Hideo Kojima's official English-language account (@HIDEO_KOJIMA_EN)

“I've been away from Twitter as my mother passed away recently but I feel like start tweeting again.”

“I am very happy that the immature medium of games has been highly evaluated as a cultural art form of "expression". I will continue to devote myself to the creation of digital entertainment.”

“I received the 72nd Minister of Education Award for Fine Arts from the Agency of Cultural Affairs, Government of Japan. Thank you very much. I have been creating games for 36 years.”

“The book includes a selection from "70% of My Body Is Made of Movies," which was published years ago by Sony Magazines, film critiques I wrote for Bunshun Online after becoming independent, novel afterwords and contributions, a collection of comments from 'Hideo's Mysteries,' travel essays serialized in the Nikkei Sunday edition newspaper, and essays about Kōbō Abe, among others.”

“This is the PC Launch Trailer for "DEATH STRANDING 2 ON THE BEACH." Once again, I did the structure, editing, sound design, and mix myself. It features a track by WOODKID.”

“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.”

Norman Reedus took a photo of Kojima in the cafeteria on the set of “The Walking Dead.” The photo also appears in Reedus’s photography book; Kojima said he still had some muscle back then.

Kojima was playing Mr. Horii’s remake of the adventure game “The Hokkaido Serial Murder Case The Okhotsk Disappearance” and enjoying the nostalgic game. Time management was important to him, so he was shifting some of the time he spent on movies and reading to games.

Kojima finished reading the advance proof of Chris Whitaker’s novel “All the Colors of the Dark.” He said Whitaker elevates mystery into literature and described the novel as a story that made him emotionally invested in its characters, kept him turning the pages despite not wanting it to end and feeling dread in its latter half, and ultimately bathes the reader in a “color of hope” beneath human darkness. He called it the best book he had read that year.

Kojima expressed nostalgia for the atmosphere of the Showa era and said he could not resist purchasing Volume 2 of the “Taiyo ni Hoero!” DVD collection. He evoked its streets, signs, fashion, hairstyles, cars, police cruisers, black rotary phones, red pay phones, phone booths, tobacco, hi-lite cigarettes, electric fans, cafes, amusement parks, and the warmth of the people. He clarified that he would not go so far as to say those days were better, but that everything felt nostalgic. That night he would watch episode 5, featuring Keiko Sekine—now Keiko Takahashi—of whom he had been a huge fan at the time; Shohei Hino also makes a guest appearance.

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.

KOJI10 is tentatively coming back with a special one-off podcast that, in VIVANT style, they are calling Episode 36. Kojima and Yanpi had been working on a comeback plan for some time and are rebooting KOJI10 with this standalone episode for now.

Kojima created both the new key visual for PHYSINT and its copy. The tagline is “The Next Cold War Begins.”

Kojima coined the original term “PHYSINT” himself.

Kojima finished reading William Hussey’s “Killing Jericho.” He said he totally agreed with Akiyuki Sengai’s recommendation for fans of classic mystery and that the book was really good. He described the story as being based on the history of Britain’s Traveller community and travelling fairs and told in the first person by a former police officer who has fallen on hard times; he said it initially feels like an old-fashioned hard-boiled detective story but balances serial-killer elements, clever mystery solving, and Deaver-like twists. He said the ending would surprise readers and that he was looking forward to reading more of the series.

Kojima found a new edition of Seicho Matsumoto’s “Amsterdam Unga Satsujin Jiken” at a bookstore and picked it up. He called it a nostalgic find and remembered reading the Kappa Novels edition as a child, borrowing the copy his mother was reading.

Kojima finished reading Thomas Knüwer’s “Das Haus in dem Gudelia stirbt” (“The House Where Gudelia Dies”). He described it as a German mystery about Gudelia, a lonely 81-year-old woman who narrates in the first person the sad past behind her attachment to a house, in a story moving between 2024, 1998, and 1984 whose present-day events unfold during a devastating flood. He said it is not the kind of mystery that begins with a dead body and proceeds through an investigation by a detective or police officer; he said that from around the middle it makes the reader reluctant to learn the answer to what happened and that, rather than being a whodunit, it goes deeper into both the human side of the story and the mystery itself. He recommended it.

Kojima watched David Ayer’s “Heart of the Beast.” He described it as a story about a veteran and a former military reconnaissance dog, both suffering from PTSD, trying to survive and make their way home while the beautiful but unforgiving Alaskan wilderness stands in their way. He said there was very little dialogue but that the strong bond between the two, Brad Pitt and the dog, could really be felt. He admitted that the film made him cry, that the dog’s name, “Odin,” hit like a body blow at the end, and that it was a shame they did not make a program for the film.

