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Celebrating The 20th Anniversary of ‘Metal Gear Solid’

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With the Western release of Metal Gear Solid Happening on this day 20 years ago, we revisit last month’s celebratory article for Hideo Kojima’s classic.

The PlayStation had been out for a little under four years come September 3rd of 1998; it was on that day that Metal Gear Solid would make its debut in Japan. While there had been previous Metal Gear entries beforehand, Metal Gear Solid would end up becoming one of the most significant titles in gaming history.

Developed by Konami and directed by the prestigious Hideo Kojima, the action-stealth adventure placed gamers in the role of Solid Snake; a special-ops soldier entrusted with a mission to break into a secret facility and rescue hostages, all while stopping a nuclear crisis. What starts out as a typical espionage game, however, quickly changes pace, as Snake finds himself up against supernatural forces and deadly mechs.

Metal Gear Solid received immense applause from critics and fans alike. Since its inception, it has spawned numerous sequels and prequels, with the majority receiving their own outstanding acclaim. From their riveting stories to their unique characters and their exploration of philosophies, the Metal Gear Solid series has become one of gaming’s proudest achievements.

Today marks the 20th anniversary of Metal Gear Solid (with August being the 31st anniversary since the first ever Metal Gear game). To celebrate this entry in the series, I’m going to take a look back at Metal Gear Solid and what makes it such an astounding work in video game history.

The Dawning of The Stealth Genre

While there are plenty of thrilling moments, including gun-toting action, Metal Gear Solid (MGS) puts much of its focus on stealth. Providing gamers with a small radar at the bottom of the screen, they are able to keep track of not only where enemies are walking, but in what direction they are facing in.

Stealth throughout the game is further affected due to the setting. While taking place in a large facility known as Shadow Moses, the outside environment of MGS has lots of snow; walking through said snow leaves footprints, alerting enemies to suspicious movement. These sorts of small details make MGS all the more interesting, providing an extra level of awareness when playing stealthily.

On a similar note, in regard to the game’s stealth, MGS starts players out with a tranquilizer gun. You can go ahead and pick up other weapons, but the tranquilizer gun is significant to MGS. Even though future Metal Gear titles have leaned towards more action-oriented gameplay, the tranquilizer has always been a means of progressing through each entry.

These stealth elements were essential in Kojima’s design; MGS was not only the beginning of a whole new genre in video games, but its influence has echoed throughout the years. The way MGS handled action was unlike any other game before it; the limiting of weapons, the encouragement to quietly take out or dodge foes, were all ideas not common in games; as gamers, we were always expected to kill the enemy. This concept of stealth and taking out the opponent through non-violent means would become an integral part of Kojima’s gaming philosophy.

Even almost two decades later, his final Metal Gear entry (Phantom Pain), offers the chance to quietly go about missions or to kill. It’s such a simple idea that has gone on to influence such video games like Dishonored. The way the player maneuvers and stalks the shadows throughout MGS has also influenced games like Assassin’s Creed,  Splinter Cell, and Deus Ex: Human Revolution.

MGS can be marked as one of the biggest turning points in gaming; it’s a title where one can go back and find innovation and technology coming together to present a more immersive presentation. But even though MGS is successful on a game mechanic level, it also presents a truly exhilarating, cinematic story experience.

A Video Game Of Cinematic Quality

While the game takes place in a fictional 2005, it embodies many Cold War Era tensions; this is due to the heavy dialogue and themes revolving around espionage, politics, and nuclear war. As Snake makes his way through the facility he comes across a wide variety of extravagant characters; many who he finds to have passionate political and personal beliefs.

With a love for film, Kojima came into MGS with the understanding of how important drama is to a story. Rather than give us flat characters that just gun it out, he provides numerous characters with depth; each one brings their own identity, adding more substance to the plot. An example of this is found in the game’s main antagonist, Liquid Snake; even though it isn’t his only motivating factor, he is driven by jealousy towards his brother Solid Snake. Their confrontations are consistently heated, with the former stating his desire to surpass his “genetic history” (referring to their “father” Big Boss).

The Horror in Metal Gear Solid’s History

One major concept that made MGS so different back in the day (compared to other video games), was just how cinematic it was in nature. In one moment you’re playing a game and in the next, you feel like you’re watching a movie. As Kojima has said in interviews, “70% of my body is made of movies.” His passion and knowledge of film can be felt throughout MGS; dynamic camera angles, conflict-driven dialogue, as well as the physical action taking place in the game’s cutscenes, come across as elements you would find on a big theatre screen.

