Metal Gear Solid

The Good
- Great graphics for the time

• Memorable music

• Atmosphere is perfectly crafted

• Highly satisfying ending that makes one think about life
  
  The Bad
  -Sometimes the cut scenes would be a tad bit too long

-Storyline is a bit complex, but not so much as to detract from the game

-Controls are fairly easy, but sometimes you'd get stuck on a wall more often than you wanted

The Bottom Line
First of all, I finally got around to playing this game in 2012, and even with the dated graphics, even with all the other newer games I've played, I was wowed by it. I forgot I was playing PS. Pretty amazing for a 14 year-old game. This title is also leaps and bounds better than any other game on the PS that I've tried; it was basically the 'killer app' for the PS.

As special forces agent Solid Snake, you infiltrate an Alaskan nuclear storage facility taken over by terrorists, who are demanding the remains of Big Boss for some inexplicable reason. You must stop them from possibly detonating a nuclear device and save two important hostages in the process. As you adventure through the dark, frigid base, the plot thickens, with strange happenings and questionable allies. A weapon called Metal Gear is at the heart of it all (basically a giant robot mech that can launch nukes from anywhere in the world). The story does get pretty complex, and has to do with gene therapy, genetically targeted viruses, etc. Ultimately, there are enemies all around Snake with hidden agendas that even outweigh Metal Gear. Snake must do what he can to survive.

Don't miss this classic! You're doing yourself a disservice for not trying it.

The Good
Metal Gear Solid is a belated installment in an old series originating with an interesting game that attempted to focus on stealth a bit more rigorously than the sub-genre's granddad Castle Wolfenstein (with mixed results). Often hailed for what it decidedly never was (a serious game with a rich story), Metal Gear Solid drew the ire of some hardcore players, who dismissed it as a typical representation of console gaming with its cheap effects and shallow content.

The above evaluation is, in fact, quite accurate: the game is, in essence, a glossy 3D recreation of a decade-old title, translating its once-intriguing gameplay ideas into the new technology with the addition of unbearable, monstrously overbloated soap opera interpolations.

That is not to say there is no fun to be had here. The gameplay is unabashedly gimmicky, yet some of the setpieces are entertaining. The boss battles, for example, are all completely different, and the action can get quite tense sometimes. At one point you'll have to deactivate lasers (there are three different solutions to this problem); in another place you'll guide a remote-controlled missile through narrow corridors to blast security system; yet another part requires you to blow up walls to find a secret opening. Even though most of the locations look pretty similar to each other, there is enough variety to ensure a smooth ride.

The Bad
You don't need to be a sharp-witted intellectual in order to realize how bad the story is. As always in those cases, it's not really the story itself, but the way it is told and presented. With infantile pretentiousness the game tries to turn its corny B-movie-like plot into some sort of a grand philosophical-political commentary, failing miserably. Cheesy, inappropriate, overwritten dialogue and lame attempts at humor utterly ruin supposedly dramatic moments. At the same time, the story takes itself way too seriously, trying to inject genuine emotions into interactions between anime freaks with zero credibility.

The lack of any stylistic coherence has something to do with Hideo Kojima's general approach to narrative, which he often simply abuses for throwing in bit after bit of boring and clueless moralizing or "educational" material. Ridiculously long-winded expositions and tacky, bombastic scenes loaded with fake sentimentality abound. This is truly Japanese storytelling at its worst.

Much of the dialogue is embarrassingly bad. Often characters would stop talking with each other and instead start addressing the player. Typically for Japanese games, the characters have the stupid and annoying habit of repeating the last word or phrase they have just heard. You've undoubtedly heard and seen it in many other games, but Metal Gear Solid almost breaks a record here. Also quite typically, the dialogue is crammed with overused "scientific" mumbo-jumbo.

But who cares for the story - it's the gameplay that matters, right? Indeed, if the weak story just took a backseat, restricting itself to a few remarks here and there and perhaps a couple of skippable cutscenes, there would be no problem. Instead, the story, suffering from delusions of grandeur, interferes constantly with the already clunky, segmented gameplay portions. After every few rooms, the narrative jerks you out of the gameplay and forces you to sit through inane cutscenes or radio conversations. This would have been a serious flaw even if those were actually good. Coupled with the actual quality of those scenes, the constant jarring interruptions are positively infuriating.

