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Still Magic: Banjo Kazooie’s Click Clock Wood Twenty Years On



I’m astonished that Banjo Kazooie (BK) marked its twentieth anniversary this year. I clearly remember being four-years-old, passively watching my mother, young still at twenty-three, ambling her way through its first few levels. It wouldn’t be until a few years later, with my two brothers and I sitting cross-legged in a row, basking in the cool light of our family’s TV, that we would collect enough jiggies to make it to the later levels. I fondly remember scouring and scavenging for mumbo tokens along the ivy-covered walls of the ghoulish Mad Monster Mansion. I also recall feeling my little eight-year-old heart race as I counted eighty-nine notes but had yet to collect those in the Rusty Bucket Bay’s infamous engine room. Yet, no level is as arguably as memorable as its penultimate challenge, the ethereal forest that cements the game’s fairy-tale quality, Click Clock Wood (CCW). While good game design can be observed, it must be also felt and experienced. CCW was my first true introduction to excellent game design. Even as an eager youngster, traversing the level with an underdeveloped understanding of game design, I understood that CCW was a step-up from its predecessors. It was, as they say, in a league of its own – so let’s explore what makes it so memorable.

It would be wrong to dig into the meat of CCW’s legacy without first describing the level. Aesthetically, CCW is reflective of its title – it is constituted by four areas that centre a giant tree-shrouded within a dense forest. As the player, you can experience this area in four different seasons by unlocking each season within the level’s hub area – the only level in the game to have such a space. Entering the hub world for the first time is magical – it’s characterized by a certain stillness, and an overwhelming feeling of isolation and singleness as one is confronted by four closed doors. Yet, there is also a certain coziness and intimacy that is generated by the grey forlorn sky and the colourful, overarching trees that are both luminous guardians and area boundaries.

Click Clock Woods

Click Clock Wood’s hub world differentiates it from the game’s other worlds.

Awe at the rich, colourful environment aside, it’s almost immediately understood what it is expected of the player – figure out some way to open the doors and momentarily leave this strange, still area. Exploring each of the doors, Bear & Bird are drizzled with light rain, snowflakes, and withered leaves instantaneously on their arrival to the hub’s seasonal areas. The switch that opens Spring is waiting patiently on the circular, crackled path that joins each of the doors, deceptively mimicking the shrouded wood surrounding it. Without hesitation, the switch is ‘beak bashed’ (a charming manoeuvre), and the door to Spring opens enticingly.


Spring is the player’s first destination in the level, and thematically embodies what ‘Spring’ is popularly perceived as.

Entering Spring for the first time, the sheer size of the level’s main attraction – the gigantic tree, quickly becomes confronting. In contrast to previous levels, CCW feels spectacularly large. Coupled with a forest floor, lush in its viridescent green and lethargically patrolled by an enemy and one lone, bee protected honeycomb tower, the atmosphere of ‘Spring’ is established. The cherry on top however, is the immediate presence of a melodious Grant Kirkhope track. Heavy on the woodwind (but with just enough xylophone), Spring’s theme is a delightfully light ear-worm that spurs thoughts of the syrupy scents of blooming flowers, or the trickling of sunlight from winter’s leftover clouds. There’s Vivaldi’s ‘four seasons’ and this is Kirkhope’s – this track is re-arranged again and again throughout each of the seasons, all of them reflecting the popular perceptions of what they represent. As you enter each for the first time, the seasonal embodiment changes but Gruntilda’s challenge remains the same – Bear and Bird must ascend what looms before them.

The giant tree is the perfect playground for the player to express their platforming prowess.

Banjo and Kazooie need to travel upwards to complete jiggy-orientated objectives, and the only path available to them demands mastery in BK’s platforming mechanics. Jumping, gliding, back-flipping, talon trot-ing. All are required in ascending the tree and collecting the miscellanies that BK idiosyncratically boasts. One misstep can see the furry duo fall steep and splatter on the forest floor below, costing precious honeycombs or worse, meeting a grisly fate. This is particularly ominous in the original Nintendo 64 version as collection of musical notes (100 total in each world) are counted on a ‘most collected’ basis, resetting when the world is left (purposely or otherwise). Love it or leave it, collecting musical notes and other major collectables in CCW stirs feelings of intense pressure, even by today’s Dark Souls inspired difficulty trends. The slippery, sky suspended boardwalk particularly remains a memorable area for pulsing heart rates and breath-stealing concentration. There’s also nothing quite like sliding down the icy, snow-covered tree in Winter, courtesy of a snowball hit from everybody’s favourite enemy, Sir Slush the Snowman.

