Kojima once again says that MGS2 was supposed to be his final Metal Gear

I’ve said it a million times but apparently it’s still news: Kojima intended for MGS2 to be his last Metal Gear project, which means that Snake Eater and Guns of the Patriots were both projects he was “forced” to do.  Get it?  He didn’t want to make those.  He’s directly saying it, on record.  Okay, I think you understand now.

Very diplomatically, he says that nobody was to blame, and that there were “problems” when others tried to take over.  (Problems which couldn’t have been more obvious in Portable Ops, I’m sure.)  He also says that Project Ogre will use the Fox Engine, which is predictable, but still exciting.

Think about it this way: if he made MGS3 and MGS4 against his own will, and they turned out to be as great as they are, how great will the project he really wants to work on be?  I don’t know how I failed to notice this before, but apparently Kojima recently talked about how Project Ogre will deal with issues of family and adult life, and would be a “subdued” experience.  Never knew that.  As much as I dislike melodrama, I look forward to this.  (Please don’t be like Heavy Rain.)

Part III (MGS2: A Complete Breakdown)

PART IPART IIPART III PART IVPART VPART VI – PART VII

{NOTE: Clips are best watched in Full Screen mode.}

Part three is a careful study of Metal Gear’s creator, Hideo Kojima.  More specifically, it’s a study of his motivations for betraying player expectations with Metal Gear Solid 2.  As confusing as it may seem, there is a logical explanation for it all.  (Here’s Part 1 and Part 2)

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Part II (MGS2: A Complete Breakdown)

PART IPART IIPART IIIPART IVPART VPART VI – PART VII

{NOTE: Clips are best watched in Full Screen mode.}

So, the game was controversial because it pulled the rug out from under players’ feet, and because it denied them the trademark experience they were expecting; but what about the game’s actual story?  In part two we analyze the plot in order to find out whether its as convoluted as its critics have said.

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Update: MGS2 Review, Part 1 Complete!

The first part of my epic “MGS2 Review” is now 100% complete and ready for presentation.  It will be several pages long, and contain a whole bunch of important material that’s never been discussed on the site before.  I’m excited to be able to present this new analysis in the coming weeks, as I’m sure fans of the series will really appreciate it when they see it.

How many parts will there be?  Oh, looks like there should be SEVEN, not including the introduction or conclusion.  It will be biggest feature on the site when it’s complete!

I plan on releasing each part when I’m close to finishing the next, so here’s hoping part two doesn’t take too long!  And since I’ve decided on the final title for it, I guess I can tease the main banner for it…

Well that’s it for now, I guess I should get back to work!

I dispute this claim

I’m not exactly sure about the context of this quotation, but apparently Entertainment Weekly reviewed Mass Effect 3 and said:

“… Mass Effect 3 has provoked a bigger fan reaction than any other videogame’s conclusion in the medium’s history.”

Which EA’s marketing department has happily embraced, using it in their promotional material like so.  The irony being that the “reaction” is mostly negative, etc.

That’s fine, but I have to disagree with Entertainment Weekly‘s claim.  There’s no doubt in my mind that Metal Gear Solid 2: Sons of Liberty provoked a bigger fan reaction, if you account for what I like to call “internet inflation”.  Internet inflation, like old fashioned money inflation, is when you dilute the value of something by producing too much of it, making the numbers higher but the actual effect lower.

Back in 2001, the Internet was just getting off the ground as far as mainstream adoption went.  Google had only existed for four years, and Facebook wouldn’t be created for another three; YouTube was a year after that.  The infancy of the internet meant that sharing your opinions still had a trace of significance to it, with people behaving more like actual individuals and less like faceless lumps of coal trying to pile up to fuel some particular fire.  Nowadays internet activism and the “viral effect” has ensured that every little dislike will be exaggerated into the most dramatic Shakespearean opera they can, hoping that their collective force will change things if they all work together.  Ten million negative comments in this new inflated environment doesn’t equal ten thousand “legitimate” comments in the old days.

Stay true, Metal Gear Solid 2.

MGS2 Review plans

The “MGS2 Review” I’ve been working hard to finish is going good, although its unlike anything I’ve tried before.  The plan was to do a video, but it’s been flexible, since I don’t want to commit to anything.  I’ve tried doing the voice recording of the script and it has resulted in some good news:  I probably won’t do the whole thing as a big video, but instead it will probably be a huge multi-page article with a hefty amount of video included.

The recording was going good, but the problem was that I constantly go back and edit things to make it better, and then I don’t want to go back and re-record it!  Nobody enjoys doing that.  This new format will easily chop months off of the time to finish, too.  Video editing is damn hard, and unless you really put a lot of work into it, it’s not worth the effort.

I’m telling you though, this is going to be a great piece.  I can’t wait to get it out to everyone.

Nicholas Carr on the permanence of digital

Nicholas Carr and Hideo KojimaI found this interesting.  Fans of Metal Gear Solid 2 know that the game comments on the permanence of digital information, portraying traditional culture as fragile and transient, and digital culture as a swelling “flood” of eternally accessible garbage.  Physical records conform to the idea of evolution and natural selection, he suggests.  But yesterday, respected technology prophet and bestselling author Nicholas Carr flipped this idea on its head by suggesting that it’s actually old, physical culture that remains accessible, and digital information that becomes swept away in a stream of technological change…

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