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Metal Gear Solid

Metal Gear Solid photo
Metal Gear Solid

PS4 Metal Gear Solid 5 Collector's Edition missing DLC codes


Check your contents carefully
Aug 28
// Vikki Blake
Ordered the Metal Gear Solid V: The Phantom Pain Collector's Edition on PS4? Check your contents carefully. Some reddit and NeoGAF users (who have got their copies incredibly early) are reporting that...
Deals photo
Deals

MGSV: Phantom Pain pre-order roundup tops off at 25% off


Less Pain on the wallet
Aug 27
// Dealzon
In less than a week, Konami's Metal Gear Solid V: The Phantom Pain will release on PC, PlayStation 4, and Xbox One for the usual $59.99. PC gamers are getting a little price pampering at a handful of retailers, with discounts...
Metal Gear Solid art photo
Metal Gear Solid art

Metal Gear Solid artist Yoji Shinkawa's still got it


Look closely at the V
Aug 26
// Jordan Devore
Check out this awesome Metal Gear Solid V: The Phantom Pain illustration from Yoji Shinkawa. I think it'd make for excellent box art, but the piece would look good on a wall, too. AOJI has several other Metal Gear Solid illustrations for sale, including this Diamond Dogs group shot:
Phantom Pain photo
Phantom Pain

The Metal Gear Solid V launch trailer is bittersweet


One week to go
Aug 25
// Jordan Devore
The first half of this launch trailer for Metal Gear Solid V: The Phantom Pain is a short, incomplete reminder of designer Hideo Kojima's legacy. It's sad, knowing what we know. Touching, even. Then a giant-ass mech with a gun on its crotch transforms a fiery whip into a sword and slashes cars.

