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    PAL Bonus DVD Making of Transcript by Big^Mike

    Version: 1.0 | Updated: 03/21/02 | Printable Version | Search This Guide

    Metal Gear Solid 2: Sons of Liberty
    PAL Bonus DVD Making of Transcript 1.0
    By Big^Mike (johnwalsh100@hotmail.com)
    Copyright 2002 Big^Mike
    
    
    Contents
    --------
    1. Intro
    2. DVD Making of Transcript
    3. History
    4. Special Thanks
    
    Only to be found at GameFAQs.com
    
    1. Intro
    --------
    
    This is a special gift to our friends across the pond, as it were.
    
    This is the script to the making of documentary packaged with Metal Gear Solid
    2.
    If you want to e-mail me with criticism about this file, then it's
    johnwalsh100@hotmail.com. When I say criticism, I don't mean, "Why would you
    write
    this. The DVD was a gift for us not to be shared with non-PAL players!!!" I
    mean,
    "Nice script. Slight mistake but nothing too drastic." Well, enough of my
    rambling.
    Read on.
    
    2. DVD Making of Transcript
    ---------------------------
    
                                    WARNING
                We strongly advise that you view this documentary after
                completing the game as many secrets are revealed which
              could spoil your enjoyment. Moreover it will be easier for you
                  to understand what the creators originally intended
    
    SCENE IN-GAME.
    
    THIS IS A TYPICAL CODEC SCREEN TAKEN FROM METAL GEAR SOLID 2. BUT ON THE LEFT
    SIDE IS
    NOTHING BUT STATIC. THE VOICES ARE IN JAPANESE.
    
    SNAKE: This is Snake. Do you read me, Otacon?
    UNKNOWN: Yes, loud and clear...
    
    THE LEFT SCREEN TURNS FROM STATIC TO MGS CREATOR, HIDEO KOJIMA.
    
    HIDEO: but this is not Otacon, this is Hideo!
    SNAKE: ?!
    HIDEO: Snake, we're in big trouble. I think that some people have been spying
    on us.
           It seems that they want to prove that Metal Gear Solid is just
    fiction...
    SNAKE: We need to get a fix on who they are.
    HIDEO: You're right but they have just sent me a DVD.
           Maybe the answers are inside...
           even if I already have my own idea...
    
    THE TRANSMISSION ENDS. THE TITLE STARTS WITH THE FUN TV LOGO, FOLLOWED BY GREEN
    TINTED
    VIEWS OF METAL GEAR RAY. WE SEE THE GEORGE WASHINGTON BRIDGE, TAKEN FROM THE
    OPENING
    SCENES FROM THE MGS2 INTRO.
    
    HIDEO: This opening scene with Snake on the George Washington Bridge was
    written for
           MGS1 fans.
    
    VIEW IN-GAME.
    
    THE VIEW MOVES DOWN TO THE TRAFFIC ZOOMING OVER THE BRIDGE.
    
    HIDEO: In this sequence we really wanted to play with their emotions.
           At the beginning, you're only seeing this man with his raincoat. He
    looks like
           Snake but you can't be sure...
    
    THE SCENE CONTINUES TO VIEW A MAN WITH A CIGARETTE IN A RAINCOAT WALKING ALONG
    THE SIDE.
    
    HIDEO: And you see the cigarette and so you think: "I'm sure that he is Snake!"
           You're anticipating who is under the raincoat, you can't wait any
    more...
           But when he drops his coat, once again you realise that you've been
    betrayed
           because he immediately becomes invisible
    
    THE MAN STARTS TO RUN AND THROWS HIS RAINCOAT OFF, AND TURNS INVISIBLE.
    
    HIDEO: You still can't be sure that he is Snake.
    
    THE MAN CONTINUES RUNNING, THEN JUMPS OVER THE SIDE OF THE BRIDGE.
    
    HIDEO: You see him jump over the bridge and land on the boat and then you
    realise that
           it really is Snake.
    
    YOU SEE A ROPE TIED AROUND THE MAN AS HE DRIFTS TOWARDS A TANKER ON THE HUDSON
    RIVER.
    AS HE LANDS ON THE TANKER, LIGHTNING FLIES FROM HIS BACK.
    
    HIDEO: The idea of the scene is to constantly fool the player to increase the
    confusion...
           and finally Snake is revealed fulfilling your initial expectation when
    the main
           title appears.
    
                  METAL GEAR SOLID 2 SONS OF LIBERTY MAKING OF THE HOLLYWOOD GAME.
    
    SCENE EXT.
    KONAMI BUILDING.
    
    NARRATOR: Who could have imagined that the most feverishly awaited video game
    in the
              world was born here. For three long years, behind closed doors
    equipped with
              protection systems, Hideo Kojima and his team worked in absolute
    secrecy on
              their project, shaping it with creative fire and anxiety.
    
    SCENE INT.
    KECJ
    
    VIEWS INSIDE THE OFFICE, INCLUDING ORIGINALLY DRAWN ARTWORK OF ONE OF THE
    CHARACTERS, SOME OF
    THE STAFF, AND HIDEO KOJIMA HIMSELF.
    
    NARRATOR: The original team of 15 grew to 70 to wrap up the most ambitious
    video game
              project of the early 21st century.
    
