I heard, a month ago, someone decided to encroach on the honor of the best filmmaker of the gaming industry. Okay, then let me explain on my fingers how Hideo Kojima spreads any claims to his brush in the chips and why his work is a monolith of the modern gaming industry.
“Kojima – genius” – comes from each corner of the Internet. Undoubtedly, the Japanese game designer is one of the most significant representatives of the industry. However, most of his outstanding works date back to the last decade, and therefore the new audience has the above approval. We will discuss it by considering how Hideo Kojima builds a story in his games and focus on his cinematography.
What Makar Kodzima turned out to be one of the most powerful directors in Gamdev? Of course, not from an empty place – from childhood he loved a movie.From an early age, a tradition reigned in his family every day to watch the picture per day, and then discuss its meaning and history. This accustomed him to always analyze, construct complex stories and invest in them a deep meaning. Love for films applied a serious imprint on Hideo Kojima and even developing video games, he relies on his favorite media. It is not for nothing that his status on Twitter is “The creator of the video game: 70% of my body consists of cinema”. Drawing inspiration from cinema and the developer from his first projects combines the rules of cinema with game mechanics, turning video games into art, since the artillery made sense in one or another format only if this very format cannot be pulled out of it, whether it is sad notes from The End of The Doors or a movie language from the paintings of Nicholas Vinding Refine.
With the latter, the Japanese, by the way, is squinting
The game designer began to comply with the rules of cinema in video games back in a time when the characters did not have a full -fledged facial animation. This makes his merits even more significant, because he made us empathize with almost cardboard figures. His style was formed for a long time and at first followed the Hollywood canons (from which I still have not been very high to watch the KAT-scenes MGS and MGS 2). The Japanese was self -taught and began to brightly demonstrate himself only closer to the late period of creativity.
Not stole, but inspired!
Being a postmodernist Kojima quotes his favorite works, weaving them into an unusual video game format. Starting from the banal copy of the visual image of a Snayk from the “Escape from Los Angeles” or a typical bondian like a player scene in MGS and ending with operator techniques, such as the shooting manner of Ridley Scott in the introductory scene Metal Gear Solid 4. As they say, good artists borrow, great artists – steal. Inspired by one or another object of Kojima, looks at him from an unusual angle or simply adds to his works what he likes. For example, Death Stranding has already seen a reference to the same apocalypse today.
The manner of "inspired" has been preserved by the author to this day. Often he spreads the places where he visited his instramon. Only Kodzima visited the Black Beach in Iceland or the famous caves, as the players immediately found similar species in Death Stranding trailers. Hideo began to show his author’s, honed and less postmodern handwriting only starting from the third part of the MGS spy franchise. Wallowing the aforementioned template Hollywood canon, just compare the emphasis on the shooting in MGS 2, where the vast majority of KAT-scenes are static plans and the next part, only so selecting interesting plans and angles.
And who has a kojima?
In the cinema, the closest stylistic relative of Kojima in the shooting manner for Kojima in the late stage of creativity (approximately with Peace Walker) is the Mexican operator Emmanuel Lyubetski, whose human child and mgs v are literally 1 in 1 similar works. . . . . In general, the list of favorite paintings of the author includes almost the entire classic of world cinema – from Kubrick to Villenev and Lynch.
With the experience of Kojima, I perfectly learned to convey the state of the character. For example, the phantom pains carried out in the header mgs v. For example, the scene of the torture of Hugh Emmerich, when his legs prosthesis are ready to break his leg. It is very difficult not to turn away from such a spectacle, which is the talent for setting Kojima. At such moments, the player feels the complete defenselessness of the protagonist. Conveys his condition.
I mean, it really hurts to watch, it hurts directly – mirror neuronchiki then work
. . Starting with Mgs V, Hideo himself almost always sat at the mounting table. He considers the comparison of the speakers not a purely technical process, but a full -fledged element of the narrative, forming the directing directing.
For Kojima, not even the gluing themselves https://tgcasino.org/login/ are important, but also the transitions between them. All Death Stranding trailers have a different bunch design. The first video uses standard installation, in the second and third, their number does not exceed a pair of pieces, in the fourth between the frames there is a black gap, transmitting its fragmentation, and in the fifth the transition is decorated with blinning of the baby’s eye.