Sir Slush the Snowman strikes again and is a prime example of how the level uses strategic planting of enemies to increase its difficulty.

Moving on to story, narrative isn’t BK’s strong suit, with its primary narrative being more or less a generic hero’s journey. For those who haven’t played BK, the plot sees Banjo (a young male bear) and Kazooie (his female bird sidekick) try to rescue Tooty (Banjo’s sister, the fairest bear in the realm) from Gruntilda (an evil witch) who wishes to covet Tooty’s beauty for herself. It’s not the most sophisticated plot line but it lends itself to the comical nature of the game. There is a red-line of minor narrative woven within CCW that is absent from earlier levels, however. Now, it’s undeniable that other levels do incorporate some major events. Events such as Boggy’s resuscitation in winter wonderland Freezeezy Peak, freeing Clanker in the dank and dirty Clanker’s Cavern, and scouring for Captain Blubber’s lost gold in the glittering waters of Treasure Trove Cove are all memorable highlights that contribute to BK’s light-heartedness overall. However, all these events feel loose and unconnected when related to other tasks within their respective levels.

Banjo Kazooie

Caption: Jiggy tasks in Click Clock Wood are structured in a linear fashion and are informed by the logical succession of the seasons.

CCW fundamentally challenges this established formula, integrating a narrative structure that is intended to connect events in linearity. Successful completion of tasks in each of the world’s seasons concur with this structure. Watering a seed in Spring will eventually see it flower in Autumn, rewarding the player with a well-earned jiggy. Feeding the baby eyrie worms collected throughout Summer and Autumn will see them gift you another jiggy and fly away into the cool Winter night. Even with their jiggy purposes complete, the flower plant will have withered, the Zubba’s nest abandoned, and Mumbo having left to seek out warmer lands in Winter, exist as merely three of many neat details in this meticulously designed world. It’s also worth noting that CCW feels like a bridge between BK and Banjo Tooie, with the sequel taking CCW’s penchant for intertwined tasks and extending them further with jiggies being achieved through tasks completed across numerous worlds. In retrospect, CCW indicated how Rare intended to expand upon and improve BK’s established design formulas, cementing its place as an abnormality among worlds.

Even Mumbo is shown to be participating in the level’s effervescent seasonal themes.

On a final note on jiggies, CCW does largely follow the standard formula established throughout the game. Some jiggies require tasks to be completed, while others simply lie about, waiting to be discovered. I found myself thoroughly searching throughout the level for jiggies: climbing the tree in all seasons, diving beneath the lake, checking in with Nabnut and the other idiosyncratic characters to ensure I hadn’t missed any hints. Although I mentioned that CCW incorporates a linear structure, it’s up to the player to uphold it – once all the door switches have been beak-bashed, the player is afforded complete freedom in which season they wish to explore.

Searching the level high and low for jiggies can be frustrating due to its size.

As a result, unlike levels as compact as Mumbo’s Mountain, or with highly intuitive pathways (such as Bubble Gloop Swamp), searching for major collectables in CCW can become frustrating. While it is an outstanding level, it isn’t without its flaws – the repetition of the tree climb becomes tedious, some level spaces are abnormally sparse and lack purpose, and some design elements (Spring’s leaf bud platforms, for example) are a bit cheeky – they’re unnecessary in elevating the difficulty of the level. Shout-out to the Zubba hornet fight also, as I’m sure that’s caused even the most confident player a sudden pang of terror. Regardless, I maintain that the positive elements outshine the bad, and I feel I can’t reassert enough the impression of mastery that Rare conveys in level design in the flow of the level.  

In entering the hub world for the final time, with each door opened, and every jiggy collected, I feel both sombre and powerful. There’s this sense of utter suspension – in a rare twist, it is Banjo that is finally delegated a power; the ability to manipulate when he and Kazooie experience the seasons.

Banjo Kazooie Review

Visiting the hub area after the level is completed is bittersweet, signaling the beginning of the end of a classic platforming adventure.

