DFB - “Old Sun, Naked Sin, and Naked Son” (Metal Gear Solid 4) – Parts XVII & XVIII

As Always: The Plot Summary is here simply to provide the reader with a loose grounding on where I'm at in regard to what I'm writing about (hence my apprehension at editing it at all), and also because it's very therapeutic for me to type out prior to hitting the subsequent topics. It remains an expendable part of the blogs, so please skip them if you're not into it.

Plot Summary ~!~ My Progress ~Old Sun~

After Snake comes to, he’s equipped with an oxygen tank and watches over a briefing concerning the Missouri’s oncoming confrontation with Outer Haven. It’s settled that although Outer Haven will reach its perigee long before they can catch up, it still needs time to prepare its launch. As it's opening the opening its hull to expose the rail-gun for fire, an assault will be launched in order to upload a worm cluster into GW’s mainframe, destroying it. A problem is presented when it is noted that the path to GW’s control room is guarded by microwave emitters, but Snake jokingly states that he’ll take care of it (at this point his “death-wish” is serving as an unfunny comic-relief for everyone). Otacon and Mei Long also note that Naomi left them the plans for Outer Haven, which will help immensely in the oncoming fight. Otacon voices that Naomi only came back to the Nomad to get close to him, but ended up turning to Sunny instead. Using Sunny’s help, she was able to finish the worm cluster that they’re about to use in an attempt to destroy GW.

As Snake and Otacon leave to prepare for the attack, he questions Otacon about Raiden. Otacon states that though Raiden was able to survive being crushed entirely, his mechanical body is in no shape to help them with their current mission. Drebin also makes an appearance, revealing that he’s backing them from an arms standpoint; mainly because Liquid’s partial-SOP-seizure has created the first worldwide ceasefire in human history (meaning they’re the only ones who need guns at the moment). Drebin also turns their attention to the human catapults that are setup on deck. These will be used to launch Meryl, Johnny, and Snake (with Otacon backing him from the Mark 3) aboard Outer Haven. Since Liquid took control of GW, many soldiers have entirely lost their nerve and some are suffering from the lack of “the system”. This means that the only people Snake can count on for this mission are Johnny/Akiba and Meryl. The three then position themselves on their catapults, as the Missouri catches up to the massive fortress. The hull of Outer Haven then opens up, revealing Rex’s old rail-gun, which is now in position to fire.

The catapult launch successfully propels them towards the ship, but unfortunately Johnny hits the side of the fortress, falling down into the ocean. Meryl lands inside, but hurts her ankle. It seems that Snake was the only one left unharmed. As he and Otacon make their way inside the floating base, they discover Meryl being guarded by numerous FROG troops. After Snake dispatches them, the fourth and last member of the B&B Corps makes her entrance, Screaming Mantis. During the ensuing battle, Snake observes that he has to shoot her puppets, which seem to be helping manipulate the nanomachines in surrounding bodies. Despite having to save Meryl in a similar situation from nine years prior, Snake is able to defeat Mantis. When the young woman exposes herself, Snake deals with her in the same fashion as the others and she’s left curling up on the floor as a result. Suddenly a familiar voice greets Snake and he recognizes it as Psycho Mantis. Mantis tries to impress Snake using his powers once again, but fails as Snake has equipped “new hardware” to prevent it. Mantis’ spirit then disappears entirely and Snake is contacted by Drebin once again. He tells Snake that the young woman he faced was nothing more than an “empty shell”. As the result of a war in South America, she was left trapped in a basement with corpses for an extended period of time. After submitting to hunger, she began to feed on the dead bodies and filthy water puddles…but only the male ones. After she was freed, she was completely consumed by psychosis and was left as nothing more than a tool for the military to manipulate, which they did. By implanting the old persona of Psycho Mantis, they enabled this beast to synthetically emulate the special abilities of both The Sorrow and Psycho Mantis. Though Snake doesn’t recognize The Sorrow, he’s granted an encouraging last phrase from The Boss’s former lover.