What remains are short, linear, and rather disjointed portions of old arcade-style gameplay that fails to exhibit a coherent concept, yet alone realism. The whole "tactical espionage action" label leads you to believe that we are dealing with dedicated stealth gameplay, while in reality it's just a modification of an utterly unrealistic style of its simplistic top-down arcade-like progenitor. Furthermore, the all too faithful transition to 3D revealed many more weaknesses and inconsistencies we readily overlooked in the old 8-bit days but cannot quite ignore in a supposedly much more advanced title. The top-down view, totally unsuitable for the much closer perspective, turns much of the game into blind radar-reliant crawling, occasionally exploiting the dubious AI and the many limitations of the engine. Comparing this game to Thief can only confirm the gap between serious entertainment and a collection of reflex-based minigames interspersed with trashy narrative.

The Bottom Line
Ultimately, Metal Gear Solid collapses under the aspirations of its author, who preferred to choke gimmicky, outdated, but at least somewhat nostalgically sympathetic gameplay with a blatantly intrusive, overblown mess of a story. Throw a quick glance at the impressive visuals and go play Thief if stealth is indeed your game.

The Good
The yawn save the world story. Its old. Giant tomatoes, computer and biological viruses, a 100-story tall lizard, and the Russians and/or Nazi's. But this it's a new thang. Save the world from... terrorists ? In Alaska ? With real live (or almost there) techologies and weapons? You mean it could happen? Yup. You'll find it all in MGS.

Your character Solid Snake, is a well developed, ass-kickin' , sneaky sonofabitch, who's been retired and was rehired by the US government to kick terroist ass.

All and all the gameplay is excellent. The weapons ( SOCOM , the Famas, C4, Claymores and the PSG-1, just to name a few) Are easy to handle and are totally apporpiarte for many boss fights. The story , complete with in-game FMV is solid and riviting, qualites you find in books, not games.

The Bad
You're unable to hold an item in one hand and wear another item , it's either one or the other.

Inablity to kill the dogs.

Hal Emmerich is a wussy.

The Bottom Line
A playable novel.

The Good
This game is one of my all time favourites. The first time I played it was when I rented it. I actually finished it a week later and bought it anyway. My friend was so impressed with it: he went and bought a PS, just so he could get Metal Gear Solid.

The thing that really won me over with this game wasn't the graphics, game play or sound. It was the story, the voice acting and the characters. The overall game is really well done, but I was drawn in by those particular elements. The director, actors and writers did a really great job.

The way that the characters speak to each other sounds very believable. The story was just really easy to get into. Very entertaining. MGS has such a flow to it, that it's very difficult to take a break from it. You just want to see what happens next.

After I completed it, I got to thinking: The newer generation of video games can be as good as any classic movie or book. It has become more like an art-form.

MGS is a good example of this: With memorable characters and an interesting story.

The Bad
I liked everything about it.

The Bottom Line
Awesome!

The Good
In all honesty, what is there not to like about this game? MGS incorporated some of the best espionage action ever put forth on any gaming console, period. The play control was incredible, the cinema sequences were amazing, and the storyline was compelling with plenty of plot twists and turns. Also lets not forget about the huge arsenal that was available for use, and the mini-game that ended up as its own disc in the VR training sessions.

The Bad
I was always told never to tell a lie, so I won't start now. There is absolutely nothing bad that I could honestly say about this game.

The Bottom Line
Without a doubt, the best spy game ever created, produced, and packaged. Hideo Kojima is a genius.

The Good
The graphics, cut scenes, voice acting, music are amazingly good.

The Bad
The control are a little bit slick, and the radio dialogue are unnecessarily long.

