Kojima has done it again.

He seems to be a master of turning obtuse concepts into grounded emotional journeys, where every thread of nonsensical plotting is woven into this massive, cathartic climax that leaves you stripped of any doubts or confusion and wholly fills you with wonder and astonishment. Every plot twist is built upon another plot twist, which is then capped off by an even bigger plot twist after the credits roll. Everything culminates in what can only be described as an ingenious narrative masterpiece.

The game is surprisingly less dense than the previous installments (which isn't really saying much), with its emotional underpinnings given far more weight than expected. It is written with the intent of completely engrossing the player in its world and philosophies. Snake/Jack/John (he gets a new name in the end just because) navigates his way through a Soviet jungle setting in this weird web of government secrets, conspiracies, every type of military intelligence, superhuman psychos, an illuminati-like faction of world leaders, all set during the cold war in 1964, and it is the most glorious thing you can ask for. I keep saying this every time I play an MGS title, but what the actual fuck Kojima? How high was this dude when he made this?

The gameplay itself is by far the most polished and streamlined aspect of this game. Every time I felt like the bosses got too difficult, I had the option of trying 20 different methods of approaching them, each more unhinged than the other. Every piece of equipment and each weapon can be utilised to craft a completely unique experience, to the point where I feel if I showed my gameplay to any hardcore fans, I'd get shunned because of how insanely odd I was with my tactics and logic (and I enjoyed every second of it, mind you).

The game oozes creativity with its utilisation of space and combat/enemy variety, sure, but it's the near limitless combinations and techniques provided to the player that make for a truly remarkable achievement and experience. The game is ground-breaking in general. The addition of crouching makes life so much easier. Hunting for food, a new camera angle, camouflage outfits, tighter focus on direction rather than exposition, and redefining the stealth genre while birthing an entirely new foundation for the survival genre. The story itself is worthy of an essay. It deftly explores a multitude of topics surrounding war and love. The unquestioned patriotism of a soldier, the love of a mother and son tangled up against the odds of fate, the facade of eternal enemies, and the fact that everything is bound to change. 

The concept of "scene" is introduced, which is different from "gene" and "meme" introduced in 1 and 2, respectively. It deals with the idea of cultural relativism in response to ideology and personal doctrines, which it states is heavily influenced by the time and location we live in. "Eternal" is a concept not applicable to ideology, enemies, or allies. They are transitive and change in response to the "times" we live in. This is heavily illustrated in the character of "The Boss," a mentor and maternal figure to Snake, who becomes a victim of circumstance. This theme echoes through all the major characters. "Big Boss," for example, was considered a major antagonist in the previous games, but here he is a patriotic, heroic man. Eva is forced into playing a defect agent and participating in a deadly game of espionage where she falls in love, which ultimately causes heartbreak. Patriotism is also shown to be a relative idea, where one person can be publicly acknowledged, yet the true patriot can have their entire legacy tainted forever. Loyalty is also relative to the "times" where Snake was forced into choosing his own nation over his mentor, until he later decided to abandon it. It wasn't he who chose his loyalty, but the "times."

What a thrill

Everything I've mentioned is just the cherry on top compared to the opening theme. The lyrics are poignant, to say the least. This being my favourite,

I give my life
Not for honor, but for you

The theme has many loaded words. The gravity of them will not be apparent until you finish the game, which is full of these tiny allusions. Of course, lyrics aside, the music itself doesn't hold back.

Oh my god, how can you listen to it without being completely swayed and struck by it? That shit had me FLOORED. Cynthia Harrell's captivating vocals and the weight of the lyrics are some of the best of the best. Listening to it alone was so ethereal, even more so paired with scenes like the infamous ladder scene that sets the tone for the rest of the game and the final fight with The Boss that moves you to shed manly tears. The boot-up credit sequence itself was unskippable. I'll never stop playing it in my head and go

I'M STIIIIIIIIILL IN A DREEEEEEEEAAM SNAKE EATERRRRRRRRRRR!!!!!

Truly one of the greatest games ever made. What the hell Kojima

This game is a damn mess, maybe the finest example of a “mixed” experience. It’s complex and beautiful and plays like a dream, but paradoxically loses its best traits the more invested you become. The open nature of the castle is rarely a benefit, with the shift in the mid-game pushing that flaw to its absolute limits. It’s also the easiest Castlevania that I’ve played by far, with only a few bosses providing friction in the experience. Worst of all, though? It ends so much lower than it begins, with a fatiguing slog through the castle climaxing with an overpowered weapon shredding the final boss into mince. Dracula didn’t stand a chance.

Scrutiny doesn’t do its airy complexion any favors. It’s a game best experienced almost offhandedly. If you’re like me, you’ve heard about this game for years through hushed tones that helped build its legacy far past what a ‘97 platformer should reasonably be expected to perform at. My advice to those people? Let it stay that way. It’s more interesting to wonder.