Blab Tech
Hideo Kojima Declares Generative AI Will Not Create Real Art in His Lifetime
When Hideo Kojima, the Japanese designer behind the Metal Gear and Death Stranding franchises, told the Washington Post that he wouldn’t see generative artificial intelligence produce "real art" while he is alive, the comment reverberated across the creative world.
Kojima’s remarks followed the release of an AI‑generated promotional short for Prada’s 2026 "Satellites II" event at New York’s Chelsea Hotel. The clip, which blended a digital rendering of Kojima with director Nicolas Winding Refn traveling through space, was quickly branded by fans and critics as "AI slop"—a term that describes low‑effort, mass‑produced AI content that feels shallow or unoriginal. The backlash prompted the game designer to address the broader debate about AI and artistic creation.
In the interview, Kojima acknowledged that generative AI could serve as a "janitor for creative chores," accelerating development workflows while remaining a tool rather than a creator. He said, "Art is life, but in 50 years, 100 years, I don’t know. Maybe AI could create art, but while I live, I don’t think I’ll see it. I’m not interested in it." He added that the technology might eventually be used responsibly, but that responsibility would fall on younger generations.
Kojima’s earlier comments about AI were similarly pragmatic. In a separate interview, he stated that he was "more interested in using AI in the control systems" rather than having it generate visuals. Those remarks underscore his view of AI as a helper that manages repetitive tasks, allowing human creators to focus on the core of artistic expression.
The designer’s stance carries implications for his upcoming releases. Kojima is slated to launch the Xbox‑exclusive horror game OD and the PlayStation‑exclusive title Physint, which is not expected to launch until 2030. According to the Washington Post, it now appears unlikely that he will incorporate generative‑AI‑generated artwork or designs into these projects. Instead, the focus will remain on human‑driven artistic decisions.
Kojima’s comments echo a broader conversation within the game industry about the role of generative AI. While some developers embrace the technology to accelerate content creation, others—such as Kojima—stress the importance of maintaining human authorship. The term "AI slop" has surfaced in discussions about the proliferation of AI‑generated media that critics argue dilutes artistic quality.
The Prada event itself was part of the brand’s 14th edition of the "Prada Mode" cultural platform, which ran in conjunction with the Tribeca Film Festival. The Chelsea Hotel, a landmark known for its artistic history, served as the venue for the immersive installation. The AI‑generated promo film was intended to showcase the intersection of fashion, technology, and art, but the negative reception highlighted the sensitivity of audiences to AI‑produced content.
In summary, Hideo Kojima has clarified that, while he welcomes AI as a tool to streamline certain aspects of game development, he does not believe the technology will produce true art during his lifetime. He frames AI as a janitor that handles repetitive tasks, allowing human creators to remain in the room where art is made. The upcoming releases OD and Physint are expected to continue this approach, with no reliance on generative‑AI artwork. The debate over AI’s place in creative industries remains active, but Kojima’s position adds a prominent voice to the conversation about preserving human authorship in an era of rapid AI advancement.
Kojima’s remarks followed the release of an AI‑generated promotional short for Prada’s 2026 "Satellites II" event at New York’s Chelsea Hotel. The clip, which blended a digital rendering of Kojima with director Nicolas Winding Refn traveling through space, was quickly branded by fans and critics as "AI slop"—a term that describes low‑effort, mass‑produced AI content that feels shallow or unoriginal. The backlash prompted the game designer to address the broader debate about AI and artistic creation.
In the interview, Kojima acknowledged that generative AI could serve as a "janitor for creative chores," accelerating development workflows while remaining a tool rather than a creator. He said, "Art is life, but in 50 years, 100 years, I don’t know. Maybe AI could create art, but while I live, I don’t think I’ll see it. I’m not interested in it." He added that the technology might eventually be used responsibly, but that responsibility would fall on younger generations.
Kojima’s earlier comments about AI were similarly pragmatic. In a separate interview, he stated that he was "more interested in using AI in the control systems" rather than having it generate visuals. Those remarks underscore his view of AI as a helper that manages repetitive tasks, allowing human creators to focus on the core of artistic expression.
The designer’s stance carries implications for his upcoming releases. Kojima is slated to launch the Xbox‑exclusive horror game OD and the PlayStation‑exclusive title Physint, which is not expected to launch until 2030. According to the Washington Post, it now appears unlikely that he will incorporate generative‑AI‑generated artwork or designs into these projects. Instead, the focus will remain on human‑driven artistic decisions.
Kojima’s comments echo a broader conversation within the game industry about the role of generative AI. While some developers embrace the technology to accelerate content creation, others—such as Kojima—stress the importance of maintaining human authorship. The term "AI slop" has surfaced in discussions about the proliferation of AI‑generated media that critics argue dilutes artistic quality.
The Prada event itself was part of the brand’s 14th edition of the "Prada Mode" cultural platform, which ran in conjunction with the Tribeca Film Festival. The Chelsea Hotel, a landmark known for its artistic history, served as the venue for the immersive installation. The AI‑generated promo film was intended to showcase the intersection of fashion, technology, and art, but the negative reception highlighted the sensitivity of audiences to AI‑produced content.
In summary, Hideo Kojima has clarified that, while he welcomes AI as a tool to streamline certain aspects of game development, he does not believe the technology will produce true art during his lifetime. He frames AI as a janitor that handles repetitive tasks, allowing human creators to remain in the room where art is made. The upcoming releases OD and Physint are expected to continue this approach, with no reliance on generative‑AI artwork. The debate over AI’s place in creative industries remains active, but Kojima’s position adds a prominent voice to the conversation about preserving human authorship in an era of rapid AI advancement.