The Bottom Line
"Stealth"

The Good
Since the late 1980s, there have been two action adventure franchises that are almost universally acclaimed every time they release a game. Both series are highly influential to gaming as a whole, and each new installment is looked forward to with great anticipation. The first is Nintendo’s The Legend of Zelda. The other is Konami’s Metal Gear.

1998 was the year that both franchises entered the third dimension, Zelda with Ocarina of Time, and Metal Gear with Metal Gear Solid, and these two titles, exclusive to rival systems, are widely considered among the best games ever made. For many people, Game of the Year 1998 seemed to come down to these two games.

Metal Gear Solid has the player take on the role of a soldier who goes by the codename of Solid Snake. Solid Snake is tasked to infiltrate a nuclear test site called Shadow Moses, in an attempt to rescue an arms manufacturer and the DARPA chief, and stop FOXHOUND, the terrorists who have taken over, and a group who Snake just happens to be a former member of. Things get a LOT more complicated from that basic setup.

Admittedly, there’s not much more to the plot than kill the bad guys, rescue the girl, and save the day, but the way it plays out is a lot more complicated than that. There are themes running throughout the game’s extensive script such as the purpose of nuclear weapons, the value of life and how to go on living after a great loss, technology gone wrong, and the eternal battle between fate and free will.

in 1998, most video games, outside of role-playing games never really tried to deliver intricate storytelling. With numerous twists and turns and a cast of weird but wonderful characters, MGS was a knowing pastiche of Hollywood action and science-fiction films with a bit more substance underneath the surface. It delivers in both smart and dumb. Plenty of explosions and shootouts mixed in with philosophizing about genes and nuclear warfare.

For a game released in 1998, the voice acting is incredibly impressive, and there is a lot of it.

The gameplay of MGS involves Snake sneaking around various areas, collecting weapons and resources needed to solve problems in his path and complete the mission, and above all else, trying not to be seen.

If a guard spots Snake, an expression mark appears over their head and the game goes into “Alert” mode, The player can either use the tools he/she has on hand to attack or otherwise impede the guards and surveillance cameras and find a new place to hide. When the player can no longer be seen, the guards enter evasion mode, where they make a more heightened effort to try and find Snake. When evasion ends, the guards resume their patterns as normal.

Snake has several ways he can avoid or manipulate guards. He can crawl under some objects or through vents to observe the guard’s paths. Snake can lean on corners to check for any distant guards. The player can also tap on walls or other objects to make noises which will distract guards, allowing Snake to slip by. If worst comes to worst, Snake can sneak up behind a guard and either knock him out by throwing or punching him. He can even kill a guard by choking them and snapping their neck.

Along the way, the player will find a wide variety of tools and weapons that he/she must use in certain situations to help Snake overcome whatever problems are in his way. Chaff Grenades can be used to disable surveillance cameras and turrets for a limited time. Thermal Goggles can be used to spot enemies in the dark and see lasers. The Mine Detector is used to spot mines on the radar, crawling on top of them will allow Snake to pick them up. The most famous of these tools are the various cardboard boxes that Snake collects to disguise himself. You’ll need to choose the right box for the right location of where you are in the base so that the guard won’t be so suspicious. There are many of these devices that you’ll find throughout the game, and it’s important to hold on to them and not waste them unless you absolutely need to use them, especially on higher difficulties.

Metal Gear Solid’s graphics were praised at the time of its release, but the blocky characters, clipping issues, and that classic PlayStation texture warp do little to impress in 2015. Nevertheless, MGS’ visuals do have great art direction, and there’s a real sense of playing in a game world that is incredibly detailed: puddles of water reflect the ceilings above, Snake’s breath is visible due to the cold climate, and footprints get left in the snow when someone walks over them. MGS was definitely trying to push the limits in terms of how realistic PlayStation graphics could be, and for what they had to work with, Konami did an alright job.