After getting Meryl to her feet, Snake apologizes to her for getting her involved in their current situation. Snake then departs down the corridor as Meryl resolves to guard the door behind him. Snake continues running down the corridor but is halted by a sudden onset of seizures caused by the SOP system attempting to interfere with his nanomachines. Unfortunately, Naomi’s syringe has lost its potency and doesn’t give Snake and reprieve he needs. As FROG soldiers descend on him with machetes, Raiden suddenly makes an appearance. Though his body is totally armless, he uses his mouth (likely aided by his synthetic jawbone) and feet to provide Snake with the cover he needs to proceed. Raiden requests that Snake let him continue down the microwave corridor as his body can take it, but Snake still refuses to let Raiden throw his youth away. Snake then continues forth as Raiden thanks him and proceeds to assault the FROG force bearing down on them. After Snake is in the microwave chamber, he tells Otacon to lock the door behind them. Snake then painstakingly drags his evaporating body down the corridor as Otacon desperately encourages him along in the Mark 3. Near death, Snake stumbles into the control room for GW, which resembles a virtual graveyard. As Otacon begins uploading the virus into its mainframe with the Mark 3, Snake defends him from oncoming drones. Just as Snake becomes overwhelmed with them, the upload completes and all the machines begins to deactivate; most of the opposing soldiers lose their artificial senses that are driving them to fight.

Otacon discovers that the virus isn’t just eliminating GW however, it’s actually deleting the rest of the AI proxy systems as well, including “JD”. As the virus continues propagating, a hidden video feed of Naomi is triggered. She explains that Sunny finished this new virus that she was working on prior to being rescued. The new virus is titled “FOXALIVE” and acts as a diametric opposite to FOXDIE. Sunny actually constructed the virus so that it would leave the world’s “stem” intact. Crucial constructs of modern day industry were all preserved by Sunny, allowing the world itself to reboot without any control from the SOP system or The Patriots. Naomi also reveals that the proxy AIs had fully intended to extend their nanomachines to extend control into the civilian population as well, which would have brought the entire planet under their control. Knowing that she was recording the video just prior to her death, she leaves a sentimental goodbye for Otacon. Naomi then turns her attention to Snake and tells him that he’s earned his right to rest now. With the destruction of The Patriots, Snake is released from his own birthright. Snake begins to relapse into convulsions once again as he listens to Naomi cryptically addressing what will be his end. Snake then passes out, but wakes up on the top of Outer Haven. Otacon had apparently flown in to get him once he realized Snake’s condition. Otacon tells Snake to wait while he leaves to get help. As Snake peers off to the side however, he notices Liquid walking towards him.

Snake then awakens fully as Liquid rejoices over the situation. Snake tells him that he’s lost, but Liquid asserts that this outcome was exactly what he desired. He continues however, stating that him and Snake still have a score to settle. The two then engage in a brutal fist fight on the top of Outer Haven, constantly stopping to administer syringe shots to each other---the result of the lingering system still inside their bodies. As the battle drags on, Liquid tosses his coat aside, suspiciously revealing that Liquid’s actual right arm was replaced with a mechanical one. As the battle reaches his conclusion, Snake realizes that he isn’t fighting Liquid at all, but Ocelot and Ocelot alone. Just before Ocelot finally dies, he offers Snake an odd hand gesture; stating simply that Snake is "pretty good". Otacon then returns helps Snake to safety as he reflects on whether or not this outcome was for the best. He also acknowledges the irony of Sunny basically recreating the entire world in her own ideal image, while perhaps unknowingly taking vengeance for the fate that The Patriots subjected her mother to five years ago.

Plot Summary ~!~ My Progress ~Naked Sin~

Following the success of the mission, Johnny and Meryl are married. Johnny expressed his feelings for Meryl while she was defending the FROGS pursuit from Snake in Outer Haven (while saving her life in the process). It’s also revealed that Johnny was afraid of needles, so he never received an injection of nanomachines, ever. This accounts for him not feeling any of the effects of the SOP’s system (as well as his constant bouts of diarrhea for the past decade since the nanomachine would have suppressed his stomach pains). He was the guard that Meryl striped down for his fatigues in Shadow-Moses, and also the same guard put in charge of Snake's cell when he was captured. Campbell then appears at Meryl’s wedding as the father he never was to her; Campbell in actuality was only pretending to uphold a false marriage to Rose in order to protect her and her Son, John. Also, following The Patriot’s destruction, Rose meets with Raiden, who has finally had his original body grafted back onto his spine and head. Raiden thought Rose miscarried and she apologetically tells him that she pretended to miscarry and marry Roy Campbell in order to protect their family. Thanks to Campbell, they were able to keep themselves out of The Patriot’s eyes until Raiden’s mission was finally completed. Raiden is apprehensive, but finally welcomes his place in the family that Snake said he had all along.

Snake is then shown at the graveyard of Big Boss, pensively addressing the new state of the world and the recollection of the only mission he has left to accomplish. He then removes the clip of his gun and checks for the single bullet still left in the chamber. Putting it back into the chamber, he shoves the gun in his mouth, and a gunshot is heard….

