AtAt "Tokyo Game Show 2026," I met many players. Everyone had different goals: some wanted to experience the enthusiastic atmosphere akin to an "offline gaming festival," others were interested in industry trends and business opportunities, but most just wanted an early look at the games they were most curious about to see how they turned out. In fact, quite a few players with similar intentions gathered around the SEGA booth this year.And their purpose mostly pointed to one game—That is STRANGER THAN HEAVEN, scheduled for release next January by RGG Studio.
This feeling is very understandable. After all, "STRANGER THAN HEAVEN》isAfter accumulating extensive experience, RGG Studio, a long-awaited new release. At the same time, it retains the essence ofRGG Studio's strengths, including world-building with strong cultural characteristics and narrative stages based on real-world locations......In addition, this titleThe number and star power of live-action actors once reached breathtaking levels, making it a"combining the characteristics of RGG Studioatmasterpiece", which not only holds strong appeal for the studio's fans but also easily attracts ordinary players who don't usually follow specific games, thanks to its unique art style at first glance.
Why not let loose and cause a ruckus in this place even more wonderful than heaven?—Masayoshi Yokoyama
And just asOn the final day of TGS, we were honored to interview RGG Studio, specifically five core members of the STRANGER THAN HEAVEN development team: Masayoshi Yokoyama, Representative of RGG Studio and Executive Director of this title; Ryosuke Horii, Chief Director; Mikanobu Abe, Director; Hiroyuki Sakamoto, Producer; and Taishi Kanaya, Art Director for this title,We hoped to take this rare opportunity of having all five members together to learn more stories related to the game's development.
Below is the main content of this interview. For easier reading, we have appropriately edited it without altering the intended meaning or basic structure.
From left to right: Taishi Kanaya, Hiroyuki Sakamoto, Masayoshi Yokoyama, Ryosuke Horii, and Mikanobu Abe
Q: First of all, this titlewillDepicting a character's fifty-year life span in a single game, with a story spanning five eras, is honestly a very bold attempt. Why did you choose to pack such a massive amount of content into one title?
Yokoyama:Initially,We did consider releasing this title in parts, even thinking about making it a trilogy. However, once we started writing the story, we realized that breaking it midway and making players wait for sequels would sever many emotional connections—Players might forget previous plot points and lose that sense of immersion. So, we decided to make it a single complete work, telling the whole story at once. This is also why we chose the story-first approach.
Q: Considering the massive scale of this title's main story, will the number of side quests available to players be relatively smaller?
Yokoyama:Precisely because the main story takes up such a large portion, the design philosophy for side quests in this title is alsois completely different from the "Like a Dragon" series.
If we must draw a comparison,"Like a Dragon" packs numerous side quests of varying sizes outside the main story, such as encountering eccentric people on the street and getting into minor conflicts. In contrast, the side quests here focus more on encounters—with people who truly influence the protagonist's life. The stories with them are longer and deeper. While there aren't many side quests, we ensure each one is substantial and closely tied to the game.
Q: Five eras, five cities—the fifty-year life of the protagonist, Daito Shin,are all condensed into this title. So besides physical changes, how are internal growth elements like the character's combat movements and speech patterns,How will this be reflected in the game?
Yokoyama:First, the protagonist Daito Shin is of mixed Japanese and American heritage. In the early story, he uses English more frequently, but as the plot progresses, he gradually integrates into Japanese culture, starts learning Japanese, and his entire demeanor begins to showsigns of "becoming Japanese." We even,made corresponding adjustments—We used native English-speaking motion actors in the early stages and switched to native Japanese-speaking actors later on, with body language gradually shifting from exaggerated and outward to restrained and subtle.
In this regard, the voice actor's performance is also astonishing. Despite being the only performer from start to finish, he perfectly portrays the drastic changes in the character's speech from youth to old age—honestly, I am quite impressed.
Sakamoto:Combat follows the same pattern. In the early stages, the protagonist's instinctive battle cries are in English, but later they shift to Japanese. This design choice, where even the language of battle shouts changes, allows players to intuitively feel the character's transformation.
The moves themselves gradually increase in power and variety as experience points accumulate, creating a sense of progressive growth.
Abe:Additionally, we implemented numerous details—For instance, someone who fights frequently will have scars and worn skin. As the timeline progresses, Daito's knuckles even develop calluses from long-term punching....You'll find that all of these change as time progresses.
It's not just people who change; the stage itself evolves. Across five eras of Japan, the cityscape, people's thoughts, and culture all transform. We designed it so that players can feel the changes of the times alongside the protagonist's growth, with both elements intertwined.
Kanaya:Visually, we aimed for an impact that allows players to recognize the change in era within a tenth of a second. The color schemes for each era,we deliberately differentiated—Color palettes used previously will absolutely not be reused in the next era, ensuring maximum visual distinctiveness for each period.
Q: The combat system in this title is very different from the "Like a Dragon" series, with combos entirely left to player freedom. This means the game can hardly rely on preset moves to alter and combine combat styles. So how will this title reflect the character's growth in combat skills?
