Metal Gear Solid - Why it's so Important (Pt. 2)

Metal Gear Solid 3: Snake Eater

This is, along with the final iteration, Metal Gear Solid 4, is arguably the most universally acclaimed entrance in the MGS franchise. What is most interesting is that this is the main entry in the series with the least amount of copies sold. In fact, it sold nearly 2 million less than its predecessor, which is generally referred to as the least successful of the series.

Metal Gear Solid 3 depicts what is (as of now) the earliest plot points in the chronology of the MGS story. Very little can be said about the happenings in this story as it would ruin what is, in my opinion, one of the best endings in video game history. There have been few games that have driven me to physically react (Wii, PS Move and Kinect games aside), but when the true intentions of some of the characters were revealed just before the ending credits, I stood to my feet.

Kojima has a way of writing his stories backwards, it seems. It's really the only way he could possibly accomplish what he does within his narratives. At the end of each installation, he expertly explains to the players things that have been affecting the story since the beginning, unbeknownst to us.

Emotion was very prevalent in this game. The final half hour is so packed full of stress, pathos, confusion, revelation, and intrigue I hardly knew what to do with myself. MGS3 hosts one of the most beautiful and engaging boss fights I have ever had the pleasure to experience.

It speaks for itself as to why it's so important. The whole series is important mostly because it treats the audience like we actually have a brain in our heads. It presents ethical challenges to us constantly and wonderfully portrays the story of how this story of Metal Gear Solid really began.

It wasn't until I played the 4th installment that I was really able to reflect back on the series as a whole and wonder what its narrative is really trying to say...

Metal Gear Solid 4: Guns of the Patriots

Fan service.

That's all that really needs to be said about this final main entry in the series. And I, as a now devout fan of MGS truly hope that is actually is the final entry. Kojima himself recently stated that Snake was supposed to die, and he only kept him alive because he thought that fan's outrage would be too violent.

Anyways, the game is absolutely packed full of anything a MGS fan would want to see. The return of key characters like Meryl, Naomi, Octacon is a given, but it was still awesome to see him again.  We even saw the return of locations; a re-infiltration of the now nostalgic Shadow Moses island. And so it was easy for me to be satisfied with the growing narrative of MGS, even if was somewhat overwhelming. I had to check to summaries of the other games, as well as the lore in general to make sure I was following everything that was happening.

I think I got it... I think.

It wasn't until after...some...of the credits that Kojima really got me thinking. The story was wrapped up, and I was crying like a baby. The ending was so emotional, I almost want to delete the story that I used to start this blog up. It almost made up for the lack of emotion I felt throughout this generation. Almost.

But, just like any other final entry in a series, there were multiple endings to MGS4 (Return of the King, anyone?) Kojima threw in one more scene after an already perfectly executed ending. This scene changed most of what you know and have learned about the MGS world over the last 4 games. I wouldn't even consider it a "twist ending." No, it was more of a "lol, jk" ending. It made me think what, if anything Kojima and co. are taking seriously over there. Was this whole series just a sick joke? An experiment, perhaps, to see how many millions of fans they could capture with an absolutely bullshit story? A story so complex and layered that people just go along for the ride, claiming genius work, all the while having no idea what is going on.

I'd like to think its a mixture of yes and no. The self referencing, fourth wall breaking humor is unique to MGS, and is really what got me thinking about this. But I, along with many other people, do understand the story within MGS. Sure, what they are trying to say with the story is left up to interpretation, and sure I had to read many summaries and analyses online in order to get a full grasp of the narrative, but one thing is for certain: it works.

Metal Gear Solid took me on a ride. A ride that I really did enjoy and appreciate. Kojima has created an incredible world, one that I will forever claim to be the host to the best story video games have ever seen across multiple games.

The most important thing I gained from my adventure with Snake is inspiration. While I don't intend to adopt the quirky humor and at times too-deep storytelling into my own project, I hope I can create something that is as engrossing as these projects.

