I would like MGS4 a whole lot more if they removed it and replaced it with an entirely different game
The Metal Gear Solid series of video games got increasingly long on the video part and short on the game part right up until the last one where they reached critical mass or the zero point or whatever and the whole thing imploded in on itself and the last game was basically the inverse.
peace walker was the closest any of the kojima + murata ones came to being like a kojima + fukushima mgs
With the deterrence invert-combo almost going off? And all the international crisis politalk, errr maybe? Way too much wacky butterfly “muh boss” in the AI stuff going on, V had to clean up a whole lot of tipping over indulgence, like spin the wheel course correction including Paz, Chico, etc. Yeah I don’t know, to me just seems a lot more Kojima at work then ghosts of Fukushima
*Looking back maybe the first half of PW is kind of drier like old MGS, all I remember is the second half felt more and more like an overstretched chore
One of the original MGS4 ending drafts involved Snake and Otacon resigning themselves having completed their pursuits of justice, turning themselves in to “the law” then tried and executed. Not sure if that ending would’ve been better but tonally could’ve rang pretty well with the rest.
GZ + TPP does loop back with that kind of attitude
mgs4 is great except for all the extremely bad parts
9 posts were split to a new topic: entrapment tactics
MGS4’s indulgent ending segment(s) (including gameplay and cutscenes here) is something I want to replicate. I’ve never seen a more enthusiastic, bombastic, drawn out finale to anything in any medium before or since. They just pulled out all the stops and I respect that
I can’t deny that I have enjoyed many MGS games, but I have to engage in a bit of doublethink while playing them. It goes beyond merely suspending my disbelief, because the characters’ speech is so far removed from something a human being would ever say to another person, as is their backstory from something that would actually happen, as are their actions from the activities someone might take in that scenario, as is the architecture within which they are alleged to be working from a place people would actually work or dwell–it would be one thing if all these elements were working in harmony to construct a fabulous, larger-than-life dreamscape, but A., these games borrow recent history and real locations for their settings, and B., even the grace bestowed by the label “pulp fiction” is insufficient to reconcile the Boss’s thematic ranting as a justifiable or coherent response to the role she’s been given to play as a self-sacrificing double agent. For as many times as these games transcend camp, they just as frequently dive face-first into awkward and inarticulate ponderousness, and they’ve only spent more time wallowing with each installment: consider Drebin. Consider everything to do with the metallic archaea. These are very specific games, but specificity is not the same thing as virtuosity.
I’m trying to play a technical test thing for the jon bernthal ghost recon, which I guess I’m not supposed to be disclosing but fuck em, and it’s really got me thinking about how much avant garde art has been lost by these busted ass early versions of games just being lost for all time
it’s a miracle any games get made at all
I always wonder about that criticism, that people don’t talk like real people in whatever media. Because to me it doesn’t matter. I’m not saying it should be like that for everyone, just trying to raise awareness for my kind! I mean if I had watched a Shakespeare play when I was 8 years old I would have thought, you know, those people don’t talk like real people. My favorite book is the Divine Comedy and no one talks in rhyme all the time. (Not comparing MGS to Shakespeare or the Divine Comedy of course lol)
But that’s part of the cool thing about art, that people can talk in stylized ways or just unrealistic ways.
Oh god I finally beat that damn Dice King in Cuphead, screw that boss
Started a new game of oblivion, and lol’d super hard when I got wrecked by Umbra going into my first random dungeon
On Thursday, I went to a video game night thrown by the local science museum in an effort to attract young professionals or something, and I played a round of Rock Band 4, where someone picked Creed’s Higher, and then got willingly roped into some local podcaster’s effort to expose as many people as possible to Robo Pit (which is the fucking best by the way). On top of that, homeboy doubly won me over by complaining that the Smash tournament in the Omni-max theater was 1v1, no items.
i just remembered my FAVORITE analog person calls it O’EKAKI: PAINT BY SUDOKU
kenji onishi makes really hard HUGE GRID puzzles, they’re great. i squealed when i discovered i was doing a picross freddy krueger
I don’t necessarily disagree with anything you’re saying but MGS games are like PKD texts but with a different type of brain-poisoning – I mean that both in a qualitative sense and in terms of their value.
i fail to see what the problem with any of this is. who isn’t amused or enriched by a little brechtian camera-staring ponderosity every once in a while? it’s a time honoured theatrical tradition. kojima would make a good playwright. or at least an interesting one.
imo the fundamental joy of these games is their spectacular failure to suspend disbelief
I’ve been trying to dissuade our movement designer from fixing the slopes movement because for now we look like this
and it makes me happy every day
I can probably read all of, like, Flow My Tears, The Policeman Said in the time it takes your average MGS antagonist to deliver their climactic monologue so that’s like a billion points in favor of books.
I’m also in agreement, recognition of what you’re describing; their language goes an insane length of syllables to incorporate ideas and scenarios A-Z, with so much exactitude that could immediately clash with irl/historical grounding, but I think it’s largely a matter of how that fiction overlays reality - it leans entirely into rationalizing and justifying, overexplaining and articulating, maybe like the opposite of handwaving, sometimes even starkly against brevitysoulofwit. Generally speaking the voice and self confidence behind it, able to somewhat humbly juggle all those Extreme Details is pretty uncommon, it might be fine with putting “what feels natural” away.
I always think this covers it pretty well: