Metal Gear Solid 2: Sons of Liberty has “meme.” Not necessarily in the modern sense of internet meme, but in terms of memetic theory, as opposed to genetics. What drives the plot is a virus that attacks people’s genes, FOXDIE, and the moral is essentially that your genetic makeup does not make you the person you are. Yeah, it’s a completely nonsense misunderstanding of genetic theory, but you just kind of have to roll with it. The villain in that game, Liquid Snake, is motivated partially by the fact he believes he received recessive genes from his father, Big Boss, while his twin brother, protagonist Solid Snake, received the stronger genes. So, Metal Gear Solid 1 has “gene.” This props up explicitly in the plot. Each of the Metal Gear Solid games has a theme, and you’ll quickly see a theme between these themes. Mgs3 ocelot gun jam series#One of the examples of Kojima’s love of wordplay in the Metal Gear series actually exists outside the content on the game. Whenever I refer to Kojima specifically, I’m referring to elements of the direction of the game. I don’t believe in auteur theory I know that it is a team of very talented people, including Kojima, that made this game. I refer to this game as a Hideo Kojima game several times throughout this article, including several times already. But one early morning, the quiet jungle and mountain environments of Snake Eater called me back into them, and I’ve loved my time since then. I liked it, of course, but I didn’t love it. Given how much I’ve gushed about Death Stranding, it might be surprising to some that I didn’t actually love Snake Eater, arguably Kojima’s most well regarded game. You just have to turn the page.īut what of the Kojima game that most uses the aesthetics of cinema? I thought I would revisit Metal Gear Solid 3: Snake Eater. Mgs3 ocelot gun jam full#It’s a pacing that’s actually closer to a book, than a film by gripping an object, you are holding an entry ticket to a world full of writing about stuff. Even the slowest paced of prestige dramas ask you to listen to hours of dialogue expositing real and imagined facts, followed by more hours of sneaking. There is no dissonance between what happens in the game world and how the player interacts with it. Especially in Metal Gear Solid 1, characters openly and seamlessly refer to game mechanics in their dialogue. But one of the things that makes his games remarkable, at their best, are how they’re completely written in the language of video games. The dude loves his movies (as even the most cursory of glances at his social media will tell you) and his work undoubtably uses ideas and aesthetics from the movies he loves. But I think it’s an unfair comparison, even as a joke. I suspect this joke has been around for as long as we’ve known the name “Hideo Kojima,” but it really hit its stride with Metal Gear Solid 4‘s feature-length cutscene, and has come back with Death Stranding‘s bookending its hours of trekking with long cutscenes. Whenever Hideo Kojima is in the public eye at all, it’s a very common joke to suggest that he makes movies, not games. Mgs3 ocelot gun jam ps2#Played on: PS2 (emulated), but gimme an HD remaster on modern systems already
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