Review: Metal Gear Solid V: The Phantom Pain

Aug 24 // Chris Carter
Metal Gear Solid V: The Phantom Pain (PC, PS3, PS4 [reviewed], Xbox 360, Xbox One)Developer: Kojima ProductionsPublisher: KonamiRelease: September 1, 2015Price: $59.99 (PC, PS4, Xbox One) $49.99 (PS3, Xbox 360) [There will be no story spoilers here, though themes and gameplay elements will naturally be discussed in this assessment. I'll be as vague as possible.] Phantom Pain opens up with a brutal playable sequence that sets the tone for the game. Big Boss has woken up after a nine-year coma, and just in time, as an elite infantry unit has invaded his location, ready to kill anyone and everyone just to get to him. Looking back on this opening, it's amazing to see how well thought out everything is in Phantom Pain -- there is very little wasted time. This rapid fire mentality shines throughout the entire game. No longer will you spend hours listening to two portraits talk back and forth via codec. Instead, it's all done through a radio seamlessly integrated into regular play. David Hayter's endless monologues are eschewed for Kiefer Sutherland's more deliberate interjections, and as a result, the entire experience has a very different feel to it. That's not to say there aren't some classic conventions present, or that Kojima has abandoned his roots. There's still plenty of silliness that ensues, crazy mutated boss fights, tons of robots, and Easter eggs for days. It's the gameplay that feels a bit more grounded this time around -- one mission even provided me with flashes of Splinter Cell, but with the obvious Kojima flair to it. The main setup involves a timeline in 1984, 11 years before the first MSX Metal Gear, in which the Soviets invade Afghanistan. Your first job as a newly awakened Big Boss is to rescue your comrade Kazuhira Miller, and begin work on an entirely new Mother Base as the "Diamond Dogs" -- taking on Skull Face and his forces. From here, it evolves into a tale of espionage and deceit, complete with franchise-wide reveals and some breathtaking action sequences. Yep, it's still Metal Gear all right. [embed]305699:60106:0[/embed] But thanks to the advancements Kojima has made over the years refining his craft and the power of the Fox Engine, this is the biggest game yet in just about every regard. To accompany this huge shift is a suitable open-world focus, which allows you to explore a giant portion of Afghanistan, and another region I won't spoil here. It's interesting to see a mainline Metal Gear go this route, but after a few hours, I was used to it. The principle reason I was able to acclimate so quickly is Kojima and his team have made the game fun to play almost at all times. Nearly every situation can either be taken head-on by knocking down the front door, by stealth, or any combination therein. By researching different weapons and tools in Mother Base, you'll have the option to equip hundreds of different loadout variations, and face challenges in completely different ways. For instance, I later came back to one area, took an utterly new route, and used the Fulton extraction system to kidnap an entire base -- one member happened to be a translator who upped my force's efficacy considerably. What's even crazier is how deep the customization goes. You can choose from an assortment of "buddies" (which include the horse and wolf that have been previously revealed, among a few others) to accompany you on missions, all of whom have various costumes and loadouts themselves. You can also choose to alter the appearance of Big Boss, Mother Base, and even your own support Helicopter team. If you enjoyed the prospect of switching up camo suits in Snake Eater, you'll spend hours customizing all your junk here. Mother Base is a whole different animal as well. By using the Fulton system in the field you'll slowly acquire new soldiers, which you can in turn visit at your base at any time. It's similar to the Farmville-esque Garrison system from World of Warcraft, but much more rewarding. While I usually tend to ignore mechanics like this, your crew is integrated into the game in a number of ingenious ways. New weapons rely on the R&D team's efforts, for example, and the Intel team can inform you of incoming weather, as well as nearby enemy patrols if they are sufficiently staffed. The rewards are both tangible and poignant. You can also visit some more important NPCs, partake in a few target practice minigames, hit the shower to wash off the blood of your enemies, and generally just explore the base's nooks and crannies for collectibles. As I touched on a tad, the Fox Engine renders this all beautifully. It's insane to see a portion of the game and realize that it's not a cutscene, but actually done with in-game visuals. Although I've only had access to the PS4 version of Phantom Pain, it's run flawlessly, with minimal load times and no major framerate issues during my time. Another huge thing I noticed was the impeccable sound direction, which may be the best I've ever witnessed in a game to date. It's especially delightful if you're wearing headphones, as you can hear every clomp of your horse as the wind rushes behind you, bullets darting past your head. In terms of my assessment of the plot from start to finish (which all told took me roughly 40 hours to beat), it's definitely not one of my favorite entries, but it does a good job of closing a number of storylines and providing us with a few revelations of its own. As a fan it was tough to forget Hayter at first, but Sutherland really works here, especially with how different Phantom Pain is tonally. Which again, isn't to say that it's all serious all the time, as plenty of absurd characters and storylines pop up fairly quickly. For those of you who are curious, you won't be completely lost if you haven't played previous games in the series, but Snake Eater and Peace Walker knowledge will definitely up your enjoyment of the narrative. But as satisfied as I was with the story, there are a few inherent issues with the way the missions are structured. For starters, a number of levels are uninspired, and force a degree of backtracking, usually for a menial task you've already completed multiple times. This is especially evident later in the game, as it's required to redo some missions with either the "Subsistence," "Extreme," or "Full Stealth" modifiers in tow. The former drops you in with no items or assistance, Extreme ups the amount of damage you take considerably, and the latter ends a mission automatically if you're spotted. Series regulars will probably remember playing a lot of these higher difficulty levels on their third or fourth optional playthrough, but now they're incorporated into the game itself. I have a feeling these objectives are going to be incredibly polarizing, especially since a few of them took me at least 30 tries to complete. It's a level of dedication that hasn't really been seen lately in the gaming arena, but to me, it's classic Kojima. I powered through these tough and sometimes aggravating sections, and was sufficiently rewarded, both in the sense of storyline progression, and the acquisition of completely new tactics. As a note, I couldn't test the online features of the game, including the base-to-base combat sections (FOB). The story calls for at least one scripted invasion, but I was required to play the game in its entirety offline. Once Phantom Pain launches we'll provide some impressions of this feature, and we'll provide a separate review for Metal Gear Online, which has been delayed until October 6. Rest assured, the entire campaign can be played offline, beyond the reach of microtransactions or pre-order bonuses. Despite the fact that I hit a few snags along the way, Metal Gear Solid V: The Phantom Pain feels like a simultaneous celebration of the series, and a decidedly new chapter. It's equal parts tough and flashy, and it's fitting that if this is Kojima's last Metal Gear, he goes out on a high note. [This review is based on a retail build of the game provided by the publisher. We did not attend the review event.]
Metal Gear V review photo
Happy trails, Kojima
Despite the fact that most of the spinoff Metal Gear games are good in their own right, they just don't get me excited the same way the mainline console editions do. Every core Metal Gear entry has something new, and offers up some sort of revelatory storyline event that has fans talking for years on end. Metal Gear Solid V: The Phantom Pain is no exception.