I also want to note that Metal Gear Solid has a really underrated soundtrack. From the mysterious themes that play during normal sneaking, to the fast-paced music when under alert, every track in MGS is catchy and well suited for the situation. It has a cool “techno-orchestral” sound that fits in well with the game’s espionage theme. <br><br>**The Bad**<br>For a game that is so heavily praised for pushing stealth games to the forefront of mainstream popularity, there’s surprisingly little stealth involved. Much of the actual sneaking takes place during the first third of the game, but from the Psycho Mantis boss fight onwards the game basically becomes a progression of boss fights and action setpieces. There are several times you’ll backtrack through areas that have practically no guards or even hazards to speak of. Even the stealth itself is highly simplistic and rarely stretches beyond the capabilities of an 8-bit game. The Soliton radar is an almost invaluable tool for your first run through the game, but it also reveals MGS’ limitations: Guards have a very small field of view and a very poor memory. Killing or choking them causes their bodies to simply disappear and have a new guard spawn elsewhere in the room to replace him. It all feels very “gamey”, which does slightly break the game’s sense of immersion.

There are a number of clunky mechanics which make the game slightly awkward to play. Using the sniper rifle, for instance, is really awkward since there is no way to control the zoom on the scope, nor is there a way to effectively take cover. There are also parts where it almost seems like the developers expect you to take damage. A particularly painful example is a scene near the end of the game where you are shooting enemies from a turret on the back of a Jeep. Since there is no way to dodge the bullets, and the turret rotates incredibly slowly, you just have to take damage like a man and pray that you are lucky enough to hit all of the targets you need to. While the game’s variety is certainly commendable, it sometimes results in less-than-stellar moments such as this, though you’re never doing one thing for too long, which is always a plus.

Metal Gear Solid made its plot a huge part of the experience, sometimes to its detriment as a game. Metal Gear is well known for being a series where the characters simply won’t shut up. Every time you meet a new character, they strike up conversations that can seriously reach into the 10s of minutes. You can’t take more than a few steps without someone contacting Snake on his codec, though you have the option of not taking the call in most cases. As it is mostly very entertaining, I didn’t mind listening in, but I did leave the game feeling like I wanted a little more when it came to the gameplay.

The Bottom Line
Metal Gear Solid is one of the earliest examples of the “cinematic” action game that many AAA developers attempt to create. It’s easy to see the influence MGS had on later games such as Deus Ex, Uncharted, and Batman: Arkham Asylum. So many games these days are attempting to blur the lines between game and film that it’s easy to forget that there was a time when developers were not doing this. MGS was a pioneering hybrid of games and film, and pushed the industry in a more “Hollywood-ized” direction, for better or worse. As influential as it is, parts of it do bring a rough ride for players who are more used to modern gaming conventions. Despite it’s somewhat dated gameplay, what is there is still pretty enjoyable, with a really entertaining plot that keeps the player hooked throughout. MGS is still a worthy title for anybody who is interested in seeing the beginnings of modern gaming as we know it today.

The Good
Metal Gear Solid was undoubtedly, in my opinion, the best game made for the PlayStation. Every aspect of the game, the story, the action, the character development, was achieved with utter perfection.

The action in this game is incredible. While most of the time you will be attempting to practice "tactical espionage", you will more than likely get caught at some point, and if you're anything like me, half the time it will be on purpose, just because it's so entertaining. Each time it happens, a heart-pounding battle ensues, where you will frantically search for a place to lay low, encountering seemingly endless enemies along the way. And if that's not enough, don't fret, because you will also constantly be confronting the various bosses in the game, each one with their own unique personalities and abilities, and each one completely different than the last. While you are not fighting, though, you will perform tasks such as misdirection, hiding under a box, and many more in order to throw the enemy off your tracks.

Unfortunately, you would expect a game with this caliber of action to be at least slightly lacking in story, a common flaw in action games. But MGS surpasses this stereotype by incorporating a captivating, deep, and suspenseful story that easily matches the quality of the action, if not exceeding it. It starts out as a seemingly unoriginal story but turns into something that is anything but unoriginal. You will feel for every major supporting character in the game just as much as you feel for Snake, and each one is as significantly important to the progress of the game as the next. Plot twists are around every corner, to the point where nothing is as it seems, and nothing is ever predictable. Add outstanding voice actors to each and every one of the characters, and the result is an unforgettable experience.