Back at Meryl’s wedding Drebin has arrived bearing gifts. He then has a private conversation with Otacon while getting drunk. Thanks to the nanomachines breaking down alcohol (before the body is able to feel the effects of being drunk), Drebin appears to be reveling in the fact that he’s plastered. He then reveals to Otacon that he was knowingly an agent of the Patriots from the beginning, sent to help Solid Snake defeat Liquid Ocelot. Liquid posed a great threat to The Patriots, so they manipulated Solid Snake into dealing with him once again. Perhaps unwittingly, the Patriots didn’t predict that Sunny’s virus was set to wipe them out as well. Drebin also reveals that Meryl’s Rat Patrol squad was an collection of agents for The Patriots as well, though they were unaware of it themselves (he shows Otacon that Rat PT. 01 is an anagram for PatR10T). Otacon then watches as Sunny makes her first friend in the outside world; he tells her that she’s free to leave them at any time she wishes. Sunny doesn’t seem to be in any hurry regarding this, as Otacon and Snake are the closest thing she has to a family (despite that they both never eat the eggs she passionately yet unsuccessfully cooks). Sunny then questions Otacon about Snake, but he only responds that Snake was sick and left to get better. Though he tries to hide it, his thoughts on Snake’s tormented life brings him to tears. Sunny and Otacon then share a laugh at his failure to hide it (given away by the fact that his glasses are askew on his face).

Plot Summary ~!~ My Progress ~Naked Son~

Snake is shown sweating in the graveyard, as he couldn’t bring himself to kill himself. Suddenly, a voice calls out behind him, praising him for not going through with it. Snake turns around to find himself face to face with Big Boss once again. Almost instinctively, Snake pulls his gun on Big Boss as he walks towards him. Big Boss pulls out the gun of his mentor (a Patriot pistol) and aims it at Snake before letting it fall from his hand. He then instantly engages Snake in a quick bout of CQC to disarm him. After throwing his gun away, Big Boss simply holds Snake, telling him to stop fighting. Big Boss then remorsefully apologizes, as he explains how the AI’s simply inherited the will of Zero after he succumbed to a vegetative state. All of the founding members of the Patriots (including himself), bear the burden of allowing Zero to get as far as he did. Showing Snake an elderly man in a wheelchair hooked up to an oxygen tank, Big Boss reveals that this man is Zero, his commander during operation Snake Eater and longtime friend. He then disdainfully retraces his and the other founding “Patriot’s” mistakes in how they failed to honor The Boss’ will while letting the world fall under rule of a simplistic AI construct. He also reveals that although Liquid’s hand was manipulating Ocelot’s will during the Big Shell incident, Ocelot had it removed and replaced with a the metal one that Snake saw during their final fight at Outer Haven. Ocelot however, kept this persona, knowing that it would drive the Patriots to enlist Solid Snake to neutralize him once again (but still not knowing what Naomi and Sunny truly had in store for them). Using his own nanomachines, and hypnotic suggestion, Ocelot assumed the same personality that attempted to control him five years ago, and goaded Snake towards the eventual goal of destroying The Patriots for good.

Big Boss reveals that his body was simply reconstructed using parts from Liquid and Solidus’ bodies. Solidus, being a perfect clone of Big Boss, was used by Ocelot in order to gain control of the SOP system (therefore it was Solidus’ corpse that was actually burned in Europe). Though nobody ever realized Ocelot’s plan (included EVA), Big Boss was awakened when Ocelot succeeded and immediately located Zero. He then relates to Snake that all of the bad blood between them has been replaced by sorrow and he takes it upon himself to cut off Zero’s oxygen tank, killing him as Snake watches on. Big Boss finally delivers a final message from Naomi, stating that the old FOXDIE set to mutate inside Snake, has been replaced by the newer model implanted in him via Drebin in the Middle East. This will prevent Snake from turning into a walking biological weapon and although the new virus will take the same path as the older one, it will take years to reach the same critical point it was at previously. Since Snake only has roughly a year to live anyway, there’s no danger of FOXDIE becoming a global epidemic. Big Boss tells Snake that what actually killed Ocelot and EVA was this newer strain of FOXDIE. Big Boss then suddenly falls to the ground as it begins to claim his life as well. With Snake helping him, Big Boss requests that Snake carry him to The Boss’ grave (located near Big Boss’ own headstone. After they reach her tombstone, Big Boss stands up and salutes her grave as the virus continues to eat his body away. He then acknowledges what he now realizes to be The Boss’ actual intentions and collapses on her headstone. Telling Snake that he never thought him as a son, Big Boss states that he always respected him as a soldier and as a man (he also suggested that it be more appropriate to call him “brother” as opposed to “son”). Big Boss then begins to smoke a cigar as he tells Snake that despite he, Liquid, and Solidus fighting a bloody war for their own freedom, the only liberty they ever found was from inside their own restraints. Too weak to even lift his hand now, Big Boss drops his cigar, which is placed back inro his mouth by Snake, who helps him lights it. He then kneels beside Big Boss---Naked Snake, whose last words are:

