Looking at Hideo Kojima, who is still shy but has a confident look in his eyes.

Jester couldn't help but feel a sigh.

Because he knew that in his world, Hideo Kojima's fate was forever gone, Korami, who had worked for more than 30 years, and forever left him to create it. Moreover, it can be said that it is a work "The Legend of the Dragon" that is more important than his children.

Of course, in fact, the story about "The Legend of the Dragon" may have wanted to end it.

It can only be said that at the moment when "The Dragon Spy 5" was released, for the entire electronic game industry, as the most iconic character since Miyamoto Shigeru Miyamoto, Hideo Kojima, will forever leave everything he is familiar with, or in the future, this greatest game designer of the same era can also produce new and outstanding works, which proves in "p.t".

Although "The Legend of the Dragon" is an absolute legend, I am not only good at "The Legend of the Dragon".

"Did you encounter any difficult things in development?"

Jester asked again.

He had learned before that it seemed that for Hideo Kojima, the most important form of his game was not finalized. His team has been discussing it during this period, but Jester didn't know what was going on.

In fact, Jester didn't want to participate in Hideo Kojima's thinking.

Because, as someone who knows Hideo Kojima's future, Jester knows that Hideo Kojima is not a person who will accept other people's opinions.

Such a personality is basically a common problem among Japanese designers, but Hideo Kojima's dictatorial personality may be more obvious, which is also determined by the style of game design. Japanese people attach great importance to talented producers, while Europe and the United States pay more attention to brainstorms that can brainstorm that can brainstorm.

Jester prefers the one behind.

However, he cannot deny that a dictatorial producer does help improve efficiency.

However, Jester may be an exception. Hideo Kojima really wants to know what Jester thinks about his new game and the development of the new work of "Spiritual Shadow".

Because, the idea of ​​the game "Spin Dragon Spy Shadow" and the idea of ​​the hide-and-seek game belonging to Hideo Kojima, it was because of Jester that he could think of it. And it was truly perfected.

Moreover, the so-called movie-based game idea was described by Jester to him, and then his imagination could fly endlessly like a pair of wings, and he came up with many gameplay that he could never have thought of anyway.

"Yes, teacher, I am indeed a little confused."

Hideo Kojima does not call him boss like others. Instead, he directly calls him a teacher. In Hideo Kojima's eyes, Jester is his guide in the game and his mentor.

When Jester heard Hideo Kojima say this, he pondered for a moment.

In fact, he really doesn't want to participate in Hideo Kojima's game because Hideo Kojima's game style is so unique. No matter who else, he can't imitate it. Jester naturally doesn't want to participate. Moreover, Kojima can think of all the gameplay of peek-seek games himself, and he can make this series to the extreme.

Jester really has nothing to tell him about this.

However, when Jester thought about it, he suddenly thought of something, which was about Hideo Kojima, and his peek-seek game.

In later generations, as we all know, Hideo Kojima's "Shining Dragon Spy Shadow" is the infiltrating category, which is commonly known as the originator of the hide-and-seek game. He can be said to have created this series and achieved the ultimate goal of this series. All the rules of this type of game were formulated by Hideo Kojima.

Everyone thinks that this type of game may be like this, and there will be no breakthroughs. Because of this type, all Hideo Kojima thought of it.

However, in 2014, Kojima recommended a game on his Weibo. Moreover, in many interviews, Hideo Kojima mentioned more than once that his 2014 best game was this game, an independent mini-game called "The Deadly Framework". The studio that developed this game was called **'s Hut. There were only three members. They were all loyal fans of peek-seek games and admirers of Hideo Kojima.

There is a saying that goes very well, and it is called rules that are used to break.

This is how the game "Deadly Framework" is done, and there is no doubt that this game has also been praised and loved by Hideo Kojima, the founder of this type.

"The Fatal Framework" is the first original work of the Three Musketeers of Love's House. How to classify it is really a troublesome, because this game is a game that "you have played games for decades and have never seen them". Of course, if you have to classify them, the all-inclusive type of puzzle games seems to be the most appropriate.

In this game, the player faces a story composed of fifty comics, each comic consists of several panels. After the level begins, the protagonist controlled by the player will act in each grid in order from left to right, from top to bottom. Of course, in the original order of the grid, he/she will definitely not reach the grid in the lower right corner. What the player needs to do is to change the order of several grids in the middle in various ways so that the protagonist can successfully reach the end of this page.

To give a simple example, one page of the comic has four grids. In the first grid, the protagonist jumps out of the window and hangs the suitcase in his hand on the wire and slides to another building; the second grid is the pursuer aiming at the wire; the third grid is a pigeon on the wire; the fourth grid is another building overlooking it. If in the original order, the player will be hit by the pursuer in the second grid, causing the game to end, but if the player uses his hands to switch the positions of the second and third grids, the protagonist will startle the white dove in the second grid and interfere with the pursuit's sight in the next grid, allowing himself to escape safely.

It seems simple to say, but in the design of "The Fatal Framework", there is a very interesting concept, that is, "context/environment". In most games, the player controls the protagonist's "action", and the so-called "context/environment" is equivalent to the world view or story setting, and is generally maintained. Players complete various tasks through various actions in this fixed environment, which is the general sense of "interaction".

But in "The Fatal Frame", every action is determined in advance. What the player wants to change is the context/environment, and the changes in this environment lead to the change of the meaning of each action and form a new story. From this sense, the creative core of "The Fatal Frame" has explored the underlying level of game interaction, and has fundamentally subverted the default interaction between you and me.

Seeing how designers use different or even completely opposite meanings for the same action with different "contexts" is the most amazing experience during the entire game.

There are actually many difficulties to complete this design. One is how to display the static images in front of the player, and on the other hand, the player cannot guess which one of the protagonist's adventure will encounter crisis when he first sees this page of comics.

On the other hand, after knowing the crisis, players can build another story direction based on this exact same comic, or say it more accurately, and "imagine" another ending of the story.

This requires the designer to present potential dangers and solutions to avoid dangers in this page of comics at the same time, and to move in a limited number of grids freely. If the prompts of the former are too obvious, the player will feel that the story is boring; if the clues of the latter are too implicit, the player may not be able to think of a solution, and finally pass the level by repeatedly trying various possibilities.

Another problem is the problem that all adventure games must face, how to control the difficulty.

As mentioned above, the fun of the game mode of "Fatal Framework" lies in the use of existing clues to build a new path, and its core concept is "trial & error method".

Players don’t have to worry about mistakes that will lead to the end of the game. They just need to try again. However, once the difficulty setting is unreasonable, players will definitely try to pass the exhaustive method. This is another issue that must be avoided for "Fatal Framework", which is based on the order of comic grids. Fortunately, the difficulty of only one or two levels in the entire fifty levels made me reach the edge of using the exhaustive method, but the number of grids in these levels is large, and even if the exhaustive method is used, it will take a lot of time. In the end, by carefully observing the prompts in the static screen, I inferred the correct order of passing the level.

The use of "test and error method" requires strict restrictions. Once abused, it will cause the player to give up after being too strongly frustrated. For the "Soul" series, the moment of defeating the enemy leader is indeed a great achievement, but for "Fatal Framework", the reward for passing the level is a new level. How to ensure that players can persist in the process of countless failures?

Of course, it is a brand new possibility that players can see during the failure process.

This is a very excellent game, and Hideo Kojima also admitted that this game greatly broadened his thinking and could bring many ideas he had never thought about before, like lightning.
Chapter completed!