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After four chapters officers and several spin-off, the saga of Metal Gear Solid seem to have ended with The Phantom Pain . The conditional is necessary, given the scope of the brand, but it is difficult to hypothesize the survival, at least in this form, after the daring, traumatic and irreparable separation between Konami, the Japanese publisher now involved in business and markets that go beyond the only game industry , and Hideo Kojima , father of the series and game designers of international renown.
The development of Metal Gear Solid V has been long, tortuous, hopelessly compromised by a rift, between the manufacturer and developer, increasingly clear and tormented. There was the risk that something could go wrong damn, that fans should be content, after years of waiting, a broken toy and incomplete. So it is not, fortunately, because in the firmament of the titles available on next-generation consoles, the latest work by Kojima shines a glaring light.
The Phantom Pain, what is new, is not making the same mechanisms of its predecessiri to make inroads into the hearts of his audience. If Guns of the Patriots was a kind of interactive movie, crammed as it was with long cut-scenes, this episode gives a nod to the medium that recently dominates and dictates new rules of creative output: the TV series. The Japanese designer, always eager to talk about the world through his works, updates its creature changing the styles and updating the gameplay.
On the one hand we have a Snake, “Venom” Snake , almost unrecognizable. Taciturn, mutilated and disfigured in the face, it seems to drag from a battlefield to another with apathy, without putting up any resistance, so different from the hero, the mercenary romantic that we madly in love in Snake Eater. What’s more, this is the most controversial aspect of the game, the plot avoids grow in long, complex and well-directed scenes. Let most of the facts is explained through audio cassettes whose listening is totally optional, just focusing on the psychological complexity of the characters brought in.
This is a turning point that will annoy and horrify the diehards, that is coupled with gameplay largely renovated. Despite the division into many small missions, the other close to the way of conceiving and producing a TV series, the gameplay is spread in two giant free-roaming environments . The magnitude of this episode is the snatches gradually, slowly when you realize how each approach and strategy to be allowed to reach their goal. Whether it’s to rescue prisoners, destroy or murder, infiltration without victims has the same force and effect of a raid in machine guns in Rambo style. Among weapons of all kinds and technological gadgets with multiple uses, you must also find time to manage the Mother Base: a huge complex which, thanks to the soldiers and resources recovered on the battlefield, will ensure new tools useful to the cause.
The Phantom Pain is a chapter in the saga of Kojima that you can love and appreciate only if it clears your mind of prejudices and expectations. It is a different Metal Gear, which overshadows the plot than the gameplay, which sacrifices the figure of Big Boss, and his bitter enemies, to immerse ourselves in a virtual world consistent, alive, full of possibilities. It is a Metal Gear video and very little game that changes the rules just to give us one of the most successful entertainment experiences of the last years. We only hope that Kojima, while away from Konami and Snake, could be repeated with the same effectiveness and courage.
By Lorenzo Fazio
BadGames.it – The New Taste of Games
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