I was going to give this a 10/10 for some top tier old man yaoi but apparently, it’s not actually old man yaoi and is instead just an old man Russian taunt????? Fuck that shit
This review contains spoilers
This game is like kojima giving fans everything they want but crossing his arms and doing it angrily. Oh? Oh u want to play as solid snake again? U thought raiden was lame? Ok, here, you’re snake and he’s old and lame and has back problems and raiden is a badass lightning ninja cyborg now. Remember snake’s girl from mgs1? Poopy pants Johnny just married her. He’s not as good at sneaking as u are, player, but he is nice. It’s no accident that every other character ends the game dancing and chilling at a wedding together and snake/player is wasting his short remaining days being exposited to. Spending more and more time being stuck within the metal gear story, milking and draining every bit of information from it until eventually the player hates it. The game gives you fanservice the same way eating lasagna every meal for every day wil give u lasagna poisoning. I feel it’s a critique of the culture where everything is theorized and discussed and answers for every mystery are demanded. The game’s so stuck within itself that every boss is a remix of an old one. You literally press x to see pictures of whatever metal gear moment this scene references. I’m not qualified at all to talk about meta commentary and stuff but there’s a part in this game where snake asks why they kept big boss’ body alive. She says “because people need their hero to stay forever” and looks directly at the camera. I don’t think it’s really an avoidable topic when discussing this game.
I love Kojima but this is prob his most flawed dialogue and exemplifies a lot of problems I have with his later games stories. This and peace walker are the only mainline mgs games I’ve never replayed. There’s obviously too many cutscenes and the gameplay segments are mediocre after the first act. The game’s psych meter system is an interesting concept to shift the physical health first aid care system from mgs3 to mental health and make it more about ptsd, but it does quite literally nothing with it. The therapist character on your codec doesn’t even give you therapy she just says to wait in the corner until ur stress level goes down. Or says some shit like “the boss you’re fighting, unhappy armadillo, is unhappy. According to psychology, this is caused by lack of happiness. Good luck snake.” The bosses are terrible and the boss roster themselves have no personality (unless you like their wattpad trauma backstory that is omnisciently told to you by the gun merchant after you beat them) which is such a downgrade from every other game’s boss rosters, every single one of which I would have a drink with. I don’t even drink but I would defile my sacred mouth with the poison that is alcohol just to make fatman or sniper wolf or the pain happy. But there’s much to appreciate with what this game does.
“Don’t waste the life you have left fighting”
=
“Stop playing this video game 😡”
Maybe I’m completely illiterate or I’m projecting but my interpretation is valid and yeah. Also the ray fight and the ocelot fight are amazing. The end. Sry for the serious review.
I love Kojima but this is prob his most flawed dialogue and exemplifies a lot of problems I have with his later games stories. This and peace walker are the only mainline mgs games I’ve never replayed. There’s obviously too many cutscenes and the gameplay segments are mediocre after the first act. The game’s psych meter system is an interesting concept to shift the physical health first aid care system from mgs3 to mental health and make it more about ptsd, but it does quite literally nothing with it. The therapist character on your codec doesn’t even give you therapy she just says to wait in the corner until ur stress level goes down. Or says some shit like “the boss you’re fighting, unhappy armadillo, is unhappy. According to psychology, this is caused by lack of happiness. Good luck snake.” The bosses are terrible and the boss roster themselves have no personality (unless you like their wattpad trauma backstory that is omnisciently told to you by the gun merchant after you beat them) which is such a downgrade from every other game’s boss rosters, every single one of which I would have a drink with. I don’t even drink but I would defile my sacred mouth with the poison that is alcohol just to make fatman or sniper wolf or the pain happy. But there’s much to appreciate with what this game does.
“Don’t waste the life you have left fighting”
=
“Stop playing this video game 😡”
Maybe I’m completely illiterate or I’m projecting but my interpretation is valid and yeah. Also the ray fight and the ocelot fight are amazing. The end. Sry for the serious review.
I understand now why Kojima is so insistent that MGSV isn't actually "5". This is clearly the culmination of the series, the final and total statement after which anything else is just an elaboration on an existing theme. MGS4 is so thoroughly and maddeningly crafted from hundreds of layers of metanarrative, it almost doesn't matter that the actual play you do is only barely present within. All previous Metals Gear Solid were in a sense sequences of set pieces that blended the gap between play and cinema, so it makes sense that this goes hardest of all on the overlap. All the cutscenes are playable, and all the moments of play are just moments between cutscenes.
This isn't a complaint, by any stretch of the imagination. Without any shred of irony, I'll say I consider Kojima an auteur and this game a masterpiece. From the opening, where you flip through FMV channels including David Hayter being fictionally interviewed as David Hayter, it sets out to reproduce, parody, and critique a whole world of information technology and the culture produced by it. And somehow it succeeds! This one relatively short game embeds within itself all the manic violence on the battlefield of thought that the characterizes the 20th century. Even its labyrinthine plot with double-cross atop double-cross serves as a mirror of the care and attention that must be paid to understand the complexities of our own world.
As a cinematic experience, I prefer Metal Gear Solid 3. In terms of raw fun of play, I'll always pick Metal Gear Solid V. But as an art object, it's hard to imagine a game more complete in itself or absurdly competent in its work than Metal Gear Solid 4.
This isn't a complaint, by any stretch of the imagination. Without any shred of irony, I'll say I consider Kojima an auteur and this game a masterpiece. From the opening, where you flip through FMV channels including David Hayter being fictionally interviewed as David Hayter, it sets out to reproduce, parody, and critique a whole world of information technology and the culture produced by it. And somehow it succeeds! This one relatively short game embeds within itself all the manic violence on the battlefield of thought that the characterizes the 20th century. Even its labyrinthine plot with double-cross atop double-cross serves as a mirror of the care and attention that must be paid to understand the complexities of our own world.
As a cinematic experience, I prefer Metal Gear Solid 3. In terms of raw fun of play, I'll always pick Metal Gear Solid V. But as an art object, it's hard to imagine a game more complete in itself or absurdly competent in its work than Metal Gear Solid 4.
War has changed.
Metal Gear Solid 4 is an achievement in fiction not just as a game or "movie" as some would describe it, but as a work of transformative art made only possible by a man as intricate and fascinating as Hideo Kojima. What Guns of the Patriots is able to do is close a chapter on the world of a franchise born in the eighties, with poignant and predictive storytelling truly ahead of its time. There is nothing like Metal Gear Solid in media today, there was nothing like it before, and there may be nothing like it after. The way MGS and Kojima were able to weave meta commentary on politics, war, and sociocultural impact is nothing short of miraculous. Touching on this story without devolving into spoilers is rather difficult, but I will say to anyone willing to embark on this incredible journey, it is worth it. This is the first time in a long time that I am truly speechless and having a tough time writing my post gameplay review. They almost always flow naturally from my fingertips, written as if they were a stream of consciousness... but alas Kojima has checkmated anything I could put to proverbial paper.
Metal Gear Solid 4 is a conjunction of MGS2/3's sneaking playstyle and the storytelling of a feature film. There's countless moments where you as the player are invited to put down your controller and watch a narrative maestro at work, carefully weaving together histories and plotlines that developed fifty years before this game takes place. In a way Chekov's gun reigns true, as KojiPro was able to close almost every conceivable plotline and moment from the series in this title alone in the way of convenient plot elements and character monologues/soliloquy. The story that began with the hero known as Snake aka Big Boss, Zero, Ocelot, and Eva all comes to a halt as does the hatred that drove them and the world all apart. The control of information and the puppetering of the war economy become a driving force for the antagonists as they steer humanity into a dark age of conformance. Can Solid Snake, Otacon, and their crew of problematic miscreants save the world in a myserious war against their psyches? The answer is provided in Guns of the Patriots, and it will take you and your creative whimsy into a previously untapped locale of media.
With the recent news of the revival of MGS for modern platforms, I am cautiously optimistic for a new generation of gamers to encounter (heh) the incredible world that Metal Gear truly is. I hope they are able to dissect the commentary that is written in about our future and our past from the game they are playing. I hope they can laugh in one moment to ponder the existence of memetics as a cultural driving force in the next.
Shine on Big Boss, Solid Snake, Otacon, and Hideo Kojima.
War has changed.
Metal Gear Solid 4 is an achievement in fiction not just as a game or "movie" as some would describe it, but as a work of transformative art made only possible by a man as intricate and fascinating as Hideo Kojima. What Guns of the Patriots is able to do is close a chapter on the world of a franchise born in the eighties, with poignant and predictive storytelling truly ahead of its time. There is nothing like Metal Gear Solid in media today, there was nothing like it before, and there may be nothing like it after. The way MGS and Kojima were able to weave meta commentary on politics, war, and sociocultural impact is nothing short of miraculous. Touching on this story without devolving into spoilers is rather difficult, but I will say to anyone willing to embark on this incredible journey, it is worth it. This is the first time in a long time that I am truly speechless and having a tough time writing my post gameplay review. They almost always flow naturally from my fingertips, written as if they were a stream of consciousness... but alas Kojima has checkmated anything I could put to proverbial paper.
Metal Gear Solid 4 is a conjunction of MGS2/3's sneaking playstyle and the storytelling of a feature film. There's countless moments where you as the player are invited to put down your controller and watch a narrative maestro at work, carefully weaving together histories and plotlines that developed fifty years before this game takes place. In a way Chekov's gun reigns true, as KojiPro was able to close almost every conceivable plotline and moment from the series in this title alone in the way of convenient plot elements and character monologues/soliloquy. The story that began with the hero known as Snake aka Big Boss, Zero, Ocelot, and Eva all comes to a halt as does the hatred that drove them and the world all apart. The control of information and the puppetering of the war economy become a driving force for the antagonists as they steer humanity into a dark age of conformance. Can Solid Snake, Otacon, and their crew of problematic miscreants save the world in a myserious war against their psyches? The answer is provided in Guns of the Patriots, and it will take you and your creative whimsy into a previously untapped locale of media.
