I got to the point before they unlock the truth mission. Realized it was either a base development/time/do non story missions to unlock and said fuck it I'm done, I dont want to bother with doing any of those. So I youtubed like the 3 endings. Good overall, some stuff is just still baffling and obvious that they just didnt have time to get to.
I think the only rug yank I hated was
the Paz stuff. I completely missed that any of that was there until giant bombs thing pointed it out. Then I immediately went and did as much of it as I could. Was really bugged by the obvious question of 'wheres chico/what the fuck happened to him'. Besides the obvious "died in the explosion".
I love finding increasingly wacky ways to get an S rank on missions. Used a tank to careen through the jungle in [Extreme]Code Talker while the Skulls ineffectually fired at me. In [Subsistence]Occupation Forces there's a guard you can abduct near insertion without triggering an alert, you take his weapon and throw his stunned body onto the road in the path of the armored convoy, extract the first tank, hose down the two that get out of the truck and then extract the second tank that couldn't shoot you due to the truck blocking its fire, exfiltrate in the truck.
For Occupation Forces you can literally just run out into the road in front of the convoy and fulton the vehicles one at a time before they're able to kill you.
Steam / Xbox Live: WSDX NNID: W-S-D-X 3DS FC: 2637-9461-8549
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BRIAN BLESSEDMaybe you aren't SPEAKING LOUDLY ENOUGHHHRegistered Userregular
edited October 2015
Chico
There's no ifs or buts about it, since they address it very early on in one of the briefing tapes - that kid is straight-up dead
Also, Amanda is busy helping run Nicaragua now or something
BRIAN BLESSED on
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Werewolf2000adSuckers, I know exactly what went wrong.Registered Userregular
I love finding increasingly wacky ways to get an S rank on missions. Used a tank to careen through the jungle in [Extreme]Code Talker while the Skulls ineffectually fired at me. In [Subsistence]Occupation Forces there's a guard you can abduct near insertion without triggering an alert, you take his weapon and throw his stunned body onto the road in the path of the armored convoy, extract the first tank, hose down the two that get out of the truck and then extract the second tank that couldn't shoot you due to the truck blocking its fire, exfiltrate in the truck.
My favourite is the best way to complete mission 30:
There's no ifs or buts about it, since they address it very early on in one of the briefing tapes - that kid is straight-up dead
Also, Amanda is busy helping run Nicaragua now or something
WHAT? You mean Quiet ISN'T Chico?
SHOCKING AND UNEXPECTED.
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
There's no ifs or buts about it, since they address it very early on in one of the briefing tapes - that kid is straight-up dead
Also, Amanda is busy helping run Nicaragua now or something
I am around 70% sure this is a cut thing...
that Chico was supposed to appear in some capacity in TPP. "Oh yeah he died" via tape is not a definitive conclusion for that character, especially since we get new renderings of that scene in this game - it woulda been so easy to show him die in those new versions, if that was the truth.
Like I joke that Chico is Quiet and it just got deleted when Kojima got salty about people figuring it out, but I mean considering the amount of stuff missing from the game there's a non zero chance that's actually the case. I mean, it's close to zero. But still!
...first thing Quiet does when she finds Boss is choke his shit, just like he did to Chico in Camp Omega! She coulda shot him, stabbed him, she chose choking! WAKE UP SHEEPLE!
There's no ifs or buts about it, since they address it very early on in one of the briefing tapes - that kid is straight-up dead
Also, Amanda is busy helping run Nicaragua now or something
I am around 70% sure this is a cut thing...
that Chico was supposed to appear in some capacity in TPP. "Oh yeah he died" via tape is not a definitive conclusion for that character, especially since we get new renderings of that scene in this game - it woulda been so easy to show him die in those new versions, if that was the truth.
Like I joke that Chico is Quiet and it just got deleted when Kojima got salty about people figuring it out, but I mean considering the amount of stuff missing from the game there's a non zero chance that's actually the case. I mean, it's close to zero. But still!
...first thing Quiet does when she finds Boss is choke his shit, just like he did to Chico in Camp Omega! She coulda shot him, stabbed him, she chose choking! WAKE UP SHEEPLE!
4:20 9/11 think about it
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
Metallic archaea can't melt steel beams
Oh brilliant
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KadokenGiving Ends to my Friends and it Feels StupendousRegistered Userregular
I only just beat the pain, but Colonel Volgin seems like a really boring villain. I assume the title of chief antagonist probably goes to the Boss, but every other villain makes a better impression than him.
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BRIAN BLESSEDMaybe you aren't SPEAKING LOUDLY ENOUGHHHRegistered Userregular
Colonel Volgin spends most of the game being a villainous chump, which is fitting given he really is there to fit the stereotypical Bond Villain and be overshadowed in entertainment by the freakshow gallery :P
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FreiA French Prometheus UnboundDeadwoodRegistered Userregular
I just love that the dude constantly chants a "ward" to protect himself from being struck by lightning. KUWABARA KUWABARA.
Are you the magic man?
