Earlier this year, Infold extended an invitation to attend the second‑anniversary celebration of Love & Deepspace. The author, who had been playing the title intermittently for about a year, saw the event as a rare platform to spotlight a game explicitly designed for women—a segment often overlooked by mainstream gaming outlets.

What the Event Actually Looked Like

The ceremony unfolded in the bitter cold of New York City. While the entry was free, many die‑hard fans spent hours queuing outdoors, only to be greeted by a trailer and cardboard cut‑outs of beloved characters. In contrast, the journalist enjoyed privileged access, a disparity she described as “jilted” for the waiting crowd.

Gender‑Bias Request and Its Fallout

Mid‑event, a company representative approached the journalist while she was filming the enthusiastic, frost‑bitten community. The representative asked her to avoid showcasing any men in her coverage, claiming it would prevent the perception that the game “embraces gay relationships.” The request was met with immediate discomfort: “I didn’t sign anything agreeing to that. It makes me uncomfortable,” she replied. Although the representative expressed sympathy, they warned that defying Infold’s wishes could upset the studio.

The Valko Controversy Unfolds

Shortly after, Infold and its developer Papergames announced the removal of Valko, the promised sixth love interest. Initial complaints centered on Valko’s design and the studio’s perceived neglect of the main storyline. However, the backlash quickly escalated when critics linked an in‑game document labeled “A‑0731” to Japan’s notorious Unit 731, a World‑War‑II biological warfare unit. Infold denied any connection, apologized, and promised to change the document number, yet the controversy persisted.

Implications for the Gaming Landscape

These incidents illustrate how Chinese regulatory and cultural pressures can curtail creative freedom. When a character’s tagline—“let a wolf into the house”—is framed as endorsing danger, it fuels accusations of condoning assault, prompting angry fans to stage protests outside Infold’s offices. The studio’s subsequent decision to erase Valko and halt future love‑interest development signals a willingness to bow to the most vocal, hostile factions of its community.

Ultimately, the journalist deleted the game from her device, declaring, “When love is gone, it’s time to move on.” The episode serves as a cautionary tale for developers navigating the tightrope between audience expectations and sociopolitical constraints.