Along with these two imperative factors, you have varying gameplay that never gets old. You wil never find yourself doing the same thing twice, and I can't stress that enough. Each area is abound with new tasks you must perform, but you never feel as if you're being forced to complete tasks, because they're so flawlessly integrated into the game, and to put it plain and simple, they're actually fun. To help you complete these tasks you will be supplied with countless items that you will find in the course of the game, along with numerous weapons that each serve their own purpose. Never will you find a weapon that isn't useful at some point in the game. And when you do beat the game, don't think you've completed it, because there are two endings. And each ending rewards you with a valuable item that you can use in your next attempt, and they are both very fun to use.

The Bad
There wasn't a time in this game where I wasn't in complete ecstasy. No complaints at all.

The Bottom Line
Metal Gear Solid is, in a sense, perfect. It doesn't lack in any area, but rather excels triumphantly in everything it attempts to achieve.

The Good
Usually, when the term "movielike" is applied to a game, it's not a compliment. FMV watchfests like Wing Commander III or Dragon's Lair, while good games in their own rights, just don't seem to pull you in to their plots, and there's not enough game in the experience to make you happy.

But with Metal Gear Solid, calling it movielike is a tribute to the amazing job pulled off by Hideo Kojima and Konami in making a masterpiece that furthers the argument for videogames as an art form.

The well-developed plot puts you in the role of Solid Snake, a retired ex-member of the underground government group Fox-Hound. He is called back into service when the members of Fox-Hound suddenly seize a military base in Alaska, and threaten to launch a nuclear weapon unless the government turns over the remains of legendary soldier Big Boss within 24 hours. The plot easily matches those of most RPGs for complexity and depth, and manages (most of the time) to avoid being too cheesy. And expect a few curveballs along the way.

When you get right down to the gameplay, it'll be familiar to anyone who has played the NES incarnations of Metal Gear. You operate mostly from an overhead view, though there are a few scenes where Resident Evil-style camerawork is used for dramatic effect. Your job is to go from section to section of the base, rescuing the two hostages and eventually trying to stop a nuclear launch. Stealth is emphasized heavily; you have to sneak past the guards when their backs are turned, and you can employ a variety of techniques, including tapping on the walls to lure them away, throwing chaff grenades to confuse surveillance cameras, and even hiding inside a cardboard box. Of course, you can't always stay hidden, and like all good action heroes, Snake winds up using pretty much an entire arsenal over the course of the game. With so many different playstyles possible, the gameplay doesn't get boring easily. The boss battles are each unique, and you'll have to play through them a couple of times before you figure out the "trick" to beating each boss. Top-notch gameplay.

The graphics are also choice. At its heart, the gameplay is 2D, but everything in MGS is rendered using the game's versatile 3D engine, right down to the maggots in a prison cell. The graphic design also pays insane attention to detail; you can see breath vapor in the cold outdoors, and Snake will leave footprints in the snow that become covered up over time. Some nifty effects are also used during flashbacks and whenever a mysterious Ninja appears onscreen.

The sound has to be heard to be believed. Unlike RPGs, which sometimes read like a novel, every word in MGS is spoken by top-notch voice acting that tops even the Legacy of Kain series. Konami really went nuts on the CD format here. The soundtrack is great too, with dramatic orchestral arrangements during battles, and soulful tunes during dramatic turns in the story.

All in all, never have the fun of video games and artfulness of cinema blended so well. Five stars!

The Bad
Fine, make me nitpick.

• The graphic design, as I mentioned is great, but the engine itself ain't all that hot. Low-res textures give everything a very pixelated look, and since the cut-scenes all play out using the in-game engine, the character's faces are static. Snake himself doesn't really have much of face.

• While the in-game cut scenes are almost all terrific, the Codec screen (Snake talking to his backup, usually used as a hint and summary system) is not. 2D still faces here, people, like listening to a radio play. And the Codec sequences can run a little long, and there's to real way to skip them.

• The game itself will only give you about 20 hours of play. While you are encouraged to play through it twice to get both endings, that's it. 40 hours is all ya got. Still, at $20, you get your money's worth. Definitely a better deal than spending one quarter as much to see a two-hour movie.
  