“This is good…isn’t it?”

After the credits, Snake is heard finally giving up cigarettes. A shocked Otacon wishes to remain with him, but Snake tells him that he doesn’t have to. Taking Big Boss’ advice, Snake plans to live out what little time he has left alone, while seeing off the new age. Otacon then tells him that since he doesn’t have anything left to “pass on”, he and Sunny should play witness to Solid Snake’s final days. Snake relents at this point and Otacon once again voices his statement that he’ll stay with Snake until the very end and let everyone know who he was and what he accomplished. He also demands that Snake join him in suffering through Sunny’s eggs…

Ironically enough, back on the Nomad, Sunny is shown finally cooking her eggs successfully.

~End Naked Son~

<1 – Resist and Rebel

This game’s experience is contingent on the player wandering back and forth between two opposing forces, making them simply a third party. It simulates a certain degree of substance while maintaining the same old espionage possibilities in-game for the player. It’s an indirect presence after Act II, but still adds to the experience (arguably even more so) after the player makes their way through Europe.

I won’t launch into an in-depth dissection of each, instead I’ll just present what I saw, you make up your own mind:

Act I - Middle East Rebels vs Praying Mantis
Act II - South America Rebels vs Pierve Armament
Act III - Paradise Lost Resistence vs Raven’s Sword
Act IV - The Player’s Memory (or lack of it) vs the Game’s reality
Act V - The Narrative’s Protagonists vs The Patriots

The most creative one in my eyes was Act IV, as it forces the player step outside of themselves and examine the surroundings of the entire act. Even if the player isn’t familiar with MGS-PSX, they’ll feel this suggested presence and have to act on it (in some fashion anyway). Not many games encourage one to tear their own sense of self in two temporarily. Act IV does JUST that, and it does it damn well to boot.

2 – The Final Run

Act V hits up two narrative-based sequences where Snake and the player are being glazed with the scale of the situation. It first happens while running towards the microwave emitters, as audio-clips begin playing, retracing certain melodramatic lines near the beginning of the act. The emitters are probably what get the most attention in this category, as the player has to deal with a tiring series of rapid-fire triangle presses as Snake makes his way to GW’s control room. It’s ever so subtly imparting some of that pain onto the player as well. This game’s almost comical tradition of presenting situations where someone is surely about to die reach their head here. The player can also see the screen above, depicting all the characters in the game fighting, worrying, and in Sunny’s case, simply enjoying life. The “Phantom-Limb” rears its head here as well, serving as the intermission between the two. Narrative-wise, it wouldn’t be possible to address my previously mentioned hang up with Raiden here (see previous blog), and would end up being more trouble than it’s worth to deal with in the first place. The game’s use of the “Old Snake” is one of the more forced tracks in the game, but the “Love Theme” plays here and for the most part, it nails the scene while the player is actually struggling to make their way towards the end of the hall. It also runs in direct contrast to the electric floor from “Young Snake’s” romp to the TX-55’s chamber in the original Metal Gear (see part III of this series). An awesomely indirect effect of this fascinating moment comes when reflecting on how old, and beaten up Snake has become just over the course of this game alone, let alone the entire series.

3 – Superficial Glitz vs Production Value

This is probably my only real hangup with the game, as there’s so much to both the graphical fidelity and technology flying around, it would be weird without it. This is the first game of the series in my eyes that actually indulges in itself. This is only a bad thing for fans not acting as strict devotees for the franchise. I certainly fall under that devotee category, but I can still notice something as glaring as this. Every piece of this game is constructed to showcase how well-equipped/skilled Kojima Productions was when putting their technical muscle into it. Product placement runs rampant in this game as well, usually centuring around Apple products (i.e. Snake’s iPod). Without them, the game wouldn’t be as enjoyable, but at the same time it makes no humble steps with its admittance of this. Though the game still manages to get away with it better than most do, it still managed to rub me in the wrong way for certain sequences. This is an area I won’t admit being fickle towards, but I refuse to be unaware at how something like this exposes some of the games faults as well. In the end, when I tried to conceptually tear this glitz away from the things I really enjoyed about the game, I realized that it just wasn’t the same without them. I had nothing else better to do at that point than digress…as I am now, heh.

