Level Slide posted:

I know it's probably standard procedure, but the way Boss slings bodies over his shoulder like a scarf is a bit rough. I hope there's a way where he can carry people in his strong and comforting arms like a tray of cookies.

Zoq-Fot-Pik posted:

Average Bear posted:

Tfw big boss will never hold you in his strong arms...

SM64Guy posted:

but boss, theres only one set of footsteps

Zoq-Fot-Pik posted:

cool biRd pics posted:

another rad vid by this dude

https://www.youtube.com/watch?v=eMq4K4IEEuI

Grizzled Patriarch posted:

Just 100%ed GZ for the second time because I am running out of ways to contain my need to play this game.

I also beat MGS4 and PW (main story missions only) again, played them back and forth this month. So now I can officially say that I have completed Metal Gear August.


Gonna sperg about MGS4 a bit, because it gets knocked for its story all the time and I think it has kind of an unfair reputation:

I mentioned earlier in one of the threads about how, if you approach the series chronologically, you can see that as warfare shifts from a conflict between ideals to simply conflict for its own sake, you see less "magic" and more technology in its place.

MGS4 is neat because it goes to all this trouble to create an atmosphere that most people just completely ignored. You have all the fake advertisements for PMC recruiting, and In Act 3 you have this sort of Orwellian Europe where loudspeakers calmly announce that anyone out past curfew will be executed on the spot. Though I have some problems with Act 3's gameplay, it's pretty important thematically for a few reasons.

First of all, you have to consider that Acts 1 and 2 take place in the Middle East and South America, which are basically the 2 de-facto settings for most FPSes / military games. But suddenly Act 3 drops you into Europe, and it's a PMC occupied dystopia where armed drones are literally patrolling the skies at all times. Act 3 is basically a very unsubtle attempt to ask, What is the ethical / moral burden of war when your country isn't losing any lives? What if Blackwater did all of our fighting? What happens when technology can completely divorce you from the actual violence being perpetrated? In Acts 1 and 2, you see rebel militia, but notably you never see who they are actually rebelling against. The opposition is entirely represented by the PMCs.

This gets into the real meat of MGS4's thematic approach: the argument that the trauma resulting from war is incredibly dehumanizing, and that technology fills the gap left behind when humanity is stripped away. The world of MGS4 is in a perpetual state of conflict-by-proxy, to the point that everyone is experiencing that trauma. You can consider the SOP program to essentially be the product of that trauma - it's PTSD on a global scale.

I think the B&B Corp was an attempt to put a face to this idea, though the execution leaves something to be desired. (I think Skullface is going to be playing a similar role in TPP, at least partially). Drebin's stories are extreme to the point of parody, and it's possible that he was making them up completely, but in the end he is just telling iterations of his own story - a child traumatized by war, stripped of even their name, and confined to a technological prison by the Patriot AI (Drebin's APC isn't all that different from the Beast suits, at the end of the day).

edit: Also worth pointing out that the world of MGS4 comes pretty close to creating "a timeless enemy" by wrapping the entire globe into a cycle of reciprocal violence - everyone is at war with everyone, always, for reasons that are entirely unclear ("We've always been at war with Eastasia"). In a way, Ocelot ends up being the person who comes closest to carrying out the Boss's will, and he probably didn't even realize it.

Anyway that is my completely unsolicited MGS4 wall o' text.

cool biRd pics posted:

another rad vid by this dude

https://www.youtube.com/watch?v=eMq4K4IEEuI

Grizzled Patriarch posted:

Just 100%ed GZ for the second time because I am running out of ways to contain my need to play this game.

I also beat MGS4 and PW (main story missions only) again, played them back and forth this month. So now I can officially say that I have completed Metal Gear August.


Gonna sperg about MGS4 a bit, because it gets knocked for its story all the time and I think it has kind of an unfair reputation:

snip

Anyway that is my completely unsolicited MGS4 wall o' text.

Grizzled Patriarch posted:

Just 100%ed GZ for the second time because I am running out of ways to contain my need to play this game.

I also beat MGS4 and PW (main story missions only) again, played them back and forth this month. So now I can officially say that I have completed Metal Gear August.


Gonna sperg about MGS4 a bit, because it gets knocked for its story all the time and I think it has kind of an unfair reputation:

I mentioned earlier in one of the threads about how, if you approach the series chronologically, you can see that as warfare shifts from a conflict between ideals to simply conflict for its own sake, you see less "magic" and more technology in its place.

