NotSolidSnake
2022
you haven't done NOTHING
2013
A 'boutique' game. Tom Francis' vision for a Deus-Ex inspired corporate espionage/murder mystery/hacking game doesn't overstay its welcome. The soundtrack is an absolute banger of techno-jazz and the writing is also a real highlight, full of silliness reminiscent of Airplane! and The Naked Gun. The only downside is the game's length; clocking in around 3 hours for any% and about 7 hours for 100% achievements and max level score, the game is over before it really feels like the mechanics are fully realized.
2020
For lack of a better word, Doom (2016) felt metal, in its frenzied gameplay, hellish environment, and especially in the music. Eternal removes everything metal about 2016 except the music.
Hugo Martin, one of the directors of this game, described the combat loop as a dance -- focused, flowy, but not as frantic as 2016's mosh pit.
The gameplay of Eternal and the environments of floating islands and castles would be better matched to Blue Danube than Mick Gordon's work -- a dance just doesn't fit the themes established by 2016.
Speaking of Gordon, the soundtrack lacks the punch of 2016's OST -- which is unsurprising, considering how terrible Bethesda treated him. Gordon was to be paid for every song he produced, and given a bonus for any song that made it into the game. He was given little to no information about the levels he was writing music for, causing much of his work to go unused through no fault of his own. Gordon still hasn't received his contractual payment for these tracks. Additionally, the OST has many songs that were written but not mixed by Gordon, as Bethesda wanted to rush the release date, which led to an album under Gordon's name with some poorly mixed tracks.
My biggest disappointment with Doom Eternal is its lack of an overarching artistic concept. 2016 felt like a playable metal album by Mick Gordon. Bethesda stripped away Gordon's creative agency in Eternal, replacing him with in-house committee designers that made both the game and OST confusing messes.
TLDR: success-driven corporations kill art, what else is new 😁
Hugo Martin, one of the directors of this game, described the combat loop as a dance -- focused, flowy, but not as frantic as 2016's mosh pit.
The gameplay of Eternal and the environments of floating islands and castles would be better matched to Blue Danube than Mick Gordon's work -- a dance just doesn't fit the themes established by 2016.
Speaking of Gordon, the soundtrack lacks the punch of 2016's OST -- which is unsurprising, considering how terrible Bethesda treated him. Gordon was to be paid for every song he produced, and given a bonus for any song that made it into the game. He was given little to no information about the levels he was writing music for, causing much of his work to go unused through no fault of his own. Gordon still hasn't received his contractual payment for these tracks. Additionally, the OST has many songs that were written but not mixed by Gordon, as Bethesda wanted to rush the release date, which led to an album under Gordon's name with some poorly mixed tracks.
My biggest disappointment with Doom Eternal is its lack of an overarching artistic concept. 2016 felt like a playable metal album by Mick Gordon. Bethesda stripped away Gordon's creative agency in Eternal, replacing him with in-house committee designers that made both the game and OST confusing messes.
TLDR: success-driven corporations kill art, what else is new 😁
2023
Good friends absolutely carry this game. If you enjoy giving your friends instructions through the terminal, check out Duskers.
metal gear anime
Some of the best Zombies gameplay in the series, up until about round 40.
2007
pass the whiskey
2007
Unfortunately, its heyday has passed and it seems as though there will never be another major update that will revitalize the game
2004
Don't have access to my original xbox at the moment. Overall the campaign feels weaker than CE so far, with too many holdout sequences reminiscent of The Library.
It's unfortunately not MGS:V but multiplayer, which was what was advertised before launch.
2016
An excellent example of horror without jumpscares.
Played on release, but haven't felt much need to go back to it since.
2017
Good, straightforward fun.
2013
One of the most realistic FPS games out there. If you put in the effort to learning the controls, it becomes very easy to enter a flow state.
Mind-numbing looter shooter that was good fun to play over quarantine with a friend.
Once had an innovative pvp mode similar to Kayne & Lynch's "Fragile Alliance" mode. Tenuous alliances and standoffs at the extraction points in the Dark Zone were some of my most tense moments in gaming, but the whole DZ system has been reworked and the playerbase is dead.
Once had an innovative pvp mode similar to Kayne & Lynch's "Fragile Alliance" mode. Tenuous alliances and standoffs at the extraction points in the Dark Zone were some of my most tense moments in gaming, but the whole DZ system has been reworked and the playerbase is dead.