The Innovative Revival of the "Werewolf Game": Insights from Creator Kazu Suzuki

In Japan, "gaming" is often cited as a leading area for driving significant growth in Web3.0. This is because Japan not only has access to a wealth of powerful IPs but also possesses proven expertise and knowledge from its global success in gaming. Currently, Japan's cryptocurrency tax system presents a burden, leading many projects to base their operations overseas. However, discussions around relaxing tax requirements are gaining momentum, potentially changing this trend.

One such project operating overseas despite its strong credentials is the "WLF PROJECT," which I had the opportunity to interview. Kazu Suzuki, the creator of the globally popular "Werewolf" game, stands at the forefront of this project as its founder. The initiative aims to add a fresh twist to the "Werewolf" game by transforming it into a blockchain-based game. Supported by prominent Japanese artists, designers, and publicly listed companies, the project is strengthened by a dual-layered business model.

Vision of the "WLF PROJECT"

Hiroki Nagatomo (Nagatomo): Kazu, you have worn many hats as an entrepreneur, game creator, and producer. Could you share your career background with us?

: After graduating from university, I entered the field of web development. My career path included roles as a system engineer, designer, director, and digital creative producer at an advertising agency. Over the years, I worked across six companies and engaged in 16 different types of roles, switching to a new type of job every year.

One of the most impactful experiences in my life was developing a smartphone advertising platform in collaboration with Apple. Through that project, I learned about UI/UX design, which eventually led to my most notable work—the development of the smartphone game Werewolf Game: Prisoner's Nightmare.

Nagatomo: While Werewolf Game: Prisoner's Nightmare was a massive hit, what inspired you to adapt Werewolf into a blockchain game this time?

Kazu: When we began this project, the number of Web3.0 users was much smaller than it is today. The biggest challenge was figuring out how to bring in users who had no prior experience with Web3.0. That’s when we identified Werewolf Game as the perfect vehicle for this endeavor.

In designing this service, we are targeting 2025, aiming to create something that continues to grow even after Web3.0 becomes mainstream. Our approach involves creating well-grounded plans to develop services for both Web3.0 users and Web2.0 users simultaneously, ensuring long-term growth and accessibility.

Nagatomo: What elements differentiate WLF PROJECT from traditional "Werewolf" games, and what motivated you to incorporate these distinctions?

Kazu Suzuki: Werewolf is fundamentally a discussion-based logical game, which has naturally attracted left-brain logical gamers and game streamers as its core audience. However, we’re increasingly seeing more casual, lighthearted communication scenarios emerging in its gameplay. For Werewolf to evolve into a global content phenomenon, I believe it needs to grow beyond being a logical sport and transform into a highly entertaining sport—something that audiences can enjoy together, similar to soccer or Formula 1.

To achieve this, we’ve integrated elements like fashion, music, and dance—complete opposites of what Werewolf traditionally represents. This differentiation is also a strategic move to ensure the game appeals to a global audience.

Nagatomo: Notable creatives such as ☆Taku Takahashi from m-flo and fashion designer Keita Christopher Osada are part of the WLF PROJECT team. How did they come to join the project?

Kazu Suzuki: m-flo has been the artist I’ve played the most in my life, and Taku-san, their composer, is someone I deeply admire. When we envisioned developing a Werewolf game where players worldwide could transcend language barriers and play along to music, Taku-san was the only person who came to mind.

Osada-san is the fashion designer I’ve admired most since my 20s. His aesthetic sense is unparalleled, and I continue to respect him as a god-like figure. When it was decided that WOLF-FLOW, the game we are developing, would feature 3D avatars, I reached out to Osada-san. This team is, in essence, a “dream collaboration” for me.

Nagatomo: WLF PROJECT has issued governance tokens under the name WLF. Could you explain the ecosystem design for these tokens?

Kazu Suzuki: The WLF token ecosystem is divided into three areas: use cases, revenue and rewards, and economic scalability.

First, regarding use cases, in its initial phase, WLF tokens will be used on the "cheer platform" to support players, participate in result prediction games, and engage in NFT games. In the future, we plan to expand use cases through collaborations with companies participating in the Werewolf community.

Second, in terms of revenue and rewards, we are separating revenue streams between Web2.0 and Web3.0 users. For Web2.0 users, we’ll operate as a standard smartphone game without requiring cryptocurrency payments. Revenue generated from in-game items purchased with fiat currency will help maintain a healthy ecosystem for WLF tokens.

For Web3.0 users, the system is designed so that players who win battles will receive token rewards. However, we are careful not to design a system that continuously distributes rewards in a way that could lead to token devaluation.

Finally, for economic scalability, we address the issue of gas fees, a common challenge in Web3.0 services, by developing the "WLF POCKET," which enables decentralized security management to eliminate gas fees. This facilitates smooth token transactions between services and users. We plan to open-source this tool and encourage many business partners to utilize it.

At WLF PROJECT, we are actively bringing members with expertise in fashion and music into the community. I refer to this type of community as an “influcommunity” rather than “influencers,” and I believe it will become the mainstream of promotions by 2026.

Nagatomo: What are your plans for expanding WLF PROJECT in Japan?

Kazu Suzuki: In Japan, we aim to first develop our Web2.0 services and strengthen the community until cryptocurrency adoption becomes more user-friendly. We plan to focus on quality over quantity, building a foundation to spread our content globally. For overseas markets, we will aggressively push our Web3.0 services.

Profile

◉Kazu Suzuki

Entrepreneur and Game Creator. Dubai Government Certified Digital Artist.

In 2011, Kazu Suzuki released the smartphone game "Werewolf Game: Nightmare in the Prison," becoming a pioneer of the Werewolf game boom. The app has surpassed 10 million downloads and boasts a total of over 800 million players worldwide. As the trademark holder of "Werewolf Game," Suzuki has contributed to the market's growth by open-licensing the trademark.

For "Werewolf Game: Nightmare in the Prison," Suzuki independently handled every aspect of development, including programming, design, illustration, and sound design.

From 2007 to 2020, Suzuki worked as a producer at the advertising agency Dentsu, where he spearheaded numerous content promotions, project designs, and business launches.

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