Sakamoto:While standing, players can freely combine combos, which presents both a challenge and an opportunity for playersis also an advantage—You can use your most comfortable combo style without rigidly following a fixed sequence. As you grow, new moves will unlock, including passive skills like immediate counterattacks after being hit. Players unlock new moves while figuring out the best combinationsbecomes proficient, and this exploration process continues throughout.
Additionally,We specifically designed independent left and right controls—Right-hand attacks correspond to right-side moves, and left-hand attacks correspond to left-side moves, directly linking player input to character actions to enhance immersion.
Q: This title will feature over ten weapon types, allowing players to switch between them depending on the situation..But we know that for an action game, truly differentiating each weapon,is actually quite challenging. So what criteria did you use to select weapon types during the design phase? And what did you prioritize most when designing weapon performance and animations?
Sakamoto:Regarding weapons, considering the earlyset around 1915, we used everyday items like hammers and kitchen knives that were readily available. While maintaining the core system of independent left and right controls, we distributed weapons with different styles, such as speed-oriented and power-oriented types.
Kanaya:The visual design prioritizes a sense of rawness—Unlike typical action games where pressing a button automatically triggers flashycombos, but instead, every strike has a realistic sense of weight, and pain is felt when hit. The protagonist is not a martial artist; he is a street fighter, so his movements are neither flashy nor refined. We paid special attention to this aspect.
Abe:Furthermore, we implemented a weapon proficiency system—If you keep using the same weapon, the protagonist becomes more proficient, and their moves evolve; conversely, if you want him to become an all-rounder capable of using any weapon, simply switch between them often. The direction of growth is entirely up to the player to choose.
Q: During the demo, I noticed that you can pick up items from the ground and throw them during combat. How was this detailed design implemented? Regarding programming and module design for such details,does this mean it was a significant challenge?
Sakamoto:The core principle we followed when developing this action systemis the independence of the left and right hands—If your left hand is free, you can use it to grab objects and throw them; if your right hand is grabbed by an enemy, your free left hand can punch them. We adhered to this rule throughout development. Of course, when both hands are holding weapons, you won't be able to pick up items.
This system was built from scratch, from motion capture to programming control, with many iterations along the way. The earliest version allowed any button press to trigger a corresponding punch, but we realized that didn't feel like real fighting, so we changed it to the current design where every punch carries a sense of weight.
Q: Various minigames and vocational activities on the streets are also important elements of this title. When recreating those retro games unique to 20th-century Japan, what did you prioritize most?
Yokoyama:To be honest, old games from that era weren't necessarily fun. As game developers ourselves, we know that modern games are the most enjoyable. The reason some minigames from those decades have survived until today, like Mahjong, is because their rules have been refined over centuries,But other minigames—Simply porting them over wouldn't be fun at all.
Therefore,The biggest challenge was: how to make items from that era feel authentic yet genuinely fun. Some minigames were created purely for atmosphere, to let players feel the vibe of the time, without needing to be particularly engaging; but there are a few we are especially confident in, such as"Menko" (card flipping) and "Arm Wrestling" were developed with serious dedication.
For overseas players unfamiliar with Japanese culture, we also put effort into tutorial explanations to ensure everyone understands how to play.
Q: In previous trailers, the music creation system in this title seemed quite unique, requiring the protagonist to collect "inspiration" on the streets and incorporate it into the composition process. How does this system work in actual gameplay?
Horii:Various items are scattered throughout the streets"Inspiration." After collection, the protagonist doesn't compose alone; instead, each era features a partner composer who transforms the collected inspiration into tracks. Inspiration comes in intense or calm varieties, and different types of materials lead to songs with different styles and arrangements. For example, if you collect the sound of a "stream," the resulting track will lean towards a more soothing style.
Additionally, collected sounds sometimes appear directly in the tracks—For example, if you collect a Dog.exe's bark, the track will actually include a "woof" as a little Easter egg. But overall, it's more about collecting various materials to allow for significant adaptation and variation in the composition.
Q: In the recent trailer, we saw the protagonist working as an "event planner," posting flyers and finding venues for performances. These grounded gameplay elements,seems to contrast with the intense action segments. What specific roles do they play in the game?
Yokoyama:First, I want to emphasize that this title is a"Dramatic AdventureGame". Our starting point in creating this game was the desire to depict the life trajectory of Daito Shin. His profession is a Kogyoshi (Event Promoter). To pull off a concert, he must recruit partners and put up posters for promotion....these things,constitutedonehis lifeonepart.
Sakamoto:Furthermore, Tojo wasn't a successful producer from the start; he began with nothing and slowly found his place in Japanese society. This clumsy process of accumulating small achievements step by step cannot be truly understood unless you play and experience it yourself. That's why these seemingly minor elements are actually the core of the life experience.
Q: Regarding the casting of collaborating artists, could you share the reason behind choosing Snoop Dogg as an important character in this game?
