Originally published on: Bringing Yatai to life with media.

On the elements that connect the yatai to the outside world

As I work on piecing together what will become Yatai Master: Fukuoka Street Food, I couldn’t help but notice the unintended prison I am subjecting the player to by limiting their world to the Yatai itself and the surrounding markets. But… how can I help players feel connected to a larger universe without losing the focus of the game?

The answer lies in these three elements: the newspaper, the radio, and the television.

Each of these communication media plays a distinct role in building the atmosphere, adding a layer of narrative depth to make the world around the yatai feel alive.

Let me tell you how these elements fit into the game and why I included them.

The newspaper

I must admit that I’ve always found newspapers in video games fascinating. Sometimes I think I’m making this game just to justify including one. They are such a simple yet effective way to provide information and shape the game world by telling stories indirectly.

I recall Red Baron, where the newspaper kept you informed about the most notable events of World War I.

There are also examples where the newspaper is used more extensively, such as in Consulting Detective Vol. II. In this case, players can find mentions in the newspaper of characters, places, or events that open new lines of investigation, which are fundamental to progressing in the game, similar to what happens in Dracula Unleashed.

A good example of newspaper usage in more modern games is The Republia Times, a game created by cult developer Lucas Pope. In this game, the newspaper is the core mechanic, and the main gameplay revolves around it, later inspiring the award-winning game Papers, Please.

In Yatai Master, the newspaper is the player's main link to the local community. It’s where you’ll discover what’s happening and what might affect your business. For example, a headline might announce a nearby festival, meaning more customers and increased demand for certain dishes. Or you could read about a sudden rise in octopus prices, prompting you to adjust your menu or pricing strategy.

The ultimate goal is for the newspaper to feel like a natural part of the game—something you consult to stay informed and occasionally find narrative or strategic details. Time will tell if this approach proves successful.

The radio

The radio is about creating atmosphere. It’s there in the background as you cook, filling the space with music, casual chatter, or the occasional story.

On one hand, I aim for the radio to offer light entertainment, but I also want it to serve as a narrative tool. You might hear a snippet of a story about a local person and later realize it’s one of your regular customers. It’s a way to give players insight into the lives of the people visiting the yatai without it feeling forced.

The radio isn’t designed to be the center of attention, but rather a companion—something that adds texture to the game as you continue working.

Sometimes, the radio will provide hints or updates about things happening in the community. Perhaps someone mentions a trending dish, giving you an idea to try something new on your menu.

A little thing about Japanese radio

A seemingly trivial detail about radio in Japan: FM radio frequencies differ from those in other countries. Japan uses the 76.0 MHz to 95.0 MHz band, which is narrower than the international standard FM band used in other places.

This small fact, unknown to me at first, forced me to redraw the frequency range correctly in the radio interface, as by default, I had used the 87.5 MHz to 108.0 MHz band, which is common in Latin America, the United States, Canada, and Europe.

The television

Television isn’t so much about giving the player direct information as it is about creating a sense of place. It’s a window into the larger world of Japan, showing snippets of culture, news, and daily life.

You might see footage of a festival, a quick cooking show, or even a short clip of something that indirectly affects your business. For me, television was a way to ground the game in its setting, making it feel like part of a larger world. While it doesn’t play a leading role in the game, it helps create an atmosphere that feels authentic and, hopefully, well-crafted.

Notes on copyright in Japan

For both radio and television, I opted to use (for most of the content) small clips of Japanese programs.

Some of these programs are used without any transformations, such as a short segment from the silent experimental film A Page of Madness. Watch it here.

In other cases, new content is created from old pieces, such as some melodies from the Nagai and Kobatake collection published in the book Japanese Popular Music, A Collection of the Popular Music of Japan Rendered into Staff Notation (S. Miki & Co., 1892), available at daisyfield.com

In Japan, general works (literary, musical, artistic, etc.) are protected during the author’s lifetime and for 70 years after their death (this was extended from 50 years in 2018 to align with international agreements.). However, if the date of death of the author is unknown, or the works are anonymous or under a pseudonym, the copyright lasts 70 years from the date of publication.

How do these pieces fit together?

The newspaper, radio, and television have different roles in the game but complement each other. A newspaper headline might talk about an upcoming festival, which you’ll hear more about on the radio. Later, you might see it highlighted on television. Together, they help the player feel like they are in a dynamic and living world.

At the same time, these elements offer practical benefits. They help you plan ahead: Should you stock up on ingredients? Change your menu? Prepare for an influx of customers? They also add depth, expanding the player’s connection to the “outside universe” that isn’t visible but is known to exist through these three communication media.

Including these media isn’t just about improving gameplay. It’s also a way to experiment with something I’ve always found fascinating.

I feel that including these media in Yatai Master is a small personal indulgence. But I like to think they fit naturally into the game, and I hope they make the world I’m creating feel more tangible and interesting to players.

Thank you for reading this far.