Originally released on the PlayStation 1 in Japan in 1999, cozy life sim Milano's Odd Job Collection returns today, December 9, with its first official Western release. For 11-year-old protagonist Milano, it's a modernized adventure through part-time jobs and indoor decorating conveyed through charming minigames and timeless pixel art. For 61-year-old original creator Ryuichi Nishizawa, it's been a long time coming.
Nishizawa has been making games in Japan since the arcade days of the 1980s, leading or contributing to dozens of releases spanning multiple consoles and companies, from the PlayStation family to the Dreamcast, Super Nintendo, Genesis, and TurboGrafx. He's floated around the industry a fair bit, but spent quite some time at Westone Bit Entertainment. Milano's Odd Job Collection, which saw Nishizawa head development from concepting onward, has quietly snowballed into one of his more recognizable games behind the likes of Wonder Boy.
Milano's long-awaited re-release – which Nishizawa is also enjoying from the sidelines, as he hasn't worked on the new version directly – has come at the perfect time. In an interview with GamesRadar+, Nishizawa reckons Milano's Odd Job Collection is not only a timely ancestor of some of the cozy games we have today, but also exactly the type of game he hopes to see more Japanese developers create going forward: something proudly, overwhelmingly, and unmistakably Japanese.
Working like it's 1999
GamesRadar+: What was your response when you first learned of this re-release for Milano's Odd Job Collection?
Ryuichi Nishizawa: I always believed that someday the game would be re-released, so my first reaction was, "Ah, its time has finally come."
Did you ever have or hear of conversations about a potential re-release for this game in the past? Was it something you'd considered or hoped for yourself?
When people started calling the PlayStation 1 a "retro console," which was a surprise to me in itself, I occasionally received casual messages on social media from retro game fans saying they were hoping for a re-release of this title. I also noticed that many players who love discovering older games – including younger fans – had already explored most of the 16-bit era and were now eager to dig into PS1 titles. That made me feel that this is the best time for this game to return.
It feels like a lot of great games from this era are still only officially available in Japan, which is why some Western players have turned to unofficial translations. How does it feel to see Milano's Odd Job Collection getting an official release in the West?
Just like with Monster World IV, I was very surprised to learn that unofficial fan translations existed. It made me realize there are incredibly passionate gamers around the world. When we were developing the game, we weren't thinking about the global market at all – only Japan. So localization was never planned. The game is packed with many Japanese cultural elements and the UI is entirely designed in Japanese. When I heard it was getting an official English release, I thought, "The localization staff must have had a very difficult job… I feel kind of sorry for them!" (laughs)
Is it flattering to see Western fans who want to play or share your game so badly that they translate it themselves?
I am always humbled by the passion fans have for games. Sometimes fans directly tell me, "This title seems influenced by your work," and such messages are truly inspiring. It's always surprising and delightful to realize, "Wow, there are fans in that country too." I believe that these fan-driven activities influence creators across borders, because they teach us things like "They don't enjoy this part as much," or "Wait, this detail is what they find interesting?" – discoveries that help us grow.
There's been some recent discussion about Japanese games made with Japanese versus Western sensibilities in mind, and how Japanese game developers can find success by leaning into what makes their games unique, rather than minimizing those elements and going for broader appeal. How do you feel about the different tastes of Japanese and Western gamers, and what are your thoughts on the themes and sensibilities of Milano's Odd Job Collection?
That is a very good question. My recent research theme is: "Japanese games are said to be unique – but what exactly makes them different from Western games?" I believe that recognizing the uniquely Japanese characteristics in games – traits we often overlook ourselves – will allow us to systematize and pass down Japanese-style game development to the next generation. In Japan, we do not yet have a curriculum that teaches uniquely Japanese game creation, so young developers tend to learn from Western systems. This risks losing the originality that Japanese games have cultivated. I feel a strong need to prevent Japanese-style game development from being lost.
This game was created without any consideration for the global market, and I believe that is why it turned out to be so distinctly Japanese. Japanese creators of my generation grew up surrounded by original Japanese art forms – music, TV dramas, films, manga, anime – and those influences age like fine wine within us and become the games we create. Today's creators must think globally, but that is exactly why we must first understand what makes games "Japanese," and create based on that strength.
You've been making games since the 1980s. Compared to your early years, how would you say global releases for Japanese games are discussed and treated nowadays?
