supported by three axes: the axis of personality exchanges that function like a Ghost Leg lottery, the axis of the parallel scenes, and the axis of the 3 timelines which follow each other sequentially. It was difficult incorporating these axes into the scenario structure of Remember11.

A story whose depths have been crafted in just over 6 months.

Q: I think the fans had high expectations after the last entry in the series. Did you face a lot of pressure in that regard?

That’s right. After all, this series has been rated well so far, and the story was carefully planned in the early stages to meet player expectations.

Q: Was the flow of the story already decided when you first started?

The first thing we decided on was the personality exchange phenomenon. As Nakazawa-san and I talked with each other, the elements of time and location were added to that and the idea began to take shape. To be honest, we could see that the foundation of the story would be a problem later in the production stage, but Nakazawa-san and I had a tendency of throwing caution to the wind… I’ve been reflecting on it a bit and I think the work schedule was related to that (laugh).

Q: How long did it take to produce the scenario?

It was around the summer of last year (ie. 2003) that I began writing the text displayed in the actual game, and then the scenario was completed in autumn. I actually joined the project team at the start of 2003… Since we were working on the plot since then, it actually took longer to develop the whole story. I also had to rewrite the plot every time I felt “this is not polished enough”.

Challenges incorporating the “3 axes” while developing the complex scenario.

Q: Were you and Nakazawa-san equal contributors to the plot?

In my mind, I feel that I wrote large parts of it (laugh). But the original plan came from Nakazawa-san, and I can’t say I wrote much about the plot itself.

Q: There are psychological elements scattered throughout the story, and lots of information about survival in the plot itself.

Yes. That element was originally conceived of by Nakazawa-san. Around March he gave me a list of movies and books, and I quickly went through it to find which were usable and which were not. There was so much to read! How many books did I go through in the end?

Q: When I interviewed Nakazawa, he said 17 book.

No, I don’t think there were that few on the list that was first sent to me. Maybe he’s just counting the ones that helped him write the plot (laugh).

Q: I think there were some parts that used the same world view as the rest of the series. How were those incorporated into the scenario?

Since the times and locations are different than the previous titles, we tried to avoid forcefully creating a shared universe. That said, somebody that played the previous titles will spot references to them in small scenes. We intentionally created those links, so we hope you enjoyed them.

Q: Do you feel you were able to execute ideas you couldn’t include in the previous title, Ever17?

To be honest, the scenario was far more complicated in Remember11. I was thinking about how I could incorporate the feeling of Ever17 when I wrote the sequel. Because I was in charge of the Ever17 original draft, I was able to steer it to my desired destination, but since I wasn’t the leader this time around the destination felt much farther away. It was really difficult (laugh).

The two protagonists must overcome great hardship throughout the story.

Q: The scenario wasn’t written by you alone, correct?

Yes. Cytron wrote the Kokoro chapter while I wrote the Satoru chapter with the help of Nakazawa-san.

Q: I feel there was a point where I struggled with the two interconnected narratives.

The bulk of the story was confined to the two protagonists. We were concerned that the portrayal of the side characters would suffer. Generally in a two-route structure, the stories of the two protagonists should be the focal point while the side characters just stay on the side. However, we wanted the all the characters to be as appealing as they had been in Ever17. After looking at the finished product, some might say that we were a little too greedy.

Q: In this scenario the romance factor was reduced compared to previous titles. Was that something you were also aiming for?

Nakazawa-san and I wanted to add a bit more of the romance factor in the planning stage, but because the story structure was complicated the execution would have been very forced, and we found it difficult to find room to introduce it. I can’t deny that the feeling of romance felt very thin as a result. There were plans to create a certain mood around Kokoro and Satoru, but it was difficult to establish when they would meet in the game and draft a scene where they create memories. It was quite unreasonable to change the scenario due to love… Personally, I really wanted to add some kind of romantic element.

Q: Being in charge of the scenario, did you become emotionally attached to characters?

It’s rather common to say this, but it’s difficult to express the emotional bond I had all of them. I was writing while imagining what the character was thinking at that time, and I have memories of each challenge faced. However only Yomogi acted genuinely in most circumstances, and the impression I got when writing the other characters was a bit different. He is the only character in this game whose actions match his words (laugh).

Q: When you released the game, was there anything special left unfinished that people said they cared about?

Despite a lot of hard work, we had restrictions we had to say “let’s leave it at that” to a few things. If a sequel is planned, we’ll give it our all again. From the bottom of our hearts, we thank all the players who gave feedback.

Q: Finally, tell us about your future ambitions.

I’d like to write a novel, but there many other things I’d like to do. I’d like to make a romantic comedy and various other ideas. Of course we also have to think about something for the next entry in the Infinity series, so keep your eyes open for that.

Sound Editor
Music/Sound Effects: Abo Takeshi

He’s the sound creator responsible for the sounds of many games, including the “Memories Off” and “My Merry May” series. The sound of “Infinity” is all by him.

I’m making music with a serious atmosphere and it’s a lot of fun.

Q: Were you given something like a mental image when making a song?

Nakazawa-san presented some keywords and situations when the song would be played, as well as reference songs. However, composed the songs without sticking to the reference songs as much as possible.

Q: Was there an overarching mood for Remember11?

The basic mood is a closed atmosphere. The snowy mountain had higher frequencies in contrast to SPHIA which had heavy bass. The most contrast can be seen between Anima (Kokoro’s theme) and Animus (Satoru’s theme).

Q: What was the process for composing a song?

It’s basically the same as usual, but this time I read more of the scenario and setting, taking note of events that happened in the middle or typing in the sequence software and storing things like phrases. There were many songs that were made based on these sounds.

Q: I feel that there were more songs with a serious atmosphere this time.

Serious music with a suspenseful atmosphere is a genre that I have a lot of fun making. Of course, I like bright songs, but I enjoy making serious songs because I can put in a variety of sounds. So I feel like I was able to make a lot of songs that I wanted this time around. I rarely got stuck while working, and it felt like I made all of it at once. I’d love to make more serious music with an atmosphere of suspense.

Songs were created at the rate of one song every 2 days.

Q: When does the song first pop into your mind?

When I’m taking a bath or eating rice… There are many times when I’m doing something that has nothing to do with my job. It takes around 5 or 6 hours to write up a song if it’s short, and 5 days if it’s long. On average, I’d write one song every 2 days. This time, I didn’t think much about the melody and focused more on the atmosphere. It’s a composition that emphasizes the accompaniment, not the melody. For bright songs, I put the emphasis on the melody as usual.

Q: What’s your favorite song this time?

There are a lot of them (laughs). If I were to name one, it might be Great Mother (Kali’s theme). It’s a song I made quite early, but I like it. Dark songs such as Anxiety, Self and Delusive Consciousness are also my favorites. The song I had a hard time with was Trickstar (Yuni’s theme). How do you make a trick? (Laughs). Nakazawa-san told me to create something eccentric, and I wondered what was wrong with him. I was going to make a strange beat, but I ignored the usual rules of composition and made it by putting a voice in it. I played the game myself and thought the theme song “Will” was used in a good way. It plays once in the game, I don’t want you to miss it.

[Note: “Will” plays when Satoru and Kokoro first meet on the beach… or at least it does in the PS2 version. Do you remember at the end of Kokoro’s route when the text autoscrolls and you can’t pause the game or advance text? “Will” is supposed to be playing there, but the PC version doesn’t have the exact version of the song so instead the text autoscrolls in silence.]

Q: Please give a final message to the fans.

It’s a cliche, but I’ll do my best in the future, so please don’t abandon me (laughs).

From a simple idea, a musical gem is created

The material given to Abo-san by Director Nakazawa-san is very simple with only a few words in a row. These words, reference sounds and phrases from the scenario take form in Abo and are converted to music. A sample of these notes is shown below:

07: Affection/Utsumi’s Theme/Great Mother

  • Wrapped in kindness. Also a slight fear of being swallowed up completely if you were to stay like this.
  • Embrace and restraint. Indian mythology: Saraswati and Kali. Motherly.
  • Reference: Aurora (Bjork)

10: Eccentric/Yuni’s Theme/Trickstar

  • No rhyme or reason. Eccentric. Bizarre qualities.
  • Trickery. Falsehood. Distortion. Cunning.
  • Reference: Embracing The Sunshine (BT)

11: Fetal movements/Self’s Theme/Self

  • Something squirming within oneself. Something whispering. The embodiment of an unknown personality.
  • Gradually, a feeling of discomfort emerges.
  • Mixed with dissonance. An unpleasant feeling. Like a trance.
  • Reference: Montagne D’Or (orb)


Abo-san talks about the charm of all his songs!

All 33 songs used in Remember11 will be introduced below with Abo-san’s own commentary. The world will deepen even further if you understand the meaning of each song, the points he struggled with and the points to listen out for.