MGS4 is neat because it goes to all this trouble to create an atmosphere that most people just completely ignored. You have all the fake advertisements for PMC recruiting, and In Act 3 you have this sort of Orwellian Europe where loudspeakers calmly announce that anyone out past curfew will be executed on the spot. Though I have some problems with Act 3's gameplay, it's pretty important thematically for a few reasons.

First of all, you have to consider that Acts 1 and 2 take place in the Middle East and South America, which are basically the 2 de-facto settings for most FPSes / military games. But suddenly Act 3 drops you into Europe, and it's a PMC occupied dystopia where armed drones are literally patrolling the skies at all times. Act 3 is basically a very unsubtle attempt to ask, What is the ethical / moral burden of war when your country isn't losing any lives? What if Blackwater did all of our fighting? What happens when technology can completely divorce you from the actual violence being perpetrated? In Acts 1 and 2, you see rebel militia, but notably you never see who they are actually rebelling against. The opposition is entirely represented by the PMCs.

This gets into the real meat of MGS4's thematic approach: the argument that the trauma resulting from war is incredibly dehumanizing, and that technology fills the gap left behind when humanity is stripped away. The world of MGS4 is in a perpetual state of conflict-by-proxy, to the point that everyone is experiencing that trauma. You can consider the SOP program to essentially be the product of that trauma - it's PTSD on a global scale.

I think the B&B Corp was an attempt to put a face to this idea, though the execution leaves something to be desired. (I think Skullface is going to be playing a similar role in TPP, at least partially). Drebin's stories are extreme to the point of parody, and it's possible that he was making them up completely, but in the end he is just telling iterations of his own story - a child traumatized by war, stripped of even their name, and confined to a technological prison by the Patriot AI (Drebin's APC isn't all that different from the Beast suits, at the end of the day).

edit: Also worth pointing out that the world of MGS4 comes pretty close to creating "a timeless enemy" by wrapping the entire globe into a cycle of reciprocal violence - everyone is at war with everyone, always, for reasons that are entirely unclear ("We've always been at war with Eastasia"). In a way, Ocelot ends up being the person who comes closest to carrying out the Boss's will, and he probably didn't even realize it.

Anyway that is my completely unsolicited MGS4 wall o' text.

Grizzled Patriarch posted:

Just 100%ed GZ for the second time because I am running out of ways to contain my need to play this game.

I also beat MGS4 and PW (main story missions only) again, played them back and forth this month. So now I can officially say that I have completed Metal Gear August.


Gonna sperg about MGS4 a bit, because it gets knocked for its story all the time and I think it has kind of an unfair reputation:

I mentioned earlier in one of the threads about how, if you approach the series chronologically, you can see that as warfare shifts from a conflict between ideals to simply conflict for its own sake, you see less "magic" and more technology in its place.

MGS4 is neat because it goes to all this trouble to create an atmosphere that most people just completely ignored. You have all the fake advertisements for PMC recruiting, and In Act 3 you have this sort of Orwellian Europe where loudspeakers calmly announce that anyone out past curfew will be executed on the spot. Though I have some problems with Act 3's gameplay, it's pretty important thematically for a few reasons.

First of all, you have to consider that Acts 1 and 2 take place in the Middle East and South America, which are basically the 2 de-facto settings for most FPSes / military games. But suddenly Act 3 drops you into Europe, and it's a PMC occupied dystopia where armed drones are literally patrolling the skies at all times. Act 3 is basically a very unsubtle attempt to ask, What is the ethical / moral burden of war when your country isn't losing any lives? What if Blackwater did all of our fighting? What happens when technology can completely divorce you from the actual violence being perpetrated? In Acts 1 and 2, you see rebel militia, but notably you never see who they are actually rebelling against. The opposition is entirely represented by the PMCs.

This gets into the real meat of MGS4's thematic approach: the argument that the trauma resulting from war is incredibly dehumanizing, and that technology fills the gap left behind when humanity is stripped away. The world of MGS4 is in a perpetual state of conflict-by-proxy, to the point that everyone is experiencing that trauma. You can consider the SOP program to essentially be the product of that trauma - it's PTSD on a global scale.

I think the B&B Corp was an attempt to put a face to this idea, though the execution leaves something to be desired. (I think Skullface is going to be playing a similar role in TPP, at least partially). Drebin's stories are extreme to the point of parody, and it's possible that he was making them up completely, but in the end he is just telling iterations of his own story - a child traumatized by war, stripped of even their name, and confined to a technological prison by the Patriot AI (Drebin's APC isn't all that different from the Beast suits, at the end of the day).

edit: Also worth pointing out that the world of MGS4 comes pretty close to creating "a timeless enemy" by wrapping the entire globe into a cycle of reciprocal violence - everyone is at war with everyone, always, for reasons that are entirely unclear ("We've always been at war with Eastasia"). In a way, Ocelot ends up being the person who comes closest to carrying out the Boss's will, and he probably didn't even realize it.