The biggest change over my 40-year career is the dramatic growth in the gaming population. Japanese culture as a whole has become admired worldwide, even beyond gaming. Events like Comiket and cosplay conventions now take place globally, and more young people are learning Japanese or studying abroad in Japan. Previously, many Japanese people believed they had to speak English when dealing with foreign visitors, but now those visitors show interest in Japanese and sometimes even feel sorry for not being able to speak it – an astonishing shift.
Therefore, I believe Japanese game creators should continue making games that are unapologetically Japanese. If we create what only we can create, the world will gladly accept it.
People talk about how hectic game development can be, but you also hear that it isn't always that way. How would you describe the development process of making the original version of Milano's Odd Job Collection?
The team size was around 10 people. A major theme of this project was nurturing young staff, so I handled the original concept while entrusting level design to the younger members. Since I normally took responsibility for both game design and level design, this was likely the first project where I did not handle the level design myself. At the time, hiring professional voice actors was uncommon, so the voice work was done by internal staff.
The most important production challenge was ensuring stable quality for a massive volume of pixel art animation. Animator Maki Ohzora not only created the character designs but also drew every key frame of the animation. Multiple graphic designers digitized her drawings to complete the work. It was incredibly demanding, but thanks to that approach, we achieved a remarkable level of consistency in animation quality throughout the game.
This game is being re-released for a reason, of course. Some people clearly want to play it even today. What would you say is the strongest or defining element of Milano's Odd Job Collection that has stood the test of time?
I think choosing to specialize in pixel art animation – on a platform like the PS1 that could display polygons – was meaningful. It was a strength of Westone as a studio, and because we committed to that direction, people today wanted to revive the game. At the time, I did not think deeply about it, but pixel art turned out to be a form of expression with value that transcends generations. The meticulous process of placing each pixel is digital yet feels akin to analog fine art. Looking back, it was a unique visual approach that emerged during a transitional era of technology. Western fans helped me realize the charm and enduring appeal of that style.
Games and player expectations have changed tremendously since 1999. What are your thoughts on hypothetically making a new game that looks and plays like Milano's Odd Job Collection today? If you were to approach this type of game again, what do you think you would do differently?
I recently learned the term "Cozy Game," and some specialists told me this game sits near the origins of that genre. It even predates Animal Crossing, so there is a possibility that it influenced some creators – although I suspect most people today have never heard of it! (laughs)
As someone who has made many platform action games, my impression is that modern platformers are repeating familiar ideas.
Ryuichi Nishizawa
If I were to make a similar game again today, I would want it to stand firmly at the heart of the Cozy Game genre. Since there is now a clear audience for such experiences, I would love to revisit my original vision for Milano and create another game for 11-year-old girls. But this time, the players would be girls all around the world, with different personalities and cultures. And if we could achieve that using pixel art again, I think it would be delightful. There are many pixel art lovers and skilled artists around the globe. Pixel art craftsmen may be nearly extinct in Japan, but they still exist in other countries. I would love to gather them and aim for the ultimate pixel art Cozy Game.
How would you define the type of game you want to make, and how has that definition, and your ambition, changed over time?
I love movies, and I stream overseas dramas every day. My favorite movie genre is action, especially high-octane movies like John Wick, Kingsman, Spider-Man, Mad Max, The Matrix, etc., that contain elements like car chases, shoot-outs, martial arts, and giant explosions. From the perspective of an action movie fan surveying the current scene, I feel there are fewer directors who create physical action. Since CGI can do anything now, I am increasingly drawn to films where real performers execute real stunts. I strongly hope that directors who can create action films will continue making them.
I believe the same can be said for games. As someone who has made many platform action games, my impression is that modern platformers are repeating familiar ideas. Even in an age when realistic 3D visuals dominate, side-view platformers offer a simplicity that results in deep gameplay, direct control, and highly accessible fun – which is why they still maintain a loyal fanbase.
I want to develop this genre once again. Not by making it louder or flashier, but by refining the pure joy of gameplay. I am currently planning a brand-new platform action game with Kouichi Yotsui – the creator of Strider. I would love to establish this project and present a game that people will recognize as a new style of platform action and enjoy to the fullest.
(Editor's note: This is the first time this project, co-created with Yotsui, has been discussed publicly. Nishizawa later clarified that it is in the very early stages of development, so he couldn't share more at this time.)
