Halfway through my analysis of Link’s Awakening, Nintendo unveiled an adorable chibi-clay “reimagining” of that game for the Switch. In celebration of its upcoming launch, I will turn my eye from the strangest, darkest, most surreal portable Zelda to the strangest, darkest, most surreal console Zelda, The Legend of Zelda: Majora’s Mask. Majora’s Mask is arguably the Zelda game most open to hermeneutic critique, as its narrative themes run deep but somewhat vague, and it’s wholly original structure feels like postmodern art compared to the conservative story and character arcs of nearly every other Zelda. In this series, I will be looking specifically at the dungeon design of the 3DS version of the game, The Legend of Zelda: Majora’s Mask 3D. While this version makes several changes to the Nintendo 64 version, some of which are rather consequential and controversial, I am choosing to scrutinize this version because it is probably how most players currently play the game (plus, it’s the version I own that isn’t hundreds of miles away at my mom’s house). In this entry, I will be looking at the game’s first dungeon, Woodfall Temple.
Rising from the center of a purple bog, Woodfall Temple makes an entrance both swampy and mythical, its two main aesthetic textures. As the first three-dimensional swamp in the series, it borrows from both Link to the Past (whose Swamp Palace is accessible in the dark world’s swamp area) and Ocarina of Time (from which it reuses some assets and in some ways feels like a successor to the Forest Temple). Yet as a dungeon, the Swamp Palace seems more water-based than swamp-based, and even Dodongo Swamp in Link’s Awakening has essentially no impact on its dungeon, Bottle Grotto. So, in a sense, Woodfall Temple is the first Zelda dungeon to take its swampiness seriously, which it does through twisting tree limbs, toxic purple water, torch-based puzzles, and swarming insect enemies. But at times this swampiness can feel at odds with the dungeon’s Mayan-inspired architecture. Indeed, many of the dungeon’s rooms feature seemingly ancient wall carvings, spiritual totems that lend the setting a mystical air, and elaborate manual contraptions like the dungeon’s rotating wooden flower centerpiece. While its swampy and Mayan components are both intriguing, neither is explored in great detail or elegantly blended with the other, which makes the dungeon’s identity tough to pin down. Of course, Ocarina of Time’s Forest Temple pulls a similar trick by coupling classical architecture with overgrown ruins, but those two settings seamlessly merge to lend that space a sense of history while Woodfall’s dueling schemes sometimes clash.
In terms of layout, Woodfall Temple features twelve rooms across two floors, though the top floor is comprised of only two small rooms. After entering through an introductory antechamber, the player stumbles upon the central room housing a large mechanical flower that “blooms” when the player solves a puzzle later on. This room is sort of the dungeon’s central hub, as from here the player can enter five of the dungeon’s eleven other rooms. But its importance is negated a bit by the room directly to its east, which is similar in size, shape, and aesthetic, and also links to several rooms. While these two rooms are collectively the dungeon’s center, from which many paths seems to branch, the dungeon is deceptively linear, as the player rarely has a choice about where to go next. Fortunately, well-placed fairies allow for some meaningful navigational choices within individual rooms, and the dungeon’s linearity and small stature make for a pleasant introduction to Majora, as it helps ensure the player will not get lost or fritter away precious time.
Of the dungeon’s twelve rooms, five are dead-ends where Link battles enemies or a mini-boss for an item, and three test Deku Link’s glide ability in increasingly difficult scenarios. Wedging combat into these dead-end rooms makes the dungeon easier to navigate, but it also makes these rooms less interesting than they could be because it keeps combat largely divorced from puzzles and navigation. Indeed, only two rooms deign to mix puzzles with combat, and both are notably short and easy (including a box-pushing and torch-lighting puzzle which can scarcely be called puzzles). This ultimately means the dungeon tests Deku Link’s various abilities in a piecemeal manner, allowing for the mask’s various abilities to be explored, but rarely in a way that feels especially coherent or naturalistic. Furthermore, skipping across water in the 3DS version is disempowering and tedious, bubbles rarely accomplish a task more successfully than arrows, and gliding can sometimes result in slow-going trial-and-error. These critiques dovetail to make Deku Link an intriguing transformation that the dungeon rarely allows to live up to its potential, whether because its potential was nerfed in the 3DS version, made irrelevant by Link’s normal form, or never inspiring to begin with.
Woodfall Temple’s primary theme is its swamp setting. What that tends to mean, at least superficially, is checking the aforementioned swampiness boxes (toxicity, insects, etc.). But in practice, this also means acting as a subversion (or perversion) of Ocarina of Time’s Forest Temple. Indeed, it borrows assets, architecture, structural components, puzzle motifs, and its central item from the Forest Temple, only to repurpose them in some fashion. This relationship runs parallel to the overarching relationship between Ocarina of Time and Majora’s Mask. While Ocarina is a traditional, purebred, quintessential Zelda experience through-and-through, Majora is a twisted, truncated, dark-world mirror-image of that experience.
