Having met the enigmatic E.E., she proceeds to basically predicts PRISM and the various NSA shenanigans we have been dealing with in the past decade. Kojima was so ahead of his time. Emma is an ex-NSA information agent turned hacker a la Snowden. She's dropping info bombs left and right here. Also pretty spooky is that the AI system running the data collection is called GW, like George W Bush. She is way ahead of her time as a Truther/conspiracy nut.
Emma is sort of the key contact that unlocks the weird meta ending of this game. It is pretty amazing just how much of an anti-hero Raiden is. Not in the cool Rebel wo a Cause or Man With No Name way, but as a bumbling idiot who is cowardly and confused and is just bad at being a hero. There was a segment where you have to shoot a rocket and guide it through some airducts and into a room where the President is being held, and guide it around him to blow up some kind of power panel on the wall. Unless you get lucky the first couple of times the President is just running around trying to avoid your missile and you end up blowing him up, over and over again, in an almost comedically inept attempt at saving the day.
Love the grey game over screen, it's so unnerving. So fake. A game over screen needs to have a nice big splashy image or be black with solitary "Continue...?" text.
― ©Oz Quiz© (Adam Bruneau), Tuesday, 19 May 2015 22:55 (six years ago) link
Finished it again last night. Woah. In a way it almost feels like going back in time. After the NSA hacker helps you escape, you end up in a battered and war-torn NYC and a climactic fight above Wall Street. When the story ends, and it gets optimistic and metaphorical, they start showing video of happy New Yorkers all working together and showing the optimism of daily life and working through the worst world-threatening odds. It felt like that "We are all New Yorkers" feeling you had in the US shortly after 9/11. I wonder what it would have been like to play this when it came out (November 2001)?
As a game, it's still pretty awesome. The controls are LOLold but the art design is really well done, love the shadows and late-afternoon sun beaming down on the orange oil tanker. Love how the character is often really large in the screen.
Love all the little easter eggs and hidden touches that are a sort of hallmark of MG games. At one point I was sneaking up stairs into a room w some guards, and the nearest one had a walkman loudly playing some dance beat, which was convenient for figuring out when he was closer/farther away. At another point I came upon a room with two guards, both of their back turned to me. Tranq'd the furthest one in the head, then waited for the other to walk over and see what was up, conveniently putting him in sights for another tranqing.
The tranq is OP but this game isn't exactly easy so you don't mind using it. It's also why having the older controls is fine, if you want to tranq through a room you need to switch to first person mode and aim, putting a layer of inputs between you sneaking and simply shooting your way through the game.
Some amazing acting and drama in this. Otacon's death scene w his sister was so sad, and the following scene with him being tormented by her parrot "Hal, I miss you..." was a Twin Peaks-ish decent into character psychosis. Love the complete and total ego-death of Raiden's character and then Snakes comes out of nowhere and hands you a ninja sword and suddenly you are in Strider 3D. Love when Snake says "Don't worry about me, infinite ammo." it is PERFECT.
― ©Oz Quiz© (Adam Bruneau), Wednesday, 20 May 2015 17:04 (six years ago) link
Also re: Raiden's anti-hero-ness it is interesting that everyone he tries to save dies, usually in a cutscene where it at first looks like HE killed them. Both the President and E.E. appear to have been shot by Raiden at first, only to reveal Vamp was behind it.
― ©Oz Quiz© (Adam Bruneau), Wednesday, 20 May 2015 17:49 (six years ago) link
I can't remember if I talked about this on another thread, but I started playing through each game again with someone who had never played any of them this winter (sadly, we only got partway into 2 before he had to move to another city). I played on the PS3, using the PSN emulated version for 1 and the HD collection for 2 (3, 4, Peacewalker will all be PS3 eventually too). Holy shit do these games hold up. Even 1, which I was very concerned I was going to be disappointed by (old controls, rose-colored lenses, etc.), was great. Still the best even. Don't get the "LOLold" stuff about the controls, the controls for these games made so much internal sense. These games are timeless and probably the best of all time. (We'll see how I feel on the replay of 4, though.)
I haven't gotten to the end of 2 again as mentioned above, only maybe halfway, but the thing I am looking forward to (as a continuation from 1, actually) is that you have these super diabolical enemies who, upon their defeat, immediately transform into babyface sadsacks begging for the player's empathy, to the point where you begin to predict it and feel awful while you're fighting the boss (partic. some of the less heinous ones in the series -- Raven, Fortune, The End, etc.).
Also to AB's comment "...Twin Peaks-ish decent into character psychosis..." that raises a really interesting thought, which is that I feel that maybe the only way for a game's story to be truly successful is to wholly embrace the uncannyness of everything and tilt it at a weird axis? Like these games, Deadly Premonition, etc. feel like the pinnacle of what "games" as "stories" can do, so long as they involve people not really looking like people and enemies not really behaving like enemies and controls not really emulating personal locomotion, etc. -- of course you can go all the way abstract and make Tempest or whatever, but this area here -- this Deadly P, MGS2 degree of realness/not-realness -- it's perfect when it's done right.
― Who M the best? (Will M.), Wednesday, 20 May 2015 19:47 (six years ago) link
Yeah i think acknowledging the fakeness and gameness really adds a lot, not only in mind-bending meta flourishes but also in the way you interact w the content. In MGS2's terms, it creates context. Putting the player in purposefully uncomfortable roles to act out experiences that could never happen outside of a videogame. I think GTAV does this really well with the torture/profiling/assassination mission.
The game has a really weird sense of reality, you can't even say "First half is real, second half is a simulation". This dialog:
Revolver Ocelot: You know why no bullet could hit you? It wasn't magic, or some New Age mumbo-jumbo. Certainly wasn't your psychic talents. It was all staged by the Patriots.Fortune: Staged?Revolver Ocelot: You were being shielded by the electromagnetic weapons technology that the Patriots developed. Your Dead Cell comrades loved your father and husband - we needed a pathetic wretch like you to keep them focused.
Is quickly followed by her getting shot with a million rockets and all of them missing. Even when you think Raiden is breaking through to the 'real world', it is just another layer of illusion.
― ©Oz Quiz© (Adam Bruneau), Wednesday, 20 May 2015 20:16 (six years ago) link
It's all about subverting player gratification. That may be the biggest tool game designers could use to turn a game from a game into art. Art being object you take in and think about and interact with and that tells you something about the world and maybe how you interact with that as well. The big problem is the control for these things is a sort of barrier to entry, but that will definitely go away in time, as more generations get more and more comfortable interacting w virtual spaces.
― ©Oz Quiz© (Adam Bruneau), Thursday, 21 May 2015 01:05 (six years ago) link
https://www.youtube.com/watch?v=aaLiLRVeaZAMetal gear storyline explained
― ncxkd, Monday, 18 October 2021 01:54 (two months ago) link