Note: The article is a mix of informative content about the work alongside an analysis. The analysis doesn’t delve too deeply into the work and mainly focuses on the Common Route, with a few small detours into the routes that aren’t particularly substantial.
All translations of dialogue and terms from Japanese were done by me and do not necessarily represent the content as it may or may not appear in a future translated version of the game. In case of any errors in translation, I apologize.
Hentai Prison (ヘンタイ・プリズン) is a Visual Novel created and published in 2022 by the Bishoujo Games (美少女ゲーム) company, Qruppo. Following their previous success with the Nukitashi (ぬきたし) duology, Hentai Prison is a pseudo-sequel set in the same universe, sharing characters and containing various thematic references. As the name suggests, this is a Visual Novel intended for 18+ audiences and is therefore categorized as an erotic game, or more specifically, an Eroge (エロゲー). While Nukitashi parodied the Nukige (抜きゲー) genre, it’s easy to mistakenly assume that Hentai Prison parodies the “Hentai genre.” However, Hentai is not a genre; if it were, it would refer to all 18+ content. By definition, “Hentai” means:
“a perverted person; people with abnormal sexual interests.”
The prison where the story takes place houses inmates who have committed sex-related crimes, making it, literally, a Hentai Prison.
Synopsis
Minato Shuuichirou (湊柊一郎), nicknamed by the police as the “Naked Man” (全裸マン), is a young man who discovered his way of life—his art—by stripping off his clothes and exposing his nude body to everyone. One day, after being repeatedly caught and warned by the authorities, Shuuichirou was arrested in the act and taken to court. During the trial, he was deemed “Impossible to Rehabilitate.” For that reason—and for yet another crime he didn’t commit—he was sentenced to 10 years in prison and sent to Tulip Prison (チューリップ・プリズン).
Managed by Warden Mizushiro Himeko (水城姫子所長), Tulip Prison is located on a Japanese island and exclusively imprisons individuals who have committed sex-related crimes. For this reason, the inmates in this prison are referred to as HENTAI.
External Structure of the Prison
The real-world location of Tulip Prison is Hashima (端島), an abandoned island that was once a coal mine and home to thousands of residents in the 1950s. The island is situated 15 kilometers from the city of Nagasaki and is now open to tourists and is recognized as a UNESCO World Heritage Site.¹
Internal Structure of the Prison
The isolated island where Tulip Prison is located is an “illusion,” a legend among the average Japanese citizen. Officially, there are eight correctional districts in Japan, each containing multiple prisons, but there is a ninth district that doesn’t belong to the eight—this is where Tulip Prison is found. Due to its location, Tulip Prison bypasses Japanese law, creating a space where no information enters or leaves. For this reason, Tulip Prison is not considered a penitentiary (刑務所/Keimusho) but rather a Prison (プリズン/Purizun).
Aside from the anomalies concerning its position, Tulip Prison essentially operates like a standard prison. The prison houses several factories, and each inmate is assigned to one, working Monday through Saturday. These include paper mills, laundry facilities, boat maintenance workshops, and a coal mine. The products made in these factories are sold to local businesses at lower-than-usual prices, generating the income needed to keep the prison running. Beyond the factories, there are leisure facilities such as the Main Courtyard, the Library, the Computer Room, Recreation Rooms, and the Gym, which inmates can enjoy during their free time—provided their level allows it.
Prisoners are categorized into different levels within the facility. Starting at the lowest level, there are Low-Level Prisoners (劣等囚人), also known as Bad Prisoners (不良受刑者). These inmates must be supervised by a guard at all times while outside their cells and are not permitted to engage in recreational activities. Rarely are inmates assigned to this level, as a more severe punishment exists—a form of solitary confinement called Punishment Cells (懲罰房). These cells are used as a harsher alternative to correct bad behavior.
At the Mid-Level, prisoners are considered ordinary inmates, with all the rights and responsibilities typically afforded to prisoners in Tulip Prison.
Above this is the Superior Prisoner (優等受刑者) level. Superior Prisoners have access to Tulip Prison’s recreational facilities, such as the Computer Room and an exclusive Recreation Room, and can attend movie sessions organized in the Gym. Inmates at this level also have the privilege of participating in the Rehabilitation Program (更生プログラム). This program consists of classes designed to help inmates reintegrate into society by teaching them about their skills and limitations.
Tulip Prison implements an exclusive system called the Adultery Coefficient (相姦係数). This number indicates how connected a prisoner is to criminal activity. Every 0.0001 added to the coefficient equates to 3.6 additional days added to their sentence. Prisoners are only allowed to see the current value of their coefficient once a month.