Here's hoping.

Metal Gear Solid - Why it's so Important (Pt. 1)

Before you start reading, if you are at all reluctant to do so - don't be. I am going to keep this article completely spoiler free. By that, I mean I won't discuss any plot points that come by surprise, or have a large affect on the story. I will however, discuss things that are (or should be, at least) universally known about the Metal Gear Solid world.

Metal Gear Solid

I suppose it should be noted that I played this game in the year 2011. This is 13 years after the game was released for the Playstation back in 1998. The reason I played it was rage. A professor of mine didn't care for an assignment that I had worked particularly hard on. After returning from class, I vowed not to leave my room for the rest of the day, but instead start a file on a game that I had never played. For whatever reason, I felt compelled to go old school and made my way to the PSN. MGS was downloaded and installed within minutes.

My expectations for the game were high, admittedly. After all, MGS4 is the highest selling PS3 exclusive behind Gran Turismo 5. I had never played a stealth game before and so I didn't really know what I was getting myself into.

The game opened with Solid Snake being called back from retirement by a man named Roy Campbell. Snake is essentially forced to take this mission. He is ordered to infiltrate a nuclear warhead testing facility to stop Liquid, the leader of an organization known as FOXHOUND, who plans to use his current position as a bargaining chip to gain what he wants from the government. Not your typical starting point in a video game narrative.

What I experienced for the next 12 or so hours (yes, I played it in one sitting. I was not leaving my room) was as close as I have come to being brought to an out of body experience by a video game. This game wasn't rated "mature" for blood, sex, and swearing. No, this was a mature game. A game that reflects on human nature, ethics, loyalties, and so much more. Not only did this game offer a narrative that could rival that of novels and film, the interactive experience was enjoyable throughout the entire game as well. It was fun, challenging, and way ahead of its time. I was being blown away by it 13 years after its release.

In a way, it was the perfect game. A game that recognizes that being fun isn't the only thing a game needs to be. MGS is so well orchestrated; from the expertly written and acted death scenes, to the way the plot twists are revealed, this is the game that started a defining franchise.

Metal Gear Solid shot to the top of my "best games ever" list as the ending credits rolled. Although I cannot say it overtook Final Fantasy X as my favorite game of all time, it most certainly earned a tie.

And man, did it get me excited for the HD collection that was set for release just a few weeks after.

Metal Gear Solid 2: Sons of Liberty

This is, without argue, the MGS game that has garnered the most hate and disappointment throughout the years. I enjoyed my time with this game, and it had my attention throughout just as much as the original did. But I do understand why so many dislike it.

One thing that stood out to me in the original MGS was how real Kojima tried to make the game feel. Even though it could be argued that the events within the game were completely out of the realm of possibility, it was presented as something very real and worldly. (I think that many things in MGS are very possible.) MGS2 seemed to lose sight of this type of storytelling. While there was enough reality within the game to keep me satisfied, some elements that were included made it hard to hold the suspension of disbelief.

Characters like Vamp really strayed from what the original MGS laid out as groundwork. It's almost as if they built a house while the foundation was set in a place somewhere else. Some argue that the house collapsed, while I think it still stands the test of time.

Despite all of this, most of the gripes come from the introduction of Raiden, it seems. For those of you who don't know, the player does not  play as Snake for the majority of MGS2. They play as the newly introduced Raiden. Not only is he new to the series, he is new in general, as he admits that he is on his first mission during the game's events. We are brought from playing as the legendary Snake during the first MGS (and the first couple hours of MGS2) to being forced to play as the newby Raiden. Let me explain why I believe this works well in the context of the game.