Unlike the popular delusion, the good work of the installer is not a huge number of speakers, but to make them enough. In his work, Kojima withstands the length of each plan, delaying the attention of the camera on the necessary details and emotions. Often, the state of the camera itself is subtly combined with the installation. One of the most revealing scenes showing the exposure of Kojima is a monologue in a helicopter before arriving at Mother-Base. At the beginning of the scene, when the Japanese talks about the past, we slowly and smoothly approach him, as the hero is immersed in his thoughts. But as soon as he mentions the present and breaks down, the camera begins to shake very much and actively respond to the gestures of the heroes, passing the intelligence to the viewer through her condition.
The emotional stress of this scene and the directory of Kojima also gives the absence of malls and, accordingly, the smoothness of the transition from the state at the beginning to the state at the end. He can often allow himself to shoot long span because the virtual camera is much easier to control. To remove the 10-minute introduction of MGS: Ground Zeroes, the Hideo team did not need to rehearse a continuous sequence of actions dozens of times. Just write animations and the player will not notice anything. In an interview, Kodzima shared that even in a fragment with a trip to the jeep, the actors in the studio mokap simply climbed onto a large box and depicted shaking.
And Gere’s to You just gives the cats in the shower in the shower
. . And only Snape himself will interrupt their suffering, while they will surrender to their commander on the counter Smirno.
Gold, just gold
For Kojima, it is most important to emotionally charge the scene, expressing this by an acting game, character design and music. Several people help him in this. For example: during the creation of Mgs V and the abolished p.T Kojima met with composer Ludwig Forsell. The Swede was perfectly able to convey the feeling of tension and unknown, which is pronounced in its soundtrack for the fifth part of the spy militant and the upcoming Death Stranding. After all, these components are one of the most important in his history.
Music from Hideo Kojima
Touching upon the theme of music, Kojima never hesitate to demonstrate his musical taste through the soundtrack. His love for a slightly naive Bondian, for example, is expressed by the title theme of MGS 3, the song Snake Eater. A fifth of the franchise is completely filled with an pop 80s pop, contrasting with the outside world. Afghanistan, where no one is probably listening to Billy Idol, quietly plays Sneak on Volkman. .
. The songs of the I’ll Keep Combing Low Roar, Asylums for the Feeling of the Silent Poets group, as well as the Path of Apocalyptica groups are melancholy and gloomy tracks. Around their structure, Kojima builds the story of the trailer, revealing to us all their beauty and beauty Death Stranding. It is amazing how much Embent Forsella goes well with the compositions chosen by the director.
Kojima Sinkava is a genius
But a more significant characteristic feature of Kojima is the design of the characters for which its permanent art director Yoji Sinkava is responsible. His concept arts and characters are characteristic of their athleticity, flexibility-a subtle and deep sensation of the spirit and nature of the hero. He is able to convey the mood and essence of the character with several smears. A striking example – take a look at this art with Venom Sneak. .
However, for which Kojima polishes its style, telling its stories? Key topics in the work of Kodzima have always been war and human tragedies. Even in the first parts of Metal Gear, Big Boss reasoned that Snake could not live without war and conflict in his life. And with the birth of his own child, Kojima began to think about the issues of genetics, paternity, kinship and self -identification, which resulted in Metal Gear Solid.
. For example, Terry Wulf in the book “Kodzima Genius” successfully reveals the image of Otakon as a reflection of one of the target audiences of the game – Otaku. This is a layer of inhabitants of Japan who are fond of something, living in fictitious worlds and collecting manga, figures and so on. They are the same escapists as Otakon. Through his arch, getting development, the viewer can thus extract the lesson laid down by the author.
