eternal return; Formal analysis of solid metallurgy 4

Among perhaps hundreds of analyzes that have been done so far, what distinguishes James Clinton Howell's series of formal analyzes is that he, unlike others, is a type of " He did not write literary criticism on a video game. Dealing with the form of games rarely happens, except when the analysis is purely level design, where the analysis is done completely independently of the narrative itself. On the other hand, when it comes to narrative, rarely does anyone mention the role of level design and gameplay. It's as if level design, which is a special form of the video game medium, has nothing to do with the narrative itself, and both are running parallel paths without ever meeting or interacting. It's like reviewing a movie based solely on its script (content) and not what's actually happening on the screen (form), which isn't wrong in itself, but it prevents you from seeing the bigger picture. eternal return; Formal analysis of solid metallurgy 4

Among perhaps hundreds of analyzes that have been done so far, what distinguishes James Clinton Howell's series of formal analyzes is that he, unlike others, is a type of " He did not write literary criticism on a video game. Dealing with the form of games rarely happens, except when the analysis is purely level design, where the analysis is done completely independently of the narrative itself. On the other hand, when it comes to narrative, rarely does anyone mention the role of level design and gameplay. It's as if level design, which is a special form of the video game medium, has nothing to do with the narrative itself, and both are running parallel paths without ever meeting or interacting. It's like reviewing a movie based solely on its script (content) and not what's actually happening on the screen (form), which isn't wrong in itself, but it prevents you from seeing the bigger picture.

Clinton's style of analysis is not just linking form with narrative; He puts the form before the narrative itself, so that in his opinion, the places where the narrative is weak, according to many, are not only weak, but completely compatible with the logic of the form. Therefore, it is the narrative that serves the form and not the other way around.

Alfred Hitchcock once said that the best film is a film that can express its narrative even if it does not have sound or dialogue. And perhaps he showed the best example of it in the movie "Rear Window", in which the main role tells the story from behind the window and without being able to hear anything, he gets confused about the actions of his suspicious neighbors. Naturally, one can read the screenplay of Rear Window and understand all its "content" and its narrative sequence, but not its "form". It is only in the form of moving images that the back window is formed. Based on this, a rule of thumb can be made: if a story (content) can be recorded on a piece of paper (form) without being damaged, then it is better to keep its place in the book. But what can no longer be expressed on paper means that a content has been obtained that requires a new form and can be used in new forms such as cinema or video game besides books. It is hard work and not the first. The text adventures of the eighties were faithful enough to their form, because although a text adventure could be written on a piece of paper, the whole story could not be translated on paper. Part of the basic experience of these games is pressing the command button and interacting with the story itself, and the reaction of the narrative itself to this interaction and its branching. This is a form that does not have any book or piece of paper because it is not possible to interact with the book. Here, at least for now, it is not important to see an adventure text especially if it has a good narrative or not; It is important to see whether it remains faithful to its form or not: if the whole story can be expressed in another form and written on a piece of paper, then no; If there are parts of the story that can only be done in this form and cannot be translated on a piece of paper, then yes.

Can Metal Gear Solid get a passing grade in the form test? Since it's generally accepted that Metal Gear Solid is more like a film and literature than a game, many would probably say it's a failureexcept for Clinton herself, and this is where her essays diverge from other Metal Gear analyses. Clinton shows here and especially in his analysis of the form of Metal Gear Solid 2 more than ever: he claims that in order to understand Metal Gear Solid 2, you have to look at its form and level design, and not just its cinematic cutscenes, and without understanding the level design of Metal Gear Solid 2. Solid 2's narrative cannot be understood.

Most analyzes of Metal Gear Solid, perhaps culminating in Frank Yeager's article on Metal Gear Solid and Genetic Slavery, rely on the metatextual references of the narrative itself, which of course It is not strange for a game that considers itself to be the first postmodern game (and the feature of such stories is their many metatextual references). But Clinton's approach is entirely intratextual, and does not examine Metal Gear Solid by reference to external sources; He does not talk about what thesis he has about philosophy or politics or society; He does not write what the general meaning of the story is. He examines Metal Gear Solid with reference to Metal Gear Solid itself, and not, like other analyses, with reference to Jean Baudrillard's representation and representation, or George Orwell's 1984, or Nietzsche's The Eternal Return, or Dawkins' Gene Self-Eve (especially as the author claims Metal Gear Solid 4 has more than everything, it refers to the past and itself and not to external sources). Although at the beginning of this article, Clinton intentionally or unintentionally goes the same way as Roland Barthes's "death of the author" and considers his personal interpretation valid, but he does not deny that if in this interpretation he has reached what was in the author's mind, then it has added to the richness of his article. By looking objectively at the work as it is, and not as he thinks it "could" be, Clinton simply wants to show again that the key to understanding Metal Gear Solid "is not in its scenario, nor its narrative, but in the form that ultimately both its service The author did not use "eternal return" (Ewige Wiederkunft) in the text of the analysis, but it was considered appropriate that the general title of his text should have the same phrase, because the creator of Metal Gear himself understood it. It is the core of its work and it is a defined phrase that implies repetition and endless cycles and is related to the content of the text.