This system is heavily exploited by guards to instill fear within the prison. Even the slightest mistake can cause the number to rise, making it one of the inmates’ greatest sources of anxiety.
看守長(Chief Guards)
The distribution of power in Tulip Prison is quite complex, not only because of the presence of various Yakuza groups (極道 and ヤクザ) but also due to individuals with significant economic power outside the prison who can leverage their influence to deceive, blackmail, and threaten both inmates and guards. To prevent these individuals from running amok and doing as they please, three key figures maintain control over Tulip Prison. These are the Chief Guards, responsible for managing the Divisions and Cell Sections.
Chief Guard Sofia Shikorenko (ソフィーヤ・シコレンコ), of the Treatment Division (処遇部門), also known as Sofurin (ソフりん), oversees the Obscene Cells (わいせつ房). Among the three, she is the most “kind-hearted” and does not exploit her position to gain more power than her title affords her. Sofurin is formidable due to her strength and stubbornness, but she is not the greatest threat within Tulip Prison.
Chief Guard Agatsuma Julia (我妻樹里亜), of the Planning Division (企画部門), also known as Sister Julia (シスタージュリア), oversees the Sex Crimes Cells (性犯罪房) and religious activities within the prison. Julia is deeply adored by the inmates, which is her greatest power. In a place ruled by despair, Julia uses the power of religion to control prisoners and guards, offering them the words of hope and love they long to hear. Through this, Julia has built a large cult of followers who will do anything for her, granting her control over a portion of Tulip Prison.
Chief Guard Yuugao Hazuki (夕顔葉月), of the Correctional Treatment Division (矯正処遇部), which includes the Special Security Section (特殊警備部門), also known as Queen Bee (女王蜂 and クイーンビー). She oversees the Serious Crimes Cells (重大犯罪房) and commands the Special Forces (特別警備隊). The Special Forces are a group of soldiers employed by a private company contracted by the prison to intervene in cases of extreme violence. Although any guard can utilize the Special Forces, Yuugao has particularly secured their loyalty, ensuring they follow her orders—even if it means going against other guards or the prison’s warden herself.
Depending on the severity of their crime, inmates are placed in different sections:
- Obscene Cells: For minor offenses such as public indecency, exposure, and harassment in public spaces.
- Sex Crimes Cells: For medium-severity offenses such as rape, repeated sexual harassment, and child pornography.
- Serious Crimes Cells: For high-severity offenses such as administering illicit substances with sexual coercion, sex trafficking, and sexual exploitation of minors.
With the internal structure of the prison now explored from various angles, it is time to dive into the analysis of the work itself.
Social Discussion: The Injustice System
Qruppo became well-known with Nukitashi and Nukitashi 2 for delivering social critiques about modern Japan, and Hentai Prison is no exception. The opening of the story—specifically within the first 5–10 minutes—depicts Shuuichirou being unjustly convicted for the crimes of public exposure and assaulting a police officer. He stands before a court with no one on his side, choosing to represent himself instead of using the public defender assigned to him. He explains his love for exhibitionism and denies the second accusation, which never even occurred. Despite this, his testimony is dismissed by the judge, resulting in an absurd 10-year sentence and being labeled as “Impossible to Rehabilitate.”
“Lawyer: ‘The number of years proposed as sentence makes no sense and goes against the principle of Nulla poena sine lege! If this sentence isn’t reduced somehow, it could very well mark the end of the justice system!’”
Continuing where the public defender left off: if we allow cases like this to happen, where a defendant is punished for a crime they did not commit, it opens the door for courts to do as they please, unjustly punishing innocent people. And this is already a long-standing issue. Even with continuous reforms to the justice system, such cases persist, and Japan maintains a conviction rate of 99.8%.²
This stems from a practice in Japan’s legal system known as Hostage Justice³ (人質司法). In simple terms: it’s a system where “the accused is guilty until proven innocent.”. Before his trial, Shuuichirou endured several abusive interrogations by the police to force a confession. He resisted and used the exact same arguments he later used in court, but many others don’t hold out. The pressure is so aggressive that it doesn’t matter if the accused is guilty or not; the police aim to extract a false confession. This practice leads many people to receive life imprisonment or, in some cases, even the death penalty.
Social Discussion: Life in Prison
Prisoners are not treated as human beings. Upon arriving at the prison, Shuuichirou is immediately confronted with this reality. It’s not that the prison conditions themselves are poor—the real issue lies with the guards. The guards use the harshest punishments for the smallest infractions. Prisons have strict protocols for how inmates must walk, eat, sit, and sleep. At Tulip Prison, the same rules apply, now extended to sexual contexts. Even the slightest mistake results in guards insulting prisoners, increasing their Adultery Coefficient, and imposing unjust punishments. Physical abuse and extended solitary confinement⁴ are common in Japanese prisons. Hentai Prison humorously says that the prison prioritizes hiring only sadistic individuals as guards.
