MGS4 decimated all the symbols and mannerisms of the franchise, until there was nothing left to enjoy. Phantom Pain exists in a completely irrelevant space, it is a game that has no "story to tell", because all the stories are already established.

More post-modern than MGS2, it serves to prove that Metal Gear never had a "fourth wall" and canonize the player as a in-universe character. We are a phantom that repeats the steps of the legend, but we are the legend. Venom Snake doesn't take more actions than the player would, because he does what Big Boss would do... and the player has already been Big Boss -twice-.

You are Venom, Venom is Big Boss, Big Boss is Snake, Snake was Solid Snake and Raiden. Choose who you want to be today, choose the game you want to play. Let it die but with hope for the future.

With the Phantom Pain, Kojima avoids the kind of spectacular descent into villainy that the fans wanted and the trailers promised. Instead he gives us the Sopranos season 6 of Metal Gear (but instead of a depressed mobster, we play as a depressed war criminal). Maybe that sounds like one of those hack game journalist "the dark souls of x" comparisons but it's true. The best case scenario for all of our favorite characters at this point is a swift death.

Spoilers below.

After losing everything in 9/11 Ground Zeroes, having his mind and body shattered, Snake just... gets what's left of the gang back together, rebuilds his army, and tries the exact same shit again. Only now, it is completely devoid of purpose; The revolutionary anti-imperialist cause of the 70's is all but forgotten. There's a sinking feeling of dread as the camera pans to "our new Mother Base" in the helicopter after rescuing Kaz; an undeniable sense of this being a pointless, doomed effort. But since being a soldier is the only thing these people know how to do, they are stuck repeating the cycle. They're just going through the motions at this point; You really get a sense of that as the once charismatic and driven Big Boss is rendered a mute with a permanent thousand-yard stare who just does whatever Kaz and Ocelot tell him. When he's at the base between these missions he just stares at nothing and vapes for five hours straight. Far from the badass antihero that people expected from trailers. Venom Snake is actually kind of a directionless loser, which makes him just as good of a player stand-in as Raiden.

And the missions in this game, while incredibly fun and well-made, really beg the age-old American question "What are we even doing in Afghanistan?". The plot feels totally incomprehensible at times; you spend the whole game going after random acronym organizations, shell companies, and mercenary groups with some vague connection to Bin Laden Skullface and al-Qaeda the American deep-state/Cipher. But every single character is lying and basically, everyone is Cipher. I had to repeat mission briefings multiple times at certain points to figure out what the hell was going on, and I still really don't. You could say that's just bad writing, but it works for what the game is trying to do, which is to make you feel like someone with a severe head injury. You're not supposed to understand this convoluted imperial entanglement - no one can. Especially not someone as fucked up as Snake.

And like Snake, the returning characters from Peace Walker are reduced to these broken versions of themselves. The only person who seems to be doing well is Ocelot, who has really come into his own as the sort dead-eyed psychopath that thrives in this kind of environment. Honestly? Good for him. Kaz on the other hand is a crippled, traumatized husk driven by revenge which is in turn driven by his own guilty conscience, and Huey has become a delusional, pathological liar focused solely on self-preservation. The few unnamed soldiers who survived 9/11 Ground Zeroes are literally running around as raving lunatics in the wilderness. All of these people were supposed to die a decade ago, and instead they linger on as hollow men. Even the metal gear Snake fights is broken - it literally doesn't work without someone's magical powers. It's just this technological abomination created by a madman. When it tries to chase Snake it gets stuck in rocks because its sheer size is self-defeating, and Snake easily sneaks away. Probably the most obvious meta joke in the game (watch the last couple minutes of the launch trailer and tell me the game isn't making fun of itself). These Metal Gear (Solid)s aren't what they used to be. I mean come on, Metal Gear Rex roared like a T-Rex; Metal Gear Sahelanthropus... makes monkey noises.