  The Bottom Line
  MGS may not have the best graphics, or the most consistent gameplay, and the delicate balance between game and movie is still a little skewed towards the movie. But folks, that movie ain't half-bad, and this is by far the most engrossing, detailed, immersive, and above all ENTERTAINING experience on the little grey box.

The Good
Well for a while Metal Gear Solid's action sequences were fun. The action is furious and the cinema aproach to it makes it very exiting. There is a very nice animé feel to the graphics which are pretty acceptable yes, though they are nothing we haven't seen before. The sound of the game is excellent, from the voice acting, the sfx to the music it really shines through....what else... well I should point out that if you are a nostalgic dude and want to re-live the old Metal Gear nes gameplay this game pretty much captures the entire gameplay spirit, it even feels like an updated copy at times, with the "use the cigarettes to pass the laser" or "hide in the box on the trucks" and of course the stupid "guide the missile" sequences. Oh yeah! and the action figure line from McFarlane Toys rocks! be sure to check it out!

The Bad
Well, all I have to say about this game is that it confirms the worst prejudices the pc gaming community has towards the console community. That you play shallow, commercial kiddie-crap. That you are to videogames what N'sync is to music. Really, the amount of popularity this game had on the playstation serves only to back this up.

But why is the game so bad you say? well, first of all the story. It is the single lamest, infantile piece of crap I've ever encountered on a videogame. Suffice to say that Tetris or Street Fighter have more compelling stories than this. It's the kind of over-ambitious aproach to storytelling that has brought us such masterpieces as say...Street Fighter: The Movie, or Mortal Kombat: Annihilation.....yeah, it's that bad. You are placed on the shoes of the super-badass spec-ops agent Solid Snake, who is sent to save the world from a group of former spec-ops agents gone bad who are threathening to release the infamous Metal Gear. All through the game you'll be treated to the worst collection ever assembled of cornball dialogue and action movie clichés. The dialogue is truly painful to listen, taking its roots from every bad action movie starring Lorenzo Lamas you've ever seen. Worse are the video sequences, a particularly awful one comes to mind: you get explained by a certain character what the Metal Gear is supposed to be, and he starts babling about him being a manga fan (because the MG is a mecha) what's next? you get showed an expository animé sequence (showing some giant-robot show) explaining to us how the japanese use this, and were the first to manufacture bi-pedal robots...... I first stood in sheer confusion at what had just been showed to me...then of course I broke up and started laughing out loud.

Want more inconsistency? Get this: you are the super-duper special agent who is sent to danger equiped with.....nothing! that's right! not even a stupid knife! The bad guy (who, of course, shares a nasty secret with you) knows were you are and could send an army your way...but no! he'll wait to the "final confrontation", every character dies in a "dramatic" way, most of the time with "ah, you have beaten me, you were a worthy opponent" as their last words.

Sorry, but I can't stress enough how bad the story, how cheesy the characters are, how utterly childish the whole thing is...But that would be okay at least if the gameplay was good, right? well gameplay sucks too. You can only carry one piece of equipment at each time (so if you want to use the bullet-proof vest and smoke a cigarette you are out of luck...just like in real life!). And the much-touted "sneak" gameplay is a joke, there are some interesting details, but otherwise this is an arcade game with deliriums of grandeur. Since the game is played mostly from a top-down view it wouldn't be fair if enemies that weren't even on screen could see you, right? thus when you switch to 1st person perspective you'll see that a guy standing 12 feet away in a clearing with both of you standing up can't see you! More unintentional laughter courtesy of ms. Snake comes in the way of characters that are oblivious to gunshots, etc. In all, the "sneaking" doesn't even get to Thief's knees.

