Machocruz
Arcane
I thought Lefties were all about self expression in art. Kojima likes boobs and hates men looking at his junk. Very problematic leanings, how dare he.
I thought Lefties were all about self expression in art.
Who would actively advertise they are a midget?
Good thing he dislikes negativity, because every shit he says is to be negative
WTF I love Kojima now?
Just add fast travel.I've been replaying BOTW and rdr 2 lately and noticed that 80% of time i'm just running from one place to another....... so having an actual game with mechanics and game based around running, Kojima might have something there.
There's a difference when you just run aimlessly like in open world games where you just run because you must get from point A to B, that's boring, but Kojima has actual mechanics based around just that... i'm thinking now that this game might be pretty good after all.
I doubt it will be half as good as FortniteWhether how well it turns out, I'm just glad such a weird, unorthodox format for a AAA game got greenlit AND funded by one of the biggest publishers in the industry. Say what you want about how pretentious it looks, but I'm definitely interested in this game more than the next cookie cutter first/third person shooter/slasher/looter/battle royale with half baked RPG elements.
Sam has a lot to manage – his health, his equipment, etc. A lot of people turn to games to escape these kinds of responsibilities. How do you approach taking mundane maintenance tasks and putting them into a game so they don’t feel like work?
Previously, in design, you had to create the rule because you couldn’t do the realism, right? In our everyday lives, there are so many mechanisms we have to work through, as you say, and we have to take the balance of what we do, how we maintain ourselves, and how we live. So I wanted to free the game design concept that we had to live by because we didn’t have the technology to do so in the past. We always created a rule, like the life bar is like this, and one hit takes away this much health. I wanted to add the real essence in Death Stranding.
For instance, in any game, you could carry as many items as you want – even in Metal Gear, it was unlimited. Of course, you can’t do it in real life, right? You have to select one bottle when you climb a mountain. That’s why I put it in; a lot of games have aborted that kind of rule. This time, if you’re in the river, you can drift away – and that’s in real life as well. So that’s the gimmick and mechanism I kind of recreated, where other games – and even my games before – had to deform in a way.
But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere. You set routes, and you want to know what goes on beyond. In this game, I think you will not understand if I just say this, but once you start playing the game, just walking in that world is really fun. What I realized is, when I monitor playtests – even the staff's – they don’t get it at first. But when they really start playing, just walking is really fun in the space.
And now everyone will say, “Oh, it’s a walking simulator!”
It’s the same as when I first brought out a stealth game. If 100 people play it and 100 people say it’s fun, it means the genre or the game already exists. But this is a new genre – same as stealth the first time, there will be people who don’t get it. It will take time for the real evaluations to come in.
Have you explained Death Stranding to anyone and had it click immediately, instead of taking a while to understand?
Yes, there were some people. Especially creators were quite quick to click. Like [director] George Miller, who is kind of my mentor – my god. In 2017, I went to Australia. I only had a trailer, and I also explained verbally to him. George Miller said, “In all aspects, you are correct. Mathematically, psychologically, physically, philosophically.” He kind of started to draw a diagram, he has this theory, so he said, “What you’re trying to do is correct.” I should have recorded that! I should have sent it to the staff! That was really a happy moment.
Maybe not people in the game industry, but musicians, directors, and creators. So, that’s why I tend to kind of overlap with musicians and film directors more than the game industry people – because they kind of tend to synthesize with me in that way and click faster.
This guy is bringing decline to the industry and you're all falling for it
horseshit, none of this means anythinghttps://www.gameinformer.com/interv...a-answers-our-questions-about-death-stranding
Sam has a lot to manage – his health, his equipment, etc. A lot of people turn to games to escape these kinds of responsibilities. How do you approach taking mundane maintenance tasks and putting them into a game so they don’t feel like work?
Previously, in design, you had to create the rule because you couldn’t do the realism, right? In our everyday lives, there are so many mechanisms we have to work through, as you say, and we have to take the balance of what we do, how we maintain ourselves, and how we live. So I wanted to free the game design concept that we had to live by because we didn’t have the technology to do so in the past. We always created a rule, like the life bar is like this, and one hit takes away this much health. I wanted to add the real essence in Death Stranding.
