Creator of Katamari Damacy game tells what inspired his next game: to t

During the conference of game developers in San Francisco earlier this month, I received the opportunity to sit with Kate Takahashi, the creator of the iconic fabric catamters, and many other stupid and useful games. He came to the event to show his upcoming game to T, which follows a young teenager who is stuck in the pose – in other words, their elbows and shoulders cannot bend.

As I found as I played a piece of game in a review session, Takahashi’s to T has a much stronger story than his previous work, and she comes while controlling the child and experiencing life with this condition. After the demonstration, I talked to Takahashi about his inspirations in the development of games, why he likes to think outside the box and what personal experiences he painted for his upcoming title, especially for his harassment adolescent.

On May 28, Takahashi is planned to AT for Xbox Series X/S, PS5 and PC. This interview is slightly edited for clarity.

Question: What was the inspiration behind the concept of the signature of the game for a teenager who has been in T position all the time?
Takahashi: This is not an inspiration, but I had an idea. I just wanted to make a more game. Then, after graduating Wattam, the next idea tried to control the hands of the main character-to grab or hit or throw or something else, just a very simple type of Warioware game.

But I thought it was dumb; It is not interesting to me; It’s such a boring game. But at one point I just thought what would happen if the player did not introduce anything; This will be fun. Then I just get more inspiration from that moment.

What does the KEITA TAKAHASHI game A Keita Takahasi Game?
Takahashi: This is an unexpected question. Maybe every game, I try new things. This is a very story and it’s very new. But I know the storytelling game is not new to other people, so I say it’s not so unique.

Why is music such a major component of many of your games?
Takahashi: Yes, I want to say, because the music is super special to me, of course. So at this point I am a game designer. I have to (use a) PC or console and I need power. I also need a monitor. I need a roof. And I need a sofa for someone to play my game and that makes them happy or enjoy (she). But music, we don’t need such fantastic equipment. If you are a vocalist, you can just sing. And then, if you have a guitar, then just sing, play the music and it makes people happy and (feel) pleasant.

I always want this ability. I am somehow shy; I don’t have that. This skill always makes me think, oh music is so big. I want this item in my game (which) would be very useful for people to get more into my game.

Have you ever thought about making a rhythm game?
Takahashi: Not yet, but maybe.

You have worked on some unique platforms, such as Playdate, with the Crankin Travel Adventure. Can you talk a little about this and the kind of where or what else would you like to try?
Takahashi: Oh, have you played my game from Playdate?

Yes.
Takahashi: Oh, really. Did you finish?

I don’t think I finished it.
Takahashi: (laughs) I think no one has finished this game.

Yes, I know people complain that it’s too difficult. Yes, I like Playdate because, you know, the entrance is unique. I don’t think it’s super, super unique, because we, maybe PlayStation 2 ERA, had a controller that you can rotate in the middle or something. Also, the PC mouse is the appearance of the same entrance. I like the concept of the device, as well as what makes it special is that it is super limited: just a white and black screen, and the processor is super weak.

And this gave me a limit to thinking to design (the adventure of traveling in the time of Krancin), which is a very good thing as a fun challenge. If the console is super powerful, then I can do anything. Which means that development time would be much longer, like two or three times more, which is something that is not so good. I hope the console does not improve (and that we) keep the PlayStation 2 style – the era.

For fans of your previous games, what can they look forward to in T?
Takahashi: I know that for some people my game looks super or too unique. Then they try to avoid my game because it looks too unique. I just want people to try this game because it is not so unique.

(My CNET colleague Vera Chihil asked the following question) For T there are topics about affiliation and loneliness – are they taken from previous experiences?
Takahashi: Yes, yes, of course. Japan is the species of the country with many problems for youth. I’m not sure why I was harassed. Maybe I was a little fat, but it’s not small: I was big. It was a really difficult time. I didn’t want to go to school, of course, as a teenager. But for some reason I could survive during this difficult time, and I also think I received some lesson from this bad experience. This lesson I have holds me, somehow, nice for people.

I guess I thought, what I wanted to invest in this game was – very rude and not yet clear; I also want you to play throughout the game (to find out) – we have to focus on the younger generation. We are not very interested in youth at the moment. Also for the next generation of game developers. At the moment we adult – I’m very senior. I only thought of myself, like what I have to do, what I have to do, what I want to do. I didn’t think about the next generation.

I was shocked when a girl said, “I don’t want to have a baby because the environment is so risky for babies.” When I heard this news, I realized that I did nothing about the ground. I will try to reduce the garbage or use less electricity or not to drive much. But this girl just, like, hit me. I think I have to do something for the younger generation to be the voice. This is a kind of this game, the topic of this game.