Tulip Prison prides itself on offering rehabilitation to those deemed impossible to rehabilitate, yet it makes no real effort to rehabilitate its inmates. Access to rehabilitation programs is tied to a specific level⁵ that inmates must reach, resulting in more than half of the prisoners showing no interest in participating. The fault lies in the structure of the inmate hierarchy itself. Prisoners in Tulip Prison rank themselves based on their crimes and cell sections to determine who is the “strongest”. To build a reputation and avoid being targeted, prisoners actively avoid good behavior. They know that even if they act like “guard dogs,” they will be mocked by their peers, and the guards will do nothing to stop it. This ecosystem leaves no room for inmates to rehabilitate themselves, reflecting a reality that occurs in Japan.
By creating an environment where rehabilitation is impossible, prisoners focus only on surviving each day, paying little attention to what might happen afterward. Someone who spends 20–30 years in prison without rehabilitation comes out unskilled, without connections, and with a prison mentality permanently etched into their mind. They struggle to understand societal changes, leading directly to the next issue.
Social Discussion: Three Destinies
“Outside of prison, people with a criminal record are not treated as human beings.”
From the moment a Japanese person gains a criminal record, they cease to be seen as human in the eyes of society. Even after being released from prison, it is extremely difficult for ex-convicts to find a job. They are heavily ostracized, and since most lack qualifications or connections—due to the prison environment that hinders rehabilitation—finding a job becomes nearly impossible. This leads to the three possible destinies that an ex-convict faces upon leaving prison:
- Living on the streets
- Joining an anti-social organization (反社会的団体)
- Suicide
Most people choose the second option. “Anti-social organization” or “criminal groups” are terms used in Japan to refer to the Yakuza. The Yakuza is notorious for welcoming people who have been rejected by society, and some groups even provide shelter to those abandoned within the prison system. The Yakuza emphasizes a strong sense of familial bonds, with the Boss (親分) referring to their subordinates as children, and the subordinates treating each other as siblings. Because several Yakuza groups are present in prisons, those who have been abandoned often join a group temporarily while incarcerated, and upon release, they form permanent ties out of attachment.
“Taeka: ‘But reality isn’t like that. Children can’t choose their parents, and not everyone can integrate into their surroundings. There will always be people labeled as “the dropouts” by society. A society where dropouts are excluded and left to die… To me, it sounds like a miserable world.’”
Ex-convicts are often disowned by their families and find solace in the Yakuza, which offers a place to call home for those who have nowhere else to go. Of course, not everyone in the Yakuza is there because of such circumstances, but it is a fact that Japan’s societal structure drives dropouts, whether or not they are ex-convicts, to join such groups. Hentai Prison shows a side of the Yakuza rarely portrayed in the media, which typically focuses on their anti-social aspects, and instead highlights the consequences of Japanese society’s abandonment of its people.
“Kugitani: ‘Public opinion about people with a criminal record is colder than the winds blowing through the prison. And people who’ve committed sex crimes are particularly despised… Once you’re out, living is harder than it would be in a normal prison.’”
This leaves only scenarios 1 and 2. Scenario 1 involves those who cannot live a life of crime and end up on the streets. Without qualifications due to the hostile prison environment, they have no choice but to live this way. Scenario 2 consists of people who may have qualifications but cannot adapt to society and ultimately give up on everything. These are individuals who have spent so much time in prison that the rules of that environment become ingrained in their minds, preventing them from ever behaving as ordinary citizens again.
“Chisato: ‘I don’t belong… anywhere… I wandered from place to place… but there was no place for me.’”
All of this results in a society that rejects those who are different, creating dropouts who believe they belong nowhere. It creates people who give up the fight and abandon the thought of starting over.
But now, considering things case by case, it’s time to move on to the criminals themselves.
Social Discussion: Crimes
The prisoners in Tulip Prison are not saints. Most committed crimes and were imprisoned for it, and this applies even to Shuuichirou. While he may have been accused of a crime he did not commit and his sentence is clearly unjust, he did in fact commit the crime of public indecency. He does not show remorse for his actions or for the people he “hurt”, and while he tries to understand why his actions were harmful—even going so far as to send an apology letter to one of the people he approached while naked on the street and was traumatized—deep down, he does not truly get it. Shuuichirou’s case has its own particularities, which I will elaborate on later, but prisons are indeed filled with people like this. People who feel no remorse for their crimes and will go back to doing exactly the same thing upon release. As much as the prison system does not help, individuals with this kind of mindset will not get far. There is a need to criticize the justice system and the prisons, but there must also be time to discuss the flaws of the people behind bars. Hentai Prison balances these issues very well.