For instance, in any game, you could carry as many items as you want – even in Metal Gear, it was unlimited. Of course, you can’t do it in real life, right? You have to select one bottle when you climb a mountain. That’s why I put it in; a lot of games have aborted that kind of rule. This time, if you’re in the river, you can drift away – and that’s in real life as well. So that’s the gimmick and mechanism I kind of recreated, where other games – and even my games before – had to deform in a way.
But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere. You set routes, and you want to know what goes on beyond. In this game, I think you will not understand if I just say this, but once you start playing the game, just walking in that world is really fun. What I realized is, when I monitor playtests – even the staff's – they don’t get it at first. But when they really start playing, just walking is really fun in the space.
And now everyone will say, “Oh, it’s a walking simulator!”
It’s the same as when I first brought out a stealth game. If 100 people play it and 100 people say it’s fun, it means the genre or the game already exists. But this is a new genre – same as stealth the first time, there will be people who don’t get it. It will take time for the real evaluations to come in.
Have you explained Death Stranding to anyone and had it click immediately, instead of taking a while to understand?
Yes, there were some people. Especially creators were quite quick to click. Like [director] George Miller, who is kind of my mentor – my god. In 2017, I went to Australia. I only had a trailer, and I also explained verbally to him. George Miller said, “In all aspects, you are correct. Mathematically, psychologically, physically, philosophically.” He kind of started to draw a diagram, he has this theory, so he said, “What you’re trying to do is correct.” I should have recorded that! I should have sent it to the staff! That was really a happy moment.
Maybe not people in the game industry, but musicians, directors, and creators. So, that’s why I tend to kind of overlap with musicians and film directors more than the game industry people – because they kind of tend to synthesize with me in that way and click faster.
But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere.
It’s the same as when I first brought out a stealth game. If 100 people play it and 100 people say it’s fun, it means the genre or the game already exists. But this is a new genre – same as stealth the first time, there will be people who don’t get it. It will take time for the real evaluations to come in.
And he knows it.horseshit, none of this means anythinghttps://www.gameinformer.com/interv...a-answers-our-questions-about-death-stranding
Sam has a lot to manage – his health, his equipment, etc. A lot of people turn to games to escape these kinds of responsibilities. How do you approach taking mundane maintenance tasks and putting them into a game so they don’t feel like work?
Previously, in design, you had to create the rule because you couldn’t do the realism, right? In our everyday lives, there are so many mechanisms we have to work through, as you say, and we have to take the balance of what we do, how we maintain ourselves, and how we live. So I wanted to free the game design concept that we had to live by because we didn’t have the technology to do so in the past. We always created a rule, like the life bar is like this, and one hit takes away this much health. I wanted to add the real essence in Death Stranding.
For instance, in any game, you could carry as many items as you want – even in Metal Gear, it was unlimited. Of course, you can’t do it in real life, right? You have to select one bottle when you climb a mountain. That’s why I put it in; a lot of games have aborted that kind of rule. This time, if you’re in the river, you can drift away – and that’s in real life as well. So that’s the gimmick and mechanism I kind of recreated, where other games – and even my games before – had to deform in a way.
But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere. You set routes, and you want to know what goes on beyond. In this game, I think you will not understand if I just say this, but once you start playing the game, just walking in that world is really fun. What I realized is, when I monitor playtests – even the staff's – they don’t get it at first. But when they really start playing, just walking is really fun in the space.
And now everyone will say, “Oh, it’s a walking simulator!”
It’s the same as when I first brought out a stealth game. If 100 people play it and 100 people say it’s fun, it means the genre or the game already exists. But this is a new genre – same as stealth the first time, there will be people who don’t get it. It will take time for the real evaluations to come in.
Have you explained Death Stranding to anyone and had it click immediately, instead of taking a while to understand?
Yes, there were some people. Especially creators were quite quick to click. Like [director] George Miller, who is kind of my mentor – my god. In 2017, I went to Australia. I only had a trailer, and I also explained verbally to him. George Miller said, “In all aspects, you are correct. Mathematically, psychologically, physically, philosophically.” He kind of started to draw a diagram, he has this theory, so he said, “What you’re trying to do is correct.” I should have recorded that! I should have sent it to the staff! That was really a happy moment.