01. Chaining
The BGM for the later half of the snowy mountain side. Imagine the “white” of a cold world. In audio, white noise refers to noise that contains all frequencies equally. The high frequencies are boosted in this song.

02. Chaining -Beta-
For the snowy mountain and SPHIA theme songs, I made two versions of each that are subtely different to give the feeling that “something changed!”. This is a slightly brighter arrangement used in the first half of the snowy mountains.

03. Scheme
Theme for the first half of the SPHIA side. In SPHIA, the high frequency of the white was suppressed which created a more “muddy” white. Even though the same color and imagery were used, it expresses a contrasting and different world.

04. Scheme -Beta-
For the second half of SPHIA’s side. I was particular about the details such as how each tone is handled and how to produce spacial sound. If you pay close attention and listen to them individually, you’ll hear it the way I intended while creating it.

05. Anima
This is an unusually bright song. This is Kokoro’s theme, and is a unique fun song in Kokoro’s side. The voice in the song says “God?” and was taken from a clip that said “Oh my god”.

06. Animus
Satoru’s theme. The usual theme of SHPIA. The built-in sound engine can’t play enough notes simultaneously, so some sounds were stopped to keep the parts balanced. It was made to capture the core mentality of the game.

07. Persona
Mayuzumi’s theme. It gives the impression of a fragile mental state that’s protected by a dry, cool outer appearance. Were the cymbals too strong overall?

08. Old Wise Man
Yomogi’s theme. He is a wise man and the leader of the group. I’m pleased with the composition and the balance of tones. I’m also biased towards the chord progression, it’s a series of my favorite chords.

09. Great Mother
Utsumi’s theme. I like this quite a bit. A bass with a slow, rough beat and a low bell that is both gentle and eerie. I would be happy if you listened and analyzed each part.

10. Shadow
Hotori’s negetive theme. Contains many negative elements such as an unpredictable sequence and a low, dull bass. Most parts, such as the snare drum, were played in an imbalanced way.

11. Puer aeternus
Hotori’s positive theme. I tried using a mysterious tone with a floating feeling for the intro. The arpeggio sequence was borrowed from “Shadow”. This song and “Shadow” are a pair. This was a song I struggled with quite a bit.

12. Trickstar
Yuni’s theme. Did you understand that the voice was saying “Distortion, Eccentric, Mystery”? The middle has a beat/tempo of 7, which is an unstable beat, but that’s exactly what Yuni’s theme is all about.

[Note: Please forgive my lack of musical knowledge. I have no idea what a “beat of 7” means]

13. Self
Ambient techno as you approach the core of the story. I like these songs a lot. You may not understand this song, but it used a lot of memory in the built-in sound generator. It subtly does elaborate things.

14. Communication
My favorite part is second half of the synth rises and it goes back to the original chord. The bass, percussion, chords, everything leads to that moment. The tone of the bass is always changing.

15. Heuristic
A song that mainly plays during scenes of thought and consideration. It was going to be rejected, but I managed to use it. I really like the combination of the distorted lead in the second half and the soft sound that rings behind it.

16. Anxiety
Ambient techno with a trance component. You can hear the sound of a scream at the start. An array of suspicious tones. Close your eyes, get your nerves up and listen. It might be nice to listen to in the middle of the night.

17. Cue
A song with a sad atmosphere. It seems to give two different impressions whether you listen to it in the game or by itself. The song didn’t even last 2 minutes, but I extended it and made it longer after completing all the songs.

18. Paranoia
A song based on breakbeat and sine wave bass. The ticking sound in the interlude comes from the hands of a clock. The ticking time, someone whispering and other sounds make it feel like you’re caught in a delusion.

19. Fear and Insanity
I made it with emphasis on the left and right phases. If you listen with headphones, it’ll be easy to understand. I’m pleased that the chorus feels scary. I’ve assigned fear to the minor chord and insanity to the major chord.

20. Thanatos
Attack, the instinct to face death and self-destruction. The drum part goes crazy to bring out the sense of urgency created by the drum and bass. The computer isn’t sure if he was able to create a sense of impatience and anxiety (strained laugh).

21. Delusive Consciousness
This is another ambient piece, but one of my favorites. I wanted the cello to sound more vivid but it turned out like this no matter how many times I sampled it. I was scared of whatever made it turn out like this.

22. Delusive Consciousness (amb.)
An ambient version of Delusive Consciousness. Sounds like the rough percussion were removed and it’s even more suspicious. Each part is made independent and easy to hear.

23. Mantra
It starts with a mysterious phrase, the meaning of which carries a mysterious power. It used a lot of (computer) memory for the first half. I don’t think you hear it often in the main game.

24. Multiple Maze
I made it with the aim of expressing chaos and disturbance with the distorted beat, reversed sounds and so on. The promotional movie creates a strong impression, and listening to this song reminds me of the newpaper article scene.

25. Dreamy Lens
I aimed to create a relieving atmosphere by using the sound of the cute bells. It was one of the few songs I created from a melody, and I wanted to make a piano version so I tried to make it after all the other data was completed.

26. Dreamy Lens -Paino-
Piano version of Dreamy Lens. Even with the same song, the impression changes greatly just by changing the tone and the accompaniment. I really like the piano because it is warm and soft and has a calm sound that produces alpha waves.

27. Dark Gestalt
I really like this song, mainly the stringed instruments in the interlude. The stringed instruments at the end are also nice. Actually, I really wanted it to sound a bit clearer…

28. Nucleus
In the story, this acts as the theme song for a certain person. I made it using a different software sound generator, and it is the only song I made this way. It was faster to create the other songs with the built-in sound generator.

29. Will -Theme-
This is the first song I made. I read the early materials and made this so that I can include it in the “KID MUSIC MUSEUM” album. I remember trying to create a song that combines energy and silence.

[Note: KID Music Museum is a collection of songs from KID’s games. Vol 2 was released in August 2003, a year before Remember11, and includes a copy of “Will” with the track called “Song Name Undecided”]

30. Catharsis
The most cheerful song. The rhythm shuffles and races on without resting until it reaches the second half. It’s an honest song that doesn’t change much in terms of tone. Catharsis means the release of emotion and the purification of the spirit.

31. All or None
The song that plays on the title screen is the piano version of this song. It was originally one song, but I think that changing the arrangement and using it properly creates a more effective sound. The song emphasizes sadness.

32. All or None -Piano-
This is the piano version of All or None which plays on the title screen. I wanted to end on a gentle note when you look back on the story later on. The song wasn’t originally intended but I made it anyway without permission.

33. Delta Wave
Longer version of the “Will” motif. There is a synth that replaces the vocals in the interlude, but I originally wanted to have this part sung by using voice samples.












犯人是他们的女儿沙也香。 司法鉴定做出了沙也香患有DID(多重人格障碍)
的诊断。 她被判决为无罪,
并收容在了精神医疗设施里。 由于前后也有类似事件不时发生,
日期不明—— 沙也香被移交到拉比利制药的研究设施。 1999年 01月14日―― 黄泉木润一出生。 10月19日―― 楠田悠尼出生。 2001年 日期不明―― 沙也香永远失去了她的“存在”。 悟了解到,自己同沙也香的“死”也有部分责任。 但这、只不过是表象罢了。 在为失去妹妹而悲叹的同时, 他也在坚持追查着她“死亡”的真相—— 以及“杀死”她的真凶。 2004年 09月―― 日本研究小组的三地量子传输实验成功。 2006年 日期不明—— 悟在经过长年调查后, 了解到存在能给人的精神和意志带来他律性影响的

“超级意志(或说智慧生命)”的存在。 虽然这是个近似于神秘现象的概念,
连称之为学说都令人感到害怕, 但悟却觉得, 这恐怕就是『杀害』沙也香的真正犯人。 悟像是被上了身般投身于研究中。 2007年 日期不明―― 由于刑法修正, 全国各地新设了SPHIA
(以隔离和保护为目的的特定精神医疗设施)。 2008年 04月―― 悟在鸠鸣馆大学就读。 心在鸠鸣馆女子大学就读。 日期不明―― 悟在上学时同榎本结识,并与其深交。 夏―――― 悟开始跟黛交往。 日期不明―― DSM-Ⅵ发行。 (精神障碍的诊断与统计手册・第6版) 日期不明―― 夫妻别姓法案通过。 2009年 01月14日―― 阿波墨市立医院无差别杀伤事件发生。 死者共12名、重轻伤者共19名。
黄泉木润一死去。 犯人犬伏在被逮捕前一刻,
留下了谜一样的话语“Self在哪里?” 司法鉴定的结果为,犬伏是DID患者。 她被判处了无罪,
日期不明―― 以阿波墨事件为契机,
悟确信了自己的想法。 借用犬伏留下的话,
命名为“Self”。 它真正存在吗? 还是由于其存在的合理性,
而产生的幻觉呢? 终于,悟决定要策划、执行一个计划。 一个将“Self”引入这个世界的计划, ――“优希堂计划”。
04月―― 悟与榎本跳级两年直接升入大四。 日期不明―― 悟向榎本表明“计划”,并寻求帮助。 (但他隐瞒了沙也香的情况,