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MongerI got the ham stink.Dallas, TXRegistered Userregular
There's no ifs or buts about it, since they address it very early on in one of the briefing tapes - that kid is straight-up dead
Also, Amanda is busy helping run Nicaragua now or something
I am around 70% sure this is a cut thing...
that Chico was supposed to appear in some capacity in TPP. "Oh yeah he died" via tape is not a definitive conclusion for that character, especially since we get new renderings of that scene in this game - it woulda been so easy to show him die in those new versions, if that was the truth.
Like I joke that Chico is Quiet and it just got deleted when Kojima got salty about people figuring it out, but I mean considering the amount of stuff missing from the game there's a non zero chance that's actually the case. I mean, it's close to zero. But still!
...first thing Quiet does when she finds Boss is choke his shit, just like he did to Chico in Camp Omega! She coulda shot him, stabbed him, she chose choking! WAKE UP SHEEPLE!
While all of the speculating and datamining I've read regarding this game is unmistakably tinfoil crazy, I'll pass along that:
One of the encampments in Africa seems to be internally referred to as Chico Village West. There was also a rumor a while back about a mission to be added post-release that would involve Amanda visiting mother base and revealing that Chico was in hiding in Africa.
Although even in the extremely unlikely event that any such thing was ever planned, I can't imagine it happening after what's been going down at Konami lately.
There's no ifs or buts about it, since they address it very early on in one of the briefing tapes - that kid is straight-up dead
Also, Amanda is busy helping run Nicaragua now or something
This is Metal Gear Solid
Just because someone is dead doesn't mean they are dead.
I love finding increasingly wacky ways to get an S rank on missions. Used a tank to careen through the jungle in [Extreme]Code Talker while the Skulls ineffectually fired at me. In [Subsistence]Occupation Forces there's a guard you can abduct near insertion without triggering an alert, you take his weapon and throw his stunned body onto the road in the path of the armored convoy, extract the first tank, hose down the two that get out of the truck and then extract the second tank that couldn't shoot you due to the truck blocking its fire, exfiltrate in the truck.
I hid behind a rock and literally jumped into traffic which forced them to stop. I was able to fulton the three very surprised vehicles quickly.
I imagined the driver of the front AV shitting himself and the commander going "what the fuck?!"
[...]
I knew war was a bad thing when the first MGS game came out and I fucking get it. I don't need Kojima's overdramatic preaching on the topic to get it. Or about the issues of the military industrial complex. Or something like the Cold War. Or any of the other zillion things he feels like preaching about at any given point in a dialogue.
[...]
Yet, we still have people who think the game is about how cool/fun war is.
Just like people think "'No Russian' is just about murdering civilians." And how I still hear people being surprised at how the developers of CoD(4):MW could be so tone def when they made the DC3 mission, with how indifferent the crew sounded... 'Don't they understand the horrors of war, and the dangers of becoming numb to all its tragedies?!?!'
(I'm paraphrasing professional reviewers, and other people who really should know better.)
Do you know something, ever since this bullshit update that steals all of your resources and sends them to your FOB I've lost the will to play.
I'm sat here with a measly few thousand of each resource on MB, meanwhile my FOB is hoarding nearly 100k of each and I'm busking for pennies to pay for weapons development.
I'd love to have been present at the meeting that decided this hotseshit
"let's just steal all the players stuff"
"what do you mean?"
"everything they've accumulated in gametime, let's just take it. All of it. Take all their shit"
"why?"
"because Fuck You, that's why!"
I'm thinking something must have changed the last couple of days.
While I used to have to wait days to be able to fund the next expansion of MB/FOB, now I only have to wait an hour or two to be able to buy the next expansion ... but I have to wait 16 h for it to complete.
Also, I think it's 90% that's moved to the FOB. What the heck?!?
On the code talker mission. I think I accidentally did it "right"?
code talker and 'man on fire' stuff:
I helicoptered in, to the spot IN the river, and it gave me a jeep for some reason. I drove to the waterfall/near it. Got out, climbed a crack, walked the cliff line as long as I could. Never saw a skull except one ddog pointed out on a cliff, that never saw me and I guess they despawned?
I feel like maybe I missed a bunch of content in this game. For the man on fire fight, he lost track of me immediately, I just called the chopper in, got on it and left. He was just walking around screaming like that ghost pirate from venture brothers.
I'd like a game that focused on Ocelot from 198x-199x. I think fleshing out his storyline as a sympathetic character could be well done. I'm not sure of who could accomplish that.
edit: end game spoilers and chico:
come on, everyone but the helicopter pilot survived that explosion and crash, except chico? come ooooooooooooooooooooooon. I'm fine with it I guess. But yeah I'm not surprised it he was supposed to be in this but was the easy cut to make.
On the code talker mission. I think I accidentally did it "right"?
code talker and 'man on fire' stuff:
I helicoptered in, to the spot IN the river, and it gave me a jeep for some reason. I drove to the waterfall/near it. Got out, climbed a crack, walked the cliff line as long as I could. Never saw a skull except one ddog pointed out on a cliff, that never saw me and I guess they despawned?
I feel like maybe I missed a bunch of content in this game. For the man on fire fight, he lost track of me immediately, I just called the chopper in, got on it and left. He was just walking around screaming like that ghost pirate from venture brothers.