When people are placed in a hostile environment, they tend to act hostilely so as not to feel left out, and this is one of the cases that occurs in Tulip Prison. Not long after Shuuichirou enters the prison, he begins to suffer immense bullying from certain prisoners who didn’t like him. These individuals belonged to a particularly well-known group, and as a result, the situation escalated. No one wanted to go against this group and risk losing their position within the inmates, so the majority started acting maliciously towards Shuuichirou. There are many people like this in prison—individuals who contaminate others making them behave even worse than they already do.
Social Discussion: Behind the Curtains
“Sofia: ‘Has it ever occurred to you that your family, who has no connection to your crimes, might be exposed to attacks from the public?’”
Given the nature of Japanese society, there is another issue: the prisoner’s family also faces the consequences of their crimes. Often, the families of inmates are harassed and forced to move houses due to public pressure, and they may even lose their jobs. In the case of celebrities, it is common for the family to go public and apologize. This is one of the biggest problems because, by committing a crime, the prisoner ends up hurting many more people in the process. The existence of shared guilt is a significant societal issue that is deeply ingrained in Japanese culture.
Art Discussion: “It’s kinda fiction. It’s a made-up story. That would be too good for me, sometimes.”
This section of the article will focus mainly on the antepenultimate, penultimate, and final chapters of the Common Route, specifically Chapter 6, “THE WHEEL OF FATE IS TURNING.,” Chapter 7, “PADDLING.,” and Chapter 8, “CLIFFHANGER.” These chapters are part of the “arc” surrounding Shuuichirou’s and the main group of heroines’ production of an eroge. Naturally, I will not retell the entire story.
At a time when Shuuichirou had begun participating in the Rehabilitation Program, he was given a personality test to determine his vocation. In every field presented in the test, he scored a 0. The final result was that there was no suitable job for him; the only exception was in the “Arts,” where he scored 7.4 out of 10. Shuuichirou had spent his entire life dedicated to the “art” of exposing himself, so this result was not surprising. However, the impact of realizing he is literally good at nothing can be a devastating blow. Everyone naturally feels useless at some point in their lives, but a person cannot live doing nothing. Shuuichirou has no choice—he must continue dedicating himself to producing art, that is, to exposing himself. What is truly important, however, is how that exposure is done and the various forms it can take.
“Guard Yamagishi said to make sexual desire disappear.
But fetishes are literally habits.
Just like I can’t stop fidgeting, I don’t think anyone can control that.”
After seeing Shuuichirou’s test results, the guard insisted that he tried harder to control his sexual desires. But controlling literal habits is extremely difficult. Just as Shuuichirou cannot control his condition, stopping the urge to undress is very hard. Following this, though on a different note, Shuuichirou begins his quest for pleasure and decides to create an enemagura (a type of erotic toy for male sexual pleasure). Realizing he would not lose his virginity anytime soon, he decided to attempt the equivalent through anal pleasure. The entire process of creating the enemagura was very exciting and pleasurable, but the final result was disappointing. He could not achieve the satisfaction he desired. It’s like when you pour all your sweat and tears into something, only to find that the end result—while exactly as you envisioned it—does not bring you happiness.
After this disappointment, Shuuichirou falls into a state of depression, which leaves him mentally lost. In this state, while wandering around the prison, he discovers something new to pursue. He wants to start creating stories. Shuuichirou decides he wants to make a game. And so, together with his friends, the production begins.
Creating games from scratch is extremely difficult. So, at the programmer’s suggestion, the group concludes that it’s best to create a Visual Novel, an Eroge. The entire creation process is very genuine, and we see the group conducting research to develop the project. It feels so genuine because it probably actually happened. The production of the story parallels the creation of HENTAI AND THE CITY (an unpublished work) and NUKITASHI. This isn’t all—before Qruppo existed, the main staff were part of a doujin circle called Hato no Sushiki Seisakusho (はとのす式製作所).
The doujin circle was active between 2014 and 2017 (2017 being one year before Qruppo debuted with Nukitashi). Today, it’s primarily a brand used to distribute artbooks for Nukitashi and Nukitashi 2, as well as a light novel for Hentai Prison. The story told here reflects how Hatonosu became the current Qruppo, blending reality and fiction. Fiction, being the more prominent element, gives us a version close to what really happened.
