コジ10 EP.36「シーズン3？おかえりコジ10！VIVANT・ズートピア2カメオ裏話から新作PHYSINT・ODまで！！」（Eng.sub）

“Every game I make, I create thinking it's really, really going to be the last game I create. So I put as much as I can in and make sure I have no regrets.”

“I say meet because books have faces. The cover, the title, the design, the bindings. There are moments when you feel a spark.”

“There needs to be trust between myself and the actors in order to see it through, because it can get pretty tough.”

“Originally, I was writing Hideo's Mysteries as a joke on Twitter.”

“I am subscribed to Apple Music, where I listen to new songs and then buy CDs and vinyl records. ... Liner notes are a must. ... I spend most of my income on releases like these. I used to spend hours at Tower Records and vinyl shops”

“Unlike last year, like I was traveling all over the world, this year will be about staying grounded and laying solid foundations. [...] This year also marks my 40th anniversary in the game industry from 1986 and began my journey in game creation.”

Kojima's debut as a voice actor — his first time voicing a character in an animated film — was in the Japanese dub of Zootopia 2 (Zootrópolis 2), in which he voices Paul Molebrandt, nicknamed the Mole, a minor IT department employee at the Zootopia Police Department; the Japanese release was 5 December 2025. Recalling his participation in Zootopia 2 on KOJI10, Kojima said he was not told which character he would voice until he arrived for the recording.

“I made a cameo appearance in Episode 11 of TBS’s Sunday Theater drama, “VIVANT.” For the role, I took off my glasses, slicked my hair back, got into costume, and gave it my best, but it was decided that I looked “too young” to be the Superintendent General of the Metropolitan Police Department, and that “there are no real-life examples of one with a beard.” So they adjusted my appearance with CGI. See if you can spot me.”

In mid-June 2026, PlayStation Studios notified Kojima and KOJIMA PRODUCTIONS that it would cancel PHYSINT. The project was important both to Kojima and to his studio. After three months of searching for a new partner, Kojima and his team found a shared vision with XBOX and decided to work together again. Development of PHYSINT continues.

“To give them freedom. […] But when they ask, I start getting nitpicky. […] Like, "I would do it this way." […] I don't really want to do that.”

“I pitched him the game, and he agreed to do it.”

“But I grew up watching Hitchcock and little surprises like that are fun, aren't they?”

“I don't like playing myself, though. That happens a lot.”

“I pitch the projects myself, too.”

“And we're making two animated projects. […] A film and a series. They're progressing well, too.”

“From the first “DEATH STRANDING”... […] we have work we made before we even had an engine. […] There were only five or six of us.”

“People are still playing it. I get the numbers every day. Very few players drop off. The people who love it keep playing.”

“Then I'd like to experience weightlessness.”

“You enter through Phase One. […] It starts with our independence, in a small four-and-a-half-tatami room.”

“She looked after Udo throughout the three-day scan.”

“AI could do that easily. But as the person who made the original, I wouldn't want someone changing it too much. […] There was a reason I chose a particular lighting setup. It would be different if AI understood those intentions. […] I wouldn't like that. Unless I was controlling the AI in my own work, that may be different.”

“I'd also like to make a game to play in zero gravity. […] So the controls would have to change. […] I'd work out the gameplay and the controls.”

“I'd like to put a bed in the middle of a bookstore and sleep there.”

“I have towers of unread books at home – like a whole skyline. […] Then there's my "books I must read" pile.”

“With Norman, since we’re working with him, of course we’re going to handle with care how he looks, down to every baby hair.”

“I want to keep quiet and release it. That's unusual for me, isn't it?”

“We've finally started. We've been shooting since June and will continue through the end of the year.”

“I asked who would be good for the lead. He said, "Sophia Lillis, obviously!"”

“He keeps asking me for the script. […] I have the plot ready. But he wants to know the lines and how his character speaks. […] He asks me to write it but I'm like, "Hold on!"”

“I took that photo.”

“We captured how fabric wrinkles and catches light. We'll change the designs.”

“Before someone calls "Action!" she seems like an ordinary person. Then the camera rolls, and she transforms. She'll do anything. It's remarkable.”

“I knew I wanted to work with Udo, but where in the world was he? […] Then Guillermo del Toro suddenly... sent him an email. […] And he answered right away.”