Even Skullface, who was built up in trailers and in Ground Zeroes as this terrifying villain, turns out to be just a sad joke like everyone else. His plan is the most nonsensical, harebrained shit ever explained by a villain in any Metal Gear game. He spent a decade practicing a 10 minute theatrical monologue about why he has to eradicate the English language and give everybody nuclear weapons to unite the world. It makes absolutely no sense, it's a parody of Metal Gear villains, which were already parodies of 80's movie villains. While Skullface is performing his monologue in the jeep (to the wrong person), Venom just hits him with that fluoride stare and loops through a 20 second idle animation. Then Sins of the Father just... starts playing as they sit across from each other in complete silence and avoid eye contact. It's one of the funniest scenes in the entire series, mistaken by many fans as simply botched and awkward on accident (rather than on purpose, which it was). And if that wasn't obvious enough, Skullface's defeat is just straight up slapstick comedy; he gets crushed by his own non-functional Metal Gear in the middle of another absurd speech. Genuine comedy gold.

I think a lot of people overlook the humor in this game. It's a lot more muted and sad than in the rest of the series, but it's smarter here than in any other entry. Miller's "why are we still here" speech is MEANT TO BE FUNNY AND OVERLY MELODRAMATIC, as well as depressing and hard to watch. The way it ends, with that uncomfortable silence before he just... awkwardly sits back down? That was on purpose. The tone is that this has all become a very pathetic (and funny) spectacle at this point. Kojima's famously asinine dialogue becomes something really transcendent here; each hollow, ham-fisted statement really drives home the fact that everyone is just making this shit up as they go along now, trying to weave some bullshit heroic narrative out of a long series of L's. Kojima is telling us: "This is you dude. This is the American Empire. Your War on Terror is as darkly funny as it is monstrous." MGSV isn't the self-serious death march the trailers painted it as.

The way V's cutscenes are shot adds to these moments too. The shaky, handheld camera builds documentarian realism and a sense of witnessing real atrocities in more high-stakes scenes, but can also lend a comedic awkwardness to these exchanges between characters. I've seen someone compare it to The Office as a criticism but I think that's a feature and not a bug, as strange as it sounds. Somehow, it just works so well for the tonal balancing act this game maintains. But what really elevates V's cinematography thematically is its use of continuous shots. One-takes are often criticized as being essentially a gimmick, style over substance. But in Metal Gear Solid, a series defined by the juxtaposition between hard military realism and over the top fantasy? It's pure genius. Having all of this insane Kojima bullshit captured in documentary style is so fitting for this series. Perfectly hyperreal.

Speaking of hyperreal, let's talk about Quiet. I've thought a lot about whether her portrayal plays into Kojima's contempt for the audience (and the Metal Gear series itself for that matter) or if it's just a part of the game that didn't land. I was inspired by this article to conclude the former. In classic Metal Gear fashion, Quiet's characterization is ridiculous and offensive, but ends up transcending its low-brow trappings and having an emotional payoff - all while playing into a greater meta-narrative. And if you don't like that method of storytelling, then you sure picked the wrong media franchise. That scene of her speaking for the first time to guide the helicopter through the sandstorm is genuinely great. It perfectly encapsulates Kojima's ability to make something ridiculous, cheesy, and melodramatic - but still deeply affecting and with a lot of heart.

But let's not get ahead of ourselves; Quiet is absolutely a biting self-parody of Kojima's own portrayal of women throughout his series and in the wider industry. It's Kojima saying "Is this what you like, you sick fucks?" or possibly a case of introspection on his part ("Oh God, is this what I like?"). She has some hastily made up bullshit explaining why she wears no clothes, she is literally incapable of speaking for herself, and she undergoes gratuitous violence and imprisonment. Kojima obviously knows how ridiculous this is; he's seen basically every American movie, he knows this isn't how you're supposed to respectfully portray women. No, Quiet's portrayal is purposefully exploitative. Her objectification starts out fairly straightforward, but it becomes more and more disturbing for the player to partake in as the game goes on, in order to heighten the dark absurdity of all of this (particularly in Chapter 2, which is where everything in the game falls apart, on purpose). The point of Quiet's character, and the whole game really, is to give players exactly what they want in the most contemptuous way possible. To make you "feel ashamed of your words and deeds", you could even say. MGSV is about getting exactly what you want (another MGS game, endless content, revenge on Skullface, a sniper gf) and resenting it.