    WE SEE HIDEO SUPERVISE ONE OF THE STAFF BEFORE GOING INTO HIS OFFICE.
    
    NARRATOR: Baffling twists, (VIEW RAIDEN) spectacular cinematic direction, (VIEW
    TERRORISTS
              BOARDING TANKER) charismatic characters, (VIEW VAMP) suspense and
    emotion.
              (SNAKE ENTERING A ROOM, GUN DRAWN) Never has a video game been so
    close to
              the world of film. (VIEW FORTUNE HOLDING VAMP)
    
                                        PART ONE
                               EVERY GAME HAS A BEGINING
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO KOJIMA
    PRODUCER - DIRECTOR
    
    HIDEO: When I was little, I used to play "hide and seek" and "kick the can".
    Maybe kids
           today don't play games like that as much as we did. At any rate, when
    you play
           games like that, you're assigned roles that can change from one minute
    to the next.
           First, you're on the team that's hunting and the next thing you know,
    you're being
           hunted. One-hundred-eighty degree reversals like that introduce the
    elements of fear
           that makes these games so much fun. Actually, I still play hide and seek
    with my son
           that's where I got the idea for Metal Gear Solid.
    
    SCENE IN-GAME.
    VIEW SCENES TAKEN FROM METAL GEAR SOLID.
    
    NARRATOR: And that's where the revolutionary concept of infiltration
    originated. Kojima
              wanted to follow up on the success of his first opus, MGS1, but not
    by simply
              coming out with new and improved version, he decided to perpetrate a
    sort of hoax.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    VIEW HIDEO WITH A LEGO MODEL OF WHAT LOOKS LIKE THE PLANT.
    
    HIDEO: In the beginning, I had two scenarios in mind. One would take place in a
    small, mobile
            space.
    
    SCENE IN-GAME.
    VIEW AN EXTERIOR SHOT OF THE TANKER.
    
    HIDEO: First, I pictured this space as resembling a big aircraft carrier...
    later, it became
           a tanker. At the same time, I was interested in doing a second
    scenario...
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: involving another confined space, but immobile this time. That's why,
    having used Alaska
           in the previous episode, I chose an oil platform.
    
    SCENE IN-GAME.
    VIEW AN EXTERIOR SHOT OF THE BIG SHELL.
    
    HIDEO: So we had two scenarios that we had to chose from. When we realised that
    the Tanker episode
           would be too short...
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: ... we opted to use both of them: First the Tanker, then the Oil
    platform.
    
    SCENE IN-GAME.
    EXTERNAL VIEW OF THE TANKER.
    
    NARRATOR: Not only that, but Kojima and his team managed to slip in a few
    cinematic graphic
              references.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: MGS1 makes a reference to 2001: A Space Odyssey with Dave (The real name
    of Snake and the
           name of the film hero) & Hal (The name of both Otacon and the computer)
    whereas MGS2 tips
           a wink to Titanic. The game starts out on an enormous tanker that sinks
    before moving on
           to the next sequence with the two characters in love, Jack and Rose.
    
    SCENE IN-GAME.
    TANKER.
    
    THE SCENE FROM MGS2 WHERE THE TANKER SINKS.
    
    SCENE IN-GAME.
    CODEC BETWEEN ROSE AND JACK (RAIDEN).
    
    ROSE: Jack, do you remember what day tomorrow is?
    JACK: What is it, Rose? Talk to me.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO TALKS TO HIMSELF WHILE EXAMIMING THE LEGO MODEL ON HIS DESK. HE THEN GETS
    A TOY AND MAKES
    IT DIVE OFF THE TANKER (SIMILAR TO THE SCENE FROM MGS 2).
    
    THE VIEW CHANGES TO A CLOSER LOOK AT THE MODEL PLANT AND TANKER.
    
    NARRATOR: Here's another anecdote about the early development days. In the
    first episode, Lego
              were used to construct the levels. For the sequel, however, they were
    only used to
              define the volumes of the two action locations. During this phase,
    Mr. Kojima also
              tackled the writing of the script...
    
    VIEW THE MGS2 SCRIPT.
    
    NARRATOR: nothing was missing from this 800 page document. This was back in
    November, 1998. Now
              his team could really role up it's sleeves and get to work.
    
    VIEW VARIOUS MEMBERS OF THE TEAM WORKING.
    
    NARRATOR: To motivate everybody, Kojima and the assistant director came up with
    what might be
              called, an American-styled idea.
    
    SCENE INT.
    YOSHIKAZU MATSUHANA'S OFFICE.
    
    YOSHIKAZU MATSUHANA
    ASSISTANT DIRECTOR
    
    YOSHIKAZU: Like I said, Mr. Kojima didn't just want to use his own ideas, he
    wanted everybody to
               contribute. He insisted on encouraging team participation. Hence out
    "idea notebooks".
    
    VIEW A NOTE BOOK.
    
    YOSHIKAZU: Team members were given a notebook... and were supposed to write
    down at least one idea
               a day. So we got them brainstorming. Every evening, Mr Kojima and I
    read these
               notebooks to look at what the team produced. If Mr Kojima thought it
    was a good idea,
               we took it and ran a programming test. If it worked from a technical
    standpoint and
               added to the pleasure of the gameplay, then we kept it.
    
