- #METAL GEAR SOLID V THE PHANTOM PAIN METACRITIC HOW TO#
- #METAL GEAR SOLID V THE PHANTOM PAIN METACRITIC MOVIE#
- #METAL GEAR SOLID V THE PHANTOM PAIN METACRITIC SERIES#
From what angle? At sunrise or sunset? After thorough or slapdash surveillance? In what sort of camouflage? With the aid of a horse for quick arrival and escape, or a canine pal that can spot and mark enemies faster and more completely than you?
#METAL GEAR SOLID V THE PHANTOM PAIN METACRITIC HOW TO#
Like how to approach a cliffside fortress teeming with floodlights, security cameras, anti-aircraft cannons, machine gun nests, barbed wire fences, lookout posts, labyrinthine caverns, hovering gunships, weaponized bipedal robots and playgrounds of scalable, multilevel mud-rock dwellings staffed by relentless, hyperaware soldiers. From there, you execute contracts for shadowy clients in fictional swathes of Afghanistan and the African Angola-Zaire border region, accruing capital to unlock an arsenal of espionage munitions, all the while sleuthing for intelligence on the sinister outfit that brought you to ruin nearly a decade ago.Ĭonsider just a few of the ways Kojima lets you poke his anthills. The idea, first articulated in 2010’s Metal Gear Solid: Peace Walker, is that you’re leading a private nation-agnostic military force from your “mother base,” a concrete and steel-jacketed platform anchored in the middle of the Indian Ocean near the Seychelles archipelago. The Phantom Pain is the revenge fantasy entrée transpiring nine years later, a grab-your-bootstraps offshore empire-building exercise and parallel slide into militaristic perdition by way of the Soviet-Afghan and Angolan (civil) wars circa 1984.
#METAL GEAR SOLID V THE PHANTOM PAIN METACRITIC SERIES#
You play as Big Boss, the grizzled, cyclopean soldier of fortune we spent so much of the series reviling, traumatized and left comatose by events in last year’s prologue and prolegomena, Metal Gear Solid: Ground Zeroes. We’re instead treated to a clandestine feast of open world prowling, an unparalleled tactical toybox staged in sprawling bulwarks bristling with eerily sentient enemies. It’s like some other mirror-verse version of Kojima helmed production, suddenly obsessed with play-driven storytelling, while most of the grim narrative about the descent of a Melvillian mercenary trickles in through cassette tapes you can listen to at leisure, or ignore completely. Oh they’re still here, as fascinating, offbeat and abstruse as ever, but restricted to momentary exposition instead of Homeric interruption. So it feels a little weird to declare The Phantom Pain comparably cutscene-free. A fan-edited compendium of the latter’s combined non-interactive sequences clocks in at upwards of nine hours. His last numbered Metal Gear Solid game, Guns of the Patriots, holds two Guinness records, one for the longest cutscene in a game (27 minutes), another for the longest cutscene sequence (71 minutes).
#METAL GEAR SOLID V THE PHANTOM PAIN METACRITIC MOVIE#
A self-professed cinephile (he told me in 2014 that he tries to watch a movie a day), he’s notorious for straining attention spans with marathon film-style interludes and epic denouements. We laud Kojima for his contributions to stealth gaming’s grammar, but he’s also loved and, by some, lampooned, for bouts of indulgent auteurism. That probably sounds a little backwards if you’re hip to Hideo Kojima’s long running Metal Gear Solid series, which launched in 1987 on a Japanese computer platform.
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