Few creators in Japan’s indie scene carry a voice as unmistakable as Yoshiro Kimura, and with Stray Children, he and Onion Games return to the dreamlike, unsettling spaces that have defined their work. In this exclusive Cubed3 interview, Kimura reflects on the inspirations behind the game’s strange world, the emotional truths hidden beneath its playful surface, and why exploring childhood from an adult’s perspective remains one of his most powerful creative tools.
Adam Riley, Director at Cubed3: Stray Children begins with a boy pulled into a TV and waking in a world of only children. What inspired this premise, and what themes were you hoping to explore through it?
Yoshiro Kimura, Director of Stray Children: The premise is from a memory from childhood—When I got completely absorbed in a game, movie, or anime on the TV or computer screen, I felt like I was being pulled into the screen itself. Didn’t you ever feel that way, too? As for themes, when people become deeply immersed in a game—especially story-driven ones like RPGs—there’s a mysterious power that lets them slip themselves into the narrative. It’s almost like a kind of supernatural ability that the heart possesses. But in the real world, for some reason, our hearts get bound by social norms. They become rigid, lose their freedom, and feel trapped—like being sealed behind a wall of stone. This strange duality of the heart—sometimes free, sometimes confined—is a mystery. So, what am I exploring in this game? It’s the idea of escaping from the boundaries of one’s heart.
Adam Riley: The “Olders” — adults transformed into monsters — feel like a powerful metaphor. How did you approach balancing allegory with gameplay?
Yoshiro Kimura: I always try to infuse my games with the strange, mysterious experiences we encounter in the real world. When I was a child, I met a lot of strange adults. It felt like about 70% of them tried to suppress us with their grown-up rules. They would appear out of nowhere—like random encounters in an RPG—and often in ways that felt unfair or overwhelming. I still wonder what that sense of discomfort was all about. But lately, I’ve started to think that this kind of “user-unfriendly game balance” might actually be what makes life interesting. So in this project, I tried to reflect that feeling—the unpredictability of life, where a wild adult might suddenly appear—into the game’s balance itself.
Adam Riley: Onion Games has asked players not to spoil the ending. Without giving anything away, what kind of emotional response do you hope players walk away with?
Yoshiro Kimura: I hope they notice many things, feel many things, and take their time in doing so.
Adam Riley: The game blends retro JRPG mechanics with modern design. How did you decide which traditions to keep and which to subvert?
Yoshiro Kimura: I placed a great importance on capturing the atmosphere of 90s games. That’s why I abandoned the idea of “making everything convenient” from the very beginning. If I feel that a modern feature would break the thematic message I’m trying to convey through the story, I choose not to implement it—even if it’s considered standard or expected in today’s game design.
Adam Riley: Music and atmosphere are central to Onion’s past titles. How did you shape the soundscape of Stray Children to reflect its bittersweet tone?
Yoshiro Kimura: In truth, the music for this game has been crafted over a long period of time. There are many approaches to composing game music, but this time, it wasn’t about mechanically filling out a track list. Instead, we took a slow, thoughtful approach—holding weekly meetings with our music team, Thelonious Monkeys, to discuss what kind of music to create next. We’d talk about the latest game visuals, characters, and story, and share what we were trying to express—making sure the music and game were in harmony. It was a process of building consensus and emotional resonance, not just production. Also, maybe it’s because both Thelo-Mon and I are romantics, but the music naturally took on a bittersweet tone.
Adam Riley: Onion Games has a history of creating “anti‑RPGs” like Moon. How does Stray Children continue that lineage, and where does it break new ground?
Yoshiro Kimura: The term “anti-RPG” wasn’t something we invented ourselves—it was something the fans came up with. So, it’s not something I consciously try to create. That said, there’s a feeling I’ve always cherished: the sensation of wandering alone through a mysterious world. I think that’s something I’ve consistently carried through my work. This time, my new challenge was intentionally leaving in not just the satisfying moments of success and growth, but also those of discomfort and confusion— as something necessary within the game.
Adam Riley: Many of you worked on cult classics like Chulip and Little King’s Story. Did any lessons or unfinished ideas from those projects resurface here?
Yoshiro Kimura: No, that’s not something I do. In my game development process, I never try to recall and reuse ideas from the past. I always focus entirely on the work in front of me—thinking only about what it should be, and the ideas come from there.
Adam Riley: Japanese RPGs often explore coming‑of‑age themes. How does Stray Children fit into — or challenge — that tradition?
Yoshiro Kimura: Do they?! My stories always come from personal experiences and feelings, so I’ve never really paid much attention to the traditions or context of past games. If I had to name one exception, it would be moon—that’s the only past title whose context I consciously considered this time. Beyond that, I simply wrote the story in the most honest way I could, staying true to what I felt.
Adam Riley: The art style feels both nostalgic and unsettling. Were there particular visual or cultural influences that shaped its look?
Yoshiro Kimura: There’s honestly too many to name… From the 1970s to the 2000s, I’ve been influenced by films, anime, manga, fine art, literature from around the world—and also by my own personal memories of travel: old towns, jungles, ruins, deserts, snowy fields. Even something as simple as a beautiful flower I spot while walking through my neighbourhood. If I were to name specific people: From abroad—Odilon Redon, René Magritte, Egon Schiele, Friedensreich Hundertwasser, Karel Zeman, Terry Gilliam, Franz Kafka. From Japan—Hisashi Sakaguchi, Fujiko Fujio, Leiji Matsumoto, Osamu Tezuka, Eiji Tsuburaya, Kenji Miyazawa, Shigeru Mizuki, but really, the list could go on forever. All of these influences feel like tiny particles swirling around and mixing together inside me.
Adam Riley: Onion Games is known for small, passionate teams. What was the biggest challenge of bringing Stray Children to life with limited resources?
Yoshiro Kimura: Maintaining our health was crucial. There are just seven of us—and if even one person had got sick, the entire development could have come to a halt. So simply keeping the team together and safe was one of the biggest challenges. We probably spent about three years on this project, and that development time itself was a major risk. Reaching the finish line—alive and together—feels like a true achievement.
Adam Riley: How did your development diaries and newsletters help you connect with fans during production?
Yoshiro Kimura: We have a feedback form in our newsletter, and through it, we receive messages from our fans. Reading those voices of support gives us a real sense of being uplifted. It reminds us that there are always people out there waiting for our games. I’m truly filled with gratitude. To everyone—thank you so much.
Adam Riley: Do you see Stray Children as a standalone story, or could this world expand in future projects?
Yoshiro Kimura: Stray Children’s story ends with Stray Children.
Adam Riley: How do you hope international audiences will interpret the game’s themes compared to Japanese players?
Yoshiro Kimura: I’m creating this for people all over the world who want to journey through strange and mysterious worlds. There’s no real difference between Japan and overseas in that sense.
Adam Riley: If you could describe the development journey of Stray Children in one word, what would it be — and why?
Yoshiro Kimura: As a rogue-like dungeon. There were all kinds of unexpected events, but thanks to our experience and skills, we managed to emerge safely. That said… right now, I’m totally wiped out. My HP is probably around 1.