Yokoyama: This story needed someone—a "mentor" figure who helps Tojo find his purpose in life and discover his musical talent.
This person needed enough persuasiveness to convince Tojo, who fled from America with no purpose in life,Find your direction.Snoop Dogg himself is alivinglegend, when he says"You have talent," the weight of those wordsis completely different.
Moreover,this person had to come from overseas, soSnoop Dogg brings natural persuasiveness to the role with his real-life status and presence. Starting with this casting choice, we then looked for other actors along the storyline who could play, and musicians who can sing, ultimately forming the current cast.
Q: Including the current demo, most of the information revealed so far about "STRANGER THAN HEAVEN" focuses on the protagonist, Makoto Tojo. However, the game also featuresMakotoYu Jo, a character with circumstances similar to Tojo's but a completely different personality. What will be his role in the story?
Yokoyama:MakotoJo is like a mirror image of Tojo.—Though their situations are similar, they take different paths.
MakotoJo believed"Unless we change Japan itself, we have no place to belong," while Tojo's approach is different. Sharing the same goal but using opposing methods creates a complex relationship between the two that lasts a lifetime—they sometimes fight side by side, and sometimes clash as enemies.. After all, they are young and energetic, so fights are bound to happen.
From a script perspective, he could also be considered another protagonist of this game.
Q: In the previously released trailers and demo content, this game has maintained a relatively realistic and serious narrative style. However, we know that lighthearted and absurd comedic moments are also a specialty of RGG Studio. How will this title balance these aspects?
Yokoyama: This game and"Like a Dragon" is a completely different game.
To be honest,"Like a Dragon" isn't actually known for its comedy either—its main story is serious, and the many humorous side quests were included to give players a breather between tense main plot points. For example, the protagonist's brother is killed, and he sets out to revenge against the boss, but along the way, he can go sing karaoke or visit a nightclub. That's the sense of freedom in "Like a Dragon."
But "STRANGER THAN HEAVEN" is different. Our top priority is to immerse players in the main story, so we won't include humorous side quests that interrupt the emotional flow. This doesn't mean there's no humor at all, but we won't deliberately pad it out. The story is the story, and the pacing of the main plot shouldn't be disrupted.
Q: Finally, could you say a few words to the Chinese players and fans?
Kanaya:I previously had the honor of meeting various industry veterans and learned that Chinese players might not be very familiar with this world. However, we strongly encourage you to pick up the game and immersively experience Makoto Tojo's fifty-year journey. As developers, we went all out, with the entire team united in production. We hope you can feel this passion through the game. Please definitely buy it and give it a try.
Abe:The support from Chinese players for our studio's works has always been a great source of motivation for us. This title presents new challenges in every aspect, depicting fifty years of a man's life and exploring era backgrounds we've never portrayed before. We hope you look forward to future information.
Horii:For our studio, this is also a completely new type of project, and we're making it with the determination to create something truly fun. We hope you can feel even a fraction of that passion and dedication just by watching the trailer or reading the materials. Since the game is set in Japan, Chinese players might not be familiar with some cultural contexts and may find certain parts confusing. However, once you actually play, we believe this passion, which transcends cultural differences, will surely reach you. Please look forward to future updates, and continue to support our studio.
Sakamoto:Although the stage depictsperhaps existedJapan, featuring a very unique setting and story development. However, we hope not only Chinese players but players worldwide can appreciate the narrative charm of this game. We've poured all possible entertainment elements into it, and we believe the final product will satisfy everyone. Please try it out on release day and let us know your thoughts.
Yokoyama:I believe the most important aspect of this game is the protagonist, Makoto Tojo. He is a protagonist whose story can resonate with anyone, anywhere in the world.—because he has no homeland, no place where he truly belongs.
His background will be revealed from the beginning to the early part of the story: he doesn't speak English well, and he's not actually a native English speaker. Influenced by his father, who was a trader, he traveled all over the world, but he never became fluent in the language of any place he visited. He can understand Japanese, but he's not good at it. In other words, he is a man with no roots anywhere.
With this mindset, he searches for a place to belong, a place where he can survive, as if grasping at straws, and by chance ends up in Japan. What we want to depict is what such a man will do next.
This also connects toconnects to the title "STRANGER THAN HEAVEN." For him, where is heaven? For him,, Japan is a place stranger than heaven. So, how will he build his own place to belong, his own heaven, in this land? That's the story.
What we want players to see is what this man, Tojo, is searching for, and how he gradually builds a place where he belongs.—his "way of life." The game system that brings this way of life to life,combatwhether it'sand adventures are all in service of this. Once you actually play, I think you'll realize"Ah, so that's how it is." Life comes in many forms, and this is one of them—we hope you can accept and enjoy it as such.
Personally, I believe the essence of this work lies in the story of Makoto Tojo. People with similar circumstances exist all over the world, especially in today's increasingly globalized society. I hope those who struggle to find a place where they belong can resonate with this story. If it can give these people even a little bit of courage, I will be satisfied.