All language subtitles for هیدددئ9

I started thinking
about my own stories when I was little.

Ever since I was a child,
I was a daydreamer.

I would nearly get run over.

I guess
that's just the kind of person I am.

Please join me in welcoming...

- Mr. Hideo Kojima.
- Hideo Kojima.

One of the most creative talents
in the history of gaming.

Fantastic.

What he creates are not games or films...

They are his worlds.

In the space of gaming, he is the master.

- Absolutely love your work.
- Thank you.

You can tell
it's a Hideo Kojima game

even if that credit wasn't there.

No way.

Video games
are the biggest, most powerful form

of entertainment in the world

and the numbers clearly show that

more than three billion people
on the planet play video games.

And Hideo really is probably
the most well-known game creator

in the world.

It's kind of like stepping
into Willy Wonka's chocolate factory

with Willy Wonka, you know?

You just kind of
go along for the ride.

I think that
it's the obligation of any artist

to push the boundaries of their canvas.

There isn't some kind
of thread from which I pull ideas...

Fragments of ideas appear in my head.

I have these moments in my game-making.

I'm really interested
in how people think creatively,

no matter what the discipline.

Any form of artistry,
the process is the same almost always.

And that is an interplay
between the intellect and the intuition.

He's fighting all the time.

I don't know with whom.

Maybe himself.

If it says "A Hideo Kojima Game",

it means that from start to finish,

I'm involved in everything,
that's the declaration.

"A Hideo Kojima Game"
means we cannot cut corners.

It's hard work every time,
but this time, I was independent.

In my previous company, I was free to do
what I wanted, but it wasn't my own brand.

I had my own games

but I had to protect the company's brand

and profits.

In such an environment,

it is very difficult
to create something cutting-edge.

The only way is to produce it yourself.

The story from back in the day was that

Hideo wanted to go and pitch a game

but he didn't want to tell anyone
what it was.

He really wanted someone
to sign up for the game

without hearing what the game was.

And everyone in the Western world
was like, "You're crazy."

We know you're Hideo Kojima

but we're not going to sign up your game
until we know what you're making.

That's the Sony HQ.

And Sony,
as far as I know, basically said,

"We're going to bet on you,
Hideo Kojima, as a creator."

We don't even need to know
what the game is.

We're just in.

It's bent right? Like this.

Yeah, that looks bad,
it should come up like this.

This is a bit long.

Maybe it doesn't look good.

The first game I did with Director Kojima
was Policenauts.

And...

Metal Gear Solid 1, 2, 3, 4, 5.

He told me at the start
that he wanted a new challenge.

With games nowadays,

you're competing against players
around the world to see who's the best.

You hit or shoot each other

or you might co-operate
with others to shoot an enemy.

This game isn't like this,
it's about connections.

You help others you can't see
and that will bring you closer.

It's a unique game characteristic.

When I first explained this to my staff,

I got a largely negative response.

They said, "But no one does that..."

"You have to be the strongest,
you play because you want to stand out."

"You don't do something for others."
Most of them were negative about it.

When Director Kojima
first told me about his plan,

he said that the game
would be based around "delivery".

Something with a totally new concept
of gameplay.

I wondered if it would be accepted.

We started planning
at the end of 2015.

At the time, there was a lot
of fragmentation and isolation.

It was a time
when the world was becoming divided.

Although the world is connected
by the Internet 24 hours a day,

it wasn't coming together as one.

I wanted to offer another way,

which is why I made Death Stranding.

He is not someone
that just sort of rinses and repeats.

He really tries to, to reinvent
how the game is played.

But overarching all that is this view

that he wants to communicate something
to the player.

He really has a message
that he wants to deliver in every game

that he hopes translates to the player.

Like every game he makes,
there's a reason behind making the game.

Firstly, they take on the role of Sam.

At the very start, they will feel
a sense of being completely alone

on a very dangerous path.

They feel a sense of loneliness

as they deliver packages
and start connecting the world.

The player is the only one
making the connections,

so the sense of loneliness
is torturous at the start.

Hello!

Hey you!

I'm Sam.

Hey, my name is Sam too!

They begin to realize

that there are others around the world
doing the same thing as them.

Those are the other players,
the other Sams.

