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‘Metal Gear Solid’: How Kojima Made The Third Game In A Series Feel Like The First

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MetalGearSolid-Playstation-Review

1998 was undoubtedly an important year for gaming; Ocarina of Time changed the landscape for 3D action-adventure titles, Pokémon Red and Blue took the West by storm, and Metal Gear Solid forever influenced the future of video games as a storytelling medium. With its high production value, stellar voice direction, and tightly written script, series director Hideo Kojima had struck critical and commercial gold. By treating his audience with respect and expecting them to pay attention to the finer details, Kojima set a precedent for complex narratives within the medium. Cut scenes took their sweet time, characters had complicated histories and motivations, and the script did not go out of its way to spew exposition in favor of allowing players to piece together character details through context. As far as series introductions go, Metal Gear Solid took an uncharacteristically graceful approach to establishing its universe; though that’s largely on account of it being the third game in what was already an eleven year old franchise by 1998.

Despite Metal Gear Solid very much feeling like the start of something new, and despite Kojima’s renumbering of the series beginning with Metal Gear Solid 2’s 2001 release, MGS was preceded by Metal Gear and Metal Gear 2: Solid Snake, both for the MSX2. Perhaps that might tarnish the game’s success in presenting a world based mainly on context, since it’s actually building upon pre-established material, but doesn’t that actually make it all the more impressive? Even though Metal Gear Solid is the third game in a franchise, Hideo Kojima managed to present it as the first while also ensuring it never alienated anybody familiar with the first two installments. It’s Important to recognize that Kojima did not reboot the series; he continued it. Newcomers could jump in and pre-existing fans could comfortably play the continuation of the franchise.

via http://grcade.co.uk

In setting Metal Gear Solid six years after the events of Metal Gear 2: Solid Snake, the narrative was able to build some much needed distance, in and out of universe, to move the series forward naturally. Metal Gear 2 ends with Snake having killed his best friend, Frank Jaeger; and his father, Big Boss; before going back into retirement, this time presumably for good. By the time MGS rolls around, Snake is a broken man who is forced out of retirement in order to take out his former unit, FOXHOUND, now turned terrorist. Conceptually, both games are far enough apart in regards to Snake’s character where both games can offer a proper arc for him that makes sense, but that hardly explains why MGS works as an introduction to the series.

To understand how exactly Metal Gear Solid tricked players into believing nothing came before it requires an understanding of Solid Snake’s character arc. Snake is a man carrying around a considerable amount of baggage. He maintains a friendly rapport with his support team, but he becomes evasive when confronted with personal questions. When Meryl asks Snake what his real name is, he simply replies “a name means nothing on the battlefield.” His emotional distance all builds up to the halfway point where he finally delves into his past relationship with Big Boss, giving the audience a fully realized sense of the introspective, damaged man Snake truly is. This reveal works on a global and individual level.

via scriptroutine.com

In the global context of Metal Gear, the reveal of Snake’s relationship with Big Boss recontextualizes the past two games. Snake goes from killing his former commander to killing his father. With this newly realized familial connection, Metal Gear and Metal Gear 2 take on classic tragic elements. The series becomes no longer about the rivalry between a soldier and his CO gone rogue, but a saga inherently about legacy where a father and son are pitted against one another. Individually, only in the context of Metal Gear Solid, the reveal establishes themes of legacy and family that’ll be explored in-depth in the last act, while also portraying Snake’s gradual defrosting through his stint on Shadow Moses. Where he was once cutting himself off, he is now opening up to the people around him. He shows a genuine vulnerability, something that had been hinted at in his interactions with Meryl but was left untouched. Regardless of whether someone is familiar with the series or not, Snake’s character arc works perfectly within either context, in large part thanks to Kojima’s writing style. He references past events, but he does so by establishing a proper setting where information, new or old, makes sense in any situation without sounding like exposition.

It certainly helps Metal Gear Solid’s case as an introduction to the series that the entire supporting cast, save for Colonel Campbell, are fresh faces to Snake. Even with Campbell and Snake’s past relationship, they still need to contextualize their history for Snake’s support, allowing the audience to get a sense for how they relate to one another without feeling alienated for not playing the previous two games, or bogged down with exposition they’re already familiar with. More than anything else, however, it’s Kojima’s realistic dialogue that sells these interactions. A stiff script would have immediately broken the illusion. With a single misstep, players would find themselves confused, questioning what exactly was going on in an already complex game. Kojima (and, to their credit the localization team) crafted a story so tight, it could be equally enjoyed from two polar opposite perspectives.

via http://getwallpapers.com

Even though Hideo Kojima’s script is deserving of praise, the core of Metal Gear Solid’s success is honestly just the presentation. Had Kojima decided to present the game as the latest installment in a series, with overt references that alienate newcomers (something the series would go on to do as soon as Metal Gear Solid 2,) the script’s quality would have no bearing on any discussions regarding Metal Gear Solid as a third installment. The script is just a bonus; the real star is the presentation. It’s careful and deliberate with a well paced output of information. The story makes sure never to overload too much on the player at once, instead allowing them to breathe as if every single detail is brand new for all parties involved. At the same time, characters acknowledge information they do know, grounding the story in reality. By all accounts, this approach should not have worked, but that’s just the brilliance of Hideo Kojima.

