Genetic engineering is a result of science advancement, so I don't think that in itself is bad. If used wisely, genetics can be beneficial, but they can be abused, too.
Hideo Kojima
I try to watch a movie a day, if not more, and through movies, I learned about so many different political themes I hadn't been interested in and cultural things I hadn't been aware of and economic factors I hadn't thought about.
My biggest failure is 'Metal Gear.' It's my biggest failure and my biggest success.
Games shouldn't only be fun. They should teach or spark an interest in other things.
I won't make games with senseless violence. There has to be a reason for it, such as war.
I believe that this cooperation between Nokia and Konami will form the perfect match to share the vast potential of mobile entertainment content with users all around the world.
There are many museums dedicated to technology, artistic endeavors, music, and that sort of thing. From that perspective, I think games really do have a place as a kind of collaborative art or a synthesis of all these various aspects into a whole, and that, in itself, can be perceived as art.
I am tremendously excited to introduce a unique 'Metal Gear Solid' experience to a new audience of gamers as well as collaborate with my mentor in game design, Mr. Miyamoto, on 'Metal Gear Solid: The Twin Snakes' for Nintendo GameCube.
In Japan, there are storm channels on either side of the main roads. There were so many times when I'd fall into these ditches because I was lost in stories as I was walking along. It's still dangerous for me to drive. I've driven into the gate outside my house numerous times.
I always observe the people who pass by when I ride an escalator. I'll never see most of them again, so I imagine a lot of things about their lives... about the day ahead of them.
I believe that even today we can only tell a simple story without really interfering with gameplay. But in the future, I think it will almost be a requirement of all storytellers when they create games, how they can tell a more complex story without conflicting with the gameplay.
With a movie, it's probably easier to sustain intensity and seriousness over the 90-minute duration. But in an open-world game it becomes exhausting, demotivating and even uninteresting for the player.
I always say, 'This will be my last 'Metal Gear.'
Stories in which the player doesn't inhabit the main character are difficult for games to handle.
In the past, the U.S. was the centre of the world, where everything was happening. I think my stories have always sought to question this, maybe even criticise it.
My parents were born in the 1930s, and they experienced the air raids on Tokyo.
As a creator, I always want to betray fans' expectations.
Many people are taking 2D games and making them into 3D games by recreating the characters in polygons. But the gameplay's still the same, and that's not what they should be doing.
The last remaining thing that must be communicated to the next generation is an aging figure that still continues to change.
There are so many books and movies I like; I never mention specific ones.
People nowadays don't know about the Cold War and the U.S.'s old rivalry with the U.S.S.R.
One of my first dreams when I was a child was becoming a painter.
In any game, you have an enemy coming at yourself that you have to shoot. If you go back to 'Space Invaders,' they shoot at you when they come at you, so how are you going to protect yourself? You're going to shoot, and that is a typical videogame.
My first concept was for a game in which you were a prisoner of war and simply had to escape. If you were caught, you'd be brought back to the prison. The idea was for a non-combat game.
There are so many games where you fight aliens or zombies, and they have very high-fidelity graphics, but they don't ask the question of why the events are happening.
As far as how I create games, I'm just reflecting what I feel, the things I have in my mind. I put those out there. Some of the things that I'm going through, the things that surround me, might be reflected there. But for me, it's a natural process. I just reflect what I feel into the game.
Every time I make a new game, I put all of my effort completely into that game. It's like putting all your effort into a new child that's being born. Once the project is done, I can step back and look at it objectively, which is when I can see a lot of flaws. That's when I start to make a new game that tries to fix some of those flaws.
If it weren't for Miyamoto-san, I wouldn't be where I am.
I don't like necessarily that people think 'Metal Gear' defines me. I love 'Metal Gear,' don't get me wrong. But as a creator, I really want to work on other projects, including new games.
I have always had a fascination about what's inside a human being.
To be honest, my friends weren't really as into making films as I was. But I convinced them all to make some zombie films with me.
'Metal Gear Solid' is, for the most part, an infiltration game. You go somewhere, you execute your mission, then you go back. Those are your actions as the player.
My games are rather stressful games, where you have to play for a long time.
I don't really want to be a celebrity.
Japanese players do not like being thrown into an arena in which they are given very little instruction. You can head in any direction, 360 degrees. They say, 'What am I supposed to do? Give me hints. Provide me service instead of just throwing me into this arena.'
My goal is to make a player think, 'I want to reenter this world of lies tomorrow.'
Personally, I'm not too fond of remakes.
What I'm really trying to do is create unique characters.
Even when people abroad see me, I'm often asked about a 'Zone of the Enders' sequel.
Hollywood continues to present the U.S. Army as being the good guys, always defeating the aliens or foreigners.
As a game creator, I'm not 100% satisfied when looking back at the previous game that I released.
Normally, when people compose for film, you give them the film, and they look at it, and they compose it.
When I was small, I was always thinking about different worlds in my head.
My parents were huge fans of westerns, European cinema, and horror in particular. They wouldn't just show me kids' films.
At Disneyland, you never go 'backstage' - even when you're in the bathroom.
I want to show people how there are variations and different interpretations of good and evil.
You have to be very careful when you're working on a sequel, because it has to be a continuation of what you did before.
Looking back, I am thankful that I didn't go into the film industry.
I have to have a creative role; otherwise, I simply wouldn't come into work.
It's part of my ritual to watch a new film every day, no matter what. It's important to me.