Thanks for the help.

They can't see each other
but they start to see traces and realize,

"I'm not the only one who felt this way".

And it opens out from there.

The people she left behind
have been hard at work,

setting up Chiral network terminals.

But these terminals are still isolated.

We need you to bring them online.

There are invisible ghosts there,

he can sense them but not see them.

Mr. Kojima always keeps some space
for the players to think for themselves.

These people
have allergic reactions to the ghosts,

that's why they get tearful
or get goosebumps.

I believe there's a moment of awakening
that we get from any good work,

I think all of Mr. Kojima's works
are like that.

When I was a student,
there was a lot going on

and I didn't get along with my school.

I never told my parents
about these things.

When I was with my class or my friends,
I would be cheerful and outgoing.

I am from Kansai so I like
to make people laugh or tease others.

But when I was alone,

I would hold my knees
and listen to music and cry.

After my dad passed away,
everyone was worried about me.

There was a period
of feeling totally isolated and lonely.

The truth is that because my dad died,
I was able to get into the game industry.

Games weren't acceptable
like they are now.

Game centers were seen
as a shady business in those days.

The industry had a negative image.

My mother was the only one
who didn't object for some reason.

"If you want to pursue it, that's fine."

My friends and relatives
thought my future was down the pan.

That's how I was seen.

If my dad was alive,
he'd have been opposed.

He was a very scary man.

When I entered the industry,

I was surprised to find
so many people like me.

For the first time,

there were people with a burning passion
for making things.

I was having so much fun
that I hardly slept at all.

I want to create things
that people haven't seen before,

but it can be difficult.

If you say, it's a cross between Robocop
and Towering Inferno,

then one can combine
the two existing visuals together.

But if you say, "It's visually different
from anything that exists",

they can't visualize it.

I don't know, like,
new franchises right now.

I think that it's both, it's really brave
and it's really hard.

They're mostly making, like,
weird remakes and stuff.

It's, like, really hard to get funding
for, like, new work in the modern era.

In the past, when I went pro,

they would just give you 100 million yen,

and you could make whatever you wanted.

But now it costs a few trillion,
or tens of trillions of yen,

so if it's a failure,
there's a huge risk to the business.

So they try to minimize this risk
from all angles

to an extent which is much more
than what it was in the past.

When you balance
the commerciality expectation

of hundreds of millions of dollars
in investment.

At the same time, wanting to stay true
not just to your vision,

but to your whole idea of what gaming is.

That's like playing Russian roulette
with six bullets.

How can we do it?

For the daily one,
not this movement, but...

More like this?

He's trying to make
a new narrative experience.

I can imagine the path he takes
to achieve this

is very difficult.

I've been making games
for over 30 years.

Before, if I was to make a flop, my staff
could just go to another department.

They would still have a paycheck.

But now it's my own company...

so if I mess up,
there won't be a next project.

Crashed.

He does more work
than is required.

If you're just playing,

you perhaps wouldn't even notice
how much information is packed in.

It's a whole world that he creates
in his work, a virtual world.

In these virtual worlds,
he thinks of every single element.

I work as closely as possible to my staff

and make detailed adjustments every day.

Uh...

But I don't think this way of working
is common these days.

- Hello everyone.
- Hello.

When the camera is rolling,
the atmosphere is suddenly positive here.

Let's start with the bugs.

In the Beta version,

we couldn't include two corrections
regarding the memory,

but we will try them.

So if it doesn't work,
we'll think of something else.

From next week,
I'd like to start the checks.

I was speaking with Shinkawa
about this a minute ago.

On one side of the motorway
where there's the construction work,

there is a round protrusion.

I'd like you to put a round one
on the other side too.

If it's only on one side,
the car cannot rotate.

Normally, you have
different people focusing on story

or gameplay in other studios,

but I do it on my own,
so I do them all in parallel.

This is probably only possible
within my own studio.

Is this also blue,
what color should it be, green?

Different color...

The route is indistinctive
and hard to find.

In the collaborative
arts or virtually all arts,

there's usually one voice ultimately.

The person who is that driving force
has to do one very important thing

and that is create the strategies
with which everybody else can work.

If I do this,
it will react with "Beep."

Yes, it will go.

Around here.