The same can be said of forests and the swamps, especially in their representation in games. Indeed, forests are mainstays of Nintendo games, often as spaces of safety and familiarity (as in Ocarina), and in broader culture they are often regarded as a realm of lush growth and flourishing nature. On the other hand, swamps are comparatively uncommon in games, are rarely a game’s first level, and are more generally interpreted as malarial, mosquito-ridden, festering places of decay. But in reality, swamps are interstitial spaces as ecologically essential as forests, and are often shockingly biodiverse and are the linchpin to a region’s environmental well-being. Yet to us humans swamps have long been seen as disposable, and as such have been largely destroyed (“developed”) because they don’t conform to our preconceived biases what constitutes healthy natural space. And such is the parallel with Woodfall Temple and Ocarina’s more typified Forest Temple (and with Majora and Ocarina as a whole). Intentional or not, this is a complex interweaving of design, narrative, and misconstrued identity, where a relatively easy dungeon can feel uneasy and un-easy because it plays off of several layers of norms established by the Forest Temple, Ocarina of Time, previous Zelda games, the video game canon, and cultural (mis)conceptions of nature.
But along with reversing the natural order, Woodfall Temple is also concerned with transformation and rebirth. Throughout the dungeon, Link raises a temple from polluted water, purifies that water, and helps blossom a giant flower that serves as the dungeon’s centerpiece. While Majora’s other three core dungeons have a central mechanic that procedurally defines that dungeon, this flower serves a similar role. Though the flower’s integration could have been a little deeper (perhaps by having it grow in height twice to reach a third floor, or by its rotation to allow access to an otherwise inaccessible door), its blossoming parallels Link’s progress through the dungeon, feeling like more of a gradual process than a single act. In this way, the flower acts as a metaphorical centerpiece for Link’s progression, which in turn accentuates this transformation theme that is not only a central theme here but in Majora’s Mask as a whole. Finally, a couple of rooms feature imagery of a butterfly, a universal symbol for transformation and rebirth, including the final boss arena which contains a giant butterfly carving on its back wall. Though it feels slightly out-of-place in a swamp with aggressive moths, the consistency and placement of butterfly iconography lends further credence to the Woodfall Temple as not only a place of corruption, but also of the possibilities that might arise after purifying that corruption, enabling metamorphosis into something purer.
The Arrows are a series staple that have always been enjoyable, but never have they ever been so central to a game’s identity. This is in part because they are always the dungeon item, as each of the game’s four dungeon’s either rewards the Arrows or some variation (Fire, Ice, and Light). As such, the Arrows here don’t feel like particularly unique or memorable, but the dungeon’s enemies and puzzles ensure they are shrewdly integrated throughout the dungeon’s second half. Indeed, little touches, such as the way in which the game subtly encourages the player to move to a spot where they get a clear line of sight through a lit torch to an unlit torch, are brilliant ways to wordlessly teach through nuanced design. They betray the understanding of three-dimensional space with which the game was designed, which is almost comprehensively deep given that the team had only been working with the third dimension for a few years.
Woodfall Temple houses seven enemy types, including three unseen earlier in the game (Boe, Moths, and Venus Flytraps). While Moths and Venus Flytraps contribute to the dungeon’s sense of place, Boe feel less thematically apropos even though they are well-used in a dark room where Link must light torches. As a whole, this selection of enemies meshes well with the dungeon’s swampy setting, evoking the real-life reptiles and insects that characterize swamps. However, so frequently placing these enemies in bland one-off combat scenarios makes them feel disconnected from the rest of the dungeon to the point where they sometimes seem artificially shoehorned.
The first mini-boss is Dinolfos, who is pretty much identical to his Ocarina of Time appearance. Despite dealing extra damage to Deku Link, the fight feels superficial compared to the Lizalfos mini-boss in Dodongo’s Cavern because he goes down in just a few hits and his arena isn’t meaningfully incorporated into the battle. Fortunately, the Gekko and Snapper mini-boss battle is outstanding in how it asks the player to use Deku Link’s flower jump as an attack and then transform back into Link to fire arrows. It’s an enjoyable fight that effortlessly shows the versatility of the Arrows, which the player earns mere seconds before.
The main boss, Odolwa, is a pushover in the 3DS version. While Link can technically use his sword and bow to attack Odolwa, the most obvious and far more efficient strategy has Deku Link shoot out of a flower, drop a Deku Nut on Odolwa’s head, and slash away at his weak spot. This is a really fun strategy that takes advantage of Deku Link’s gliding ability tested throughout the dungeon and his otherwise entirely ignored ability to drop Deku Nuts in that form. But since both phases of the boss are each best tackled through the same strategy, it makes the multi-stage fight feel less nuanced than the single-stage Gekko and Snapper mini-boss.
Woodfall Temple is, in many ways, a bizarro Forest Temple that aesthetically estranges the player despite its relatively straightforward design. Nearly the entire temple is crafted around Deku Link, a divisive transformation that fundamentally alters movement in a way that requires deliberate planning and careful timing. This makes for a decent series of traversal-oriented “puzzles” but less interesting and differentiated combat. Despite its uneasy aesthetic and focus on mechanics that might seem traditionally un-Zelda-like, it is the most typical dungeon in the game in terms of its layout, linear progression, and room-by-room scenarios. Despite these traditional structural components and notable brevity, Woodfall Temple manages to etch itself into the player’s mind through fully exploring Deku Link’s mechanics and providing a wide array of scenarios aptly designed around Deku Link, especially regarding puzzles, traversal, and its mini-boss and boss fights that are not only mechanically, but metaphorically, potent.
For deep dives into other levels from Majora’s Mask, as well as levels from other classic Nintendo games such as Super Mario Odyssey and The Legend of Zelda: Ocarina of Time, click here.
‘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.
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.
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.
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.
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.
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.
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.
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.
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.
“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
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 Patriots. Snake 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.
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
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.
2011 saw the release of the Metal Gear Solid HD Collection, a 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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