With every new game, Hideo began to lay anti -war meanings in his games, since his family itself suffered from nuclear bombing during the Second World War. And the father could not forget that nightmare until the end of his days. Patriotism, nuclear weapons and loyalty to the Motherland – or rather doubt about them became key topics in MGS 3. MGS 4 tied all the aforementioned in a heap, expanding the huge tragedy of many people who suffered from the war and related ties to the players. The following prequels, Peace Walker and Mgs V were the continuation of reasoning on the topic of nuclear weapons, raising issues of independence, borders and ties. The latter promises to based history and Death Stranding. But I will not take risks with my assumptions, but I already feel some half arthouse history, a bit of symbolism and human tears.
So, this is a tragic drama in which I have to crawl through the base in a cardboard box?
Also, many players distinguish a sense of humor of Kodzima and its obvious objectification of women. If the latter is inherent in the mentality of the Japanese, then the second may look like a low welcome. However, from the very beginning of its career, the demonstration of sexy beauties had a tactical meaning from marketing, which is kindly reported by the aforementioned book by Terry Vulf “Kodzima Genius”. And the author himself beat this every time. Teenagers love beautiful aunt. But Kojima does not just insert them, but skillfully uses beauties as a tool.
Oh, Eskuza MAA, Mon Cher
For example, Meril behaves naively in the first part of MGS, speaks in a sweet voice, shakes his hips in front of the player, which observes both a Snake and Otakon. Moreover, the latter in one of the tasks will serve as a clue when Meril is dressed in a soldier and must be calculated through a specific gait. But her goal in history is closely related to the dying speech of one of the bosses – Psycho Mantis. On the last outbreak of the telepath, he says that when reading the thoughts of thousands of living beings, he sees only a blind, primitive desire to multiply and convey his genome under a veil of love. If the player had dubious thoughts about the heroine, and Kojima tried to make them arise, then this is a villain’s speech will definitely hurt not only Snake Snake, but also the player himself.
The same applies to the half -naked Tikhoni in the fifth part of the spy militant. Kojima promised the players that having learned the reason for her appearance, the player would immediately become embarrassed or embarrassing. A silent sniper wears only a bra, tight panties and torn tights because she received terrible burns on the mission on the day of awakening Big Boss. The opponents of the player, the cipher, pulled it out of the other world, filling the body of Tikhoni with parasites, removing all the burns, after which she was forced to breathe through only the skin.
In fact, the problem of Tikhoni is only that she purely physically cannot say – “Hey, my eyes are here”
And yet he is a genius
The dream of creating a real movie has been carried by Kojzima since childhood. He dreamed of being a director, but in Japan, such knitting in the clouds were a monoton. Forced to go to the nascent game industry, he also suffered his humiliating social status, when all his classmates occupy important positions, while Kojima “makes games”. Even when creating the first MGS, he sometimes had to ask his wife’s money. But from the very first Metal Gear, he desperately tried to fill his stories with meaning, no matter how it sounds, until the plumber jumped on the heads of the turtles (I have nothing against Mario, in the first 20 years). Over time, he gained a reputation as a beautiful storyteller when his MGS 2 is still trying to desperately interpret and drown in theories, and MGS V, even in an incomplete form, looks a brilliant statement about the war.
Trying to make games by the type of art of Kojima, I had to overcome not only the fourth walls, but also many stereotypes and trample the previously unknown path for the first time. Because his ideas are so original and sometimes bold. Until now, the imagination of the players is exciting the order of Big Boss to turn off the game in the first Metal Gear, when the villain realizes that he was revealed and ready to kill him, he gives Snake a false order to turn off the game, so as not to be defeated. To this day, the struggle in torture for the life of Maryl in MGS is striking. Moreover, torture is not only for a Snake who cannot be disconnected, otherwise the girl will be killed, but also the player, because it needs to be frantically pressing the gamepad for a long time. Or the execution of their own fighters in Mgs V, who honor their boss. Kojima is able to make the game communicate with the player. Sometimes just breaking the notorious fourth wall, and sometimes putting the user in front of a moral dilemma, forcing.
He makes a video game not just an interactive film, where you can thoughtlessly be a hero and stare at the beauties without thinking about anything. Not just killing time, but a work of art. Not always polished, even ready, as in the case of MGS V, but the truth is the story in which the player is involved and with which they conduct a dialogue. And therefore, whoever says, Kojima is a genius