The story’s conception begins with Shuuichirou presenting his proposal to the group for evaluation. His proposal is:
The Protagonist (temporary name) is a HENTAI student who is bullied because of his special sexual fetish—masturbating when he sees a woman’s panties. One day, he awakens a special ability: Dosukebe ESP, known as DESP. The power to enhance his special fetish. With the power to create winds capable of “removing other people’s clothes” the Protagonist (temporary name) devises a plan to dominate the Plebeians (people with normal fetishes) who have oppressed him until now. However, there is an evil organization that wants to eradicate the HENTAI and those with superhuman abilities. And so the story begins, and all of Shuuichirou’s friends think the proposal is terrible.
The main character seems unlikeable to an extreme degree, the evil organization wants to eliminate people with abilities for no reason (?), it’s hard to understand, and the story seems to be going nowhere.
To fix all these problems, Shuuichirou talks to the writer, who helps expand and reshape his ideas. The first change is that now the characters with special abilities have existed from the beginning. These powers awaken because, ten years earlier, a comet fell on a city in Japan, interfering with the Earth’s veins, and when reacting to a special fetish, it awakens the HENTAI’s ESP. Taking advantage of this, a different special ability is assigned depending on the person’s fetish, and the evil organization is removed from the story entirely.
For all this to happen, a special city is needed, like a miniature garden, the city makes it easier for readers to situate themselves and for events to be controlled by the writters. If the world already exists and the reader is thrown into the middle of it, there’s a different sense of immersion—it makes everything feel much more alive and real. Suddenly, everything starts to become more three-dimensional, and the work begins to move toward something. Hentai Prison closely shows the writing techniques that permeate Qruppo’s works, but it’s important to understand that these are not absolute rules. Different people and stories require different techniques that may or may not work.
Throughout this, two main things are said to Shuuichirou. One is that the work doesn’t necessarily need to be for adults, and the other is whether there’s a meaning behind the HENTAI characters having special abilities and why they couldn’t be just oppressed people. To which he responds:
“Shuuichirou: ‘All the characters need to be HENTAI.’
The reason I think that way?
Shuuichirou: ‘…’
The answer came quickly.
Shuuichirou: ‘The most important thing is that they are here…’
Our existence has no meaning if it isn’t in an ideal world.
If it’s not the world we wish for, there’s no reason to create it.
Shuuichirou: ‘That’s why it makes sense for us to create it.’
If not, creating it has no meaning.”
Because the creators are HENTAI, Shuuichirou believes there is a need to talk about them. For that reason, it has to be for adults—to let the world know that they exist, to show the world that they are also present, to affirm their existence, and to expose their existence to the world by proclaiming, “I am here”. Shuuichirou’s exposure suddenly took on a new form. Just as he previously stripped naked to express and affirm his existence, now he creates art not only to show that he exists, but to show that others like him do, too.
“Shuuichirou: ‘There is artistic value.’
Shuuichirou: ‘This isn’t just erotic; it serves to question the meaning of HENTAI and sexual fetishes in society.
I didn’t propose making it erotic without a reason.
Now that I’ve made the game, I can explain the intention of this work.
Shuuichirou: ‘I want to change the situation of people with sexual fetishes considered abnormal, promote collective understanding, and—’”
The meaning of creating art for Shuuichirou is the expression of his existence. To show the existence of hypersexual people, LGBT people, people with strange sexual fetishes, people with disorders, people with characteristics different from the norm, people abandoned by society, people neglected by their own parents, victims of sexual violence, those who have committed crimes for one reason or another, people who never found their vocation, and people who don’t belong anywhere. This philosophy is not only carried by Shuuichirou but by all the members of Qruppo. For me, this is the ultimate meaning of creating art.
“Chisato: ‘What kind of person is the Protagonist-kun…?’
Shuuichirou: ‘…’
It was a very strange conversation.
Shuuichirou: ‘The Protagonist is the kind of person who is very lonely…’
I had never had this kind of conversation before.
Shuuichirou: ‘He doesn’t belong to the city… No, he doesn’t belong anywhere. That’s why it’s so painful, and he thinks he is completely alone in this world.’
Shuuichirou: ‘That’s why his personality is a little twisted, but deep down, he is a very straightforward person.’
It was as if I were making a part of myself clear that I didn’t know existed.
Shuuichirou: ‘The only person he loves is his sister… No, the only person he loves is his mother.’”
While creating the protagonist, Shuuichirou begins to expose his own essence. Since childhood, Shuuichirou never had friends, was neglected by his parents, and always sought their love. All these elements began to surface, and the protagonist’s existence started to take shape. If the goal is to make readers understand that the people behind the work “are here”, then the main element must be a representative—there must be a feeling of being a real person. This essence exists in Minato Shuuichirou, in the Protagonist (temporary name), and in Tachibana Junnosuke (the protagonist of Nukitashi). This essence comes from the real world—from, to be more precise, one of Qruppo’s members.
