I mentioned the test and error method before.

This is actually a very common gameplay setting in many games.

For example, in works such as "Biohazard 4" and "Dead Space", this gameplay is deeply talked about by players, and even deliberately collected and produced death images into videos. "Dead Framework" also tirelessly constructed several failed animations for each page of comics.

Even if the player does not find the correct solution in the first attempt, he will not face a single failure animation repeatedly. This greatly enhances the fun of the "test and error method" process, and trying to find all death animations will also become a brand new gameplay.

The most important point of this gameplay is to allow players to constantly experience new things, make curiosity, and encourage them to continue, ignoring the malicious settings of various designers.

Back to the game experience level, the designer of this game admitted that the entire game wanted to convey a similar experience to watching a movie.

Although the game mode is built on the form of comics, after clicking the play button of the first comic, each comic will come alive and become a small animation. After connecting this graphic and pages of animation, a movie noir will gradually take shape in front of the players. But the most interesting thing is not this innovation of the experience, but the new possibilities displayed at the narrative level after resurrecting the comics into a movie and adding the movie to interactivity into a game.

This is actually something Hideo Kojima has been pursuing since he started designing games.

Express all the content of the game through a movie.

Hiding and seek can only be said to be one of his very personal hobbies. After all, the inspiration for "The Hidden Dragon Spy Shadow" comes from his childhood hide-and-seek game.

In fact.

There are many special features of this game.

For example, on the official blog of Love's Hut, the official records two design camps. In the first design camp, three team members reproduced the entire game's levels in the form of drawing cards. In other words, the game was completed in the form of paper and pen without adding animation and music. Judging from the records of the second design camp, the problem solved is in addition to the logical rationality in all levels, which seems to be the problem of the ending of this infinite loop.

From comics to animation/movies to games, it is a process of gradually enriching audio-visual experience, from the initial static images to dynamic shot switching, and then to the control of the entire narrative process. Players have an increasingly high understanding of all aspects of the story, even including their personal experience of the possibility of progress of another story. What is suppressed in this process is often the player's own imagination space.

The highlight of "Fatal Framework" is to move the player's operation space forward to the comic level, and re-referring the player's imagination to the rich audio-visual experience to avoid damage to this process. The player is no longer the passively accepted character, but becomes a character similar to a "director". This kind of experience that controls the direction of the story, watching the feelings of the story according to its own control, is a difficult experience to achieve at the "action" level.

This makes players feel like directors.

This is actually something Hideo Kojima has been trying to do for thirty years, but has not yet completed it.

So, it is no wonder that "The Fatal Frame" was regarded as his 2014 game of the year by Hideo Kojima.

It seems to make sense to think about it. Putting aside Kojima's own director dream, what "Fatal Frame" shows is a completely different "hide-seek" game mode. The "Hide-seek" game mode that Hideo Kojima spent nearly 30 years to improve was quietly "transcended" by "Fatal Frame" at the core concept level.

Don’t forget that compared with the nearly thirty years of history of the "Spy Shadow of the Dragon" series, this is not only the first work of the "Love House" independent game studio, but also has only three members.

Maybe the-phantom-pain is the ultimate "hide-seek" game in Hideo Kojima's own eyes, but that's it. Whenever you think that the possibilities of a field/type have been exhausted, new ideas will always appear in front of the players, and there is no doubt that the breakthrough of "Deadly Framework" in the innovation level has long surpassed the works of these three people at Flame Mint Studio.

"I have some special thoughts..."

Jester and Hideo Kojima had a very detailed and in-depth discussion. Jester's main point was what he thought of from the game "Deadly Framework".

And Hideo Kojima also heard it all the time.

Finally, when Jester saw that the time was almost over, he asked Hideo Kojima to go to the conference room to wait for him. He would go and preside over the first discussion meeting of the "Times" plan in person, after all, make some preliminary work arrangements.

However, just during the chat just now, Hideo Kojima also shared a lot of his ideas about the game "Spiritual Shadow of the Dragon" that he wanted to make.

Especially about the world architecture, in fact, Hideo Kojima's idea of ​​the world architecture of "Shining Dragon Spy Shadow" has not yet fully matured, and in Jest's opinion, it is even a bit rough.

It can be said that what Jester knows is much more perfect than the world architecture that Hideo Kojima wants to do.

After all, as a former fan of Kojima, Jester is still extremely familiar with the plot and world structure of "The Legend of the Concubine".

In fact, by the time of Jester, it had developed to the fifth part, which is the last work of "The Hiroo Kojima" by Hideo Kojima, whose plot is extremely complicated. To be honest, if you have never been exposed to the previous plot and go directly to play the fifth part of "Phantom Pain", it may take a lot of time and energy to understand the plot.

Even so, I was still confused.

In fact, the plot of "The Legend of the Concubine" is complicated and complicated, but it is simple and relatively simple.

Now Hideo Kojima has completed the part of the origin of this story.

In 1918, Russia, China and the United States jointly established a corrupt organization called the philosophers (philosophers).

Then, in 1961, President Kennedy began to resist the-philosophers.

However, the-philosophers' counterattack also came very quickly.

In 1963, the philosophers assassinated President Kennedy. At this time, the plot of the "Spying Dragon" series officially began. However, what Hideo Kojima wanted to produce at the beginning was not the plot that began in 1963, but a plot that many years later.

Jester has no objection to this.

Because in the world that Jester knew, Hideo Kojima also used this narrative technique to express the plot of his "Metal Equipment".

For example, this part that began in 1963 is the third work in this series in the game "Spy Dragon Spy".

"The Hidden Dragon Spy Shadow 3: Snake Eater".

For these things about the plot of this game, Jester just summarized his memory and said something he could say, and at the same time inspired Hideo Kojima. In fact, because Jester had never played "Spiritual Shadow 5: Phantom Pain", he could not fully know Hideo Kojima's thoughts on the content of this game.

When Hideo Kojima was about to leave, Jester suddenly thought of a very interesting setting that he was unforgettable in Hideo Kojima's game.

It can be said that he really became Hideo Kojima and a loyal fan of the "Spian Dragon" series because of this memory.

After experiencing such a setting, he felt that the series "Spian Dragon Spy" was sublimated, giving him a feeling that playing this game is different from playing other games, making him feel that the people in this game are alive.

This is not done through artistic means such as more realistic modeling.

Instead, use this feeling.

Life is composed of flesh and blood, not cold zeros or one numbers.

This is what Jester experienced in "The Hidden Dragon Spy Shadow 3: Snake Eater".

The story and operability of this game surpass the first two orthodox sequels, and is known as the highest masterpiece in the history of the "Metal Equipment" series, but in terms of perspective, it is criticized by most players. The actions, scenes and characters like movies have very high praise.

The worldview of this work describes the origin of the "Metal Equipment" series. Naked Snake (naked snake, the future big boss) becomes the absolute protagonist of this work.

This game has added a brand new "survival system" and the core system of the game. Players can see the physical condition of the character and eat the newly captured food (food will corrode with the passage of time of the PS2 system), but some players also criticize this function as "very troublesome". On the other hand, there are also praises. The game truly shows the skills of CQC (close-to-body fighting) as if it is really sneaking into the battle, and at the same time expressively reflects the theme of "survival in the wild".

There is a boss in it that is a sniper named the-end. In the game, his setting is a sniper, and his shooting skills are very accurate. His playing style is very simple, which is to ask you to find his hiding place, then turn on your thermal detector, that is, your optical glasses, and then kill him.

From this point of view, you think this is nothing, it's a very general setting.

But the problem is.
Chapter completed!