It's like this, it's not like this.

Yeah, we'll try.

Let's have a look again.

There's a kind of a Darwinian
battle that goes on in your mind,

and the strongest ideas survive.

They keep coming back to you
they won't let you go

until you become
a little bit obsessed with them.

And you go from a very divergent,
broad view of the work,

and you bounce down
into a very, very highly focused,

granular level of the work.

And it's bouncing between the two.

You can't see this bit properly here.

You're right, it's hard to see...

We need to make it visible
at this bit too.

The extent
that they can articulate that

and convey it to the others
and inspire others working with them.

Then the work
will be a comprehensive whole.

Being across every single aspect
is incredible to me,

like, that's, that takes something
that I don't have.

Very, very special.

I don't know when he sleeps.

I don't know if and when
Hideo ever sleeps.

You can do this with double jumps.

Like he's flying.

With the Speed Skeleton,
he's already jumping quite high.

He can do it!

The reason the bike can't jump
is because it gets stuck on the rocks.

So there are many cases where it prevents
the bike from speeding up and jumping.

When making a game,
you have programming, art, storytelling,

sound, interactivity, and so on.

There are many different fields
to think about.

You have to manage
an awfully complicated mechanism.

Each minute, every day,
we're faced with problems.

So we constantly
have to make snap decisions.

If it's more than ten meters
and enough to kill you,

can we make it red like the river bed?

I have on average 200 problems
at once to do with details of the game,

and it's up to me
to make decisions on all of them.

So the ones I'm unable to resolve
stay in my head.

They're on my mind
even when I leave the office.

Sometimes I do bug checks in my dreams.

People may be
in charge of processing the call or engine

and character construction,
rigging, whatever.

But the only person
in charge of the orchestra

conducting for the emotion
and the result is the auteur.

Lots of the directors I like are indie,

arthouse filmmakers, however,

for me, we also have to appeal
to a mass audience.

I like film directors
such as David Lynch and Cronenberg.

Keeping things edgy,
but still appealing to mass audiences.

They're the games I want to create.

Put simply, I think
Mr. Kojima's a bit obsessed with films.

It's obvious from his games.

There are a number of this
kind of directors in our generation.

They love films and watch loads of films.

I think Mr. Kojima
is definitely like that too.

For me, films are the sun.

It's like plant photosynthesis
with sunbeams.

I want to receive its beams
to stimulate my cells

and to inspire new creations.

Things that leave a deep impression on me,
like Kubrick,

are innovative or new things.

They can split opinion.

But ultimately, it's precisely
these things that stay with you.

So the part that we're doing
today is Sam reaches west.

I first heard of Hideo
through Guillermo del Toro.

So Guillermo called me and said,
"Hey, there's this guy.

He's going to call you. Just say, 'Yes'."

And I was like,
"What are you talking about?"

And he's like,
"Just whatever he says, say 'Yes'."

I knew that
we were going to be stepping

into a big world with big characters.

Giving us a package to say to them, like,
"Hey, this package is from Fragile."

And so many times, I had to stop and go,
"Hold on a second, hold on a second."

"So, what you're saying is..."

and it would be whether
it's about the story, about the character,

about the breadth
and immensity of the design, um...

how it was going to relate to the player

and how those players
were going to relate to each other.

The story and the experiences just
kept getting bigger and bigger and bigger.

There's so many moments that
I've had with him where I'm like, "What?

Like, what are you talking about?"

And then at some point, she's
kind of warped in front of you, okay?

Like, being, like...

Makes sense now, man.

Make so much sense.

It was confusing for a lot of us

because the story is so intricate
and it's so deep.

It was very confusing
but what was done in such a great way is,

I was felt like I was sort of drip-fed,

whatever my brain could handle
at that moment in time.

Captain,

I need you to hand him over.

Shoot him, John.

Let him go.

Please.

Shoot him!

I gave you an order. Shoot him.

Okay, cut.

- Guys on Monday...
- I wanna, bye.

Trust in this medium is key.

It is the bedrock foundation
for many reasons.

Number one,
everything is in an abstraction.

Everything is vague.

- Good, Mark. Take three.
- All right.

There's just four white walls
with a bunch of cameras.

Right, we're all set.