With the recent news of the revival of MGS for modern platforms, I am cautiously optimistic for a new generation of gamers to encounter (heh) the incredible world that Metal Gear truly is. I hope they are able to dissect the commentary that is written in about our future and our past from the game they are playing. I hope they can laugh in one moment to ponder the existence of memetics as a cultural driving force in the next.
Shine on Big Boss, Solid Snake, Otacon, and Hideo Kojima.
War has changed.
Fantastic game, I know it gets shit for being super cutscene heavy but I still enjoyed it and it was nice to have everyone still alive return and then the return to Shadow Moses was EVERYTHING
Even my girl Mei showed up
Even my girl Mei showed up
One of the greatest games I've ever played, hands down.
Everything about this game was remarkable to me. This final outing for Solid Snake is expertly written, voice acted and directed, and although the game put a lot of emphasis on its cutscenes, the quality of those cutscenes made it all worth it to me. The emotional weight of MGS4, particularly its ending, was something that hit me hard. The jump in graphical quality between MGS3 and this is absurd; I couldn't believe a game from 2008 running on a PS3 could look this good (the tears on faces when characters were crying shook me to my core, how could they look like that??). The gameplay was refined to a T - I loved that you could take a more action-oriented approach, and the wider variety of weapons to use this time around was something I personally enjoyed a lot. I did have some technical issues on the used PS3 I played this on, but that's a minor gripe compared to everything that this game did exceptionally well.
This review feels scattered; I'm writing it right after finishing and I have so many thoughts swirling around my brain. I found this game to be so so good in so many ways. I know people have their issues with it, but it was such a unique and powerful gaming experience for me. I've grown very attached to these characters and this series over the last few months, and I know I have a few more games to play before I'm finished, but this was the pinnacle of the Solid Snake story for me. It's hard to believe this game exists, but I'm damn glad it does.
Everything about this game was remarkable to me. This final outing for Solid Snake is expertly written, voice acted and directed, and although the game put a lot of emphasis on its cutscenes, the quality of those cutscenes made it all worth it to me. The emotional weight of MGS4, particularly its ending, was something that hit me hard. The jump in graphical quality between MGS3 and this is absurd; I couldn't believe a game from 2008 running on a PS3 could look this good (the tears on faces when characters were crying shook me to my core, how could they look like that??). The gameplay was refined to a T - I loved that you could take a more action-oriented approach, and the wider variety of weapons to use this time around was something I personally enjoyed a lot. I did have some technical issues on the used PS3 I played this on, but that's a minor gripe compared to everything that this game did exceptionally well.
This review feels scattered; I'm writing it right after finishing and I have so many thoughts swirling around my brain. I found this game to be so so good in so many ways. I know people have their issues with it, but it was such a unique and powerful gaming experience for me. I've grown very attached to these characters and this series over the last few months, and I know I have a few more games to play before I'm finished, but this was the pinnacle of the Solid Snake story for me. It's hard to believe this game exists, but I'm damn glad it does.
Titled "The Argument Against Porting Metal Gear Solid 4"
Written by a fan of Metal Gear Solid 4
Let's just get this out of the way. Porting games is good! Games are good! Fun, even. Games are works of art, etc. etc., all the things your parents said they weren't, you get it? I believe in porting games or remastering them, whatever.
So, of course I would be interested in the continually reoccuring topic of the Metal Gear Solid 4 plight. A game in one of the largest video game franchises ever made, what is technically the conclusion to said franchise and its leading character, in an IP owned by a still mostly-breathing publisher that loves to cash in on this IP... and it has been locked to the least popular platform of its generation for over fifteen years. Sounds tragic, right?
Honestly, I both find myself a bit miffed by the yearning desire people have for Metal Gear Solid 4 (especially so after recent events), and a bit worried. Worried in the sense that people are slowly construing a version of the game in their heads that isn't true to reality, a version of the game that isn't over 50% cutscenes and filled with purposefully awkward character beats or outright antagonistic (to the audience) narrative developments. A version of the game that's just "Woah it's Old Snake, war has changed, now he fights Liquid and Zero dies LOL" rather than the very heartfelt but also very tired soliloquy on the state of video games as a medium, the state of Metal Gear and Kojima's own ambitions, as well as the state of the fans surrounding Metal Gear.
Obviously, what I described isn't actually accurate to everyone. There's obviously people that still really don't like Metal Gear Solid 4 for perfectly valid reasons that I would never make fun of on the internet. Similarly, there's also people that fully understand what Metal Gear Solid 4 is. But, with the distance created between it and the current culture, it has achieved a status I see only in other games like it, games like Resident Evil Code Veronica.
Code Veronica has somehow succeeded into deluding people it's this integral part of the franchise. That despite Capcom already erasing it from ever happening in its current remakes, people act as if it's the very earth the rest of the franchise was built upon, when really, its most notable contribution to the core narrative was the return of Wesker (which most people accepted as a fact of life anyways). It's all headcanon and fanfiction subverting the actual significance of the game. It's a mirage, a layer of smoke that allows people to really see what they want to see.
That's the state Metal Gear Solid 4 has arrived in within the popular consensus. Now, I know, this doesn't actually address the title of the post, but I'm getting there. Metal Gear Solid 4, for a lot of people I see online, has become something it isn't. It has almost become what one would fantasize a sequel to Metal Gear Solid 2 as being, albeit with a cheat sheet laid out.
Is that a bad thing? I really don't think it is, unlike with my Code Veronica assessment, I think it's great honestly. Because it means people dedicated enough to seek out the fabled conclusion to Solid Snake and the rest of the crew will get all the bitter disappointment that was completely intended. Raiden's character moment at the end of 2 getting completely walked back, Meryl just becoming another soldier like the legendary war hero, Snake being a perverted old man, the church of Metal Gear... it's all great. And it would all be stunningly disappointing for a new fan, gaslighting themselves on what this game could be, to fully experience.
Just porting the game as is and letting it be available would completely sap that. The world would once more know- Metal Gear Solid 4 is not the grand sweeping conclusion, it was a messy game with a messy history that gives the expected in exchange for understanding. There's a blissful period where Metal Gear Solid 4 did cause people to understand Metal Gear Solid 2, to appreciate that game more because of how much 4 changed, and letting 4 remain as the mythical conclusion to 2's cliffhanger would continue that.
Or maybe I'm just coping about my five copies of the game and my three (3) PlayStation 3 systems. Honestly though, would you play Metal Gear Solid 4 without the disc swap scene?
(Konami wasn't going to port it anyways, and if they did the port would probably be RE4 Sourcenext tier lmao)
Written by a fan of Metal Gear Solid 4
Let's just get this out of the way. Porting games is good! Games are good! Fun, even. Games are works of art, etc. etc., all the things your parents said they weren't, you get it? I believe in porting games or remastering them, whatever.
So, of course I would be interested in the continually reoccuring topic of the Metal Gear Solid 4 plight. A game in one of the largest video game franchises ever made, what is technically the conclusion to said franchise and its leading character, in an IP owned by a still mostly-breathing publisher that loves to cash in on this IP... and it has been locked to the least popular platform of its generation for over fifteen years. Sounds tragic, right?
Honestly, I both find myself a bit miffed by the yearning desire people have for Metal Gear Solid 4 (especially so after recent events), and a bit worried. Worried in the sense that people are slowly construing a version of the game in their heads that isn't true to reality, a version of the game that isn't over 50% cutscenes and filled with purposefully awkward character beats or outright antagonistic (to the audience) narrative developments. A version of the game that's just "Woah it's Old Snake, war has changed, now he fights Liquid and Zero dies LOL" rather than the very heartfelt but also very tired soliloquy on the state of video games as a medium, the state of Metal Gear and Kojima's own ambitions, as well as the state of the fans surrounding Metal Gear.
Obviously, what I described isn't actually accurate to everyone. There's obviously people that still really don't like Metal Gear Solid 4 for perfectly valid reasons that I would never make fun of on the internet. Similarly, there's also people that fully understand what Metal Gear Solid 4 is. But, with the distance created between it and the current culture, it has achieved a status I see only in other games like it, games like Resident Evil Code Veronica.
Code Veronica has somehow succeeded into deluding people it's this integral part of the franchise. That despite Capcom already erasing it from ever happening in its current remakes, people act as if it's the very earth the rest of the franchise was built upon, when really, its most notable contribution to the core narrative was the return of Wesker (which most people accepted as a fact of life anyways). It's all headcanon and fanfiction subverting the actual significance of the game. It's a mirage, a layer of smoke that allows people to really see what they want to see.
That's the state Metal Gear Solid 4 has arrived in within the popular consensus. Now, I know, this doesn't actually address the title of the post, but I'm getting there. Metal Gear Solid 4, for a lot of people I see online, has become something it isn't. It has almost become what one would fantasize a sequel to Metal Gear Solid 2 as being, albeit with a cheat sheet laid out.
Is that a bad thing? I really don't think it is, unlike with my Code Veronica assessment, I think it's great honestly. Because it means people dedicated enough to seek out the fabled conclusion to Solid Snake and the rest of the crew will get all the bitter disappointment that was completely intended. Raiden's character moment at the end of 2 getting completely walked back, Meryl just becoming another soldier like the legendary war hero, Snake being a perverted old man, the church of Metal Gear... it's all great. And it would all be stunningly disappointing for a new fan, gaslighting themselves on what this game could be, to fully experience.