To build on MGSV's portrayal of women though, I think it's important that Paz takes on the role that she does in this game. She makes an initially very confusing reappearance - that first moment when you see her is genuinely unnerving, as if even the strange, fucked up Metal Gear reality we have become accustomed to can't explain what we're seeing. Out of all the unrealistic fantasy bullshit we've seen in this series, a series where it feels like anything goes and there are no rules or laws of physics, this is the first moment where I went "Wait, what? How?" But as we find at the end of "Paz's" side story, this is all just a projection of Snake's fragmented psyche. It's incredible in the way it makes you question what's real and what isn't, while simultaneously using Paz as a proxy to just straight up diagnose Snake's own mental disorders. But it's tucked away where most probably never saw it - like a hidden repressed memory somewhere in Snake's mind.

It perfectly conveys his nostalgia for a time that was never even good, as well as his crushing guilt and helplessness over the death of Paz. It's genuinely moving. That last tape of hers is something right out of Silent Hill 2, and it adds such depth to Snake as this miserable person that you should absolutely not want to be. For Snake, women really are just these fixtures of loss, shame, and regret - feelings that no doubt originate from the killing of his mother figure, The Boss. And despite all of the talk about getting revenge and taking down Cipher, the only time we ever see Snake get animated in this game is in his scenes with Paz. Snake's desire for redemption, his insistence on nuclear disarmament that feels strangely out of place, and his statement at the start of the game that he's "already a demon"? It's all about Paz, man.

One thing fans really disliked about Snake's portrayal though is that he never really seems to become the demon we knew him as in the early games. We never get to see The Exact Moment Walt Became Heisenberg. Quite the opposite; his intentions appear to remain heroic all the way to the end. The only scene where Snake approaches the kind of evil fans wanted to see is when Snake appears to murder the children in the mines but ends up saving them instead. In trailers this was depicted as if Snake actually goes through with the murder; to me, this is the smoking gun of another Kojima bait-and-switch. Fans wanted a game full of shocking, flashy acts of villainy on the part of Snake, and Kojima deliberately lead them on in trailers (just like in MGS2) but denied them of it in the final game. What did fans get instead? Spreadsheets.

Don't miss the forest for the trees; Snake is absolutely responsible for unimaginable atrocities during the events of MGSV. But instead of sensationalist images of man's inhumanity to man, Kojima shows us the banal cruelty of what it really means to be at the top of the war machine: You're just... on the computer, like everyone else. And everything you're doing is represented through so many layers of abstraction that it is impossible to understand the consequences. This ties directly into the themes of Metal Gear Solid 2 as well; by issuing your orders via this computer interface, you are even further removed from what is happening in reality. You just do a cursory cost-benefit analysis before sending the next death squad to do god knows what in some African or South American country you don't even know the name of.

And when a disease outbreak hits Mother Base, Snake's iDroid computer makes it easy for him to commit ethnic cleansing, sentencing scores of people to imprisonment and death for the language they speak. It isn't until all of the digital artifice is stripped away, and Venom is forced to enter the quarantine zone and personally slaughter his own men, that he has any crisis of conscience (and you actually lose some of your best men, because Kojima never fails to give the story actual weight via game mechanics). And you can say "Venom didn't want to do it, he had no choice." But that's exactly the point. If the Metal Gear Solid series is about one thing, it's about individual will being crushed under the weight of systems and institutions that have become organisms in and of themselves.

It doesn't matter how much Venom yearns for redemption. It doesn't even matter if he's in charge of Diamond Dogs. The system of global private warfare that Big Boss and friends established has taken on a life of its own, just like the Patriots of MGS2. His own intentions are irrelevant. If this system demands he kill his own men, he will do it. If this system demands that Raiden later kill Solidus, he too will do it. All actions within the system, regardless of intent, perpetuate the cycle of violence, war, and profit. Even if Venom disarms all of the nukes and brings about the Peace Day that never came for Paz, it just sets up the nuke free world that we hear about Big Boss exploiting in the intro to Metal Gear 2.