Raiden explains that he got his training through the extensive use of VR (virtual reality) sessions. I like to think that Kojima was, in a way, trying to draw comparisons between us as the player and Raiden. Raiden is sent out into the field with nothing under his belt other than "video game" training (as Snake puts it.) A sort of Tabula Rasa is introduced to the series this way. Raiden comes into the game largely without any type of personality. We see throughout the game how the events of the story shape him into what he becomes by the game's end. It's as if Kojima forced us to play as Raiden in order to get rid of everything we knew about MGS so that we, too, could become newbies and more easily influenced by the happenings within the game.

The story of MGS2 is, like its predecessor, expertly crafted. When I first played it, and was trying to sort through everything that had happened, I did think there were too many of those "ha! Got you! This had been planned since the beginning! None of what you know is right!" moments. But now, looking back, I realize how all of those different things were planned from the beginning. The more I thought about it, these story elements changed from a copout to a story that was designed extremely well, and planned extensively from the beginning,

Although the least impressive in the series, MGS2 is an incredible game. The end boasted too much philosophical gibberish for my taste, but Kojima listened to fans and ultimately ditched it entirely for the next entry in the franchise: Snake Eater.

Check back for my thoughts on MGS3 and 4 later on!

A Glossary to Tease

Hey there! I have been so swamped with schooling, school, and my education that I have not had any time to write something for you guys that further explains this project. Keep your eye out for an article dedicated to Metal Gear Solid (I've spend some of the last month working my way through the four-part series.)

But for now, here is a glossary that compiles all of the definitions for the unique aspects of Project Horizon! (Don't get too excited. I semi-censored some definitions that would give away too much of the story.) Here it is :)

Glossary

Rayetta - The protagonist of the story. She is in her early thirties. The thing that means the most to her is her daughter, Nella. Her husband died when she was twenty-six years old. She is the first woman in all of Numasa to become a Distinct Citizen. She did this through defending her residential villa during an attack from outside creatures.

Nella - the daughter of the protagonist, Rayetta. She is eleven years old. Her mother is the only thing she knows. She is full of life, and very explorative.

Numasa  - essentially, this is the entire world. Every human being lives in Numasa. It runs like a massive city; the size of the average country. It is separated into different villas that each serve their part in sustaining the flow of Numasa.

Fallen - this is the name given to a person who becomes victim to a terrible sickness that is prevalent in Numasa. Almost nothing is known about this condition. It's victims simply "fall." There are no cures to prevent this disease, and there are no known symptoms to predict it. Once someone has "fallen", their body becomes extremely contagious within a small radius. People who witness someone fall are asked to notify the council immediately and to stand no closer than twenty feet to the body.

Villa - the name given to the different sections of Numasa. For example, there are shopping villas, residential villas, and so on. There are a total of 682 villas in Numasa.

Distinct Citizen - while it is seen by most in Numasa as a title, standing, or privilege, being a Distinct Citizen is a job. One must go through a grueling selection process in order to be considered to fill a spot as a DC. The character Rayetta is the first woman in Numasa to be one. This is because a law is in place that states that if someone in a given household wants to become a DC, a man must do it first. This, partnered with another law that states that there can only be one DC per household makes it almost impossible for woman to be given this job. Rayetta's husband died on the job as a DC, however, making her eligible to become one. The only extra privilege they have over other citizens is leaving the boundary set by the Council. They are often ordered to do so in order to explore otherwise unexplored areas, usually so they can be mapped. They have access to some extra parts of city, as well, but do not have access to council buildings. They are in charge of the overall safety of the general population.

The Council - the term used for their government. It is a democracy in a sense, as each villa sends someone to represent them in the council. They are in charge of setting laws, punishment for law breakers, and so on.

Independence Day - a day set aside by the council during which the citizens of Numasa celebrate their freedom. At the end of the day, they light hundreds of thousands of candles and send them into the sky. Nella has forever called this her favorite day of the year. Her birthday is the following day.

Bi-law - just as one would expect, this is a law that is set in place, the punishment (or the enforcement towards giving a punishment) for breaking which is much more lenient than others.

The Outskirts - the name given to any place outside the boundary surrounding Numasa. Any citizen that passes outside the boundary, if caught, is sentenced to prison. If they are not caught, they are presumed dead after one week.

