Satoko Okazaki

Satoko Okazaki (Japanese: おかざきさとこ; born March 6, 1982) is a Japanese screenwriter and novelist signed to Queen-B, and the second writer on TV Tokyo’s Cherry Magic! Thirty Years of Virginity Can Make You a Wizard?! (2020), where she wrote episodes 5 and 6 alongside lead writer Erika Yoshida.

Okazaki was born in Tokyo and graduated from the Faculty of Sociology at Meiji Gakuin University. She writes her professional name in hiragana, おかざきさとこ, rather than in kanji, and her agency renders it that way on its own profile page. Queen-B also represents Erika Yoshida, which is how the two writers on the Cherry Magic series come to share management.

Her earliest recorded credit is the WOWOW drama Doyoubi wa Living de (土曜日はリビングで, 2010). Manga and light-novel adaptation became the spine of her career from there: the MBS tie-in drama for TIGER & BUNNY (2012), Detarame Hero and Real Onigokko: The Origin (2013), Donten ni Warau (曇天に笑う, 2014) and its drama-CD side stories, and Otokomizu! (男水!, 2016). She also wrote an instalment of the Toto Nee-chan spin-off strand for NHK in 2016 and the TV Asahi comedy PTA Grandpa! in 2017.

From 2019 she became a regular hand on TV Asahi’s long-running comedy-drama Kaseifu no Mitazono, writing across its third, fourth and seventh series. The rest of her recent list runs across networks and streamers: Tadashii Rock Band no Tsukurikata, Amazon’s FOLLOWERS and Cherry Magic itself in 2020; Konin Todoke ni Han o Oshita Dake desu ga, Keishicho Sosa Ikkacho season 5 and Akuma to Love Song in 2021; Saishu Ressha de Hajimaru Koi and Anata ga Shite Kurenakute mo in 2023; and Uri o Yaru and the live-action My Dress-Up Darling in 2024. Alongside the scripts she has published prose fiction, including novelisations of Ore wa, Sensee Nanka ja Nai! and the film Haru Matsu Bokura (both 2018) and of Cherry Magic itself in 2021, and she has written dramatised audio and stage-reading pieces.

Beyond the credit list, very little is publicly documented about her. She does not give the kind of profile interviews that Japanese screenwriters of comparable output sometimes do, no first-party career narrative exists, and no photograph of her has been published by her agency or by any production she has worked on. What is recorded here is what Queen-B and the Japanese reference databases publish, and no more.