I'd like a game that focused on Ocelot from 198x-199x. I think fleshing out his storyline as a sympathetic character could be well done. I'm not sure of who could accomplish that.
edit: end game spoilers and chico:
come on, everyone but the helicopter pilot survived that explosion and crash, except chico? come ooooooooooooooooooooooon. I'm fine with it I guess. But yeah I'm not surprised it he was supposed to be in this but was the easy cut to make.
To be pefectly honest.
A kid is not gonna have a great chance surviving an explosion+helicopter crash in the middle of the Ocean.
On the code talker mission. I think I accidentally did it "right"?
code talker and 'man on fire' stuff:
I helicoptered in, to the spot IN the river, and it gave me a jeep for some reason. I drove to the waterfall/near it. Got out, climbed a crack, walked the cliff line as long as I could. Never saw a skull except one ddog pointed out on a cliff, that never saw me and I guess they despawned?
I feel like maybe I missed a bunch of content in this game. For the man on fire fight, he lost track of me immediately, I just called the chopper in, got on it and left. He was just walking around screaming like that ghost pirate from venture brothers.
I'd like a game that focused on Ocelot from 198x-199x. I think fleshing out his storyline as a sympathetic character could be well done. I'm not sure of who could accomplish that.
edit: end game spoilers and chico:
come on, everyone but the helicopter pilot survived that explosion and crash, except chico? come ooooooooooooooooooooooon. I'm fine with it I guess. But yeah I'm not surprised it he was supposed to be in this but was the easy cut to make.
To be pefectly honest.
A kid is not gonna have a great chance surviving an explosion+helicopter crash in the middle of the Ocean.
Honestly, they should have ALL been dead.
Maybe they all are! All of them! ALL OF THEM!!!!
In Metal Gear Solid 6, his code name will be Ghost Snake.
come on, everyone but the helicopter pilot survived that explosion and crash, except chico? come ooooooooooooooooooooooon. I'm fine with it I guess. But yeah I'm not surprised it he was supposed to be in this but was the easy cut to make.
It's about half and half.
3 survivors:
Big Boss
Miller
Medic
4 casualties:
Paz
Chico
Morpho
A "6th guy" in a balaclava that was picked up from mother base
If you really want to take the express line to crazy town, some people are speculating that the 6th guy (who is shown having trouble moving his left arm) is actually V, and the medic is actually Ishmael (datamining has revealed that they have the same face).
That 6th guy is Mosquito, he's the tutorial FOB guy. ;D
Also I believe Morpho and Pequod share a voice actor, so... could be the same guy, different callsign.
Mosquito has a unique model with his name on the back of his vest. You can see him in the cutscene at the end of Ground Zeroes, but, IIRC, the guy that actually gets on the chopper has a triangle on his vest.
I could be misremembering the rambling scrawls about that scene that I've read, though.
This morning I played the final story mission, and I'd definitely agree with much of the criticism levelled at the game's story. It's got lots of cool, fun, interesting story bits, but none of them add up; previous MGS titles have also been a mess of tones and genres, but thematically they were more coherent. It's a shame: if they'd only concentrated on one or two of the themes (e.g. language and identity) and made these work well, it would've tied things together effectively, but as it is the game's storyline and the climactic reveal at the end feel like the results of a brainstorming session in dire need of some editing.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
So I've completed missions 1-48. I was just wondering if these last two remix missions unlock any additional cutscenes. I feel like 46 is pretty much the end of the game, but wanted to know if I really need to play those missions now or come back to them later.
That 6th guy is Mosquito, he's the tutorial FOB guy. ;D
Also I believe Morpho and Pequod share a voice actor, so... could be the same guy, different callsign.
MGSV takes place after the successful execution of the Human Instrumentality Project. Everyone is the same person!
I was actually thinking it was a
Stand Alone Complex. A series of copycats where there was actually no original to begin with. A bunch of soldiers pretending to be the big boss they think big boss is,(which are in turn trying to preserve the bosses legacy and stop zero's corruption of such) and subordinates trying to shape and form him into the big boss they think should exist. He probably actually retired and is working the grill at kaz's burger shack.
A major theme of the series is carrying on a legacy which is actually someones perverted megalomania perceived vision. First with the boss, then big boss, with zero,liquid, solidus, and ocelot. By the end of the series you have played telephone so many times ocelot is a self hypnotised arm grafted nightmare of a man trying to stop AI's and the illuminati from taking over the earth, knowing you will stop him and do the right thing.
Honestly the whole thing makes you realize that there were probably other copycats, and they could very well be the ones in the plastic bags in 4.
(anime-ass anime)
DiannaoChong on
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MongerI got the ham stink.Dallas, TXRegistered Userregular
I just finished Chapter 1, and... yeah. It's amazing how bare bones, yet rushed the plot feels. A bunch of dragging of the feet, with brief moments of "oh shit better actually write something!". None of it was really bad, just... clearly lesser than all the other MGS games.