Our interpretation and the creative goal pursued by the author They will never completely overlap. However, no matter how much we want to consider our guide - this guide - in the interpretation, the author's intention and his words as the completion of the proof, ultimately we must return to the created work to obtain the necessary basic information.

Interpretation does not mean evaluating what is requested and what we actually see; It means to evaluate those experiences [that we have taken mentally]. If we see traces of what the author had in mind in this way, we can say that the richness of our interpretation has been added.

The interpretation of this essay on Metal Gear Solid 4 is only focused on the author's familiarity with the Metal Gear series. And the direct experience is the game itself. If there were slips in this path and we went astray in talking about S and the basis of the game experience, then we have not made a bad mistake.

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Media in the last century of our imagination They have changed what the monsters look like. Today's media, in their horror works, usually focus on the brutality of humans (Jason, Freddy Krueger), or giant creatures (King Kong, Godzilla).

Monsters of ancient times were not just giants. Their conception arose from a distorted conception of the natural order, and a combination of the bodies of various creatures.

Minotaur: human body, with a bull's head.

Manticore: lion body, human head, tail. Scorpion

Cockatrice: Rooster body, lizard tail, dragon wings born from eggs laid by cockroaches and hatched first as a toad.

Metal Gear Solid 4 is full of such monsters.

It is such combinations that give shape to Metal Gear Solid 4. By referencing and combining various features of the Metal Gear series, the game consciously repeats the tropes of the series, by manipulating them it contributes to the plot, and by emphasizing (and later, domesticating) these recurring patterns, it evokes a sense of identity that we have from the series. /p>

Metal Gear Solid has 4 forms that appear in flashbacks, enemy design, and five-act scenarios. We will take a look at each of them in turn.

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Metal Gear Solid 4's flashbacks can be read as a combination of what we call "dead shots" (which are extracts from sequences from previous versions are) and "living images" (the sequences of the fourth edition itself). These events both serve the narrative and overlap with the series, even though the term "flashback" itself is a narrative technique. Some of the game's flashbacks are in the service of the narrative, but many people know Metal Gear Solid 4's "living images" simply because of repeating the same usual tropes of the series.

The first flashback of the game, for example, serves to overlap with the series. Old Snake gives a military salute to Big Boss's gravestone, and pressing the X button brings up images that show Big Boss's military salute to Boss's gravestone at the end of Metal Gear Solid 3. If this flashback was just for the sake of the narrative, then it would have to imply that Old Snake is Big Boss (which it isn't). If we consider that this flashback was made to "overlap with the series", then, here, Snike counts as Big Boss's replacement - the one who stepped in Big Boss's shoes.

Flashbacks are like a kind of nervous system. which attach themselves to the tropes and roles of the series, and by identifying the living with the dead they emphasize that everything is a repetition of the same patterns of the past. They know Snake as Big Boss, Raiden as Gary Fox, Assault as Liquid Snake, and Naomi as Emma. eternal return; Formal analysis of solid metallurgy 4

See these tropes in the flesh, bounded by the same patterns created in previous versions. Each sequel builds on the patterns of the previous version and simply offers the features of the past with a new edition. These overlaps of the series can be glimpsed in the form of Metal Gear Solid 4, and for example show the lineage of one of the series' perennial tropes: the trope of "Snake's support team".

  • In Metal Gear 1, Snake is from The members of the resistance movement would get guidance and help.
  • In Metal Gear 2, this feature is shortened and only Gary Fox plays such a role.
  • Gary Fox reprises his role as an intelligence spy. He repeats Solid 1 in Metal Gear Solid, showing off the body-enhancing robots that previously gave Big Boss new life in Metal Gear 2. In Metal Gear Solid 1, the "Snake Support Team" trope is the same as we have seen in previous versions, but only with the combination of one element. New edits and polishes it from the previous version.
  • Metal Gear Solid 2 self-consciously introduces the character of Olga as the new cyborg ninja, and thus becomes a very obvious repetition of the same trope as before. Solid Snake also joins the support team, but this time as a force outside the pit whose information and assistance directly affects Raiden's mission, to the extent that Colonel Raiden's AI reprimands him for relying on Snake because "Snake is not a clone."
  • Metal Gear Solid 3 also returns to the same old form and several characters are the guides of Snike - two people who allegedly betrayed the NSA (National Security Agency of America). Not only do Aslat and Eva form a nameless resistance movement against Volgin, but they each become "one of [Nicked Snake's] fans", echoing Gary Fox and Raiden's dialogue in praise of Solid Snake. eternal return; Formal analysis of solid metallurgy 4

Metal Gear Solid 4 All previous features of the "Support Team" trope combines "Sneak" and divides it between Raiden and Durbin. Derbin introduces himself in the same way as Gary Fox: "Neither my friend nor my enemy". He also claims to be one of Snake's "fans" due to his interest in supersoldiers. Raiden enters the case while giving Snake the necessary information from behind the radio. So, everything we knew before about the "Support Team" and "Resistance Movement" is collected in this version, and the flashbacks of Metal Gear Solid 4 show how the old roles are re-transformed into the roles of new characters [for example, once Snake was part of the support team and was helping Raiden, but this time it is Raiden himself who helps Snake].