Just porting the game as is and letting it be available would completely sap that. The world would once more know- Metal Gear Solid 4 is not the grand sweeping conclusion, it was a messy game with a messy history that gives the expected in exchange for understanding. There's a blissful period where Metal Gear Solid 4 did cause people to understand Metal Gear Solid 2, to appreciate that game more because of how much 4 changed, and letting 4 remain as the mythical conclusion to 2's cliffhanger would continue that.
Or maybe I'm just coping about my five copies of the game and my three (3) PlayStation 3 systems. Honestly though, would you play Metal Gear Solid 4 without the disc swap scene?
(Konami wasn't going to port it anyways, and if they did the port would probably be RE4 Sourcenext tier lmao)
It's not a mistake, it's the best thing that could've happened.
I was fucking saluting by the end of it all despite its shortcomings thank you Hideo Kojima
This game is awesome. You're just lame.
I was so so so excited for this game to come out, but my parents wouldn't take me to the store the day it came out. Luckily my friend from up the road was going to Walmart that day, so I gave him the money to grab it. I waited for an hour or two (it felt like 10 years), and he finally got back, but he said "they didnt have it". Crushing my little 15 year old dreams of playing it that day. In retrospect all it did was build my hype for the game. Luckily the hype was met when I finally got it (the next day lol), and I absolutely adored this game, even if a lot of it did confuse me. At the time I didn't have a full grasp on the Metal Gear story, and still don't really today. But with that said I still thought the characters were amazing and the boss fights were epic especially the Beauty and the Beast unit. I would love for this game to be remade or remastered for current consoles. The only problem now would be finding time to sit down and watch the insanely long cutscenes.
Kojima Unleashed! (But It's Not a Good Thing)
In this game, Kojima's vices outweigh his qualities, especially his obsession with narrative and cutscenes. The duration and quantity of cutscenes in this game is ridiculous, and it's a truly unpleasant experience. It's surprising that this happened, since Kojima is a movie fan and should understand the importance of cutting and editing cinematic moments to keep the story moving forward without losing momentum.
As for the gameplay, there's not much to say. You basically just need to progress forward in order to watch the next cutscene. The new features and environmental camo have few opportunities to shine, since every situation is dictated by the narrative, not by your skill or creativity as a player.
This game is where Kojima lost himself in his own fame. It provides an excellent ending to the series in terms of writing, but as a video game, it fails on the most basic levels of structure. Don't play it. Bookmark the full cutscenes in your favorites and watch the story little by little. There's no game here to play.
In this game, Kojima's vices outweigh his qualities, especially his obsession with narrative and cutscenes. The duration and quantity of cutscenes in this game is ridiculous, and it's a truly unpleasant experience. It's surprising that this happened, since Kojima is a movie fan and should understand the importance of cutting and editing cinematic moments to keep the story moving forward without losing momentum.
As for the gameplay, there's not much to say. You basically just need to progress forward in order to watch the next cutscene. The new features and environmental camo have few opportunities to shine, since every situation is dictated by the narrative, not by your skill or creativity as a player.
This game is where Kojima lost himself in his own fame. It provides an excellent ending to the series in terms of writing, but as a video game, it fails on the most basic levels of structure. Don't play it. Bookmark the full cutscenes in your favorites and watch the story little by little. There's no game here to play.
foxlive
has the lowest of the lows but the highest of the highs if that makes sense. Kojima knows how to make this shit peak and it was still amazing, especially that finale.
“I never thought of you as a son, but I always respected you as a soldier... and as a man.“
“This is good... isn't it?“
has the lowest of the lows but the highest of the highs if that makes sense. Kojima knows how to make this shit peak and it was still amazing, especially that finale.
“I never thought of you as a son, but I always respected you as a soldier... and as a man.“
“This is good... isn't it?“
"War… has changed. When the battlefield is under total control, war becomes routine."
O ápice da identidade do Kojima em todos os aspectos, as coreografias cinematográficas exageradas, como um anime, temática profunda acerca de um conflito presente ou futuro, presença de MUITO robozão, e todas as besteiras e amarras que marcam essa franquia.
Eu fico feliz que o jogo funciona não apenas como conclusão, mas seus temas são extremamente profundos. O quanto é explorado o potencial da guerra com a tecnologia, sendo controlada por tal, das pessoas tratadas como ID, das armas como propriedade sem liberdade, a estimulação da guerra como mercado, além da desumanização dos soldados em relação as nanomachines, é uma realidade trágica e temível. O Old Snake, em seu ápice em escrita, personifica tal temática, uma arma móvel com propósitos políticos, com destino fadado ao conflito, que busca uma vida além dessa guerra. A metalinguagem nunca sai, mesmo que indiretamente em sua escrita, a prolongação do inevitável fim, dos personagens e da franquia, além de toda a crítica/representação do sistema FPS tão popularizado na época, como o sistema de câmera, loja do Drebin, e na utilização dos videogames para a guerra, tal qual VR.
Sua gameplay está no seu ápice até seu lançamento, gosto da liberdade como um shooter, onde consegue se destacar tanto no gunplay quanto no stealth, o sistema de camuflagem (mesmo que mais simplificado do que no 3), é super envolvente, acrescentando ao pacing e aprofundando a mecânica. O Kojima é o mestre quando se trata de envolver a gameplay com a narrativa, tal qual um jogo merece, a barra de psyche não só é uma mecânica boa na jogabilidade, como é usado nas cenas como psicológico/reação do Snake, além de promover a temática, afinal, ela conflita/limita o Snake quanto mais envolvido em guerra ele está.
Há quem critique o uso dos fanservices, mas considero uma execução perfeita para o publico alvo, ele traz e conclui personagens de toda a franquia, amo o envolvimento da Naomi e a exploração das falhas humanas do Raiden, além do uso direto de tal característica para a gameplay em level design e boss fights, as beasts, não apenas representações de traumas da guerra, também fazem alusão as lutas do primeiro jogo, além de serem extremamente divertidas e criativas em jogabilidade. Destaque a exploração gráfica do hardware do PS3, extraindo tanta expressividade e qualidade visual, e vejo um charme no tal filtro.
Eu não poderia pedir por uma conclusão melhor a franquia e seus personagens, a tal que me fez tão bem, fico grato. "This is good, isn't it?"
O ápice da identidade do Kojima em todos os aspectos, as coreografias cinematográficas exageradas, como um anime, temática profunda acerca de um conflito presente ou futuro, presença de MUITO robozão, e todas as besteiras e amarras que marcam essa franquia.
Eu fico feliz que o jogo funciona não apenas como conclusão, mas seus temas são extremamente profundos. O quanto é explorado o potencial da guerra com a tecnologia, sendo controlada por tal, das pessoas tratadas como ID, das armas como propriedade sem liberdade, a estimulação da guerra como mercado, além da desumanização dos soldados em relação as nanomachines, é uma realidade trágica e temível. O Old Snake, em seu ápice em escrita, personifica tal temática, uma arma móvel com propósitos políticos, com destino fadado ao conflito, que busca uma vida além dessa guerra. A metalinguagem nunca sai, mesmo que indiretamente em sua escrita, a prolongação do inevitável fim, dos personagens e da franquia, além de toda a crítica/representação do sistema FPS tão popularizado na época, como o sistema de câmera, loja do Drebin, e na utilização dos videogames para a guerra, tal qual VR.
Sua gameplay está no seu ápice até seu lançamento, gosto da liberdade como um shooter, onde consegue se destacar tanto no gunplay quanto no stealth, o sistema de camuflagem (mesmo que mais simplificado do que no 3), é super envolvente, acrescentando ao pacing e aprofundando a mecânica. O Kojima é o mestre quando se trata de envolver a gameplay com a narrativa, tal qual um jogo merece, a barra de psyche não só é uma mecânica boa na jogabilidade, como é usado nas cenas como psicológico/reação do Snake, além de promover a temática, afinal, ela conflita/limita o Snake quanto mais envolvido em guerra ele está.
Há quem critique o uso dos fanservices, mas considero uma execução perfeita para o publico alvo, ele traz e conclui personagens de toda a franquia, amo o envolvimento da Naomi e a exploração das falhas humanas do Raiden, além do uso direto de tal característica para a gameplay em level design e boss fights, as beasts, não apenas representações de traumas da guerra, também fazem alusão as lutas do primeiro jogo, além de serem extremamente divertidas e criativas em jogabilidade. Destaque a exploração gráfica do hardware do PS3, extraindo tanta expressividade e qualidade visual, e vejo um charme no tal filtro.
Eu não poderia pedir por uma conclusão melhor a franquia e seus personagens, a tal que me fez tão bem, fico grato. "This is good, isn't it?"
This review contains spoilers
"This is good…isn't it?"
I can’t think of any better words to definitely close the curtains on the entire Metal Gear Saga than this. It sounds sentimental, deceptively profound even, but very uncertain. It tracks when you would dig into the development of Metal Gear Solid 4: Guns of Patriots and discover how Kojima originally wanted no part of this finale but because of immense pressure from the fans, bringing in death threats, he reluctantly stepped back into the role as director to give them the game he felt they deserved. It’s why the end product we received feels like Kojima giving absolutely no fucks at all anymore with how overwhelmingly bitter and depressing this game feels. It’s easy to point at Solid Snake himself to understand this unbridled vision; he’s so eerily old and withered, not like the stealth action hero at his prime we’ve grown to love and adore. He’s reached the logical endpoint of his life, dealing with the harsh reality of his existence which prevents him from becoming part of this future he’s been fighting to preserve since the beginning. It’s not just him though, every beloved character from the past MGS games comes back to the fold here either being miserable, depressed, or reminds you of just how old they’ve gotten since their first appearances. This results in some very questionable creative choices when bringing closure for some of these lovely guys (some examples include: Naomi, Meryl, and maybe even Raiden), which arguably goes against their previous characterizations on what makes them click with us. If it wasn’t for the last hour where Solid Snake confronts XXXX then I’d say this is the most bitter sendoff you could give to fans on a series they’ve strongly followed behind. Instead, I was surprised by what got out from that last hour, that the last remaining moments of these characters in this series chronologically, was something bittersweet than…well, uh, just bitter?