4 – Scale of the Game

The actual scale the narrative is simply a game itself, with Solid Snake as the star. Remember when I said in the last Snake Eater post that Ocelot was the diametric opposite player of the game, the “player” that they themselves couldn’t interact with? Well, this perfectly complements that imaginary theory I made up for myself. Snake was manipulated by Ocelot in the game’s narrative while the player uses him of “their own free will”. Ocelot still remains untouchable for the player, but remains the only character in the entire franchise holding a metaphorical controller from the other side of the screen (it turns out he was a protagonist as well). When Big Boss admits that Snake could have changed things had he been in his place during operation Snake Eater, it was a full on integration of this mindset. On the top of Outer Haven, there was no other conflict going on than the two “Sons of The Boss” playfully (albeit deadly) assaulting each other. Ocelot is of course, the literal son of the legendary war hero, while Snake remains the only part of Big Boss that actually heard what she had to say and didn’t run off to establish rebellious nation to stand against Zero.

5 – Gallery of Shouting

Screaming Mantis is my least favorite encounter in the game, and I very interestingly tied it to the visage that she uses to manipulate people. She appears to be literally holding people on strings in order to control them. This fight in itself has “strings” that personally control my enjoyment of it environmentally, nostalgically, and individually. The control room it takes place in is crafted as if it’s incisively meant to serve as an annoying set piece (between various rows of computers lined in one large circle). This is all while the reanimated corpses of FROG soldiers shoot at Snake (along with Meryl as well). Assaulting Mantis herself doesn’t do much and it’s far more effective to shoot her dolls, robbing her of her abilities, which is just another annoyance on my part. The “nail in the straw” is what the game plays up as a sort of bargaining chip for fans, Psycho Mantis. He’s the one actually controlling Screaming Mantis and was in fact controlling the entire B&B Corps to begin with. Personally, I’m not one of those people who nostalgically splooges over how great the encounter was in MGS-PSX and not even the “Hideo2” homage could save it for me. The symbolism of this runs full circle, when the game shows how tired Mantis’ tricks are in contending with the PS3 hardware. I only have a Six-Axis as well, so that means he basically did nothing when attempting to stroke the nostalgia-boner for my favorite game of all time (MGS-PSX). In short, I’m not saying this battle is bad or anything, I’m simply remarking how interesting it is to the degree that I hate it, as it’s personally set up for me to detest. The guys over at Kojima Productions catered to my hateful whims during this battle, bless them.

6 – Sounds of The Patriots’ Guns

I’ve put the bulk of my favorite tracks on my music player (once again they’re on the right side of this page and I order you to listen to them). Though Guns of the Patriots doesn’t feature my most extensive list of personal favorites, it does have its own unique flavor to it. I assume this is because Harry Gregson Williams did most of the work for this game. I very much enjoy HGW’s work (especially the “main” Metal Gear Solid theme), but Hibino was more involved overall with the prior entries in the Solid series and his absence shows here, almost detrimentally to the game’s credit. They took away half the heart of the scoring and although that by no means kill it, it does make it a tad jarring in the end. As for the other aspects, I will simply state that the sound design for the game does a fantastic job, especially the general sound effects. My favorite thing to simply listen to in this game are the FROG unit’s “feet clink” and the mechanized chinks of equipment such as the guns moving around. As for my favorite title, I think I’d have to go with Laughing Octopus’s battle music. For some reason, the rhythmic pulse that the track repeatedly picks up soothes my soul. The songs, “Metal Gear Saga”, and “Here’s to You” were all very wonderful ear orgasms as well. Though I poo-pooed on “Old Snake” above, it’s use in the final battle of this game was probably my favorite moment of the entire game and it was used to amazing effect. The entirety of that final battle against Ocelot was generally just excellently constructed from a general musical-play standpoint, ‘nuff said.