The Secret Cave - this is the name given to the cave by Nella. This is farthest point that a citizen of Numasa can travel without leaving the Boundary. Nella visited this cave for her fourth birthday with her father, but she didn't find out about its close proximity with the boundary until years later. She has since been enthralled with it.

Queen Grite - the first boss in the game. Grites are small creatures that reside just outside of Numasa. The queen is an oversized breed of them, whether or not they are female or not is irrelevant.

Junji Crevasse - this is the location that Rayetta is sent to on her first job as a Distinct Citizen.

Henna - another main character in the story. Henna, at 23, is much younger than Rayetta. She has been a trouble maker her whole life, but just recently in her adult years, she has turned that troublesome childhood into trouble with the law. She joins Rayetta in an attempt to escape her crime-ridden past. 

Belgit - A place. The details about this place would spoil the plot. (Return back to this one.)

The Proving - a series (or a single) of tests that one must go through in order to be given a certain job title. (Again, being specific about this would spoil certain plot points.)

The Counting - another name of a census. It is a day that happens each year in which every citizen much be accounted for by registering at a pre-determined location.

Mulierem Odiosam - A non-playable character that plays an important role in Rayetta and Henna's goal of learning magic. (Translates to "the hated woman." THAT is VIP info, because that's never stated in the game ;) )

Terra Odio - The location in which Mulierem Odiosam and other magic users reside. (Translates to "the land of the hated." Again, VIP info!)

Invisus Rector - Another resident of Terra Odio. She is a very caring woman who reveals much information to Rayetta and Henna about various things. (Again, sorry I'm being so general. I'm telling you as much as I can without giving way plot points. Her name translates to "the hated ruler/leader.")

The Doctrine of the Council - this is the book in which all of the rules and laws that the council has based their ruling off of. To be more specific, this isn't the book that contains the laws of Numasa, but rather a book that the council uses as a guideline. It is said that the basic moral principals that are accepted in Numasa originated in this book. For example, the idea of magic being inherently evil is said to be originally written in this book (which was written thousands of years prior to the events of this story.) Also, the idea to put in place a law that discourages residences of Numasa to look at the horizon came from an entry in this text.

Happy New Year! The Journey Begins.

The creation of Project Horizon has officially begun!

Check back regularly for updates, and join me on this amazing adventure!

HAPPY NEW YEAR!!!!!!!

Video Games are Dead

How's that for a first title? Let's calm down, though. I wasn't implying that our favourite medium is becoming irrelevant. In fact, it could be argued that this is the one medium that is becoming more relevant than any other. It's been reported that game sales passed that of DVDs sometime last decade. DVDs! A product put out by Hollywood can no longer best that of what (in its early days) was seen as nothing more than toys for children and nerds. So I was in no way suggesting a downfall of video games. I am a huge supporter of the industry. Despite being in film school, I wouldn't be too hesitant to guess that I rack more hours up on average per week on video games than I do watching and enjoying films. And I don't regret a second of it.

And yet, as much as I enjoy mostly all of the time I spend with a controller in my hand (maybe omit the moments of rage-inducing deaths while playing Dark Souls. Then again, the controller doesn't usually stay in my hands for too long during that), I can't shake the feeling that something is missing from this generation.

But again, don't get too worked up. Let's remember that this is an article that is expressing my opinion. I'm simply communicating what I have observed in the industry since this whole
"next-gen" thing took off. So let's start with the good. Listing everything positive about the last 6 years is an unrealistic task. So much has happened! We have witnessed video games becoming a part of the mainstream world. If you were to tell anyone from ten years ago that motion controls would have a large piece of the gaming pie, they most likely would have laughed in your face. Advances in the graphical aspects have increased tremendously, almost to the point where it's hard to see room for any improvement. (Just look at that "The Last of Us" debut trailer that was captured in engine.) Passion has become even more present within the community, fanboyism being ignited in so many. New genres, new distribution methods, new innovations, new steps towards absolute greatness have been taken this generation. There is so much good that has been brought to the table these past years, I have barely begun to mention them all. I included this so that you all realize that I do see good in this generation. I appreciate the steps that this art form has taken towards legitimacy. I am blown away at how much advancement has been made.

