I wish I was old enough to appreciate Metal Gear Solid in 1998, at its distinct moment in video game history. Thus was my primary thought at nearly every moment of MGS, as Hideo Kojima’s masterpiece still screams of innovation more than 20 years later.
After adjusting to the distinct visuals of a PlayStation era game, I found myself enamored with MGS’ moment-to-moment gameplay. Much of the games’ uniqueness lies in its answers to technical limitations: off-screen enemies demanding a slow stealthy approach, puzzle elements hidden unless viewed in first-person, and legitimately terrifying boss fights because the bosses always seem one-step ahead of the player. Even the almost-excessive back tracking that prolongs the game feels rewarding and realistic for an observant player who pays careful attention to every environment.
If the gameplay mechanics made the game fun to play, the entire experience was elevated by the game’s surprisingly complex (and understandable) story for a PS1 game! First things first, the story operates with the subtle, nuanced dialogue of an anime—In other words, it beats you over the head with themes of love and death. This broad-stroke painting of such human themes is what gives the game so much draw, however, and somehow through the thematic clubbings, Kojima delivers a nuanced critique of American exceptionalism and the military-industrial complex. To do so with such a character-based game deserves the highest praise.
I’m not sure whether MGS is a 5/5 only when taken in its historical context, or if it truly stands the test of time. Nevertheless, this game gets my utmost recommendation for anyone interested in video game history, or just getting a glimpse at the mind of one of the Industry’s leading visionaries!
After adjusting to the distinct visuals of a PlayStation era game, I found myself enamored with MGS’ moment-to-moment gameplay. Much of the games’ uniqueness lies in its answers to technical limitations: off-screen enemies demanding a slow stealthy approach, puzzle elements hidden unless viewed in first-person, and legitimately terrifying boss fights because the bosses always seem one-step ahead of the player. Even the almost-excessive back tracking that prolongs the game feels rewarding and realistic for an observant player who pays careful attention to every environment.
If the gameplay mechanics made the game fun to play, the entire experience was elevated by the game’s surprisingly complex (and understandable) story for a PS1 game! First things first, the story operates with the subtle, nuanced dialogue of an anime—In other words, it beats you over the head with themes of love and death. This broad-stroke painting of such human themes is what gives the game so much draw, however, and somehow through the thematic clubbings, Kojima delivers a nuanced critique of American exceptionalism and the military-industrial complex. To do so with such a character-based game deserves the highest praise.
I’m not sure whether MGS is a 5/5 only when taken in its historical context, or if it truly stands the test of time. Nevertheless, this game gets my utmost recommendation for anyone interested in video game history, or just getting a glimpse at the mind of one of the Industry’s leading visionaries!
Metal Gear Solid foi o último jogo da saga principal que joguei e, talvez por isso, foi o jogo que mais me deixou emocionado. Voltar ao passado nunca foi tão incrível; ver aqueles personagens que criei um carinho tão grande construindo suas relações entre si foi lindo demais. Acredito que esse também seja o jogo com um melhor ritmo e melhor narrativa de toda a saga, parece um filme de ação de excelente qualidade. A estética do jogo envelheceu muito bem; a OST é muito boa; voice acting cativante, com destaque para David Hayter, que é do caralho; a gameplay é um pouco datada, porém, ela está ligada aos outros aspectos do jogo, como as boss battles, que são FODAS, por isso nem me incomodo mais. O famoso Incidente de Shadow Moses, que tanto ouvia falar, foi um dos melhores eventos no mundo de Metal Gear que tive o prazer de jogar. MGS1 pode não ser o ápice da franquia, mas é um jogo que, se você tolerar os controles meio travados, é perfeito para pessoas que tem interesse em começar a jogar os games da franquia. Obrigado por tudo, Snake, ou melhor, David.
On my backloggd account I maintain a list of my personal Game of the Year picks for every year since 1970. Though 2002 comes close because I really, really love Kingdom Hearts 1, no year has caused me more agony than 1998. On the battlefield of my mind, the war between Metal Gear Solid and Ocarina of Time is more vicious than any other. I have torn down both games to the studs in search of an answer that is not rooted in mere nostalgia. I thought that perhaps I had found that answer when I considered OoT's randomizer. It is, after all, one of my absolute favorite things to play. Alas, I cannot give Shigeru Miyamoto credit for total strangers rewriting the code over a decade later without his consent.
Metal Gear Solid is my Game of the Year 1998 because fighting Vulcan Raven is more fun than fighting Twinrova.
Metal Gear Solid is my Game of the Year 1998 because fighting Vulcan Raven is more fun than fighting Twinrova.
1998 was the greatest year in video game history, and MGS was a headliner in that stable of watershed achievements. It hasn't aged as gracefully — thematically, in its direct sequel's case, and mechanically, for the third installment — as its successors, but that should be a given. The game holds up, and its sound design is as breathtaking as it was over two decades ago.
Has all of the endearing campiness of a classic action movie but stretched across a 10ish hour Playstation game. Not to downplay the design, the aesthetics are astonishing, the action is genuinely thrilling and the soundtrack BANGS. Apart from some padding toward the end and how quickly it drops a lot of the sneaking mechanics, Metal Gear Solid is still as worthwhile as when it was released.
I don't believe anyone who claims they finished this game in under 50 hours without consulting a guide. Most of the puzzles rely either on extreme trial and error or intuiting leaps of ludicrous moon logic. The boss fights range from kind of silly and gimmicky yet entertaining to infuriating garbage.
Otherwise it's still a pretty swell little stealth game with some great 80s B-movie vibes and a highly memorable intro sequence.
Otherwise it's still a pretty swell little stealth game with some great 80s B-movie vibes and a highly memorable intro sequence.
Big fan of the mgs series so their will be bias, if you're not a fan of cheesy action movie dialogue and convoluted plots this series might not be for you, and this entry in the series has some of the most lacking gameplay. However if you're a fan of stealth gameplay and you're willing to step into a meme filled fandom then it's best to start with the first game like intended. Would recommend to anyone but that's because I'm a big fan, great game to play with a friend and laugh at the plot with.
MGS is definitively a classic. Despite what others may say it has probably aged well enough. The game has a 90s Japanese game design to it that I love (backtracking, little secrets/advantages in boss fights, simple combat). While I don't know about the original JP version the story, themes, and dialogue are simple, to the point, and well done. Nothing really deep, but it certainly deserves to be lauded for its sheer novelty at its time. I think by that alone, this game should be played.