Metal Gear Solid

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Vataes
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Metal Gear Solid

Post by Vataes » Fri Dec 17, 2021 4:50 pm


Beautiful Beasts were conversations in the codec - the plot itself was presented in a more accessible form for me, because there were also pictures for that. Sure the talk about Beauty was weak, but I don't consider this to be the highlight of the game. For me, this is a reference to longer explanatory conversations, such as the first meeting with Otacon or a conversation with Granin. I would probably rate MGS4 worse, if not for one moment - the fight with Ocelot and the things around, i.e. Naomi, etc. Marriage and Raiden are a weakness - it happens. But the Big Boss moment remains epic for me and I am not able to be rational about it. Even now I will see this moment.
Every time you take one path, you must live with the memory of the other: of a life left unchosen.

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Brerg
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Metal Gear Solid

Post by Brerg » Fri Dec 17, 2021 4:54 pm


If it were as you say in the first paragraph, the video would have the rest of the parts, and they don't. You see, I am not saying that nanomachines / control is a bad leitmotif for the plot, but unlike the previous parts which have subtly intertwined themes of genes, memes and the theater of life, here that word is the answer to every question, a workaround for every script inaccuracy and clarification of doubts. It is simply shallow and sewn with thick threads.

MGS2 gameplay was weak, my opinion concerns the plot, because it was mostly blamed for it. Contrary to the other parts, however, it is a successful metaphor and an interesting implementation of the original concept of presenting the game in the game. Koji really succeeded in this idea.

Well, the moment to see the Big Boss in the 3D version is even an interesting experience, but of course how to explain why he survived his two deaths? Nanomachines. And all the seriousness of the scene is lost.

khem, filming? Inserting commercial products into a fictional game world is the same as referencing famous movies? Not really.
Death is lighter than a feather. Duty, heavier than a mountain.

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Ciliren
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Metal Gear Solid

Post by Ciliren » Fri Dec 17, 2021 5:16 pm


Because there is a fashion to criticize 4 parts, nobody wants to do 1 or 2;) I only saw laughing at the constant "heart attack?" from the first part, easy to find. In general, note that the Ocelot issue has not been clarified with nanomachines, but with hypnosis. Ta-da! With nanomachines we have Vamp, Naomi, Big Boss, Raiden and control over the soldiers. As technology actually develops, everyone will shit them too. Better than the S3 project with MGS2 ("population control" simulation "really"), or at least at the same level. Patriots were also not explained with nanomachines, so no exaggeration. It didn't even piss me off during the game - the video caught my attention, but I'm not going to judge the whole game based on that. Neither will I be judging by Johnny's diarrhea.
The moment you doubt whether you can fly, you cease for ever to be able to do it

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Leriel
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Metal Gear Solid

Post by Leriel » Fri Dec 17, 2021 6:42 pm


And you know there was a much better explanation on Liquid Ocelot, which god knows why Kojima gave up? (maybe because fans know his games better than he does)
The point is, Ocelot's mother was obviously The Boss, and The Sorrow's father was a medium. In the genetic context, it would be trivial to translate Ocelot's genes into the appearance of an authentic Liquid, which by the way would prove that this story was not written part by part.
But unfortunately it was, and this explanation is probably just a case that fans picked up. However, it is also proof of how far MGS4 has moved away from the legacy of its predecessors.
We are all searching for someone whose demons play well with ours.

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Kaikki
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Metal Gear Solid

Post by Kaikki » Fri Dec 17, 2021 8:39 pm


Okay, I will not respond to every opinion of the speakers, because it will take too long and I don't feel like it: P So I will write what I think and it will be calm.
I am aware of many disadvantages of this game and elements that annoyed me. First of all, it's an inflection with filmmaking. I do not mind watching movie scenes, I know that it is part of the character of the series, but boy, such as the fifth act is a big inflection - one location to go, one boss fight and an hour of watching movies, then another boss fight and more one and a half hours of watching the cutscenes. Another thing is that the actual plot actually begins only in the third act - speaking of the "plot" I mean referring to the threads from the previous parts, which I waited to develop and explain. I was also disturbed by the bloody soap opera and threading some threads that I would just screw out - Otacon and Naomi, or Meryl's wedding - unnecessary, I'm not interested, I'm not playing the game to experience love dilemmas of a nerd who is not successful in life.
Besides - Raiden. I'm one of the few people who really LIKED Raiden in the two, and he didn't bother me as much as everyone else. For me, he was not gay, he was rather young and inexperienced. On the other hand, Raiden in the four already bothers me - they turned him into a naughty ninja who throws craps with two robots strapped to his legs (by the way, I do not understand why Gecko moo). And it's his farting that he's a monster, that he's a machine, blah blah blah ... too much, too long. And the fight with Vamp scene where Raiden bleeds his sperm and Vamp licks her off the knife was ... well ... devastating. The placement irritated me too, but not that much.
It goes without saying that this game is a blockbuster (even it's written on the back of the package). And it's supposed to sell new equipment. So they went to the show, the mega-explosions, the action scenes, and the scenario was a bit of a play for all of this - after completing this game, I felt like watching a summer action movie, which was spectacular, but not particularly memorable. I think one of the reasons for my disappointment was that I was expecting a twofold storyline (which I really love) - full of twists, mindfucks built on the principle of "fint in fin in fin", and I got a clear explanation of each plot. It took me some time to realize what I was satisfied with. I think that Kojima finished everything very neatly and sensibly, he explained the problem that bothers me nicely, namely "MGS3 did the hell", he saved the character of Vamp nicely (I prefer clich� nanobots than if they were to explain it in a more fucked up way) and even this unfortunate Ocelot's hand .
I consider four to be a great game. I don't know why the hell. Out of sentiment maybe. But it was just cool to see old Snake complete his goddamn mission. The climate is a strong point - the beginning of the fourth act touched me genuinely. That macho way of course. I think it's a very good ending to the whole saga - it's not as fresh as one, nor as fucked up as two or so ... I don't know, I'm not some big fan of three, but it's not like that either. It certainly did not disappoint my expectations.