Maybe not people in the game industry, but musicians, directors, and creators. So, that’s why I tend to kind of overlap with musicians and film directors more than the game industry people – because they kind of tend to synthesize with me in that way and click faster.
I'm a fan of Kojima's work, but the BS this man can make up is astronomical. Still interested in the game, but his ego should really take a step back.But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere.
It’s the same as when I first brought out a stealth game. If 100 people play it and 100 people say it’s fun, it means the genre or the game already exists. But this is a new genre – same as stealth the first time, there will be people who don’t get it. It will take time for the real evaluations to come in.
Physics, no one has ever done this before. Teh innovashun !This time, if you’re in the river, you can drift away – and that’s in real life as well. So that’s the gimmick and mechanism I kind of recreated, where other games – and even my games before – had to deform in a way.
Procedurally generated terrain, no one has ever done this before. Teh innovashun !But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere. You set routes, and you want to know what goes on beyond.
[...] I think you will not understand if I just say this, [...] just walking in that world is really fun. [...] even the staff's – they don’t get it at first. [...], just walking is really fun in the space.
Maybe not people in the game industry, but musicians, directors, and creators. So, that’s why I tend to kind of overlap with musicians and film directors more than the game industry people – because they kind of tend to synthesize with me in that way and click faster.
And now everyone will say, “Oh, it’s a walking simulator!”
This guy is bringing decline to the industry and you're all falling for it
The fact that he thinks inventory/encumbrance limits or open-world exploration are groundbreaking things never before seen, or that he implies he created the stealth genre, makes him sound more deluded than Molyneux.https://www.gameinformer.com/interv...a-answers-our-questions-about-death-stranding
Sam has a lot to manage – his health, his equipment, etc. A lot of people turn to games to escape these kinds of responsibilities. How do you approach taking mundane maintenance tasks and putting them into a game so they don’t feel like work?
Previously, in design, you had to create the rule because you couldn’t do the realism, right? In our everyday lives, there are so many mechanisms we have to work through, as you say, and we have to take the balance of what we do, how we maintain ourselves, and how we live. So I wanted to free the game design concept that we had to live by because we didn’t have the technology to do so in the past. We always created a rule, like the life bar is like this, and one hit takes away this much health. I wanted to add the real essence in Death Stranding.
For instance, in any game, you could carry as many items as you want – even in Metal Gear, it was unlimited. Of course, you can’t do it in real life, right? You have to select one bottle when you climb a mountain. That’s why I put it in; a lot of games have aborted that kind of rule. This time, if you’re in the river, you can drift away – and that’s in real life as well. So that’s the gimmick and mechanism I kind of recreated, where other games – and even my games before – had to deform in a way.
But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere. You set routes, and you want to know what goes on beyond. In this game, I think you will not understand if I just say this, but once you start playing the game, just walking in that world is really fun. What I realized is, when I monitor playtests – even the staff's – they don’t get it at first. But when they really start playing, just walking is really fun in the space.
And now everyone will say, “Oh, it’s a walking simulator!”
It’s the same as when I first brought out a stealth game. If 100 people play it and 100 people say it’s fun, it means the genre or the game already exists. But this is a new genre – same as stealth the first time, there will be people who don’t get it. It will take time for the real evaluations to come in.
Have you explained Death Stranding to anyone and had it click immediately, instead of taking a while to understand?
Yes, there were some people. Especially creators were quite quick to click. Like [director] George Miller, who is kind of my mentor – my god. In 2017, I went to Australia. I only had a trailer, and I also explained verbally to him. George Miller said, “In all aspects, you are correct. Mathematically, psychologically, physically, philosophically.” He kind of started to draw a diagram, he has this theory, so he said, “What you’re trying to do is correct.” I should have recorded that! I should have sent it to the staff! That was really a happy moment.
Maybe not people in the game industry, but musicians, directors, and creators. So, that’s why I tend to kind of overlap with musicians and film directors more than the game industry people – because they kind of tend to synthesize with me in that way and click faster.