Moreover, the game is blindingly easy, with every emphasis placed on "twitch" arcade reflexes. Even the things that are supposed to be puzzles can be bypassed with no use of neurones whatsoever. Case in point, there's a certain boss whom you just can't kill by conventional means. Fail to exterminate him enough times, trying to think you must make a strategic use of some sort of specific equipment, or use some special tactic, and the game will actually TELL YOU what you need to do to defeat it. And surprise, surprise! it involved just fidling with your controller. Even the super Metal Gear that's supposed to be a world-wide threat can be destroyed by the combined might of you and your gamepad.

The Bottom Line
In all, Metal Gear Solid is a title that has remained frozen in time. It's like gaming hasn't made any advances besides getting better graphics, and clearer sounds. Mario works because you make a lot of concessions to it. MG: Solid instead tells us that it's a super-realistic cinematic thriller and ask us to make no concessions to it, and that's what kills it. If this game had just said to the world Hey! I'm nothing but a high-tech arcade game, then we could have believed it. As it stands MG:S dies by overhyping itself and pretending to be something it isn't, and sadly, that includes being a good game.

You can however, use this game as an excellent example of the mentality behind console gamers. Try asking people for their opinions on this, and you'll be able to pinpoint with amazing accuracy the persons that think Super Mario is the very best of videogame entertainment, and the ones that don't listen to N'sync and Britney if you catch my drift.

The Good
There were only two Metal Gear games that I played prior to my most recent playthrough of the series, and the Gamecube remake of Metal Gear Solid was one of them. Back then, I really didn’t enjoy the game, and my most vivid memory of it was being thankful it was over. Now that I’ve played the original Metal Gear titles on the MSX2, I’ve gained a new appreciation for the series and felt that I was well prepared to give the first in the Solid series another chance, this time on the original Playstation. I went into it expecting to enjoy it with a newly gained perspective of the series. Unfortunately, I just feel that same way I did after completing it the first time.

Metal Gear Solid starts out the same way as the previous two games: Snake arrives at a compound filled with enemy combatants and must infiltrate it with nothing but his wits and a pack of cigarettes. Where Solid diverges from the original series is in both its new 3D polygons and a much greater focus on storytelling. Before you even start, you’re given the option to view a rather lengthy set of briefing videos that outline the mission Snake’s about to embark on in great detail. It’s optional, since much of the information provided is also given in dialogue, but it underlines the great effort taken to create a deep story experience.

This time around, Snake is tasked with rescuing two hostages and preventing terrorists from launching a nuclear device. The terrorists are composed of soldiers from Snake’s old unit, FOXHOUND, and they make up the game’s diverse rogues gallery. While Metal Gear 2 had some interesting bosses, Solid takes it a step further by giving them unique personalities and building them up before finally placing you at odds with them. This leads to some extremely memorable encounters, and is perhaps Metal Gear Solid’s most outstanding feature. However, the attempt to make them well-rounded characters unfortunately leads to them launching into absolutely ludicrous monologues both before and after their battles.

While Metal Gear Solid does have a case of the early 3D uglies, the presentation holds up remarkable well due to a great artstyle and sound design. It’s hard to believe that the voice acting came from the late 90’s, since most of the performances are extremely well done; passable even by today’s standards. Characters and environments are blocky and pixelated, but excellent texture work, the use of atmospheric lighting, and adherence to the series’ typical blue-grey colour palette make them visually appealing, despite their obvious age.

Despite the many changes that Solid brings to the series, there are still portions reminiscent to earlier games. The item collecting is still present and still satisfying, though it’s somewhat diluted by the game’s more linear progression and some superfluous items. Certain portions feel directly ripped from Metal Gear 2, such as a puzzle that requires you to heat and cool a key card to get it to fit in different locks and a certain encounter where Snake must confirm the identity of a character by following her into the women’s bathroom. Unfortunately, many of these additions feel useless within the game’s new structure. The aforementioned key puzzle in particular already required a great deal of backtracking, and Solid’s linearity and insistence on constantly popping up new storytelling sequences makes the sequence even less tolerable.

The Bad
I’d be hesitant to call Metal Gear Solid’s narrative bad, since it does feature a decent amount of depth, memorable and well-rounded characters, and an interesting progression. However, it’s hard to actually appreciate it when it’s mired in so many problems that it would likely take a lengthy essay to properly cover. The root of the problem isn’t in the story, which is largely a repeat of the previous games, but rather in the storytelling. Gameplay is frequently interrupted by cutscenes or codec communication sequence, and these interruptions tend to be long and drawn out.

