E3 2013: MGS V: The Phantom Pain extended trailer
Game of the show in terms of what was shown in-game as well as technical prowess, Kojima and his team continue to impress with this unveiling of open world gameplay and a new tone for the storytelling in the series.
Metal Gear Solid V: The Phantom Pain is expected to arrive on at least PS4 and Xbox One sometime next year.
So it’s revealed…Kiefer Sutherland is the voice of ‘Snake’…
Maybe Kojima was looking at my blog when he was deciding to who to choose :p
A lot of people are against this…”Oh no one can be Snake apart from David Hayter”, but as someone who has watched every episode of 24 and a ton of Kiefer Sutherland movies…he is a really amazing actor and the picture in my previous blog posts just shows the proof that this new Snake will be amazing. Kiefer can do exactly what Kojima wants in MGSV, a character who doesn’t need to explicitly say that he’s sad about something, or that he’s caring for a character, but can show it in all the other little ways that humans behave..
I’m still not convinced this is the end of the voice-acting mystery though…Kiefer only refers to the role as ‘the character’..and the caption just says ‘Snake’ not Big Boss..
Such a large-scale Mo-cap is all done, but the game itself needs more time to be completed. We still need to shoot game motion, in addition to voice recording, facial capturing. And moreover implementing those tremendous volume of data takes tremendous amount of time and effort.
- Hideo Kojima, today on Twitter.
I know how you feel Kojima :(
But we’ll both get it all done…somehow…
Shinkawa’s work is more than just lines on a page. It’s given rise to some of the most memorable set-pieces and characters many of us have ever experienced. Right now, both he and Kojima are hard at work creating a whole new chapter of the Metal Gear experience.
I don’t know about you, but I’m incredibly excited for Metal Gear Solid 5, and I feel that I have a new-found understanding and respect for just how instrumental Shinkawa’s art is in creating the experience.
Some insights into the process of creating the iconic characters of Metal Gear.
It’s one thing reading about this kind of job, but actually being part of team and being involved gives you a whole new level of respect for these people who do it day in-day out. Not an easy thing…
Full article here:
An interview with Hideo Kojima, creator of ‘Metal Gear’.
EDGE: You praised Platinum for Metal Gear Rising, but described development as “leaning towards the old way of doing things”. What did you mean?
KOJIMA: It’s an endless cycle of reiterating and improving, but it’s hard to plan like that. For example, let’s say I’m a game modeller and have to make this object [picks up a bottle]. I think, ‘I can’t just make this; wouldn’t it be better if I also made something else?’ [He pretends to make another bottle.] It’s a detailed creative process and a great result, but the thinking is, ‘Oh well, it’s a day late.’ In the west, they approach a problem by calculating how much the cost is. The person who decides if that object is made isn’t the person making the object – it’s someone above you. How much time does this take? How much will it cost? Will making this object delay us?
EDGE: You visited a lot of western studios to learn from them after completing MGS4. What surprised you?
KOJIMA: They had a systematic approach to development, and their engine was not just their core engine, but also included all the tools and everything else. In the old days, a modeller would work on [a bottle] for a month, but wouldn’t show it to anyone, since it was incomplete. They’ve no idea how this object is going to be used, and obsess about making it high quality. In western studios, they’d use an incomplete model and slowly refine it until it looked proper in the scene… The level of transparency was another lesson: everybody in the team knows what everybody else is doing. Based on this research, we worked on the Fox Engine, and were doing this when we saw Platinum using the same ten-year-old outdated [methodology]! They managed to make a very good game, so we were surprised. [Laughs]
These first two answers feel very pertinent to our own project, ICARUS FALLS.
jaydevss: I was watching the Making of Metal Gear Solid 2 and it was interesting to hear that they used the same 3d model face for Snake as they did for Solidus, just the textures were changed. I did not realise this until now. Perhaps this is a technique I can use to give the impression of variety, as this is evidence that you don’t need a new mesh to create variety.la-li-lu-le-lo:
They did the same with Liquid and Solid Snake in MGS:Twin Snakes :)
I did not realise that either :o cool Probably cause it’s the only MGS I have yet to play :(….no gc. Wish it was part of the HD collection… I think for the original MGS everyone had the same model lol
I was watching the Making of Metal Gear Solid 2 and it was interesting to hear that they used the same 3d model face for Snake as they did for Solidus, just the textures were changed.
I did not realise this until now.
Perhaps this is a technique I can use to give the impression of variety, as this is evidence that you don’t need a new mesh to create variety.
Photorealism Through the Eyes of a FOX: The Core of Metal Gear Solid Ground Zeroes
6pm GMT, Wednesday. I am very excited…
I will also be interested as they will discuss game production workflows. As this is something I am currently doing with ICARUS FALLS, I will see if I can learn anything from the professionals.
It will be live-streamed here:
Anyone who has played Metal Gear Solid will remember the famous ‘Elevator scene’. I was 10 when I first played this and it was HORRIFYING.
I would say this is a very good example of a non-horror gaming have horror influences/moments. I want to bring a similar feeling perhaps once or twice into my cutscene.
The atmosphere and sound in the Communication Towers was also excellent. The strong vignette effect seen in the first picture, to simulate low-light levels gave this whole chapter a tense feeling. Add in the radar malfunctioning and it makes the player very more aware of their actions.
Here is a video: http://www.youtube.com/watch?v=9XLiaASkEIk
That creepy music when they start talking about the weight limit…
genius typography (“metal gear solid 5” is not visible in the original video) using negative space and suggestion, from Kojima Productions…or is it Moby Dick Studios…
full trailer: http://www.youtube.com/watch?v=_Kav2t0spyE