Now, this isn’t perfect. Especially by direct comparison for the last three MGS games where the flaws bleed out so transparently that it feels weird to group this with the other three that I consider being unique masterpieces of gaming. Like I mentioned before, the characters are treated questionably and even while writing this I still don’t quite know whether I firmly believe that it succeeds in further enriching them with a sense of satisfying finality or retroactively weakens them in certain parts. The gameplay, I find, is to be the weakest out of the mainline entries. It’s basically MGS3: Snake Eater, even keeping mechanics it added like camouflage, but twisted to conform into a 7th Gen Military Cover Shooter which makes it feel creatively at odds with the tactical stealth action foundation that MGS excelled in. I guess it’s not too bad, but to address the elephant in the room, yeah, there’s very little actual gameplay in proportion to the amount of cut-scenes going on. I don’t…hate this, really. I actually enjoy most of the cut-scenes because I thought they were still very well directed, and the story proved to be at the very least engaging. The problem I have is how they’re placed between the segments of gameplay which feels stilted and gives you very little reason to engage with the stealth and combat mechanics like how you can do in the previous games because everything feels too tunnel-visioned and sparse. The bosses honestly miss much more than they hit this time around. They have the really cool premise of being monstrous versions of the older MGS1 boss but put into practice they lack what made those bosses feel creative and fun. Laughing Octopus is probably my favorite of the bunch because it made well use of a tight quarters space with enough legroom to navigate around while using your gadgets to find and attack her. Crying Wolf is only interesting just because of the significance of where you fight her. Raging Raven is just annoying, trenching dangerously into “7th Gen Bosses Were Really Whack” territory. Screaming Mantis was especially disappointing because while it cheekily invokes the meta of the original Psycho Mantis boss fight it’s just way too easy because it relies on using the exact same tactic from a previous boss fight, which also wasn’t very good btw, to defeat it. I think what dulls them for me is how they’re given these awkwardly placed exposition once you kill them to explain all this characterization for how and why they became the way they are. I won’t pretend MGS bosses are always like super deep characters with so much pathos going on, sometimes they can just be a pyrotechnic astronaut and that’s just wonderful, but when they are, the characterization they’re given feels well woven into the narrative and sometimes gameplay even. Here, it just feels low-effortly artificial and very unlike how Kojima usually tries to make the bosses truly memorable. I will give credit and say the Metal Gear boss fight, simplistic as the gameplay during it was, is a welcomed bit of fun fan service.
With how I’m laying out my criticisms, especially knowing my stance on this series from the last three games, it would seem like I don’t like this too much and even feels it almost betrays the spirit of MGS but oddly enough I think the inherent failures are what makes it so compelling too? Like, as much as it can feel like Kojima was projecting his bitterness and frustration onto this game, he also never once stopped showing how much he still deeply cares about these characters and this series he’s been instrumental in. Solid Snake is in the most unfavorable state that any of us would want him to be in but he finally broke free from the systems that had forever controlled his identity and accepted his fate in an incoming future where soldiers aren’t needed anymore. Meryl actually settling down with a guy (you can really tell Kojima gave no fucks at all once you find out who he really was) feels…odd, but satisfying because she can give up her adventurous desire to be some war hero and find comfort in living a peaceful life free from a need for soldiers. For the sake of pretending Metal Gear Rising isn’t canon here to make my point look totally legit, Raiden went on a roller coaster of a development since MGS2 but now has the chance to just hang up his cyborg ninja sword to become a father and feel complete as a person. The final boss is an all-timer. It rivals MGS3’s final boss for being Kojima’s artistic masterwork and for being my absolute favorite climax in any video game because of the sheer emotional catharsis I felt. It wasn’t just the culmination from playing the game from start to finish, but the culmination of your entire journey throughout these games to this very moment. Where everything has been building up to fighting the man who you’ve long since needed to settle the personal score with, who, like you, represents a part of this generational conflict that should’ve been put to rest long ago so that the future may prosper. This is kicked off with how the fight cycles through and plays each banger musical track from MGS1 (Encounter), to MGS2 (Tanker Incident), to MGS3 (Snake Eater), and finally here with MGS4 (Old Snake). It’s equally triumphant as it is sad to see two legendary soldiers, two twin sons, twin snakes even, far past their prime now, with too much history needing to be settled already and remain broken by it.
There’s other phenomenal moments like this here. Even amidst all the messiness, I find it hard not to still appreciate the way this still does an effective job of closing the book on this series which is unlike any other. I genuinely can't think of a more appropriate ending than this that makes me think deeply on my connection to these games and why they'll stick around with me. There’re games after that try to fill in the gaps of this story by moving away from Solid Snake, shifting the focus to other important characters and playing around with the gameplay formula MGS baked. However, I don’t think it detracts from how, although not in the most preferred circumstances, Kojima managed to end this all on his own terms, whether you like it or not.
also this is me after beating the game on RPCS3
I can’t think of any better words to definitely close the curtains on the entire Metal Gear Saga than this. It sounds sentimental, deceptively profound even, but very uncertain. It tracks when you would dig into the development of Metal Gear Solid 4: Guns of Patriots and discover how Kojima originally wanted no part of this finale but because of immense pressure from the fans, bringing in death threats, he reluctantly stepped back into the role as director to give them the game he felt they deserved. It’s why the end product we received feels like Kojima giving absolutely no fucks at all anymore with how overwhelmingly bitter and depressing this game feels. It’s easy to point at Solid Snake himself to understand this unbridled vision; he’s so eerily old and withered, not like the stealth action hero at his prime we’ve grown to love and adore. He’s reached the logical endpoint of his life, dealing with the harsh reality of his existence which prevents him from becoming part of this future he’s been fighting to preserve since the beginning. It’s not just him though, every beloved character from the past MGS games comes back to the fold here either being miserable, depressed, or reminds you of just how old they’ve gotten since their first appearances. This results in some very questionable creative choices when bringing closure for some of these lovely guys (some examples include: Naomi, Meryl, and maybe even Raiden), which arguably goes against their previous characterizations on what makes them click with us. If it wasn’t for the last hour where Solid Snake confronts XXXX then I’d say this is the most bitter sendoff you could give to fans on a series they’ve strongly followed behind. Instead, I was surprised by what got out from that last hour, that the last remaining moments of these characters in this series chronologically, was something bittersweet than…well, uh, just bitter?
Now, this isn’t perfect. Especially by direct comparison for the last three MGS games where the flaws bleed out so transparently that it feels weird to group this with the other three that I consider being unique masterpieces of gaming. Like I mentioned before, the characters are treated questionably and even while writing this I still don’t quite know whether I firmly believe that it succeeds in further enriching them with a sense of satisfying finality or retroactively weakens them in certain parts. The gameplay, I find, is to be the weakest out of the mainline entries. It’s basically MGS3: Snake Eater, even keeping mechanics it added like camouflage, but twisted to conform into a 7th Gen Military Cover Shooter which makes it feel creatively at odds with the tactical stealth action foundation that MGS excelled in. I guess it’s not too bad, but to address the elephant in the room, yeah, there’s very little actual gameplay in proportion to the amount of cut-scenes going on. I don’t…hate this, really. I actually enjoy most of the cut-scenes because I thought they were still very well directed, and the story proved to be at the very least engaging. The problem I have is how they’re placed between the segments of gameplay which feels stilted and gives you very little reason to engage with the stealth and combat mechanics like how you can do in the previous games because everything feels too tunnel-visioned and sparse. The bosses honestly miss much more than they hit this time around. They have the really cool premise of being monstrous versions of the older MGS1 boss but put into practice they lack what made those bosses feel creative and fun. Laughing Octopus is probably my favorite of the bunch because it made well use of a tight quarters space with enough legroom to navigate around while using your gadgets to find and attack her. Crying Wolf is only interesting just because of the significance of where you fight her. Raging Raven is just annoying, trenching dangerously into “7th Gen Bosses Were Really Whack” territory. Screaming Mantis was especially disappointing because while it cheekily invokes the meta of the original Psycho Mantis boss fight it’s just way too easy because it relies on using the exact same tactic from a previous boss fight, which also wasn’t very good btw, to defeat it. I think what dulls them for me is how they’re given these awkwardly placed exposition once you kill them to explain all this characterization for how and why they became the way they are. I won’t pretend MGS bosses are always like super deep characters with so much pathos going on, sometimes they can just be a pyrotechnic astronaut and that’s just wonderful, but when they are, the characterization they’re given feels well woven into the narrative and sometimes gameplay even. Here, it just feels low-effortly artificial and very unlike how Kojima usually tries to make the bosses truly memorable. I will give credit and say the Metal Gear boss fight, simplistic as the gameplay during it was, is a welcomed bit of fun fan service.