对榎本说只是为了学术上的目的) 榎本对悟的想法和价值观产生了共鸣,
半是醉心于此,于是痛快地答应了。 2010年 03月―――― 悟和榎本从鸠鸣馆大学毕业。 悟于鸠鸣馆研究生院进修。 同时,被拉比利制药发掘后就职。 榎本也同样于拉比利制药就职。 悟与榎本被分配到工学研究部研究第3科。 悟与榎本在拉比利制药的研究室里,
建立了独立的项目。 以拉比利私下完成的分子级别的
夏―――― 悟与黛分手。 秋―――― 时空转移装置的开发陷入窘境。 2011年 01月―――― 这一年,出现了观测史上最大的太阳风。 日期不明―― 悟在时空转移装置未完成的情况下, 以实地收集数据为目的,
01月11日―― 【Remember11/心视点】 心为了去见被囚禁在青鹭岛SPHIA的犬伏, 搭乘了前往稚内的小型飞机HAL18次航班。 同机的乘客里有黄泉木・黛・悠尼,

以及穗鸟。 下午4点过后―― 搭乘了31名机组人员与乘客的HAL18次航班, 在位于山岳地带上空时,从雷达里神秘消失了。 警察与有关部门设立了临时指挥部,
立即开始了对机体与乘客的搜索。 但在罕见的恶劣天气下,搜索陷入了困境。 HAL18次航班坠落了。 下午4点半── 2012年01月青鹭岛圈与2011年07月
穗樽日圈之间开始发生时空转移。 (起初是没有人格交换的空间转移,
因为心并不在朱仓岳圈内。) 利用这次时空转移,
来到了2011年的朱仓岳。 于此同时,时空转移中2011年的悠尼
误入了青鹭岛圈内。 2012年的悠尼让3名幸存者(心・黄泉木・黛)
前往朱仓岳紧急避难小屋避难。 此时,2012年的悠尼把6个月后的报纸,
即那张“2011年07月04日的报纸”带入了小屋。 午后08点02分以后── 转移过程中出现了异常现象, 心・悟(2012年)・双胞胎中的哥哥(2011年07月) 穗鸟・犬伏(2012年)・双胞胎中的妹妹(2011年07月), 这两组的3人之间,每次时空转移,
日期不明―― 悟从新闻里得知,

HAL18次航班在东北地方失踪。 虽然播放时念了乘客的名字,
但悟当时在聚精会神地寻找时空转移的实验场所, 听漏了黛的名字。 悟等人提出的假说里,时空转移的转移时间
(时空跳跃跨越的时间)的长度, 同转移空间(传送距离)的长度成正比。 为了进行长时间的转移,必定需要宽广的地皮。 他们认为,在日本这样国土狭窄的地方,
是不可能完成实验的。 因此,它们决定将实验场所定在澳大利亚。 他们一边筹备着前往澳大利亚的飞机,
一边为长时间的停留作准备。 出发日定在01月18日。 01月15日―― 从2012年转移到朱仓岳的悟,
发现了倒在雪原上的少女(穗鸟)。 悟认为那已经是一具尸骸了,
01月16日―― 由于人为的偶然性,避难小屋的成员通过卫星电话,

联系上了山岳救援队。 01月17日―― 2011年07月17日之后, 由于穗樽日圈内无人,
时空转移时没有发生人格交换现象。 01月17日早晨―― 心发现了倒在雪原上的少女(穗鸟)。 此时,穗鸟已经完全咽了气,
肉体也化为了尸骸。 上午06点53分左右── X地点发生雪崩。 上午06点58分左右── 连日的暴风雪减弱。 救援队到达事故现场,
发现了机组人员和乘客31人中27人的遗体。 同时,救起了唯一一名幸存者, ――――悠尼。 从附近的避难小屋里,还发现了
其他生存者活动过的痕迹。 并确认了悠尼等人从11日坠机到17日为止,
在避难小屋中仍然存活的事实。 当日,新闻中报道了HAL18次航班的坠机事故。 01月17日傍晚―― 悟得知了坠机事故的新闻,
他确信黛已经必死无疑。 在感到悲伤之余,他开始考虑,
是否能利用时空转移救出黛。 另外,以事故报道为契机,
悟想到了一个令他深感兴趣的“舞台”。 他紧急停止了澳大利亚之行。 但由于装置还未完成,
此时尚不可能实行“计划”。 日期不明―― 悟为了寻找线索,同唯一幸存者悠尼会面。 当时悠尼完全处于精神失常状态,
无法正常地进行交谈, 但他却持有十分重要的物品, ――――一张TB光盘。 日期不明―― 悟拿到了悠尼“转让”的光盘,
并着手进行解析。 其中有一部分已加密的情报,
但悟也成功解开了。 光盘里收录了各种各样的情报―― “只有阅读者能了解的情报”,
以及“阅读者想知道的各种情报”。 这些东西,都被藏在了这张光盘之中。 日期不明―― 悟以TB光盘的情报为基础,
同时大幅度修正了『计划』。 实验场地也从澳大利亚变更成了
日本国内的三个地点(朱仓岳、青鹭岛、穗樽日)。 目的不只是收集情报,还有
救出事故中的牺牲者黛等人。以及…… 将“Self”在此时空内捕捉、幽禁。
日期不明―― 悟为了执行“计划”,向悠尼寻求帮助。 悟使用了TB光盘说服悠尼,
并讲述了其中收藏的情报。 悠尼为了救出心,
回应了悟的呼唤。 日期不明―― 悟稳步进行着“计划”的准备工作, 对舞台之一的茂枝木村穗樽日废坑遗迹进行了改造。 他把矿山内挖成圆形穹顶状,
将天花板、墙壁、地面涂成白色, 制造了连自己身处何方都搞不清的,
一个不可思议的空间。 接下来,悟对悠尼和榎本进行了细致的指示。 但是,他故意隐瞒了一些情报, (=某些可能会对『计划』造成障碍的情报) 也由此埋下了伏笔。 07月―――― 悟完成了设置在穗樽日矿山内的
时空转移装置。 日期不明―― 悟与榎本制造了小规模(短距离、短时间)
的时空转移,并交换了彼此的肉体。 之后,悟的肉体里寄宿着榎本的意识,
榎本的肉体里寄宿着悟的意识。 07月04日―― 07月03日,雪化后在朱仓岳的地表,
发现了男女3人腐烂的尸体。 当局公报说,这是搭乘HAL18次航班的
(心、黄泉木、黛)。 ……登载着如上内容的报纸被发行了?
但是,这则消息的真实性不明。 对悟等人来说,
这也可能是捏造的虚假报纸。 07月12日―― 内海被幽禁在穗樽日的地下,
腹中孕育着双胞胎。 同时,时空转移装置开始运作。
这些均出自悟等人所为。 下午4点半――
青鹭岛圈之间开始发生时空转移。 之后的转移现象,根据装置设置,
直到其停止运作,仍然不定期发生着。 这种不定期转移,就连设计者
原则上也无法预测,但在这次的计划中, (不管重复着多少次历史),
都会在完全相同的时间点发生转移。 午后08点02分以后── 转移过程中出现了异常现象, 心(2011年)・悟(2012年)・双胞胎中的哥哥, 穗鸟(2011年)・犬伏(2012年)・双胞胎中的妹妹, 这两组的3人之间,每次时空转移,
07月15日―― 胎儿们的“婴夜啼”让玩闹得以继续。 由于跟SPHIA一起转移到了穗樽日圈内,
被杀害的榎本的肉体,属于2012年的悟) 结果,这是一起意料之外的事故。 还是说……? 07月16日―― 次日天亮前── 内海被从穗樽日地下释放。
07月17日以后―― 由于穗樽日圈内无人, 时空转移时没有发生人格交换现象。 07月18日―― 时空转移装置到达最终等级。 08月―――― 内海产下双胞胎。 2012年 悟和内海来到青鹭岛SPHIA内。 内海作为一名患者,悟作为一名工作人员。 01月11日―― 悟将TB光盘“交还”到 SPHIA中悠尼的房间内。 (不想让他人看到的情报, 悟再度自行加密了) 悠尼直到时空转移发生, 都在青鹭岛圈外等待着。
【Remember11/悟视点】 悟登上了SPHIA的钟楼。 似乎是受到了邀请,“某人”现身了。 下午4点过后—— 随着打雷声,悟从SPHIA的钟楼上跌下。 这时,悟失去了“作为悟的”人格(=自己)和记忆。 变成空壳(=我)之后, 仿佛是被移植了“某人”的记忆, 悟陷入了不自然的记忆障碍。 下午4点半—— 2011年01月朱仓岳圈与2011年07月的
穗樽日圈之间开始发生时空转移。 (起初是没有人格转换的空间转移,
因为心并不在朱仓岳圈内。) 利用这个空转移,悠尼离开了青鹭岛, 进入了2011年的朱仓岳。 与此同时,时空转移中2011年的悠尼 误入了青鹭岛圈内。
午后08点02分以后—— 转移过程中出现了异常现象, 心・悟(2012年)・双胞胎中的哥哥(2011年07月), 穗鸟・犬伏(2012年)・双胞胎中的妹妹(2011年07月), 这两组的3人之间,每次时空转移, 都会发生人格交换现象。 午后08点40分左右── 悠尼与内海在悠尼房间内 发现了TB光盘。 并且,阅读了光盘中的内容。 之后,光盘为2011年的悠尼所持有。 01月16日―― 2011年07月17日之后, 由于穗樽日圈内无人, 时空转移时没有发生人格交换现象。

