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.