Ready? Action.

Oh, Sam Bridges.

So trust is at the root of it all.

So...

Fragile...

Like the world
and everything in it.

Me? I'm...

I'm no exception.

Let's not forget little old you.

I know it ain't easy wearing a mask
all the time.

But now the mask
can come off, right?

The more he would tell me,
the more I would understand.

And you have to understand,
I started making this game

not knowing anything
about what anybody's talking about.

So as the trust got deeper and stronger,

the storyline got more revealed to me
in a way that I could understand it.

And I knew we were doing something
really special. You know?

We want the player, same flashback...

Every time we think
we have an idea of what this is about,

it's just another layer and another layer.

Except me. I see you, and I talk to you.

And I tell you that you must...

Just point me, just tell me...

Yeah.

- And I'm like...

When you throw that away
and lose your fear,

all of a sudden, there's a certain freedom
in working like this.

You can just look at him and look at what
he's creating over there in the corner.

You say, "You know what?
I think I'm in good hands."

Let's just do it.

Stay back.

The Bridges members
are looking for Sam,

but he's hard to find.

Fragile, BB, Deadman and everyone
will work together to find him.

It's, uh, complex and very deep.

That's the voice capture we're doing.

It's almost a political statement.

Okay.

Okay, rolling.

You ready, Fragile?

Ready.

Sam.

- I see him.
- Mm.

Is that one okay?

Yes, good.

And just make that "Sam"

a little quicker.
It's like, "There he is."

Okay.

You love her, right?

You love her.

There it is.

People like Mads and Léa

have been in art-house,
independent movies,

but they're also

in Hollywood movies.

We're pulling out.

We're pulling out.

They were the kind
of people that I wanted to work with.

Secure the area.

Okay, cut there.

I wanted to do something
with them that probed slightly deeper.

Okay, back down
at that original volume for open fire.

- Everybody ready?
- Got you. Yes.

Okay, here we go.
Rolling when you are ready, sir.

Open fire.

Open fire.

Open fire.

It feels quite open.

And he's very pleased, obviously,

because whatever we do,
that's not the end result.

He just, he needs us to do the base.

Disengage!

Time to go, boys.

And the more we can give him
real emotions or whatever in that base,

the happier he gets.

Don't let me down, boys.

He's famous for being
a storyteller in his games.

It's mayhem with the assassin's war.

But there's a certain beauty,
a certain poetry to the entire image.

And I think that's also one of the keys
to why his games are so incredibly popular

because they have both sides of the coin.

It was interesting
because it's a world that I didn't know,

the world of video games.

Okay, same kind of thing here, right?

He brings you something you've always...
you've been waiting for.

How did you get this?

I don't know what to say, except thanks.

It's also a way video games...
it's a way of reaching people.

Except thanks.

- I was thinking playing before back.
- Yeah.

I think it should be...
it should be in a smile, no?

Yeah, it should have a smile on it.

And, "How did you get this?" is like,

you've been trying for weeks
and weeks to get this

and here he strolls up
and gives it to you, you know.

Okay.

How did you get this?

I don't know what to say, except thanks.

Good, good. Good, good, good.

Thank you.

I think we got it, thumbs up.

- Okay.
- Okay.

- Good.

That's a wrap.
You can come on out.

Popular games today
have a Hollywood feel.

Action, gunfights, violence.

It's all fast-paced action.

Most games look so similar,

you can't even tell their title
from looking at a scene.

The newer it is, the more they fear it.

Being original is hard.

So most rely on an algorithm,

which is the enemy of creativity.

And I see Hideo
as the enemy of the algorithm.

What I think is unique,
is his sense of pacing,

his sense of drama.

I admire it.

It can go in detours

that the Western discipline
of storytelling would not go to,

and therefore, it makes it very impactful.

I think Hideo Kojima
is a very strange man.

I think he likes,

he likes to tell stories
in a way that is bizarre.

That is not usual.

It's in the uncanny valley
between, like, comedy

and, like, extreme earnestness.

Like, I just really can't tell
if it's a joke or not.

I'm just like,
is he freaking serious right now?

Like, is this real?

And it's, like, profoundly funny,
but also, like, deeply sad.

Before Hideo Kojima
made Metal Gear,

everything was about engaging,
about combat.

