Izuno: The Wii U is Nintendo's HD console, and I thought it would have to be the hardcore fans who would be the first to leap on board with such high-spec hardware, so we did narrow down the target.

Osawa: The so-called early adopters (people who are sensitive to the trends and are assertive at taking on board and purchasing new products), yes. ―Who made the initial approach: Koei Tecmo Games or Nintendo? I thought that the horror genre would be a good fit for the customers' image of the hardware, and appeal to them in various ways. Kikuchi: Just like with Shinku no Chou, I was the one who made the proposal. It's sort of like, if it's something that seems like we can commercialise, then we'll begin planning from there and discuss it as it takes form. ―Were there any things about the new Wii U console that you found troublesome, or contrarily found good? Izuno: The way I produce games focuses on getting the merits out of the hardware, but the Wii U's gamepad really is a perfect fit for Zero's Camera Obscura, so I definitely wanted us to make it. Kikuchi: It was really hard to utilise the hardware's special traits and actually make it look like you're really taking photos with a camera, so every day was repetitive trial and error. ―How about the fact that it's an HD console? However, with regards to the Wii U itself, its architecture is different to that of the Wii, but I felt like it was a simple and fascinating console to develop for. Kikuchi: Since the hardware's power of expression has increased, we had to pay quite some attention to how things look.

Particularly how the water is shown, or the sexiness of a woman when her clothes get wet - everything was made with the utmost attention to even the finer details. If it's too clear, though, the scariness is lessened. Shibata and I met with everyone at Nintendo over and over again face to face to discuss things like the brightness and darkness that would give us a good balance between fear and realism, and did lots of fine-tuning. Izuno: I really strongly felt that we couldn't simply use smoke and mirrors. Osawa: The clarity of the image is not inextricably linked to the scariness. If you just outright show something, you take away the margin for imagination.

Because of that, we had to carefully make scary things. Shibata: Another thing we really struggled with was whether we should go on as we have so far, with Zero-ish anime-style, cartoonish looks, or make it realistic-looking.

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