In late 2025, we had the wonderful chance to chat with Ryuichi Nishizawa, the original creator of Milano’s Odd Job Collection, just around the time of its re-release. If you’re unfamiliar, this game was released exclusively in Japan for the PlayStation and remained there for over a quarter of a century, without any port or translation.
Last Summer, the game was revealed to be headed West with a translation for the first time ever, launching on PlayStation 4, PlayStation 5, Nintendo Switch, Nintendo Switch 2, Xbox One, Xbox Series X|S, and PC via Steam. In our review, we wrote, “As a whole, though, Milano’s Odd Job Collection succeeds at its main goal of localizing a forgotten experience that would’ve been forever lost to time if not for the developers.”
Our interview with Ryuichi Nishizawa covers the creation and development of Milano’s Odd Job Collection, the localization, and his thoughts on game preservation as a whole. We’d like to give a special thank you to the wonderful teams who made this interview possible. Please enjoy!
What originally inspired you to create a game centered around “odd jobs”?
Ryuichi Nishizawa: The idea came from something very close to my everyday life. At the time, both producer Shimada and I had daughters who were 11 years old, and we wanted to create a game that they—and kids their age—could genuinely enjoy. Many young girls dream about “living on their own someday,” and we thought it would be fun to build a world where that little dream could come true in a gentle, playful way. As we explored that concept, the game naturally evolved into a slow-life experience filled with small mini-games—everyday tasks, cozy routines, and the kind of moments that spark imagination. The theme of “odd jobs” fit perfectly with that world.
Looking back on development, what kind of atmosphere or mindset existed within your team at the time?
Ryuichi Nishizawa: The development floor was full of energy. At the start of the project, we put up the slogan: “Let’s create the ultimate pixel-art game!”. That immediately boosted the morale of the whole team. Maki Ohzora and the graphic artists poured themselves into the pixel work, and I could feel how seriously they wanted to express the charm of pixel art through this title. We also had many new graduates on the team, and they brought fresh ideas into the project. Some even contributed their voices as the characters. It was a project where many different talents inside the company naturally gathered, and we were all moving forward with the same sense of momentum.
What did this project represent to you personally as a creator?
Ryuichi Nishizawa: At the time, I was focused on trusting the younger staff and giving them space. I directed the project and created the initial concept, but the detailed game design and level design were entirely entrusted to younger team members. Looking back, this may have been the first project where I handed over all of the level design to others. They worked hard and grew a lot through it, and seeing that was very meaningful to me.
How does it feel to see new players finally discovering it through this Western release?
Ryuichi Nishizawa: When Westone’s final arcade title, Clockwork AQUARIO, was finally released in 2021, I was overwhelmed with emotion. This title is just as full of memories for me, so seeing it return after all these years makes me genuinely happy. Back then, the market for games aimed at young girls was extremely small, almost nonexistent, so the game wasn’t a commercial success. But for it to be rediscovered and appreciated so many years later—this is a great honor for me as a creator.
When revisiting the original game today, are there any aspects, whether in the story, art, or gameplay, that you’re particularly proud of?
Ryuichi Nishizawa: The sheer amount of pixel-art animation. There aren’t many games—even today—that include this much hand-drawn pixel work. Pixel art cannot be mass-produced efficiently; every frame has to be drawn patiently by hand. Because of that, even now in the era of advanced technology, the artwork in this title still has a strong presence. That’s something I’m very proud of.
What do you hope international players take away from Milano’s Odd Job Collection in 2026?
Ryuichi Nishizawa: I hope players can feel the spirit of the pixel-art craftsmen who worked on it. Every piece of animation was created with passion and care. I’ll be happy if players can sense even a bit of that energy.
Game preservation is more important than ever. As someone whose work spans multiple generations, how important is it to you that older titles like this are being revived and shared again?
Ryuichi Nishizawa: For most of my career, it was normal to think that games would become unplayable once their hardware disappeared. So to see a title revived across different generations and hardware feels almost like a dream. I know many passionate people around the world are working on preservation projects to keep valuable games alive. I’ve always respected their efforts, and I support what they’re doing wholeheartedly.
Finally, if you could give one piece of advice or a message to players who are about to experience Milano’s Odd Job Collection for the very first time, what would you say?
Ryuichi Nishizawa: This game is filled with the craftsmanship of pixel artists. Please take your time and enjoy every detail.
Milano’s Odd Job Collection is available now for PlayStation 4, PlayStation 5, Nintendo Switch, Nintendo Switch 2, Xbox One, Xbox Series X|S, and PC via Steam.
