Connect with us

Games

‘Call of Duty’ and the Enduring Appeal of World War Two Narratives

Published

on

The release of Call of Duty: WW2 not only reminded me why stories about the Second World War have such personal resonance – the early CODs were the last games my father and I played together before it became obvious how much of a disappointment I am to him – but it also made me consider their impact on a grander scale.

Throughout history there have always been stories. Stories to inspire. Stories to educate. Stories to terrify or delight. Stories are the foundation of every culture and religion, and the means by which our societies define themselves. From the simplest fable to the most complicated Hollywood saga, stories are the lifeblood of civilization and convey the lessons of one generation to the next in a way that captures the truth in a manner that official records can’t. If Cicero was correct in stating that in times of war the law falls silent, then how fortunate for us that men’s hearts do not. War starkly illuminates the darkest recesses of the male soul, but it can also bring to light parts of us that are often overlooked or outright ignored in contemporary dialogues about men: that being our capacity for good and our ability to form connections with each other even in circumstances that might otherwise seem hopeless.

Connections between men are largely the result of proximity and time, with friendship bonds at their most basic level developing as a result of our simply being willing to tolerate the presence of others in our lives. The stoicism and detachment that are traditionally seen as common masculine traits mean that even at the best of times it can take a great deal of effort to breach our emotional defenses in order to form a bond of any description. However, once such initial resistance has been overcome and a connection created then it is virtually impossible to break it, save for by committing the most egregious of personal offenses. Randomly collecting men together and marching them off to war takes away the option for such selective closeness and makes it possible for others to see us when we are at our best, our worst, and our most vulnerable.

From the opening moments on the beaches of Normandy to the closing hours of the campaign during the Battle of Remagen, it is made abundantly clear that Ronald Daniels is the prism through which players are invited to glimpse the spectrum of male personalities. Daniels suffered an enormous loss during his early years. Such was the magnitude of the experience that it influenced every facet of his development and his outlook on life. As a child he found himself powerless to save his older brother from wounds sustained in a wolf attack whilst they were out together on a hunt.

This is gradually revealed to us over the course of the game through various reflective monologues and flashback cut scenes. Each addition to his narrative helps give added meaning to his personal experiences of, and meditations on, the battles that he is embroiled in. That crucial failure and early exposure to the true meaning of death, remained with him for his entire life and was his primary motivation for disobeying orders and putting the rest of his unit at risk when he decided to do everything within his power to save the man he felt closest to, Private Robert Zussman, after he is captured by German soldiers. His initial attempt fails miserably. He is left wounded and tormented by his inability to once again save someone he deeply cares for.

This has such a profound impact on him that when given the opportunity to leave Europe and return a hero for his discovery of crucial intelligence regarding the German war effort, he refuses. He could not live with himself knowing that he had left a friend to suffer and die. This simple choice reflects that men are capable of a deep and abiding love for others that does not mesh well with the contemporary narrative of our inherent preoccupation with trivial, selfish concerns. Instead, Daniels opts to return to his platoon in order to see the war through and to honor the promise he made to liberate his absent comrade.

When the war is eventually won and what remains of the main cast are patrolling the countryside to locate the infamous camps rumored to be in the area, they find Zussman horrifically emaciated and close to death after harrowing experiences at the hands of his Nazi captors. In the scenes that follow, the denouement of the game plays itself out in a series of sequences that deftly dismiss the modern notion that all men feel are the patriarchal urges to fight and breed. They speak of an urge to belong, to be useful, and ultimately to be loved not for what the world has deemed that they are supposed to be, but for who they truly are.

Joseph Turner, the initial leader of Daniels’ squad, is what many would view as the quintessential commander. He’s tough but fair, willing to listen to suggestions and not afraid to take them on-board if they’re better than his own ideas, and serves as an authority figure without being heavy-handed about it unless he absolutely needs to be. Not all men can actually lead. Having all eyes turn to us in times of dire need can be as terrifying as it is exhilarating, and not everyone has cultivated the qualities required to balance those feelings and responsibilities.

Being a leader is about more than just giving orders and seeing them carried out, it’s also about making decisions and being willing to accept the consequences of those decisions. Turner chooses to make the ultimate sacrifice in order to safeguard the men under his command during the Battle of Hurtgen Forest. After sustaining a grievous wound he stands alone against advancing German soldiers to give his men time to flee and regroup.

I’m far from sentimental when it comes to the deaths of soldiers, it is after all an occupational hazard, one that anyone who wears a uniform must be willing to accept. However, that does not mean that I am ignorant of the significance of those deaths. In being willing to give up his own life to safeguard the lives of those around him, Turner represents the capacity that men have for truly going above and beyond when the need arises.

