The creator of Katamari Damacy only wanted to develop a 'normal' game with To a T.

I find myself sitting on a couch next to Keita Takahashi, the creator of Katamari Damacy, playing his upcoming title, To a T. During my unusual demonstration, I tell Takahashi how happy I am to see him so committed to creating innovative games. After a moment of silence, he responds with an almost sad expression: "Is that so? I thought this time I was making a normal one." This reflects Takahashi's limitless creativity; his version of normal is still something exceptional in the world of video games. Where else can you find an adventure game about a teenager who is eternally in a T-pose?

Though To a T may seem more conventional than his previous works like Wattam, it presents itself as a fun experience that combines elements of anime, physical comedy, and singing giraffes.

During my demonstration, I had the chance to explore the first episode of To a T. I use "episode" instead of mission because the game is inspired by anime shows. Each chapter features a theme song as well as a closing where a giraffe sings about running a sandwich shop. As I describe this, it's worth recalling Takahashi's words: "I thought this time I was making a normal one."

After the introductory song, I control a 13-year-old child whose gender is intentionally undefined. He is an average kid, except for the fact that his arms are permanently extended. The story begins as a comedy of everyday life, where I spend most of my time getting ready for school while fixed cameras follow me and my adorable dog around the house.

The idea for the game arose from the controls. Takahashi aimed to create a game where players control their left and right arms using the corresponding joysticks of the controller. This notion led to the use of fixed cameras, as he felt it would be a waste to dedicate a whole joystick to camera control.

I experienced how those controls work through various activities. For example, to brush my teeth, I have to tilt the right joystick toward the toothbrush and press the right button to pick it up. Then I use my left hand to squeeze the toothpaste tube. I also perform similar actions while preparing a bowl of cereal from an awkward angle, and later, cleaning up a dog's mess by spinning the joystick in circles, turning the character into a tornado sweeping the sidewalk. This kind of physical comedy recalls games like QWOP.

Once I leave the house, I encounter what I imagine is the most "normal" part of the game. I can walk through the character's small town and collect coins that can be used to buy outfits. Between each episode, there is free time where players can explore before the next chapter. The missions are more straightforward; for example, in the one I played, I walked to school, picked up my lunch from a giraffe chef, and dealt with bullying. It's a sweet coming-of-age story told through Takahashi's colorful and imaginative vision.

As we talk about the project, I better understand why Takahashi was so determined to create something "normal" this time. The designer admits he had been obsessed with the idea that his video games had to be, precisely, video games. He believed that each one needed an approach that could only be achieved in an interactive medium. While that philosophy worked for him in the past, it eventually led to creative burnout. To a T seems to break with that trend. Although my time with To a T was brief, I already loved it. It’s a well-meaning comedy about growing up, infused with the kind of humor that only Takahashi can offer. Players may not agree with the designer’s assessment of his own work, but who wants to be normal anyway? To a T will be released in 2025 for Xbox Series X/S and PC.