    VIEW ONE OF THE SCETCHES IN THE NOTEBOOK (SPRAYING BOMBS WITH COOLANT).
    
    NARRATOR: For instance, the idea of bombs that you defuse by freezing them with
    a special spray,
              came out of these magic notebooks.
    
    VIEW ANOTHER SKETCH (PEERING ROUND WALLS).
    
    NARRATOR: So did the idea of being able to look around the corner of a wall to
    see better. All of
              these ideas were submitted by team members and approved by Mr Kojima.
    
    SCENE INT.
    KECJ OFFICES.
    
    NARRATOR: So, the concept has been finalized, and the team thoroughly briefed,
    now it's time to           explore the games greatest strengths, it's realism.
    
    VIEW A SHELFING UNIT FULL OF GUNS (FAKE).
    
                                        PART TWO
                                AN OBSESSION FOR REALISM
    
    SCENE EXT.
    ON LOCATION.
    
    VARIOUS STILLS OF THE TEAM TAKING PHOTOS AND FILMING.
    
    NARRATOR: Before going into production, the KCEJ team went on location to do
    pre-production shots.
              They First went to New York, to get shots that would get a clearer
    idea of the setting.
    
    VIEW STILLS OF THE TEAM IN NEW YORK.
    
    NARRATOR: The team also toured ships whose design and colours would be
    scrupously reproduced.
    
    VIEW STILLS OF THE INTERIOR OF A SHIP.
    
    SCENE IN-GAME.
    SHOT OF SNAKE WALKING THROUGH AN UNTEXTURED CORRIDOR (FROM AN EARLY MGS2
    VIDEO).
    
    EARLY VIDEO OF MGS 2.
    
    NARRATOR: Although the accoutre reproduction of photographs is important, Mr
    Kojima wanted
              Metal Gear Solid 2 to convey the sensations of dampness, cold and
    wind.
    
    NARRATOR: Early in the development stage, this grand ambition was not really
    attained, as you
              can see on these first images.
    
    VIEW SNAKE WALKING ALONG THE TANKER. THERE IS VERY LITTLE RAIN (COMPARED TO THE
    FINISHED PRODUCT)
    AND NO REAL WIND EFFECTS.
    
    NARRATOR: Then gradually, the team refined it's work. For instance, let's take
    the clever idea of raindrops              splashing on Snakes shoulders. And,
    yes, the drops actually belong to the original character
              model, which avoids lots of useless Calculations.
    
    PROFILE OF SNAKE ON THE EXTERIOR OF THE TANKER.
    
    RAIDEN JUMPING INTO SOME WATER.
    
    NARRATOR: Continue on the subject of effects, lets stop for a few seconds to
    contemplate the                             realistic treatment of water. The
    impression of immersion is perfect, notably owing
              to the presence of an incredible quantity of bubbles.
    
    VIEW RAIDEN SWIMMING.
    
    TEST SHOT OF WATER FLOODING WITHOUT ANY WALLS.
    
    NARRATOR: These test runs for the flooding don't appear in the final game, but
    the initial
              intention was to use them
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE
    
    HIDEO: In the beginning, we wanted to include the scene from the trailers that
    we showed at E3
           where Snake is pursued by a flood.
    
    SCENE IN-GAME.
    
    VIEW SNAKE LOOKING ROUND A CORNER TO SEE A GUARD RUNNING TOWARDS HIM, AND ROUND
    THE CORNER AND A
    MASSIVE WAVE FOLLOWS HIM. SNAKE TAKES NOTE AND RUNS FROM THE APPROCING WAVE.
    
    HIDEO: This was technically feasible, but not very interesting in terms of
    gameplay. You just had
           to run, and you died when the water caught up with you. It wasn't really
    fun. We really
           held on to this idea until the very last minute, but finally we had to
    drop it.
    
    VIEW AN EARLY MGS2 VIDEO WHERE GUARDS ARE SHOOTING AT SNAKE IN THE PANTRY. FOOD
    IS FLYING
    EVERYWHERE.
    
    NARRATOR: All of these settings and effects are very fine, but they wouldn't be
    worth much
              if you couldn't play with them. Mr Kojima wanted to plunge players
    into a life-life and
              realistic world. He wanted them to be able to exert a concrete
    influence on their
              surroundings.
    
    VIEW AN OPEN BOX WITH WIREFRAME BALLS COMING OUT WITH NUMBERS.
    
    NARRATOR: So a lot of time was spent modelling individual components.
    
    VIEW THE TANKER GALLEY. SNAKE IS SHOOTING AT HANGING, TEXTURED, WIREFRAME
    FRYING PANS. THEN AT
    TEXTURED, WIREFRAME BOTTLES FRM THE CREW LOUNGE. AND TO THE BATTLE WITH
    FORTUNE. EVERYTHING IS
    TEXTURED AND WIREFRAMED.
    
    VIEW VARIOUS PEOPLE AIMING THEIR GUNS AT PEOPLE OFF-SCREEN.
    
    SCENE INT.
    SHELVING OF GUNS IN THE KECJ OFFICE.
    
    NARRATOR: A great deal of attention was paid to the realism of weapons
    reproduction, both in the
              offices and on the motion capture set.
    
