HIDEO KOJIMA – The celebrated video game director who established his own studio before heading the stealth action Metal Gear series for decades and founded Death’s Random, a supernatural apocalyptic streaming game touted as “2019’s most intriguing blockbuster,” remains a captivating figure, often evoking awe. “George [Miller] is my mentor, my deity,” he joyfully proclaims.

Kojima is in Australia for a sold-out discussion with Miller, the mastermind behind the Mad Max film franchise, at the Sydney Film Festival. The duo forged an unexpected yet profound friendship nearly a decade ago. As a youth, Kojima shares that the first two Mad Max films inspired his direction in film, ultimately steering him toward video game development. During later panels, Miller reciprocates the sentiment, affectionately calling Kojima “almost like a brother.” The Australian even lends his likeness to a significant character in Kojima’s latest title, Death Stranding 2.

Much of the new game world is influenced by Miller, representing a whimsical interpretation of Australia. Death Stranding focuses on delivering narratives between isolated bunkers, set against expansive, perilous yet opulent landscapes that resonate with Australia’s rich biodiversity. Though the game’s geography is fictionalized, its allure and trepidation are palpable.

In addition to the atmospheric outback scenery, DS2 also features some of the most intricately detailed (and likely costly) portrayals of Australian wildlife seen in gaming. It was a poignantly moving moment for Australians in this distinctly urban environment to witness the unique bounding of kangaroos on the sunlit horizon.

“I adore animals, and they’re unique here,” says Kojima. “Many on the team share a love for animals… They might decline to design new mechs but passionately advocate for creating more animal representations.”

The film enthusiast Kojima also drops nods to Australian cinema – he admires the 1971 classic *Walkabout* and acknowledges the DS2 subtitle’s inspiration from beach scenes. He had visited before but aimed to delve deeper “into the heart of the land, reaching the desert.”

Unfortunately, the pandemic necessitated that Kojima’s team rely on remote scouts for data collection. “It’s unfortunate I couldn’t be there in person,” he reflects. “Viewing photos doesn’t compare to the reality of experiencing a place.”

The transition to remote work during the pandemic posed considerable challenges for the game. “The most daunting aspect was performance capture,” he recalls. “Directing actors like Norman Reedus and Léa Seydoux from Japan was incredibly daunting. Communicating direction through a Zoom call was nearly impossible.” With restrictions in place early in the development, the team prioritized scenes not involving main actors, which wasn’t always feasible.

“That was extremely challenging, particularly for new cast members,” he states.

By 2022, the situation had improved, allowing him to fly to LA for direct interactions. “People involved in remarkable films had undergone performance captures against a green screen,” he explains. (In many game adaptations, real-life performances are translated into digital formats through motion capture, which can be challenging for actors on set.) “There’s actually a tool; looking at the monitor, you can witness [in-game] a world manifested in real-time.”

Kojima emphasizes the importance of keeping actors closely connected whenever possible, especially given the separations caused by Covid. Some issues unique to gaming arose too. For instance, repetitive in-game actions, like characters grunting in pain or eating apples, required specific recordings. “Sometimes we receive queries from Norman, where he says, ‘Eat an apple, it’s good,’ or ‘What’s the apple like?'” He notes, “We aim for those variations!”

The central theme of Death Stranding revolves around “connection.” Although players can’t see each other in-game, they can share resources and construct structures that benefit all, forming intricate service networks that complicate long deliveries. Thus, the sequel’s tagline poses a haunting question: “Should we have connected?”

“During the pandemic, I felt unwell and entirely isolated,” Kojima shares. To exacerbate matters, recent optical muscle damage from surgery hindered his ability to enjoy films or television. The world evolved around him, with everyone retreating, working online, and connecting through video calls while deliveries continued to dominate. His game, his vision, began to materialize.

“Indeed, we all appeared connected, but it wasn’t the connection I envisioned,” he reflects. His company, Kojima Productions, had been staffed. He would meet new hires on the first day but would not see them again for three years due to pandemic protocols.

Recently, he discussed legacy (evidenced by a USB drive containing game concepts left for his team), hinting at his readiness to leave a part of himself behind. Kojima believes in the necessity of direct collaboration to nurture new talent. “New hires are often drawn to work with us because they want to learn from their mentors or improve by teaming with others,” he states, emphasizing that growth stems from communication and exposure to diverse ideas.

He likens remote work to “fast food,” focused narrowly on singular tasks rather than holistic project development. “When people are silent, interactions are stifled,” he explains. Mistakes are later identified, but opportunities for serendipitous creativity and fresh perspectives may be lost.

Moreover, he notes that it limits his ability to connect with team members and understand their feelings or interest in personal hobbies. “Only 1% of my true self is displayed during online meetings,” he asserts. “This isn’t team-building akin to sports. When you recruit someone, they join your team, but if you can’t physically collaborate, they don’t evolve in their play style. They remain unchanged,” he adds.

Nevertheless, he acknowledges, “You cannot compel people back to the office; you can only encourage them.” “As a result, not all have returned. Yet, core members did, facilitating collaboration.”

Despite this somewhat melancholic tone, the message remains fundamentally optimistic. Death Stranding is a profoundly solitary experience, which Kojima animatedly conveys during a subsequent group presentation. “Yet… you discover other players worldwide. You connect indirectly… and when you venture out, [the game] invites you outside… Much like the Sydney Bridge, you can observe the construct of life. Someone created it! They might have passed away years ago, but you remain linked to them. Even without meeting others, you are not alone in this world.”

There’s always room for new ambitions. Kojima harbors a longstanding dream of venturing into outer space. It’s not merely a fleeting billionaire space hop; it’s more profound. “It’s not just about space,” he asserts. “I want to train effectively, dock and learn how to reach the International Space Station and remain there for several months. I’m no scientist, but I believe I could create games in space. I desire to be the first. I have an astronaut aged over 60. There’s no gravity to aggravate their back issues!” He chuckles at the thought.

As our conversation concludes, he pauses thoughtfully before sharing one last ambition. “It’s ‘Tom Cruise’ syndrome,” Kojima elaborates. “Tom Cruise finds his purpose when he takes risks with his life.”