MGS V photo
MGS V

Metal Gear Solid V: The Phantom Pain's FOB mode is a microtransaction


Forward Operative Base, not Fall Out Boy
Aug 24
// Joe Parlock
[Update: In a statement made to GamesRadar, Konami have clarified that reports of the entire FOB mode needing to be unlocked were incorrect. However, there will be microtransactions to "accelerate" certain parts of it: "[A w...
MGSV merch photo
MGSV merch

Sony's selling Metal Gear Solid V Walkmans and they're not cheap


Also phones and tablets
Aug 21
// Steven Hansen
Sony is producing various Phantom Pain-branded electronics to coincide with the release of Metal Gear Solid V. The tie-in release includes a Metal Gear version of Sony's premier Walkman, the ZX2, which costs something like $1...
Metal Gear Solid V photo
Metal Gear Solid V

No pre-load for Metal Gear Solid V: The Phantom Pain on PC


Consoles can still pre-load though
Aug 20
// Vikki Blake
Bad news if you were hoping to get Metal Gear Solid V: The Phantom Pain all pre-loaded up on your PC in time for the September 1 launch -- Konami has confirmed that there's no pre-load available on Steam. "Unfortunately PC St...
Metal Gear Solid V photo
Metal Gear Solid V

Reminisce on Metal Gear's storied PlayStation history


New video from Sony
Aug 19
// Chris Carter
We already know that the vast majority of Destructoid readers are getting Metal Gear Solid V: The Phantom Pain on PC and PS4, so it makes sense that Sony would spring for a legacy video, given their history with the ser...

I used to love Konami

Aug 12 // Jonathan Holmes
There aren't many video game characters from 1987 who are still relevant today. I've selected a few for your perusal below. See if you can pick out which one is not like the others. I've added a generic chart of realistic human proportions to help you guess the answer.  While not quite "realistic," Castlevania's Simon Belmont is far and away the design who comes closest to following actual human proportions. He doesn't rely on bright colors, baby proportions, expressive facial features, and other tools borrowed from the language of traditional hand drawn cartoons to win over the crowd. He's an earnest attempt to harness the style of a classic action film hero and apply it to a video game. Most of Konami's games back in the late 1980s went for this style. While other publishers tried to tickle players with clownish antics, Konami titles like Gradius, Rush 'N Attack, Castlevania, The Adventures of Bayou Billy, Contra, and Metal Gear rejected cuteness in favor of a feel that payed tribute to Hollywood action films of the day, though they often walked dangerously close towards the line between tribute and theft. It was common practice for Konami to "borrow" the visage of big name actors for the games. Sylvester Stallone, Arnold Schwarzenegger, Boris Karloff, Sean Connery, Kurt Russel and Mel Gibson are just a few of examples of big names who bear a strong resemblance to classic Konami characters. That kind of thing is pretty common in our modern world of games, with actual Hollywood actors (like TV heartthrob Norman Reedus) regularly lending their names, faces, and voices to AAA titles, but back in the 8-bit era, only Konami had the balls to consistently leap over tech limitations in an effort to deliver something more like an R-rated film. If the ESRB had existed back in the '80s, chances are a few of Konami's games would have flirted with an M rating.  While Konami may have worked to divorce itself from the cartoon mascots of '80s gaming, it did not work to avoid video game logic. Castlevania payed tribute to the dark, intimidating worlds depicted in classic Universal monster films, but it also hid meat behind walls and implanted Valentine's hearts inside of candles. Metal Gear combined James Bond's spy action with Rambo's lone soldier in a politically unstable world, but underneath that macho exterior, it's basically Pac-Man with guns. It's a game where characters may discuss the seriousness of World War III in one scene, only to have a large exclamation mark pop up above their heads in the next. That's a tradition that the series has never let go of, and has gone on to be one of its defining characteristics.  Playing off the tension between film and video game logic lived on in the Konami brand for over 30 years. The Silent Hill series centers around entering worlds that defy conventional reality, where subconscious thoughts and feelings fuse with the horrific and supernatural to create an environment that's emotionally real but physically impossible. At their heart, that's what most video games are -- worlds that feel real even though we know that they are not. Konami used to dart between realism and surrealism, symbolism and literalism, unplayable cinema and interactive gameplay, to create something larger than the sum of its parts. That interplay is the natural evolution of its old 1980s practice of depicting real life Hollywood icons with stripped down, iconographic sprites. It's something we see so often in modern games that we may take it for granted, but if it weren't for Konami working to pave the way, who knows where we'd be now. I sincerely hope that Konami returns to this kind of game design, or any kind of game design that doesn't involve sexy Pachinko machines.
Konami photo
I also used to love Mel Gibson
There aren't a lot of good things to say about Konami these days. Its missteps over the past few years have been frequent and severe, including: the embarrassingly poor Silent Hill HD Collection; the cancellation of Silent Hi...

