My interview with the honorable designer Kata Takahashi, which is probably famous for casting Catamar Demisi And Vitam In the eternal universe, began in a strange way.
I was invited to talk to the Japanese veteran and take his new title, t to toGDC 2025, a spinning hotel in spin. After roaming through a short demo, who showed all his sensational, off -bat residents, I raised myself upset myself to find out more about my actions.
Before I fire the recording app on my iPhone, however, Takahashi asked if he could inspect the handset. The device, which I assumed, was a run -off the mill iPhone along a yellow color path, which affected his interest due to apparently vague color. We spent the next few minutes argue that ‘yellow’ has created and whether this is especially the ‘bananas’ shade of technology. Finally, we agreed to the latter.
It was a small exchange that quickly told me two things: this would not be a straightforward interview, and this is the person who has been curiously curious – despite decades of costs in making video games. Over the next 25 minutes, we talked about everything from the production process to the need for a creative revolution in the playground design.
Surprisingly, I have learned everything during the conversation.
A T was protected from scooping cases
Takahashi tells me the idea t to toWhich tells the story of a ‘teen’ who is trapped in a T -Pose that has to try to live in a small town, with the help of a sharp partner, he came to him very fast.
Nevertheless, it took more time to turn this concept into a viable thing. He explains the development team (Takahashi now works in a studio called Yola) initially thought he could finish t to to In about two years. Finally, the project was for five in the oven.
Although production takes more time than expected, there has been no change in nucleus. “It’s like a set work,” explaining Takahashi, who says he told the beginning of the game to stabilize his vision for the project and to communicate. After our chat, Takahashi sent some of these stories boards, which you can see below.
To the T -Story Boards through Kata Takahashi
12 people worked on the title when production was fully, but team size fluctuates over the past years. Takahashi says that during that time, it was necessary to recognize their powers and weaknesses.
For example, he explains that he usually tried to avoid adding physics because they could be “so difficult and difficult.”
“We only use physics for VFX and such equipment.” He notes that the story has always been glorious, which ties the experience together. “I thought about the story and then tried to think about what kind of mini games would be fit.”
They will see the mini -games that players can become a serious obstacle when you are beyond the principles of society to clean their teeth, choose their clothes, and to understand some grains.
All of its serious and barmi -hearted, the demo was also a sensitive and inspiring look at how life is like when “small things” are difficult and what it means to be “perfect shape”. There was also a song that was searched by Sandwich. Vigorous
“Being a game developer is a great risk”
Since our conversation turns towards how the industry has changed in the last five years, which leads to a short -term Kovide 19 boom and the consequent investment resulting in large -scale rescue, studio closure, and funding challenges.
Initially, she is reluctant to whisper any father’s words. He says, “I’m still young to offer wisdom at a very young age.” The fear is that he can unintentionally offer bad advice. “I’m the worst, man,” he continues laughing. However, he suggests that the game industry is always at risk.
“It’s not only in 2025 – I think it’s a very dangerous risk.” “Especially as a game designer. Engineers and artists can be fine, because at least they have specialized. But as a game designer, it is not very clear (what they do). What is the game? I don’t know.”
https://www.youtube.com/watch?v=-qlrrc4vfk
Nevertheless, he is not sure that the video game has been created after the release of multiple curious titles, finally Takhashi worked on the same word: “Interactivity.”
Beyond that, it seems that the industry has become very prescription. A natural focus on keeping video games in category and species – residents, shooters, RPG, Butal Royal – in the words of Takhashi, “keep people following this direction without thinking.”
I ask if this means that the industry – and especially those involved in the executive suit are not everything they think they know about success. “Maybe a good opportunity,” they answer.
Business leaders should serve the developers, he said. He suggests that the recent Generative AI Gold Rush is a great example of this imbalance.
“I don’t care whether (those tools) are creative or not,” he says. “I hate that they are doing this just for business. No one said ‘please make them’, but everyone is asking them to improve the environment.
Takahashi says the playground construction is made “dream”
It is clear that Takahashi has an unprecedented belief that creativity is about eliminating principles in favor of unknown.
I wonder if this seemingly natural focus of eliminating expectations returns to its long-standing desire to design and build its real-life playground-as it revealed to the audience in 2005 at the Nottingham (now a defective) Gamesi Conference.
Takahashi told me that the park’s design is still his “dream”. As far as this mission and its game design are existed between the instincts, it explains that “virtual and physical is the same in his mind.”
“I also know that they are different,” he said quickly with a smile, as if to assure me that he had no existence. Internally, I breathe a sign of relief.
We press. Takahashi has continued to eliminate his vision for the new era playground. He tells me that he sees most examples of the old entertainment area as overplay and lazy.
“I think it’s a waste,” they continue. “When I see the current playground equipment – it is boring. It is designed only for the baby. Parents are just sitting on the bench and watching their smartphone, or talking to other parents. It is not designed for adults.”
It is difficult to discuss. See Swinging slides all tried, tested, and tired of decisively. For decades there has been a significant lack of innovation in this field. The playground has become stagnant. I ask Takahashi how he will innovate.
The answer is one that can give health and safety inspectors to sleep nights: “Risk.”
Nevertheless, with this one word, I am surprised whether Takahashi has also guessed that the game industry, which is rapidly being absent – especially in the biggest studios.
Following fast can only lead to imitation, and when ideas like originality and creative threat become novels, you have to wonder if a person like a takahashi was a newcomer today, so it would have been worth it in the industry. Thankfully, in this example, this thinking is completely fictitious.
