From Russia with love; Review of Metal Gear Solid 3 (2004)

Metal Gear Solid 2 ended with many unanswered questions. In creating a game that questions its status as a game, Kojima opened the door to an infinite number of unresolved storylines. The most important question among these huge questions was: What will happen now? Hideo Kojima initially tried to avoid directing Metal Gear Solid, or at least that's according to the news. He failed to do so. From Russia with love; Review of Metal Gear Solid 3 (2004)

Metal Gear Solid 2 ended with many unanswered questions. In creating a game that questions its status as a game, Kojima opened the door to an infinite number of unresolved storylines. The most important question among these huge questions was: What will happen now? Hideo Kojima initially tried to avoid directing Metal Gear Solid, or at least that's according to the news. He failed to do so.

One of the central messages of Metal Gear Solid 2: Sons of Liberty is the idea of choosing a philosophy that we pass on to the next generation, which can be directly attributed to the motivation to hand over responsibility. Kojima's concern in making Metal Gear Solid 2, which he envisioned as a repeat, was another main theme of the game. Despite the quality of Sons of Freedom, the feedback about it contained disagreements among the audience, especially the venomous reactions regarding Raiden. Perhaps the game was a little too much in showing its subjects and their in-game avatars, which confused many and made others want more of them. Under such circumstances, who can blame Kojima for the next sequel, instead of carrying all the themes and story lines of the two MSX games, the two Metal Gear Solid games and the highly obsessive fans of this franchise, to imagine a story completely unrelated to these issues and problems. So it happened that Metal Gear Solid 3: Sneak Eater was created. A game that advances the storyline of the game to half a century and doesn't even include any Metal Gear or Solid Snakey. In my opinion, Sneaker Eater was the perfect yin to Sons of Liberty's yang.

Read more: Hideo Kojima, seer of the century; Review of Metal Gear Solid 2 (2001)

The story of Snake Eater takes place in 1964, during the Cold War era. The Cuban Missile Crisis of 1962 is mentioned as one of the political backgrounds of the game's events, while the conversations between President Johnson and Crusoe are fictionally placed next to these events. The player takes on the role of US soldier Nick Snake, who performs an unforgettable hollow jump in the Russian sky during an unforgettable opening cut-scene. He felt that Sneak Eater undoubtedly has the mood of exciting spy movies of the sixties. The mood of this period can be seen in everything and everywhere, from the monochromatic green menus to the characters of the game. Snake's Kid equivalent is a radio, and his gadgets are older: the soliton radar from past games shows the player pretty much everything, but Snake Eater's circular radar has a line on it that rotates 360 degrees to show flashing dots. We have stepped into a completely different space. Simplifying Metal Gear Solid's futuristic technological items was the first step in creating a new kind of stealth game. One of the reasons why Metal Gear Solid is so interesting not as a standalone game but as a collection is how it deals with sequels. Most of the collections that are placed in the triple A branch are based only on repetition and retelling. It's the only metal gear that rebuilds game systems every time based on new rules and regulations. Therefore, we arrive at the forest of Snake Eater. Accompanied by an exponential increase in the complexity of game systems. Metal Gear Solid 3 is a visible departure from the arcade style of Metal Gear Solid. The game's visuals no longer have sharp edges and chrome textures, but are instead more sloppy and include natural colors that hide the player and guards from view. Enemies have a larger field of vision and are sensitive to sudden movements and sounds in their area. They are curious. They report events to others and cooperate when trouble arises. On the other hand, Nicked Snake has a deep relationship with the environment to the point where he himself becomes an attachment of it. Sneak Eater has countless environmental objects, but the most important of them is grass. Here, Sneak can lie on the grass in first person view, and if he has good camouflage and doesn't move, he won't be detected by enemies. Wandering around, watching the movements of guards and attacking from hiding brings a new kind of excitement.

Sneak Eater is still a linear game, but it significantly combines the compact and geometric arenas of Metal Gear Solid 1 and 2 with the spaces More open has replaced. In previous games, players could achieve their goals in different ways, but Sneak Eater has created something that is more like freedom of approach. Along with this feature, the game tries to create a predatory mentality in the player and bring the snake theme to life. You hide in your surroundings in first-person view, slide through the grass, dodge enemies, and hunt from the wild. This connection is not insignificant: Sneak Eater is an incredibly tense and exciting experience However, you spend most of your time lying down.

One-on-one combat (CQC) is a new feature that complements this predatory theme. In previous games, an enemy on standby near the player was always a serious problem that required a decision to attack with a melee weapon or shoot out of fear. Even an unsuspecting enemy could only be held from behind or shot in the head. One-on-one combat completely changes this dynamic, allowing Snake to grab a nearby enemy and knock him out. In this mode, he can interrogate, execute, and stun an enemy or use him as a human shield against his comrades.

