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Nachi Kio

Nachi Kio participated in logo design (KOMEWORKS), with related works including 'Endless Future'.

Additional information
Positions have been verifiedLogo Design (KOMEWORKS)
KARAKARA positionInitial planning and script
KARAKARA positionLyrics by the author
A promise under the blue sky, a paradise post in the palmMy fragmented script

Credited for production and performance

From an endless future: Logo design (KOMEWORKS).

KARAKARA-related production

Nachi Kio was the first planner and scriptwriter for 'KARAKARA.' Nachi Kio was credited with the lyrics for "KARAKARA."

Promise Under the Blue Sky - Related production of Palm Paradise

Nachi Kio signed the script as part of Watashi no Kakera in 'Promise Under the Blue Sky: Paradise in the Palm.'

From advertising design to game production

Nachi Kio recalls that she originally worked in the advertising department of an ordinary company, and after being invited by a friend working in bishoujo games, she began designing game logos and packaging as a freelancer. Later, he joined NekoNeko Soft, serving as director, designer, and screenwriter; As the number of design commissions and collaborators increased, the design company KOMEWORKS was established.

There are two working methods: scriptwriting and design

When talking about "The Quartet Beyond the Blue Night," Nachi Kio explained that she was involved from the early worldview construction and continued to accept design work later because the work needed bright, cute, or dynamic visuals. In the interview, he distinguished two work paths: the script was handled as an individual creator, while the design was handled through KOMEWORKS; Both types of work can continue around the same work.

Cangbi's worldview adjustment

The early drafts of "The Quartet Beyond the Azure" leaned more toward the future; After the production team obtained the island's art materials, Nachi Kio and her companions adjusted the worldview to a modern Japan with a rural lifestyle.

The production of the Cang Bi main story

"The Quartet Beyond the Azure" main story: planning and main script.

Article: Action and Animation Space

In the 2015 production of Sohito animation, Nachi Kio realized that the movement that can leave readers with imagination in an article must be realized as spatial position; He and his companions confirmed the game process using models and a chessboard, supplementing the setup.

Cangbi Animation's script collaboration

In the 2015 production of "The Quartet Beyond the Azure," the mood of the female leads was no longer solely guessed by Akiya but expressed from their own perspectives and language. Muo therefore reconsiders the characters' thoughts in each scene and transforms those ideas into corresponding dialogue. While reading the perspective-shifting manuscript, Suzumori noticed a side of the original Tsunei Aki's perspective that was not easily noticed.

The deletion of the animation draft for "The Quartet Across the Blue" was progressed through discussions between the animation writer and the original creators. Mu Xu stated that to highlight a particular scene, others must be cut, and these trade-offs align with the original creator's judgment; After reading about the new scenes, Suzusen also believes the adaptation is not just about shortening the game text.

The Mephisto logo has been repeatedly reworked

Nachi Kio reflected in her production diary on June 3, 2011, that she encountered difficulties in designing the logos for Mephisto and "Tenshi no Hagen wo Stepping on Them!" He struggled to grasp the desired image, repeatedly redoing the work before deciding on the direction before finally completing the logo for the brand and his work.

Hand-drawn elements and path modeling

In a 2018 interview, Nachi Kio explained that design often involves creating handwritten letters, stars, or circles, and she uses a tablet to keep these drawings running continuously with regular operations. When tracing paths, he places greater emphasis on shaping shapes by feel.

A parallel plan for the route between Asuka and Misaki

In an online interview on August 18, 2020, Nachi Kio explained that from the outset, the main story of "Ao: The Quartet Beyond the Blue" was planned to have Asuka and Misaki's paths contrast with each other, with some content adjusted during writing. It was only after finishing that he realized the two lines had become so sharply differentiated.

Progress and communication with early fan teams

In a 2021 interview, Nachi Kio recalled that before she and her university seniors and friends started making doujin games, they first investigated the reasons for other teams' failures, noticing issues such as disputes over fund allocation, lack of coordination, and inability to complete the project. He then took on responsibilities, schedule management, and funding, scheduling deadlines before work began, and agreeing which items were not completed by the deadline to be deleted; As long as the content is delivered on time, creators' opinions are respected.

When managing early doujin projects, Nachi Kio tries to avoid anger and instead repeatedly explains and coordinates in advance to ensure members understand and make decisions. When reviewing works, he distinguishes between flaws he only noticed after years of reviewing drafts and issues players genuinely care about; Once a certain point is reached, the details are left to the creators.

Substitute writing and script performances

Nachi Kio recalled that when designing for a company, the original screenwriter didn't submit the manuscript, so the work urgently needed to be rewritten on site. He was assigned a script and was scheduled to complete it in about three days. The publisher who received the manuscript later invited him to write the entire game; After this project ended, he accepted an invitation from the representative of NekoNekosoft and began to work more consistently on scriptwriting.

While working on NekoNeko Soft, Nachi Kio not only wrote dialogue and narration but also indicated when the screen darkened and the BGM started. In a 2021 interview, he linked this practice to the team's policy of requiring screenwriters to participate in performances simultaneously.

Preparation process

Nachi Kio explained in her 'KARAKARA' development column that the cost and playtime of full-priced bishoujo games usually raise the entry barrier for new players. Therefore, this game chose a short, low-priced, and single-story storyline, focusing mainly on download sales and overseas players, while retaining physical products. He also brings his favorite American deserts, straight highways, blue skies, and clam chowder into the scenery and restaurant menu.

When making "KARAKARA," Nachi Kion originally portrayed Lucia as a quiet and reserved girl who constantly helped Leon, but realized that doing so would make most of the dialogue skip the lines. He wanted the characters to speak more, so he deleted the first draft, including the prologue, and rewrote it to portray a more talkative and caring companion. Aisia's huge red suitcase has another real-life reference: when Muo traveled to America, he saw a companion carrying a large red suitcase, which contained a small suitcase of the same style. Based on this, he designed props that could hold servants.

Handover between assistant editing and cover work

According to KOMEWORKS designer Yuka Karukome, after joining, she first created the color pages of "Manga Time Kirara," and Nachi Kio revised the manuscript multiple times. At the time when the company was just two people, she participated in almost every project; Later, he took over the cover design from Kio and was responsible for the October 2010 issue for the first time.

Collaborate with logo designers to create the cover

KOMEWORKS designer Tadahiko Takahashi recalled in a 2026 interview that the title logo for volume 1 of "Yama no Susume" was created by him based on the style of mountaineering magazines and forest women, with Nachi Kio responsible for layout layout. Thus, the two divided the work to complete the graphic design on the same cover.

Related entries

References

Data compiled on: 2026-10-10.

本版编辑：免费机器翻译 · 2026-10-23

内容许可：CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/

本译文依据的源修订