That's why everything in MGSV takes on such a hilariously pathetic flavor. Nobody, not Big Boss, not Zero, not Skullface, not Venom, has any agency in any of this. They're just flailing, looking for anything they can do to enact their will in a system that now imprisons its own creators. The only person who manages to achieve victory over the system by the (chronological) end of the series is, once again, Revolver Ocelot. And he only does so by shedding all individuality, tearing his mind into a thousand schizophrenic pieces to always be one step ahead of the algorithm. And it's all because he wants to fuck Big Boss. In the end love wins, and I think that's beautiful. But for everyone else, they are doomed to perpetuate the system they so desperately want to be free of.

And to what end? The truth is that there is no point to this system beyond its own self-perpetuation - it's a Snake eating its own tail (pretty good, huh?). The soldiers of Diamond Dogs, and every other PMC, kill so that they can keep killing. It's all for the love of the game at this point. Sure, they did the same thing back in Peace Walker, but at least back then it felt like you were blazing a new trail, sending a ragtag band of freedom fighters to oppose imperialism - that's long gone now. Any lofty goals this organization may have had are now lying somewhere at the bottom of the Caribbean. All of the bullshit Snake and Kaz spout about "fighting for the future" and "standing tall on missing legs" are just words to talk the gun out of their own mouths, to convince themselves that they are still moving toward something.

But they aren't. In the end, after killing Skullface (which was made purposefully unsatisfying according to Kojima) as revenge for the events that destroyed his life a decade ago, Snake is left to rot in a hell of his own creation. There are no holiday celebrations or fun outings like on the Mother Base of Peace Walker, and it's far lonelier; Quiet is gone, Huey is gone, Paz is long dead but still haunts him, and some of his best men are dead by his own hand. His only friends, Kaz and Ocelot, are just using him in some schizo game of global 4D chess. Even Eli and the child soldiers are just suddenly gone, and your metal gear with them - much more simple and poignant than the infamously cut Episode 51 would have been.

The effort to rehabilitate these kids, and maybe figure out Eli's origins? Track him down after his escape? Nope, you never see them again; they're just another of Diamond Dogs' many failures, another part of yourself that will be missing forever. All you can do is take the same helicopter ride to do the same (flawlessly crafted) stealth infiltration missions again and again and again, because senseless murder is the only thing that makes you feel anything anymore. And with the battlefield always shifting to adapt to your tactics in-game, you'll never make any real progress. Oh yeah, and none of this is actually real and Snake's entire life is fake. And deep down, he knows it.

So what about the real Big Boss? Well, he's basically stuck in the same cycle, only he has shed even more of his humanity than Venom. By using Venom's life as a tool in his own geopolitical game, Big Boss has committed the very same crime that was done to him and The Boss back in Operation Snake Eater. And all you can do about it is watch him ride off into the sunset to pursue yet another stupid evil scheme (that we already know will be a total failure), before getting right back to work like the epic gamer you are. Because you the player, like Venom, love LARPing as Big Boss no matter how pointless and repetitive it becomes. You'll complain about how Chapter 2 is "unfinished" and repeats the same missions from Chapter 1 (those were optional just fyi), but guess what? You're still gonna play those missions.

The Phantom Pain left players with such a profound feeling of emptiness and loss, and that's the real reason they felt it was unfinished. It's not because of any actual missing content - MGS2 had far more cut content, backed up by documented evidence, not just internet memes. But the difference with that game was that there was no falling out between Kojima and Konami - a convenient scapegoat for any aspect of the game that wasn't what fans expected, anything that hit players the wrong way. But that gnawing void you feel playing this game, the feeling that something is missing? That was intended, and it's honestly pretty heavy-handed and obvious when you approach the game on its own terms. I mean do I even need to say it? The pain from something that's missing? It's barely subtext.

