He is, just like all the other Snakes in all the other Metal Gears, just a bloke with a mullet who crawls around on the floor a lot. There’s no
shame in that: the amorphous, interchangeable character of Snake is one
of the more compelling blokes in all of contemporary video games. But
that isn’t enough for MGS V. It wants us to see him not only as the
greatest warrior of the 20th century, but also as the greatest man to
have ever lived. General. Tactician. Visionary. Father. Philosopher. But
he’s none of these things. He’s simply really good at solo sneaking
missions, just like his cloned son before him.
AND AND AND
it’s not even Big Boss at all, which makes the whole thing, which hardly
made sense to begin with, stray even further away from possibly ever
making any sense. The destructiveness of the game's violently
unnecessary twist cannot be overstated.
takes a special sort of madness to keep writing the Metal Gear Saga, and
it takes a different (?) sort of madness to continue to invest so much
of oneself into the world of Metal Gear when it just barely makes sense
anymore. It's very hard to let go of the series because it can't let go
of itself, and what's even worse, the very fact that it can't let go of
itself and explores similar themes and concepts in every game but adds
new layers and world building to it every time is precisely why I love
the series to begin with! But after MGS4 I just felt that it kind of
hurt more than it felt good, and although that game was far from my
favorite in the series, I could live with it being the last game. Peace
Walker came and well it was good, but I kinda lost interest although I
tried to hang on anyway. And then this fifth game -- I don't even know.
I'm still waiting for someone to write something so that I can
appreciate the game for its hidden genius, but all I can find is
disappointment. On some level I do get the twist that we are big boss
and always have been, and it ties into the existential themes of past
Kojima games where we were told to find ourselves, our own paths,
effectively becoming just men with guns (and thus not soldiers), but I
don't think all of the bollocks that is MGS5 makes up for that. Yes it's
a neat Kojima ending that it's not really an ending, and that we all
waited for Kojima to make sense of Big Boss and it all for us, and that
instead zie just trolls us and tells us that this is the end for hir
involvement in the saga and that it is now up to us to make the legend
come alive, up to us to decide what it was all about. Up to us to create
our own meaning instead of trying to piece it all together and find
meaning in some sort of passed-on canon without contradictions. MGS was
never about that, just as it was precicely about neurotic attachment to
building upon existing canon. Everything MGS is just that sort of
But still. You know?]
Whether intentional or not, Kojima's stylised, fetishistic view of military life seems to be saying "This is why people go to war: to enact the media that excited them so much."
other words, Snake doesn't have to do anything overtly evil for us to
determine that he's not exactly the nicest man. It's just that so many
war games put the player in the role of a psychopath that we simply take
his egregious actions for granted.
Raiden is at the whim of the designer.
The true ending of Metal Gear Solid 5 takes it one step further. We don’t need Raiden anymore, because we’re doing that job ourselves.
From that perspective, it makes sense why this new game focuses so much
more on gameplay and less on half hour long cutscenes: the real story
is about the player becoming Big Boss.
Hideo Kojima or (The Art of Meaningful Game Mechanics)
Two Minute Game Crit - Metal Gear Solid: Crouch and Zoom
[perhaps we could use some crotch and zoom in the series as well - to balance out all the tits and zoom?]
Game Maker's Toolkit - Analysing Mario to Master Super Mario Maker
Game Maker's Toolkit - Super Mario 3D World's 4 Step Level Design
Miyamoto on World 1-1: How Nintendo made Mario's most iconic level
Really Freakin' Clever - Super Mario Sunshine
Let's Review Mario Maker Fan Levels. What Could Possibly Go Wrong?
The Weirdness of Super Mario EXPLAINED! | Game/Show | PBS Digital Studios
There is a futile egotism to “Super Mario Maker,” a piece of software that
caters to delusory belief that enthusiasm and creativity are
interchangeable, that being a fan of something can, if practiced with
enough care, create an equivalent of the work to which one’s fandom is
fixated. This self-deception is antithetical to the genius of “Mario”
games. From “Donkey Kong” to “Super Mario 64,” Mario games have always
felt like creations in pursuit of abstract ideas rather than homages to
any specific history or design tradition.
Errant Signal - (Spoilers) Fallout 4 and Role Playing
do feel like I'm beating a dead horse here, but I really want less
player privilege/powergaming/less wish-fullfillment and more
roleplaying/violence/what the players don't know that they need
in games, and in this context - more Fallout 1&2 and less Fallout
4. And I really want what Planescape Torment or Unrest attempts in a AAA
with Mass Effect's budget. I'm thinking that might be a while, and so I
just have to be grateful that the difference between indie and
non-indie is shrinking, which also means that indiegames can be really
fucking beautiful and large in scope. There was even one game
kickstarted that specifically wanted to do Mass Effect but different,
but yeah the scope was just a couple of hours on that one. We'll get
I wanted to start from one simple word, one that is used by marketing departments and journalists alike; it pervades reviews, previews, the lexicon of indie games and it trickled down to gamers themselves. The word ‘addictive’. Gaming is, as far as I know, the only community in which the word addictive is considered a positive.
[This piece is really personal and hit home for me, even if my story with depression is quite different and has made me play less and not more games for the last ten years (but before that, yep, had me playing Baldur's Gate 2 constantly for three months).
Kuchera expresses the relief he feels at discovering Assassin’s Creed: Unity to be an unplayable buggy mess, such that it no longer binds him to go out and buy the game. It’s an unburdening, a release from one’s unspoken, self-imposed obligation, shared, Kuchera notes, by many fans of the series. The supposedly preposterous thing here and the reason it’s being presented as a curious twist of nature is people are glad they don’t have to buy a game from a franchise they’ve come to enjoy. They’re pleased to be able to write it off. It means they can move on to the next enormous franchise, as if a Metacritic score is the magic word to break their curse.
[Hi, my name is Ada and I'm an addict...]
How Modern Language Breaks Scrabble | Game/Show | PBS Digital Studios
[An interesting aside to how language breaks Scrabble is how high-level Scrabble play is so divorced from regular Scrabble playing that is barely the same game. How else could an American who doesn't speak French win the French national championship?]
What Makes a Good Video Game Companion? ? RagnarRox • Game Design++
[Awesome design document. Companion Cube for the win! Although I would like to question some of the assumptions in the video, the one concerning utility especially. But still, it is a tool for the toolbox.]
The internet is full of people speculating on whether they caused a certain event to happen in Stanley or whether it was poor chance.
These events serve to unsettle and disorient the player. They make it so that you’re never sure if you’ve fully explored the game and fully understood what is going on or if it has another surprise waiting for you the next time you start it up. By making the edges of the game vague, The Stanley Parable prevents you from getting comfortable and keeps you in a state of wonder.
[The strength of Playable Teaser is similar - in keeping the horizon of possibilities fuzzy.]