01月17日―― 因为悟等人的努力,大家度过了雪崩危机。全员生还。 在青鹭岛海岸上,众人到齐(心・悟・黛・黄泉木・ 内海・犬伏・2012年的悠尼・双胞胎)。 (2011年的悠尼,在时空转移发生之前, 因为误入了朱仓岳转移圈, 独自被困在2011年的避难小屋内, 不久后被救护队救走。) 最后的时空转移(最终等级)发生。 悟(=我)离开了这个世界。 他将去往……? “计划”到底成功了吗? 还是失败了? Self在哪里? 永远无法逃脱的记忆的迷宫。 悟从钟楼上落下之前看到的人影── 那就是,已经被囚禁于时空中的 “Self”也说不定……。 —— 他已经进入了 infinity loop 。




プロローグ 序章
ココロ編 心篇
サトル編 悟篇
セルフ編 Self篇
視点切り替え 改变视点
戻る 返回




セルフ編の最初から 从self篇开始
セルフ編エンド直前から 从self篇结尾处开始



根据Visual Fan Book中的采访,中泽工向我们揭示,实际上Remember11的最初企划并非作为infinity系列中的作品,但公司高层在Ever17取得成功后,决定进行续作的开发。









  • 我们所讨论过的所有东西 (α的身份,沙也香之死,优希堂计划,SELF)
  • 各个角色的背景故事
  • 对各个原型的充分了解,以使得Self意识到自己的存在并最终成为一个整体



Remember11解密篇 (主页)
上一篇:SELF的心理学隐喻下一篇: 钟楼上的影子

Infinity Plus Premium Interview

This is a translation of the Infinity series interview found on pages 16-21 in the “Infinity Plus Premium Book”. The booklet was bundled with Infinity Plus, which was a box set containing the Infinity series (Never7, Ever17, Remember11) as well as 12RIVEN released on April 4, 2008. Note: I am not a good translator, but I’ve tried to capture the essence of the interview. If you’ve got any corrections, leave a comment or contact me and I’ll update it accordingly.

Raw Scans


Premium Interview

Kotaro Uchikoshi
Planning and original concept of Never7, Ever17, and 12RIVEN. Scenario writer for Remember11 (using the pseudonym Tsukishio Hagane). Also worked on the scenarios of Memories Off, Memories Off 2nd, Eve New Generation, among others.

Takumi Nakazawa
Director and scenario for Never7 & Ever17. Original concept, director and scenario writer for Remember11. He also worked on Memories Off 2nd, I/O, and Myself;Youself, among others.

We asked Takumi Nakazawa and Kotaro Uchikoshi about the truth of the hidden stories in all their creations! Because this contains a lot of spoilers, you should finish the games before reading on.

Infinity / Never7

The never-ending challenge these two faced began here! The secrets of the first entry in the series — “Infinity”

To start off, could you describe how the first entry in the Infinity series was developed?

Nakazawa: When Memories Off was released, KID (the company that developed the Infinity series and Memories Off) launched a project to create a new original title. During the design phase, we thought it would be interesting if the protagonist predicts the future and rescues the heroine from a crisis. As Uchikoshi-san refined that idea, the premonitions became a red herring and turned into a time travel story.

Uchikoshi: That right.

Nakazawa: Initially it wasn’t about creating an elaborate story, we just wanted a concept that was slightly different from others.

Uchikoshi: Regarding other concepts, there was an idea to entangle the characters in a complicated manner. At that time, the route for each heroine in a ren’ai (romantic love) game was completely distinct. Once you started a certain heroine’s route, the other characters no longer appeared. But that’s not very fun, is it? It would be better if the characters continued to interact with each other in a more complex way.

Nakazawa: That’s why I always have problems refining and fine-tuning the scenario (laugh). Especially when I considered that each character route should be enjoyable regardless of which order they’re played in. In order to keep it enjoyable till the end, we had to be sure that there was some mystery in each route.

Uchikoshi: Nakazawa-kun was stubbornly committed to that point. At that time, he wanted to have that degree of freedom. On the other hand, I prioritized the story so I wanted to fix the route order. The player would play the planned order.

Nakazawa: So as a compromise, we set different difficulty levels for each character route. The heroine we wanted the player to clear first is the easiest to access. Also, the order that each heroine appears in the opening movie is the route order that we had in mind.

Is it possible to say when the idea of Never7 came about, given that it’s the “completed version” of Infinity?

[Note: “Infinity” was actually the first entry in the Infinity series. It contained the first five paths of Never7. “Infinity Cure” was released a few months later and only contained the Izumi Cure and Yuka Cure routes. There was a game-breaking bug in Infinity that prevented some players from accessing the Izumi route. To rectify these issues, they created “Never7”, which contained all the routes and fixed the bug.]

Nakazawa: Initially there were no plans for a sequel.

Uchikoshi: As you may know, Infinity was a troubled work.

Nakazawa: We had some problems in the first version, and for that we are very sorry to the players. So we really wanted to make a remake. As for the title “Never7” and the meaning behind the name, it was invented by Uchikoshi-san. There are various meanings like “the 7th day will never come” and “7 characters cannot survive, one must die”. If “Infinity” was satisfactory, we wouldn’t have needed to create “Never7”. It’s very embarrassing if you think about it.


How was the “third viewpoint” created which shocked a lot of players? — “Ever17”

Uchikoshi: The story goes back to Memories Off. Many players preferred to self-insert, so they scolded us for making the protagonist too individualistic. Reflecting on that, we made the behavior of Makoto Ishihara (the protagonist of Never7) within the bounds of common sense. The “third viewpoint” of Ever17 is also an extension of that idea. In any case, we enhanced the concept of the protagonist = the player.

Nakazawa: The player and protagonist share the same shocks and worries. We had to keep that in mind. In particular, the protagonist shouldn’t know what the player doesn’t know throughout the story. If the amount of information they know is the same, it makes it easier to make them share the same surprises and worries. My intention was to get the player’s empathy using that point. In Coco’s route, the scene where Hokuto saw his face in the mirror surprised both Hokuto and a lot of players. I was glad it got that reaction. I was careful not to let them realize that the boy in Takeshi’s route (Ryogo Kaburaki) and the Kid’s route (Hokuto) are different people so that they would be completely surprised in that scene. Even in the event CG, we tried to keep them out of the image as much as possible. If we couldn’t take them out of the image, we made them smaller. Because of that, the art staff kept asking why not draw the protagonist? So I explained it using a matchstick and lighter, but everyone said they don’t understand what I’m saying (laugh).

Uchikoshi: At that time, only the writers and a few business people understood the structure of the scenario. With this, the structure of the story finally began to spread.

Nakazawa: Under these circumstances, we weren’t completely confident. If the twist is hard to understand, then the game won’t be interesting at all (laugh). But when we released it, I was relieved that many players understood it perfectly.

Speaking of twists, it was shocking to be misled by Youbiseiharukana Tanaka’s name.

Nakazawa: To make it so that her full name isn’t said, we decided to make it a long name. While browsing a name search website, I found the names Youbiseiharukana and Youbiseiakikana and decided to use them.

Uchikoshi: During our time at KID, there was a tradition of making the main heroine’s name start with “Yu”. So while looking for long names with “Yu”, we stumbled upon two that had the kanji for spring (春: haru) and autumn (秋: aki).

Nakazawa: Since we’re talking about You’haru and You’aki, the players also noticed that the four seasons were in the names of heroines across the series. At the time of Never7, we chose names that represented good qualities and so on, but since then I became very particular about choosing meaningful names. It’s the same with the haiku that You’haru read: “海月の 虚空に秋涼し 時島” [Note: The poem references the characters in the game]. My point is that You’haru affectionately sang a song to her beloved daughter about her companions in 2017 and involved her in the plan. But I still haven’t seen answers that 100% correctly identify who the words are referring to. Specifically “時鳥” seemed to be difficult, and it in fact refers to Takeshi.

