![]() It's a short, concentrated burst of the newly introduced open-world gameplay systems, and it suggests that Metal Gear Solid 5, across its two instalments, could be the most significant evolution in the series since it gained its Solid suffix. ![]() Ground Zeroes, a sequel of sorts to Peace Walker and a prologue to the full-fat Metal Gear Solid 5: Phantom Pain, goes even further. ![]() Those excisions helped remind players that, for all the narrative bloat that had blighted Guns of the Patriots, beyond the cut-scenes and heavy-handed exposition Metal Gear Solid remained a video game - and an often exceptional one at that. Peace Walker, the PSP entry that followed some two years later, stripped back the excess, partly through necessity upon finding itself on a portable platform, partly to inject new life into the series. In the creaking fatigue of the ageing Snake, a battle-weary individualist at odds with wars fought by faceless corporations and their automatons, it was hard not to see some of creator Hideo Kojima himself a man with a singular vision lost in the broad, mundane chaos of contemporary games development, slowly tiring of the very thing that had forged his own legend. ![]() Ground Zeroes sees MGS casting away so many of its cinematic pretensions and falling in love with being a video game all over again.īy the time of Metal Gear Solid 4: Guns of the Patriots, Kojima Productions' series - often thrilling, sometimes tiring but never anything less than fascinating - had twisted itself into a dead end.
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