    SCENE IN-GAME.
    SNAKE CLIMBING INTO A LOCKER
    
    NARRATOR: And while we're on the subject of motion capture, the most
    comprehensive experimentation
              focused on the behaviour of soldiers. The military consultant who
    worked on MGS 1,
              Mr Mori, was back for MGS 2, and was able to avoid certain errors.
    
    SCENE INT.
    YOSHIKAZU MATSUHANA'S OFFICE.
    
    YOSHIKAZU: As we did for MGS 1, our military advisor Mr Mori came to the motion
    capture set and
               game us very specific recommendations.
    
    
    SCENE INT.
    MOTION CAPTURE STUDIO.
    
    MR MURI IS DEMONSTRATING HOW TO WALK UP STAIRS WHILE SURPRISING AN UNSUSPECTING
    GUARD.
    
    YOSHIKAZU: Such as, he explained how the actors should carry their guns. For
    example, in most
               Hollywood Movies of the James Bond variety, the weapons are pointed
    upwards. But real
               soldiers never do that, it's too dangerous. Mr Mori Insisted on
    having the actors
               point their weapons down.
    
    SCENE IN-GAME.
    THREE TERRORISTS INSIDE THE TANKER CREEPING WITH THEIR GUNS HELD SLIGHTLY DOWN.
    
    SCENE INT.
    MOTION CAPTURE STUDIO.
    
    THREE ACTORS ON TOP OF SOME STAIRS. THE FIRST TWO GO DOWN, BUT THE SECOND GIVES
    A SMALL TAP ON THE
    BACK OF THE LAST ACTOR.
    
    NARRATOR: Furthermore, Mr Mori gave explanations for these small gestures of
    silent communication,
              such as the little tap on the back
    
    SCENE IN-GAME.
    THE SAME SILENT GESTURE IN GAME.
    
    SCENE INT.
    STILLS OF THE TEAM WALKING WITH GUNS AS THE TERRORISTS WOULD.
    
    NARRATOR: To help programmers better understand soldiers behaviour, Mr Mori had
    them act out
              situations in the corridors of Konami. As we can see, no stone was
    left unturned to
              achieve ultra realistic behaviour. But that still wasn't enough.
    
    SCENE INT.
    KAZUNOBU UEHARA'S OFFICE.
    
    KAZUNOBU UEHARA
    DIRECTOR OF PROGRAM
    
    KAZUNOBU: There were many things that Mr Kojima wanted to add in terms of the
    intelligence of the
              enemies. For instance, during a fight, he wanted the soldiers to say
    to Snake or Raiden:
              "Is that all you can do?". In fact, he wanted to get more out of the
    enemies in terms of
              directing and acting, but this was a tough proposition, because a
    large proportion of
              their artificial intelligence was already being used for combat
    management.
    
    SCENE IN-GAME.
    VIEW A TERRORIST.
    
    NARRATOR: Now that the setting is finalized and the enemies were ready to
    attack, its time for the
              stars to make their entrance.
    
    VIEW RAIDEN DIVING FOR A GUN.
    
                                        PART 3
                                    A CAST OF STARS
    
    SCENE INT.
    YOJI SHINKAWA'S OFFICE.
    
    YOJI SHINKAWA
    CHARACTER MECHANICAL DESIGN
    
    Yoji: When Mr Kojima came to see me to talk about Raiden, he told me he wanted
    an exceptionally
          beautiful young man. At first, I thought he was kidding but he persisted
    in saying the same
          thing so I realised he was serious.
    
    SCENE IN-GAME.
    RAIDEN AT THE START OF HIS ADVENTURE
    
    NARRATOR: We too thought it was a joke when after we'd played for 2 or 3 hours,
    we suddenly found
              ourselves playing as Raiden. This was a daring decision made by Mr
    Kojima. He wanted to
              give the players a new perspective of Snake.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: In MGS 2, I wanted to give depth to the Snake character, when is very
    hard to do when the
           player is playing Snake himself. So I got the idea of distancing the
    viewer from Snake, to
           provide a more objective view of him. Thanks to this system, Snake gains
    in stature! When
           you play Raiden, who is only a beginner, and then you encounter Snake,
    he suddenly seems
           more impressive.
    
    SCENE IN-GAME.
    A NAKED RAIDEN MEETING SNAKE
    
    NARRATOR: To enable players to identify with Raiden, his character was designed
    with particular care.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE
    
    HIDEO: Raiden was a completely new character, we wanted him to be pure, virgin,
    white. We had many
           discussions with Mr Shinkawa and thought that we would give him white
    hair,
    
    SCENE COMPUTER TESTING.
    A COMPUTER MODEL OF WHITE HAIR
    
    HIDEO: symbolizing that he was new to the game.
    
    SCENE IN-GAME.
    RAIDEN MEETING THE PRESIDENT.
    
    NARRATOR: Yes Raiden, is your hair! And if, like me and some other people, you
    think all this
              design work left him looking a little effeminate, especially the
    eyes, then I'm sorry,
              but you're wrong
    
    SCENE INT.
    YOJI SHINKAWA'S OFFICE.
    
    YOJI: It wasn't my intention to give Raiden the eyes of a woman. What gives you
    that impression of
          femininity, I think, is his overall appearance. It's true, however, that
    I always try to make
          my characters look sexy. Snake is sexy as a man of experience and Raiden
    as a handsome
          young man.
    
