Hideo Kojima, head of Kojima Productions, is a game creator with a passionate global fanbase. With Metal Gear Solid (1998), he established the stealth game genre, and after going independent from Konami in 2015, he released DEATH STRANDING in 2019, which became a major hit with over 20 million players worldwide. Now, one year after the release of the highly anticipated PlayStation®5 title DEATH STRANDING 2: ON THE BEACH (hereafter DS2), the story—once again connecting a fractured world—invites players to reflect on the value of human connection, while also serving as a “gateway” that expands their own horizons.
Being captivated by the music that plays throughout the game, inspired by the costumes and cultures that appear within it—this experience transcends the boundaries of gaming, becoming a journey of discovering new personal passions. Hideo Kojima, the creator of DS2, and actor Shioli Kutsuna, who portrays the key character Rainy, came together to discuss behind-the-scenes moments from the production, as well as the idea of an “expanding self.”
Shioli Kutsuna (hereafter Kutsuna): It was about five years ago when we first met, right?
Hideo Kojima (hereafter Kojima): Has it really been that long? To be honest, in the past, we sometimes hesitated to cast Asian actors because it was technologically difficult to accurately render the texture of Asian skin in games. Even so, this time I really wanted to take on that challenge, and I was also exploring the possibilities of Japanese actors. I wasn’t just looking for someone who could speak fluent English—I wanted someone who had chosen to go abroad on their own and carve out their own path. I had the impression that you are someone quite rare—someone who actively goes to international auditions and fights as an individual.
Kutsuna: Personally, I feel like only in the past few years have I truly started to face myself and finally breathe clearly. For a long time, my sense of identity felt uncertain, but now I feel like I’m moving toward a clear vision, and life has become really enjoyable.
Kojima: When I look at your Instagram, it’s surprising! You look like you’re having so much fun—traveling everywhere.
Kutsuna: I do get that kind of reaction a lot from people I work with—they’re like, “You’re really enjoying yourself, aren’t you?” And I just say, “Yes, I am!” (laughs)
Kojima: That balance—being Japanese, yet not confined by being Japanese—is perfect. The character Rainy that you played exists on that very balance. She’s in the process of growing from a girl into an adult, carrying a child but not yet a mother. She exists in that in-between space. I didn’t want her to be a purely symbolic figure stripped of realism—I wanted to deliberately bring in the weight of life, in the form of pregnancy. Not a sanitized, sexless world, but a character grounded in the tangible reality of a human body.
Kutsuna: I love Rainy too. She seems like a child, but then there are moments where she feels mature. You think she might be fragile, but she actually has a strong core. That sense of being in between is incredibly compelling.
Kojima: Initially, I imagined Rainy as a slightly younger character, about the same age as Tomorrow, played by Elle Fanning. Scenes like her dancing innocently in a raincoat are remnants of that early concept. But when I spoke with you, I realized you have a very mature side. I often tailor characters to the actor, so I rewrote the script to match your emotional maturity. I shifted Rainy into more of an older-sister role, someone who guides Tomorrow.
Kutsuna: The filming style on DS2 also felt closer to a Hollywood set than a typical Japanese one. On your set, you actually step into the scene and shoot long takes while playing music created specifically for that moment. That sense of immediacy really helped me immerse myself in the character.
Kojima: You are the type who comes in perfectly prepared from the start. On the other hand, Léa Seydoux, who plays Fragile, is the kind who struggles through it on set, building up her performance over dozens of takes until her emotions finally explode. When actors with such different approaches come together, it really amplifies the energy on set.
Kutsuna: Léa’s energy—how do I put it—I was completely overwhelmed by it. She’s incredibly honest, and there’s something so captivating about how she doesn’t hide her sensitivity or even her more neurotic sides—she expresses everything so openly, almost like a child. And then, when the camera rolls, she can suddenly flip a switch and become something extraordinary.
Kojima: Even if I asked her to “really let the emotions explode in this scene,” during rehearsals, no matter how many times I asked, it won’t quite get there. But then in the actual take, she'll suddenly deliver something far beyond anything you imagined! Things like that happen on set (laughs).
Kutsuna: Watching her up close, you almost don’t know whether she’s human or something otherworldly. There’s something so unique and mysterious about her presence—it stirred emotions in me that I can’t quite put into words. Seeing an actor express themselves in a way so completely different from my own was honestly one of the most inspiring experiences of my life.
Kojima: She has a kind of female-David Bowie aura, doesn’t she? I do think that taking in those kinds of new stimuli is what fuels creative energy. I’m turning 63 this year, and lately I’ve been feeling more strongly than ever that, in order to sustain creative vitality, you have to constantly expose yourself to new things. Is there anything you’re particularly passionate about right now?
Kutsuna: Actually, I’ve recently become really into an instrument called the handpan. It’s shaped kind of like a UFO, and you play it with your hands. I first saw someone playing it in Inokashira Park when I was in university, and I’ve admired it ever since. This year, something just clicked, and I thought—I want to spend my life mastering it. To me, it’s an instrument that brings pure happiness. I even have a clear vision now: I want to become a leading handpan player, with a kind of “fairy who came out of Tokyo” visual (laughs).
Kojima: Instruments are great. I’m terrible at playing them myself, so I can’t compose music—I have to leave that to others. But it’s wonderful how immersing yourself in something you love can expand your world. In fact, that’s something I’m very conscious of when making games. I intentionally scatter elements of the films, music, novels, and art that I love throughout my work. That’s also why I actively collaborate with fashion.
Kutsuna: That makes sense—your works often introduce fans to new areas of culture.
Kojima: Exactly. Take the band Low Roar from the previous game, for instance. When someone hears a song in the game and feels, “Oh, I like this,” I want that spark to lead them to discover the band, to explore Icelandic music more deeply, or even to seek out related films. I believe that is the role entertainment is meant to play. Games have a tendency to remain closed systems that exist only within themselves, but I want players to step outside of that.
Kutsuna: I can relate to that. Being part of DS2 made me realize the depth of games as a form of expression—something I hadn’t really engaged with before.
Kojima: I’m someone whose own world has been expanded in that way, through films and books. So I hope DS2 can become an experience that broadens the interests and horizons of those who play it.
Photos: Theo Liu Styling: Chie Atsumi at Ota Office Hair & Makeup: Tori (Kutsuna), Rie Aoki (Kojima) Text: Asuka Kawanabe Special Thanks to Kojima Productions, Kyosuke Kikuchi, Jiawei Wang Editors: Yaka Matsumoto, Yuna Shibata
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