fuck it, five stars. not because it's perfect (it certainly isn't), but because in its final hours it totally transcends itself, reaching some towering heights and retroactively improving everything that came before. this is one of the most idiosyncratic, visionary works i've experienced in all my time playing games, absolutely overflowing with ideas (about ideas), the result of someone who evidently did not give a shit about restraint or good sense - an attitude i might as well try to embody in my little review here. this is an impassioned, rousing defense of this medium's artistic worth, inspired, resonant, prophetic, stupid, smart, batshit insane all at once, itself the culmination of its own central thesis; to claw your way through the mud, to overcome yourself, to leave behind a beacon, to engrave in fire "i was here", to affirm yourself and in doing so elevate all others with you. my language is cloudy and more than a little histrionic, no doubt, but how else to discuss this thing but with the shock and awe and breathless grandiosity with which it climaxes with! when faced with that raw impact, it suddenly seems oh so trivial that it's a little uneven, that not all its mechanics are perfectly elaborated on, that some parts lag in comparison to others, that kojima's still not a great dramatist. ultimately, i'd take something this distinctly expressed any day over something that gets closer to whatever my ideal of perfection is. actually, on second thought - imperfection is precisely my ideal of perfection. would you not take a diamond with all its harsh edges over the smoothest, roundest rock?

Reviewed on Aug 15, 2023


2 Comments


7 months ago

Great review, but I would challenge the idea that MGS2, or any Metal Gear Solid game, is an "impassioned, rousing defense of this medium's artistic worth" (unless your point is just that MGS can be held up as an example of games as great art, which I agree with). To me, what Metal Gear Solid was throughout the series was an impassioned criticism of gaming as a medium, a desperate plea to the player to find something more worthwhile in life. To make their own achievements, not live vicariously through the empty vessels that are Solid Snake, Raiden, and Big Boss. Each one of these protagonists is portrayed as this sort of grim prisoner of the (literal and metaphorical) games they're in, and in MGS2 in particular the main character is a dark mirror of what are in Kojima's eyes the most loathsome traits of the Gamer. From MGS1 up through V, Kojima consistently highlights the futility of what the player is doing, the meaningless hoops you're jumping through for reasons you don't even understand. In MGS2, the plot is meant to highlight the illusion of choice in video games, and at one point touches on their use as military propaganda (this is also brought up again much more explicitly in 4). In the game's final scene, Raiden's triumph is that he is no longer a video game protagonist; he's free to live his own life and make his own choices, and (and this is the most important part) this life happens off-screen, after the game has ended. The same is true of MGS1 and MGS4's endings; the game is your prison, its ending your liberation

7 months ago

my point was that mgs(2) can be held up as an example of games as great art, yeah - but i don't blame you for interpreting that sentence the way you did, and i think you used it to make a very interesting point in any case. i think you're totally right, for the record; that through line is borrowed basically wholesale from evangelion, which i also love (i think you can also sense some evangelion inspiration in the freudian psychodrama of otacon's backstory, but i think kojima's less successful at human emotion than he is with his big thematic ideas)