Kojima finished reading Eric Heisserer’s “Simultaneous” during the flight. He explained that the novel begins with reincarnation and past-life regression before becoming intertwined with a series of murders, and identified its distinctive concept of “simultaneous lives,” in which multiple people in the same generation share a single soul. He said the novel is driven less by its lore or world-building than by its cinematic, Nolan-esque narrative momentum, and also feels cinematic because the threat of an unknown serial killer is confronted by an investigator, a counselor, and an ordinary patient rather than by a vast government conspiracy or institution.

Kojima found in his storage the booklet included with the MGS2 limited edition, the MGS3 pamphlet he and his team handed out at E3, and the booklet included with the ANUBIS limited edition. He recalled that they used to make everything in-house at the time. The early visual concept for MGS3 was designed by Kyle. Harry was born in 1961, Kyle in 1962, and Kojima in 1963; MGS3 is set in 1964.

Kojima said he had watched the first four episodes of Mike Flanagan’s “Carrie” and was really enjoying it. He explained that Flanagan had brought the classic into the world of today’s high schools and reconstructed it for a new generation, exploring social media, the current education system, the struggles and crises facing young people, and each character’s background. He said what he found most interesting was the portrayal of Carrie not as a terrifying monster but as an innocent human being treated with sincerity and compassion; he also praised Summer H. Howell and said he could not wait to see what happened next.

Kojima and his team released a limited-edition merchandise set when they became independent. At the time, they only had the KOJIMA PRODUCTIONS logo; they had the design for Ludens, but the CG model had not yet been created.

Kojima read Akira Otani’s “Rurika, Born 2019, Turns 50” in one sitting. He said that, having grown up reading Koontz and McCammon, he felt a sense of nostalgia as he turned the pages. He explained that the novel’s tone was closer to shonen manga and anime than to the “modern horror” that took his generation by storm in the 1980s, and that it had Otani’s distinctive storytelling style. He said that, in contrast to the countless twentieth-century works of science fiction inspired by fear of a “population explosion,” the novel takes a meta perspective on life after retirement in Japan’s super-aged society.

Kojima said he had waited until the interview was released before posting his thoughts on director Iñárritu’s “DIGGER.” He said everyone living in today’s world should see it and described it as a work that remains with its audience, provokes reflection, and sounds alarms; he added that absorbing and carrying the film would shape a tool for delving deeper into the future and that the film would stay by the viewer’s side for years.

Kojima watched “Love of Your Life” on Prime Video and said it was wonderful. He said the film brings together everything that makes Margaret Qualley compelling, calling her performance mature and her screen presence explosive. He compared her role as an ordinary woman to her role in “Maid” (2021), a series he said he loved; he described the film as tracing one woman’s love, loss, and renewal over seven years amid beautiful landscapes and changing seasons. He said there were moments that moved him to tears, highly recommended the film, and noted that it also features Aaron Pierre.

Kojima said he went to the Japan premiere of “Godzilla Minus Zero” at TOHO Cinemas Hibiya. He described himself as a huge Godzilla fan and a fan of Minami Hamabe, said he had been eagerly waiting three years to see the film, and got to see it in IMAX. He said there were moments that played out just as he imagined, moments that surprised him in the best possible way, moments beyond anything he could have imagined, and scenes for hardcore fans that brought tears to his eyes or that he had always dreamed of seeing brought to life. He said the final climax made him extremely excited, that the film also had a little of the “Always: Sunset on Third Street” feeling, perhaps because it was directed by Takashi Yamazaki, and that he intended to see it a few more times in IMAX after its release.

Kojima got up early and watched Episode 2 of the TBS drama “LOST10” on streaming. Kojima said the series had not lost any momentum from Episode 1 to Episode 2 and was getting even more interesting; he highlighted its transition from sweeping aerial shots of the Hokkaido wilderness in Episode 1 to the eye-level perspective used in Episode 2 to explore the human drama and the truth behind the incident. Kojima said he started watching “LOST10” because he is a fan of Ryusei Yokohama and that he really liked the contrast, as a duo, between Yokohama’s character, a detective in Hokkaido, and Shun Oguri’s character, an insurance investigator. He called the series a winner and said he would watch the rest.

Kojima picked up a copy of anan at a bookstore. Kojima said he has an ongoing essay series in anan and that episode 43 is about suitcases.

That night, in memory of Chiba-sensei, Kojima was rereading the José Mendoza world title match from “Ashita no Joe,” the manga that defined his youth, and rewatching Episodes 44–47 of “Ashita no Joe 2.”