In a way, CCW is a conflicting metaphor for time. In forcing the player to traverse four seasons, not necessarily in the same order, it conveys the relative instability and flexibility of our temporal narratives. Alternatively, the player must unlock Autumn before Winter, Summer before Autumn, Spring before Summer. There is genuine comfort derived from the ensured succession of the seasons, a routine forced upon even the most liberal schedule. Yet, while it feels natural to attach numerous meanings to games as we age, it’s difficult for me to perceive CCW as anything other than a last collective ‘hurrah’, a celebration of the gameplay BK offered, and the jewel that sits squarely in its crown. Whether you’re curious, nostalgic, or have never heard of the title, Click Clock Wood is one of many reasons that Banjo Kazooie remains a classic platformer, no matter the ever-turning trends of development, creativity, and platforming – much like the four seasons themselves.

— J. L. Elliott

J. Elliott is a PhD student in Media and Communication. When she’s not fueling her caffeine addiction, you’ll usually find her reading, writing, or resisting (but ultimately succumbing to) the urge to re-play Bloodborne, Dead by Daylight, The Witcher 3, or Nier: Automata again.

1 Comment

1 Comment

  1. Jacob

    January 14, 2019 at 4:58 pm

    Nice analysis. I came by accident, trying to figure out why I thought it was “Tick Tock Woods”. Making the analogy to Dark Souls is interesting, Click Clock Wood is one of the worst to get all the notes because it’s a marathon of “a” level. They even nerfed the XBox version (notes are collected across deaths) because people aren’t good enough anymore! For shame.

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Game Reviews

‘New Super Lucky’s Tale’ is Polished, Pleasing Platforming



Streamlined, focused, and tons of fun, New Super Lucky’s Tale is a fantastic reworking for the Switch that absolutely nails the lighter side of Nintendo-style 3D platforming. Tight controls and a nearly flawless camera support running and jumping challenges which more often than not emphasize creativity over complexity, and it’s all set against a colorful, pun-filled, charming world full of quirky characters and light satire. Though the experience is not as epic or razzle-dazzle as something like Super Mario Odyssey, developer Playful has wisely trimmed the collect-a-thon fat that so many others in the genre employ in order to pad play time. The result lasts long enough to satisfy, yet also instills a fervent desire to see more adventures from its fearless, furry hero.

New Super Lucky's Tale carnival

In the fine tradition of its gaming ancestors dating back to the N64 days, the basics of New Super Lucky’s Tale revolve around acquiring arbitrary objects sprinkled through various stages in order to unlock doors and move on to the next area. This time it’s pages from the mystical Book of Ages, which contains the power to travel between worlds, and is the endgame of an nefarious cat sorcerer named Jinx and his gang of cartoonish thugs, the Kitty Litter. As part of a secret organization sworn to defending this kiddie-friendly Necronomicon knockoff, it’s up to Lucky to track down as many of these clover-embossed pages as he possibly can, and hopefully complete the book before his nemesis can get his claws on it.

It’s doubtful that the story will be what compels most players to keep going, and to that end, New Super Lucky’s Tale‘s simple setup also fits right in with its genre brethren. Still, Lucky is an amiable and upbeat fox to follow around, and Playful does an excellent job of surrounding him with a cast of gibberish-spouting weirdo goofballs that includes hayseed grub worms, supremely zen Yetis, loyal rock golems, and slick carny ghosts. Though their dialogue does little to drive any sort of narrative, it is endlessly amusing and often witty in its cheesy wordplay. In other words, the writing has a very Nintendo-like feel in its eccentricities that adds to the overall fun.

New Super Lucky's Tale factory

Those jokes would be less endearing without fantastic gameplay, but New Super Lucky’s Tale delivers some of the best running and jumping this side of Mario. Though this fabulous fox can’t quite match the plumber’s precision, Lucky does feel extremely responsive, and has a nice sense of weight and momentum that never feels out of control. He also comes out of the den with a well-rounded moveset, including a nifty double jump, a swishy tail (a la Mario’s spin punch), and the ability to burrow under ground. These moves can be chained together to create a satisfying flow both when exploring 3D stages and side-scrolling ones alike, and will surely inspire players to use them in creative ways in order to access seemingly out-of-reach spots.

And they’ll have to if they want to find all four pages hidden in each stage. New Super Lucky’s Tale requires a bare minimum of these leaflets to be found (and simply beating the stage merits one as a reward), but it’s in rooting around those nooks and crannies where much of the fun lies, and it gives the developer a chance to squeeze every ounce out of the unique mixture of environments they’ve created. From the assorted carnival games of a haunted amusement park to a beach party dance-off, there are a surprising amount of different things for Lucky (and players) to do here, with hardly any two stages ever feeling alike. One 3D level might task Lucky with casually exploring a farm as he gathers up the members of country jug band, while a side-scrolling obstacle course sees him dodging canon fire from an airship piloted by a feline Napolean. Some stages have a platforming bent, while others emphasize searching out secrets tucked away in mini puzzles.

