Hideo Kojima, the creative force behind the Metal Gear Solid series and, most recently, Death Stranding, is one the gaming industry’s great auteurs. With each entry in the MGS series, he pushed the envelope with regards to how a video game can tell a story. In this blog post I’m going to talk about some strategies writers can learn from Kojima and MGS.

There’s a lot to say about MGS and the many themes and ideas Kojima manages to touch on. Stuff like post-humanism, censorship, war, individualism, and gaming itself, which barely scratching the surface. What I want to discuss in this post is the series’ tone. Kojima manages to cast a wide net with his storytelling because he’s a master of layering concepts.

When Metal Gear Solid starts, it feels like you’re playing a Tom Clancy-style techno thriller, which was very popular at the time. (However, MGS is more stealth-focused than, say, Rainbow Six, etc.) There’s a high emphasis on verisimilitude. Playing as Solid Snake, the game’s protagonist, you must sneak around enemies and use various tools and weapons. As the story develops, you learn about a conspiracy to develop nuclear weapons, post-Cold War tensions. Yadda yadda yadda. So far, pretty conventional.

Then things start to get weird. You encounter a cyborg ninja who may be a long dead former comrade. And then you battle Psycho Mantis, a master of telekinesis and telepathy. The boss fight is pretty legendary in gaming. In a fourth wall-breaking maneuver, you have to change your controller’s ports so Mantis can’t anticipate your moves. I, and most others, had never seen such a post-modern design in a video game before.

It gets wackier from there. There’s a conspiracy about cloning, a sniper battle involving wolves, a Gatling gun-wielding shaman. It’s pretty awesome. I highly recommend playing it or at least watching a playthrough.

What sets MGS apart from its peers is how Kojima manages to bring in melodramatic anime influences couched in a realist setting. This is what I mean by layering. MGS probably would’ve been modestly successful by just being a military stealth game. What elevates it into becoming a classic is how Kojima brings in these other influences. What amazes me is how seamlessly Kojima transitions from one style to another. Then, by opening up the story to these different influences, Kojima is able to explore more ideas and themes.

I first learned about the concept of layering from Scott Adams, the creator of Dilbert (yes, I know). He talks about when he first created the cartoon he recognized that he was a good, but not great, artist; he knew a fair bit about business, having worked in an office; and he had a pretty good sense of humour. He wasn’t great at any one of these things in particular, but when he layered them he was able to achieve great success.

Layering can therefore be a powerful tool for writers, especially for those who don’t want to write purely in one genre or style. It’s also a great way to combine genres in new and unexpected ways.  In his Stanford commencement speech, Steve Jobs famously said “You can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future.” That’s why I find Kojima so inspiring. He shows that you can connect the dots, no matter how disparate they seem.

I liked the Game of Thrones finale. Fight me.

Much like the last episode of Lost, it couldn’t absolve all the sins of the final season(s), but the episode in itself was satisfying. In my last post, I was critical of the last two seasons of Game of Thrones, arguing that the writers were prioritizing spectacle over storytelling. And now, looking back over how it all went down, it’s really perplexing to me that they didn’t use all this time to better set the ground for Dany’s heel turn.

In a post that’s gone viral, Daniel Silvermint suggests that the series has moved away from the “pantser” ethos of GRRM towards the “plotter” approach of showrunners D&D. Silvermint does a great breakdown of what these terms mean, so I suggest reading it, but I’ll do a brief summary for you: “plotters” are writers who list out the major plot points of a story before they start fleshing it out; whereas “pantsers” discover the story as they write it, they fly by the seat of their pants. Tolkien is often referred to as the ultimate plotter because he designed the maps, languages, and lore of Middle Earth before writing LOTR. Conversely, GRRM is the ultimate pantser because he claims that he loses interest in a story once he learns the ending. Continue reading Plotters vs Pantsers: Prior Planning Prevents Proper Piss-offs →

Another episode of Game of Thrones and another cry of indignation from fans. This seems to have become the norm with this season, the cracks having started to form in the one previous. Coincidentally, these are the seasons where the showrunners have truly had to go on without source material; season six was still dealing with the consequences of five/Dance with Dragons. And while I think they’ve done an excellent job adapting Martin’s book–I’d argue the show has mostly been superior to the books–they are now exposed. A series that was once full of clever and unexpected upheavals of tropes has now become a well-crafted but conventional spectacle. Continue reading Dracarys! Spectacle vs Storytelling →