Given that MGS is such a cinematic experience, one place that it greatly shines is that of its boss fights. MGS is home to some of the most unique and innovative boss battles in video game history. Two worth major notice are that of the battles between Sniper Wolf and Psycho Mantis.

When battling Wolf, you find yourself at the end of a long narrow path. A shot blasts towards you, and you know somewhere Wolf is in the distance. What takes place is moment-to-moment tension in holding your breath, looking down the scope of your rifle, and searching for her before she gets you first. It’s a superb sequence that pushes the player into a state of constant awareness, requiring them to have fast reflexes.

The battle with Psycho Mantis is one of the biggest moments in fourth wall breaking techniques via gaming. Upon confronting him you learn of his psychic abilities; but rather than be just any old boss who levitates and uses telekinesis, Mantis takes it one large step further. Depending on past or current save files in your PlayStation memory card, Mantis will actually comment on said saved data. If you’ve been playing Castlevania for example, he’ll say something along the lines of how much of a fan you must be. On top of that, he could also dodge all your attacks by reading your movements via the game controller. It’s only upon research that you learn that by switching your controller to a different port on your console, that you can throw Mantis off.

These innovations were/are mind-blowing; and even with how far technology has come since then, feats like this have been rarely accomplished so well. The cleverness found in these fourth wall breaking moments adds a level of immersion to an already in-depth, fascinating story.  

MGS was one of the first big games to shape itself around the impact of war and violence. At times Kojima’s characters will discuss the politics and economics of war, and specifically, the cost in human lives. MGS, in particular, works itself around these ideas throughout its story, taking more time to center in on the nuclear conflict at hand. But by including such mature concepts, MGS became one of the first major examples in how games were capable of mature stories.

Considering past and present commentary, negative criticism towards video games has stated that games are forms of entertainment that are about and perpetuate violence; MGS flipped this idea on its head, offering more of a conscious statement about violence. Much contemporary gaming journalism has looked at the impact and commentary throughout the Metal Gear series; and specifically, how the games point out the horrors of violence, offering players the chance to avoid violent actions.

Kojima’s efforts helped to bring about the idea that video games could be cinematic experiences; that one could infuse game mechanics into the human need for stories. We’ve seen games today that strive to bring about those cinematic vibes (via interactive button prompts), but what Kojima has pulled off through Metal Gear is on a different level; it’s that intricate balance between immersion and voyeurism, allowing the player to participate and to experience all at once (but with much more interaction). Starting with MGS, he has taken so many traditional elements from different mediums, meshing them together to present a new medium of sorts.

MGS not only stands as an incredible feat in gaming but is a testament to the emotion and immense quality that games are capable of presenting.

A Solid Legacy

Since Metal Gear Solid’s release, the world of gaming has massively changed. We have photorealistic graphics, AR & VR technology, innovative ways to use a game controller, and many more mature stories. All of that, in one way or another, is thanks to Metal Gear Solid.

The game isn’t just responsible for helping to establish a new genre of titles, but more importantly, set the bar for rich stories. Metal Gear Solid paved the way for future video games to pursue intellectual adventures, balancing the line between drama and action. It demonstrated to future developers how you could take creative chances with games; how utilizing story and game mechanics together allow gamers to immerse themselves further into an experience.

In the 20 years since it was released Metal Gear Solid has made a name for itself as one of the greatest video games of all time. In 2018 we have thousands of players who have fond memories of experiencing it; we have loyal fans who stand by Kojima and whatever new project he touches; we have artists looking to do what they can to even create a film out of it.

As time moved forward, the Metal Gear series continuously built upon the foundations established in Metal Gear Solid; its following entries offered other unique means for us to interpret our playing experience, while still providing stories that embodied action, stealth, politics, and emotion. From the moment it was born, Metal Gear Solid was meant to embark on a legacy that would not just alter how we play video games, but how we perceive what a video game is and what they can teach us.

Michael Pementel is a pop culture critic at Bloody Disgusting, primarily covering video games and anime. He writes about music for other publications, and is the creator of Bloody Disgusting's "Anime Horrors" column.

Editorials

‘A Haunted House’ and the Death of the Horror Spoof Movie

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Due to a complex series of anthropological mishaps, the Wayans Brothers are a huge deal in Brazil. Around these parts, White Chicks is considered a national treasure by a lot of people, so it stands to reason that Brazilian audiences would continue to accompany the Wayans’ comedic output long after North America had stopped taking them seriously as comedic titans.

