[Tokyo (Japan) = E-Daily Reporter An Yu-ri ] “I hope this game gives players a sense of returning to a hometown within this world.”

Kim Yong-ha, Head of the IO Division at NEXON Games, introduced the upcoming title “Paraydolia,” currently in development, in this way. The emotion he aims to convey through the game is closer to comfort than excitement. Unlike games that prioritize intense combat and rapid progression, his strategy is to create a game where players feel at ease by living alongside characters in a shared space.

“Pareidolia” is a subculture game currently in development by RX Studio, part of NEXON Games’ IO Division, and was showcased at this year’s “Tokyo Game Show (TGS) 2026.” Building on the recognition and fanbase established through the development of its predecessor, “Blue Archive,” the game is generating anticipation among anime and gaming audiences.

Regarding *Pareidolia*, Kim said, “While most games released these days feature intense action, a rush of dopamine, and elements of adventure and exploration, *Pareidolia* takes a slightly different approach—it’s a game you can keep playing in the background as part of your daily routine.”

Pareidolia is set in “Animashi,” a city in another world that resembles Earth. Players take on the role of the director of the City Revitalization Center and the caretaker of “Tosogare Hall,” a dormitory for civil servants. They live alongside “Meits”—girls with special abilities—and work to solve problems that arise in the city.

Combat utilizes the “Live-Turn Battle” system, which combines turn-based strategy with real-time movement. However, the focus is more on showcasing the characters’ movements and charm than on the tension of battle itself. The game is currently in development for PC, console, and mobile platforms.

Cha Min-seo, a producer at NEXON Games, explained, “At our Tokyo Game Show booth, with the goal of recreating elements of the in-game Tasogare Hall as faithfully as possible, we actually built replicas of the in-game grandfather clock and elevator area.” He added, “We designed the space to consist of a rock-paper-scissors area, a photo booth, and a game demo zone, all with the aim of letting visitors experience Tasogare Hall firsthand.”

The flow of the game “Paraydolia” progresses from daily life to combat and then back home. Players go shopping with Meitsu, tend to crops, or cook, and when strange phenomena occur, they set out together to investigate. After completing their exploration and combat, they return to the Tasogarekan. The Tasogarekan is not merely a simple loading screen for selecting menus; it is more like a home where players live alongside their characters.

General Manager Kim said, “I hoped to create a game that would give players room to imagine what kind of friends they’d have, what experiences they’d share, and what their daily life would be like if they were living in this world—a game that offers a sense of comfort.”

When this reporter played the game firsthand, *Paraydolia* felt comfortable and serene. Rather than being drawn in by flashy action or combat, my attention was captured by the movements, expressions, and conversations of the characters sharing the same space. In particular, the environment provided in the demo build felt exactly like coming home to a familiar house at the end of the day.

A Different IP from Blue Archive… Unreal Engine 5 and Voice Recognition AI Draw Attention

The team also emphasized that this is a different IP from Blue Archive. Unlike its predecessor, which focused on SD (Super Deformed—characters with large heads and small bodies, typically 2 to 3-head-tall), Pareidolia prominently features life-sized 3D characters and spatial design.

“We started this project with the mindset that we needed to create a new IP distinct from *Blue Archive*,” said Division Head Kim. “The fact that it features LD (Low Deformed, characters with a 7–8-head-to-body ratio resembling real people) rather than SD, the emphasis on rendering 3D spaces, and showcasing the characters’ charm in everyday life are all new elements.”

Another difference from its predecessor, Blue Archive, is that it was developed using Unreal Engine 5. While the latest engine enabled realistic and detailed graphics, it lacked the analog-style artistry that animation fans tend to appreciate.

General Manager Kim remarked, “By switching engines and refining the details, we were able to enhance the density in areas such as interactions and the depiction of characters and backgrounds.” He added, “Our focus is not just on visual density but on how to convey emotional depth—and whether we can showcase elements here that weren’t present in previous games—so this is an area where we must continue to strive for improvement.”

To enhance interaction with the characters, the team also implemented a proprietary voice-recognition AI (artificial intelligence). Users can call out to Meitz directly using their own voices or read and select dialogue options. The system operates within the device without requiring a separate server and is optimized for mobile environments.

General Manager Kim said, “Voice recognition is currently in the testing phase, limited to calling the character or using it in conversations,” adding, “We’ll listen to feedback from many users at this year’s TGS to determine how far we can expand its use, and then hold internal discussions on its future implementation.”