kind of hard to rate, but despite its huge following i feel like this game still isnt appreciated enough. sure its an online shooter but not only is it an innovater of its own genre, but its an excellent piece of art in its own right.

the gameplay has been analyzed up and down by much more eloquent than i, but the art design is iconic, the sound design is phenomenal, and it was written when valve was at the top of their game (meaning it was dry, witty, hilarious, and generally incredible)

and the voice acting. god damn. the voice acting elevates this game to another level. from Grant Goodeve's work as the laid-back Engineer, John Patrick Lowrie as the respectful Australian Sniper, Gary Schwartz for his iconic yells, and of course the late but still great Rick May for his performance as the ever-wonderful Soldier. god bless all these men for their work on an iconic, game-changing work of art that will forever be in the hearts of so many people.

no, yeah, its actually as bad as everyone says

a barren overworld with frustrating survival mechanics and strangely sloppy controls despite coming from the same engine as the extremely tight controls of MGSV

a repetitive gameplay loop featuring scavenging to engage in an all too familiar crafting system and account for the tactless progression structure of getting higher numbers to poke enemies with sticks

a story literally nobody in the world cares about that at the very least has the good sense to disassociate with the rest of the franchise. seriously, when MGSV has consistently better and more quotable writing than your game, something has gone wrong during development

the most boring, bland art direction and sound design that drones deeper and deeper until eventually it alongside everything else blends into itself creating a brown and gray migraine of a world with no consequence

Metal Gear Survive (which unfortunately shares the acronym MGS) is an offense as a video game and as a part of video game history, deciding that it deserves to exist alongside the rest of the MGS franchise - that time and time again has redefined the medium - despite having nothing to add to this franchise, or to games whatsoever.

i dont blame the people involved. i really dont. i blame konami for their shitty practices and forcing poor, quite possibly very talented people to create a sealed product that falls in line with open world tropes as opposed to creating distinct, provocative art that pushes video games forward like all the other MGS games did. im very glad i got this game for free but honestly i should have been paid compensation for this.

Sony has had their fair share of open-world titles, to varying success. More often than not, they fall under traditional open world cliches most prominently set in stone by the likes of Far Cry 3; where some open world games like Dark Souls or Wind Waker prioritize exploration, other open world games like inFamous Second Son or Marvel's Spider-Man are more about finding collectables and liberating enemy camps - both of which to clear the map and add towards a 100% completion goal. Ghost of Tsushima, at first glance, tries to have it both ways.

One thing I initially liked a lot about this game is that there is no clear way to clear the map or where the collectables are - you must let the wind guide you. At first, it’s awesome just being led around this gorgeous world and finding its hidden secrets naturally. It feels like a real place with lots of hidden depth that I, Jin Sakai, am really exploring. Quickly, though, this pretty facade falls apart.

There's little in the way of actual exploration in this game. More often than not, the most efficient way of finding something is choosing from a menu what you want to find and then spamming the windpoint in the direction of level-ups. Rarely will something surprise you in this game without you directly asking to see it.

It really is a shame, too, BECAUSE the game looks so good. this game has been praised to no end about its environmental visuals, and it truly is something to praise, even for its mechanical purpose. Trees and grass swaying in the direction of the guiding wind looked and felt incredible, and in some story missions that didn’t have clear guidance there was usually a nearby fire blowing in the direction of progress.

And those visuals hold up in the combat and enemy animations, typically with very obvious telegraphs that were consistent but varied enough to sometimes catch me off-guard. Combat as a whole generally felt very good, minus some moments where I couldn’t parry out of a combo-ender. The only real problem is its variety.

Taking this game as just its linear missions and campaign, it’s quite short. Only about 24 missions in all, most with a very strong focus on combat. Problem is, new enemy types only appear per Act (of which there are three) and even then, there are only really about 5 to speak of. That may seem like plenty for a short game, but any variation they get is typically just more health or at worst, forcing certain strategies like dodging instead of letting the player parry (which seems like a decent mix-up, but functionally it’s an identical system, both even have the same upgrade that lets you get extra damage off if you do it at the last second.)

That wouldn’t be a problem if the player had a wide variety of options to handle opponents with, but you don’t. Parry, dodge and guard break is your lot as far as base samurai combat goes. There are also ghost weapons that usually function more as wide, enemy-clearing bombs or one-shot insta-kills like the kunai or bow, but more often than not I would just use them to eliminate the more annoying enemy types like brutes so that parrying the other guys would be more enjoyable. I guess this could be construed as a good thing, but as it stands they feel like more and more ways to make your character overpowered than making combat more interesting to engage with.

Duels are awesome though.

I have a lot of nits to pick with this game, but I do want to stress that it is a very enjoyable experience. Combat is viscerally satisfying, but lacking in the kind of mechanical depth that'll keep me coming back to it. Exploration is gorgeous, but still sometimes feels more like chasing waypoints than truly partaking in a world. I didn’t touch on it, but the story can occasionally be powerful and well-written, though often doesn’t dedicate enough to its themes of honor and tradition to make anything truly special, perhaps barring the ending.

A lot of this game is good, sometimes even great, but it's not confident enough in itself to really thrive.