Approximately when did you come up with the concept of the “third viewpoint” that drags the player in front of the monitor into the game?

Uchikoshi: Actually, the concept of the “third viewpoint” wasn’t there from the start. Originally it was planned to be more orthodox. What we decided was the theme of “escaping from a theme park”. In order to keep them from escaping, we sank them deep underwater. At first we wanted to make Tsugumi a vampire girl. Using that concept as the starting point, we thought about how to set up the story… and we came up with the twist involving “the third viewpoint”. The reason why everything looks the same after such a long passage of time is because of Tsugumi’s virus infected everyone, and since the interval is 17 years, that’s equivalent to one generational gap.

Nakazawa: It was a little after we tried to make Tsugumi’s virus that we decided to link it to the Cure Syndrome from Never7. Cure Syndrome in Never7 had an occult element to it, but Cure Virus in Ever17 operated more scientifically. For example, I wanted to make a relationship like “Ring” and “Spiral”. [Note: “Ring” and “Spiral” are two books written by Koji Suzuki. Movie adaptations were made and eventually released in the West] It was interesting to see the players trace this idea back to those works. It seems that the reason why Cure Syndrome cured diseases in Never7 was actually because of the Cure Virus. Of course, the opposite interpretation is also true. Cure Virus was actually born because of Cure Syndrome. I hope you interpret it in the way that makes the most sense to you. You could say that Ever17 is a large and miraculous work, and now there’s nothing left to say.


Like a roller coaster, the player is constantly stimulated in — “Remember11”

Compared the the previous two entries, the story of Remember11 is quite difficult to understand but despite that I felt that it was very enjoyable.

Nakazawa: I didn’t intend to make it like that. But I feel that’s what it ended up being.

Uchikoshi: As mentioned earlier by Nakazawa-kun, we were worried if the twists and story would be conveyed properly since Ever17.

Nakazawa: And in Ever17, the characters tell you some difficult things.

Uchikoshi: But since it was well-received, we raised the bar a little with Remember11. We may have gone too far in some parts, but there are players who said this was good.

Nakazawa: With Ever17, I was told that the descriptions were too long and boring, so I added the TIPS function in this title to prevent an information overload in the main story. However, my intention wasn’t conveyed properly and this time I was criticized that the story was fragmented. With this system, people who don’t want to read can ignore it and focus only on the story, but people who don’t understand the meaning of words or phrases can look them up as if it was a dictionary. But it didn’t turn out too well.

The (bad) endings in Kokoro’s route affects Satoru’s route, and vice versa… Did you originally plan to make it an endless spiral structure?

Nakazawa: When we started the project, we wanted to explore ideas that were not in the previous two works. Despite being proud of Ever17, we were nervous to work on the next title (laugh). We wanted to create “unexpected developments”. One way of achieving that was to keep the player on edge with the quick transitions of the personality exchanges. We didn’t want them to get bored. The game is like a roller coaster.

Uchikoshi: At that time, I felt it was a very experimental work, and I still feel that way. However, we weren’t aiming to be avant-garde (laugh).

It was quite bold to end both the Kokoro and Satoru routes with the phrase “It is an infinity loop!”

Nakazawa: The plot in this work is “a never-ending revenge story” created by the characters. For everyone that has finished Remember11 already, if you believed that was the true ending, then it is. In Ever17, the player overlooks the game world from above and guides the characters. The story seemed to be a single story that took place in 2017 until it was revealed that one half was in 2017 and the other half was in 2034. This time, I thought I would do the opposite. I created a plot that appeared to be showing two separate stories, and thought it was interesting if the player became the enemy of the characters. The player isn’t necessarily a “good being” for the game characters. Depending on the player’s choices, tragedies can befall them. So are there situations where they might hate the player? If you can express that idea in the story, then it’s a new concept. Surely everyone would be trembling and surprised. If you think about it, it’s absurd and entertaining (laugh).

If that’s the case, is “That Guy” the player?

Nakazawa: So let me explain it like this. “That Guy” isn’t necessarily limited to “the player”, but to the characters, they have no way of distinguishing between us who are “one dimension higher”. To them, we are abstractly like God. You can say that this is a story about rebelling against God.

Why do they hate “That Guy”?

Nakazawa: In the past, “That Guy” did something terrible to Satoru. So this work is to lure it in and take revenge against it.

Uchikoshi: Initially, there were plans to include a scene where Satoru would kill his sister Sayaka because of the player’s choice.

Nakazawa: Although we didn’t show such a direct depiction, we hope you can see that if you read between the lines. Since he has such a cute younger sister, it’s difficult to imagine it. So Satoru himself doesn’t understand “why did I have to take her life?” With that thought, he came to the conclusion that “I was being manipulated by ‘something’ at that time”. That “something” is “That Guy”. From there, the Yukidoh Plan is devised to take revenge. At first glance, it seems to be ridiculous, but that’s the reality. “Something was wrong, and even now I don’t know why I did such a thing”. This is one interpretation of “why I acted strangely at the time”.

Uchikoshi: With those feelings, this time Nakazawa-kun led the initiative and researched a huge number of works and materials. He proposed to introduce elements of Jungian psychology.

Nakazawa: Roughly speaking, beneath a person’s unconscious is the collective unconscious which contains all archetypes like the Anima, Animus, and so on. Within each person, these archetypes are integrated into the person’s Self… It’s roughly like that. If we extend this interpretation from a single human to the world itself, does that mean that there is an entity that controls every human being…? In the story, “SELF” was born from this idea. The reason why each character represented an archetype is because they are all under the control of “SELF”. In other words, you can think of the world Remember11 as the psychological experience of a single entity.

Uchikoshi: So we thought to make the character names match their archetypes. That was a tradition carried from Ever17 and gave their names meaning.

Nakazawa: Kokoro (心: heart) symbolizes the anima, or feminine emotions. Satoru (悟: perceive, understand) represents the animus, or masculine reasoning. Mayuzumi (黛: eyebrow pencil) is a cosmetic that beautifies the eyebrows. She represents the persona, or the appearance that we show to others. Kali represents the dual nature mothers, showing affection and restraint. She is named after the Hindu goddess. Seiji sounds like “Sage”, meaning a wise man. At first, Hotori’s archetype was the trickster, and we planned to give her a major supporting role. But it didn’t fit well, so we gave that role to Yuni. She was originally named “Hotori Kusuda”. It sounds like “torikusuta”… trickster… (laugh). Ah, please laugh if you get it, it’s a point of pride.

12RIVEN / Conclusion

Up to now we covered the “Infinity” series. From here on we discuss the “Integral” series.

Uchikoshi: I was impressed that the Infinity series became a trilogy.

Nakazawa: Regarding one of the past points, names that follow the “Yu + season kanji” format were in all games. By the way, because of the dual protagonist system in Remember11, you get 優希堂 + 冬川 = 優冬 (Yukidoh + Fuyukawa = Yu + 冬:winter).

[Note: In Never7, we had Yuuka 優夏 (夏:summer)]

Uchikoshi: We’re starting the “Integral” series with 12RIVEN. Although it only has a single entry, it is also a series (laugh). It’s up to you whether this will continue or not. Please tell us you opinions and impressions.

Finally, please give a message to the fans reading this.

Nakazawa: Naturally the story is made with a certain intention, but there are many places that require the player to draw their own conclusions. We thought it would be interesting to have these places where the player and spread the wings of their imagination. Seeing the discussions of the web is fun for us to see, and it’s great that the work could be made much broader. Once you’ve finished the game, add your 1 piece to the 99 that we made, please advance the mysteries that you care about by just one step on your own. During that process, it would be great if you liked our game more.

Uchikoshi: Some players seem to approach the Infinity series with a scientific viewpoint, but it’s a series filled with deep emotions. Since we’re not experts, we sometimes make wrong interpretations [about scientific terminology] in our work. We’re primarily entertainers, so sometimes we intentionally make broad interpretations. These interpretations are okay in order to achieve our purpose. Those that experienced the series should now be more familiar with psychology, quantum mechanics and so on as we used those concepts to tie things together. By doing this, unexpected talents can arise. Recently it is said that the departure from science is striking. If I can stop that, I would do my best to help Japan, so please do the same and rebuild this country (laugh).

Nakazawa: That’s a great way to end things (laugh).