This is the only reason why I originally watched Michael Tiddes and Marlon Wayans’ 2013 horror spoof A Haunted House – appropriately known as “Paranormal Inactivity” in South America – despite having abandoned this kind of movie shortly after the excellent Scary Movie 3. However, to my complete and utter amazement, I found myself mostly enjoying this unhinged parody of Found Footage films almost as much as the iconic spoofs that spear-headed the genre during the 2000s. And with Paramount having recently announced a reboot of the Scary Movie franchise, I think this is the perfect time to revisit the divisive humor of A Haunted House and maybe figure out why this kind of film hasn’t been popular in a long time.

Before we had memes and internet personalities to make fun of movie tropes for free on the internet, parody movies had been entertaining audiences with meta-humor since the very dawn of cinema. And since the genre attracted large audiences without the need for a serious budget, it made sense for studios to encourage parodies of their own productions – which is precisely what happened with Miramax when they commissioned a parody of the Scream franchise, the original Scary Movie.

The unprecedented success of the spoof (especially overseas) led to a series of sequels, spin-offs and rip-offs that came along throughout the 2000s. While some of these were still quite funny (I have a soft spot for 2008’s Superhero Movie), they ended up flooding the market much like the Guitar Hero games that plagued video game stores during that same timeframe.

You could really confuse someone by editing this scene into Paranormal Activity.

Of course, that didn’t stop Tiddes and Marlon Wayans from wanting to make another spoof meant to lampoon a sub-genre that had been mostly overlooked by the Scary Movie series – namely the second wave of Found Footage films inspired by Paranormal Activity. Wayans actually had an easier time than usual funding the picture due to the project’s Found Footage presentation, with the format allowing for a lower budget without compromising box office appeal.

In the finished film, we’re presented with supposedly real footage recovered from the home of Malcom Johnson (Wayans). The recordings themselves depict a series of unexplainable events that begin to plague his home when Kisha Davis (Essence Atkins) decides to move in, with the couple slowly realizing that the difficulties of a shared life are no match for demonic shenanigans.

In practice, this means that viewers are subjected to a series of familiar scares subverted by wacky hijinks, with the flick featuring everything from a humorous recreation of the iconic fan-camera from Paranormal Activity 3 to bizarre dance numbers replacing Katy’s late-night trances from Oren Peli’s original movie.

Your enjoyment of these antics will obviously depend on how accepting you are of Wayans’ patented brand of crass comedy. From advanced potty humor to some exaggerated racial commentary – including a clever moment where Malcom actually attempts to move out of the titular haunted house because he’s not white enough to deal with the haunting – it’s not all that surprising that the flick wound up with a 10% rating on Rotten Tomatoes despite making a killing at the box office.

However, while this isn’t my preferred kind of humor, I think the inherent limitations of Found Footage ended up curtailing the usual excesses present in this kind of parody, with the filmmakers being forced to focus on character-based comedy and a smaller scale story. This is why I mostly appreciate the love-hate rapport between Kisha and Malcom even if it wouldn’t translate to a healthy relationship in real life.

Of course, the jokes themselves can also be pretty entertaining on their own, with cartoony gags like the ghost getting high with the protagonists (complete with smoke-filled invisible lungs) and a series of silly The Exorcist homages towards the end of the movie. The major issue here is that these legitimately funny and genre-specific jokes are often accompanied by repetitive attempts at low-brow humor that you could find in any other cheap comedy.

Not a good idea.

Not only are some of these painfully drawn out “jokes” incredibly unfunny, but they can also be remarkably offensive in some cases. There are some pretty insensitive allusions to sexual assault here, as well as a collection of secondary characters defined by negative racial stereotypes (even though I chuckled heartily when the Latina maid was revealed to have been faking her poor English the entire time).

Cinephiles often claim that increasingly sloppy writing led to audiences giving up on spoof movies, but the fact is that many of the more beloved examples of the genre contain some of the same issues as later films like A Haunted House – it’s just that we as an audience have (mostly) grown up and are now demanding more from our comedy. However, this isn’t the case everywhere, as – much like the Elves from Lord of the Rings – spoof movies never really died, they simply diminished.

A Haunted House made so much money that they immediately started working on a second one that released the following year (to even worse reviews), and the same team would later collaborate once again on yet another spoof, 50 Shades of Black. This kind of film clearly still exists and still makes a lot of money (especially here in Brazil), they just don’t have the same cultural impact that they used to in a pre-social-media-humor world.

At the end of the day, A Haunted House is no comedic masterpiece, failing to live up to the laugh-out-loud thrills of films like Scary Movie 3, but it’s also not the trainwreck that most critics made it out to be back in 2013. Comedy is extremely subjective, and while the raunchy humor behind this flick definitely isn’t for everyone, I still think that this satirical romp is mostly harmless fun that might entertain Found Footage fans that don’t take themselves too seriously.

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