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To check out the Metal Gear Solid 4 remix references, check out the group Beauty and the Beast is a good starting point. Each installment in the series includes a group of professional and flamboyant soldiers that the player must defeat in order to progress. Metal Gear Solid 4 also offers its boss fights only with the combination of the same soldiers. eternal return; Formal analysis of solid metallurgy 4

Laughing Octopus (Laughing Octopus), for example, uses the melee weapons of Gary Fox (Metal Gear Solid 1) and Solidus Snake (Metal Gear Solid 2), as well as fire, pin and bass tactics ( solid metal gripper 3). The environment where the fight begins is also a combination of the abandoned factory of Metal Gear Solid 3 and the advanced tools of Atakan's laboratory in Metal Gear Solid 1. eternal return; Formal analysis of solid metallurgy 4

Raging Raven character design is a combination of Vulcan Raven and Psycho Mantis characters (Metal Gear Solid 1) and also Jet Harrier (Metal Gear Solid 2) and Fury (Metal Gear Solid 3). The environment where the fight begins is also similar to the oxygen pool of Metal Gear Solid 2 and the vertical communications tower of Shado Moses of Metal Gear Solid 1. Before fighting with him, we also see a motorcycle chase scene, which in Metal Gear Solid 3 we saw a similar motorcycle chase scene before the fight with Shagohad. eternal return; Formal analysis of solid metallurgy 4

Crying Wolf (Crying Wolf) and his outfit also have the features of Ray and Rex's Metal Gear. It has its own, and it is equipped with the same rail weapon that Fortune's character had in Metal Gear Solid 2. His movements are kind of an animated and faster version of Vulcan Raven's M-1 tank in Metal Gear Solid 1. His shooting tactics were reminiscent of Sniper Wolf's sniper shots from Metal Gear Solid 1, and the presence of robot frogs was also reminiscent of Snake's fight against Aslat's unit during the fight with The End in Metal Gear Solid 3. The destructibility of the environment [and trees] was also similar to Raiden's fight against Fortune in Metal Gear Solid 2. eternal return; Formal analysis of solid metallurgy 4

Screaming Mantis and the level design of his environment has the same feel and function as the command room of Metal Gear Solid 1 and the fight with Psycho Mantis. It is also similar to Metal Gear Solid 2 in two ways: the octagonal rings on the ground that were seen in Raiden's fight against Rey's Metal Gear, and the vertical design of the environmental pit where Snake and Raiden fought against the second huge horde of Arsenal Gear's Tango soldiers. Although his tactics are an obvious reference to Snake's fight against Psycho Mantis, the "walking dead" are also seen during the fight, similar to Snake's confrontation with The Sorrow in Metal Gear Solid 3.

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By examining the five-act scenarios (screenshots) of Metal Gear Solid 4, we again see a pattern of recombining features from previous versions of Metal Gear. Scrutiny of the form of each act shows how heterogeneous features The collections intersect and provide an experience that feels old and new at the same time.

ACT I eternal return; Formal analysis of solid metallurgy 4

The first act has the usual tropes of the opening chapters; Like the sequence of infiltrating a new environment with insufficient tools and Snike's usual habit of removing his previous clothes when entering a predicament [in Metal Gear Solid 1 he removed the oxygen mask and in Metal Gear Solid 2 raincoat]. The setting of this environment is influenced by Graniny Gorki's laboratory and Sokolov's factory in Metal Gear Solid 3.

Some parts are especially reminiscent of the iconic moments of the tanker season in Metal Gear Solid 2, especially Akiba's laser trap. and Aslat's speech from the top of a platform with Snake standing below. The members of the new Foxhound unit led by Meryl Silverburg again inherited the same elements of Foxhound unit boss fights in Metal Gear Solid 1, and the fight of Sneak against the Frogs soldiers is also a type of boss fight, but a boss fight in which you have to ambush with the help of others, and He also escorted and protected others until they escaped from the building.

ACT II eternal return; Formal analysis of solid metallurgy 4

The forest and mountain environments of the second act are clearly inspired by Metal Gear Solid 3. The presence of wildlife, along with the moments that show Snake eating some kind of rodent, all refer to the survival-based gameplay of Metal Gear Solid 3.

One of the tropes of the series is the "mysterious radio message". which we see in this version as well, and Raiden conveys this message to Snake. In the following, we see all kinds of other references to Metal Gear Solid 2: the presence of Campbell and Rose behind Kodak; A vamp who gets headshot but survives again; and a high-ranking soldier impersonating Solid Snake.

The escape sequence in the second act is similar to the jeep escape at the end of Metal Gear Solid 1. Here we see Snake on top of an armored car and carrying a weapon in the back of the turret, and he has to shoot explosive barrels to make his way forward, while various enemies are rammed towards the armored car. Even, like Metal Gear Solid 1, this sequence ends with Snake and the other occupants of the car left and crawling out of it.

