Hideo Kojima opens up about the state of the gaming industry—sharing concerns about creative stagnation, bloated blockbusters, and why he finds more inspiration in indie games.
In a recent interview with SENS, iconic game developer Hideo Kojima exposed his unedited opinions on the present condition of the gaming business, and let’s just say, he’s not pleased. Kojima said the predictability let him down and the heft contemporary game development has turned out to be.
He noted that big studios are closing very quickly, whereas the remaining ones are very concentrated on costly, blockbuster releases, depending on repeated formulas. Reflecting on recent industry displays like Summer Game Fest, Kojima observed how most games shown contained fighting aliens or medieval monsters, with comparable visuals and gameplay systems.
“Even the visuals and the systems are pretty much the same,” Kojima said. “A lot of people enjoy this, and I understand, but it’s important to introduce something truly new to push the industry forward.”
Kojima claims he doesn’t play many games nowadays in part because of this inventive sameness. Instead, in the indie game scene—where developers take risks and play with new ideas—he discovers the most creative and significant experiences.
Konami’s forthcoming Metal Gear Solid Delta: Snake Eater refurbishment offers a classic example of the industry’s lack of creativity. Though a resurrection of Kojima’s legendary work, he confirmed he has no intentions to play it. Laughingly, he said, “No, I won’t,” indicating a clear split from his former franchise. Kojima wasn’t at all engaged in the remake, which probably resurfaces painful memories from his breakup with Konami.
Instead, his attention is on his next title, OD, a game he says to be completely different—something people will either “love or hate.” This attitude reflects his fearless creative choices in Death Stranding, when vision took center stage above popularity. Whether or not OD turns into a commercial success, he is determined to provide something different.
And he’s right to be worried. Major publishers appear risk-averse nowadays. Rising development expenditures mean that even a game selling six to seven million copies may not break even. Often, after only one underperforming film, this causes studios to close with astonishing quickness.
Kojima’s anger mirrors a rising feeling among developers and gamers alike: the business seems to be trapped in a cycle of safe bets, sequels, and repurposed ideas. Although there are still notable titles, the enchantment of finding something new and unexpected has become uncommon.
This explains why admirers still look to Kojima: shaking things up. His games at least challenge expectations, even if they don’t appeal to everyone. His subsequent efforts, OD and the enigmatic Physint, show his continuing will to investigate the boundaries of what gaming could be.