Kojima purposefully denied us almost all of the campy, goofy nonsense we love about the Metal Gear Solid series to force us to confront how fake and hollow the legend of "the world's greatest soldier" really is. The level to which this game irrevocably shattered the minds of Metal Gear fans, leaving them eternally chasing their White Whale (the Moby Dick references weren't for nothing), is a testament to how the whole experiment was a resounding success. It snuck past gamers' emotional defenses, subverted their media illiteracy, and made them actually fucking feel something for once. Something real, something about their actual lives even.

There's a reason the game ends on a mirror - it's because the game is trying to hold one up to its players. And they could never forgive it for that. For turning their shallow, campy video game funtime, where I get to be a cool secret agent and Solid Snake is my dad, into a challenging work of art that interrogates their life. Because it's true: you are Venom Snake. You're a slave to the whims of others, your own desire for satisfaction. You do not know why you do the things that you do. And everything you're doing here - in this video game, in the digital realm - is ultimately fruitless. Fans complain about how there's no real resolution or ending to the story in MGSV, but it seems to me like that's the point: There is no resolution to be found here - not for Snake, and not for you. None of this is moving toward any conclusion or moment of truth. If you spend your life playing video games, you certainly won't ever see one. Like Venom, you'll never understand yourself, never have a real identity. The only way out, to freedom, is to stop fighting - to stop gaming. You can't save MSF, or Paz, or the Boss, or even Snake - you can only save yourself. Get out while you can. In the words of Naomi at the end of MGS1: "You have to live, Snake."

And that's the way this story ends. No Mission 51 "Kingdom of the Flies", no unwinnable boss fight against Solid Snake like fans wanted. Not even a sudden cut to black à la the Sopranos. Just the same meaningless thing over and over again, but somehow getting worse, until it's just... over. Not with a bang, but a whimper. If Metal Gear Solid 4 was about accepting the death of something that has clung on to life far longer than it should (the Metal Gear Solid series), MGSV is about being denied that noble death, brought back to life in some profane necromantic ritual, forced to live a tortured, half existence for all of eternity.

MGSV is best summed up as Kojima's way of saying "You guys wanted to keep playing Metal Gear Solid forever? Fine, here you go. Enjoy yourselves." He knows that he'll never be able to give this series a conclusive ending - he already tried that with MGS4. Instead, Kojima hands it off to the player, letting each of us come to it on our own, privately. One day, each player will get tired of the same missions and the same fucking helicopter ride and quietly decide for themselves, once and for all "Alright... I guess Metal Gear Solid is over. I'm done." and turn the game console off.

The true first next-generation game. If the first one was a masterclass in metalinguistics, this is the full-on doctoral dissertation. Super tight and solid mechanics execution, wonderful presentation, rock 'n roll, Alan Wake II has it all.

LOTS of crashes on the Series S though, very unfortunate.

Sam Lake is the GOAT; and this is GOTY.

If Rusty has a million fans, I am one of them
If Rusty has five fans, I am one of them
If Rusty has 1 fan, that one is me
If Rusty has no fans, I am no longer alive
If the world is against Rusty, I am against the entire world 🗣️🔥

