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- METAL GEAR SOLID V THE PHANTOM PAIN SOUNDTRACK COVER FULL
- METAL GEAR SOLID V THE PHANTOM PAIN SOUNDTRACK COVER SERIES
All the gameplay improvements and iterations present in “Metal Gear Solid V: Ground Zeroes” – the extremely natural-feeling movement and player control, the vast array of items and weaponry, the advanced AI of enemy combatants – become even more significant when transposed to an open-world setting, where player freedom is virtually limitless.
METAL GEAR SOLID V THE PHANTOM PAIN SOUNDTRACK COVER SERIES
In bringing the series to an open-world structure, player freedom has been expanded massively. It feels like the pinnacle of what Kojima has been trying to achieve gameplay-wise since he arguably began the stealth video game genre in 1987 with “Metal Gear” it feels like the organic endpoint, the apotheosis of what that genre can achieve.
METAL GEAR SOLID V THE PHANTOM PAIN SOUNDTRACK COVER FULL
The third and final section will be full of spoilers, and be the same kind of thematic and literary breakdown of the game that most of my other reviews of games in the series were.Īs with “Metal Gear Solid V: Ground Zeroes”, the other game that constitutes the “Metal Gear Solid V” experience, the gameplay here is exquisite. This section is rather long, but the key parts are in bold, so don’t feel you need to read it all if it seems daunting or tiresome – just stick to the emboldened parts in that case. It draws from games of the series, works the series has explicitly referenced, and some other works I found relevant.
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This section, just like the same section in “Moby Dick”, will consist of quotations of various sources set out sequentially in an order that suggests a certain arc, narrative, development of thought – the same thought that I argue in the third section as being the thesis, the statement of the game. This is inspired by the “Extracts” section that opens “Moby Dick”, the novel Kojima drew from in the writing and development of the game. Then, there will be an “Extracts” section, full of spoilers. After this introduction section, there will be a non-spoiler review mostly of the gameplay of the game, without analysing the game in a thematic or literary sense in the way I approached the other reviews. This review/analysis is going to be a bit different from my other entries on this series. But for Kojima, and for the mainline series formed solely of the entries he directed, it undoubtedly was. So in the strictest of senses, one could very well argue “Metal Gear Solid V: The Phantom Pain” wasn’t the final entry in the series, that it wasn’t the ending in the strictest sense. They are continuing the series with both a co-op survival action game featuring zombies in a parallel dimension, called “Metal Gear Survive”, and a pachislot (Japanese gambling arcade game) modern adaptation of “Metal Gear Solid 3: Snake Eater”. Kojima and Konami, the company that Kojima worked at for decades and home of the “Metal Gear” series, parted ways after the release of “Metal Gear Solid V: The Phantom Pain”, for reasons that remain somewhat murky even today. Oh, one could argue with that statement, citing “Metal Gear Solid 4: Guns of the Patriots” as the “true” ending, since it was the latest game chronologically and was clearly conceived as the ending of the series ( ”Metal Gear Rising: Revengeance” is set chronologically later, but is of dubious canonicity, and wasn’t directed by series director Hideo Kojima). “Metal Gear Solid V: The Phantom Pain” is the final entry in Hideo Kojima’s “Metal Gear” series.