プレミアム インタビュー

The secret of infinity + integral

「Never7」「Ever17」「12RIVEN」で原案とシナリオ、「Remember11」では槻潮鋼 (つきしおはがね) の名でシナリオを手がける。 ほかに 「メモリーズオフ」 「メモリーズオフ2nd」 「Eve new generation」 などのシナリオも担当。

「Never7」「Ever17」でディレクターとシナリオ、「Remember11」 で原素、ディレクター、シナリオを担当。 ほかには 「メモリーズオフ2nd」、「IO(アイオー)」、「Myself;Yourself」 などを手がける。

中澤工氏と打越鋼太郎氏に、全作品の制作秘話と真相を聞いた! ネタバレを大量に含むので、くれぐれもゲームを解き終えてから読んで欲しい。

シリーズ1作目制作秘話 — 「infinity」

ーーまず、シリーズ 1 作目 「infinity」 が制作された経緯について教えてください。

中涯工氏 (以下中澤) 当時は「メモリーズオフ」 が発売され、キッド社内では、新たにオリジナル作品を作ろうと企画が立ち上がりました。そこで、 主人公が未来を予知して、ヒロインを危機から救うゲームがあったら面白いよね、と企画が挙がって。それを打越さんが練っていくうちに、未来予知の部分はミスリードにしよう、タイムスリップモノにしようよって話になりました。

打越負太郎氏 (以下打越) そうだったね。

中澤 当初はまそんなに凝ったものを作るというわけでもなく、 ちょっと他とは変わったものにしよう、という程度のコンセプトでした。

打越 その他のコンセプトとしては、キャラクター同士が複雑に絡み合う物語にしようというものがありました。 当時の恋愛 AVG は、ヒロイン1人1人の話が全然別モノだった。 あるヒロインの本筋に入ってしまうと、他のキャラはもう出てこなくなる。 でもそれじゃ面白くないよね、どうせなら全員が複雑に絡らの中でずっと続いています。

中澤 その分、シナリオの擦り合わせでいつも苦労するんですが (笑)。 特に気を使ったのが、キャラをどの順番でクリアしても楽しめるようにしたことです。最後まで面白さを損なわないよう、それぞれのシナリオで一個ずつくらいは謎が残るようにしました。

打越 そこに強いこだわりを持っていたのが中澤君でした。当時の彼は、ゲームである以上、自由度はなければいけないと。 一方、僕はシナリオ重視で、キャラの攻略順を固定にしてしまおうと思っていました。 その方が企み通りに読んでもらえますから。

中澤 だから折衷案として、キャラクターごとの難易度に差を付けました。最初の方にクリアしてほしいヒロインほど、簡単にクリアできるようになっているんですよ。 あと、これはお遊びみたいなものですが、 オープニングデモのヒロインの登場順が、僕らの考える攻略推奨順にしてあります。


中澤 当初は続編の予定はありませんでした。

打越 ご存知かもしれませんが、「infinity」はトラブルに見舞われた作品でした。

中澤 一部不具合があって回収することになり、 ユーザーさんには大変申し訳ないことをしました。 だから、いっそのことリメイクをしようと。「Never7」というタイトルはそんな僕らの意思表明もかねて、打越さんが考案してくれました。「7日目が決して来ない」とか、「登場人物フ人のうち1人が死んで、7人を維持できない」 など、様々な意味が込めてあります。もし 「infinity」 が満足いくデキになっていたら、 移植されることはあっても、「Never7」が誕生することはなかったでしょう。そう考えると感慨深いですね。

大勢のプレイヤーを驚愕させた”第3視点”はいかにして生まれたか? 一「Everl7」

打越 話は 「メモリーズオフ」にまでさかのぼりますが、当時、主人公があまりに個性的すぎるとユーザーさんからのお叱りの声が多くて。それを反省点として、行動を常識の範囲内に収めた主人公が「Never7」の石原誠です。「Ever17」 の “第3視点” もその延長線上にあります。とにかく主人公=プレイヤーであるという認識を徹底的に高めることで生まれた要素ですね。

中澤 プレイヤーと主人公がいっしょに驚いて、いっしょに悩む。それを心がけました。プレイヤーが知らないことは主人公にも知らせないということに徹していましたね。 情報量が同じなら、驚きや人悩みをすんなり共有できますから、そこから感情移入してもらおうという狙いでした。ココ編で、ホクトが鏡で自分の顔を見て驚くシーンで驚いてくれたユーザーさんはたくさんいてくれたようで、嬉 しかったですね。ここでたっぷり驚いてもらえるように、倉成編の少年 (桑古木) と少年編の少年 (ホクト) が別人であることを悟らせないようにするのは気を使いました。 イベント CG でも極力構図に入らないように、とか。 入れざるを得ない時は小さくしたり。それで、原画スタッフたちに主人公を描かないようにしてねって言うと、「何故?」 って聞き返してくる。だからマッチ棒とライターを使って説明したんですが、みんな、何を言っているのか分からないって言うんですよ(笑)。

打越 当時、このシナリオの構造を理解していたのは、ライター陣と、ごく一部の営業さんだけだったんです。これを機に、物語の構造がやっと広まりはじめたかな。

中澤 そういう経緯がめったものですから、僕らも半信半疑だったんです。 このトリック分かりにくいかな、これが分からなかったらこのゲーム全然面白くないぞって (笑)。 でもフタを開けてみると、多くのユーザーさんに完璧に理解していただけてホッとしました。


中澤 フルネームを言わなくて済むおように、とにかく長い名前にしようと思いました。それで、Web 上の名前検索サイトを探していたら優美清春香菜、優美清秋香菜という名前があったので、それを使おうと。

打越 当時のキッドの伝統で、メインヒロインは頭に “ゆ” が付く、というものがあって。それでゆがつく長い名前を探したら、偶然に春と秋の字も入っていた。

中澤 僕らが2人のことを優春、優秋って言っていたからユーザーさんたちにも、シリーズのヒロインの名前に四季が入っていると気づいてもらえました。「Never7」の優夏で夏の字は消化したから、残りは冬の字だけだって話していましたね。嬉しい偶然でした。「Never7」の時は字面や[?]さのよさなどで名前を決めていましたが、この頃から、キャラの名前にこだわるようになりました。 優春の読んだ俳句 “海月の 虚空に秋涼し 時島” にも入れ込んだり。 あれは要するに、優春が 2017 年にいた戦友たちと、計画に巻き込んでしまう愛娘に思いを込めて詠った歌なんです。でも、どの言葉が誰を示しているのか、100%の正解者は少なくとも僕は見たことがないですね。 特に “時鳥” は難しかったようで、あれは武を指しているんです。

ーーTV の前のプレイヤーをゲームに引きずり込む “第3視点” の概念はいつ頃から?

打越 実は“第3視点” 云々の構想は最初からあったわけではありません。当初はもっとオーソドックスなスタイルになる予定でした。最初から決まっていたことというと、”テーマパークからの脱出” というテーマくらいですね。じゃあ逃げられないようにするには、いっそのこと海に沈めてしまえ、と。つぐみは、最初は吸血鬼の少女にしようと思ってました。そのコンセプトを元に、物語をどう着地させるか…と設定を練りこんでいって考えついたのが、”第3視点” を絡めたトリックでした。月日が経っても同じ姿でいる理由は、つぐみがウイルスに感染したことにしよう、そして間隔は 17 年間にして、それで1世代変わることにしよう、と。

中澤 そうして生まれたつぐみのウイルスを、前作 「Never7」 におけるキュレイシンドロームの別解釈にしたのは、さらにもう少し後の話です。「Never7」 のキュレイシンドロ一ムはオカルト要素が漂うけど、「Ever17」のキュレイウイルスには、科学的なメスが入っている。 例えるなら、「リング」 と 「らせん」のような関係にしたかったんです。これが、うまいぐあいにはまりましたね。 ユーザーさんたちの間では、この設定が作品をさかのぼったりしてくれたのがすごく面白かったですね。「Never7」で、キュレイシンドロームで病気が治ったのは、実はキュレイウイルスに感染しただけなんだよ、みたいな。もちろんその逆の解釈もアリです。キュレイウイルスは、実はキュレイシンドロームで生まれたものなんだ、と。どちらが先でも無理はありません。皆さんの好きなように解釈していただければと思います。「Ever17」 は奇跡的と言ってもいいくらいされいにまとまった作品で、もう書き残しはないですね。

ジェットコースターのように、 ユーザーに絶え間ない興奮 をーー「Remember11」

ーー「Remember11」 は前2作に比べてストーリーが難解で、考察する楽しみが色濃く出ているように感じました。

中澤 あまり意図したつもりはありません。あくまでも結果的にそうなってしまった、という感じです。

打越 先ほど、中澤君が言っていたように、「Ever17」の頃からトリックや物語がきちんと伝わるか? という不安はあったんです。

中澤 「Ever17」も、キャラクターたちにかなり難しいことを言わせていますからね。

打越 それも受け入れてもらえたので、なら「Remember11」 はもう少しハードルを上げるか、と。それがちょっと行き過ぎた部分はあったかもしれません。これがいいといってくれるユーザーさんもいらっしゃいますが。

