we aimed to create a game that wouldn’t feel dumbed-down to players who already experienced MGS1.” Ghost Babel revisits the 2D mold that built the series, but with an opportunity to adopt Metal Gear Solid’s many mechanical and design advancements.
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In a round table talk among the development team featured in the Konami Perfect Series guidebooks, Ghost Babel’s Art Director Ikuya Nakamura explained, “ The original Metal Gear released on the MSX back in 1987 was already a 2D game. The fact Kojima was involved with the game’s production at all could be taken as a sign that he’s the secret ingredient to Metal Gear’s success - he did essentially kick start development - but he took a seemingly hands-off approach from there. Naturally we couldn’t use polygons, but I thought we would re-evaluate the essence of Metal Gear in sprite form.”
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While the PS2 is pretty good in terms of visuals and sounds, I wanted to be bold and re-explore the question of “what is a game”.
“ We were about to start our research on the PlayStation 2 around that period as well. In an interview with Weekly Famitsu #572 translated by Arc Hound, Kojima clarified, “ The game was already being well-received overseas, so we received a request from Europe asking us why weren’t making a Game Boy version too.” The bulk of Kojima’s involvement in Ghost Babel seems to stem from the conceptual phase, Ghost Babel’s production began after Konami of Europe encouraged the idea of a Game Boy Metal Gear following the success of Metal Gear Solid. Released exclusively for the Game Boy Color and localized as Metal Gear Solid internationally, Ghost Babel was the first Metal Gear title Kojima took a backseat role on as producer.
Not just because of Hideo Kojima’s sudden departure from Konami, but because Metal Gear: Ghost Babel already proved the series could work beyond his direction back in 2000.
There’s nothing wrong with a franchise coming to a definitive close - if anything, more long-running series could stand to end, video game or otherwise - but Metal Gear always felt like it was taken before its time. “ Metal Gear shouldn’t exist without Kojima” isn’t exactly an uncommon sentiment, but it feels defeatist while putting too much stock in one man’s role amongst hundreds. – Hideo Kojima, Metal Gear Creator (September, 2001) I might do the initial planning for the next game but not much more than that.” “ But as I said at the end of Metal Gear Solid, I really think it is time for me to hand the director role over to someone else. If anything, the fact Kojima wanted to pass the torch onto his team as early as the end of Metal Gear Solid’s production speaks to the trust he had in game development’s inherent collaboration. Kojima may like to wear his name with pride as evidenced by “ A Hideo Kojima Game” appearing above Death Stranding’s (and once The Phantom Pain’s) title, but he’s never tried to claim total ownership over Metal Gear. Game design is a collaborative effort, more so than most forms of art. Metal Gear is Hideo Kojima’s brainchild at the end of the day, but he was always one of many developers who made each game possible. More so than other video game franchises, it’s easy to attribute all of Metal Gear’s successes and best qualities to a single auteur.
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