While I managed to finish my replay of the series leading up to MGSV, my write-ups fell behind as I have been caught up in the game itself, drawing me in to its drastically different take on the series. But before that can happen, a look at the series capstone Metal Gear Solid 4: Guns of the Patriots is in order.
Five years after the events of Metal Gear Solid 2, nanomachines have redefined warfare to the point that entire armies are integrated with them, allowing for inhuman levels of coordination and control of key bodily functions, both physical and psychological, essentially making the perfect soldiers instantaneously without the need for rigorous training or experience. Snake, now referred to as Old Snake as a result of the onset rapid aging courtesy of the cloning process that made him, is still on the trail of Ocelot, now known as Liquid Ocelot due to his grafted arm — which was originally Liquid Snake’s — slowly taking over his conscious mind.
As the story progresses, Snake discovers that Liquid is planning to take over the Patriots, a collection of AI that controls nearly every function of the modern world, including the nanomachines that power most of the world’s military forces. To do this, he needs the remains of Big Boss, whose genetic code is the master key to controlling the Patriots AI. This sends Snake on a worldwide chase to cut off Ocelot, all while trying to find out how to prevent the rapid aging destroying his body long enough to see the mission through to the end.
Overall, I’ve been kind to the series despite its many faults because it is a series that I loved and grew up with. There is a certain nostalgia to my inclination toward the series even when I attempt to give it a more critical eye. With MGS4 this task is a bit easier, as it is the most problematic game in the series, both because of what it does so well and what goes so horribly wrong.
MGS4 is a unique take on the series in and of itself. For the first time since Metal Gear Solid, the series had completely reinvented itself for a more modern age. Gone are the static camera angles and dated controls, instead replaced with a permanent third-person camera and dual-stick movement. Environments are now bigger than they’ve ever been, covering far more ground and being much more detailed in the process. The game adopts a new, chapter-based structure that allows it to hop locations more frequently, allowing for more varied types of play. The level design, especially the first two chapters, are some of the most interesting bits in the series.
The stealth has also been streamlined and for the better. Keeping the camouflage system from MGS3, a percentage rating shows Snake’s visibility to enemies. However, instead of constant trips to the menu for each new surface you come into contact with, Snake is now equipped with the Octocamo, which transforms to match the texture and consistency of whatever surface he’s resting against for several seconds. It smooths the process and is just a fun visual mechanic all-around. Snake now also has a Psych Meter, replacing the Stamina Meter from MGS3. The Psych Meter directly relates to Snake’ mental state on the field, as the meter depletes he stops healing over time and his aim becomes shaky and uncontrollable. When its full, he acts normal.
This is one of the many things that ties into the game’s theme of “Sense”. The character’s emotional states, while always an important part of drama, but Kojima attempts to tie it into the game’s mechanics as well. Snake, now being hold and essentially being held together by the functions of his suit, constantly shows signs of minor pains and aches of old age. Snake can restore his Psych Meter by taking certain drugs or listening to his iPod. The main enemy force of the game, The Beauty and the Beast squad, are each a reaction to base emotion, like crying or laughter.
Mostly though, Kojima gets his point across through the very aspect of Snake’s decrepitude. It isn’t very common that players control a elderly character, even one as agile as Snake. The entire game plays out like a tragedy, a man racing to a foregone unhappy ending because its the only thing he’s ever known how to do. “I’m no hero, I’m just an old man hired to do some wetwork.” Snake says, underlining the series’ maxim that soldiers are less a heroic image to live up to than a necessary evil, tools used by those more manipulative to further their own means. The only conclusion the game can reach is that Snake doesn’t make it out alive, so the question becomes whether he can do it before its too late.
But here is the part where things go horribly wrong. MGS4 is the unfortunate follow-up to a question that was never really meant to be answered. MGS2 is such a complex Hail Mary of ideas and concepts, many of which go unanswered on purpose, that to find a fitting answer for all of them is a Herculean task that even Kojima would find difficult. And lo and behold, he fails.
Nanomachines are a common point of criticism for the game and with food reason, they dominate the discussion and mini-series worth of cutscenes. The serve as a large band-aid for some of the series more fantastical elements. Why can’t Vamp stay dead? Nanomachines. How can the Patriots control every individual on the planet? Nanomachines. What’s keeping Snake and Naomi Hunter alive? Nanomachines. It’s underdeveloped and overexposed to the point of hilarity.
What’s more, the game itself also has to serve as a sendoff to to a long-running series which causes Kojima to indulge his worst habits. Pretty much every still-living character in the series — and some non-living ones — makes a reappearance, from deserved ones like EVA and Meryl to tacky scenes featuring Mei Ling. Raiden in particular is one of the most bizarre changes, changing from an unpopular Snake to an unpopular Grey Fox. The ending of the game itself is also horribly contrived, wrapping everything up into a nice little bow and taking an hour to do so. Which is a shame, since Kojima’s direction is still on point, it merely overstays its welcome. Its redundant at this point to mention the writing, but this is the worst cutscene to gameplay ratio in the series and it shows. All this to give the game a happy ending that the game doesn’t even seem to want.
Still, I can’t bring myself to call it a bad game, not by a longshot. The gameplay, when it appears, is the best in the series up until this point and is brimming with personality and detail. And although the cutscenes are too many, Kojima manages to make some great scenes, both in and out of gameplay. This series was never going to end in a totally satisfying manner, there is too much going on to wrap it all up succinctly and effectively, but even on its own merits its a worthwhile game, filled with the insanity and fun the series is famous for, even if you have to wade through some bad to get there.