Ch1 spoilers:
So that's the infamous jeep ride I heard rumblings about. I don't know what I'm supposed to think. Like, literally. I neither liked it nor hated it. I was just confused at the end, which whatever the intention I'm guessing was not the reaction they wanted out of me. They also completely wasted that song. Because I can imagine it playing over the Sahelanthropus fight and being fucking epic.
I think the biggest issue though is never being 100% sure where the problem lies. In Kojima falling flat on his face, or if it's all the result of the Konami kerfuffle that went on. But my gut is leaning to the former. Because I've seen various forms of the latter, of games that careen off the rails at a certain point, a point you can look at and say "And that's where all the shit happened behind the scenes". Meanwhile a lot of the bits I have issues with feel remarkably like Kojima being Kojima... and faceplanting.
"The sausage of Green Earth explodes with flavor like the cannon of culinary delight."
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MorninglordI'm tired of being Batman,so today I'll be Owl.Registered Userregular
edited October 2015
It's not even a little bit meant to be like a linear metal gear in any way shape or form.
The story structure heavily reminds me of every other freeroam games story I've ever played.
Only a lot more interesting.
There's a write up by Kojima where he specifically mentioned the problem of creating the normal restrictive on rails MGS story in a freeroam game, it being flat out impossible, and his idea to solve it was setting up each individual mission like it was a single episode in an ongoing tv show.
As long as you aren't expecting what you were never going to get, it works well. I don't have any problems with this games story until after chapter 1.
Morninglord on
(PSN: Morninglord) (Steam: Morninglord) (WiiU: Morninglord22) I like to record and toss up a lot of random gaming videos here.
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MorninglordI'm tired of being Batman,so today I'll be Owl.Registered Userregular
This was posted in the SE thread. It's a writeup from Kojima himself on a few topics, such as this game, the novelization of this game, and a few other things.
It's long and contains spoilers, so I'm tagging it.
Language remains even if existence vanishes. That is some kind of eternalness one obtains. That is my hope.
I am certainly able to say for sure that the lines from this book point to the novelization of the latest work in the MGS series "Metal Gear Solid V: The Phantom Pain". The author Hitori Nojima has succeeded in the sublimation of the story of eternity, which can only be set in games, a legend that had no choice but to end, with expressions only possible in novels. Covering a range of 28 years, through language that holds a sense of eternity, we have been left with an existence that lose called games. Certainly, he has taken a farewell coupled with a negative ache, and changed it into a positive feeling called hope. The moment I finished reading this book, an unexpected deep emotion along with a sensation of abundant gratitude welled up in my chest. More than a quarter century, the sadness of a story ending that came to be created by staking one's life is swept away, that to me had certainly been a great hope. Even during the time I was creating the game, I thought the novelization of "MGSV" was impossible. No matter what kind of authors in the world there are, they would probably reject writing it. Even assuming they did finish writing it, there would probably be big differences from the game. The reason for that is simple. It's because this time, "MGSV" was not a linear, on-rails game like before. Because the games rated before in the MGS series were cinematic action games, heavily framed adventure stories. Within a limited time frame, the player advances on interactive rails laid down by the creators. Thus, reception of a tale within the confines of a limited sphere in what we call storytelling. That was MGS. For this reason, fascinating novelizations were possible.
However, this time a "free sneaking" open-world idea was used. The player freely runs about a vast area. The timeframe, route, equipment, situation, and development is all different depending on the player. No, the player can clear the mission content any way he or she likes is the selling point.
But, the MGS fans will not be satisfied with that. They follow there, and MGS as a story, and absolutely must turn it over. There is a degree of freedom, furthermore a MGSness, that is to say there has to be a genuine story. As a last resort, I referred to the organization of TV series. One mission as one story, for example, even missing several episodes (playing out of order), as a series it is similar to the large flow of events being transmitted to the player. The background and character's detailed establishments and foreshadowing was dispersed and arranged into tapes and codec calls. If necessary to the player, it was made so he or she could actively put together the underplot. The player would not be put on a rail and be able to progress the cinematic story by watching cut scenes all in one gulp after passing a certain point like before. This is because even though the cut scenes has been a selling point before, it has become the main source of the obstruction of freedom. And so, the traditional method of novelization cannot be used. From the beginning it was made to be a unique special composition that could only be understood in a high freedom game. That is what must be tailored into a first-class adventure novel. Furthermore, without the story or world view changing. Is that kind of thing possible? And who could even achieve such a great enterprise?
So, out of all the choices, the one picked was the mysterious unknown writer Hitori Nojima. If you read his debut work “Metal Gear Solid: Peace Walker”, anyone is expected to grasp a glimpse of his ability. Peace Walker’s story is also linear but, the game’s composition is in mission form, and was not fit for novelization. Nevertheless, the poured his knowledge, talent, passion, and love of Metal Gear into the novel, a magnificent thing which far surpassed expectations. And then to continue with 2 works. Hitori Nojima as an author, now on sale from the publisher Kadokawa, bloomed the “Metal Gear Solid Substance” and “Metal Gear Solid Substance 2”, and climbed even higher. It’s not to say a level where he ran up several sets of stairs. With these two books, he pierced through another dimension, and suddenly transformed into a monster of a writer. No doubt those who already read them understand. Honestly, not even I ever thought the new author “the fan Hitori”, would make it this far. Truly it was a happy miscalculation. The substance series is, a story that connects MGS’s “Shadow Moses Incident” and MGS2’s “Big Shell Incident”, and greatly supplements the Metal Gear world. As long as it’s Hitori Nojima, there’s no doubt he could take the MGSV game born as a “free sneaking” and make it over as the novel MGSV. The moment I read Substance’s galley proof, I was convinced. And thus, there was no mistake. “The fan Hitori”, once a player now as a writer, has taken a story of loss and rewritten it as a thing of immortality. There could probably not exist a person who would not be deeply moved by this baton’s connection.