An issue that many players may not remember is that the PlayStation 2 controllers had analog buttons because This aspect of Sneak Eater was the only time it made sense to use them. After trapping a soldier with the circle button you could press the button further to hold the knife close to the person's throat and interrogate them. Upon reaching here, the soldier starts to struggle and the controller shakes. If you hold down the button just as he's scrambling, and if you hold it all the way down, Sneak will cut the soldier's throat. This act is difficult in itself, now imagine doing it while grappling with this soldier's comrades. I never intended to cut someone's throat, but I had to do it under the stress and pressure of some situations. It's a real shame that this innovative feature will be completely lost in the next Metal Gear Solid games, as the lack of any analog buttons means that hand-to-hand combat becomes a dual-technique. From Russia with love; Review of Metal Gear Solid 3 (2004)

Russia's surprisingly tropical forest has plenty of hiding places: grass, trees, rugged ridges, ridges, hills, boulders, swamps, and several small buildings. What ties this topography and sneak skill together is the new Guardians' field of view model, which is so precise that you never feel like the system is cheating. The slightest movement is enough to bring you under their line of sight. Their field of vision works so delicately that not only are most of the game's locations built around windows and fences, but the walls of some of the sheds have holes through which you can spy and be detected. Alert phases in Sneak Eater are much longer than previous games. Snake is more powerful than before, but most of the time the best solution is to escape, and the long caution phase is both a punishment and a reward. It's a punishment because more guards are looking for you, and a reward because the ear-splitting music that echoes the sixties' Mission Impossible soundtrack comes on, and the pure thrill of five guards walking past where you're hiding adds to the fun.

All these things make us reach the best methodical progress speed among all Metal Gear Solid games. A slow-burning game that is sure of its pace and maintains it. A big part of Snake Eater's success in keeping this pace is the ecosystem: the forest is not only home to the guardians, but also to an abundance of animals.

The player is also in this ecosystem as Snake must hunt and eat to Keep your bar up: mice, frogs, bats, crabs, alligators, snakes, rabbits, deer, beehives and other animals await you, but it's their absolute presence during Sneak's travels that gives the game world a sense of place. Gives alive and dynamic. Crocodiles lazily open and close their jaws in the water, the grass trembles as snakes pass over it, and the bushes shake with the flight of birds. Even the voices of the guards talking are accompanied by the croaking of frogs.

Such an increase in complexity was consistent with Kojima's motivation for a simpler narrative; A story similar to the thriller genre of the sixties, which he is clearly interested in. Solid Snake has always been the legendary Metal Gear Solid, a hardened soldier who takes down Metal Gear. But Niked Snake has not yet proven his abilities. This Sneak is a younger and sometimes optimistic character and still serves in the United States Army. If that alone isn't enough to separate him from Solid Snake, he's also not as professional as Solid Snake. Snake Eater focuses on the master-apprentice dynamic between Nicked Snake and Bass. Bass is the antagonist of the story, who is introduced as "the mother of American special forces" and a traitor to America. Bass has a great presence in the game from the very beginning. He meets Snake twice and defeats him both times. It is impossible to go against him. But the insistence of Snake and the prejudice of the Cobra unit in the confrontation with Boss's apprentice tells another story.

A case that I will definitely cover, but Snake Eater compared to the previous games due to the format of the spy movie. It has a much higher speed. Bass is the focal point of the story, but much of his personality comes from how he plays villains Keeps under control is shown to the player. Volgin enjoys detonating nukes and beating people up, but when he overdoes it against the boss, he puts Volgin in his place in the blink of an eye. He also controls the arrogant young Aslat and is a dominant presence during several sequences. Unfortunately, such a level of characterization can be seen less in the Cobra unit. The Cobra unit are Bas's comrades in World War II. Like Dead Cell in the game Sons of Freedom, these people are only limited to the different powers and symbolism that are assigned to them. From Russia with love; Review of Metal Gear Solid 3 (2004)

The first boss battle is a duel with Aslat, which is logical and straightforward enough. The battle with Pain is memorable after Aslat, a bee-clad character who fights you in an environment that is the best place to kill bee-clads. Fortunately, Cobra's unit performs better after him: encountering the marauder-inspired Fear as he moves from the scene of the boss fight to the trap-filled laboratory alerts the player to the strange occurrence. Fear awaits you on your way back. This battle is a touch-and-go experience that perfectly matches the character of the boss you're on: fear this invisible sprite that moves through trees with its poisonous darts and pierces you from several sides until you come to your senses. If you keep your composure, repel his attacks and resist, you will win. The best Cobra boss battle is the End. The ending is a shooter and the battle takes place over three massive maps where the player and he can move freely. The missile-based nature of this battle is the opposite of normal boss battles, but having different options at the player's disposal makes this battle a different level from the others. For some its magic is in its purest form a sniping battle that can drag on for hours, subverting the horizon, looking for movement. I used to be one of those snipers but recently when I replayed the game I did what a young soldier would do and chased the ending.