He turned it around
and it was now about avoiding combat.

It was about hide and seek,
and stealth gameplay became a thing.

Going back a bit,
in 1986 when I started my career,

there were lots of war games.

Making war games felt uncomfortable

as my parents had experienced war.

I heard all kinds of stories
about air raids and real-life experiences.

I didn't want to portray combat
as heroism.

There was no questioning
why there was a war,

or who is fighting whom.

I didn't like it very much,

so that's why
I tried putting in the anti-war,

anti-nuclear themes into my games.

It was a thoughtful
approach to playing games

and that really burst, you know,
the stealth genre

which today is still used
in so many games.

My home was close to the sea,

and it left
a very strong impressionon me.

The smell of the sea
and looking at views

over the sea remind me of the past.

Those days,
the environment was so perfect.

Then I moved to a bigger city, Osaka,

and that was a drastic change.

Both my parents worked.

Children of such a family
would be given the house keys

as there was nobody home after school.

At that time, such children
were called "Kagikko".

When I opened the door,

the first thing I did was
turn all the lights on as I was scared.

It became a habit which I still have.

It was very lonely.

I'd think up stories
because I had so much time alone.

At the moment, if you're discovered
by one, five come out.

Yes.

Separate them out a bit,
create a time lag.

Will do.

We just had eight come out.

When you get out of here, you are safe.

- Should we make him like this or this?

Like he's coming out.

Like a zombie.

I want him to come out looking around,
as if to say, "See if you can get me..."

Let me put the actions in place.

I think one
of the big qualities of his work

is that it references other forms
of art constantly.

It's not video games
that talk about video games.

My generation didn't have
video games when we were kids.

We had other entertainment
like movies and books

and we put what we absorbed
from them into games.

Who is a fan of Van Gogh?
Raise your hands.

- No one.

This film, Loving Vincent
was released all over the world last year.

When you are creating things,
you need references from other genres.

Such a crazy film.

I believe since Mr. Kojima
was a child,

he watched many films, read a lot of books
and listened to a lot of music

and was exposed to the arts.

So naturally, he's continued this
into adulthood when making his own work

and, of course, what he absorbed
would be reflected in his work.

Mr. Kojima is an avid reader.

He reads all sorts
of novels and publications.

And those many stories
have been absorbed into him.

And from that, a new world is born.

I was an ordinary child.
I was totally hooked on books.

On the way back home from prep school,
that's when I started going to a bookshop.

When I dropped by,
I saw the owner on his own, watching me.

The atmosphere was such that I felt
I couldn't leave unless I bought a book.

Every time our eyes met, I thought
I had to buy something,

and that, for me,
was a science fiction book.

BOOKSTORE, HOUSEWIFE'S FRIEND

As I reflect on that time,
maybe it was my escape from reality.

I felt quite constrained within myself,

but science fiction releases you
from the mundane.

Instead of just going to school
every day and doing the same thing,

suddenly a meteorite comes crashing down,

or there is a viral outbreak
or an alien invasion.

You're in a world where you think
the world is going to end.

If you're in that fantasy world,
it's like you can let go of the stress.

It was an era when ordinary people didn't
experience foreign cultures or the world.

As a child, I learnt
about the world through books.

In 1970, the Osaka World Expo was held.

Many people from abroad came to Japan.

For the first time, I saw people
from different countries.

Cutting-edge technology was there,

such as a videophone, an enormous one.

And a moving walkway,

the ones we take for granted today
when we go to an airport.

There were also symbols of each country's
ancient culture on display

and they made a huge impact on me.

"Progress and Harmony for mankind"
was the catchphrase.

There was a vision of the future
where technology would make us happy.

That would be the 21st Century.

It was like I saw the future.

Diverse cultures and customs combined

with cutting-edge science
to form a future.

I could see the concept very clearly.

Technology would connect the world.

That had such a huge impact on me,

you could create such an amazing world.

"Dear Kojima Productions..."

"The Death Stranding Gold Master disc
has been approved!"

I'm really happy on release day.

If I confess, at that point, my thoughts
have already turned to the next idea.

The launch is a chance for me
to switch to the next project.

It's important to be able to do this.