Humans invented papyrus, invented printing technique, invented means of communication, even now we are trying to implement communication that covers the whole world with computer networking. However, all of that is by the virus we call language, using humans and making us implement it. For the purpose of covering the whole world far and wide, language made us invent it.
As the game called Metal Gear was born, the young fans Project Itoh and Hitori Nojima uplifted into novelists, and thus by means of their words, entrusted their futures to their written down hopes. If it’s the case that these copy cat’s succession is fate, then these 28 years of me facing the fans is supposed to not have been in vain. You could say the book completed by “The fan Hitori” is a miracle, but there are still discrepancies with the game. There is an intel agent which makes an appearance in the book that does not appear in the game. Leonard Ruin. His role beautifully connects not only Ocelot, Kaz, and Snake, but also the jigsaw plot that was placed for the use of missions. An intellectual hippy, yet self-proclaimed revolutionary warrior that is called a writer, from the 70’s to the 80’s subculture and as far as the state of the world, like Akira Ikegami, has explained it in a way that is easy to understand. While the anime-like deformed characters of MGS are plentiful, his name and appearance (Ruin = ruins) might not leave much of an impression but, with his novel-like role and individuality, he really livens up “V”. In the second half, there are even scenes I can’t read without tears.
Not just limited to the novel “MGSV”, throughout the series of MGS, George Orwells’s “1984”, Herman Melville’s “Moby Dick”, William Golding’s “Lord of the Flies”, and Joseph Conrad’s “The Heart of Darkness” have been a big influence. Hitori Nojima has with astonishing insight and knowledge, pleasantly inserted that great erudition into the middle of the story. In 1984, Steve Jobs at his young age of 28, unveiled the commercial for Mac PC (directed by Ridley Scott, certainly a parody of “1984”) which is also referenced. In 1984 in Japan, the Famicon (NES) that was presented the previous year had also gained popularity. All of it was the dawn of a new digital age, the beginning of that explosion “ground zeroes”, the same year that Orwell predicted the information controlled society. If we abbreviate BIGBOSS, it becomes “BB”, the same as 1984’s “Big Brother”. Still this is after the fact but, Hitori Nojimia as the intention of the original author, thoroughly supplemented the details like a puzzle.
Still there is this kind of description.
As Leonard always says, the motherbase should become the Enterprise. Regardless of race, sex, earthling, or alien from another planet, any kind of existence can ride on the spaceship. The source of that idea was the whaling ship “Pequod”. For those who have no place to go, it’s their Outer Heaven. This is an allegory for when I gather the staff and have them listen. Of course “Kojima Productions” was the Enterprise but, now as we have no place to go, is not a spaceship, but maybe a whaling ship would be more correct. Somehow or another, Hitori Nojima’s strength of secret intel appears to be quite a thing. In addition to Cyprus, Afghanistan, and Africa at that time in the 80’s, world affairs were inserted into the middle of the entertainment. Just reading this book one is supposed to be able to learn quite a bit about the world’s history and social conditions. There is no doubt that the players who played the game will deeply enjoy this even more.
Furthermore, the components that span 50 years in the Metal Gear saga were carefully incorporated. It is a structured in a way that will get across to even those who are reading this book as their first Metal Gear. Those who have interest in the book, wouldn’t it be great to play the games and read connected novels, follow the saga with things that complement the series?
From here on there are going to be some spoilers so I want you to be careful.
This work is a story about people who have lost their companions and their past. They vow revenge, and try to take back the things they’ve lost. But, as the story enters the middle stage, the more they try to take back, the more they lose everything. Those who assembled for revenge are lost one by one. That is to say, by the chain of revenge, in the end nothing is left. This work is not a “phantom pain”, but is a story of “loss”. More than the final MGS, it is a story about how readers who have lost their heroes and legends, afterwards how they face their “phantom pains”. Readers who have parted with snake, from now on how will they live? How will they replace this pain with a positive? That is also a point in the book. It is like a legend, a hero, even like the sun.
Everyone is copying you. Everyone is thinking they want to become you. A legendary mercenary, a great person of legend, people trying to become Big Boss. Or possibly, to become the Snake of hatred as a demon of revenge. This has nothing to do with your true meaning. You are the sun. If you look straight at it, your eyes are crushed. But listen, you who are called the sun, soon you must absolutely set. Anywhere is fine. Go shine over there now! Illuminate the world over there! That is your role.