    SCENE ARTWORK.
    EARLY SCETCHES OF RAIDEN
    
    SCENE IN-GAME.
    FORTUNE AND VAMP.
    
    NARRATOR: Talking about sexy characters, Vamp is perhaps the best example.
    
    SCENE INT.
    YOJI SHINKAWA'S OFFICE.
    
    YOJI: Mr Kojima came to see me and told me that there would be a vampire in MGS
    2. Again, I thought
          he was kidding, but I soon realised that Mr Kojima was serious. Actually,
    when we first started
          out, Vamp was supposed to be a woman, but then we introduced Fortune so
    Vamp ended up being a man.
    
    SCENE ARTWORK.
    EARLY SKETCH OF A WOMAN WITH SHOLDER LENGTH, BLACK HAIR.
    
    NARRATOR: Here's what Vamp might have looked like if we decided to keep the
    woman character. But it
              didn't take Yoji Shinkawa long to find a masculine sort of
    inspiration
    
    PICTURE OF 2 VAMP'S. ONE FRONT, ONE BACK
    
    YOJI: Right from the start, I visualised Vamp with long black hair. I got my
    insperation from Joaquin
          Cortez, a great Spanish Flamenco dancer.
    
    A PHOTO OF JOAQUIN CORTEZ.
    
    NARRATOR: By the way, the music you're about to hear is a passage of the Vamp
    Theme
    
    SCENE IN-GAME.
    VAMP DANCES WHILE DODGING RAIDENS BULLETS
    
    SOLIDUS SLIDING ALONG A PLATFORM
    
    NARRATOR: As you know, Solidus and Snake came from the same cell, so the same
    physical Model was used
              for their faces.
    
    VIEW SNAKE AND SOLIDUS SIDE BY SIDE
    
    NARRATOR: Only the textures changed. When Yoji Shinkawa drew the face for
    Solidus, he was trying
              to imagine the way Snake's would look when he was 5 or 10 years
    older.
    
    SCENE INT.
    YOJI SHINKAWA DRAWING SOLIDUS.
    
    SCENE IN-GAME.
    SOLIDUS' MUSCLES STRETCHING HIS ARMOUR
    
    NARRATOR: But the most striking thing about Solidus is his armour.
    
    SCENE INT.
    YOJI SHINKAWA'S OFFICE.
    
    YOJI: I really wanted to do that exoskeleton on Solidus. Then I could have
    drawn the kind of armour
          that you see on this figurine which is really typical of Japanese mangas.
    (the figurine can
          move its body like a transformer) But I thought that would be a bit much
    for the world of Metal
          Gear Solid. So I transformed the armour design to adopt it tot he world
    of Metal Gear. Which gave
          me the final design for Solidus.
    
    SCENE ARTWORK.
    PICTURE OF SOLIDUS WITH A TENTICLE.
    
    NARRATOR: On the other hand, Olga is inspired by a character from MGS 1 that
    you might have been
              expecting to see in MGS 2
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: The first time Snake catches sight of Olga, she reminds him of Meryl
    from MGS 1.
    
    SCENE IN-GAME.
    SNAKE FIRST SEEING OLGA.
    
    HIDEO: That's why he doesn't fire at her, and hesitates to attack her.
    
    OLGA TALKING THROUGH HERE WALKIE-TALKIE.
    
    NARRATOR: But subsequently, Olga appears much more professional than Meryl had
    been.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: Finally, Snake orders Olga to drop her weapon and turn around because he
    suspects her of
           having a second handgun strapped to her back. In this scene, we're
    trying to show that Snake
           and Olga are both professionals, both soldiers who know their jobs.
    
    SCENE IN-GAME.
    SNAKE HOLDING UP OLGA.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: This specific part of the scene refers to samurai movies and westerns.
    With a showdown between
           two combatants, a duel with swords or pistols. They're face to face, the
    wind is blowing, time
           seems to be suspended before the battle. That's the feeling I wanted to
    recreate here.
    
    NARRATOR: One character seems out of place in this world of warriors. And
    that's Rose.
    
    SCENE ARTWORK.
    DRAWING OF ROSE
    
    SCENE IN-GAME.
    CODEC BETWEEN ROSE AND RAIDEN.
    
    RAIDEN: Rose... are you okay?
    ROSE: Yes. Thank you... i-it really scared me at first, but I think I've gotten
    used to it.
    
    NARRATOR: According to Mr Shinkawa, Rose represents Mr Kojima's ideal woman,
    classy and intellectual.
              In fact, some of the exchanges between Rose and Raiden are inspired
    by Mr Kojima's own
              experience.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: You may have noticed that Rose is always asking Raiden about what the
    date April 30th means and
           he doesn't know. This is based on something that happened to me.
    
    SCENE IN-GAME.
    CODEC BETWEEN ROSE AND RAIDEN.
    
    ROSE: Jack, do you remember what day tomorrow is?
    JACK: That again... I'm sorry, but I still don't have a clue.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: Before we got married, my wife often asked me what day it was. One
    evening my wife and I have
           a date but I completely forgot it. This caused a crisis in our
    relationship. So this piece of
           dialogue between Rose and Raiden comes from my own experience.
    