After finding the ending for the first time I immediately shot him as His response is to throw a light grenade and quickly run away from the place. But thanks to the built-in systems in Sneak Eater, you can move Sneak around to see where the end runs and then chase it. If you chase the end long enough, despite its high speed, it will eventually have to stop somewhere to catch its breath. When you see him, shoot him and continue the cat and mouse game again. The end tried to defeat me by setting a trap and running away from me, but I persisted and finally I was able to overcome him. He was the best sniper in the world. The fact that Sneak Eater allows you to do this is important. The openness of this combat and the uncompromising challenge it offers are made possible by a number of Kojima's tricks. A little earlier in the game, the ending can be seen from a distance where his health bar can be seen for a very short time. If he has a sniper, one shot to his head will get him through this boss battle. During the battle you can save the game, wait a week then restart the game and the ending is dead of old age. Or why not show that you really are a master of disguise and triple finish yourself and steal his clothes. There are many more. Sorrow is a boss that forces Snake to go through every enemy he has killed in the game, a shocking and at the same time amazing scenario. Long stretches of stealth between missions, the infiltration of Groznegrad, Raiden's brief appearance as a Russian officer, and an incredibly memorable chase sequence at the end. Metal Gear Solid 3 has it all.

However, the high quality of Sneak Eater is one of the reasons why it is special. The theme of Sneak Eater is often written as a not-so-interesting scene, simply because it rhymes with Gene (the first Metal Gear Solid) and Meme (Freedom Sons). This is unfortunate because in Sneak Eater Kojima finally puts a human angle to all of his big ideas. We all understand the concept of genetics and genes and the theory of memes, but communicating with them is not an easy task. On the other hand, the idea of being pressured by the status quo, which is the simplified story of Sneak Eater, is a problem that everyone understands. From Russia with love; Review of Metal Gear Solid 3 (2004)

The shape and image of Sneak Eater is similar to a spy movie, but its format is politics and the main characters can only play their role. During the game, it becomes clear that Snake and Boss are locked in a conflict with each other. A confrontation in which only one person will come out alive, and none of them necessarily want such an outcome. However, the growing tension between the United States of America and Russia demands the death of Bass in exchange for world peace, and the role Snake doesn't allow him any kind of consideration. Although this story is a very good background for the roots of Metal Gear, Kojima gives this story of a master's apprentice a unique flavor. The last chapter of Metal Gear is about Solid Snake killing his own father. So the main sin of Sneak Eater is matricide. Boss isn't just a mother to Snake, as she's the only family Snake has, given how quickly she remembers how many days and years ago they last spoke.

The final battle of the game is a masterpiece of symmetry. . The movements of both characters reflect the other that takes place in a sea of white lilies. No music can be heard except the sound of gunshots. At the end of the battle, the defeated boss falls to the ground and Snake must end his mission by shooting him in the head and the game waits for you to pull the trigger. Many reasons can be mentioned for the effectiveness of killing the boss, but the only important reason is complicity in the crime. By forcing the player to make the final shot even when there is no other way, the "what if" questions will always remain. The lily is usually a symbol of innocence and purity, and in the final scene of the boss battle, the flowers around his corpse turn red, and this color change covers the entire battlefield and the camera pans upwards. Nicked Snake kills his master and goes glassy-eyed through the overflowing congratulations from his country and even tries his best not to shake hands with President Johnson.

Each Metal Gear character is controlled by forces greater than himself. but behind the scenes, Sneak Eater is the most inhuman of them all. Bass is a hero of World War II where the Americans and Russians fought side by side and he is torn between the two in the Cold War in order to preserve the reputation of Khrushchev. He sacrificed everything for America, and America finally sacrificed him, and Snake? Now we know that he is Bigg Boss and why he is called Bigg Boss and why he hates this title. Don't let the mood and the spy image of the game fool you. No matter how much you try, the last blow will reach its destination. The higher purpose wins, the boss dies, and a terrorist is born. The end.

Read more:

Sneak's punishment begins; A review of Metal Gear (1987)
The world would turn without Snike; Review of Metal Gear 2 (1991)
Sneak changed the game forever; Review of Metal Gear Solid (1998)
Hideo Kojima, prophet of the century; Review of Metal Gear Solid 2 (2001)

Source: Eurogamer

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