"I wish I had the Katamari Damacy IP": To a T was meant to counter the "downer" vibes of 2019 America, but Keita Takahashi says it "didn't sell well" and fears it "just wasn't a good fit"

To a T is both a game about not fitting in and a game that doesn't fit in. Designer Keita Takahashi has a reputation for making games that march to the beat of their own bongos, but To a T stands out even among his catalog of idiosyncratic oddities. It's a narrative adventure game in the format of a TV show, with the focus put squarely on quirky storytelling over the open-ended sandbox play of titles like Katamari Damacy.

You might have an easier time grasping the appeal of To a T if you think of it less as a story-driven video game and more as an interactive slice-of-life anime. It's divided into a series of episodes – each bookended by a delightful opening and ending song and animation – showing little vignettes in the life of an everyday teenager. Well, scratch that "everyday" part, as this teenager is perpetually locked into a T pose.

The T-pose life works as a metaphor for living with a physical disability if you want to read the game that way, but more broadly it's a story about learning how to accept yourself for who you are and what "fitting in" really means. Just, you know, with a backdrop of animal shopkeepers, supernatural powers, and even a small-scale alien invasion amid the mundanity of normal life.

It's sadly ironic, then, that a game about not fitting in seems to be struggling to find its place. Takahashi says that To a T "didn't sell well," to the point where he's uprooting after living in San Francisco as an indie dev for over a decade in order to return to Japan. Whether he'll continue making video games at all seems to be an open question.

But To a T was one of my favorite games in 2025. This was a year full of excellent new releases that I mostly struggled to connect with for one reason or another, to the point where I spent much of my gaming time ignoring the deluge of critically acclaimed titles to focus on older games I'd been meaning to play for years. Yet I took a chance on To a T, and found a heartwarming story with a love for life that's stuck with me far beyond any game that's likely to take home a GOTY award this year.

I was at one point set to speak with Takahashi in a video meeting for this piece, but scheduling conflicts – owing to his move to Japan – meant that he was ultimately only able to respond via email. Normally for a year-end feature like this, we'd weave a developer's quotes into a broader piece about a given game's place in the canon of that year's launches. But once you've seen Takahashi's responses below, I think you'll understand why we've simply decided to publish them in full.

Takahashi is equally funny, whimsical, and willing to recognize the melancholy of reality even in correspondence. Here's hoping his company, Uvula, manages to live on into the future, but in the meantime you should put on some MC Hammer (you'll understand why soon enough) and enjoy some unadulterated Keita.

GamesRadar+: What was the most enjoyable part about making To a T?

Keita Takahashi: I had a lot of fun designing the animals and other characters and giving them personality through the script. I especially like the scene where Kinoko and Maruo talk about things they can talk about, like cars and mushrooms, when they see a Teen's talkative unicycle at the school gates. I also enjoyed adding the chorus sequence to create a nice rhythm to the sequence.

Your previous games didn't focus too much on story, but To a T is almost like a TV show – was that something you wanted to do from the beginning, make a game more focused on dialog and story?

I just wanted to make a video game like a TV show:) I usually get inspiration from everyday life. This project started towards the end of 2019, during the Trump administration and just before the pandemic began. The events that were happening during that time inspired me to want to create anything that was positive and optimistic. So, I thought that telling a story would be a better approach to bring smiles and positive vibes to people's faces than a regular game that focuses on interactivity.

Why did you want to do that TV-style episode structure with the opening music and everything?

I just like that format, and wanted to challenge new things for me. Also I thought it would fit the story of "to a T".

Do you have a favorite episode of the game?

I like the Mom's episode, especially the scene where she calls the teen from outside. There's nothing particularly new or revolutionary about it. The player just presses a button to have the mother call the teen. But it feels like something :) Also, the silly ninja episode makes me laugh. Oh, and I also like Mr. Workman at the kiosk.

I was very surprised by the direction the last few episodes go – taking us from a slightly surreal slice-of-life story all the way to outer space. Why did you decide to bring in a sci-fi element?

It was planned from the beginning. I felt the need to explain where the T-shaped stance came from, and the idea that it came from another world/planet was the most convincing. But I know it's a really silly story.

Optimism and positivity shine so brightly in To a T – do you feel that's that a natural extension of yourself, or an attitude you have to work to achieve in games?

A mix of both, plus the downer mood/vibes/atmosphere of the place where we live made me want to make something very positive and silly.

Do you think there's a common line between all your games?

Playable end credit, haha.

How do you feel about the amount of attention your games receive? Do you enjoy working in a sort of niche or have you ever wanted to chase something more conventionally "bigger?"

I don't think anyone tries to make a niche game. The title "niche game" is just a result. I know my games are far from mainstream. I recently returned to Japan, and one of the reasons I had to do was because "to a T" didn't sell well. This is a risk of being independent, and I'm willing to take it, but I don't think it's a question of niche or traditional, it's a question of whether people like it or not.

I believe there is still room for new ideas, and unfortunately "to a T" just wasn't a good fit. But I think the situation is what it is.

Do you know what your next project is going to be?

My next goal is to support my children and find them a school in Japan. Then, if I feel that I don't belong in the games industry, I'll have to look elsewhere.

Do you think the game industry is able to make space for weirder, more experimental games like To a T? Is it getting easier, harder, or about the same?

I'm not sure, but it's definitely getting harder for me. If anyone wants to invest in a uvula, let me know. Let's make more fun and weird games!

You're often introduced as the creator of Katamari – how do you feel about that game and its legacy, looking back on it? Would you ever consider returning to the series?

I wish I had the Katamari Damacy IP :) Anyway I'm glad that the game and characters are still loved today. In many ways, I have some interesting ideas for Katamari Damacy that only I could come up with. If I have the opportunity to work with Bandai Namco again, it would be a very interesting project.

Your game's soundtracks are fantastic – one of my co-workers wanted to ask if you have any music recommendations?

U Can't Touch This

M.C. Hammer - U Can't Touch This - YouTube

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For more on our favorite games of the year, check out our full list of the 25 best games of 2025.