中澤 「Ever17」 で、 描写が長くてかったるいというご意見をいただいていたので、説明要素を本筋に入れ込まないようにしようと思い、本作では Tips 機能を付けました。 でもうまく意図が伝わらなくて、今度はいちいち物語から切離されるじゃないかという批判をいただきました。 こちらとしては、 知っている人は読まなくていいから物語に集中してね、意味が分からない人だけ辞書を引くような感覚で見てね、という程度のものなのですが。 なかなかうまくいかないものです。

ーーココロ編のエンディングがサトル編に影響 を及ぼし、サトル編のエンディングがまた

中澤 前2作にない斬新な試みをしよう、という考えは企画当初からありました。僕らの中でも自信作である「Ever17」 の次だから、とにかくビビらせよう、と (笑)。 コンセプトは “意外な展開” です。 目まぐるしい人格転移によってユーザーさんを興奮させるのもその1つです。とにかく退屈させないように。ジェットコースターのようなものですね。

打越 当時、とても前衛的な作品だと感想をいただいたことがありまして。まさにその通りだと思いましたね。 別に、前衛的であるてとを目指したわけではありませんが (笑)。

ーーココロ緒、サトル編双方のグッドエンドを見ても、「It is an infinity loop!」 という言葉で締めくくられるのが印象的でした。

中澤 本作のストーリーは、キャラクターたちによる “終わりのない復讐の物語” です。みなさん自身が 「Remember11」 はもうやりつくしたな、と思ったその時こそが、この作品の本当のエンディングだと思っていただければ。「Ever17」 は、プレイヤーがゲ一ムの世界を上から俯瞰することで、キャラクターたちを導き、2017年の話1本に思えたストーリーが、2017 年の話と 2034年の話の2本になっていく構造だったので、今度はその逆をやろうと思っていました。2本に見せかけたストーリーを 1本にまとめ、プレイヤーがキャラクターたちの敵になると面白いかなと。プレイヤーって、ゲームのキャラクターたちにとって必ずしも “いい存在”ではないんです。プレイヤーの選択次第で、 彼らに悲劇が訪れることもありますし。
だから、ひょっとして彼らはプレイヤーを恨んでいる場合だってあるのではないか? その気持ちを物語に落とし込めば、これは新しい。きっとみんなワクワクするし驚くだろう、と。 今考えるとエンターテイメントとしてはメチャクチャなことやっていますね (笑)。

ーーだとすると、作中における”アイツ” とはプレイヤーのことなのでしょうか?

中滞 そう解釈できるようにはしてあります。”アイツ” = プレイヤーとは限りませんけど、彼らには、僕ら “上の次元の者” 1人1人を判別する手段がないですし。 彼らにとっての僕らは、抽象的に言えば神様のようなものです。今作は神に対する反抗の物語であるともいえるかもしれませんね。

ーー彼らが “アイツ” を憎む理由とは何なのでしょうか?

中澤 悟は過去に “アイツ” にひどいことをされている。だから呼び出してその復讐をしてやろうと、本作はそういう物語なんです。

打越 当初は冒頭に、プレイヤーが選んだ選択肢のせいで、悟が妹の沙也香を殺のてしまうシーンを入れようという案がありました。

中澤 直接的な描写はさすがにお蔵入りになつてしまったのですが、 行間でそういうことがあったのだと思ってください。 普通に考えるとありえないですよね、かわいい妹ですし。だから悟自身も分からないんです、自分が何故彼女の命を奪う必要があったのかと。それで思い悩んで、「ひょっとして俺は、あの時”何か” に操られていたのではないか」という結論に至る。その”何か” が “アイツ”です。そこから復讐のためにユウキドウプロジェクトが動き出す、と。一見突飛なようですが、現実でもありますよね。「何故あんなことをしたのか今でも分からない、どうかしていた」って。このゲームは、何故その時 “どうかしていた” かの、1つの解釈なんです。

打越 そんな感じで、今回は中澤君主導で動き出して、本当に膨大な資料や作品に目を通しました。 今回はユング的な心理学の要素を導入したい、というのも彼の提案でした。

中澤 大雑把に言いますと、人間の無意識下にある集合的無意識には、アニマやアニムスなど、その人の意識を構成する、あらゆる要素の元型がめる、そして無意識化には、それらの元型を統合する元型もちり、それがセルフである……というあたりでしょうか。1人の人間の中で行われているこれらのことを世界そのものに当てはめて拡大解釈すれば、それはすなわち、あらゆる人間を制御する存在があるということなのではないか……? 作中の “セルフ” は、そんなところから生まれました。 キャラクター 1人1人に元型が当てはめられているのは、みんな “セルフ” の制御下にあるということなんです。いわばあの世界は、 1人の人間の中の心理現象、とも考えられるわけですね。

打越 だからキャラクターの名前も元型にちなんだものにしようと、意味を込めて考えました。名前にきちんと意味を持たせるのは、「Ever17」からの伝統でしたね。

中澤 アニマを象徴するこころは、女性らしい情感を表す心から。アニムスをな象徴する悟は、男性らしい理性を表す語から。黛は眉を整える化粧品。そこから自分を取り繕うペルソナに結びつけました。カーリーは慈愛と束縛の二面性がある母親ということで、インド神話のカーリーから。 聖司は、賢人を意味する Sage。 ただ、最初は穗鳥の元型がトリックスターで、 狂言回し的な役割になる予定だったんです。でも収まりが悪くて、途中でゆにと役割を入れ替えてしまった。当初の名前は楠田穗島だったんですよ。逆にすると、ほとりくすだ……とりっくすた一…というオチ(笑)。まぁ、気が付いたら笑ってくださいね、程度のものですが。

「infinity」 シリーズのこれまでと、「integral」シリーズのこれまから

打越 「infinity」 シリーズは、3部作でやりらきった感がありまずね。

中澤 上位の視点を縮めるとか、優の字+四季の漢字とか全部できまたし。ちなみに、「Remember11」 は、主人公が2人体制なので、 優希堂+冬川で優冬をとなっています。

打越 「12RIVEN」 からは、[integral」 シリーズどなります。まだ1作しか出ていないのにシリーズというのもなんですが (笑)。これが続くかどうかはみなさん次第です。ぜひ、ご意見やご感想をお聞かせください。


中澤 もちろん、物語は意図しで作っていますが、細かな解釈は、ユーザーのみなさんにお任せしているところも多々あります。そういうところは、想像の翼を広げることで、もつと面白くできると思います。 Web 上などで行われている考察は、僕らから見ても楽しいものばかりで、懐の深い作品にできてよかったです。一度ゲームを終えたら、僕らの作った 99 に 1 を足す気持ちで、気になる謎や要素を、ご自分で一歩先へ進めてみてください。そういう過程を通して、もっと僕らのゲームを好きになってくれれば最高ですね。

打越 ユーザーさんの中には、「infinity」シリーズに触れて理系の道に進んだ方などもいらっしゃるようで、感無量です。僕ちは専門家ではありませんから、作品に間違った解釈を入れてしまうこともあると思います。 エンターテイメント人性を重視して、意図的に拡大解釈することもありまず。 そんな僕らを叩く目的だっていいんです。本シリーズに触れたのがきっかけで、 心理学や量子力学などに親しむ人が増えてくれればとれ以上のことはありません。そこから、意外な才能が花開くこともあるかもしれませんし。理系離れが著しいといわれる昨今、それを阻止できればと、日本国のお役に立つためがんばっていきますので、みなさんはぜひ大成して、この国を立て直してください (笑)。

中澤 すごい落とし方だね、それ! (笑)








—— 他已经进入了 infinity loop 。

Remember11解密篇 (主页)
上一篇:丢失的Self篇下一篇: 悠尼计划



在游戏的预告片 中曾简要地提到过 “Unus Mundus”这个概念。 这是理解Self在荣格心理学层面上更高存在的关键。


“Unus Mundus”的意思是“一个世界”。引用维基百科的话,它是“一个潜在的统一现实的概念,所有的东西都从中浮现出来,一切又回到它的身边。”这是另一个荣格式的概念,在故事中多次出现,但很微妙。

在premium interview中,中泽工告诉我们,“Remember11是一个实体的心理体验”:

中泽工: 粗略地说,在一个人的意识之下是集体无意识,它包含了所有的原型,如Anima、Animus等等。在每个人身上,这些原型被整合到人格的自我中…如果我们把这个解释从一个人扩展到世界本身,这是否意味着有一个实体控制着每一个人…?在这个故事中,“Self”就是从这个想法中诞生的。每一个人物之所以代表一个原型,是因为他们都在“Self”的控制之下。换句话说,你可以把Remember11看作是一个实体的心理体验。