With that aside, let me share my problem with you. It really comes down to one word, one thing that I sense lacking in these time-sucking adventures that we so willingly take part in.

Emotion.

After I defeated Zeus, and thecredits for God of War III rolled, I decided to watch some of the included "making of" footage that was offered. I was amazed by what I saw. A team of eighty-something people, so in tune with each other, so focused on achieving a visible goal. They had such a clear vision of what they wanted, and they worked so in synch to make their vision real. Emotion was present in the making of this game. They were passionate about the product that they were
making. And yet, after playing each of the three games one after the next, I
felt very little. Kratos seemed lifeless, a cardboard cutout of masculinity. A
completely unreal character. One could argue that it is fine that he lacks
believability, because the world he inhabits is obviously contrived as well. But
this argument in invalid. If one is to believe a world, a scenario, or anything, each part must possess the same level of believability to make it so. I won't spoil the ending, but I was largely unaffected by the "startling" conclusion.

Kratos' saga left me wanting more.

The same goes for the Uncharted series. (I must have lost some readers there, but please, read on.) I love what Naughty Dog has created with this franchise. While the level of writing does fluctuate between the three installments, it only does so from the level of masterwork to pure perfection. The characters are believable, and you truly buy into what is being presented. But yet again, I was left wanting more from the narrative. I found myself with a slight feeling of "yeah, seen that already" as the story took it's twists and turns. Maybe this is a franchise that doesn't need the level of complex narrative that I wanted, but Naughty Dog has claimed again and again that they are striving to drive this industry forward. They describe their products as not video games, but experiences that you just so happened to be able to play. "Game", they describe, is the wrong word. That implies that there is a distinction of winning or losing, where as they simply want to present you with something to be a part of, and live within. While definitely ahead in terms of writing and characterization, I found the Uncharted series to have a fairly average story. That being said, the games are absolutely phenomenal in context.

Cover art for the game that started Sony's defining franchise.

Those are just two examples. You are probably thinking of multiple games right now that moved you in some way, and that is fantastic. But know that I mostly purchase a game based on its likelihood to do this. And so far this generation, I have found that this is generally lacking.

Developers, more and more, are using power to grab our hearts. And at times, this undeniably works well.(While watching a friend play Skyrim, I remember saying "stop! Look at that!" I was referring to the stunning view from atop a castle.) But set-pieces and breath taking vistas are taking the place of something that is, in my opinion, more important. Scenes like the death of Aeris. Intimate moments, that make you stop and pause; that cause a sudden remembrance of everything that has happened up until that point. Human emotion is extinct. I find that games now are focused solely on making the player feel like a badass. Dominance and power are easily marketable. "Look! You get to kill things, while riding a horse, in an airplane, as a God that rules the world!" A Hollywood-ization, if you will.

I, along with millions of other people am thankful for the countless hours that I have felt like a badass. But I also notice what this has taken the place of. I need to feel something real. I need to see people feeling what I feel. I need to laugh, I need to cry, and I need to do everything in between.

And so that is what brought me to the decision to do what I am doing. It might not seem like it, but this blog is only a very small part of what I am doing. I want to (in my world, at least) fix some of the wrong that has gone on this generation. I am creating my own video game. On paper, at least. For the next year (or however long it takes) I am writing a script for a story that has been growing in my head for years. It's what I believe a video game should be. Something that transports us to a completely unreal world, but all the while still creates a real feeling. A feeling we can relate to.

It's a story of loss. A story of intimacy. A
story of a fantastic reality. It's a human story.

It's Project Horizon.