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Exclusive Interview with Producer of Towa and the Guardians of the Sacred Tree Before Launch

As the release of Towa and the Guardians of the Sacred Tree draws near, many players have already had a taste of this fresh roguelike adventure crafted by Brownies. Soon, everyone will dive into its Japanese fantasy world filled with dungeons and guardians. Recently, Bandai Namco Entertainment Asia gave This Is Game Asia the chance to sit down with producer Daisuke Nagaoka and director Shuhei Yamashita from Brownies for an exclusive interview that sheds light on the design vision, inspirations, and secrets behind the game.

When asked about the character design process, Nagaoka explained that Towa, the central figure, was influenced by Shinto mythology, while the guardians were designed to be colorful and expressive, ensuring players would easily find favorites. Each character’s personality was carefully embedded into their dialogues, giving them a unique charm.

Although roguelike titles are typically solo experiences, Yamashita’s passion for RPG storytelling inspired the team to integrate elements of character interaction. This led to the “partnership system,” where players develop bonds with their companions, adding layers of narrative depth beyond traditional roguelike gameplay.

The theme of encounters and farewells plays a major role in the game’s story. Nagaoka revealed that this is why certain dramatic moments, such as saying goodbye to a companion through sacrifice, are part of the experience. These emotional scenes reinforce the game’s core message about meeting, parting, and the fleeting yet meaningful nature of connections.

The team also emphasized experimentation. Characters have their own move sets whether in main or support roles, but no flashy ultimate skills. Instead, players are encouraged to discover their own best combinations through trial and error, creating a playstyle that feels personal and rewarding.

Another striking design choice is the game’s brightness. Unlike other roguelike games that often lean toward dark and grim atmospheres, Towa and the Guardians of the Sacred Tree embraces warmth and positivity. According to the team, this reflects Japanese beliefs that deities are kind and compassionate, guiding humans rather than ruling them harshly. Even when characters fall, Towa embodies mercy by offering guidance into the next life, reinforcing a hopeful tone.

On balancing unique character combinations without overwhelming difficulty, Yamashita explained that accessibility was key. The team focused on creating characters that felt agile and easy to control while maintaining distinct identities, ensuring the game stays challenging but never punishing.

Without giving away spoilers, the developers confirmed that while companion interactions deepen the experience, they will not affect the core storyline. However, small touches of personality in dialogue add flavor to the journey. A highlight the team recommends players pay attention to is the concept of time. Within the game, time flows constantly, yet Towa and the guardians remain untouched by aging. This mystery ties directly into the central theme of meetings and farewells, promising revelations for those who reach the end.

Looking ahead, the team’s priority is for players to fully enjoy the content at launch before any discussions of post-release updates.

Towa and the Guardians of the Sacred Tree is a roguelike adventure where players take on the role of the leader of guardians protecting a sacred tree. You will forge bonds, craft powerful swords, and battle Magatsu’s forces to decide the fate of the village. Characters are divided into Tsurugi and Kagura roles, each with unique skills and weapons, ensuring every battle feels distinct. With ever-changing dungeons, no two runs will ever be the same.

The game launches on September 19 for PlayStation 5, Xbox Series X|S, Nintendo Switch, and PC, with pre-orders now open and a free demo available. Stay tuned to This Is Game Asia for more insider stories and exclusive interviews from the world of gaming.

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