Q&A With Odencat’s Daigo Sato

As the game industry’s behemoth-sized publishers continue to acquire and grow ever larger, their output is becoming increasingly risk-avoidant and predictable. Fortunately, indie studios like Odencat offer an appealing antithesis to this kind of distressing homogeny. Alongside a small team of talent, Daigo Sato has been developing small games that express big emotions. Recently, we spoke to Mr. Sato about the formation of his studio, the nostalgic allure of pixel art, and like Bear’s Restaurant, what he’d select for his final meal.

Tech-Gaming: I’d like to know more about Odencat. How big is the team and how did the studio come together?

Daigo Sato: After my stint as a software engineer in San Francisco, I found myself at a crossroads when our game studio closed. That’s when I decided to chase my dream of being an indie game developer. Together with a friend, we developed an RPG engine, and by 2019, our dedication paid off with our first hit, Bear’s Restaurant. That success was the turning point for me — it showed that I could make a living from game development. So, we set up Odencat in Japan, where we now have a passionate team of about ten people from places like Denmark, Vietnam, and the USA, all working together to bring our creative visions to life.

T-G: Your games tend to employ visuals that recall the Game Boy Advance-era. Is this decision motivated more by nostalgia or the kind of appreciation of visual ambiguity behind art like stylized animation?

DS: The main reason is that pixel art was the only type of art I could create. Even though I was not an exceptional pixel artist, the game could still be enjoyable thanks to the players’ imagination. Now that we have dedicated pixel artists, it continues to help us reduce development costs. I acknowledge that there is definitely an element of nostalgia, but I personally believe that pixel art is an evergreen visual art style that will remain popular for a long time to come.

T-G: Games like Bear’s Restaurant, Fishing Paradiso, and Snowman Story are delightfully contemplative, reflecting on life and death and a search for meaning. What do you hope readers take away from these titles?

DS: When I immerse myself in a compelling movie or get lost in the pages of a great novel, I view it not just as passing time but as a journey through the narratives these mediums convey. Similarly, a well-crafted game offers more than mere diversion; it grants players experiences outside their everyday lives and can leave a lasting, positive impression. While the impact of a game’s journey varies with each player, my hope is that it becomes a meaningful and enriching part of their life story.

T-G: Where do you find inspiration for your stories?

DS: The inspirations are everywhere—video games, novels, movies… JRPGs like Chrono Trigger, Undertale, and Suikoden were significant inspirations. But what truly makes my stories unique are the inspirations from my own life. Childhood memories and my experiences traveling around the world are things only I possess. These personal experiences and memories are the most important to me.

T-G: Writing dialog can be an art, given the tension between expression and brevity. Can you provide some insight into your approach?

DS: When I write stories, I am careful not to manipulate the characters for the sake of the plot. Instead, I let the characters say what they want to say. Always listen to your characters and understand their motivations. If you try to force the characters to fit the plot, it won’t work well.

T-G: There’s poignancy in nearly all your games. Am I correct in assuming that you appreciate emotive works?

DS: I aim to create memorable and meaningful games that touch the hearts of players and move their emotions. While I tend to include sad stories, I’d also like to add more joyful moments. Our next game, Dream Channel Zero, will certainly feature many comical elements.

T-G: Can you name some films, books, or other works that resonated with you?

DS: Films that resonated with me include Cinema Paradiso, The Great Escape, and Inception. In the realm of anime, Violet Evergarden, My Hero Academia, and Chainsaw Man have had a significant impact. The books that have influenced me the most are Lord of the Rings, Harry Potter, and The Guin Saga.

T-G: Speaking of inspirations, what are some of the games that you feel influenced your role as a director?

DS: I’d say Undertale has been a significant influence. The game proved how a pixel art RPG can have a substantial impact. Without its existence, I might not have had the courage to become an indie game developer in the first place.

T-G: After writing Bear’s Restaurant, I’m sure you’ve deliberated on what your concluding meal should be (at least I did!).  So, what would it be?

DS: Macaroni and cheese! My mother often cooked it for me.

T-G: Over the past few years, the industry has been experiencing quite a bit of turbulence, with regular reports on layoffs and closures. How do you feel this has affected indie studios such as Odencat?

DS: Since we are living in a niche market, it does not affect us immediately. Running an indie studio is already a “hard mode”, so personally this does not make much difference. However, I do express sympathy for all those who are affected.

T-G: Are there any games out there that make you say, “I wish I had designed that”?

DS: Chrono Trigger!

Tech-Gaming would like to thank Mr. Sato and the team at Odencat for their efforts with this interview.