角色 原型 概述
双胞胎 Primordial Child / Miracle Child 有实现任何事情的潜力,即“神童”
润一 Eternal Boy 高度创造性和想象力,但行为不成熟
Anima 男性心中的女性倾向
Animus 女性心中的男性倾向
黄泉木 Wise Old Man 父亲般智慧的象征
内海 Great Mother 母爱的象征
Persona 在他人面前所作的虚伪伪装
悠尼 Trickster 有高智商或不为人知的智慧的人,并利用它来搞破坏和做出出格行为
犬伏 Shadow 我们试图压抑的,自己的缺点和阴暗面
SELF Self 整个人的统一人格。包含所有心理现象的单一整体。



打越: 所以,我们想让角色的名字和他们的原型相匹配。这是一个从E17就开始的传统,赋予他们的名字更多意义。

中泽: 心象征着Anima,或者说男性心中的女性倾向。悟象征着Animus,或者女性心中的男性倾向。“黛(Mayuzumi)”是一种用给眉毛的化妆品,她代表着我们向他人展示的人格伪装。卡莉代表着有矛盾性格的母亲,即爱又克制。她的名字,是印度教中的母神。圣司(Seiji)听起来像“圣人(Sage)”,意为智者。起初,穗鸟的原型是Trickster,我们计划给她一个重要配角的戏份。不过后来觉得不太合适,所以我们把它给了悠尼。她原来的名字是“楠田穗鸟(Hotori Kusuda)”,听起来就像“torikusuta”…trickster…(笑)。



Remember11解密篇 (主页)
上一篇:优希堂计划下一篇: 丢失的Self篇



  • 营救黛等HAL18次失事航班中的遇难者
  • 在此时空内捕获Self,并将其囚禁。












This story has not finished yet.

Truth is not revealed.

And it circulates through an incident.

It is an infinity loop!



  • 内海计划成功结局(END23)——内海杀死了犬伏和她自己。悟失去了理智,后被送往了精神病院。类似的结局也会在其他情况下发生,即在小屋中茫然自失结局(END32)。相对地,当悟发现心和避难所小屋成员已经尽数死亡时,在心视角也会触发避难小屋组全灭结局(END33)。
  • SPHIA组灭绝结局(END4)——在内海报复完犬伏之后,心发现自己回到了1月11日的坠机地点。类似的描述也发生在独自一人在小屋遇难结局(END18)中,在悟被杀后的第6天或第7天,心也回到了1月11日。










[92 最后阶段]


第三只眼…指的就是玩家。伴随着“玩家”您的觉醒,与之而一并被创造出来的“Real”世界会是什么样子呢?我们可以设想一下——或许优希堂沙也香没有被抹去,优希堂计划也根本不存在? 或许玩家的一切记忆会融合在一起,藉此创造出一个全新的世界






Rmemeber11解密篇 (主页)
上一篇: 优希堂沙也香 – 下一篇:SELF的心理学隐喻























年表和premium interview给出了另一种解释:悟被某种东西控制,使得他亲手“杀死”了妹妹。










中泽工: 虽然我们没有直接地描述给你,但是如果你仔细地阅读了,我希望你也能察觉到。他曾经有一个这么可爱的妹妹,所以悟本人也不明白为什么自己要杀了他。他认为,自己是被某种“东西”操纵着这么干的。而那个“东西”,就是“那家伙”。之后,优希堂计划就是为了报复“那家伙”。乍一看,这似乎很荒谬,但这就是事实。“不对劲,我不记得我做过这回事儿,肯定是别人让我干的”;是对“为什么我当时行为奇怪”的一种解释。









Remember11解密篇 (主页)
























Tips088 那家伙 曾提到过:



  1. 它有操纵人类的能力
  2. 它是存在于零维和超时空的,在他们的领域“之外”
  3. 它的行动不受时间限制
  4. 它的记忆被移植到了“我”身上
  5. 它的记忆是不完美的,并且只仅限于在心篇中所提到过的东西。



5. 不完美的记忆


4. 记忆移植


3. 不受时间限制


2. 存在于零维





1. 操纵人类的力量










杀【我】的 记忆的迷途




















Remember11解密篇 (主页)







album_enomoto album_satoru









日语 罗马音 中文 使用人
[ore] 自己 摔下塔楼前的优希堂悟,第三地点中的黑衣男子
オレ [ORE] 自己 摔下塔楼后的优希堂悟
[atashi] 人家 冬川心
ワタシ [WATASHI] 未知,在心篇第二天出现
[watashi] 悟篇第四天中出现的榎本尚哉,第三地点中的黄衣男子






真正の优希堂悟: 优希堂/戴眼镜
真正の榎本尚哉: 榎本/黄头发
我们的主角: “悟”/我





















  • 悟的年龄,名字
  • 当前日期
  • 他的所在之处
  • SPHIA及其居民的住处
  • 犬伏的过往
  • 朱仓岳所发生的事故及其幸存者
  • 事实上他与铃曾有过关系。


  • 1月11日前的任何事物
  • 他的童年,甚至是他的父母
  • 他为何曾经爬上过钟楼
  • 为什么大家都在SPHIA
  • 他同铃的恋情是如何开始,如何结束的。





Remember11解密篇 (主页)
上一篇:阿尔法与欧米茄下一篇: SELF在哪里?






  1. 如果心不吃药,悟就会被淹死。灯熄灭后,心感觉到有人进入了浴室,而悟则感觉有人在紧紧按着他的头部,直到他被活活淹死。
  2. 如果心吃了安眠药,悟就会活下来。灯还是熄灭了,但她并未感觉有人进来过。























Remember 11 解密篇 (主页)
上一篇:犬伏景子与凉萌穗鸟  下一篇:总结——7日之中交错的轨迹




















TIPS 105 – 犬伏景子


TIPS 108 – 凉荫穗鸟



















让我们看看在穗鸟身体出现的时候,章节标题所使用的象征性的语言。这两个章节的标题分别是:“Another Shadow(另一个影子)”和“未能存活的阴影”。因为犬伏的原型是“Shadow(影子)”,所以穗鸟被称为“另一个影子”意味着她的人格同犬伏景子的人格之间的关系。然而,最终那个影子在雪山里死去了。




让我们来讨论下“凉荫穗鸟”(涼蔭 穂鳥)这一名字 。
凉 – 凉爽,阴冷 (用作名字时也可读作“Sayaka【沙也香】”)
蔭 – 阴影
凉荫 – 阴冷的阴影, 或“冰冻的人格”

穂 – 麦穗,谷穗
鳥 – 鸟,像是笼中鸟


在游戏开发的早期,穗鸟被设定为一个戏份更多也更为积极的角色。我们之所以知道这一点,是因为她的几个角色立绘在游戏文件中被发现了。在这一版本中,她被称为Hotori Kusuda,并计划对应trickster这一原型。她的名字(Torikusuta=trickster)可能是个双关语。最终,开发者们将“Kusuda”这一名字赋予了悠尼,从而保留了同此原型的联系。

Remembr11解密篇 (主页)
上一篇:第三人格与第三地点 – 下一篇:阿尔法与欧米茄






时间 避难小屋 SPHIA
01:07 PM
01:40 PM
06:03 PM
06:36 PM
07:33 PM
08:06 PM




时间 避难小屋 SPHIA
07:00 PM
07:33 PM
08:06 PM


时间 避难小屋 SPHIA 第三地点
07:00 PM
07:33 PM
08:06 PM


时间 避难小屋 SPHIA 第三地点
07:00 PM α
07:33 PM α
08:06 PM α


Transfer diagram. Inspired by Daniel Dawson’s chart source







Day 避难小屋 第三地点 SPHIA
1 1, 11, 2011 7, 12, 2011 1, 11, 2012
2 1, 12, 2011 7, 13, 2011 1, 12, 2012
3 1, 13, 2011 7, 14, 2011 1, 13, 2012
4 1, 14, 2011 7, 15, 2011 1, 14, 2012
5 1, 15, 2011 7, 16, 2011 1, 15, 2012
6 1, 16, 2011 7, 17, 2011 1, 16, 2012
7 1, 17, 2011 7, 18, 2011 1, 17, 2012



未使用 (PC/PS2版本)

修复后 (PSP版本)












  1. 首先,它在心篇的第六天开始出现过,且当悟在第五天转移到“温暖的海洋”时又再度出现。
  2. 其次,它在PC和PSP版本的开场影片中也出现过。在原版,它会在最后一秒短暂显示,而在PSP版中,它会直接覆盖在心和悟上。
  3. 最后,在SPHIA到小屋的转场视频中也出现了这张图片,而小屋到SPHIA的转场视频则没有。这是因为只有他们在从SPHIA转移到小屋的过程中需要经过第三地点。




  • 主啊,伟大的源质啊
  • Prenatal(产前)
  • 原初之海的味道
  • Miracle Child(奇迹儿童)














Remember 11 解谜篇 (主页)
下一篇: 犬伏景子与凉荫穗鸟