The evolution of Hideo Kojima as director of cinematics

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    The evolution of Hideo Kojima as director of cinematics

    From Metal Gear Solid to The Phantom Pain, Hideo Kojima has changed the way they were narrated cinematic, which is an evolution for some and involution for others.

    the saga Metal Gear Solid is closely coupled with the kinematic should not be news to many. However, Hideo Kojima has varying his style of storytelling and resources of cinema used according to each title. The gameplay, the characters, the story and cinematic, everything has changed since that appeared sequel for PlayStation in 1998

    Before The Last Of Us or any work Quantic , who was Metal Gear Solid moved the language of cinema to the world of video games . Of course, the first from Sony was a system that had many technical limitations, why Hideo had to use codec to show long conversaciones.Sin yet happened to be a smart use of something no sense, especially in the fourth installment.

     Metal Gear Solid (2)

    Despite all the restrictions, Metal Gear debuted on PlayStation displaying a visual narrative language that, despite being somewhat primitive, inaugurated a new form of storytelling in video games. Similarly happened first Russian film directors , Metal Gear Solid also began experimenting with what meanings had the a kinematic planes.

    The marriage between cinema and video games was inaugurated
    As an example we can put the scene where the head DARPA dies , which begins with a conversation classic shot / reverse is sometimes interspersed with slight camera movements and wider frames. However, at the time of death planes they begin to intersperse faster and even ends with a point of view overhead accompanied by a Zoom out . Thus, marriage between cinema and video games was inaugurated.

    PlayStation 2 would provide new possibilities to develop what was sown in the previous generation. In fact, the intro of Metal Gear Solid 2 is etched in the minds of many fans of the series, both for the long-awaited sequel as by the excitement of seeing Solid Snake running low rain by the George Washington Bridge. Now the camera not only makes movements but also vibrated and even moved thus creating the feeling that someone was holding her.

    And now the succession of different levels makes more sense?. In the first installment even he spent a median plane one American, something almost forbidden in the cinema because of the great similarity between them and the strange sensation that creates on the screen.

    On the other hand, the slow motion begin to be a resource used to increase tension at times. But it was not until Metal Gear Solid 3 when more frequent use of this resource form. Perhaps, it was the inclusion of scenes combat (CQC) which caused Kojima opt for slow motion, but also used in other occasions. Also, this time the player had the opportunity to press L1 to use the first person view , a way to break the fourth wall and cause viewers could be actors of the action.

    Metal-GEAR- Gekko

    Metal Gear Solid 4 was when Hideo Kojima started to give a purely cinematic style oriental other more typical of the big Hollywood productions . The camera is constantly moving, even if it is a fixed plane, where more than one occasion a slight zoom that helps keep the drama of the scene is used. That break the fourth wall seen in Metal Gear Solid 3 is also maintained, but with one addition: the player can evoke memories by pressing X. Even experienced with split screen , which we see almost end of the game when Snake must traverse the corridor microwave.

    A cinematic 72 minutes, the longest ever in a videogame including
    PlayStation 3 was a system that allowed the most elaborate Hideo Kojima with his work and managed to make a cinematic 72 minutes , including the longest ever in a video game. But all that would change in the next release.

    The Phantom Pain is a radical turn in the saga, not by the subject or by the gameplay, but modify its greatest pillar: how to tell the story. The result is a title that has satisfied some and has disappointed many others. In this case, Hideo Kojima leaves the cinematic long , and those that exist are shown with a sequence shot . This camera seems to be completely independent character and displayed as a spectator. If Snake opens a door, perhaps even know what’s inside before him.

     Metal Gear Solid V

    On the other hand, the story happens to be a film to take a more proprietary format of television series . Moreover, cliffhangers and resources as “continue”, which makes sense when we have to wait for the premiere of an episode to that next week, but not so when we can go immediately to the scene.

    are used In addition, the codec, which is replaced by radio cassette , far from being a solution, have become a problem is abandoned. At least in conversation codec character spoke and felt that something could affect your game, you were part of the dialogue. But here are simply recordings that serve as documentation.

    Therefore, Kojima has moved from a more oriental style, typical of long dialogues and shot / reverse shot, a way to direct more western classic. In the film world, it would be like comparing large planes “Seven Samurai” with the dynamism offered by “Birdman” . What is best ?, neither the end what matters is finding the best way to convey a story and narrative content that appears after a certain plane. Precisely for that reason some continue to feel more with that game 1998 with The Phantom Pain.


    Hypertext

    The evolution of Hideo Kojima as director of cinematics
    Source: www.hipertextual.com  
    November 5, 2015

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