Defeat enemies and eat them whole right on the spot. “GOBBLE,” developed by Nippon Ichi Software, is a 2D side-scrolling action game featuring “Ruto,” a boy who dreams of becoming a hero, and “Kamael,” a haughty bird-like monster, as they embark on a journey together.
Ruto fights enemies, and Kamel devours the foes Ruto defeats. As they progress through the stages, they also acquire the “special abilities” possessed by certain enemies. The game is characterized by onomatopoeia filling the screen, characters with exaggerated movements, and a story that unfolds like a comic book.
In this article, we interviewed Moe Suzuki, the development lead for *GOBBLE*. We asked her how the “enemy-devouring action” came about, what challenges she faced with the cartoon-style visuals, and what she kept in mind when depicting the relationship between Ruto and Kamael.
The Project Began with a “Human-Non-Human Buddy” Concept
――First, could you tell us how the concept for *GOBBLE* came about? Was the direction of a “side-scrolling action game where you devour enemies” already set from the very beginning?
Suzuki: We started by thinking about the concepts of an “action game” and a “human-non-human buddy duo,” but by the early stages of planning, we had settled on the direction of a “side-scrolling action game where you devour enemies.” The graphic style, characters, and story were decided later.
――This game features striking visuals that prominently showcase a cartoon-like style. Could you tell us why you adopted this style, and if there were any works you referenced when determining the design direction?
Mr. Suzuki: When considering the graphic style, we decided to incorporate “cartoon-like, exaggerated animation” that would fit the game’s world.
In the early stages, we looked to shows like “Steven Universe” and “Hotel Hazbin” for reference, but after some twists and turns, we ended up with a direction that differed from our initial vision.
Beyond the two specific examples mentioned, we’ve drawn inspiration from many other works in various ways—noting which elements were interesting or seemed useful as references.
――When actually playing the game, Kamel’s “predation” is used not only to defeat enemies but also to restore health, acquire traits, and move around the stage. What did you focus on in particular when placing predation at the center of the game?
Mr. Suzuki: Differentiating between “Predation” and “Normal Attacks.” We refined the mechanics right down to the last detail to ensure there was a clear incentive to use “Predation.”
――The “Counter Predation,” which is executed in response to enemy attacks, felt incredibly satisfying, including the visual effects that play out the moment it succeeds. Could you tell us about the design choices—such as input timing and enemy wind-up animations—that were made to ensure players can pull it off smoothly?
Suzuki: To eliminate situations where it looks like a counter is possible but isn’t, we display a sparkling effect during the enemy’s wind-up to indicate that a counter is possible.
We also made the hitbox as wide as possible on the player’s side, so that counters are possible even against enemies that are surprisingly far away.
Since the first boss is when players really start using counters in earnest, we’ve made the counter window longer than the duration of the visual effect to allow for practice.
――The boss battles in this game left a particularly strong impression on me. Could you tell us what points you focused on when designing the movements and attacks of the giant bosses? Also, if there’s a boss that was especially well-received within the development team, please tell us about it—as long as it doesn’t give away any spoilers.
Mr. Suzuki: We were careful to ensure the attacks didn’t become monotonous. Depending on the battle situation, even similar actions might involve longer movement distances or an increased number of consecutive attacks. We added a bit of trickiness so that players might get hit if they let their guard down just when they’re starting to get used to the boss.
Each boss has its own unique appeal, but I think the second boss—including its BGM—was particularly well-received.
――On-screen, the characters’ movements, ambient sounds, and even their emotions are displayed as onomatopoeia. Could you tell us how you came to incorporate this visual style, and what points you’d especially like players to pay attention to?
Mr. Suzuki: I incorporated it because I liked the flashy onomatopoeia found in American comics, and it fit well with the game’s visual style.
In particular, the onomatopoeia used for effects like “counters” and “armor destruction” are flashy and satisfying, so I hope players will enjoy them.
――Could you tell us about any particular challenges you faced in achieving the cartoon-style animations and comic-book-style storytelling?
Mr. Suzuki: The biggest challenge was the character animations. Since we aimed for the characters to move as fluidly as in a cartoon, there were many different types of motions, and it took quite a long time to finalize them all.
――Ruto and Kamiel start out in a situation where they aren’t exactly on good terms, yet they end up working together. What did you prioritize when depicting the evolution of their relationship, including their interactions throughout the stages?
Mr. Suzuki: Giving a reason for the changes in their relationship. Also, since we wanted to depict a gradual transformation, we were careful not to make them appear too friendly right from the start.
――As development progressed, were there any elements that changed significantly from the original concept? Also, please tell us about any actions or visual effects that were added or modified based on playtesting.
Mr. Suzuki: Initially, “Special Moves” didn’t have a level system, and “Counter Predation” featured a “Just” mechanic, but we changed both to create a more casual and lively gameplay experience.
Furthermore, during playtesting, we revised the “Special Moves” themselves—which had originally been more like “visual effects” affecting the entire screen—to give each one a distinct “move” feel.
――Finally, what aspect of *GOBBLE* does the development team most want players to experience? Please also share a message for those who will be playing the game.
Mr. Suzuki: *GOBBLE* is an action game that’s “fun to watch.” While its pop and lively visuals are certainly a major draw, we’d be delighted if players could truly immerse themselves in the world of *GOBBLE*—from the relationship between Ruto and Kamael to the mechanics of “predation” and “special moves”—and enjoy the experience while playing!
The concept originated from the combination of “human-non-human buddies” and “action games.” With the addition of predation, special moves, counters, and cartoon-style visuals, the current version of *GOBBLE* was born. If this interview has piqued your interest, I highly encourage you to give the game a try.
*GOBBLE* is scheduled for release on September 24, 2026, for PC (Steam/Windows), Nintendo Switch 2, and Nintendo Switch (PS5).