An avid-lover of all things Metal Gear Solid, Devil May Cry, and pretentious French lit, Renan spends most of his time passionately raving about Dragon Ball on the internet and thinking about how to apply Marxist theory to whatever video game he's currently playing.

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Best Video Game Soundtracks 2019

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Best Video Game Soundtracks 2019

Awesome Mixtape Vol. 5

It’s that time once again in which I bring to you my awesome mixtape featuring the best tracks from the best video game soundtracks of the year. Last year, my mixtape featured tracks from Triple-A titles such as Red Dead Redemption 2 and indie darlings like Celeste. In 2017, my picks for best soundtracks included tracks from some of my favorite games including Cuphead, Breath of the Wild and Into the Woods, to name just a few. Well, 2019 has been another banner year for the industry and as always, the games were blessed with an astounding selection of musical scores— some would argue the soundtracks were even better than the actual games at times. As always, it wasn’t easy deciding which songs to include and what to leave out— and as always, I’ve also mixed in some audio clips from various cut scenes while trying to keep it spoiler-free. Feel free to share this link and let me know if you think I’ve missed any great soundtracks in the comments below.

Best Video Game Soundtracks 2019 Playlist

Death Stranding clip
Death Stranding
: Low Roar – “I’ll Keep Coming”
Life Is Strange 2 clip
Life is Strange 2: Seyr – “Colour To Colour”
Life is Strange 2: Jonathan Morali – “Into the Woods”
Life Is Strange 2 clip
Sayonara Wild Hearts: Daniel Olsen – “Sayonara Wild Heart”
Sayonara Wild Hearts: Daniel Olsen – “Wild Hearts Never Die”
Death Stranding: CHVRCHES – “Death Stranding”
Afterparty clip
Untitled Goose Game – Dan Golding – “Title and Credits”
Afterparty: scntfc – “Hades Gonna Hate”
Afterparty: scntfc – “Schoolyard Strangler”
Untitled Goose Game – Dan Golding – “The Garden”
Octopath Traveler: Yasunori Nishiki – Main Theme
Octopath Traveler: Yasunori Nishiki – Cyrus the Scholar
Kingdom Hearts 3 clip
Fire Emblem Three Houses clip
Fire Emblem Three Houses: Yuka Tsujiyoko, Hirokazu Tanaka – “Main Theme”
Fire Emblem Three Houses: Yuka Tsujiyoko, Hirokazu Tanaka – “Blue Skies and a Battle”
Devil May Cry 5 clip
Devil May Cry 5: Kota Suzuki – “Urizen Boss Battle Music”
Untitled Goose Game – Dan Golding – “The Garden”
FAR: Lone Sails: Joel Schoch – “Colored Engine”
Days Gone: Nathan Whitehead— “Soldier’s Eye”
Death Stranding: Low Roar – “Easy Way Out”
Death Stranding clip
Death Stranding: Low Roar – “Easy Way Out”
Metro Exodus: Alexey Omelchuk – “Main Theme”
Resident Evil 2 Remake clip
Resident Evil 2 Remake: Masami Ueda, Shusaku Uchiyama, Shun Nishigaki – “Mr.X Theme Music (T-103)”
Sayonara Wild Hearts: Daniel Olsen – “Begin Again”
Life is Strange 2: Lincoln Grounds, Pat Reyford – “Morning Good Morning”
Life is Strange 2: Sufjan Stevens – “Death With Dignity”
Luigi’s Mansion 3 clip
Luigi’s Mansion 3: Koji Kondo – “Main Theme”
Ape Out: Matt Boch – “Intro”
Deltarune: Toby Fox – “Field of Hopes and Dreams”
Return of the Obra Dinn: Lucas Pope – “Loose Cargo”
“Star Wars: Imperial March” Hip Hop Remix
Star Wars Jedi: Fallen Order: John Williams and the London Symphony Orchestra
Death Stranding: Silent Poets – “Asylum for The Feeling”
Catherine: Full Body: Shoji Meguro – “Tomorrow”
The Legend of Zelda: Link’s Awakening: Koji Kondo – “Marin’s Ballad of the Windfish”
Metro Exodus – Alexey Omelchuk: “Teardrops”
Sekiro: Yuka Kitamura – “Ashina Reservoir”
Return of the Obra Dinn: Lucas Pope – “The Doom”
Medley: Eye of Death / Wild Hearts Never Die / Dragon Heart / Clair De Lune

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

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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.

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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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