With how I’m laying out my criticisms, especially knowing my stance on this series from the last three games, it would seem like I don’t like this too much and even feels it almost betrays the spirit of MGS but oddly enough I think the inherent failures are what makes it so compelling too? Like, as much as it can feel like Kojima was projecting his bitterness and frustration onto this game, he also never once stopped showing how much he still deeply cares about these characters and this series he’s been instrumental in. Solid Snake is in the most unfavorable state that any of us would want him to be in but he finally broke free from the systems that had forever controlled his identity and accepted his fate in an incoming future where soldiers aren’t needed anymore. Meryl actually settling down with a guy (you can really tell Kojima gave no fucks at all once you find out who he really was) feels…odd, but satisfying because she can give up her adventurous desire to be some war hero and find comfort in living a peaceful life free from a need for soldiers. For the sake of pretending Metal Gear Rising isn’t canon here to make my point look totally legit, Raiden went on a roller coaster of a development since MGS2 but now has the chance to just hang up his cyborg ninja sword to become a father and feel complete as a person. The final boss is an all-timer. It rivals MGS3’s final boss for being Kojima’s artistic masterwork and for being my absolute favorite climax in any video game because of the sheer emotional catharsis I felt. It wasn’t just the culmination from playing the game from start to finish, but the culmination of your entire journey throughout these games to this very moment. Where everything has been building up to fighting the man who you’ve long since needed to settle the personal score with, who, like you, represents a part of this generational conflict that should’ve been put to rest long ago so that the future may prosper. This is kicked off with how the fight cycles through and plays each banger musical track from MGS1 (Encounter), to MGS2 (Tanker Incident), to MGS3 (Snake Eater), and finally here with MGS4 (Old Snake). It’s equally triumphant as it is sad to see two legendary soldiers, two twin sons, twin snakes even, far past their prime now, with too much history needing to be settled already and remain broken by it.
There’s other phenomenal moments like this here. Even amidst all the messiness, I find it hard not to still appreciate the way this still does an effective job of closing the book on this series which is unlike any other. I genuinely can't think of a more appropriate ending than this that makes me think deeply on my connection to these games and why they'll stick around with me. There’re games after that try to fill in the gaps of this story by moving away from Solid Snake, shifting the focus to other important characters and playing around with the gameplay formula MGS baked. However, I don’t think it detracts from how, although not in the most preferred circumstances, Kojima managed to end this all on his own terms, whether you like it or not.
also this is me after beating the game on RPCS3
the ps3 wasn't a great console, but it's an excellent prison
it is my very strong and firm belief that any metal gear solid content after mgs3 only serves to pointlessly muddy and dilute a series that had absolutely no reason to continue after that point, but also metal gear solid 4 has that final boss and just a really strong ending in general if we pretend johnny and meryl weren't in the game whatsoever so it's not entirely pointless, i guess. metal gear solid for your stoner cousin who thinks sneaking is lame and just wants to blast freaks
This is good... Isn't it? MGS4 Really isn't perfect in any way, in fact it's full of issues, but it is honestly as close as you could get to a perfect end to the whole series. A lovely conclusion to Solid Snakes story. Please play it if you can (and a get a PS3 to do so if you can't)
I really don't know how to put my feelings into words properly (so I won't), but I really love this game, maybe more than I should but I don't care.
I really don't know how to put my feelings into words properly (so I won't), but I really love this game, maybe more than I should but I don't care.
If you haven’t played Metal Gear Solid, then this may not make much sense. If you have played Metal Gear Solid, then this may not make much sense.
Manages to be an incredibly uneven experience with themes of progression, regression, and alienation, but is somehow not annoyingly self-aware about these issues being so ironically fitting. There are many games in the series I like more than this, but as a showcase of pure excess and indulgence this is fascinating. I love and hate this in about equal measure, but the thing that really frustrates me is my inability to feel strongly about its actual narrative goings-on.
Sure, I shouted and yelled at the stupid overexplained plot twists that make it worse, and I was excited at the setpieces, but it’s scattershot and incapable of selling emotional plot beats or conveying the interesting parts of its themes past expositing about them. Similarly, the underlying mechanics and control scheme are a series best (yes, better than V, fight me) but the dearth of stealth is made more painful when almost nothing is actually tested. Guards are rarely in interesting compositions or threatening patrols, and they’re so spread out that you can get in straight-up gunfights at times and not draw any ire. The few occasions that they break from this (the first part of Act 1, the second half of the final portion of Act 2, the climactic sneaking section in Act 5) are exhilarating and offer the same ass-clenching excitement and complex movement as the very best this series has to offer - as long as you do something other than tranq headshotting, because they decided to give you the MGS2 tranq pistol again except with effectively infinite ammo and a faster tranq time, for some fucking reason.
The narrative has a similar tendency to actively undercut its best elements, and once again you kind of have to go against what it itself is trying to guide you towards to actually fuck with what it’s putting down. MGS’ tonal variety, uncompromising quirkiness, and deeply human immaturity are all important parts of the series, but there’s a usual command of tone that is not present here. The sense of indulgence harms pacing a lot, giving emotional beats plenty of time to go stale before they’re followed up on or just outright ruining moments that the direction is trying to play as something you feel strongly about.
Other games have these issues at times (I’m sorry, Kojima, but I laughed at Otacon shouting “E-E!” when I was twelve and I’ll laugh at it when I’m ninety) but there’s a sense of cohesion and clarity granted by their commitment to a specific narrative and tone. The B&B Unit is the lowest point of mainline MGS because of its failure to do the same. I think what he was going for is conceptually cool; discussing the effects of endless war and using it to convey dehumanization both through literal war machines as well as overt fetishization is not an inherently bad idea, but the final execution fails to evoke any sense of real dissonance or horror because of the comical levels of ogling its blocking and camerawork indulge in. Shoving a woman’s pussy in the player’s face while she cries and vomits doesn’t really make me reflect on much, it just makes me want to fire Kojima out of a cannon into the sun.
The general inability to write women as something knowable or as people the male cast are capable of empathizing with is especially dire when motherhood is another one of the game’s main motifs alongside sensation, alienation, progression, regression, aligning the series timeline, misanthrophy, late capitalism, finding confidence in new technology and new people even as the world goes to hell, and, and, and...
As a whole, MGS4 is incapable of combining those threads, as its thematics are sidelined for plot-driven exertion as it attempts the unification of PS1 Tom Clancy theatrics with a cold Baudrillardian cyberpunk thriller, a sixties Bond homage, and Portable Ops into a single aesthetically, tonally, and narratively coherent series. The Metal Gear Solid Timeline was never a major point of consideration prior to this and the desperate attempt to connect it all is mostly accomplished via the majority of the cast being completely different characters with new designs, motivations, voices, and intentions.
Romance in this game is also handled awkwardly. I’m not touching “a man who shits himself for a living negs a woman into marriage” with a ten-foot pole, but it’s worth noting that Otacon’s grief over losing another love interest isn’t really as much about her loss but more because he’s frustrated that he had another woman die before he could fuck them. I think character assassination is cool, sometimes, and I think even Otacon’s plot beat here is something probably with degrees of intentionality, but it is intensely difficult to read charitably when this work is so unempathetic and afraid of its women.
You know a character whose shift for the worse is handled awesomely? Snake! I fucking LOVE Old Snake. His regression from his MGS2 personality into his frostier, more dick-ass MGS1 characterization makes total sense and the Psyche Gauge is a fantastic way to illustrate his insecurity and fragility. His circumstances are horrific, but the reaction to a joke of his bombing is almost as emotionally devastating as discovering he has six months to live and three months before he turns into a WMD. He combines the parallel threads of MGS and remains narratively engaging, aesthetically satisfying, genuinely hilarious, and emotionally-driven throughout.
The sections that connect most strongly to him and his struggle are generally my favorite parts of the game. Act 1 is really cool for how alienated he is from the conflict, being hot-dropped into “the middle east” (where? go fuck yourself, it’s terrorist country and it’s all indistinguishable to an american like you!) and given zero context for the war. The game incentivizes you to make huge shifts in this battle and tip the scales purely out of convenience to your unrelated efforts, and asking myself what I was really doing there was genuinely cool. The aesthetic language of seventh-gen modern military shooters is used to near-parody levels here and is then completely flipped with the insertion of psychotic MGS shenanigans and the protagonist’s frailty. His relationship with Raiden is the most consistently well-written, well-directed, well-blocked, and well-acted shit in the entire game, on top of Raiden’s stuff in this game being the coolest action in fiction. Act 4’s first few minutes got me genuinely wistful and misty-eyed even as I’d only played MGS1 for the first time earlier in the week*, and the final boss is deserving of its hype.
Basically everything to do with Big Boss and his former friends is a swing and a miss. The retcon introduced with Portable Ops is basically what ruined the plot of literally every single game in the entire franchise from that point onwards and I really wish that Kojima just treated it as non-canon and did his own fucking thing. The Christ and Eden symbolism in Act 3 makes me retroactively dislike similar elements in MGS3, even though that was a good deal less annoying about it. The ending’s emotionality is ruined so fucking hard by 25 minutes of exposition about its connection to MGS3 that I genuinely kind of think it should’ve ended at the expected point for the credits.
MGS4 offers an attempt to conclude a series while trying to build sequel hooks for a new generation of designers to take the reins, using the game’s increasing fascination with the PS3’s hardware and gimmicks as a genuine metaphor for learning to accept the present and future for what they are. It’s agonizing that these few moments of optimism go unrequited. This wasn’t the finale, none of the seeds sown here bore fruit, and instead of entering a new era, the same man made games trapped in their own stifling shadows. Instead of facing the future, the tides of the 2010s subsumed another and made alienated, nostalgic, and ultimately desolate attempts at a follow-up.
*Yes, I played every other mainline before starting 1 and 4. I didn’t grow up with a playstation and only recently could emulate MGS4, please understand :meowcry:
Sure, I shouted and yelled at the stupid overexplained plot twists that make it worse, and I was excited at the setpieces, but it’s scattershot and incapable of selling emotional plot beats or conveying the interesting parts of its themes past expositing about them. Similarly, the underlying mechanics and control scheme are a series best (yes, better than V, fight me) but the dearth of stealth is made more painful when almost nothing is actually tested. Guards are rarely in interesting compositions or threatening patrols, and they’re so spread out that you can get in straight-up gunfights at times and not draw any ire. The few occasions that they break from this (the first part of Act 1, the second half of the final portion of Act 2, the climactic sneaking section in Act 5) are exhilarating and offer the same ass-clenching excitement and complex movement as the very best this series has to offer - as long as you do something other than tranq headshotting, because they decided to give you the MGS2 tranq pistol again except with effectively infinite ammo and a faster tranq time, for some fucking reason.