This is the price of those diverse and memorable characters; long and overdramatic dialogue. Every character in the game is so quick to spill their life story that it quickly gets ridiculous. You’d think you were in a chat room full of teenagers, rather than on a covert infiltration mission. Almost every boss gives a long monologue as they die the clichéd slow death, telling you all about how tragic their life was and how great you are for finally giving them peace. Any character who talks to you over codec feels the need for venting their every insecurity. This does have the benefit of creating sympathetic villains and conveying motivation, but there are better ways of handling character development. This is the storytelling equivalent of publishing someone’s diary.

If you’re not listening to a character prattle on about how they were born on the battlefield, then they’re probably over-explaining the game’s technology and political climate. I can’t say I’ve ever wondered how a key card works in the game, yet Metal Gear Solid takes the steps of carefully explaining how that door slides open when you get near it. This is the sort of thing that goes better in flavour text. If I cared, I’d ask. I imagine the goal of all this superfluous information is to make the game world feel more real, but over-developed trivialities sit beside ridiculous ideas like the ability to manufacture the perfect soldier by splicing specific genes. The mere fact that so much effort went into making certain elements of the narrative airtight and realistic just makes the many preposterous elements harder to swallow.

I hate to spend so much time harping on the game’s writing, but when the game is so ridden with cutscenes and dialogue it’s hard to ignore. By my estimate, somewhere around one-third of the entire game’s running time is taken up by cutscenes, and this is taking my numerous deaths into consideration. It seems that for every two rooms traversed, a cutscene is there to interrupt, and the constant starting and stopping becomes extraordinarily aggravating until it all culminates in the most excruciatingly eye-roll inducing ending I think I’ve ever sat through. If the narrative just played nice with the gameplay instead of constantly getting in the way, I would have been much kinder to it.

It doesn’t even feel like the designers knew what to do with the gameplay. As mentioned, many of the gameplay elements from the early Metal Gear games have been replicated in the new 3D engine, but the structure had to be completely gutted in order to accommodate the cutscenes. Exploration has been scaled back considerably to the point where the game feels restrictively linear. Yet, despite dropping exploration entirely, the designers make a half-hearted attempt to cram it back in there. Rooms are still locked until you get a key, so backtracking is still necessary, but few of the rooms contain something that makes the trip worthwhile. Worse yet, some of the forced backtracking is unreasonably forced. The worst case of this is a boss battle that has to be interrupted while you travel back to one of the game’s first rooms in order to retrieve a weapon. You then walk back to the boss, defeat them (potentially), and get sent all the way back there in a cutscene, only to have to walk back again. It’s ridiculous!

What makes this even more intolerable is the horrendous camera angles which seems to be stuck between poorly emulating the perspective in Metal Gear 2 and trying to present something more cinematic. The result is a view that is zoomed in way too close and angled way too high, making the whole game feel frustratingly claustrophobic. This forces reliance on the radar, which works okay, for the most part, allowing you to accurately see an enemy’s field of view, but the problem is that it gets frequently jammed. So if you’re unfamiliar with the position of enemies and auto-turrets, you could easily wind up walking into the line of sight of one that is carelessly positioned right outside the camera’s perspective.

The Bottom Line
You’ll have to forgive me if, after the excellent Metal Gear 2: Solid Snake, I’m extremely disappointed with Metal Gear Solid. Even if Solid’s storytelling and dialogue were spot on, the gameplay from the previous games had to be so scaled back that very little remains of what makes the first games so satisfying. What was held onto feels more like ornamental additions held onto for tradition’s sake, such as pointless backtracking sessions and items that are basically unnecessary. It’s not all bad, though. While I found it to be frustrating to play, its outstanding presentation ensures that there are a lot of memorable moments and characters to meet. I just wish it wasn’t all bogged down in a completely MEDIOCRE experience.