The Phantom Pain photo
The Phantom Pain

Metal Gear Solid V 1080p PS4, 900p Xbox One and PC system requirements


4K Phantom Pain on PC
Aug 10
// Steven Hansen
Buried in last last week's PS4/PS3/360/One/PC comparison shots of Metal Gear Solid V: The Phantom Pain (they all look great!) are the underlying technical performance of the five versions. The PS3 and 360 versions both run at...
Metal Gear photo
Metal Gear

Compare current, last-gen, and PC with this official Metal Gear Solid V gallery


Uh, last-gen looks fine
Aug 07
// Chris Carter
Just in case you wanted to compare versions before buying a specific edition of Metal Gear Solid V, Konami has provided a website with multiple galleries for every platform (PC above). Based on these screens, and it's no surp...
Metal Gear Solid V photo
Metal Gear Solid V

The Phantom Pain lets you sneak into players' bases and steal their men with wormholes


Mother Base and FOBs explained
Aug 05
// Jordan Devore
The Mother Base side of Metal Gear Solid V: The Phantom Pain is detailed enough to necessitate a half-hour demonstration out of gamescom, and I'm loving it. There's a lot to parse, but thoughtful editing and delivery keeps t...
Metal Gear Solid V photo
Metal Gear Solid V

MGSV: The Phantom Pain for PC moved up, Metal Gear Online delayed


MGO on PC set for January 2016
Aug 03
// Alessandro Fillari
With less than thirty days until Metal Gear Solid V: The Phantom Pain's release, Konami has still been keeping things close to the vest. Which is amazing, considering that the recent extended gameplay demos and videos show...
Kojima/Konami photo
Kojima/Konami

Metal Gear Solid 1-3's composer might know why Kojima and Konami have split up


Big budget, or throwing money away?
Jul 27
// Joe Parlock
[Update: I've received word from The Codec podcast's co-host Daley that the interview with Muranaka he discusses below is now online. It was for another podcast he hosts called Metal Gear Central. This wasn't released at the ...
Phantom Pain boots photo
Phantom Pain boots

How practical are these real-life Metal Gear Solid sneaking boots?


Form versus function
Jul 24
// Steven Hansen
I feel like I have vague memory of when Pumas were a trendy shoe around the era of Sidekicks, maybe? Followed soccer's 90s-era rise in US prominence (because of Puma's cleats)? Anyways, these Metal Gear Solid V: The Phantom P...
Red PS4 photo
Red PS4

Blood red Metal Gear Solid V: Phantom Pain PS4 up for pre-order


Exclusively through GAME in Britain
Jul 23
// Steven Hansen
That Metal Gear Solid V: The Phantom Pain special edition with the robot hand and the limited run blood red PlayStation 4 are up for pre-order through GAME, bundled any which way you want it. Unless you want it for North Amer...
In Japan photo
In Japan