Little is said about the personal and professional sacrifices that men make on a daily basis in order to support those around them, largely because they are not as dramatic or obvious as dying on a battlefield but the cumulative effect is the same. But we do it willingly and knowingly because we have a desire for purpose and meaning in our lives, as well as the need to contribute to something ultimately greater than ourselves. Turner’s final words are, “No sacrifice too great”, and they neatly encapsulate the essence of our willingness to surrender our entire being to achieve something we believe in.

The other truly notable character, as far as this topic is concerned, is William Pierson. He is the polar opposite of Turner. His command style is hard-nosed and unyielding. He has no time for suggestions or compromise, and his only goal is to achieve victory no matter the cost. Superficially, he would seem to be the “man’s man” that we should all aspire to be, willing to plow through anyone who gets in his way whether they’re the enemy or his own men. But it’s a facade, one he puts on as a result of his inability to process and express his true feelings. He knows that his troops will never feel about him the way they felt about Turner, and as a result of his frustration and guilt he turns to drink.

That’s a gigantic cliche, one that anyone who has even a passing familiarity with this kind of narrative has seen or heard hundreds of times over. Obvious as it is however, it also strikes an unsettling note of truth. I know from personal experience that substance abuse can be a useful tool for coping with feelings of inadequacy and failure. It’s a defense mechanism used to protect yourself from… yourself. Eventually there comes a time when the addiction overwhelms you completely and the man you should be, the man you want to be, is lost in a haze of intoxicants and paranoia.

There is an enormous pressure placed on men, even today, to exude strength and confidence when they might be the last things they feel. The modern man may very well be here to stay, but hundreds upon hundreds of years of sociological conditioning exerts an enormously powerful effect on how men are taught to be men. It’s only by breaking through that conditioning that Pierson is able to discover who he truly is and finally become the leader his men need him to be, rather than the leader he imagines he should be. By tacitly acknowledging his own weakness he is able to find strength in those around him and becomes not just a better soldier but also a better man.

This willingness to be reliant on others is a crucial aspect to masculine development, one that requires you to admit that you’re not infallible or invincible. The inability to reconcile who we are with who we are expected to be is a significant contributing factor to the increase in male suicide rates over the last couple of decades. Characters like Pierson are enormously instructive in terms of demonstrating how to bridge the gap between perception and reality, and how to bring yourself back from the brink of death to find new life.

Individual events within the campaign, although spectacular in their own right, could just as easily be part of any one of the thousands upon thousands of similar stories that have been told across the decades. Factor in the additional truth that the game isn’t even especially historically accurate and it’s plain for all to see that groundbreaking originality was not on the top of the designers’ list during its development. But these kinds of stories don’t have to be unique or original in order to serve their purpose.

On the contrary, their dependence on established tropes and a rigid adherence to character archetypes gives them the kind of instinctual familiarity that lends even the most ancient of Greek tragedies their perpetual relevance. Although it might not do much to advance the cause of gaming narrative writing as a whole, Call of Duty: WW2 brings to the fore many aspects of masculinity that are often glossed over as inconsequential or irrelevant. By highlighting compassion, integrity, and honesty even in situations where those things could feasibly have no conceivable place, its story demonstrates that there is more to manhood than the sexual predation and flaunting of innate privilege that modern discourse would have us believe.

The end of the Second World War marked not only a seismic shift in global geopolitics but it was also a turning point in gender relations in the developed world. Even now as the patriarchy is being rightly shaken to its very foundations, these stories have a unique appeal to men not because they serve as a power fantasy of former glory days but rather because they remind them that the constant barrage of criticism isn’t always justified. It’s for a similar reason that the Marvel cinematic universe has managed to gain such traction at such an incredible rate. Such stories can be dismissed as juvenile flights of fancy but behind all the one-liners, bizarre antics, and fist-fight onomatopoeia are stories that emphasize the best qualities that each of us aspire to in our own more mundane but eminently more practical fashion. Larger than life characters, whether they wear fatigues or spandex, help us all remember that, whether we’d like to admit it or not, we can all be better than we are.

Chris is a Cambridge, UK based freelance writer and reviewer. A graduate of English Literature from Goldsmiths College in London he has been composing poetry and prose for most of his life. More than partial to real ale/craft beer and a general fan of sci-fi and fantasy. He first started gaming on a borrowed Mega Drive as a child and has been a passionate enthusiast of the hobby and art form ever since. Never afraid to speak his mind he always aims to tell the unvarnished truth about a game. Favourite genres: RPGs, action adventure and MMOs. Least favourite genre: anything EA Sports related (they're the same games every year!)

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Advertisement

Game Reviews

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

Published

on

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. 

Continue Reading

Games

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.

Published

on

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.

Continue Reading

Games

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.

Published

on

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.

Continue Reading

Trending