Metal Gear was born as a game in 1987. From there 28 years, within me the circle of the Metal Gear story has been closed with the latest release “MGSV”. A respected author, Dennis Lehane with the popular series “Patrick Kenzie & Angela Gennaro” declared that at the peak of his popularity “No matter what kind of series it is, there is a time that it must end”, and he himself closed the curtain. No matter how popular a series is, someday the end will come. However, that is by no means a parting. Even if you can’t touch it, you can feel the influence of that story. A story is a thing without shape. Assuming physically nothing is there, nothing to be lost. As long as stories and legends are desired, they will continue forever. The brilliance will never vanish. It’s in everyone’s heart. It is not always true that saying “goodbye to a hero” ignites a phantom pain. By saying “goodbye to a hero”, you can for eternity leave behind lost joy as a blank space.
The reality of life? Doesn’t exist. Reality can only be conveyed with words. But that is only a “story about reality”. We can’t directly touch the sun. We can only bathe in its light. But thanks to that we are alive. As a legendary mercenary, you are Big Boss. What everyone is looking at is not the sun. It is the light.
But what exactly does it mean to say “goodbye to a hero”?
It is that one answer that Hitori Nojima has written down in the beginning. Chapter 1 “Revenge” in section 1 of 2, there is a depiction of the song “Walk Out to Winter” playing on the radio from Aztec Camera’s 1983 album “high land, hard rain”.
It was the first hearing the song I but, in the middle of all the songs that were playing, somebody’s… due to noise it couldn’t be heard, face peeling off from the wall, but there nothing else to post there, which is something like the meaning of the words that were sung.
The details are not written down, but if you read the lyrics you would give consent.
“Face peeling off from the wall” is from the punk band “The Clash” vocalist, a Joe Strummer poster. From the beginning, rock was supposed to be for younger people, but before long it became difficult to understand. As a revolt to that, punk rock was born. Out of all the punk bands, The Clash was one of the most supported. One of the main members of Aztec Camera, Roddy Frame who was born in 1964, handled the compositional songwriting. The music he played along with Strummer was supposedly heroic.
However, that poster of the hero peeled off the wall. Afterwards there is nothing more to post. A blank space.
When that song was first presented, Roddy Frame was 19 years old. Sure for him, punk rock already did not belong to him anymore. That went from up until then a closed world(punk craze), and tried to jump to a new music, inherit the hero’s will, this time I will become the legend and determine the song. And thus later on, it became know that the songs they formed were a new genre called neo acoustic.
But when they were making those songs, all that was before their eyes was a blank space. When they tried to walk, there was a frozen winter. Despite that, face the coldness of winter, go towards the blank space.
There is a blank space, but it will not be filled. In that blank space there is always a hero. Because there is a blank space, you can advance ahead. It is this blank space exactly that is “V”.
(PSN: Morninglord) (Steam: Morninglord) (WiiU: Morninglord22) I like to record and toss up a lot of random gaming videos here.
I haven't read that yet, but I dunno. The overall impression I got from all the game previews and such, and one that was reinforced by actually playing the game, was that V is a jacked up super version of Peace Walker. And... I don't remember PW having these issues with the story.
"The sausage of Green Earth explodes with flavor like the cannon of culinary delight."
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MorninglordI'm tired of being Batman,so today I'll be Owl.Registered Userregular
I haven't read that yet, but I dunno. The overall impression I got from all the game previews and such, and one that was reinforced by actually playing the game, was that V is a jacked up super version of Peace Walker. And... I don't remember PW having these issues with the story.
That wasn't super related, I was just reminded that I hadn't posted that here yet. It does happen to mention some of the considerations he had to think about when designing the game though, among other things.
And yeah nah this is not Peacewalker.
Peacewalker was a lot more linear in, well, everything, and more importantly didn't have a huge open world to tool around in.
The missions were tiny and very on rails.
It was basically a traditional linear metal gear solid game chopped up into bits with extra missions. The only similarity is the motherbase aspects and the chopped up missions. The actual structure of the missions and the way you can approach them from the freeroam is very different. For example, approaching missions from freeroam often gives you different starting positions from the helicopter, and even changes the timing of approaching the mission because the helicopter ride counts. The freeroam is something you can go into and almost never come out of unless you change maps or have to do specific missions. A lot of people probably go back to the helicopter: a lot of people probably also launch straight back to do side ops.
This is a different beast entirely. There is no way for Kojima to be able to tell how long someone has spent tooling around in freeroam. Trying to just make a linear game chopped up into bits would have the problem of "I just spent two days tooling around fultoning dudes and throwing sheep at goats, I don't remember what the fuck I am supposed to be doing anymore" So he took a more isolated and self contained approach to each mission, so that people don't have to struggle as much to remember everything. If you play them through straight one by one, this isn't going to work as well, especially if you are expecting the traditional linear on rails experience, which you were not going to get.
The tapes are there for people who want a bit more depth, and there's quite a lot of them. They form a major part of the story.
You are meant to play them while tooling around in freefroam. It's worth noting that this didn't work for me at all, I couldn't do this, couldn't pay attention to them while playing, so the tapes don't gel as well for me. But I can recognize the intent.