𝓬𝓻𝓾𝓮𝓵𝓽𝔂 𝓼𝓺𝓾𝓪𝓭 𝓻𝓮𝓿𝓲𝓮𝔀


𝓒𝓡𝓤𝓔𝓛𝓣𝓨 𝓢𝓠𝓤𝓐𝓓 by 𝖈𝖔𝖓𝖘𝖚𝖒𝖊𝖗 𝖘𝖔𝖋𝖙𝖕𝖗𝖔𝖉𝖚𝖈𝖙𝖘 🄶🄴🅃🅂 🄰🅆🄰🅈 with 🄰 🅆🄷🄾🄻🄴 🄻🄾🅃 🄾🄵 ˢʰⁱᵗ 🄹🅄🅂🅃 🄱🅈 🅅🄸🅁🅃🅄🄴 🄾🄵 🄸🅃🅂 คєรՇђєՇเς รєภรเ๒เɭเՇเєร. ₛᵢₘₚₗy ₜₕᵣₒwᵢₙg ₒᵤₜ wₒᵣdₛ ₗᵢₖₑ 🅲🆁🆈🅿🆃🅾🅲🆄🆁🆁🅴🅽🅲🆈 and l̶̦͍̖̪̂̄a̸̧͖͍̠̤̜͇̮̯̅̈́̈́̔ͅt̷̳͈̔̀̑̓̌͝ȅ̵̛̥̠̯̖̯̮̹̃̅͛̓̂ͅͅ ̵̪̜̹̏̆̃̂s̸̭̙̱̰̓̎̋̇͋̿́́͝t̷̥͔̤̰̻̥̱̪̝̄̊̇̉̓̌͜a̴̡̨͔̙̦͓̮̠̦̮̾̉̎̈́̕͝g̵̰̻̥̊̎͗̂̈́ẹ̷͉̼͉̠̲̪̰͑̈́͆̉̀̔̄͜ ̷̼̩̣̪̺̎̏͋͊ͅç̴̭͕̹̼̓̎̽͛̆̈̚͝a̶̡̟͖̫̫͙͙̤͖̾͂̉̄͒͛̌̓͘p̸͚̖̰̓̓̓̈́͛͋̎̏͠͠i̵̧̮͓̎͛̕ͅͅt̷̠͇͊́̒̃̽̃͌͗̊͒ą̷̝̹̥͇͖̫͖̭̉́̀̄͋́̌̏̕͜͠l̴̺̈́͐͒͋̾͑͊̈́͊̿i̷̧̞̹͗͆̓̆s̵̡͙̝̖̳̳̭͕͚̣͊̌̀̓̕m̷̧̉ seems to be enough to ֆǟȶɨֆʄʏ (っ◔◡◔)っ ♥ online video game critics ♥ 【ｔｈｅｓｅ　ｄａｙｓ．．．】! "𝙀𝙨𝙨𝙚𝙣𝙩𝙞𝙖𝙡𝙡𝙮 𝙪𝙣𝙧𝙚𝙫𝙞𝙚𝙬𝙖𝙗𝙡𝙚" is the 𝓒𝓞𝓦𝓐𝓡𝓓'𝓢 𝓒𝓛𝓘𝓒𝓗𝓔 𝓒𝓡𝓘𝓣𝓘𝓠𝓤𝓔 𝕨𝕙𝕖𝕟 𝕚𝕥 𝕔𝕠𝕞𝕖𝕤 𝕥𝕠 V⃣ I⃣ D⃣ E⃣ O⃣ G⃣ A⃣ M⃣ E⃣ R⃣ E⃣ V⃣ I⃣ E⃣ W⃣ S⃣, but I think ｃｒｕｅｌｔｙ░ｓｑｕａｄ（ゅヮ桜）, by [̲̅v][̲̅i][̲̅r][̲̅t][̲̅u][̲̅e] of its ιⓝşίˢᵗ乇ᑎς𝐄 on 𝓃𝑜𝓃-𝒸𝑜𝓂𝓂𝒾𝓉𝒶𝓁 𝓅𝑜𝓈𝓉-𝓅𝑜𝓈𝓉-𝓅𝑜𝓈𝓉-𝓅𝑜𝓈𝓉-𝓅𝑜𝓈𝓉-𝓅𝑜𝓈𝓉-𝓅𝑜𝓈𝓉-𝓂𝑜𝒹𝑒𝓇𝓃 𝟤𝟢𝟤𝟢𝓈 𝒾𝓇𝑜𝓃𝓎. truly đỖ𝕖Ⓢ ʏᎸɘb ᴎɘƚᎸo 𝘵𝘺𝘱𝘪𝘤𝘢𝘭 𝘨𝘢𝘮𝘦-𝘫𝘰𝘶𝘳𝘯𝘢𝘭𝘪𝘴𝘵 𝘵𝘦𝘤𝘩𝘯𝘪𝘲𝘶𝘦. . . . . . . . ᶜᴬᴺ ʸᴼᵁ ᴵᴹᴬᴳᴵᴺᴱ ᴼᴾᴱᴺᴵᴺᴳ ⒺⓁⒺⒸⓉⓇⓄⓃⒾⒸ ⒼⒶⓂⒾⓃⒼ ⓂⓄⓃⓉⒽⓁⓎ OR 🅶🅰🅼🅴🆂🅼🅰🆂🆃🅴🆁 🅼🅰🅶🅰🆉🅸🅽🅴 αɳԃ ｒｅａｄｉｎｇ 𝕤𝕠𝕞𝕖𝕥𝕙𝕚𝕟𝕘 𝓁𝒾𝓀𝑒 𝓉𝒽𝒾𝓈 about c̴̢̹͔̦͍̯̮͙̜̓̕r̸̦̭̮̼͉̲̒̈́u̴̫͉̞̓̅͌̓̾̚͠e̵̡̠̹̩̱̓̄͂͆́̾͜ļ̷͉͇̱̈́͝ť̵̨̺̗̹̪̑̚ỵ̷̰̥̥̼̈́ ̶̪̙̘͇́̉̉͗̑̇͊̄͌̕ş̶̠͕̭̈́̄͌q̸̧̤͋̎̈̑̈́̆̐̈́͌̿u̸̼̞̟̬̪̻̰̖̇͝a̴̢̞̻̹̩͌̍̅̅d̵̨̨̳̖͔̈̓͠?


