On some levels, this is the single most impressive game ever made.
But when I say that, I'm putting it in the same terms as how something like Citizen Kane could still be considered the most accomplished work ever in its medium. It is a peerless technical leap forward for the form and remains a riveting experience that bears its age less like an issue and more like a badge of honour. In a vacuum, there are definitely more impressive games, but taken on its own terms, I've rarely been more 'impressed' by a gaming experience.
The low poly character models have been exceptionally future-proofed, as though the grainy low-res style was an act of intentional stylistic minimalism and not a simple restraint of the hardware. The incredibly '90s locked cameras somehow render the entire thing more cinematic, simply with the unreal skill with which they were placed. The backtracking that is alluded to specifically in dialogue as annoying, somehow leaves me with a smile despite succumbing to an annoying trend of it's eras games.
Speaking of the dialogue, even if Kojima's vision of women is basically 'thing that Snake flirts at,' it's an exceptional heightening of the American spy movie. The cliches Kojima fearlessly thrusts at the player, somehow taking them just seriously enough to retain some sincerity in theme while empowering the comedy. It's remarkable what he gets away with. Especially the 4th-wall shattering elements, every one a bigger delight than the last. I found myself belly laughing at Psycho Mantis' demonstration of his telekinetic ability, and if you don't you must be made of stone.
Snake is somehow still a joy to control all these years later, every level feels absolutely perfect in it's construction, the codec is one of the single greatest 'hand holding' mechanics in game history, totally disguising the fact that there's a button you can press to tell you what to do at any time. And the boss fights? Oh my god, the boss fights. Every one a culmination of one of the game's many awe-inspiring little gimmicks, each somehow goofier and more fun than the last. But somehow building to a thrilling climax all the same.
I once saw someone call this game a 'collection of mini-games, disguised as a stealth game' and that's such a perfect description of what makes it special that I can't believe they meant it as an insult.
Metal Gear Solid remains one of the best experiences you can have with a game, if you're willing to forgive the signs of age, and the only thing stopping me from giving it a 10 is that I have it on good authority they just keep getting better.
But when I say that, I'm putting it in the same terms as how something like Citizen Kane could still be considered the most accomplished work ever in its medium. It is a peerless technical leap forward for the form and remains a riveting experience that bears its age less like an issue and more like a badge of honour. In a vacuum, there are definitely more impressive games, but taken on its own terms, I've rarely been more 'impressed' by a gaming experience.
The low poly character models have been exceptionally future-proofed, as though the grainy low-res style was an act of intentional stylistic minimalism and not a simple restraint of the hardware. The incredibly '90s locked cameras somehow render the entire thing more cinematic, simply with the unreal skill with which they were placed. The backtracking that is alluded to specifically in dialogue as annoying, somehow leaves me with a smile despite succumbing to an annoying trend of it's eras games.
Speaking of the dialogue, even if Kojima's vision of women is basically 'thing that Snake flirts at,' it's an exceptional heightening of the American spy movie. The cliches Kojima fearlessly thrusts at the player, somehow taking them just seriously enough to retain some sincerity in theme while empowering the comedy. It's remarkable what he gets away with. Especially the 4th-wall shattering elements, every one a bigger delight than the last. I found myself belly laughing at Psycho Mantis' demonstration of his telekinetic ability, and if you don't you must be made of stone.
Snake is somehow still a joy to control all these years later, every level feels absolutely perfect in it's construction, the codec is one of the single greatest 'hand holding' mechanics in game history, totally disguising the fact that there's a button you can press to tell you what to do at any time. And the boss fights? Oh my god, the boss fights. Every one a culmination of one of the game's many awe-inspiring little gimmicks, each somehow goofier and more fun than the last. But somehow building to a thrilling climax all the same.
I once saw someone call this game a 'collection of mini-games, disguised as a stealth game' and that's such a perfect description of what makes it special that I can't believe they meant it as an insult.
Metal Gear Solid remains one of the best experiences you can have with a game, if you're willing to forgive the signs of age, and the only thing stopping me from giving it a 10 is that I have it on good authority they just keep getting better.