I talked about trial and error earlier.

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

For example, in titles such as Resident Evil Deadspace, where players have enjoyed this gameplay, even going so far as to collect death footage into a video, Deadly Frame has also taken the trouble to build several failed animations for each page of the comic.

Even if the player doesn't find the right solution on the first attempt, they won't be confronted with a single failure animation repeatedly, which makes the "trial and error" process much more interesting, and trying out all the death animations becomes a new way to play.

The most important point of this kind of gameplay is to allow players to constantly experience new things, so that curiosity will motivate them to continue, regardless of the malicious settings of various designers.

Returning to the game experience, the game's designers admit that the whole game wants to convey an experience similar to watching a movie.

Although the game mode is built on the form of a manga, after clicking the play button on the first comic, each manga will come to life as a short animation, and after connecting this grid and page after page of animation, a film noir will gradually take shape in front of the player's eyes. But the most interesting thing is not the innovation of this experience, but the new possibilities that have been revealed at the narrative level after the resurrection of comics into movies, and the addition of interactivity to movies as games.

That's actually what Hideo Kojima has been pursuing since he started designing games.

Convey all the content of the game in the way of a movie.

And hide and seek can only be said to be a very personal hobby of his, after all, the inspiration for "Metal Solid" came from the game of hide and seek when he was a child.

As a matter of fact.

There are a lot of special things about this game.

For example, on the official blog of the Love House, there have been two official designcamps. In the first design camp, three team members recreated the entire game in the form of drawing cards, in other words, the game was completed in the form of pen and paper without adding animations and music. Judging from the records of the second design camp, the problem solved, in addition to the logical plausibility in the first qiē level, seems to be the problem of this infinite loop ending.

From comics to animation/movies to games, it is a process of gradual enrichment of the audiovisual experience, from the initial static images to the dynamic camera cuts, and then to the control of the entire narrative process. Players are becoming more and more knowledgeable about all aspects of the story, including first-hand experience of the possibility of a different kind of story progression. In this process, it is often the player's own imagination that is suppressed.

The highlight of Lethal Frame is that it pushes the player's manipulation space forward to the comic level, re-elevating the player's imagination before the audiovisual experience is rich, so as not to compromise the process. The player is no longer the passive receptive character, but has become a "director"-like character. This feeling of being in control of the direction of the story, and watching it proceed according to its own control, is an experience that is difficult to achieve no matter how many "action" levels of control are involved.

This kind of feeling makes the player also have the feeling of being a director.

This is actually what Hideo Kojima has been trying to do for 30 years. But there's nothing to be done yet.

So, it's no wonder that Deadly Frame was hailed by Hideo Kojima as his 2014 Game of the Year.

It seems to make sense to think about it, putting aside Kojima's own directorial dreams, what "Deadly Frame" shows. It is a very different "peek-a-boo" game mode, and the "peek-a-boo" game mode, which Hideo Kojima spent nearly three decades perfecting, was quietly "surpassed" by "Deadly Framework" at the core concept level.

Don't forget, compared to the nearly thirty-year history of the "Metal Solid" series. Not only is this the first title from the "House of Love" indie game studio, but it also has only three members.

Maybe Phantom Pain is the ultimate "hide and seek" game in Hideo Kojima's own eyes, but that's what the game is. Whenever you think the possibilities of a field/genre have been exhausted, there are always new ideas coming to the game, and there's no doubt that Deadly Frame's breakthrough in innovation has long surpassed the work of these three at Flame Mint Studios.

"Kojima, I have some very special thoughts......"

Jester had a detailed and in-depth conversation with Hideo Kojima, and Jester's main point came from the game Deadly Frame.

And Hideo Kojima also listened to it brilliantly.

Finally, Jester saw that the time was almost up, so he asked Hideo Kojima to wait for him in the conference room, and he would go over and personally preside over the first meeting of the 'Time' project after a while, after all, to make some preliminary work arrangements.

However, during the chat just now, Hideo Kojima also shared a lot of his thoughts with Jester about the game he was going to make "Metal Solid".

Especially about the world structure, in fact, Hideo Kojima's idea of the world structure of "Metal Gear Solid" is not yet fully mature, and in Jester's opinion, it is even a little rough.

It can be said that Jester knows much more than the world structure that Hideo Kojima wants to do.

After all, as a former fan of the island, Jester is still extremely familiar with the plot and world structure of "Metal Solid".

In fact, by Jester's time, it had developed to the fifth part, which was the last work of Hideo Kojima's "Hidden Dragon Spy", and its plot was extremely complex, to be honest, if you hadn't been in contact with the previous plot, if you went directly to play the fifth "Phantom Pain", it might take a lot of time and energy to understand the plot.

Even so, it's still confusing.

In fact, the plot of "Hidden Dragon Gun" is complicated and complicated, but it is relatively simple to say that it is simple.

Now Hideo Kojima has completed the part where this story originated.

In 1918, Russia, the state, and the United States came together to establish an organization called the Philosophers), a decadent organization that controlled a qiē.

Then, in 1961, President Kennedy rebelled

However, the response also came very quickly.

The assassination of President Kennedy in 1963 was also at this time, and the plot of the "Hidden Dragon Solid" series officially began, but what Hideo Kojima wanted to make at the beginning was not the plot that began in 1963, but a plot many years later.

Jester had no problem with that.

Because in the world that Jester knows, Hideo Kojima also uses this narrative technique to express the plot of his "Metal Gear Solid".

For example, this part of the plot in 1963 is the third game in this series in the game of "Metal Solid".

"Metal Solid 3: Snake Eater" to express xiàn.

Jester just synthesized his memories and said something he could say, and at the same time inspire Hideo Kojima, in fact, because Jester hadn't played Metal Gear Solid 5: Phantom Pain, so he couldn't have fully known all of Hideo Kojima's thoughts about the game's content.

As Hideo Kojima was leaving, Jester suddenly thought of an interesting setting that he memorably set up in Hideo Kojima's game.

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

At that time, after he experienced such a setting, he felt that the series "Metal Solid" had been sublimated, which gave him a feeling that playing this game was different from playing other games, and made him feel that the people in this game were alive.

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

Rather, with such a feeling.

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

This is what Jester experienced in Metal Gear Solid 3: Snake Eater.

The story and gameplay of this game surpass the first two orthodox sequels, and can be called the highest masterpiece in the history of the "Metal Gear Solid" series, but when it comes to perspective, it is criticized by most players. The movie-like action with scenes and characters is highly rated.

The worldview of this work describes the origin of the Metal Gear Solid series. Nakedsnake (the future bigboss) becomes the absolute protagonist of this game.

This game adds a new "survival system", and the core system of the game. Players can see the character's physical condition and eat the food they just caught (the food will rot over time in the PS2 system), but some players have criticized the feature as "very cumbersome", and there are also voices of praise on the other hand. The game's real-world expression of CQC (hand-to-hand combat) skills is like a real infiltration of combat, and at the same time, the theme of "survival in the wild" is vividly reflected.

There is a level of boss in it is a sniper, the name is the-end, in the game, his setting is a sniper, and the marksmanship is very accurate, his way of playing is very simple, is to let you find him his hiding place, and then, turn on your thermal detector, that is, your optical glasses, and then kill him.

From this, you don't think it's a much-like setting.

But here's the thing.

This boss is a sniper, and as soon as you show up, you'll be killed by the-end without mercy. (To be continued......) R1292