ACT III eternal return; Formal analysis of solid metallurgy 4

Sneak's atmosphere and clothes in the third act of Snatcher (other Kojima's game) is borrowed. However, simply seeing it as a reference to Nature makes us miss the other reference of this act to Metal Gear itself; For example, Sneak's association with a resistance movement is clearly reminiscent of the resistance group in Metal Gear 1. The way that Snake chases a member of the resistance is a multifaceted self-reference to different versions: both to Metal Gear 2 (when Snake chases a Green Hat soldier to Q-Marf's cabin); Also Metal Gear Solid 1 (when Snake chases Meryl); Also to Metal Gear Solid 2 (when Raiden finds Richard Ames); And to Metal Gear Solid 3 (when Niked Snake chases Raykov). The way that Sneak prepares the ground for escorting the member of the resistance movement is also reminiscent of the way Raiden escorted Emma with his sniper to cross the Big Shell oil fence.

The second half of the third act, to It references Snake and Eva's escape on the motorcycle at the end of Metal Gear Solid 3. The pair of them passed through the checkpoints of soldiers and cars and were careful not to fall prey to the Shegohad missiles during the second half of their motorcycle ride, when they were running away from the round boar. Acelatt steals that ultimate weapon [control of the Patriots' weapons system], destroys a large group of US Army soldiers, and appears to have finally won over Snake.

ACT IV eternal return; Formal analysis of solid metallurgy 4

Act IV strongly It references the mood and scenarios of Metal Gear Solid 1, but remixes the same sequences from the first issue and sends Snake back to Shadow Moses' base. Snake is waiting for Atakan (not Meryl) to open the door this time; Atakan, like Armstech CEO Kenneth Baker, forgets an important password; And this time Naomi, not Meryl, has the role of the lover who dies in the same base [somewhat reminiscent of Sniper Wolf who was Atakan's favorite and died in the same base]. also enters this scenario; For example, as soon as this stage starts, we find ourselves replaying Metal Gear Solid 1, but later it becomes clear that what we experienced was just Snike's own dream (just like the Guy Savage minigame in Metal Gear Solid 3, which is also the result of dreaming). It was sneaky). Vamp and Raiden (instead of Liquid and Snake) are the enemies standing on top of Rex's Metal Gear and fighting hand to hand. Meanwhile, it's Snike with the geckos (Gekko) fights and escorts Raiden [as in Metal Gear Solid 2, Snake stood below the deck and escorted Raiden so that other enemies would not disturb his fight with Metal Gear Rey].

The ending of Act IV is a combination of the same endings as the first and second issues of the series: Snake and Aslat fall from the war machines they are riding, and Snake, badly wounded and in possession of machines, follows Aslat (as Liquid does with the same The shape follows the sneak). The Outer Haven ship of the Plowmen enters the shadow of Moses, just as the Arsenal Gear ship entered Manhattan at the end of Metal Gear Solid 2. Raiden goes under the ship to save Snake, just as Gary Fox sacrificed himself in the first issue so Metal Gear Rex could not harm Snake.

ACT V eternal return; Formal analysis of solid metallurgy 4

The fifth act is a combination of the Tanker chapter setting in metal Gear Solid 2 has the same atmosphere as Arsenal Gear and Big Shell's polygonal environments. Snake goes through waterproof bodies full of various ladders and loose wires and opens one of the doors that prevent the penetration of water (all the while passing block-like obstacles reminiscent of the same boxes that Snake and Raiden had shortly before arriving at the Arsenal They got stuck). Again, we see Meryl and Snake's roles as protg and supporter return, with Snake saving Meryl again in a psycho-mantis-like boss fight. Sneak and the sequence of being tortured) which were combined and made a complex experience; It's similar to the switchless, electric floors in Metal Gear 1, Snake catching fire at the end of Metal Gear 2, Snake's near-death experience after falling from a waterfall, and the button-mashing combination of torture sequences in Metal Gear Solid 1 and 2.

Finally, the characters and scenarios of Metal Gear Solid 4 can be seen as a combination of the same roles and tropes that were established in the previous versions of the series. They have been extracted, and they have appeared in a form that seems new. But all of them are like the ancient monsters [which were mentioned], and they have reached this form by combining and polishing different parts. The repetition of these forms - such as the forms that were formed on behalf of the forms of previous versions - means the characters and events of Metal Gear Solid 4 are condemned; They are condemned to repeat the old patterns forever without ever achieving their own independence and identity.

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The sequels are the bearers of these tropes and repetitions, and the sequel does nothing but breathe new life into them. It is the appeal to these repetitions that justifies the continuation of the story, and this itself becomes a trope to rationalize the repetition of the story: the "hollow victory" trope. In fact, in order to set the stage for the next event, each sequel has to trivialize the victory achieved at the end of the previous version as an excuse for the reappearance of characters and events from the previous version.