By the way, I fucking like BB Corps. I think this is the best FOXHOUND boss set from "One". Seriously. I am not joking.
I think love is stronger than habits or circumstances. I think it is possible to keep yourself for someone for a long time and still remember why you were waiting when she comes at last.

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Veldrin
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Metal Gear Solid

Post by Veldrin » Fri Dec 17, 2021 9:47 pm


Tell me, why didn't Snake shoot himself in the head with the player's hands at the end? Why wasn't there such a scene in the cemetery as with The Boss in three that the player has to pull the trigger? Until it was asked for.
I can only think of one answer. Because it's better to give a poor open ending with a living cult hero than to show that you have balls and finally end the story as it should, with dead protagonists.
Of course, we will see Solid Snake in MGS Raising 100%, of course.

Black, as for the character of Raiden, as to the opinion about the two, I fully agree. The circuses played by the blondas in the four surpassed all the limits of sense. How many times has he almost died in this game? As in the 4th act he stopped Outer Haven with his body, I thought that finally after him and when I saw him beating with lightning with a katana in his teeth in the 5th act I lost all hope for a satisfying epilogue. And then there was Mr. and Mrs. Smith as a reference to iconic cinematography, brothers' sunset kisses, another Big Boss resurrection and a wedding. For me, it is too much absurd even to break it down into all parts of the saga.
...disbelief in magic can force a poor soul into believing in government and business...

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Onirke
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Metal Gear Solid

Post by Onirke » Fri Dec 17, 2021 10:20 pm


Spoiler, because they will cling.

All in all, I agree. If Snake had smacked himself in the head, it would have been a lot more memorable for sure, especially if it had been resolved like you said - like a three. But they didn't, instead they took a different route - the ultimate conclusion to Big Boss's story. Did they need to introduce him? I don't know, I wasn't really moved by this last scene, but on the other hand it was necessary - it was such a sealing of the whole story. Also touching on the whole. As for Raiden, I really had a lot of hope that he died in the fourth act, because that would be just right - and dramatic enough and somehow it would add to the drama of the whole. And when I saw him with the sword in his teeth, I was really pissed. Well, without exaggeration - the visitor was run over by a gigantic aircraft carrier, a bit of bloody seriousness! So yes, I think Raiden is a big, big downside to this part.
Be the change that you wish to see in the world.

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Gor
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Metal Gear Solid

Post by Gor » Sat Dec 18, 2021 12:12 am


There was probably a version that Snake and Otacon were to be put on death row, but Kojima, influenced by the producers, could not do so. Let's face it - this game is not only Kojima, but also Konami and a high budget (probably still one of the highest?). We can ask - what if Kojima had a free hand? But I'm sorry - the games strive for homogenization, suitable for a larger audience than the fans themselves, who will somehow swallow the death of the protagonist. Sure, we have Modern Warfare or Medal of Honor, but the shock of death is an important element of the game there. Okay, so far I only came across one game with this solution, but it's not blockbuster (RDR). I also saw it more often in single volumes of books than in the endings of large series. They were not finished in such God of War 3 either. On the other hand, I did not mind a cathartic dream like "you don't have to fight anymore" - in the end I'm going into a well-deserved retirement.
There was only gold, and power, and the bodies of women, and steel.

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Perv
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Metal Gear Solid

Post by Perv » Sat Dec 18, 2021 1:08 am


With reference to the second paragraph; Well, you either tell stories uncompromisingly and with the help of unique measures and these will be remembered as iconic / groundbreaking, or you make games for money that will only be remembered by profits in the history of the industry. The latter have nothing to offer for people like me who expect more from this form of entertainment. Maybe I just outgrown the admiration for such games, but when I think about it, the previous parts somehow had that something, some unique element that could only be realized in such an interactive form of communication. And MGS4 is just a bad gameplay game and a B-class movie.
It's so good being bad

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Eredin
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Metal Gear Solid

Post by Eredin » Sat Dec 18, 2021 2:44 am


In my opinion, MGS4 is a compromise between Kojima's artistic vision and creating for money. Uncompromising stories that do not look at profits are unlikely to be done anymore. The gaming industry has outgrown the film and music industries, these are no longer garage productions that can become a hit, but products focused primarily on profit. I don't like it either, but I still manage to find games that give me a lot of satisfaction. The MGS4 also gave me a lot of satisfaction, despite a lot of disadvantages.
Don’t Let Yesterday Take Up Too Much Of Today

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