🄶🅁🄰🄿🄷🄸🄲🅂0/10
🄶🄰🄼🄴🄿🄻🄰🅈6/10
🅂🄾🅄🄽🄳4/10
🅁🄴🄿🄻🄰🅈🄰🄱🄸🄻🄸🅃🅈7/10
🄾🅅🄴🅁🄰🄻🄻8/10

at the time of Army Of Two, 50 Cent blood in the sand, Stranglehold, Homefront, Uncharted or even the first Kane & Lynch, commercial video games seemed to point to a mindless mass future in which firearms and killings in suburvial environments no longer than 6 hours , with a compulsory multiplayer it sounded like money and almost all of them celebrated themselves unaware of their imperialist premises.
I have always had a fascination for suburban spaces as a setting for drama or action, but I am a bit pissed off by the approaches that see them as a simple playground for violence or misery pornography, which is exactly how it is usually seen under American lenses.
so why not crash the van into the avenue of American shooter and, for once, honestly present what happens here? no context no motivation no satisfaction, just a graphic document in Shanghai, a city often seen by Westerners as a playground for pleasure or shady business, with a conscious camera alerted to cinematic intentions and aesthetically unsightly, ireespectful with the eyes and the hands of the player but, curiously, more visually respectable with the deaths, censoring genitals and disfigurements (taking notes Naughty Dog?) and I don't know what the hell is wrong with the sound.
maybe because the IO interactive anthology doesn't know many more verbs than "kill", you know, the hitman saga, freedom fighters (lol) and they know it, they wanted to take a chance with an exercise on the shame of some "antiheroes" in a "field of games"

Also, play Reciever, it is good and also faithfully presents the use of a firearm

YOU -- "But what if humanity keeps letting us down?"
STEBAN, THE STUDENT COMMUNIST -- "Nobody said that fulfilling the proletariat's historic role would be easy. It demands great faith with no promise of tangible reward. But that doesn't mean we can simply give up."
STEBAN, THE STUDENT COMMUNIST -- "I guess you can say we believe it *because* it's impossible. It's our way of saying we refuse to accept that the world has to remain... like this..."