New Super Lucky's Tale farm

It’s an absolutely delightful mix, and that sheer variety keeps New Super Lucky’s Tale fresh all the way through to the epic battle with fat cat Jinx himself. And though platforming veterans might find the overall challenge a bit too much on the friendly side, a few of the later bosses and and bonus stages may make that 100% goal a little tougher than it at first seems. And yet, it’s hard not to want to go back to incomplete stages or that block-pushing puzzle that stumped the first time around; the brisk pace and clever design will likely compel many players to find every scrap of paper out there.

No, Lucky isn’t the second coming of Mario, but there are few 3D platformers that offer such a polished, concise, joyful experience as New Super Lucky’s Tale. It may have taken a couple of efforts to get there (and for those who have played the original Super Lucky’s Tale, levels and bosses have been reworked here), but Playful has nailed a balance between creativity and efficiency that begs for more. 

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How Do ‘Pokemon Sword and Shield’s’ Max Raid Battles Measure Up?

Max Raid Battles are one of Pokemon Sword and Shield’s premier new features. Do they live up to their full potential? Let’s find out.



max raid battles

One of the most heavily promoted new features of Pokémon Sword and Shield have been their Max Raid Battles. These gargantuan fights are both a key part of the online experience and likely the first taste most players will get of Dynamaxed Pokémon in-game. So, how’d this take on Pokémon Go’s raid system pan out in the series’ first mainline entry on console?

Well, on the plus side, getting into the thick of a raid is super straightforward. After the opening hour or two, players are introduced to the Wild Area and can access Max Raid Battles straight away by walking up to a pillar of red light on the field. From there you can invite others, challenge the raid with NPCs, and choose which Pokémon you want to use.

Real Friends Raid Together

Playing with friends online, though, is a bit more convoluted. There’s no “Invite Friends” option to be seen. Instead, all social features are handled through the Y-comm (literally accessed by pressing the Y button). It’s here that players can Link Trade, Link Battle, exchange player cards, and more.

After actively connecting to the internet–which has to be done each play session and each time the Switch is put into sleep mode–it’s up to the host of the match to find a portal and send an invitation to everyone. A notification will pop for friends on the side of the screen, and then it’s up to everyone to join the match directly through the Y-comm interface.

If players want real people to fill in any remaining slots (all raids are four-person affairs), they’ll need to join before the room fills up. Setting a Link Code avoids this hassle by creating a room but, unlike Salmon Run in Splatoon 2, only computer players can fill remaining spots after friends finish joining this way.

After some experimenting and fudding about, my buddy and I were able to hop into matches fairly quickly without much issue. Nonetheless, it’s hard to shake the feeling that creating friend lobbies is only such a headache because it had to be tied to the Y-comm. Pair this with the fact that battling while waiting for a friend to create a room can cause the notification not to pop, and getting a group together is a bit more painful than it should be.

Max Raid Battle Rundown

The raids themselves are a surprisingly engaging twist on the classic Pokémon battle formula. Groups of four challengers work together to take on a Dynamaxed raid boss. Each raid boss has a different star rating, and even the 1-star battles are no joke the first few times around. These boss Pokémon are merciless, and regularly one-shot lower leveled ‘mons with ease.

To combat these monstrous foes, one random trainer in every group is granted the ability to Dynamax their chosen Pokémon and lead the charge. The Dynamaxed Pokémon gets the benefit of having extra-powerful moves and increased HP, though it’s rather disappointing that there only seems to be one Max Move per move type (one Grass move, one Dark move, and so on). Each of these has a secondary effect on the battlefield; some trigger sandstorms, others trigger a health regeneration field that heals everyone a bit each turn. Regular moves with type advantages deal a significant chunk of damage, but it’s Max Moves that can truly turn the tide of battle.

If one of the group’s Pokémon faints, that trainer has to sit out for a turn before it automatically gets revived (a smart design choice to keep all trainers actively involved). However, the fainting of each Pokémon triggers the storm above to become more and more vicious. After four faints or ten turns, everyone is booted out of the raid sans rewards.

max raid battles

The Fruits of Victory

Two of the easiest ways to better your odds are 1) Choose a Pokémon with a type advantage going into battle, and 2) Manage who Dynamaxes when. Each trainer’s Dynamax meter grows periodically and, though only one trainer can use it at a time, multiple players can activate it over the course of a raid. It also seems like each raid’s star rating is tied directly to the raid boss’ level, so bringing a generally powerful Pokémon to a lower-level raid is another viable strategy for success.

