I am not confident about what I am talking about but it's there for initiating thought also cocks
Because this post contains such a great deal of geekdom, please have this complimentary song to counteract it's effects.
Cedar by Ex Reverie
MGS3 -
"Yaaaaaaaaay!"
See sharkface man? see how happy you've made him? d'awwww
I'm happy I made it through the game all on my own, mom! Even the really annoying bosses like The End's lasting fucking forever! I beat the final Boss [oh Hideo and your jokes] by kicking her in the shins alot! Ho ho!
I feel accomplished even though my gameplay had something to be wanting, mostly not enough sneaking and too much running like hell from gunfire and slamming heads on the ground. That'll be fun to cover on the next playthrough.
As recently evident, the gameplay is damned immersive. I played Subsistence so could swivel the camera in close [and confuse myself]. The npc AI's, of course, leave all other games wanting. And playing dress-up Snake with kabuki makeup and a tuxedo [I wish he could fight in the scientist garb] But blah blah blah people have heard all this before.
[The BEST part of Subsistence is the secret theatre. THE BEST THE BEST THE BEST THE BEST-]
So besides the technical aspects that I'm sure have been spat about plenty, what I'm bringing away is a great sense of mood. Sharing something with other media I tend to like, clearest in the Silent Hill games, the air around these games is so distinctive it can lead to cravings that aren't matched by non-franchise games. It's built up by a very consistent style.
Even though there are bombs and gunfire, it's a quiet, contemplative setting. The music is low key, often giving way to nature sounds. There is lots of sitting, looking, waiting. The fucking goal is to keep things quiet. A Pavlovian response is built up in the player to detest noise- from the sharp alert sound to the barrage of violence that follows after being found. The best players don't make any. Even with bombs, the stun grenade leaves the place silent. Long walks through forests, long climbs up ladders, long walks down rivers, a fucking field of flowers rustling in the wind. It's all meditative.
Technology is the highlight of the series. All the bosses utilize high-tech abilities, and yeah, Metal Gears, duh but it's the constant use of small tech by the player that really make the feel. They create a feeling of having new abilities on hand granted by the gadgets. They make a literal halo onscreen. Snake is strapped all over with gadgets, and Raiden was trained by machine [VR]. In a world of growing mechanization, it's glorifying of tool-use, using them to save the world or defeat giant monsters, is made utterly captivating.
The main characters in the games are contemplative and observant. These people know what they want and how to get it, and are confident enough to see them through. With all the hot tech lying around, and their own strength and intelligence, they can and do.
And so, combine these, you have a focused, silent beam of power to control, less a character and more a force of will. If we could all be so capable and unstoppable and peaceful in life, with everything we need to get the job done at hand. Overall, it's a slick feeling, worthy of revisiting.
WIth these initial mechanics built up, the plot, of course, fucks them over. The powerful protagonists, so able-bodies as to be superhuman, are, clearly, used as tools themselves in confused schemes. The irony that becoming so polished makes them less a person is shown several times, and conflicts with the gamer's ideals to play the best. In these games, even doing what the player is supposed to do can lead to a failure in the plot. Even at the very end of MGS3, we don't feel totally positive about what we just did. And we know Big Boss is negatively affected.
Another theme in the games is about building and controlling power. Money, weaponry, soldiers, whatever form, it leads to conflict. It's interesting that the most powerful force proves to be some guy with a tranquilizer-non lethal- gun. He doesn't even have to be insanely strong or have weird abilities- he can beat everyone who does- and that's such a strong message of hope for us [;A;], and sets the games apart from all others. With the Sorrow's episode, the games even stress that killing your opponent is bad! What kind of video game is that?
What I'm also really happy about now is that I now am familiar enough with the franchise to delve into the overarching, convoluted story more. I mean, I honestly haven't been sure what the fuck is going on for large parts either of these games, and it's taken wikia delving to get a straightforward answer, but I'm cool with that. It's confusing with all the alliance/enemy shifts, which is actually a key point made.
For anyone not playing the games yet, I'd demand you play them in order [or even the original Metal Gears] to get the full effect. How Hideo played [fucked] with the idea of sequel played out in actual real world situations is bizarre at least and amazing at most. Recurrence, reincarnation, de ja vu. He's giving us exactly what we want- more of the same. Have we as players doomed these characters into their wartorn lives ourselves? I wouldn't put it past Hideo to think something like that.
o___o
Yeeeeeeah I'm giving in and downloading MGS4 cutscnes cause I want to know what happens and it'll be fun to see it all within the span of like a week and have an anyeurism.
in other news WHATEVER LOUD CHIRPING THING OUTSIDE MY WINDOW NEEDS TO SHUT THE FUCK UP SO I CAN SLEEP TONIGHT UNLIKE LAST NIGHT HOLY GAWD I DONT CARE IF YOU CANT GET LAID GO AWAY BEFORE I KILL EVERYTHING WITHIN A THIRTY FOOT RADIUS OF MY WINDOW.