The narrative has a similar tendency to actively undercut its best elements, and once again you kind of have to go against what it itself is trying to guide you towards to actually fuck with what it’s putting down. MGS’ tonal variety, uncompromising quirkiness, and deeply human immaturity are all important parts of the series, but there’s a usual command of tone that is not present here. The sense of indulgence harms pacing a lot, giving emotional beats plenty of time to go stale before they’re followed up on or just outright ruining moments that the direction is trying to play as something you feel strongly about.
Other games have these issues at times (I’m sorry, Kojima, but I laughed at Otacon shouting “E-E!” when I was twelve and I’ll laugh at it when I’m ninety) but there’s a sense of cohesion and clarity granted by their commitment to a specific narrative and tone. The B&B Unit is the lowest point of mainline MGS because of its failure to do the same. I think what he was going for is conceptually cool; discussing the effects of endless war and using it to convey dehumanization both through literal war machines as well as overt fetishization is not an inherently bad idea, but the final execution fails to evoke any sense of real dissonance or horror because of the comical levels of ogling its blocking and camerawork indulge in. Shoving a woman’s pussy in the player’s face while she cries and vomits doesn’t really make me reflect on much, it just makes me want to fire Kojima out of a cannon into the sun.
The general inability to write women as something knowable or as people the male cast are capable of empathizing with is especially dire when motherhood is another one of the game’s main motifs alongside sensation, alienation, progression, regression, aligning the series timeline, misanthrophy, late capitalism, finding confidence in new technology and new people even as the world goes to hell, and, and, and...
As a whole, MGS4 is incapable of combining those threads, as its thematics are sidelined for plot-driven exertion as it attempts the unification of PS1 Tom Clancy theatrics with a cold Baudrillardian cyberpunk thriller, a sixties Bond homage, and Portable Ops into a single aesthetically, tonally, and narratively coherent series. The Metal Gear Solid Timeline was never a major point of consideration prior to this and the desperate attempt to connect it all is mostly accomplished via the majority of the cast being completely different characters with new designs, motivations, voices, and intentions.
Romance in this game is also handled awkwardly. I’m not touching “a man who shits himself for a living negs a woman into marriage” with a ten-foot pole, but it’s worth noting that Otacon’s grief over losing another love interest isn’t really as much about her loss but more because he’s frustrated that he had another woman die before he could fuck them. I think character assassination is cool, sometimes, and I think even Otacon’s plot beat here is something probably with degrees of intentionality, but it is intensely difficult to read charitably when this work is so unempathetic and afraid of its women.
You know a character whose shift for the worse is handled awesomely? Snake! I fucking LOVE Old Snake. His regression from his MGS2 personality into his frostier, more dick-ass MGS1 characterization makes total sense and the Psyche Gauge is a fantastic way to illustrate his insecurity and fragility. His circumstances are horrific, but the reaction to a joke of his bombing is almost as emotionally devastating as discovering he has six months to live and three months before he turns into a WMD. He combines the parallel threads of MGS and remains narratively engaging, aesthetically satisfying, genuinely hilarious, and emotionally-driven throughout.
The sections that connect most strongly to him and his struggle are generally my favorite parts of the game. Act 1 is really cool for how alienated he is from the conflict, being hot-dropped into “the middle east” (where? go fuck yourself, it’s terrorist country and it’s all indistinguishable to an american like you!) and given zero context for the war. The game incentivizes you to make huge shifts in this battle and tip the scales purely out of convenience to your unrelated efforts, and asking myself what I was really doing there was genuinely cool. The aesthetic language of seventh-gen modern military shooters is used to near-parody levels here and is then completely flipped with the insertion of psychotic MGS shenanigans and the protagonist’s frailty. His relationship with Raiden is the most consistently well-written, well-directed, well-blocked, and well-acted shit in the entire game, on top of Raiden’s stuff in this game being the coolest action in fiction. Act 4’s first few minutes got me genuinely wistful and misty-eyed even as I’d only played MGS1 for the first time earlier in the week*, and the final boss is deserving of its hype.
Basically everything to do with Big Boss and his former friends is a swing and a miss. The retcon introduced with Portable Ops is basically what ruined the plot of literally every single game in the entire franchise from that point onwards and I really wish that Kojima just treated it as non-canon and did his own fucking thing. The Christ and Eden symbolism in Act 3 makes me retroactively dislike similar elements in MGS3, even though that was a good deal less annoying about it. The ending’s emotionality is ruined so fucking hard by 25 minutes of exposition about its connection to MGS3 that I genuinely kind of think it should’ve ended at the expected point for the credits.
MGS4 offers an attempt to conclude a series while trying to build sequel hooks for a new generation of designers to take the reins, using the game’s increasing fascination with the PS3’s hardware and gimmicks as a genuine metaphor for learning to accept the present and future for what they are. It’s agonizing that these few moments of optimism go unrequited. This wasn’t the finale, none of the seeds sown here bore fruit, and instead of entering a new era, the same man made games trapped in their own stifling shadows. Instead of facing the future, the tides of the 2010s subsumed another and made alienated, nostalgic, and ultimately desolate attempts at a follow-up.
*Yes, I played every other mainline before starting 1 and 4. I didn’t grow up with a playstation and only recently could emulate MGS4, please understand :meowcry:
"You've got it all wrong. You were the Lightning in that rain. You can still Shine through the Darkness."
I wanted to open this review with my favourite quote in the entire mgs franchise. Even though game have too many damn fanservicey moments to the point it becomes bothersome, I really admire it's dedication to go with a bang for solid snake's last journey.
This sentence is actually enough to convey what I think about this game, but of course I will add more detailed thoughts.
this game's trailer is actually the first time I had met with mgs when watching a game show at tv. I already told this on my mgs1 review but I wanted to rephrase here again. I also thought this game franchise related to something like xmen somehow because they were showing a cutscene about a old man that manages to down entire army without doing anything while doing a finger gun pose on a boat. Now, knowing the context, it's actually funny to look back on it.
Anyway, years later when I was searching about best ps1 games then I came across to mgs name again and then got the mgs legacy edition for ps3 immediately and started from there to here. So what did I think?
Gameplay
Gameplay feels smooth as a butter, you have millions of moves, easier camouflage system, better cqc system, lots of new weapons, even a remote robot to control. Heck Yeah! To the point I can confidently say that this game is the better than mgs3 in gameplay.
Also level design is peak mgs. You have lots of alternate routes now! More than any past mgs games! Use ladders to get from the rooftops or use ventilation pipes to slip past everyone, or use buildings in the environment to stay away from open areas etc.
It's too bad that this is the least punishing mgs game tho. I understand that it's about infiltration at war. But still, alert status is so generous in this game that, you can play the entire game like a call of duty game, like just run and gun no one can stop you(at least for the normal difficulty). To the point you can lead the resistance army if you play your cards right and can become a pmc leader somehow. Because of that I am pretty sure lots of people that played this game didn't take advantage of alternate routes and thought this game is just a bland cod copycat and that's just sad. Not just that, this game have 3 times more setpiece action moments then mgs3. This also doesn't help for it's reputation either.
I am not the biggest fan of cutsceney setpiece moments. But I still enjoyed really a lot with exploring every level to their last corner and had a great time myself, so I think gameplay is on the positive side.
Story(Warning I put Some spoilers)
Story is both emotional, hearbreaking and exciting. Also both confusing, unnecessarily too twist heavy and too much fanservicey.
This game's story is about teaming everyone we can find to learn about what Ocelot is trying to do and stop him once and for all while solid fights his biggest opponent. His deteriorating health.
It looks simple at surface, but mini stories adding onto it is what makes it slowly goes haywire to the point super confusing
When the first screen came in and when I saw the old snake. I felt sad and emotional but also praised Kojima. Not all writers have the decency to actually age their million years old characters. Also I loved this incarnation even more to the point for me: He is the best Snake.
In mgs1 he is nothing more than a confused soldier, in mgs2 he is a cool looking hero that saves the day. In this one he is a mentor to everyone. He knows his time is limited so he does his best to wake up everyone from their messy life problems and motivates to take the gun and continue fighting.
I also loved the returning mgs1 cast a lot. Everyone aged now and learned The reality. They learned what it means to just get thrown to the wayside after their mission done. Meryl, Colonel, Naomi, Mei Ling. Not just that they are thrown in this never ending Ocelot's war with each passing day. While they are fighting both Ocelot's soldiers and the reality, we are the one that pushes them for one last mission to get them up to their feet and for me this the greatest strength of this tile. One. Last. Push.
Get. Back. On. Your. Feet. One. More. Time.
Another thing I loved is ongoing comradery between Hal and Snake. Also Snake and Raiden. Watching them motivate each other to continue on is nothing but pure heartwarming.
Also I love Sunny. I love Sunny. I love Sunny. She is just a pure kid between all the grumpy old guys and her struggle with them to communicate is really fun to watch.
But I didn't enjoy how Raiden's relationship with Rose went to fire after mgs2 or how the ai fight affected his mental health not shown. I assume they were hiding this for planned mgs rising's first planned version. But unfortunely that thing turned into a straight kill the bad guys kinda storyline somehow. So... I am not happy about this situation.
I also didn't enjoy the Beauty and the beast unit. I liked the premise, I don't have a problem with that. They are supposed to be puppets of war that lost their emotions in the way just to get used for this meaningless war. But why they are just a meaningless versions of the previous mgs bosses? Why they are not their own characters? I don't get this. This feels like really unneccessary pandering to fans and feels like a missed oppurtunity to make them their own strong characters. Also why the heck it's implied that Psycho mantis is also with them? I really really disliked that. Why do you resurrect your character for no damn reason? To take them less seriously with more fanservice??