It's been around three years, nine months

and for those who joined us later,
for all of you,

thank you so much for your hard work.

We've taken a first step, a giant leap
in the entertainment industry.

I'm involved
in a project for a long time

so I'm very happy
to finally have the opportunity

to launch it.

Welcome to
Countdown to Death Stranding.

We are here in New York City.

The World Strand Tour
has touched down here

for an incredible experience

and I'm honored to be joined
by Hideo Kojima

on the day that Death Stranding
is launching around the world.

I remember there
was a lot of tension when, you know,

during the development of the game,
because everyone kept saying, well,

"Where are the guns? Where's the fights?"

And Hideo is like, "No.
It's about something different.

It's about just walking
and experiencing this world."

And that's such a challenging idea.

You can't give the audience
what they want all the time.

You also have to make them understand

that sometimes they want something
they don't know.

The risk is
that people just don't accept it.

It's too radical in some way.

But of course,
the upside is that you change,

the medium that you're working in
and that's why

his work is so important.

Outside of AAA games,

I think people often try and communicate
on a deeper level in gaming

but that was the first time
I'd ever seen a game of that scale

trying to go in a lot deeper
than what games would usually attempt.

He's created
something completely original.

It's impossible to achieve that
with every game.

You are able to tangibly feel
the world he has created.

The imaginary world.

When you play Death Stranding,

the dynamics are exactly the opposite
of every other video game.

You are taught virtues
that seem impossible in gaming.

Patience, empathy, solidarity.

It's the only game I've played
where I thought I was a better person

at the end of the game ever.

I just love when, like,
really complex things are really popular,

because it makes me feel like,

mainstream audiences are, like, open
to, like, weird experimental art.

And that's always, like,

I don't know, a thing that can give you
faith in humanity, I suppose.

The function of art,
and philosophy, and humanity is

if you want to call them something,
is to enhance the human spirit.

That's the function.

And video gaming is an art.

At its best is an art.

That's where art has its meaning.

It's not meant to please you, necessarily.

It's meant to inspire you.

It's meant to provoke you.

It's meant to entertain you.

Death Stranding
has all those components in it.

It's all there, but it has so much more.

Three months
after Death Stranding was released,

the world in the game
became a reality with Covid.

People played the game during lockdown
while they were isolated from others.

I was pleased to receive messages
from people who felt the game saved them

because the game
indirectly connected them to others.

That was my motivation
for creating things in the first place.

Tentacles just went out

trying to find ways
to connect with people.

And there was something
that games could do

that no show, no movie could do.

Not as effectively.

It's one of the things
that I love about this art form,

is that you and I could go in
and look at a painting together

and we can have a conversation.

But there's a difference between
you and I picking up a paintbrush together

and painting something together.

And that, to me, is what games
allow us to do.

And that's especially what Death Stranding
at that time allowed us to do.

When art is strong enough, it's prophetic.

This was a COVID game before COVID.

Uh, this was...

a game that I think responded
to that shift

that the pandemic brought
before it occurred.

I've always thought this was
curious in all the games we've released,

the world follows the scenarios
the director has written.

I think he's half prophet.

It's scary.
I don't want to think about it.

My ideas come and go,
overwriting each other.

But one thing that troubles me
is that I turn 59 this year.

I'm wondering
how many I'll have time to make.

Uh...

That sense of fear has come over me
just recently, I haven't had it before.

There's no
cultural evolution, unless it is renewed.

That's the history of all creative.

It constantly has to be refreshed.

And that's where the creative courage
comes in.

If we lose that singular vision,
we lose part of our humanity.

And if you are 100 percent true
to yourself as an artist,

then your heart and soul
will always beat for the future.

All games
are sort of, like, distilling

the most interesting things around you

into a narrative and that's basically
what storytelling is or movies are

or books are.

So it's interesting to see games
kind of, like,

enter the pantheon of storytelling
in this way.

Games are stories.

The purpose of stories
is to make meaning out of life.

It's fundamental to us.

It's the only way we can explain the world
and our existence.

My ambitions expand
as more things become possible.

There's an effect of what's in my head
expanding like this

and that's precisely why entertainment
in this technology zone is so compulsive.

It's limitless
and you never get bored of it.

It's irresistible fun.