Metal Gear Solid 5’s Biggest Secret Is Totally Insane

18 Sep 2015 | Author: | No comments yet »

5 questions I have after beating Metal Gear Solid V: The Phantom Pain.

It offered gazillions of covert, optionally nonlethal ways to skirmish with other players across a battery of maps and stealth-flavored mission templates. Konami revealed during its Tokyo Games Show panel that Metal Gear Solid V: The Phantom Pain’s DLC will be made up of a couple of pieces of horse armour as well as some wearable costumes for characters. Just Metal Gear Online, hey how’s it going, or in series parlance, “Kept you waiting, huh?” The video below offers a fresh-from-the-Tokyo-Game-Show guided tour of the game’s elaborate play styles and modes.

Choices include the trademark outfits of both The Boss and Eva from Snake Eater. ملابس Naked Snake في الجزء الثالث الملابس الرسمية ملابس Naked Snake هذا يعني ان فيه شابتر 3 ؟ :)))) pic.twitter.com/K05TFLDfF2 Halfway through the second chapter, Eli, Psycho Mantis (it never says it’s Psycho Mantis, but come on, it’s Psycho Mantis), and some child soldiers hijack the Metal Gear that Snake destroyed at the end of the first chapter and disappear past the horizon. It’s a battle in many a game these days, the battle over whether the story the gamer creates is enough, without the story the game itself may try to tell. The Phantom Pain starts out like so many Metal Gears before, seemingly driven by narrative, with a first, scripted level that sets the tone, introduces a strange conflict. The graphics looks worse than the 2007 version, gameplay has far too many options and it’s virtually impossible to win a ruck against a top 10 nation.

Character controls are identical to the campaign’s, flattening the acclimation curve, and most of the play concepts dovetail with stuff practiced for dozens of hours in the story. The franchise has long teetered on the edge of anime and more military-themed tales, but early on, there’s an emphasis to embrace things a bit more wild and outlandish, setting a unique tone for the entire game. Interrogating enemies as an infiltrator, for instance, lets you extract locational info about opposing team member (as with enemy sentries in the campaign). In a change of pace from the cult curio main games, Ultra Despair Girls is the first action game in the part Ace Attorney, part Battle Royale horror-mystery series.

He’s out of the hospital now, and with that event as a backdrop, Punished Snake and a mentor set out to change the world and exact a level of vengeance by forming their own independent military outfit. The vibrantly bonkers new and returning characters and expansive narrative somewhat make up for the clunky third-person shooting and mediocre puzzling, while the cut scenes are a treat.

And yes, if you’d rather kidnap than kill, you can “Fulton” enemies out of Dodge (the game’s tongue-in-cheek quick-extraction system) with a kneel, clip-on balloon and chuckling bon voyage. The missions themselves can sometimes feel formulaic (save this person, extract that item, find this, eliminate that threat), but that only serves to let the gameplay shine that much more. And wrinkles in different play modes introduce clever ways to replenish a dwindling ticket score, like taking out an enemy who’s killed a bunch of your teammates (and who thus has a high “bounty” score), which then adds his bounty to your ticket tally (potentially swinging the match).

The rest is better shown than told, including the thing about the plush puppy and the sniper and the … well, you really need to see for yourself in the 11-minute demonstration above. Just as importantly, taking a non-stealth approach never feels “wrong.” You can easily play out missions like a third-person shooter, raining chaos on your enemies via a sniper rifle and rocket launcher. Many areas invite such an approach; why else would Ocelot continually remind you whenever you pass a turret that you can destroy it “or use it yourself”? Then, nine years later, Huey decides he wants to defect back to Diamond Dogs (after he already made a Metal Gear for the crazy guy with the skull face). The way you handle things could easily lead to the dramatic set piece that feels so scripted in other games, the race to the chopper as C4 explosions rain down behind you, the horse chase as you do everything possible to not let your escaping target get away.

You can capture troops on your missions, then assign them to different areas of the Mother Base, where they aid your operation in different ways, part of your private army. The only reason for that is because the timeline has already dictated that Huey drowns himself after discovering that Hal has slept with Huey’s wife and Hal’s step-mom. Base management itself is nothing special — a lot of sifting through less-than-stellar menus — but the payoff comes when you request a weapons drop in the field and get that brand shiny new sniper rifle you’ve desperately wanted. The lone blemish on this core experience is the presence of the Skulls, a fearsome collection of super soldiers who are among your earliest truly significant battles in a story mission. It’s also handed out in a sometimes distracting episodic nature; story missions have their own “beginning” and “end,” complete with a quick section of credits that feels gratuitous and doesn’t seem to add anything to the playing experience.

For those who have long appreciated Kojima’s desire to tell a truly epic narrative (I fall into this camp), The Phantom Pain’s tale has moments of disappointment, never quite reaching the heights it seems headed for during that opening level.

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