The "victory" trope. "Empty" ignores one of the most important aspects of the theme of each edition of the series: each edition is itself a platform in which the heroes of the story can reach individual identity and leave that platform behind only by overcoming difficulties. If these characters were to overcome the break from their genes, their memes, and their historical circumstances, then they could never reappear in their roles [and thus there was no reason to make a sequel]; Therefore, Solid Snake and his victory in the shadow of Moses could not save him from the "warrior genes"; Raiden and his victory could not separate him from the violence he saw as a child; And Niked Snake could never overcome the historical conditions. All the characters seem to have triumphed at the end of their stories, but the next version repeats the problems, showing that they achieved nothing but "hollow victory". eternal return; Formal analysis of solid metallurgy 4

"Hollow victory" is like a glue that sticks all the parts of the series together. The form defines identity, in Aslat's words, as: "a kind of system...that ensures that the next generation never reaches comfort and prosperity [and the problems repeat themselves]." The monsters of Metal Gear Solid 4 are a clear example of this trope: the characters have never improved from the previous version and have not reached a new identity; They simply lose some aspect of their past identity in order to take instead not a new identity, but a duplicate identity of others (see the most concrete example of this in Aslat, whose identity was replaced by Liquidoid himself when Liquid's hand was grafted to him. Or For example, Raiden, who only acquired the identity of Gary Fox).

Johnny Sasaki's character in Metal Gear Solid 4 is perhaps the most subtle example of this. In previous versions, it was just a joke There was laughter. In the fourth installment, however, he fills in three tropes previously held by the series' main characters: First, he plays Atakan as a tech geek (to the point of being given the nerdy nickname "Akiba", which refers to an area in Tokyo that is technologically advanced); Second, like Gary Fox, it is not clear exactly what weight it has in the story; Third, he falls in love with Meryl just as Solid Snake fell in love with Meryl at the end of Metal Gear Solid 1. eternal return; Formal analysis of solid metallurgy 4

The "Sons of the Patriots" network, which includes all units of private military companies, also represents the narrative form of Metal Gear Solid 4. Merrill praises the Sons of the Patriots for "allowing [the members of his unit] to understand each other's feelings, and whatever they see" he sees. Sons of the Patriots here is a tool created to serve Pirang, to connect seemingly unrelated forms like the Greek monsters, and to bring the plurality of identities to unity.

So it is no coincidence that when the network of Sons of the Patriots shuts down, this The coils are unwrapped, the references to the old versions are removed, and Metal Gear Solid 4 takes on its own identity.

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All Metal Gear Solid 4 remixes crash when the Sony-made FoxAlive virus attacks And uploads Naomi into GW. (Even the narrative of this part is a repetition of the same trope seen in Metal Gear Solid 2: Atakan had previously injected the worm created by Emma into Gear's Arsenal AI). Although the Emma virus completely erased the information, FoxAlive, in Atakan's words, makes a "great integration of information".

Through FoxAlive, the form of Metal Gear Solid 4 itself is also changed, and everything from the first versions to The third was copied and smashed: Old Snake's soul wound is destroyed; Aslat regains his identity [and we understand that he is not the same liquidoid]; And the Patriots' system is no longer immune to the endless wave of form repetitions. -before-and-after pictures of Metal Gear Solid 4, and how it deals with one of the franchise's oldest tropes: the two-player duel. The fourth act repeats this scene twice; Once it's time for Vamp and Raiden to stab on top of Metal Gear Rex's deck, whose environment is the same as Solid 1's Metal Gear, and its swordplay is the same as Raiden's swordplay against Solidus. The second time is a duel between Aslat and Snake, who are riding Rex and Ray's metal gears. Their fight is a combination of the building ruins from the Metal Gear Solid 2 fight on top of the Federal Building, Metal Gear Solid 1 and Metal Gear Solid 2, and the pit fight between Niked Snake and Volgin from Metal Gear Solid 3.

Step Gradually, these tangled identities become unified in the final duel between Aslat and Snake atop Outer Heaven. In addition to the fact that the same music and health bar of the old versions can be heard in this fight, these features are no longer jumbled but placed exactly in their original place. As long as the fight is up to the Metal Gear Solid 1 phase, Aslat uses the same strikes and rams as Liquid. In Metal Gear Solid 2's phase, his fists turn into Solidus' sword strikes. Just as Salidus would hit three close shots at once and then bounce, so does Aslat. At the end and in the Metal Gear Solid 3 phase, Aslat uses the same CQC that Niked Snake uses against the boss. eternal return; Formal analysis of solid metallurgy 4

But, as Aslat says, he and Snake "aren't free yet." The fact that Aslat gradually regains his identity and forms Liquid, some people have considered it because of Snake's blows, but Aslat's awakening may be more due to the integration of its form than the fight with Snake. Aslat's identity was obscured by the features of the previous version (at least until the end of his battle with Snake). Only when all the nostalgia is gone does he finally come into his own, let go of the past, and put all his energy into a fist fight between the two old men. But it implies the Metal Gear Solid 4 form itself and that everything is repetitive: "I was just a liquid, and you're the same lame... just like your father." The referent of the pronoun "same" is unclear, making this one of the most mysterious dialogues in the game, but, given the form of Metal Gear Solid 4, the meaning of the dialogue can be better understood. Liquidoid had resisted the Patriot system, and after its defeat, Aslat assumed the identity and role of Liquidoid to be the leader of this resistance movement. Similarly, Big Boss both fought for and was betrayed by Zero, a role that Solid Snake also played just like the first game's flashback, which put Old Snake in Big Boss's shoes.