Aside from the chance to capture the raid boss itself (and some Pokémon are Max Raid Battle-exclusive), winning a raid nets players some very worthwhile rewards. These include everything from EXP candies and berries to nuggets and TMs. It’s not so much of a haul that it hurts the overall balance of the game, but there’s enough to make getting a few friends together and grinding raids for a couple of hours worth it.

max raid battles

Though Max Raid Battles are just a small part of the overall Sword and Shield package, they’ve ended up being a rather fun take on Pokémon’s traditional multiplayer offerings. For as unnecessarily complicated as playing with friends is, there are also a few cool ideas here, like being able to join a raid from anywhere on the map as long as the host is at the raid pillar. There’s some good fun to be had here if you prefer to battle alongside your friends instead of against them.

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15 Years Later: ‘Metal Gear Solid 3: Snake Eater’ Is Kojima’s Espionage Love Letter

On November 17th, 2004, ‘Metal Gear Solid 3’ was released, marking the first entry in what would become a major part of the Metal Gear Saga.



Metal Gear Solid 3

“After the end of World War II, the world was split into two — East and West. This marked the beginning of the era called the Cold War.”

On November 17th, 2004, Metal Gear Solid 3: Snake Eater released in North America and Japan marking the first entry in what would later become a line of prequel games within the Metal Gear Saga. Big Boss’s story would finally be expanded upon in the Hollywood action game that forever changed the course of video game storytelling.

The legendary mercenary’s journey began in Kojima’s espionage love letter to the ’60s that broke the primordial gaming standards of both interactive design and visual storytelling through immeasurable gameplay depth piled onto a mind-boggling top-notch origin story. Snake Eater was only the beginning of a tale of how one of gaming’s greatest heroes descended into a villain through what is not only arguably the most compact and well-executed Metal Gear story, but Kojima Productions story ever conjured up to date.

Taking the Narrative Back

Metal Gear Solid 3
“Snake, try and remember some of the basics of CQC.”

Snake Eater ditched Solid Snake and Raiden’s current predicaments in a postmodern world to provide audiences with background knowledge and explanations for the previous chapters that came before it in what was intended to be Hideo Kojima’s final Metal Gear game at the time. Cold War political fiction and espionage thrillers from the game’s time period such as the Sean Connery and Roger Moore James Bond 007 films became the foundation for this entry’s story and tone; a balance of both goofiness and seriousness that is simply unmatched when compared to the rest of the series.

Metal Gear Solid 3 marked the beginning of a prequel series of games that would later proceed to continue after Solid Snake’s story had concluded in Metal Gear Solid 4: Guns of the PatriotsSnake Eater threw players back in time to tackle the story of Metal Gear and Metal Gear 2: Solid Snake villain Big Boss, who was formerly referred to as three different names being John, Jack, and of course the iconic codename Naked Snake — the first character to take on the reptilian infiltration name.

Revolver Ocelot’s gun-slinging pre-boss cutscene was completely animated through motion capture footage.

Whereas Metal Gear Solid and Sons of Liberty questioned the fantasy aspects of the story, Snake Eater fully embraced the campiness that it provided. A gun-slinging, cat-growling GRU Major or a man who is able to manipulate bees are never questioned by the game’s characters. Nothing feels out of place due to how accepting everyone is of what is going on in their interpretation of history. The first fantasy aspect that players encounter is during the opening 5 minutes of the game when Naked Snake makes the HALO jump. The location the game takes place, Tselinoyarsk, is not the actual name of the location and isn’t an area of the world that has jungles.

Political fiction often comes into play during the story by incorporating real figures and the game’s characters into events that actually happened during the height of the Cold War. For example, Eva and Ocelot are depicted as the two NSA codebreakers, Martin and Mitchell, who defected to the Soviet Union. Weapons and designs featured in the game such as the hybrid screw-propelled metal gear, the Shagohod, are based on real blueprints for military weapons of the time period. While the story incorporates science fiction and fantasy aspects, the story still remains grounded and has its own limits even in gameplay.