“It was as if I were having a conversation with myself.
Chisato: ‘What is the thing he most wants to do…?’
Shuuichirou: ‘Create his own world.’
No, that’s not it.
Shuuichirou: ‘He wants to protect the place where he belongs.’
To protect the place where you belong.
That’s the most important thing of all.
Chisato: ‘Then, for his Mother… he will protect the peace in the city.’
Shuuichirou: ‘…’”
By having this conversation with himself, Shuuichirou begins to understand his existence and essence more clearly. He starts to realize what he wants, merging all the ideas into the protagonist. The perfect form for expressing himself begins to take shape within the protagonist and within the work. At this point, what will become an incredible product begins to take shape. The meaning of the desire and necessity for creating art is clearer than ever.
These changes are greatly appreciated by the programmer and the artist. Speaking of that side of production, in addition to seeing the conception process in writing, the visual aspect could not be left out. The programmer’s creation and learning process is also very entertaining. It begins with a journey of testing numerous programming languages until she finds one she can use. As for building the UI (user interface), as a programmer myself, I find it relatable how she tries to mimic Persona’s style but later realizes it’s too complicated and gives up. This is where the openings for Nukitashi and Nukitashi 2 come from—both heavily inspired by Persona’s openings, with a strong focus on using very few colors. Additionally, Qruppo also mirrors Persona in assigning a color to each of its works. Nukitashi is red to represent the NLNS, Nukitashi 2 is blue to represent the SS, and Hentai Prison is yellow to represent the Tulip Prison system.
In creating illustrations, CGs, and sprites, the artist’s journey is equally amusing as we see her spending half the time not understanding how the drawing program works. It feels very realistic, especially the first impressions—like, at first, nothing in the program seems to work, but as you start to discover where everything is and what the shortcuts are, it becomes much easier. We see the process of discovering the existence of layers, accidentally drawing on the wrong layer, and then kicking a table at Shuuichirou in frustration.
Regarding the voice acting part, it’s possible there’s a certain closeness with the voice actors. In Hentai Prison, there are two characters who are voice actresses, representing this side. The various difficulties a voice actor faces in finding roles in the industry are shown, as well as the process of preparing to voice a character, such as: adjusting the voice, needing study materials, and understanding how to interpret the character. There are also recurring appearances by some voice actors in projects involving Qruppo’s staff. Specifically, those who have been around since the time of Hatonosu tend to return to voice important characters in other Qruppo works. This happens because the staff wants there to be meaning for everyone who contributed in some way to the production. It’s important for those who lend their voices to also be heard, and I think that’s why they always return to voice new characters.
“Hinako: ‘Eroge fans always say, ‘Eroge doesn’t need sex scenes LOL,’ but when there aren’t enough sex scenes, they throw a fit.’”
During production, we see Shuuichirou talking to his sister, who is a voice actress and V-tuber, and she is up to date with what’s being discussed on social media. Since she’s in the voice acting industry, she often hears producers comment on things and has insider information. Their conversations serve as a way for Qruppo’s staff to vent about producers, the voice acting industry, and annoying people on social media. For example, there’s a conversation where she mentions how producers don’t believe that writers are human, they think what sells in a work is only the art, and they always set impossible deadlines. Above, there’s one of my favorite examples, where she talks about how Eroge fans say they don’t want sex scenes but then complain that a work doesn’t have enough of them on social media. These conversations are very informative, and the ironic tone created when quoting producers is very funny.
“Chisato: ‘For… us…’
Shuuichirou: ‘Because we are the ones creating, there has to be meaning for everyone.’
It’s because we’re creating it that we have to represent the HENTAI.”
In the end, everyone is responsible. There’s a lot of exchange of impressions within Qruppo, and everyone involved has their voice heard, which is why it’s so important to talk about everyone. To achieve a fantastic result, the existence of meaning for all members is essential, and that’s what makes all their works so magical. The statements in every written line are the voices of those involved communicating with the reader.
“When watching the original work, the power of the drawing was clearly different from what was on the copy.
It wasn’t a matter of skill, but it was impactful.”
The illustrations since Nukitashi weren’t very good, even being “weak” at times. But even back then, there were moments when, even if they weren’t amazing, they created a certain impact and were able to improve some scenes. The style is very recognizable, and it always leaves a certain impact on the reader—that’s the strength of these illustrations.
Bokutomo, Amaginu Kanojo, Nukitashi, Nukitashi 2, Hentai Prison
The evolution of the main artist’s skills is clear as day. Especially in using colors to create lighting, there’s a tremendous evolution between the five works. It’s an art that only improves, even developing certain skills that weren’t as present before. When combined with the impact it always conveyed, it results in something more than impactful—something unforgettable.
