Promise Mascot Agency Prepares to Transition: Developers Confident in Passing on Their “Band of Freaks” Amid Development Boom

Oli Clarke Smith, the director of Promise Mascot Agency, shared with me the challenges they’ve faced in conveying what their game is all about. “It’s been tough to really express what the game encompasses,” he admitted, reflecting on how initially, and even now, they describe it as an open-world mascot management crime drama. Though to them it seemed straightforward, the message hasn’t always hit the mark with audiences.

Offering a glimpse into the game’s multifaceted identity, Clarke Smith highlighted its open-world RPG nature, combined with elements of management and creature collection. “Once players get into it, everything just clicks,” he noted. Kaizen Game Works, the studio behind Paradise Killer, has been rolling out bits and pieces about their 2025 release, and fortunately, early reviews have consistently been positive, especially in response to their quirky cast of characters.

The game’s mascots—ranging from sentient burial mounds to cats with strong views on adult video pixelation, and charming oddballs like Mottsun—are who players will be managing in Promise Mascot Agency. These whimsical beings sprang from the creative collaboration between Kaizen’s intimate British team—comprising Clarke Smith, technical director Phil Crabtree, and art director Rachel Noy—and a talented Japanese duo: the well-known former Tango Gameworks artist Ikumi Nakamura and Mai Mattori.

Clarke Smith detailed their journey: “We approached Nakamura with just the bare bones, having recently wrapped up our previous project. With our game set in Japan, it felt crucial to partner with Japanese artists. The results were designs and cultural nuances that we couldn’t have created on our own.”

Kaizen’s emphasis on retaining their unique identity while inviting collaborators to add their personal touch has led to some enriching experiences. Clarke Smith recounted stories from Nakamura, such as her visit to a local bar in Kyushu, which mirrored the setting of their game in Kaso-Machi. Nakamura’s tales of being an “outsider” in this real-world locale offered rich material for shaping the game’s world. Noy added that the team drew inspiration from their own encounters in the UK, noting that visiting certain places like a Cornwall pub can also evoke that feeling of being an outsider. “We were also heavily influenced by Twin Peaks,” she chimed in, explaining their eagerness to involve Swery.

There were some tweaks along the way. Nakamura and Mattori’s mascot designs, for example, had to be adjusted for uniformity so the animations aligned across all mascots. Clarke Smith mentioned that at times, the team adapted certain ideas to fit the game’s structure, but “90% of it was spot on, so we made it work.”

Building this next game was a markedly different experience than their first project. “With Paradise Killer, it was just Phil and me figuring everything out, essentially learning how to create a game,” said Clarke Smith. Transitioning from a mystery game to a management one was conceptually challenging, but the process felt smoother due to their evolved teamwork and communication.

Crabtree highlighted the benefits of having some systems carry over from Paradise Killer, which saved time and allowed for more focus on design. Initially, they envisioned a complex management system, involving calendars and scheduling tasks for mascots. “But that complexity clashed with the game’s laid-back vibe,” he explained. After several iterations, they settled on a system that was subtly intricate without overwhelming the player.

As players dispatch their mascots on various assignments, they’ll encounter quirky obstacles—ranging from awkwardly sized doors to overzealous dogs—all inspired by funny videos of mascot failures the team researched on YouTube. Clarke Smith pointed to iconic moments, like the viral footage of Funassyi sprinting away from explosions, but they aimed to ensure each obstacle had a clear way to resolve it.

The initial concept germinated from Noy’s idea of a mascot manager akin to Kairosoft’s Game Dev Story but evolved significantly. “We wanted to push beyond a small-scale simulation,” explained Clarke Smith, conscious of the business implications of sticking to 2D. Features like loan systems and checkpoint races were trialed but later shelved as they didn’t mesh with the game’s evolving vision. “While those elements are cool, they’re common in open-world games and weren’t essential for us,” he remarked, noting the only time they’d consider reviving them would be for something like an Initial D-inspired DLC.

As they gear up for the game’s launch later this year, the team is buoyant. “For a small team, what we’ve accomplished is huge,” Crabtree expressed, reflecting on his countless playthroughs yet still finding things that bring a smile. “With Paradise Killer, I felt this excitement closer to launch, but this time, it’s been there for longer.”

Noy shared similar sentiments: “I’ve fallen in love with these characters, and I know others will too.” There’s a hint of nerves knowing they’re relying on players to embrace their vision, but after the success of Paradise Killer, they’re confident. “We’ve crafted the game we envisioned,” Clarke Smith concluded, “And given how well-received our previous work was, we believe players will really connect with it.”