The overriding goal of this game is player freedom. The on rails restrictions that make for a better traditional narrative experience would have curtailed the freedom. So the story was implemented in a way that doesn't take up a humongous chunk of your time, so that you are spending more time playing the game, and more importantly, playing it how you want to play.
He didn't fall flat on his face. It's just that he ran a cropper of the problem all freeroam games have, and his solution was not to force players into long back to back mission sequences they can't back out of like most of them do (cough assassin's creed), but to step back and focus on freedom over traditional narrative considerations.
That's not something I am comfortable calling a flaw. I will not fault him for truly going out and focusing on gameplay freedom first. I really hate it when freeroam games lock you into long sequences for the sake of narration. I really appreciated this games approach. I was never lost, and never had to struggle to remember why I was there, as I often do in many freeroam games because I've been busy doing everything except the missions.
I also never felt like my actions were out of kilter with the ongoing plot, because the ongoing plot was presented as a kind of fresh slate each mission due to the episodic structure, rather than acting as if I'd just been mr professional for the entire game when I hadn't. It was sort of like "Alright, back to business." each time.
This is a different, and very non traditional way of telling a story. There isn't anything intrinsically wrong with telling it this way, and it isn't at all fair to compare it to past metal gears, because the only narrative game design considerations this game shares with past games is that it is called Metal Gear.
Now after chapter 1, things get a lot sketchier, and that's where you can tell things were affected by development.
Morninglord on
(PSN: Morninglord) (Steam: Morninglord) (WiiU: Morninglord22) I like to record and toss up a lot of random gaming videos here.
Posts
I think the only rug yank I hated was
Also, Amanda is busy helping run Nicaragua now or something
My favourite is the best way to complete mission 30:
EVERYBODY WANTS TO SIT IN THE BIG CHAIR, MEG!
WHAT? You mean Quiet ISN'T Chico?
SHOCKING AND UNEXPECTED.
I am around 70% sure this is a cut thing...
Like I joke that Chico is Quiet and it just got deleted when Kojima got salty about people figuring it out, but I mean considering the amount of stuff missing from the game there's a non zero chance that's actually the case. I mean, it's close to zero. But still!
...first thing Quiet does when she finds Boss is choke his shit, just like he did to Chico in Camp Omega! She coulda shot him, stabbed him, she chose choking! WAKE UP SHEEPLE!
Although even in the extremely unlikely event that any such thing was ever planned, I can't imagine it happening after what's been going down at Konami lately.
All right, people. It is not a gerbil. It is not a hamster. It is not a guinea pig. It is a death rabbit. Death. Rabbit. Say it with me, now.
This is Metal Gear Solid
Chico is probably Big Boss or something.
I hid behind a rock and literally jumped into traffic which forced them to stop. I was able to fulton the three very surprised vehicles quickly.
I imagined the driver of the front AV shitting himself and the commander going "what the fuck?!"
I had to basically dedicate my entire staff to it, but I have the second cargo fulton upgrade now.
I should have used Garrett for the name in the prologue, because the game is about to become Thief.
http://www.nexusmods.com/metalgearsolidvtpp/mods/45/?tab=1&navtag=http://www.nexusmods.com/metalgearsolidvtpp/ajax/moddescription/?id=45&preview=&pUp=1
Allows a real OSP run in any mission.
Just like people think "'No Russian' is just about murdering civilians." And how I still hear people being surprised at how the developers of CoD(4):MW could be so tone def when they made the DC3 mission, with how indifferent the crew sounded... 'Don't they understand the horrors of war, and the dangers of becoming numb to all its tragedies?!?!'
(I'm paraphrasing professional reviewers, and other people who really should know better.)
It's like reading reviews of Starship Troopers back in the days.
tl;dr Some people really are idiots. That's why we can't have nice things.
I'm thinking something must have changed the last couple of days.
While I used to have to wait days to be able to fund the next expansion of MB/FOB, now I only have to wait an hour or two to be able to buy the next expansion ... but I have to wait 16 h for it to complete.
Also, I think it's 90% that's moved to the FOB. What the heck?!?
code talker and 'man on fire' stuff:
I feel like maybe I missed a bunch of content in this game. For the man on fire fight, he lost track of me immediately, I just called the chopper in, got on it and left. He was just walking around screaming like that ghost pirate from venture brothers.
I'd like a game that focused on Ocelot from 198x-199x. I think fleshing out his storyline as a sympathetic character could be well done. I'm not sure of who could accomplish that.
edit: end game spoilers and chico:
To be pefectly honest.
Honestly, they should have ALL been dead.
Maybe they all are! All of them! ALL OF THEM!!!!
In Metal Gear Solid 6, his code name will be Ghost Snake.
3 survivors:
Big Boss
Miller
Medic
4 casualties:
Paz
Chico
Morpho
A "6th guy" in a balaclava that was picked up from mother base
All right, people. It is not a gerbil. It is not a hamster. It is not a guinea pig. It is a death rabbit. Death. Rabbit. Say it with me, now.