Metal Gear Solid V: The Phantom Pain is a 25GB download


Also, bloody Quiet tits
Jul 23
// Steven Hansen
Metal Gear Solid V: The Phantom Pain popped up on the Japanese PlayStation Store and weighs in at 25.1GB on PS4. On PS3, it is a svelte 11.7GB. There numbers can vary by region (the addition of localization files, like those recently scrounged out of ICO) and platform (it's coming to PC, Xbox One, and Xbox 360), but here's a decent ballpark. Also, new poster below.
MGO photo
MGO

Metal Gear Online gear customization doesn't affect stats


Though it affects visibility
Jul 22
// Steven Hansen
I've already played two days worth of Metal Gear Solid V: The Phantom Pain. It's good stuff. Anyone attending gamescom in a couple weeks will be able to play it, too, in the first public hands-on. All well and good. But Metal...
Kojima photo
Kojima

A Ground Zeroes mission foretold the Kojima and Konami split


And Konami's reaction
Jul 20
// Brett Makedonski
"You might be able to erase the markings, but the memories will never disappear." That's what a Metal Gear Solid V: Ground Zeroes mission had to say about scrubbing away the logos for all the Metal Gear games. In h...
Metal Gear Solid V photo
Metal Gear Solid V

Konami removes all Kojima branding from MGSV: Phantom Pain cover


Shock horror what a surprise
Jul 14
// Vikki Blake
In the latest of a long line of hideously public oh-my-God-will-this-ever-fecking-end-I-love-Mummy-and-Daddy-equally-why-won't-they-stop-fighting spats since Hideo Kojima parted ways with Konami, the publisher has now removed...
Play Phantom Pain photo
Play Phantom Pain

Set aside (lots of) time to play Metal Gear Solid V at gamescom


Here's to you
Jul 13
// Jordan Devore
Konami is bringing Metal Gear Solid V: The Phantom Pain to Cologne, Germany for gamescom next month. I wasn't keeping track, but this is the first time the game will be "available for the public to play," according to the com...
RIP Kojima Productions photo
RIP Kojima Productions

'Kojima Productions has disbanded,' says Japanese voice of Solid Snake


Metal Gear always changes
Jul 10
// Jed Whitaker
The voice of Solid Snake in Japan, Akio Otsuka, has stated that Kojima Productions has disbanded. "Kojima Productions was forced to disband, but it appears that the work that the team has been putting their utmost effort into...
The Phantom Pain photo
The Phantom Pain

Metal Gear Solid V producer responds to early 'downgrade' complaints


The Phantom Pain
Jul 09
// Steven Hansen
Wow. If my math is right  (it always is), we're 69* days away from Metal Gear Solid V: The Phantom Pain, but enterprising gamers are getting a jump on graphics downgrade controversies, sarcastically tweeting at Konami pr...
Battle dress photo
Battle dress

Alternate Metal Gear Solid V footage puts Snake in a dress


Phantom Pain E3 demo, but differently
Jul 06
// Steven Hansen
Konami showed off a lengthy Metal Gear Solid V: The Phantom Pain demo during E3 this year. But Metal Gear has been more about supporting different play styles in the latest entries and The Phantom Pain's open world and large...
Metal Gear Solid V photo
Metal Gear Solid V

Get a better look at the Metal Gear Solid V special edition bits


Red PS4
Jul 03
// Chris Carter
Konami has provided a pair of videos to help show off what's inside the various special edition kits for Metal Gear Solid V -- an official unboxing, if you will. The above showcases the new red PS4, and the bottom shows us the actual game's special edition. That case is just so sexy! I have enough Metal Gear in my collection so I don't think I'll spring for it, but I do want it.

And Destructoid's E3 Game of the Show is...