    SCENE IN-GAME.
    METAL GEAR RAY WITH THE TANKER COMMANDER.
    
    NARRATOR: Finally, we come to what is perhaps the greatest character in the
    entire game. (SNAKE SAYS
              METAL GEAR!?) It was created in a very unexpected way.
    
    SCENE INT.
    YOJI SHINKAWA'S OFFICE.
    
    YOJI: To create Metal Gear Ray... Well, Mr Kojima told me what he wanted: an
    amphibious Metal Gear Ray.
    
    SCENE IN-GAME.
    METAL GEAR RAY DIVING INTO THE RIVER OFF THE SINKING TANKER.
    
    SCENE INT.
    YOJI SHINKAWA'S OFFICE.
    
    YOJI: When you look at Metal Gear Ray, you see a cannon, a radar, all of the
    apparatus that would
          prevent it from being able to swim. So I started getting rid of
    everything that was not
          necessary on the surface of the machine, and that's how I produced the
    final design. When I
          started, I wasn't intending to use a dinosaur shape. But after I finished
    eliminating
          everything superfluous, I saw that a dinosaur is what I had. In fact, the
    simpler you make
          an object, the more you approach an animal shape, a biological shape,
    which is what Metal
          Gear Ray looked like in the end.
    
    VIEW A CLOSE UP TA A PAINTED MODEL OF METAL GEAR RAY
    
    NARRATOR: In MGS 2, only one of Metal Gear Rex's weapons was kept. It was a
    miniature version of the
              cannon carried by Fortune.
    
    SCENE IN-GAME.
    FORTUNE EXITING THE ELEVATOR.
    
    NARRATOR: As far as the characters are concerned, it would be logical for us to
    stop, right here. But
              if Mr Kojima and his team had had a little more time, we would have
    been able to meet
              another character.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: When we started, we intended to include another character. The Chinaman.
    In fact, he would
           have been Vietnamese and native of Chinatown. With a body tattoo of a
    dragon that came alive
           as soon as he dove into water.
    
    SCENE ARTWORK.
    SKETCHES OF THE CHINAMAN.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: The entire team loves the actor Jet Li, so we wanted our character to
    have movements like his.
    
    SCENE IN-GAME.
    VAMP RUNNING ON WATER.
    
    NARRATOR: The Chinaman would have been able to run on water, and walk on walls
    like in the movie,
              The Matrix. this power finally went to Vamp, who also inherited 1
    quarter of The Chinaman's
              abilities. but the show didn't stop there.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: You would have had to take on the Chinaman in the swimming pool where
    you now have to fight Vamp.
    
    SCENE IN-GAME.
    RAIDEN ATTACKING VAMP AROUND THE POOL.
    
    HIDEO: As soon as The Chinaman dove into the water, the dragon would have
    emerged from his body. The
           Chinaman was a good swimmer, so you would have also had to fight him
    underwater. And if you bled,
           The Chinaman would have sent sharks after you. Actually, the passage
    where you have to swim
           initially involved sharks.
    
    RAIDEN SWIMMING THROUGH A FLOODED CORRIDOR
    
    HIDEO: You would have had to leave your blood in well-chosen places to attract
    the sharks to create a
           diversion, then get out of there without being attacked.
    
    RAY EMERGING FRM THE WATER TO CATCH THE HARRIER
    
    NARRATOR: Impressive, well developed characters, directing on a par with the
    best action films. Now all
              that's missing is a score worthy of Hollywood
    
    VARIOUS SCENES
    
                                        PART 4
                                 THE SOUND OF HOLLYWOOD
    
    SCENE IN-GAME.
    PARTS OF THE MAIN TITLE INTRO.
    
    SCENE INT.
    KAZUKI MURAOKA'S OFFICE
    
    KAZUKI MURAOKA
    SOUND DIRECTOR
    
    KAZUKI: After the success of MGS 1, we obtained a larger budget for MGS 2. So
    we had more money to produce
            better sound.
    
    SCENE IN-GAME.
    MGS 1 SCENE ACOMPANIED BY THE MGS 1 TITLE THEME.
    
    SCENE INT.
    KAZUKI MURAOKA'S OFFICE.
    
    KAZUKI: This meant we could have music on a grander scale, Hollywood style. The
    problem was that we
            really didn't know who to use. Then one day Mr Kojima and myself went
    to see a movie called
            "The Replacement Killers". The music was absolutely perfect. We
    especially liked it's energy
            and the excellent use of synthesizers. We looked to see who composed
    the music and saw that
            it was Harry Gregson-Williams. So we wrote to him at his studio, Media
    Venture, in Santa Monica
            near Los Angeles, to see if he was interested in working on the
    project.
    
    NARRATOR: Next stop, the United States to meet one of Hollywood's greatest
    composers, Harry Gregson-Williams.
    
    SCENE INT.
    MEDIA VENTURE STUDIO.
    
    HARRY: The first thing I knew about it was that I had, through the mail I
    received a CD of a lot of
           my pieces of music from a lot of Hollywood action films: The Rock, The
    Replacement Killers,
           Armageddon, Enemy of the State. And someone had put together a lot of
    music of mine and put it
           on 1 CD and sent it over to me and proposed that they would like their
    game to sound like, and feel
           like a Hollywood action movie. and to do that they would like a film
    composer to do the score for
           Metal Gear Solid 2. So flattery will get you everywhere. And as soon as
    I received that CD, I
           realised that I have never done a video game before, why not do it. They
    seem like very decent
           people. So that's how I came to be doing it.
    