Also I believe Morpho and Pequod share a voice actor, so... could be the same guy, different callsign.
I could be misremembering the rambling scrawls about that scene that I've read, though.
All right, people. It is not a gerbil. It is not a hamster. It is not a guinea pig. It is a death rabbit. Death. Rabbit. Say it with me, now.
Because yeah, after that horseshit I lost the will to play as well.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
MGSV takes place after the successful execution of the Human Instrumentality Project. Everyone is the same person!
good thing the gameplay stays good
I was actually thinking it was a
A major theme of the series is carrying on a legacy which is actually someones perverted megalomania perceived vision. First with the boss, then big boss, with zero,liquid, solidus, and ocelot. By the end of the series you have played telephone so many times ocelot is a self hypnotised arm grafted nightmare of a man trying to stop AI's and the illuminati from taking over the earth, knowing you will stop him and do the right thing.
Honestly the whole thing makes you realize that there were probably other copycats, and they could very well be the ones in the plastic bags in 4.
(anime-ass anime)
All right, people. It is not a gerbil. It is not a hamster. It is not a guinea pig. It is a death rabbit. Death. Rabbit. Say it with me, now.
Ch1 spoilers:
I think the biggest issue though is never being 100% sure where the problem lies. In Kojima falling flat on his face, or if it's all the result of the Konami kerfuffle that went on. But my gut is leaning to the former. Because I've seen various forms of the latter, of games that careen off the rails at a certain point, a point you can look at and say "And that's where all the shit happened behind the scenes". Meanwhile a lot of the bits I have issues with feel remarkably like Kojima being Kojima... and faceplanting.
The story structure heavily reminds me of every other freeroam games story I've ever played.
Only a lot more interesting.
There's a write up by Kojima where he specifically mentioned the problem of creating the normal restrictive on rails MGS story in a freeroam game, it being flat out impossible, and his idea to solve it was setting up each individual mission like it was a single episode in an ongoing tv show.
As long as you aren't expecting what you were never going to get, it works well. I don't have any problems with this games story until after chapter 1.
It's long and contains spoilers, so I'm tagging it.
That wasn't super related, I was just reminded that I hadn't posted that here yet. It does happen to mention some of the considerations he had to think about when designing the game though, among other things.
And yeah nah this is not Peacewalker.
Peacewalker was a lot more linear in, well, everything, and more importantly didn't have a huge open world to tool around in.
The missions were tiny and very on rails.
It was basically a traditional linear metal gear solid game chopped up into bits with extra missions. The only similarity is the motherbase aspects and the chopped up missions. The actual structure of the missions and the way you can approach them from the freeroam is very different. For example, approaching missions from freeroam often gives you different starting positions from the helicopter, and even changes the timing of approaching the mission because the helicopter ride counts. The freeroam is something you can go into and almost never come out of unless you change maps or have to do specific missions. A lot of people probably go back to the helicopter: a lot of people probably also launch straight back to do side ops.
This is a different beast entirely. There is no way for Kojima to be able to tell how long someone has spent tooling around in freeroam. Trying to just make a linear game chopped up into bits would have the problem of "I just spent two days tooling around fultoning dudes and throwing sheep at goats, I don't remember what the fuck I am supposed to be doing anymore" So he took a more isolated and self contained approach to each mission, so that people don't have to struggle as much to remember everything. If you play them through straight one by one, this isn't going to work as well, especially if you are expecting the traditional linear on rails experience, which you were not going to get.
The tapes are there for people who want a bit more depth, and there's quite a lot of them. They form a major part of the story.
You are meant to play them while tooling around in freefroam. It's worth noting that this didn't work for me at all, I couldn't do this, couldn't pay attention to them while playing, so the tapes don't gel as well for me. But I can recognize the intent.
The overriding goal of this game is player freedom. The on rails restrictions that make for a better traditional narrative experience would have curtailed the freedom. So the story was implemented in a way that doesn't take up a humongous chunk of your time, so that you are spending more time playing the game, and more importantly, playing it how you want to play.
He didn't fall flat on his face. It's just that he ran a cropper of the problem all freeroam games have, and his solution was not to force players into long back to back mission sequences they can't back out of like most of them do (cough assassin's creed), but to step back and focus on freedom over traditional narrative considerations.
That's not something I am comfortable calling a flaw. I will not fault him for truly going out and focusing on gameplay freedom first. I really hate it when freeroam games lock you into long sequences for the sake of narration. I really appreciated this games approach. I was never lost, and never had to struggle to remember why I was there, as I often do in many freeroam games because I've been busy doing everything except the missions.
I also never felt like my actions were out of kilter with the ongoing plot, because the ongoing plot was presented as a kind of fresh slate each mission due to the episodic structure, rather than acting as if I'd just been mr professional for the entire game when I hadn't. It was sort of like "Alright, back to business." each time.
This is a different, and very non traditional way of telling a story. There isn't anything intrinsically wrong with telling it this way, and it isn't at all fair to compare it to past metal gears, because the only narrative game design considerations this game shares with past games is that it is called Metal Gear.
Now after chapter 1, things get a lot sketchier, and that's where you can tell things were affected by development.