“I think it’s challenging to describe exactly what this game is,” says Oli Clarke Smith, the director at Promise Mascot Agency.
This sentiment has been a hurdle for us as we’ve tried to pitch the game. Initially, we described it as an open-world mascot management crime drama, which made sense to us. Yet, it seems we haven’t quite captured its essence with that description.
In reality, it’s a sprawling open-world RPG that includes management and creature collection elements. Once players dive in, they quickly grasp what it’s about. As the Paradise Killer team at Kaizen Game Works slowly reveals more about our 2025 release, we’re thrilled to see our unique cast of characters, which we lovingly call our “band of freaks,” receiving overwhelmingly positive early reviews.
These eccentric characters are the game’s mascots, ranging from intriguing sentient burial mounds to quirky cats and delightful little figures like Mottsun, who exude an undeniable charm. You’ll find yourself managing these mascots as you dive into Promise Mascot Agency. The game’s character design was a collaboration between Kaizen’s close-knit British team—Clarke Smith, technical director Phil Crabtree, and art director Rachel Noy—and Japanese creatives, renowned ex-Tango Gameworks artist Ikumi Nakamura and Mai Mattori.
“We approached Nakamura with a blank slate,” Clarke Smith explains. “Our previous game had just wrapped up, and we only had a rough idea for Promise Mascot Agency. We felt it was crucial to collaborate with talent from Japan, given we’re a Western team setting a game there. The mascots they returned to us were concepts we would never have imagined ourselves, filled with cultural nuances we might have otherwise overlooked.”
Kaizen’s team strives for their games to have a signature “Kaizen” feel, yet they embrace their collaborators’ unique perspectives. “We always give them a basic idea and ask them to make it their own,” Clarke Smith says. For example, Nakamura shared her experiences in Kyushu, Japan—which inspired PMA’s setting—where locals were apprehensive about interacting with her as an outsider. Such anecdotes lent authenticity to the atmosphere of Kaso-Machi, the in-game town. Meanwhile, the team drew from their lives in the UK, with Noy noting that a similar feeling of being an outsider can be felt when entering a pub in Cornwall while vacationing. “We also binge-watched a lot of Twin Peaks,” Noy adds, “which was a significant influence and another reason we wanted to involve Swery.”
Some elements had to be adjusted along the way, and not everything fit perfectly. Nakamura and Mattori’s mascot designs, for instance, needed consistency in size and shape to ensure smooth animation transitions. “Often, it was a matter of ‘that doesn’t quite fit, but 90% of it does, so we’ll make it work,'” Clarke Smith says.
Creating this game posed a different kind of challenge for Kaizen compared to their first game. “With Paradise Killer, it was just Phil and me handling everything,” Clarke Smith recounts. “Transitioning from a mystery game to a management game was a huge leap conceptually, but the development process felt smoother this time.” Despite acknowledging this as the “hardest game” he’s ever tackled, Clarke Smith notes the team’s communication has become more intuitive.
“Our current systems owe a lot to Paradise Killer,” Crabtree adds. “When we need a certain system, much of the code is already there. It might require tweaking, but this allows more time for refining the design.” Early in development, they experimented with an intricate calendar-style management system featuring days and weeks for balancing schedules.
However, “This complex management didn’t gel with the chill, lively world we envisioned,” says Crabtree. “So we had to adjust it, and now I’m really satisfied with the balance. The management aspect, though seemingly simple, is rich and demands attention without being overbearing.”
As you guide your mascots through their tasks, unexpected obstacles arise—from pesky dogs to typical-sized doors—born from what Crabtree affectionately calls “a big old list of silly scenarios,” inspired by YouTube mascot fails. While amusing and challenging, these moments needed to be feasible to script and required clear “bail resolutions.”
The game, as it stands today, evolved from Noy’s vision of a mascot management sim akin to Kairosoft’s Game Dev Story. “We aimed for something grander, wary that a small 2D management sim might not sustain the company,” Clarke Smith explains.
Some features evolved or were discarded as the game’s vision solidified. Initially, players could take out loans or race through checkpoints—ideas never fully developed because they didn’t fit. “We felt compelled to add these because they’re staple mechanics in open-world games, but ultimately realized we didn’t need them,” Clarke Smith reflects.
While these are still on standby, there’s a fondness for “cool drift cars on Japanese mountains,” which could see a resurgence if Kaizen explores something like an Initial D DLC.
Before entertaining such ideas, though, Kaizen must first assess how Promise Mascot Agency performs upon release this year. The team feels optimistic. “For a small team, what we’ve accomplished is monumental,” says Crabtree. “I’ve replayed the start countless times, whether to record or fix bugs, and I still find hidden gems that bring a smile, similar to my experience with Paradise Killer nearing its launch. But this time, I felt that satisfaction much earlier.”
“I’ve grown attached to our characters,” Noy shares. “I’ll be a little heartbroken when we wrap up, but that affection convinces me there are others out there who will love them too.” There’s some nervousness, as success depends on players understanding and appreciating what the team aimed for with Promise Mascot Agency, but there’s reassurance in their track record.
“We made the game we envisioned,” Clarke Smith concludes. “The response to Paradise Killer’s writing and characters reassures us. We’ve infused those beloved qualities into this game, giving us confidence that players will enjoy it just as much.”