“Shuuichirou: ‘I’d like to see more of your writing.’
Chisato: ‘…i’
Her writing had a charm that made me think that.”
“There’s something that appeals to the heart.”
The writing may not be the best, but it has an indescribable charm that makes you want to read more. It’s as if it speaks directly to the readers’ hearts. And that was one of the main reasons why, after Nukitashi, readers came back in for Nukitashi 2. The first one wasn’t incredible, but there was something that made readers want to read more and more. A kind of desire like, “I want to see many more stories that these people have to tell. I want to see how far they can go.” The world they created had the potential for countless incredible stories, each one better than the last, and I want to read them all.
“What each person does has its own charm.
When combined, they highlight each other’s charms.”
The point is that a Visual Novel is never made by just one person, and not just one person should take all the credit. No, it’s a product of many people who fought to make the project come to life, and if you discard any one of them, the final product wouldn’t be here today because everyone is equally important. Without the programmers, there wouldn’t be an interface; without the director, the scenes would be boring; without the illustrators, there would be nothing to look at; without the writers, there would be nothing to read; without the voice actors, the characters wouldn’t have voices; without the musicians, there would be nothing to listen to; and without someone to create an environment in which all this can be produced, there would be no final product. The entire experience is created with everyone’s help. And that’s just one of the many reasons why Qruppo wanted to create this story.
The stories created by this company were not made by just one person. They are a group. They are Qruppo!
オレがここにいる
It’s time to talk about the man who, despite his condition limiting him, makes it possible for everything to happen.
Minato Shuuichirou is an extremely complex character, perhaps one of the most complex in fiction. He displays some mental problems and faculties, being a man who shows many signs that fall within the autism spectrum, whether in his way of speaking, moving, his facial expressions, his compulsive behaviors, or even in his thinking, which presents specific mannerisms as well. His vocabulary is not very complex, and he often struggles to understand certain words, as well as having difficulty remembering how some words are written. One thing that is established from the start is that the personal pronoun he uses is Ore. He forgot how to write the kanji (俺), so he opts to use Ore (オレ) in katakana, and this is how it appears in his narration throughout the work. His thoughts often don’t extend beyond a single line and tend to end with “So I thought.” (とオレは思った to ore wa omotta). His speech is also short and direct.
When Shuuichirou doesn’t understand a word, he never asks; he just murmurs the word softly, hoping someone will notice he didn’t understand it, and so often he never actually learns its meaning. A comical example of this is when the inmates start calling Shuuichirou the “sex prodigy,” which is said as Seigou (性豪) in Japanese, and he thinks they are saying “Say go!” because he believes it’s a cool catchphrase that everyone suddenly started using when talking to him. In another instance, he’s having a conversation with a character, and after not understanding many words, he starts using a dictionary during the conversation. He has a tendency to constantly justify his actions as the most “rational” (合理的gouriteki) choice, and this tendency not only fits within the autism spectrum but also presents a degree of psychopathy. Shuuichirou doesn’t have an awareness of his actions; he was neglected by his parents, so he never realized his condition. This is reflected in his art, as he doesn’t understand why being naked might embarrass someone. He doesn’t feel remorse because no one ever told him that he should.
People like Shuuichirou tend to have a repetitive phrase, so much so that he has a signature phrase: “You son of a bitch, I’ll kill you.” (貴様を殺すKisama wo korosu), which later changes to “I’ll end you, baby.” (物故ろしてやるぜ、ベイビー？Bukkoroshite yaru ze, beibii?). This change happened due to a recommendation from one of the prisoners who explained that saying he is going to kill someone in prison was a bad idea and also suggested that using an English word might make the phrase sound cool. This shows how Shuuichirou’s behavior changes under the influence of others; even with a degree of psychopathy, when it is explained to him, he seeks to understand and try to reformulate his ways.
One of Shuuichirou’s most notable compulsive behaviors is how he can’t stop fidgeting. To illustrate this, there was care taken to create many sprites for him in various positions. The sprites constantly change during conversations to illustrate Shuuichirou’s restlessness. But beyond that, there’s another use. People on the autism spectrum tend to look in another direction, avoiding eye contact, when talking to someone and do not show what they’re feeling very clearly through their facial expressions, only showing slight changes from one expression to another, and within the work, the most that most characters can see differently is when he’s angry. To compensate for this, there are many sprites focused on the smallest details of his face so that the reader can perceive the mood changes and have an accurate representation. A small change in his gaze, a slight raise in his eyebrow, veins on his face becoming slightly clearer, and so on—all of this is taken into account. Additionally, fidgeting can also be a sign of a lack of concentration. There are moments when people give explanations to Shuuichirou about prison matters, and he repeatedly says he understands, only to later follow up with thoughts like, “I didn’t understand anything,” and usually, no one questions him about it because they don’t notice the subtle changes in his face. Or the opposite happens, where they always assume he didn’t understand anything because of his facial expressions. Shuuichirou sometimes presents sudden changes in mood, and from one moment to the next, he might shout in anger, but in these situations, the emotion is only momentary.