A Whole New Meaning to Survival

When Hideo Kojima and Yoji Shinkawa saw the 1987 movie Predator, one concept from the film that stuck with them was how the technologically advanced alien Predator used camouflage within the jungle setting to stealthily take out a military rescue team lead by Arnold Schwarzenegger. Camouflage became part of the foundation for Snake Eater‘s gameplay that delved into the realism and campy side of the series. Players could swap outfits and face paints at any given moment to adapt to their current surroundings. The top right-hand corner has a camouflage index that constantly keeps track of how well-hidden you are in the environment.

Just as gadgets are a critical part of James Bond’s arsenal of weapons, Snake Eater saw the Metal Gear Solid series expand on the variety and utilization of items. The number of different ways to tackle standard environmental obstacles and boss battles was exponentially increased due to how many ways one could actually use their equipment. Grenades, lethal firearms, night-vision goggles, cigarettes, and even cardboard boxes all inherited a multi-functional philosophy that most players would never even discover unless they had experimented during their playthrough or were told to do a specific action. Even food became a weapon of war that could be used to poison and distract guards if it had gone spoiled.

On the topic of food, alongside the standard health bar, Snake has a stamina meter that must be ministered to constantly by eating foods found on-site and administering proper medical treatment. Animals, fruit, medicinal items, and various packaged resources must be collected and watched over throughout the game. All food items ran on a real-time clock leaving food to go unsanitary and rotten after a matter of real-time days.

The Beginning of Product Placement

Fun Fact: Kojima has gone on record saying that Naked Snake’s favorite CalorieMate Block is the chocolate-flavored line (rightfully for promotional reasons!).

The Metal Gear Solid series kickstarted Hideo Kojima’s constant usage of product placements within his games that are still ongoing today. These products include but are certainly not limited to clothing, accessories, toys, household items, and of course, food. Snake Eater began a trend of future Kojima Production games featuring real-life items that are purchasable in many small scale and large retail stores throughout Japan through the brand of nutritional energy bars and gels, CalorieMate.

The chocolate-flavored CalorieMate Block appeared in the original version of Snake Eater, while the maple-flavored kind replaced it in the HD Collection due to it being the latest flavor release at the time. Advertisements for CalorieMate during the game’s release showed Naked Snake holding a chocolate-flavored Block saying “If you wanna survive in the jungle, your going to need one of these.”

When initiating a Codec call with Paramedic after eating a CalorieMate Block, the character will question the legitimacy of the food. In reality, CalorieMate first released in 1983, contradicting the 1960’s setting of the story, therefore, making its placement in the game an anachronism; an object or person that is displaced in time.

A Legacy Worthy of The Big Boss Rank

At the time of Snake Eater’s release, although the game garnered a completely positive reception from critics with a 91 Metacritic score, it was highly debated whether the sequel-prequel was superior to the entries that came before it. Critics commonly praised the graphics and cinematics the game had to offer but questioned whether the gameplay was too complex for its own good. Snake Eater also had to ride the coattails of unsatisfied audiences originating from the previous entry’s lack of Solid Snake being the protagonist which ultimately lead to sales of the game being significantly lower than the previous Solid entries.

Over time, Snake Eater became the fan-favorite entry of the series and would go on to receive the most re-releases out of all the Metal Gear games to date. Most notably, in 2006 Metal Gear Solid 3: Subsistence expanded upon the online mode in the game and added a completely new third-person controlled camera system that enhanced the overall experience and became the right analog stick standard for future entries. Buyers of this version were also treated with the original two MSX Metal Gear games found on the main menu- the first time the original Metal Gear and Metal Gear 2: Solid Snake had ever been localized outside of Japan.

Snake Eater 3D Limited Edition Bundle included a ‘Snake Skin’ themed standard 3DS (only released in Japan).

2011 saw the release of the Metal Gear Solid HD Collectiona compilation title that included an updated version of Subsistence — arguably the best way to play Snake Eater today. In 2012 the game also saw a release on the Nintendo 3DS dubbed Metal Gear Solid 3D: Snake Eater which included a new real-life camera camouflage system and multiple gameplay changes inherited from Metal Gear Solid: Peace Walker to accommodate the 3DS’s lack of dual analog sticks.

Metal Gear Solid 3: Snake Eater is a true patriot that definitively holds its ground against the rest of the series today due to its creative liberties that the series never quite revisited in complete depth. Hideo Kojima and his team of masterminds behind Kojima Productions are well deserved of a salute for the tremendous efforts they put into creating a groundbreaking title that forever changed what it meant to be a cinematic video game. From its action-packed plot to its cinematic orchestra inspired-score, even after 15 years the pure indigenous nature of creativity from the studio never ceases to amaze audiences.

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