    VIEW HARRY GREGSON-WILLIAMS WORKING ON SOME MUSIC
    
    HARRY: All the music that I create comes to life because of the pictures that
    I'm watching as I compose
           with film, so this is one of the reasons that this project appealed to
    me because I know that I
           wouldn't be composing to moving pictures. I knew that my music would be
    put to the pictures
           eventually, but I would not see the pictures first. So I thought it
    would be fun to do it the other
           way round for once. So I had to have something to go on so Hideo and his
    team described to me some
           scenarios, and asked me to imagine Snake or one of the characters in a
    certain situation. From
           situations from tension, maybe being watched, or watching somebody else.
    And he would give me a
           paragraph of words to describe what might happen in this scene. And I
    would write a minute or 2
           minutes of music that I felt reflected this.
    
    SCENE IN-GAME.
    SNAKE ENTERING THE BRIDGE TO FIND DEAD CREW.
    
    HARRY: I guess the main characters were action, sneaky, ambient, heroic. So if
    the player is playing the
           game and a melody starts, we can't tell what the player of the game is
    going to do next. So at any
           given moment, that music may have to be interrupted and another feeling
    be playing. So it was
           important with a lot of the music that it wasn't melodically based, but
    it was holding a certain
           tension. It had light drums in it, and atmospheres so that the mood
    could change very quickly like
           this. I didn't know quite what to expect. I was amazed at the skill at
    which someone in Japan in
           Konami somewhere has taken all the music that I wrote and somehow made
    it work with the pictures.
    
    SCENE IN-GAME.
    SNAKE HOLDING UP OLGA.
    
    NARRATOR: You have to admire the perfect symbiosis achieved between the music
    and the images. Not only that,
              but this particular passage was so right for this scene, that it
    became Olga's theme, even when
              you don't now it's Olga. Listen closely to the first notes of the
    next sequence.
    
    NINJA DESENDING FROM THE CEILING
    
    SCENE INT.
    KAZUKI MURAOKA'S OFFICE.
    
    KAZUKI: This is a little clue that will enable some people to guess before
    others do that the Ninja and Olga
            are one and the same person.
    
    SCENE IN-GAME.
    SOLDIERS ATTACKING FURTUNE
    
    NARRATOR: So which character has it's own musical theme which reveals their
    inner state of mind. There like
              symbols, cleverly woven into the game. Thought some of them might
    need a little explanation.
    
                                        PART 5
                                  GODZILLA & KING KONG
    
    SCENE IN-GAME.
    MAIN TITLE INTRO
    
    NARRATOR: The first mystery to be cleared up is in the opening credits.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: In MGS 1, the central theme is about the transmission of what we have in
    out genes: such as hair or
           skin colour. In MGS 2, the central theme is about what we pass on to out
    future generations which
           is not transmitted via our genes: The way we think, out culture, music,
    songs, stories. In the
           beginning, this sort of information was inscribed on stone tablets and
    later it was written down on
           paper, now everything is digitized.
    
    SCENE IN-GAME.
    CODEC BETWEEN ROSE AND RAIDEN.
    
    ROSE: Genes don't contain any record of human history.
    CAMPBELL: Is it something that should not be passed on?
    
    NARRATOR: To understand what comes next you have to wait till the end of the
    game.
    
    ROSE: We've always kept records of our lives. Through words, pictures,
    symbols... from tablets to books...
    CAMPBELL: But not all the information was inherited by later generations.
    
    SCENE ARTWORK.
    PICTURE OF ARSENAL GEAR
    
    NARRATOR: Another symbolic place: The rooms of Arsenal Gear, which all bear the
    names of digestive organs.
    
    VIEW IN-GAME.
    TRANSITION BETWEEN ROOMS IN ARSENAL GEAR.
    
    ARSENAL GEAR - SIGMOID COLON.
    ARSENAL GEAR - ASCENDING COLON.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: This is a tribute to Pinocchio, swallowed by the whale. The idea is to
    give you the impression that
           you have been swallowed by this huge machine, that gradually digests you
    and excretes you through
           you-know-what orifice.
    
    VIEW IN-GAME.
    RAIDEN BEFORE THE BATTLE WITH RAY.
    
    ARSENAL GEAR - RECTUM.
    
    SCENE IN-GAME.
    SNAKE AND OTACON OVER THE DYING EMMA.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: Above all, you should know that this was a controversial scene for the
    whole development team. Some
           didn't want Otacon to be stained with Emma's blood, whereas I really
    wanted it to be like that.
    
    SCENE IN-GAME.
    OTACON HOLDING DYING EMMA.
    
    HIDEO: Death is never beautiful or happy. Emma is the victim of violence.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: Stabbed by vamp. I wanted to show this violence by having Emma's blood
    stain Otacon's clothing. This
           is not beautiful in the slightest, it's sad and painful. Once again,
    it's a consequence of violence.
    
    SCENE IN-GAME.
    SNAKE, RAIDEN AND OTACON WITH PARAKEET.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: Otacon and Emma haven't seen each other for years. There was a major
    falling-out between them and
           why they finally do see each other, it's for a very brief meeting that
    is made even shorter by Emma's
           death. So it was very difficult to communicate the feelings they had for
    each other, and especially
           Emma's feeling for her brother Otacon. That's why we introduced the idea
    of the parakeet that
           constantly repeats Otacon's real name: Hal, Hal. to show that Emma never
    stopped thinking about her
           brother.
    
    SCENE IN-GAME.
    OCELOT IN METAL GEAR RAY.
    
    NARRATOR: But the most symbolic scene in the game is certainly this one.
    
    SCENE IN-GAME.
    SNAKE IS HANDCUFFED AND TRIES TO GET FREE.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: In fact this scene is very symbolic. Snake and Raiden are both
    handcuffed. Snake manages to break
           them without help from anybody, but not Raiden.
    
    SCENE IN-GAME.
    SNAKE BREAKS THE HANDCUFFS AND FOLLOWS RAY INTO THE WATER.
    
    NARRATOR: Thus Snake manages to break away from the biological determinism
    that's been dogging him since
              birth. Whereas Raiden, the younger remains the prisoner of his fate.
    We already see this idea in
              the opening credits, when a snake separates from the DNA sequence.
    The symbol of Snake managing
              to get free of his genetic origin. The analogy between Snake and
    Raiden can be taken even further.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: In the beginning of the game on the oil platform, Rose and Raiden have a
    conversation about King Kong
           and Godzilla.
    
    SCENE IN-GAME.
    CODEC BETWEEN ROSE AND RAIDEN.
    
    ROSE: A group of middle-aged Japanese ladies came up and ask me, which building
    it was that King Kong
          was climbing in the movie. I said it was probably the Chrysler Building.
    And then you showed up
          and starting mouthing off. You were like, "No, it's the Empire State."
    JAKE: I said the Chrysler Building was in Godzilla.
    ROSE: Ha ha ha...
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: In MGS 2, Snake is Godzilla. In the original movie, Godzilla was created
    by man after a scientific
           experiment went wrong. Snake is a clone of Big Boss. He too was created
    by man. Raiden, on the other
           hand, was captured (by Solidus) and brought back to the city, just like
    King-Kong, he was hunted
           and captured in a jungle, attracted by a woman whose name, here, is
    Rose. So Raiden is King Kong.
    
    SCENE IN-GAME.
    SNAKE AND RAIDEN SIDE BY SIDE WITH GODZILLA AND KING KONG WRITTEN UNDERNEATH.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: But, after all the battles, Solid Snake frees Raiden who is free to
    return to the jungle or, at any
           rate, from whence he came. But Solid Snake is Godzilla and as long as
    Metal Gear exists, he will stay
           with men and keep fighting.
    
    SCENE IN-GAME.
    ENDING SCENE WITH RAIDEN AND SNAKE IN NEW YORK.
    
    NARRATOR: And finally, the last symbol in the game. In the following scene,
    Snake the veteran, who teaches
              everything he knows to Raiden before leaving, is Kojima. Raiden, the
    apprentice, is no other than
              Kojima's team.
    
    SNAKE: The memories you have and the role you were assigned are burdens you had
    to carry. It doesn't matter if
           they were real or not. That's never the point.
    
    SCENE INT.
    HIDEO KOJIMA'S OFFICE.
    
    HIDEO: Yes that's right. MGS 2 is about the passion of knowledge to a future
    generation. With MGS 1 and MGS 2,
           what I did was teach my team how to create Metal Gear Solid and
    communicate the spirit needed to
           embellish it. That's truly what I tried to achieve with these two games.
    
    SCENE IN-GAME.
    FINAL SCENE WITH SNAKE AND RAIDEN.
    
    NARRATOR: From now on, like for Raiden, it's up to them to choose to say yes or
    no to a sequel. But something
              tells me that the prospects are good
    
    SCENE IN-GAME.
    SNAKE AND OTACON'S HANDSHAKE.
    
                            "BUILDING THE FUTURE AND KEEPING THE PAST ALIVE
                              ARE ONE AND THE SAME THING" (Snake - Kojima)
    
                                                 THE END
    
    SCENE IN-GAME.
    SPRITE VER 2.21.
    
    OTACON: So, any Codec moments from you, Snake? The first one I'm seeing is...
    HIDEO: It's the Book: "Les enfants terribles" (Cocteau)
    OTACON: The next image is...
    
    SCOTT DOLPH HOLDS A RINGING CELL PHONE. THE RING IS THE CODEC RING. ANOTHER
    RING. IT'S THE MGS THEME.
    
    OTACON: OK that's good.
    
    TOTAL RUNNING TIME: 47:22
    
    3. History
    ----------
    
    v 0.1 Started the Transcript.
    
    v 0.3 Finished the Transcript.
    
    v 0.5 Cleaned the script up.
          Changed the intro to be less offensive.
          Slightly changed the layout of the whole file.
    
    V 0.9 Changed the layout yet again for the first release.
    
    v 1.0 Spell-checked the Transcript.
          Initial release
    
    4. Special Thanks
    -----------------
    
    Thanks go out to Konami, KCEJ, Hideo Kojima and FUN TV for the DVD this
    transcript.