Also why Johnny the fart guy is back? Like seriously why? Also Kojima expected us to take him seriously while half of the cutscenes he is in, he is busy with just stumbling while everyone do their job. If you want us to take a dumb character seriously then you make him slowly more intelligent rather than suddenly doing that in the end in my opinion.
Also there is the infamous retcon of course. The mgs3 cast behind the ai work. I feel like this is a last minute addition rather than a considered one. Because mgs3 ended with the call with the Cia director just like the first mgs's end where Ocelot talks with the president. So that means first consideration was cia director to become the force behind the ai work. But I guess mgs portable ops wasted that oppurtunity so Kojima did a last minute addition because of that. Of course it's not a good twist and just like Raiden's sudden turn, this comes from nowhere because there is no build up to go on with. But also I always felt like people take this point a bit too much. All mgs games have retcons in their own way tbh. Mgs1 had the sudden unlogical clone conspiracy, mgs2 had the sudden impossible perfect brother thingy, mgs3 change the snake's villainy. Not just that, we don't know anything about the mgs3 cast other than they like movies and also they care about the mission. So that means they probably maybe changed after that. My problem isn't with the twist. It's with again, not showing why that happened. But even if I disliked the twist I don't think it suddenly "destroyed the whole mgs franchise" just because this twist exists like most of you.
But I loved, I loved, I loved everything with Ocelot. He brings everything full circle and finishes the mgs right there and there. The perfect finale. The ending point. It's just perfect ending. So because of this even tho this game have it's downs, it's ups are more on the positive side for me.
I would want to have less in your face fanservicey moments and less sudden twists but all in all I liked this game. Because of it's downs I don't think this is the best mgs. But ups are really strong that this make this game a perfect mgs ending. Nothing more and nothing less.
It's sad that this franchise didn't end here tho.
I wanted to open this review with my favourite quote in the entire mgs franchise. Even though game have too many damn fanservicey moments to the point it becomes bothersome, I really admire it's dedication to go with a bang for solid snake's last journey.
This sentence is actually enough to convey what I think about this game, but of course I will add more detailed thoughts.
this game's trailer is actually the first time I had met with mgs when watching a game show at tv. I already told this on my mgs1 review but I wanted to rephrase here again. I also thought this game franchise related to something like xmen somehow because they were showing a cutscene about a old man that manages to down entire army without doing anything while doing a finger gun pose on a boat. Now, knowing the context, it's actually funny to look back on it.
Anyway, years later when I was searching about best ps1 games then I came across to mgs name again and then got the mgs legacy edition for ps3 immediately and started from there to here. So what did I think?
Gameplay
Gameplay feels smooth as a butter, you have millions of moves, easier camouflage system, better cqc system, lots of new weapons, even a remote robot to control. Heck Yeah! To the point I can confidently say that this game is the better than mgs3 in gameplay.
Also level design is peak mgs. You have lots of alternate routes now! More than any past mgs games! Use ladders to get from the rooftops or use ventilation pipes to slip past everyone, or use buildings in the environment to stay away from open areas etc.
It's too bad that this is the least punishing mgs game tho. I understand that it's about infiltration at war. But still, alert status is so generous in this game that, you can play the entire game like a call of duty game, like just run and gun no one can stop you(at least for the normal difficulty). To the point you can lead the resistance army if you play your cards right and can become a pmc leader somehow. Because of that I am pretty sure lots of people that played this game didn't take advantage of alternate routes and thought this game is just a bland cod copycat and that's just sad. Not just that, this game have 3 times more setpiece action moments then mgs3. This also doesn't help for it's reputation either.
I am not the biggest fan of cutsceney setpiece moments. But I still enjoyed really a lot with exploring every level to their last corner and had a great time myself, so I think gameplay is on the positive side.
Story(Warning I put Some spoilers)
Story is both emotional, hearbreaking and exciting. Also both confusing, unnecessarily too twist heavy and too much fanservicey.
This game's story is about teaming everyone we can find to learn about what Ocelot is trying to do and stop him once and for all while solid fights his biggest opponent. His deteriorating health.
It looks simple at surface, but mini stories adding onto it is what makes it slowly goes haywire to the point super confusing
When the first screen came in and when I saw the old snake. I felt sad and emotional but also praised Kojima. Not all writers have the decency to actually age their million years old characters. Also I loved this incarnation even more to the point for me: He is the best Snake.
In mgs1 he is nothing more than a confused soldier, in mgs2 he is a cool looking hero that saves the day. In this one he is a mentor to everyone. He knows his time is limited so he does his best to wake up everyone from their messy life problems and motivates to take the gun and continue fighting.
I also loved the returning mgs1 cast a lot. Everyone aged now and learned The reality. They learned what it means to just get thrown to the wayside after their mission done. Meryl, Colonel, Naomi, Mei Ling. Not just that they are thrown in this never ending Ocelot's war with each passing day. While they are fighting both Ocelot's soldiers and the reality, we are the one that pushes them for one last mission to get them up to their feet and for me this the greatest strength of this tile. One. Last. Push.
Get. Back. On. Your. Feet. One. More. Time.
Another thing I loved is ongoing comradery between Hal and Snake. Also Snake and Raiden. Watching them motivate each other to continue on is nothing but pure heartwarming.
Also I love Sunny. I love Sunny. I love Sunny. She is just a pure kid between all the grumpy old guys and her struggle with them to communicate is really fun to watch.
But I didn't enjoy how Raiden's relationship with Rose went to fire after mgs2 or how the ai fight affected his mental health not shown. I assume they were hiding this for planned mgs rising's first planned version. But unfortunely that thing turned into a straight kill the bad guys kinda storyline somehow. So... I am not happy about this situation.
I also didn't enjoy the Beauty and the beast unit. I liked the premise, I don't have a problem with that. They are supposed to be puppets of war that lost their emotions in the way just to get used for this meaningless war. But why they are just a meaningless versions of the previous mgs bosses? Why they are not their own characters? I don't get this. This feels like really unneccessary pandering to fans and feels like a missed oppurtunity to make them their own strong characters. Also why the heck it's implied that Psycho mantis is also with them? I really really disliked that. Why do you resurrect your character for no damn reason? To take them less seriously with more fanservice??
Also why Johnny the fart guy is back? Like seriously why? Also Kojima expected us to take him seriously while half of the cutscenes he is in, he is busy with just stumbling while everyone do their job. If you want us to take a dumb character seriously then you make him slowly more intelligent rather than suddenly doing that in the end in my opinion.
Also there is the infamous retcon of course. The mgs3 cast behind the ai work. I feel like this is a last minute addition rather than a considered one. Because mgs3 ended with the call with the Cia director just like the first mgs's end where Ocelot talks with the president. So that means first consideration was cia director to become the force behind the ai work. But I guess mgs portable ops wasted that oppurtunity so Kojima did a last minute addition because of that. Of course it's not a good twist and just like Raiden's sudden turn, this comes from nowhere because there is no build up to go on with. But also I always felt like people take this point a bit too much. All mgs games have retcons in their own way tbh. Mgs1 had the sudden unlogical clone conspiracy, mgs2 had the sudden impossible perfect brother thingy, mgs3 change the snake's villainy. Not just that, we don't know anything about the mgs3 cast other than they like movies and also they care about the mission. So that means they probably maybe changed after that. My problem isn't with the twist. It's with again, not showing why that happened. But even if I disliked the twist I don't think it suddenly "destroyed the whole mgs franchise" just because this twist exists like most of you.
But I loved, I loved, I loved everything with Ocelot. He brings everything full circle and finishes the mgs right there and there. The perfect finale. The ending point. It's just perfect ending. So because of this even tho this game have it's downs, it's ups are more on the positive side for me.
I would want to have less in your face fanservicey moments and less sudden twists but all in all I liked this game. Because of it's downs I don't think this is the best mgs. But ups are really strong that this make this game a perfect mgs ending. Nothing more and nothing less.
It's sad that this franchise didn't end here tho.
What I would consider a perfect game. The game play and levels feel so grand and interactive compared to any of the other metal gear games before it, and is accessible to anyone, even if you suck at shooter or stealth games (like me). The story is one of the most powerful and emotional experiences i believe exists in a video game, and is a worthy conclusion to the metal gear story. I can not recommend playing this game enough.
Dudes rock
1 Coríntios 10:13
"Não vos sobreveio nenhuma tentação, senão humana; mas fiel é Deus, o qual não deixará que sejais tentados acima do que podeis resistir, antes com a tentação dará também o meio de saída, para que a possais suportar".
"Não vos sobreveio nenhuma tentação, senão humana; mas fiel é Deus, o qual não deixará que sejais tentados acima do que podeis resistir, antes com a tentação dará também o meio de saída, para que a possais suportar".
Chave de Ouro.