Cedar by Ex Reverie
MGS3 -
"Yaaaaaaaaay!"
See sharkface man? see how happy you've made him? d'awwww
I'm happy I made it through the game all on my own, mom! Even the really annoying bosses like The End's lasting fucking forever! I beat the final Boss [oh Hideo and your jokes] by kicking her in the shins alot! Ho ho!
I feel accomplished even though my gameplay had something to be wanting, mostly not enough sneaking and too much running like hell from gunfire and slamming heads on the ground. That'll be fun to cover on the next playthrough.
As recently evident, the gameplay is damned immersive. I played Subsistence so could swivel the camera in close [and confuse myself]. The npc AI's, of course, leave all other games wanting. And playing dress-up Snake with kabuki makeup and a tuxedo [I wish he could fight in the scientist garb] But blah blah blah people have heard all this before.
[The BEST part of Subsistence is the secret theatre. THE BEST THE BEST THE BEST THE BEST-]
So besides the technical aspects that I'm sure have been spat about plenty, what I'm bringing away is a great sense of mood. Sharing something with other media I tend to like, clearest in the Silent Hill games, the air around these games is so distinctive it can lead to cravings that aren't matched by non-franchise games. It's built up by a very consistent style.
Even though there are bombs and gunfire, it's a quiet, contemplative setting. The music is low key, often giving way to nature sounds. There is lots of sitting, looking, waiting. The fucking goal is to keep things quiet. A Pavlovian response is built up in the player to detest noise- from the sharp alert sound to the barrage of violence that follows after being found. The best players don't make any. Even with bombs, the stun grenade leaves the place silent. Long walks through forests, long climbs up ladders, long walks down rivers, a fucking field of flowers rustling in the wind. It's all meditative.
Technology is the highlight of the series. All the bosses utilize high-tech abilities, and yeah, Metal Gears, duh but it's the constant use of small tech by the player that really make the feel. They create a feeling of having new abilities on hand granted by the gadgets. They make a literal halo onscreen. Snake is strapped all over with gadgets, and Raiden was trained by machine [VR]. In a world of growing mechanization, it's glorifying of tool-use, using them to save the world or defeat giant monsters, is made utterly captivating.
The main characters in the games are contemplative and observant. These people know what they want and how to get it, and are confident enough to see them through. With all the hot tech lying around, and their own strength and intelligence, they can and do.
And so, combine these, you have a focused, silent beam of power to control, less a character and more a force of will. If we could all be so capable and unstoppable and peaceful in life, with everything we need to get the job done at hand. Overall, it's a slick feeling, worthy of revisiting.
WIth these initial mechanics built up, the plot, of course, fucks them over. The powerful protagonists, so able-bodies as to be superhuman, are, clearly, used as tools themselves in confused schemes. The irony that becoming so polished makes them less a person is shown several times, and conflicts with the gamer's ideals to play the best. In these games, even doing what the player is supposed to do can lead to a failure in the plot. Even at the very end of MGS3, we don't feel totally positive about what we just did. And we know Big Boss is negatively affected.
Another theme in the games is about building and controlling power. Money, weaponry, soldiers, whatever form, it leads to conflict. It's interesting that the most powerful force proves to be some guy with a tranquilizer-non lethal- gun. He doesn't even have to be insanely strong or have weird abilities- he can beat everyone who does- and that's such a strong message of hope for us [;A;], and sets the games apart from all others. With the Sorrow's episode, the games even stress that killing your opponent is bad! What kind of video game is that?
What I'm also really happy about now is that I now am familiar enough with the franchise to delve into the overarching, convoluted story more. I mean, I honestly haven't been sure what the fuck is going on for large parts either of these games, and it's taken wikia delving to get a straightforward answer, but I'm cool with that. It's confusing with all the alliance/enemy shifts, which is actually a key point made.
For anyone not playing the games yet, I'd demand you play them in order [or even the original Metal Gears] to get the full effect. How Hideo played [fucked] with the idea of sequel played out in actual real world situations is bizarre at least and amazing at most. Recurrence, reincarnation, de ja vu. He's giving us exactly what we want- more of the same. Have we as players doomed these characters into their wartorn lives ourselves? I wouldn't put it past Hideo to think something like that.
o___o
Yeeeeeeah I'm giving in and downloading MGS4 cutscnes cause I want to know what happens and it'll be fun to see it all within the span of like a week and have an anyeurism.
in other news WHATEVER LOUD CHIRPING THING OUTSIDE MY WINDOW NEEDS TO SHUT THE FUCK UP SO I CAN SLEEP TONIGHT UNLIKE LAST NIGHT HOLY GAWD I DONT CARE IF YOU CANT GET LAID GO AWAY BEFORE I KILL EVERYTHING WITHIN A THIRTY FOOT RADIUS OF MY WINDOW.