So, both of them are substitutes for other characters, but at the end of the story, they learn that they have their own independent identity, and not as characters that need to be replaced. Put liquid pie and not solid snake instead of Big Boss pie (but not completely. We will discuss this more later). These surrogate roles are lost, and memes and genes cease to spread until characters achieve their own identity.

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This integration also affects other Metal Gear Solid 4 characters. In the final chapter (Naked Sin), it collects the extract of the previous three versions, and now the game is freed from the "absurd victory" trope.

The first sequence of the final chapter is a combination of "good" and " "Bad" is Metal Gear Solid 1: Meryl finally comes to terms with Campbell and accepts him as a father, and the "love that blossomed in the middle of the battlefield" is realized and Meryl and Akiba get married. (In this ceremony, Derbein comes with his armored car and throws many bunches of flowers in the air from behind it, the armored car is the symbol of "battlefield" and the bunches of flowers are the symbol of "blossom".) The pair's wedding takes place in the presence of other members of the Foxhounds, Campbell, Mei Ling, and Atakan all characters that either appeared in or were referenced in Metal Gear Solid 1. Everyone is in high spirits, and it's as if they've all listened to Naomi's dictum, "Choose life and then live it."

The only person absent from this event is Solid Snake himself; The hero of the first issue.

The second sequence, like the end of the second issue, starts with hope and optimism. Just as in that ending, Raiden stopped stepping on Solid Sneak and accepted his identity as Raiden, at the end of Metal Gear Solid 4, he regains his physical identity as he no longer wears a robotic suit and no longer looks like Gary Fox. Is. And just like in Metal Gear Solid 2, Rose admits that she lied about her relationship with Jack. Despite this, however, Raiden finally accepts her and her son John, and they are reunited as a family. The fact that Raiden's son sees his father through the eyes of a superhero and imitates his appearance is related to the theme of Metal Gear Solid 2 (identity creation based on cultural memories), and reminds Raiden himself that he once wanted to imitate Solid Snake.

Again, the only person missing from all of these sequences is Solid Snake; A catalyst that was able to teach Raiden to regain his identity.

The third sequence of the final season similarly has the same spirit and theme that governs the end of Snake Eater, but with one important difference: Solid Snake is still the main character. Metal Gear Solid 3 means that Big Boss has not reached his own identity, and for that reason he was absent from other sequences.

Old Snake is the last character of Metal Gear Solid 4 that is limited by form. Nick Snake was standing over the empty grave of Boss to preserve the memory of the master he had killed under Zero's command, and Old Snake was standing over the empty grave of Big Boss to keep alive the memory of the master he had killed under Zero's command. When Snake says, "Our time and our war are over," he's recalling Metal Gear Solid 3's theme of how historical circumstances shape one's life. This sequence is a combination of two of the most iconic sequences of Metal Gear Solid 3 (killing Boss and Big Boss's military salute to his grave) and Snake appears as he is about to commit suicide in a cemetery full of white flowers.

But Operation Snake Eater was Big Boss's mission, not Solid Snake's. He's still like Big Boss, and he's absent from the other sequences that reminded us of the endings of the first and second issues, and he's about to make a mistake and kill himself.

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Metal Gear Solid 4 is through Big Boss, which expresses its formal rules more clearly than ever. In the final blurb, Big Boss explains how the Patriots grew with a kind of creation story (albeit a digital one), summarizing everything the Metal Gear series itself had collected to repeat as a number of tropes in Metal Gear Solid 4: "Everything has a beginning, but it did not begin with me. It was much earlier. The world was born from 0. The moment 0 became 1 was the moment life began. 1 became 2; 2 to 10; 10 to 100. Setting all numbers back to 1 doesn't fix anything. As long as zero is left, eventually 1 will reach 100 again one day."

The legend of creation that Bigg Boss tells is also in line with the history that Aslat told, although from a different angle: "Zero is trying to use of all his wealth to dominate the world Was. Our father - Bigg Boss - is trying to free the world from this domination. His dream was to build an army of free citizens, answerable to no government... Outer Heaven. But it failed, all because of you. 9 years ago, I tried to free ourselves from the domination of genes. Four years later, our dear brother Salidos wanted to free us from the tyranny of patriot memes. All of themall of themwere nothing but a series of trials and errors...which resulted in Outer Paradise. To be freed from the children of the patriots, the last form of external domination was imposed on the soldiers of the patriots."

This "amount of trial and error" Aslat says is the 0-to-1 and 1-to-100 jump that Big Boss describes. did Big Boss emphasized on form, Aslat on narrative; But both are repeating the tropes that form the core of the Metal Gear series, which are all piled up in Metal Gear Solid 4.

The number zero does not indicate the absence of a quantitative variable; Instead, the symbol is the first quantity. According to binary codes, the number zero means "no" and the number one means "yes". "No" finally has meaning as an answera form that acknowledges the existence of a questionjust as the number zero has meaning as the starting point of a digital and numerical set. Zero is a quantity that can potentially accumulate many numbers after itself, just as "no" can potentially become "yes", making possible the existence of ones, twos, tens, and hundreds. eternal return; Formal analysis of solid metallurgy 4

To finally integrate Metal Gear Solid 4 and end all iterations, Big Boss uses Zero (both the character Zero/Zero itself and the concept A number leaves it "to the land of nothingness". By doing this, it eliminates the possibility of ever making a sequence for the series [that is, zero becomes one]. Zero and Big Boss, who are two monsters themselves, carry the burden of this act [that is, because of these two people, the series never ends and keeps repeating itself].