Due to his mental faculties, Shuuichirou can’t do much for the team, but he needs to be there for the project to happen. It’s not just the essence and ideas that give life to the stories created but also all his effort to ensure that the team can create in peace. Knowing that he can’t do much, most of his effort goes into the work of a producer. He is responsible for creating a space where everyone can create freely because that’s one of the things he can do, and he will continue to do it to create art in the way he can.
Shuuichirou is extremely complex, and if I keep talking about him, I’ll get to the point where I’d have to give spoilers about his development arcs. He has so many specific traits that make him so real, and you can feel like he’s a real person.
On a more personal note, I was diagnosed with Asperger’s Syndrome (Autism Spectrum Disorder) around the age of 13. Nowadays, thanks to my self-awareness about the issue, the fact that I talk to many people, and gaining experiences through reading, I’ve been able to overcome several barriers to control some of my compulsive behaviors. Even so, I still let them pass sometimes. And when I see Shuuichirou, I feel like I’m looking at a kind of mirror, a reflection of myself. Like him, I have the habit of repeating phrases, I can’t stop fidgeting, I have trouble concentrating, my face used to show only slight changes to express emotions, my vocabulary isn’t very complex, and I get confused with certain words—and so on. There were even moments when I was shocked by how perfect of a representation it was. For example, in the sudden mood changes, I could understand exactly the emotion. It’s an emotion that literally lasts for a second, and it only lasts in that second—not that I’m actually feeling that emotion at that intensity, but it’s something that happens. Another situation that marked me was when he received his professional aptitude test, which said he had no vocation. I felt like that for a long time in my life, unable to find a vocation, but like him, when I started talking to more people and expanding my social experience, I was able to overcome that problem and discover something I could do. So when I saw Shuuichirou affirming, “I’m here”, I felt like I was ‘here’ too. As I read this story, I felt my existence being represented, and writing this text gave me exactly the same feeling. So, I have to thank from the bottom of my heart all the people who, by talking to me—even if just a little—helped me face my condition. And of course, I thank Qruppo for continuing to create incredible works. And just like them, I’ll continue marking my existence in the world, because, just like Shuuichirou, I’m here.
Parallels and things in common with Nukitashi
Do you remember when I said that Junnosuke and Shuuichirou have the same essence? Both have a sister, and at certain points in their lives, they didn’t like their sister because their parents only paid attention to her. They only reconnected with their sister after the ties with their parents being cut. Both were bullied for having a special characteristic, both didn’t have friends for most of their lives, and neither does anything particularly special in their respective groups, but the roles they play are essential.
Hanamaru Rin
Hanamaru Rin appears in every single Qruppo work—it’s incredible. I’m amazed at how attached the Qruppo staff became to her, so much so that they even did a retcon on her personality from the first to the second game, added a ton of extra content about her in the manga that wasn’t in the VN, and gave her important roles in Henpri. Honestly, I think I’ve also started to become attached to her. In Henpri, she finally stopped being racist and homophobic, so good for her.
Ootabe Natsumi
If I’m not mistaken, Ootabe Natsumi debuted a few months before Henpri came out in the manga of Nukitashi. As far as I remember, she doesn’t speak or is even mentioned in either the first or second game. I hope she gets a moment or two in the anime; she’s pretty cool.
Reizeiin Touka
This isn’t the first time characters with disorders have been featured in Qruppo works. In Nukitashi 2, Reizeiin Touka’s route already showed how to deal with people with these conditions in society. But since she was just a heroine, they didn’t go as deep as they did with Shuuichirou in his role as the protagonist. That being said, it’s still amazing.
Conclusion
This is the end of the article. If you’ve read up to here and weren’t familiar with this world, I hope you’ve become at least a little interested in the universe of Qruppo’s works. Hentai Prison is an excellent work, and I hope you’ll give it a chance when it’s officially released in English. If you’re interested in this universe, I also recommend checking out Nukitashi and Nukitashi 2, which are just as remarkable in terms of quality.
BUKKOROSHITEYARUZE……BEIBII!!!!!!!!!!!!!!!!
References:
[1]: Wikipedia. “Hashima Island.” Wikipedia, Wikimedia Foundation. Accessed October 2024. https://en.wikipedia.org/wiki/Hashima_Island.