---

A 2 week old fetid corpse hangs from a tree, a ghastly sight; a human life reduced to a macabre piñata for small children to pelt stones at in a twisted idea of entertainment. The children themselves, a hopped-up junkie and a nameless orphan respectively, both the result of a broken system that has unequivocally failed them. The district of Martinaise, pockmarked by the remnants of revolutionary war, abandoned by the world at large, it and its people subject to the pissing contests of petty government officials to see who is lumped with the task of looking after the place, the site of a months-long, on-the-brink-of-warfare labor dispute that's about to boil over with the lynching of a PMC soldier who was meant to "defuse" the situation. All of this, left to the hands of a suicidal, vice-riddled husk of a cop who can barely get his necktie down from the ceiling fan without potentially going into cardiac arrest. Disco Elysium is an undeniably depressing experience that isn't afraid to cover the messy spectrum of humanity, from insane race-realist phrenologists to meth-addled children to every kind of ghoulish bureaucrat under the sun. The district of Martinaise, as fictional as it is, is a place I've seen before, reflected in the streets, reflected in the people, reflected in the system; an undeniably full-faced look at the horrors faced by those below, and the resulting apathy expressed by those above.

---

SUGGESTION -- Brother, you should put me in front of a firing squad. I have no words for how I failed you.

---

Every aspect of Disco Elysium reflects its overall theme of "failure". Martinaise itself has been failed by the institutions meant to help it, abandoned by the powers that be, who only intervene when it looks like anyone is trying to enact change. NPCs can reminisce on days gone by, of the tragedies in their past, or of their cynical rebuke of the future. The various schools of political thought you can adopt and their representatives are mercilessly picked apart, from the Communists too entrenched in theory to take notice of the suffering around them, to the frankly pathetic fascists who use their prejudiced beliefs to shield themselves from their own flaws. Our protagonist is constantly haunted by his past and even starts the game recovering from his own self-destructive ways, and on a gameplay level, the way that our intrepid detective can fumble the bag in nearly every way imaginable and still be allowed to make progress in investigations and sidequests is commendable. Failure is so integral, so vital to Disco Elysium that it's not only an aspect deeply ingrained in its story, but also its very gameplay.

---

VOLITION [Easy: Success] -- No. This is somewhere to be. This is all you have, but it's still something. Streets and sodium lights. The sky, the world. You're still alive.

---

And yet, despite this cloying cynicism and acknowledgement of the ugliness of reality, Disco Elysium is magical because of the fact that it ultimately believes that there is a world worth fighting for in the end. It would be incredibly easy to be defeatist in the face of such constant, institutional and societal failure we are presented with in Revachol, to be ceaselessly apathetic in the face of your own overwhelming shortcomings, to fall back into the comfort of old vices instead of facing our problems head on. Still, Disco Elysium has that fire inside of it, an untapped hatred for fence-sitting, for passivity in the face of oppression and valuing the status quo over any meaningful change. Roll up your sleeves and fight for a better future.

---

RHETORIC -- "You've built it before, they've built it before. Hasn't really worked out yet, but neither has love -- should we just stop building love, too?"

---

STEBAN, THE STUDENT COMMUNIST -- "In dark times, should the stars also go out?"

---

RHETORIC -- "Say one of these fascist or communist things or fuck off."

---

Disco Elysium believes in the people. It believes in humanity, no matter how messy our supposed paragons are, or how flawed our beliefs and values can be, or how cyclical we can be in the face of it all. In a city plagued by an inability to move on, Disco Elysium says that there is always a possibility of change. If two broke Communists and a junkie wino can defy the very laws of physics in a slummy apartment, no matter how briefly, with the power of their faith and co-operation; imagine what we could do as a group. As a city. As a species.

Disco Elysium says that the cup is half full. Even if we won't see the own fruits of our labor in our lifetimes, it still looks you in the eyes and says:

"The only promise it offers is that the future can be better than the past, if we're willing to work and fight and die for it," a conviction belted out by the youths of tomorrow.

"Un jour je serai de retour près de toi", written in bright burning letters across a market square.

"TRUE LOVE IS POSSIBLE/ONLY IN THE NEXT WORLD--FOR NEW PEOPLE/IT IS TOO LATE FOR US," painted on the side of an eight-story tenement.

"Disco Inferno...," a lone voice belted out through a boombox's speakers across a frost-bitten sea.

---

MANKIND, BE VIGILANT; WE LOVED YOU