Big Boss is the result of tinkering. Genetic is the body of his clones, and, wielding the Patriot handgun that belonged to Bass and wearing the character coat of Gene, he is the physical embodiment of the series' antagonists. The history of his character shows that he got his motivation and ideal from Boss and the necessary financial resources from the character "Jen". His role and identity changed depending on the requirements of each version: he was the main negative role in Metal Gears 1 and 2; Treating the pain of genomic soldiers in Metal Gear Solid 1; The ideological foundation and belief system of Solidus in Metal Gear Solid 2; And the fallen hero in Metal Gear Solid 3. In his body, his ideals, and his relationships with each version, Big Boss is the rule of all tropes [and an excuse to continue the series]: he can be called a "rebel" in general.

Meanwhile, Zero represents the "force that rebelled against him". His character, like Big Boss's body, is the result of mixing and combining different things. When he's introduced as the cause of all the data the Patriots' system has collected (data that later includes an anthology of all the previous versions), he becomes Metal Gear's main villain: every plot is under his head. His dire physical condition in this issue is reminiscent of The End in Metal Gear Solid 3 a warrior from a previous generation whose death causes him to pass his responsibility on to his next generation. His appearance design is also reminiscent of Armstech CEO Kenneth Baker (Metal Gear Solid 1): a crippled, always motionless old man with a bald head, who was responsible for several projects in the series. Zero is the monstrous amalgamation of all the evil forces of the series that are now dying.

Metal Gear Solid 4 shows the integration complete by repeating the contents of the first flashback (i.e. Big Boss's military salute to Boss's grave). Now, the game is showing that dead image with a live image, and finally we see Big Boss himself, not in flashback but in the present moment, giving a military salute to Boss's grave. Solid Snake's life as a Big Boss impersonator is over, and Seri's memory of Big Boss is finally linked back to Big Boss himself. eternal return; Formal analysis of solid metallurgy 4

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The sequences before the Briefing segment, which shows Sunny cooking, is a representation of the same dialogues of Bigg Boss and Aslat, compressed into a very important symbol. They reinvigorate the Metal Gear Solid 4 form, a form that simply repeats the tropes of the series. At the same time, they also indicate the progress of the narrative itself [because the narrative and the form are not separate and move in parallel]. It is all the characters that have the name "Sneak" in them. In Liquid Snake's act, the egg yolk is slightly scrambled, but in Solid Sin's act, the yolk is completely scrambled (showing Liquid Snake's genetic superiority over Solid Snake). One of the eggs in the Third Sun act has two yolks, which compensates for the other egg that had only one yolk, symbolizing the birth of Salidos. Snake was born separately from liquid and solid. The eggs of the act Twin Suns are all combined in the form of a yolk, which symbolizes the union of solid and liquid because they both trace their roots back to a single thing, their biological father, Niked Snake. This cooking egg keeps getting more complicated as the series' tropes are increasingly incorporated (as Bigg Boss showed from 0 to 1, and from 1 to 10, and from 10 to 100). Sonny, in order, first reads the sequence of a single number (pi); then a different sequence of numbers (Fibonacci numbers); then elements of the periodic table (the combination of which is specific to making explosive weapons); And finally, the names of private nose stations in Japan. His poems "about" the sequences that are gradually piled up become more complex, emphasizing the process of combining and piling things up. Just as the game itself, in terms of form, is nothing but the combination and accumulation of the tropes of the previous versions.

The content of his poems increases as the sequences become more complicated. If we combine the aural qualities of Sunny's lyrics with the visual qualities of his cooking sequence with Big Boss and Aslat's previous dialogues, we notice the "sets" that have become the motif of Metal Gear Solid 4: the "sets" of pi numbers (the longer the number goes on and become more complex); "set" of Fibonacci numbers; And the "set" of train station lines (audio features) while reading these poems is also the creation of the snacks themselves, in the order in which each version is presented, which we saw in the form of eggs being cooked (visual features). And all this is in line with the "set" of numbers that Bigg Boss said earlier [0, 1, 2, 10, 100] [bracket is from the author]. With these collections, Metal Gear Solid 4 paints a picture of an unnatural, digital, always-ongoing process that [like numbers] has no end and is nothing more than an accumulation of their predecessorsperhaps a representation of the video game collections themselves, which have no meaning. They are constantly being followed and have no purpose but to exist.

With Zero returning to the land of nothingness, we might think that Bigg Boss has ended the series once and for all. However, the ending sequence of Metal Gear Solid 4 hints at the impending conflict that is likely to come. Metal Gear Solid 4 also repeats the "violation of the purpose of the final plot twist" trope of the previous versions [that is, although those sequences are the end and are supposed to wrap up the story, but instead we see that on the black screen people are secretly talking and showing that the story is not over yet]. This time, instead of the game ending with Atakan and Snake's final conversation [on that black screen], we see the scene cut back to Sonny's eggs, which are, in Sonny's words, "kind of like the sun."