Jun 26 // Niero Desu
Metal Gear Solid V: The Phantom Pain Konami isn't shy with what it has in Metal Gear Solid V: The Phantom Pain. With most titles, publishers tend to sit you down and let you play through a well-crafted chunk of game -- maybe 15 minutes before shuffling you off the station. That's the common preview experience. Not this time. Instead, Konami plunked three of our editors -- Jordan, Steven, and Brett -- down in chairs and let them have at The Phantom Pain from the very beginning. Jordan and Brett got a solid two hours in; Steven wound up with a staggering 14 hours. If this is some sort of vertical slice trickery, it's the most elaborate in the history of video games. Much more likely is that we got to see the final product (or very close to it), and Kojima's going out with a bang. The Phantom Pain has an open world that somehow doesn't feel all that open. Just ahead at pretty much all times are guards who are dead set on shouting things at you, throwing bullets with their guns, and just generally blowing the cover off this whole stealth operative you fancy so much. But, it's plenty open world in the sense that nothing seems scripted. You're given the reins (to a horse and the game), and the plan-of-attack is entirely up to you. The encounters often sprawl and there are just so many ways of doing anything and everything. For that to be pulled off with any degree of competency takes some seriously skilled design. That's not to say that our efforts were always executed with a degree of competency. The Phantom Pain has a way about it where you just sense that nothing you did was quite good enough. Sure, it got the job done, but that's not how real Snake would've done it. Botch job and all, it still has a neat "totally meant to do that!" air about it. Man, that kid makes fucking up look cool. Wait. Now, go ahead and jettison a guard away with a weather balloon -- err, your Fulton. That guy works for you now. And that horse you're riding? He poops when you want him to. Big Boss, indeed. All that stuff is indicative of what will surely make The Phantom Pain a great video game. Not only is it incredibly polished and detail dense, but it also has enough silly stuff to remind you that you're playing a game. There's plenty of weirdness to be found, and Kojima's tightly tethered it to the title's core mechanics. As we finished our play sessions, it was tough for us to imagine a game that would be more deserving of Destructoid's Best of E3 award. Metal Gear Solid V: The Phantom Pain just plays so damn wonderfully. In hindsight, Konami wasn't going out on a limb by letting us have at it at our own pace; it did exactly what any publisher would do if it had something this special on its hands.
E3 Game of the Show photo
So many good options
We've hemmed. We've hawed. Destructoid's editors and judges have kindly suggested, boldly voted, bickered, scolded, stabbed each other with rapiers, revenge-slept with each other's illegitimate cousins, and finally have come ...

The Phantom Pain photo
The Phantom Pain

Konami's stance on Metal Gear Solid V microtransactions


And, uh, 40 minutes of footage!
Jun 19
// Jordan Devore
I'm back home from E3 2015 thanks to a too-early flight. I can safely watch this 40-minute demonstration of Metal Gear Solid V: The Phantom Pain without any guilt trips from Steven. Yes! Straight away, "While it is true that...
MGSV E3 trailer photo
MGSV E3 trailer

Kojima's final MGSV E3 trailer shows off the bloodshed


The Twin Snakes
Jun 15
// Alessandro Fillari
A lot's happened this year with the state of the MGS, and its creator's fate after the launch of MGSV. As Hideo Kojima's final Metal Gear, and this time it's for real, The Phantom Pain will be a very bittersweet title fo...