Hypei demais por não poder jogar antes, RPCS3 ainda não estava pronto, e quando fui jogar, fiquei surpreso de saber que esse é um jogo controverso e divisivo. Isso aqui é puro suco de MGS
Endereçando o maior dos "problemas", as tais cutscenes longas: eu não sei como alguém pode em sã consciencia reclamar disso numa franquia onde o forte sempre foi a história. Não é como se ter cutscenes grandes fosse piorar a qualidade da escrita, são duas grandezas não relacionadas. Pra quem amava e realmente gostava da franquia até aqui, as cutscenes são um deleite, tu fica mais tempo com os personagens que já gostamos faz tempo e alguns novos, tem mais tempo pra explicar tudo de relevante, worldbuilding e etc, e também mais tempo pra melhorar tua relação com tais personagens. Quando chegava a hora das cutscenes, eu ficava animado pras coisas que iam acontecer nela, e quando acabava, ficava ansioso pela próxima, porque, pra surpresa de 0 pessoas, elas são bem escritas e dirigidas
Outro ponto de destaque do game é a guinada fortissima pra ação no lugar do stealth. Infiltração e sneaking ainda tão disponíveis, mas vários foram os momentos em que eu vi que era melhor só meter o loco e aproveitar o FODASTICO gunplay do game, coisa que praticamente nunca acontecia nos outros títulos até agora. Não nego que senti um pouco de saudade do modo antigo, mas me diverti demais com a moda moderna. Alguns podem argumentar que a alma dos MGS anteriores estava no stealth, mas eu ainda me senti jogando um jogo da franquia, mesmo que o foco do gameplay fosse diferente
A única critica relevante que eu tenho pro jogo, é a escolha artística do visual dele. Os gráficos técnicos são bons, mas a decisão de usar aqueles filtros característicos da época e também usar umas cores meio apagadas durante o jogo todo me incomodou um pouco, não posso mentir. Não é um fator decisivo mas se faz bastante notório. Talvez tenha sido proposital? pra retratar melhor os cenários de guerra? não sei, só sei que não gostei
Sobre a história... não vou partir pro spoiler, mas é simplesmente tudo que se esperava e o que precisavamos, lindo e emocionante de doer, dá um desfecho digno pra quase todo personagem que importa. Falo quase, pq deve ter um ou outro que ficou de fora, mas não senti falta de ninguém, ao menos de cabeça... enfim, bem a moda MGS, traz várias reflexões, dessa vez sobre propósito, guerra e indiretamente, essa que foi a que mais me intrigou, iminencia da morte.
Esse é, sem a menor sombra de dúvidas, top 5 jogos do PS3 e também da sua geração, estar preso naquela plataforma é um crime contra a humanidade
Também acho que seja um dos 2 melhores da franquia, até agora. Decidir entre ele e o 3 tem se provado dificil, mas isso é papo pra outro dia
Hypei demais por não poder jogar antes, RPCS3 ainda não estava pronto, e quando fui jogar, fiquei surpreso de saber que esse é um jogo controverso e divisivo. Isso aqui é puro suco de MGS
Endereçando o maior dos "problemas", as tais cutscenes longas: eu não sei como alguém pode em sã consciencia reclamar disso numa franquia onde o forte sempre foi a história. Não é como se ter cutscenes grandes fosse piorar a qualidade da escrita, são duas grandezas não relacionadas. Pra quem amava e realmente gostava da franquia até aqui, as cutscenes são um deleite, tu fica mais tempo com os personagens que já gostamos faz tempo e alguns novos, tem mais tempo pra explicar tudo de relevante, worldbuilding e etc, e também mais tempo pra melhorar tua relação com tais personagens. Quando chegava a hora das cutscenes, eu ficava animado pras coisas que iam acontecer nela, e quando acabava, ficava ansioso pela próxima, porque, pra surpresa de 0 pessoas, elas são bem escritas e dirigidas
Outro ponto de destaque do game é a guinada fortissima pra ação no lugar do stealth. Infiltração e sneaking ainda tão disponíveis, mas vários foram os momentos em que eu vi que era melhor só meter o loco e aproveitar o FODASTICO gunplay do game, coisa que praticamente nunca acontecia nos outros títulos até agora. Não nego que senti um pouco de saudade do modo antigo, mas me diverti demais com a moda moderna. Alguns podem argumentar que a alma dos MGS anteriores estava no stealth, mas eu ainda me senti jogando um jogo da franquia, mesmo que o foco do gameplay fosse diferente
A única critica relevante que eu tenho pro jogo, é a escolha artística do visual dele. Os gráficos técnicos são bons, mas a decisão de usar aqueles filtros característicos da época e também usar umas cores meio apagadas durante o jogo todo me incomodou um pouco, não posso mentir. Não é um fator decisivo mas se faz bastante notório. Talvez tenha sido proposital? pra retratar melhor os cenários de guerra? não sei, só sei que não gostei
Sobre a história... não vou partir pro spoiler, mas é simplesmente tudo que se esperava e o que precisavamos, lindo e emocionante de doer, dá um desfecho digno pra quase todo personagem que importa. Falo quase, pq deve ter um ou outro que ficou de fora, mas não senti falta de ninguém, ao menos de cabeça... enfim, bem a moda MGS, traz várias reflexões, dessa vez sobre propósito, guerra e indiretamente, essa que foi a que mais me intrigou, iminencia da morte.
Esse é, sem a menor sombra de dúvidas, top 5 jogos do PS3 e também da sua geração, estar preso naquela plataforma é um crime contra a humanidade
Também acho que seja um dos 2 melhores da franquia, até agora. Decidir entre ele e o 3 tem se provado dificil, mas isso é papo pra outro dia
If you asked me my thoughts on this game a year ago, I think the score would honestly be lower. I've come around to this game a lot over time, but its still pretty heavily flawed.
The gameplay is honestly pretty good, but my main issue with this game is just the plot. Despite my love for MGS2, it left the franchise in a bit of a rough spot because of its purposeful ambiguity. It works for that game very well, but makes it a pretty hard point to continue off of. The way this game handles it, through its numerous retcons and reveals, is mostly kind of stupid. Between making the MGS3 crew the people behind the Patriots, to the way it explained away a lot of the supernatural aspects of Metal Gear with the infamous "nanomachines" excuse, its not the greatest. It doesn't help that the cutscenes this time around, aspects I've never actually minded despite others complaints about them, are very noticeable when they go on and on with exposition. Not all cutscenes are bad though. The Raiden vs Vamp fight was excellent, for example.
Metal Gear has a pretty big problem with misogyny in general , but its really rough in this game. The Beauty and Beast unit are almost comedic levels of terrible and the way it handles Naomi's character turns an intriguing character from the original MGS into another fridged woman to traumatize Otacon. EVA's also used as a tool for exposition before also dying to make Solid Snake sad, but at least that served more of a narrative purpose along with Ocelot and Big Boss' deaths. I do enjoy how Meryl is potrayed in this game though, as well as seeing Mei Ling again. No idea why she got paired off with the gag character who shits himself.
I've been pretty negative to this game so far without mentioning the fact that I actually genuinely like the way they end Solid Snake's character arc in this game. While the way it resurrects Big Boss is a bit stupid, getting that closure between the two of them is bittersweet and feels like the most appropriate send off for both of these characters. Ocelot was also handled excellently in this game, the final fight between you and him is amazing and features great callbacks to every game. I have some issues with the way they handle Raiden, but I overall think they handled the character well, as well as the dynamic they had with Solid Snake in this game being honestly a highlight to the writing.
So yeah, overall a pretty mixed bag. I think it concludes the series well enough for me not to hate it, but its definitely the most rough game in the series.
The gameplay is honestly pretty good, but my main issue with this game is just the plot. Despite my love for MGS2, it left the franchise in a bit of a rough spot because of its purposeful ambiguity. It works for that game very well, but makes it a pretty hard point to continue off of. The way this game handles it, through its numerous retcons and reveals, is mostly kind of stupid. Between making the MGS3 crew the people behind the Patriots, to the way it explained away a lot of the supernatural aspects of Metal Gear with the infamous "nanomachines" excuse, its not the greatest. It doesn't help that the cutscenes this time around, aspects I've never actually minded despite others complaints about them, are very noticeable when they go on and on with exposition. Not all cutscenes are bad though. The Raiden vs Vamp fight was excellent, for example.
Metal Gear has a pretty big problem with misogyny in general , but its really rough in this game. The Beauty and Beast unit are almost comedic levels of terrible and the way it handles Naomi's character turns an intriguing character from the original MGS into another fridged woman to traumatize Otacon. EVA's also used as a tool for exposition before also dying to make Solid Snake sad, but at least that served more of a narrative purpose along with Ocelot and Big Boss' deaths. I do enjoy how Meryl is potrayed in this game though, as well as seeing Mei Ling again. No idea why she got paired off with the gag character who shits himself.
I've been pretty negative to this game so far without mentioning the fact that I actually genuinely like the way they end Solid Snake's character arc in this game. While the way it resurrects Big Boss is a bit stupid, getting that closure between the two of them is bittersweet and feels like the most appropriate send off for both of these characters. Ocelot was also handled excellently in this game, the final fight between you and him is amazing and features great callbacks to every game. I have some issues with the way they handle Raiden, but I overall think they handled the character well, as well as the dynamic they had with Solid Snake in this game being honestly a highlight to the writing.
So yeah, overall a pretty mixed bag. I think it concludes the series well enough for me not to hate it, but its definitely the most rough game in the series.
The gameplay sucks, the new characters are not very good, but I can't deny that this game has touched my heart in ways that other games never could. From start to finish, Snake has been substantiated further and further, building on the idea of The Boss's legacy, a theme that has been prevalent in the entire series.
While the new characters introduced into this game are lackluster and don't get enough characterization or presentation to make them interesting, every recurring character has their story expanded upon in such a meaningful way that I barely care about the things the game doesn't do well.
It's hard to put into words how I truly feel about this game, but I can comfortable say it's a strong, but complicated love.
While the new characters introduced into this game are lackluster and don't get enough characterization or presentation to make them interesting, every recurring character has their story expanded upon in such a meaningful way that I barely care about the things the game doesn't do well.
It's hard to put into words how I truly feel about this game, but I can comfortable say it's a strong, but complicated love.
Shouldn't this be on Letterboxd?
Man...I... god damn no words, this game is the ultimate wrap up to the series I have never felt so rewarded for finishing a series its like watching the beginning and end of all your friends lives. Yeah the story is a little all over the place and the amount of plot twist can get annoying some times but it really does go to show you that "The Patriots" really did control everything and it all was just an incredibly huge domino effect obsoletely crazy I love it.