7 - Sons of The Patriots

The forces in this game are composed of soldiers not necessarily looking for Snake (apart from the FROG unit), but people fighting or looking for each other as Snake makes his way through them. The way the player can manipulate the SOP system is an interesting yet underused muscle. I In fact if anything, it’s the ironic unmanned units (A.K.A. IRVING) that impressed me the most. The way they animated and assaulted Snake is very unnerving, and despite the arsenal Snake can acquire, it’s very unlikely that he’ll be able to just walk over them. I initially intended to say that the game could have taken the game a lot father, but I conveniently disregarded the extended amount of playtime that I’ve already spent playing Metal Gear Online. It actually requires that the player learn some familiarity with the SOP as an actual mechanic, and it in turn makes them appreciate how the game’s own narrative treats its material. Most of my talking on this category should be stated in the context of what I enjoy about the game’s multiplayer, and that’s another story all in itself. Although, I did make a post about that already, and it’s located here & here.

8 – Talk To Me
I think something that would have quelled the collective bitching from so many people about the game’s cutscenes would have been to add a real-time codec. I actually was under the illusion that it would be in this game, but that didn’t turn out to be the case. I’m not saying regulate them all in-game chatter, but some of the more trivial and second-hand bits of knowledge would benefit the game much more while running down caution phases and idle play. The codec’s effect on the narrative was an amazing addition in 1998 (carrying on the famicom game’s text), as the voice over’s were something gamers weren’t typically used to. It did age as the series progress and something like carefully placed real-time codec sequences would have altered the perception and thickened the veil.

9 - Gun-Porn
Metal Gear Solid 4 is a game that encourages multiple playthroughs and this is one of the big motivators. All the guns and unlockables that can be acquired are vast an immense. Everything from humorous eater egg weapons to The Boss’ Patriot itself are in this game and are not simply cheap additions, but statistically charted items that have varying degrees on how they operate in combat. There’s even anesthetics in this game that induces soldiers to act on emotions inspired by the Beauty and the Beasts Corps That means causing enemy troops to go mad with laughter, crying, screaming, or fury. If you want a full of list of the gun porn, simply glance at this page.

10 - Recurring Thechanics

At this point, I’m getting very annoying with typing this, so here are some rapid-fire Thechanics to close with:

1 – The importance of CQC’s relevance, even in the context of MGS-PSX makes itself known throughout the series.
2 – Octocamo, Camoflauge, Enemy Disguises, do I really need to elaborate?
3 – The Sons of The Boss (“Snake” & Ocelot) have an intimate rivalry throughout the entire series and it ends perfectly on the top of Outer Haven.
4 – After all the abuse that the franchise’s scientists suffer throughout the series, this game marks the instance where they really take an active role in fighting back. Whether it’s injecting Naomi’s syringe or rolling around in Otacon’s Mark 2/3, the scientists get their payback here, in the truest sense.
5 – This is Solid Snake’s saga and he’s the crux of the entire story rivaled only importance by Big Boss himself. This game wouldn’t nearly be as much fun to play if he wasn’t a compelling character to play as. We got him from all angles as well. Through the eyes of his biological predecessor (Big Boss) and memetic successor (Raiden).

The Metal Gear Solid series is a franchise of games that have proven time and time again that there is something congenitally special about video-games. As Kojima manipulated the versatility of the medium to make an interactive movie, he forcibly sculpted a perfect-looking hand on an otherwise untouched piece of clay, which is of course, the vast majority of narrative games. Simply one side of the most versatile medium to grace the race, Metal Gear Solid will remain a monument no matter one’s personal feelings towards it. If a game so reliant on its carefully constructed citation on Western Film can do so much to tell a story as a game, where the hell are we going to be at even ten years from now? Guns of the Patriots shows a game finally beginning to catch up with its own self-indulgent concept. Personal feelings toward that concept are irrelevant. What IS relevant would be the fact that WE HAVE A GAME CATCHING UP WITH IT’S OWN SELF-INDULGENT CONCEPT.

I spared everyone a lot of ramblings with this series, but I guarantee that I’ll keep going with these annually until I have absolutely nothing left to say about the franchise. That might take quite a while, so enjoy the rest of the year off from my perverse Metal Gear treatises. Anyone that knows how I write knows that I actually did more holding back for this crap than intended (it’s very subtractive experience I tell you…). Also, I do intend to edit these all throughout next week so they’ll be more friendly to those that actually felt compelled enough to read some (if not all) of these entries. If nothing else, I'll clean it up just to show appreciation to you crazy jackasses. I also intend to let these stand as sort of journals for my subjective take on the franchise and I may very well add to them for my own enjoyment throughout the year. Now, I’m finally going to shut up and play something else starting next week…



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