Sneak king: 14 hours of Metal Gear Solid V: The Phantom Pain

Jun 09 // Steven Hansen
[embed]293558:58900:0[/embed] There is a reason I am excited about Snake's horse having a poop button and it is not only that I am a dumb idiot. While I never managed to confirm, I am sure that you can do something like strategically place poop so an enemy walks into it and stops, or maybe slips. Because things like that are what elevate Metal Gear Solid V above typical stealth and/or open-world titles. It's the idiosyncrasies, like calling in a supply drop from Mother Base right onto the head of a stationary guard, knocking them out. It's knowing winks like hiding in a PS4 cardboard box, or the ghost from PT being an item, or a spoken, in-universe tutorial where you're told fourth wall breaking things like "press X" while under extreme virtual duress. The opening segment, which has mostly been covered in diced up trailers, stuck with me in hindsight for how long it goes on with you controlling a crawling, limping Snake in the under siege, burning hospital. It's a while before you're given any power back (guns or even the ability to walk properly), which I appreciated. Kojima ratchets up the direness here, too, as loads of hospital patients get brutally murdered all around. The meat of Phantom Pain opens after this mix of spectacle and terror with a trip to dusty Afghanistan to save Miller that ends in a frightening [redacted]. This plays similarly to Ground Zeroes, of course, but with a horse and more scouting and enemy tagging to do. I wormed my way up to where Miller was captive, climbed up a crack in a building, and jumped from one roof to another to neatly sneak in. Carrying a less-limbed Miller out did get me plenty shot up, but a whistle for my buddy D Horse got both of us out of there quickly. Back on Mother Base, the structure becomes clear. There are main missions you must travel to (by helicopter to a nearby landing zone, or on horseback/by ground vehicle) and they are not all story heavy, though you're always treated to beginning and ending credits, as if each mission was a TV episode, just in case you forgot that this was directed by Hideo Kojima. One mission simply tasked me with rolling up on a compound and assassinating three Russian officers. I fulton'd them all -- attached balloons to them to send back to Mother Base -- against Miller's wishes instead, which proved wise as the officers had some high statistical aptitudes. These poached soldiers fill out your private army and get cool names like Blue Mastadon. Eventually you can scan them ahead of time to know which have high stats, or you can sometimes interrogate soldiers into informing you if an en elite operative is nearby (provided you've acquired a translator for your support team, as Snake's language skills are limited). [embed]293558:58893:0[/embed] It's a lot of contract work in addition to the narrative goal of stopping the Hamburglar-masked Skull Face and generally figuring out what the hell is going on with things. I was actually a bit surprised by how infrequently missions came with cutscenes or main story ties. Sometimes they open up three at a time and you can take them on in any order. You can also choose to repeat a mission at any time if you want to aim for a better performance ranking. I did this with a prisoner extraction mission I had previously finished, but barely. Turns out using the Phantom Cigar to speed up until nighttime, coupled with the night vision goggles, made that particular mission a five minute cakewalk. Going at it in the day led me to enough deaths that I was offered the Chicken Hat, which makes things easier and slows down enemy reaction time. Other dynamic weather events -- rain or sandstorms -- can also come into play, sometimes not at opportune moments. The low visibility caused by sandstorms helped me a few times, but also led me to walk right into an enemy soldier, once. There are also useful side missions that pop up for you take at your leisure, often en route to the next mission point. The Afghan desert is huge, but much of the terrain is empty or cordoned off by mountainous areas or steep cliff sides that encourage you to use the main roads. These roads are littered with enemy outposts, however, often with small platoons of three to four and a watch tower. Sneaking through them isn't too tough, because often you can take a longer loop around them, but they often house collectables (you can pinch a huge assortment of music from enemy tape players) and valuable resources that tie into the upgrade system. Oil, alloys, raw diamonds for straight cash, plants to upgrade the sleeping toxin in Snake's tranquilizers or the time-shifting Phantom Cigar -- you'll be scooping up all of it, though other means of acquisition open up when you can start sending squads out on missions. Plus, those posts are full of soldiers to abduct and, after you upgrade your Fulton balloons, things like heavy artillery to nick. [embed]293558:58895:0[/embed] Everything you Fulton, barring bad weather or bad luck with nighttime visibility, ends up back at Mother Base, which is large enough, especially once you get construction going, that you can actually take a helicopter to other parts of it. Or you can take a long, straight drive in a jeep. Going back to visit helps your troops' morale. They're also proud and happy to have you practice your close quarters combat on them at any time. During my lengthy hands-on, I never got to the point where my Mother Base came under attack, though that's supposed to be a big part of it, up to the point where you can