WafflezTheBaka
Will be playing the side ops but deeply shocking game even for Kojima, perhaps the most dread I’ve felt in an MGS game?
"I'm just an old killer...hired to do some wet work."
Inevitable that the game was polarising, it is divisive for the same reasons as MGS3 being a success: the games exist as reactions to one another. If MGS3 capitalises on James Bond pastiche and the thrill of the stealth, MGS4 is a tired old man existing in a world where the iconography prior is reduced to nothing. It is clearly such a late-period film the same way Scorsese operates in The Irishman or Eastwood's reflections in Unforgiven only without an absolutely condemnation of its protagonist. An immensely sad (yet ultimately hopeful) work about a bunch of old western men attempting to find a home and purpose in a world which is not only moving past them but ultimately also shedding the skin of valor and excitement of the nature of war.
Perhaps it all clicked when as opposed to do the heavy stealth and strategy required for MGS3, I enter the field regurgitating the same series of actions with ease in order to profit and buy...more bullets. There is no more libidinal quality to violence, just scrapping by to pull myself to the next day.
Inevitable that the game was polarising, it is divisive for the same reasons as MGS3 being a success: the games exist as reactions to one another. If MGS3 capitalises on James Bond pastiche and the thrill of the stealth, MGS4 is a tired old man existing in a world where the iconography prior is reduced to nothing. It is clearly such a late-period film the same way Scorsese operates in The Irishman or Eastwood's reflections in Unforgiven only without an absolutely condemnation of its protagonist. An immensely sad (yet ultimately hopeful) work about a bunch of old western men attempting to find a home and purpose in a world which is not only moving past them but ultimately also shedding the skin of valor and excitement of the nature of war.
Perhaps it all clicked when as opposed to do the heavy stealth and strategy required for MGS3, I enter the field regurgitating the same series of actions with ease in order to profit and buy...more bullets. There is no more libidinal quality to violence, just scrapping by to pull myself to the next day.
2001
It’s true that Ico may not be the perfect game, I think the puzzle design is frankly infuriating at points (although the puzzles and mechanics are overall intuitive). Yet, I think it does reach a level of sublimity not a lot of games are able to reach due to how everything is stripped back to the point that it is all gestures that transcends spoken word. To me, that’s beautiful.
2019
Why the fuck have I been in the evil Beckettian Brechtian theatre for 42 hours…worst experience of my life
2019
Absolutely miserable experience so far playing this fuckass game
2003
This review contains spoilers
Rewatched some scenes from the game and I think I’d be good to expound on some of my previous thoughts:
I was thinking about how there was a dissonance between SH3’s direct narrative with an extremely aggressive and blunt metaphor and the (overlooked) richness of the text and how the key is within the design and approach to Silent Hill as an entity.
I think what is vital and why it’s so important it comes after Silent Hill 2 is that it is a direct inversion of what Silent Hill means in its predecessor. In SH2, SH is more of a pure psychological liminal space that operates more on a Freudian dream symbolism/logic and is more concerned on the extent of the realness (and thus instability) of Jame’s environments. Silent Hill 3’s SH still operates as psychological liminal space but makes itself aware as pure malevolent entity that seeks to both give concrete form to fear and trauma and how it is something that is perpetuated through the shortcomings/evils of its inhabitants.
Thus what Heather sees is NOT her guilt and shame manifested but instead her own fears and reckonings with the transition to adulthood. The insane cancer for instance takes form as a greasy, deformed naked man that seems to be a play more on creeps than just some background monster. The level design is inherently labyrinth, filled with winding hallways with far too many locked doors, due to how it functions as a way to communicate Heather’s own in-world disorientation at being thrust into Silent Hill but also a psychological construct of her own confusion surrounding the changes of her body and pure loss of her own autonomy.
It is especially kind of surprising especially to see people comment that Harry’s death was mishandled if the abruptness and sudden nature of his death is the primary point of it. Silent Hill in this game is vindictive towards any innocent (and women as etc nurses in particular seem to be a particular subject of torture by Valtiel) and is pure oppression, what could be more cruel than killing Heather’s father before she has the chance to tell him how happy it made her feel?
But that’s the power of SH3, I think it’s through the pure assertiveness of its theme and its hybrid fusion of SH1 and the psychological horror of SH2 while finding completely separate ground!
I was thinking about how there was a dissonance between SH3’s direct narrative with an extremely aggressive and blunt metaphor and the (overlooked) richness of the text and how the key is within the design and approach to Silent Hill as an entity.
I think what is vital and why it’s so important it comes after Silent Hill 2 is that it is a direct inversion of what Silent Hill means in its predecessor. In SH2, SH is more of a pure psychological liminal space that operates more on a Freudian dream symbolism/logic and is more concerned on the extent of the realness (and thus instability) of Jame’s environments. Silent Hill 3’s SH still operates as psychological liminal space but makes itself aware as pure malevolent entity that seeks to both give concrete form to fear and trauma and how it is something that is perpetuated through the shortcomings/evils of its inhabitants.
Thus what Heather sees is NOT her guilt and shame manifested but instead her own fears and reckonings with the transition to adulthood. The insane cancer for instance takes form as a greasy, deformed naked man that seems to be a play more on creeps than just some background monster. The level design is inherently labyrinth, filled with winding hallways with far too many locked doors, due to how it functions as a way to communicate Heather’s own in-world disorientation at being thrust into Silent Hill but also a psychological construct of her own confusion surrounding the changes of her body and pure loss of her own autonomy.
It is especially kind of surprising especially to see people comment that Harry’s death was mishandled if the abruptness and sudden nature of his death is the primary point of it. Silent Hill in this game is vindictive towards any innocent (and women as etc nurses in particular seem to be a particular subject of torture by Valtiel) and is pure oppression, what could be more cruel than killing Heather’s father before she has the chance to tell him how happy it made her feel?
But that’s the power of SH3, I think it’s through the pure assertiveness of its theme and its hybrid fusion of SH1 and the psychological horror of SH2 while finding completely separate ground!
I think while I was relatively unsure where I stood originally, I think that everything starting from the capture sequence is pretty much either stellar or pure sublime (the conclusion to the final boss fight) and that gameplay...it really can only be a masterpiece and nothing more
I too love Mission Impossible Fallout
2003
Meditation on sexuality and adolescence within a labyrinthe landscape, one of the greatest ever
2001
Might raise my score later (the gameplay pre-Maria was kind of 😭) but some of the most nauseating art I’ve experienced especially with the use of mise-en-scene (is there a gamer version of this) Shutter Island proven fraud
Am I part of the La Li Lu Le Lo?
1998
This review contains spoilers
Most annoying heterosexual twist ever
2019
I will probably return at a later date to tie up lose ends but oh my god what the fuck
2009
I am being completely unironic
2019
May end up being one of the opuses of the century