At the end of Act III, Acelatt describes himself, Snake, Zero, Big Boss, and all their wars as "shadows" that will never go away as long as the "sun" exists. Metal Gear Solid 4 makes the sun a symbol of why the series isn't over yet: because as long as there is a sun, the "shadows" of Snake, Zero, Big Boss and all their battles will be reproduced.

Egg whose yolk remains perfect and round; Sun; zero number; cell; All are different forms of the same ominous sign. Since no war can end war itself, the dying generation of Metal Gear Sr. dies as well, leaving the generation after him and others like Sonny free to make their own mistakes. Sonny holds the future in his hands as much as Zero and Big Boss once held the future of the Patriots organization generation.

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Unlike other versions of the series, Metal Gear Solid 4 is about Sense , its central theme does not give a clear explanation. The word Sense here is probably from the words wasei-eigo; Japanese words that were made by contact with the English language and probably Kojima used this word in his own way. Like many other wasei-eigo words, native English speakers may not be able to understand its true meaning, and only by looking at the context of Metal Gear Solid 4 itself can a new equivalent for Sense be achieved. eternal return; Formal analysis of solid metallurgy 4

According to the form of the game, we can conclude that Sense means a description of habits and routines that have become a person's behavioral characteristic. However, the word "habits" here implies something negative. Playing with the motif of addiction and cancer gives Sense a negative connotation.

Sneak smoking has been a recurring trope of the series, and the addictive nature of smoking is in line with the other motifs described earlier A set of behaviors that are harmfully stacked and combined. Metal Gear Solid 4 likens this repetition of tropes to an image of Sneak facing Death and smoking a cigarette (especially in the loading pages). Various characters enhance Snick for smoking and to some extent his use of nanomachine syringes. They blame The game has a "habit" of being addictive every time a sequel is made, and visually it culminates when Sonny gives Snack a plate of eggs with a cigarette. It's like saying, "There's no difference between them." It also shows a motif as bitter as addiction. The two "cancers" we see in the game, one real and one abstract, grow throughout the game. A real example is Naomi's own cancer, which she stops from spreading with nanomachines. The Foxday virus mutation [injected into Snake in Metal Gear Solid 1] is a more abstract version of the concept of cancer. When Naomi explains how Foxday mutated in Act II, the audience sees how her cancer alludes to Sneak's smoking habit, his decay, and the image of the mutated cell.

These motifs lead the Patriots' AI to The eye sees a kind of digital cancer [that has mutated and spread throughout the world]. Big Boss says that the "Patriots Weapon" is the result of the Patriots' AIs, which have become aware enough to follow their own will, mutate, and limit the entire world by repeating the secret tropes they know(1). Big Boss recognizes them as Metal Gear Solid 4 itself recognizes the concept of Sense: repetitive behaviors that have reached the point of addiction and overwhelm and accumulate until one day it collapses.

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The cancer cellthe monstrous combinationthe endless self-referentialityis what forms Metal Gear Solid 4, until it finally reaches integration and collapses all the restraints that Sense has imposed in the meantime. Sense is an addictive barren life, and only death, literally or figuratively, can evaporate the ice that imprisons one in an unchanging identity. From another angle, Sense is a toxic matrixa diseased wombfrom which only something sick like himself is born. Its cure, according to a myth, is nothing but death, a death that will be followed by childbirth.

This itself is an interpretation of the concept of serial media. We see them in terms of setswhether video games or anything elsethat follow particular formal rules established by their predecessors, just as we recognize the sequence of a number by how much of the set's algorithm came before it. . The act of following self-made rules (plus our awareness of following them) itself becomes a repetitive trope, a behavioral habit that puts us in the position of a consumer of a product. By requesting the continuation of a collection, the audience takes on a repetitive role just like the requested product and, like him, cannot follow anything but pre-established rules. shows a fruitless habit. Sense is a set of patterns that shape a person's identity, but at the same time, it can be a limitation on him and prevent him from growing beyond his identity. Individual habits and routines may define one's identity, but they stunt one's growth if they prevent one from looking outward.

The cycle of repetition only gives the illusion of progress, not real progressfreedom from cycles, freedom from zero. Freedom from collections. See escaping the cycle as a return to the Taoist state of p'uwood in its natural state, which is simple and unformed, passive, and ready to change. They can be thrown away forever. However, they can be polished so that one, with awareness, reaches a better identity, and moves out of the natural state of p'u and puts a new design into it. eternal return; Formal analysis of solid metallurgy 4

A Formal Analysis of Metal Gear Solid 4

By James Clinton Howell

1. Since artificial intelligences use machine learning and their output is the recombination of data that has already been given to them in the input, so the AI of the patriots in Metal Gear Solid 4 is nothing but repeating the motifs, tropes and usual habits of the series. It is not a metal trap. Because most of the inputs of these artificial intelligences are data from previous versions, so their output can be nothing but the endless repetition of motifs, tropes and habits of the Metal Gear series. (m)

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