consider nuclear capability as a defense. It's worth noting that 14 hours or so with Phantom Pain and I didn't feel close to finished. Back at Mother Base, I was still building an animal sanctuary (necessary to house all the wandering sheep and other creatures I kept bringing back) and trying to get an imprisoned, sun-bathing Quiet as a deployable buddy like D-Horse and Diamond Dog (the adorable wolf pup that grows into a super-scouting badass). She just sat in the cell, face down, top undone (got to watch those tan lines) listening to tunes from an eclectic, amusing soundtrack. Adorably, construction scaffolding on Mother Base is all stamped with a picture of a dog in a hardhat with a pick axe. It's the little things. Like changing my Diamond Dogs logo from a boring, stencil font "DD" to a cool ass octopus emblazoned with the words "VENOM WOMAN." You can even paint Mother Base if that Giants-orange is too much for you. I find a tasteful dark blue goes well with the sea. My favorite Mother Base quirk so far, though, is the giant shower Snake can jump into to come out feeling refreshed. It also washes off all the blood that accumulates on him while out on missions (if you end up getting shot, at least). [embed]293558:58891:0[/embed] While there are reasons to return home, you can manage a lot of Mother Base, like troop allocation and base development, while out in the field through the iDroid. It also acts as Snake's cassette player, useful for Codec-replacing heaps of exposition, which is just about the only place I heard Snake do much talking.  From the iDroid you can also develop new or better versions of weapons and items. There are upgraded critter traps, different abilities for Snake's robot arm, enhancements to the binocular scanner, extra Fulton balloons to heft heavier weight. I mostly played with a stealthy approach so I didn't dabble much with the vast assortment of snipers, machine guns, or rocket launchers you can call in. Nor did I ever run up on a lack of funds that would prevent re-supply drops of my own essential Fulton balloons and tranq darts, but the fact that you have to call in and then get to the supply drops means that the feature rarely made things too simple. Especially because missions often end up in close quarters or indoors where a supply drop would be useless anyways. I was impressed by how naturally set piece sort of areas exist in Metal Gear Solid V's world. There are long tracts of dusty road, vast open desert, but suddenly you stumble upon an enormous, imposing compound. In the case of one early mission, it was an Uncharted-style winding, honeycomb-esque historical labyrinth, which you get to by creeping through an excavation camp. There are mission areas that would feel like obvious "levels" elsewhere, but here they mesh cleanly with the open world. Just starting or ending a mission (the latter, usually by reaching a helicopter and flying out in real time) is seamless and the day/night cycle persists in cutscenes. I did hit one snag with this open-world structure, though. When you start a mission (or side-mission), you're then restricted to a "mission area." Leaving it ends the mission. I only ever noticed after one challenging mission that ended with [redacted] and [redacted] coming up on [redacted] and holy hell [redacted] -- anyway, towards the end I tried to hightail it on my horse, but I ended running clean through the mission area and having to start from way, way back. It wanted me to sneak to a nearby chopper extraction point instead of just racing to safety and calling one in. This is, incidentally, when I noted the cutscene and subsequent segment I originally did at night now took place during the day. [embed]293558:58892:0[/embed] Phantom Pain feels like the freshest, most distinct use of an open world since Far Cry 2 and it does this without sacrificing the cozier feeling of the series' past level design. While I can't say anything about the story, I don't actually know much at this point, either, besides various "holy shit" moments that have only raised questions. It's appropriate, then, that this Sutherland-voiced Snake speaks sparingly. He always seems sad and a little bit confused, retreating into the rote, work-like task of soldier stuff hoisted upon him by Ocelot and Miller, who seem to be a bit at odds with each other as well.  While Ground Zeroes' sadistic storytelling might raise concerns over how this extra grim tale will play out (Snake is basically a devil what with the horns, the intro is pure brutality before giving way to surreal insanity, there's still a whole thing about child soldiers at some point), I've come away nothing but impressed with Phantom Pain. I don't miss codecs, I don't miss Hayter. I've embraced the open world, I love the tangible Mother Base. And I feel like I've only scratched the surface. There's so much more to do. I've barely used the cardboard box -- you can leap out the sides or hang out in delivery zones and actually have enemies unwittingly pick you up and drive you into outposts. I haven't used to inflatable decoy to bop someone off a cliff. In a world of blockbuster clones and genre convention, Metal Gear Solid V manages to feel fresh. I can't wait to get someone to slip on my horse poop.
First hands-on! photo
First hands-on with Metal Gear Solid V
Trailers from as far back as two years ago offer evidence enough, though. Do you all remember the giant, on-fire man supplanted in malevolence seconds later by the even more giant, on-fire whale careening through the sky to ...


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