Anyway that is my completely unsolicited MGS4 wall o' text.

Grizzled Patriarch posted:

Just 100%ed GZ for the second time because I am running out of ways to contain my need to play this game.

I also beat MGS4 and PW (main story missions only) again, played them back and forth this month. So now I can officially say that I have completed Metal Gear August.


Gonna sperg about MGS4 a bit, because it gets knocked for its story all the time and I think it has kind of an unfair reputation:

I mentioned earlier in one of the threads about how, if you approach the series chronologically, you can see that as warfare shifts from a conflict between ideals to simply conflict for its own sake, you see less "magic" and more technology in its place.

MGS4 is neat because it goes to all this trouble to create an atmosphere that most people just completely ignored. You have all the fake advertisements for PMC recruiting, and In Act 3 you have this sort of Orwellian Europe where loudspeakers calmly announce that anyone out past curfew will be executed on the spot. Though I have some problems with Act 3's gameplay, it's pretty important thematically for a few reasons.

First of all, you have to consider that Acts 1 and 2 take place in the Middle East and South America, which are basically the 2 de-facto settings for most FPSes / military games. But suddenly Act 3 drops you into Europe, and it's a PMC occupied dystopia where armed drones are literally patrolling the skies at all times. Act 3 is basically a very unsubtle attempt to ask, What is the ethical / moral burden of war when your country isn't losing any lives? What if Blackwater did all of our fighting? What happens when technology can completely divorce you from the actual violence being perpetrated? In Acts 1 and 2, you see rebel militia, but notably you never see who they are actually rebelling against. The opposition is entirely represented by the PMCs.

This gets into the real meat of MGS4's thematic approach: the argument that the trauma resulting from war is incredibly dehumanizing, and that technology fills the gap left behind when humanity is stripped away. The world of MGS4 is in a perpetual state of conflict-by-proxy, to the point that everyone is experiencing that trauma. You can consider the SOP program to essentially be the product of that trauma - it's PTSD on a global scale.

I think the B&B Corp was an attempt to put a face to this idea, though the execution leaves something to be desired. (I think Skullface is going to be playing a similar role in TPP, at least partially). Drebin's stories are extreme to the point of parody, and it's possible that he was making them up completely, but in the end he is just telling iterations of his own story - a child traumatized by war, stripped of even their name, and confined to a technological prison by the Patriot AI (Drebin's APC isn't all that different from the Beast suits, at the end of the day).

edit: Also worth pointing out that the world of MGS4 comes pretty close to creating "a timeless enemy" by wrapping the entire globe into a cycle of reciprocal violence - everyone is at war with everyone, always, for reasons that are entirely unclear ("We've always been at war with Eastasia"). In a way, Ocelot ends up being the person who comes closest to carrying out the Boss's will, and he probably didn't even realize it.

Anyway that is my completely unsolicited MGS4 wall o' text.

Grizzled Patriarch posted:

Just 100%ed GZ for the second time because I am running out of ways to contain my need to play this game.

I also beat MGS4 and PW (main story missions only) again, played them back and forth this month. So now I can officially say that I have completed Metal Gear August.


Gonna sperg about MGS4 a bit, because it gets knocked for its story all the time and I think it has kind of an unfair reputation:

I mentioned earlier in one of the threads about how, if you approach the series chronologically, you can see that as warfare shifts from a conflict between ideals to simply conflict for its own sake, you see less "magic" and more technology in its place.

MGS4 is neat because it goes to all this trouble to create an atmosphere that most people just completely ignored. You have all the fake advertisements for PMC recruiting, and In Act 3 you have this sort of Orwellian Europe where loudspeakers calmly announce that anyone out past curfew will be executed on the spot. Though I have some problems with Act 3's gameplay, it's pretty important thematically for a few reasons.

First of all, you have to consider that Acts 1 and 2 take place in the Middle East and South America, which are basically the 2 de-facto settings for most FPSes / military games. But suddenly Act 3 drops you into Europe, and it's a PMC occupied dystopia where armed drones are literally patrolling the skies at all times. Act 3 is basically a very unsubtle attempt to ask, What is the ethical / moral burden of war when your country isn't losing any lives? What if Blackwater did all of our fighting? What happens when technology can completely divorce you from the actual violence being perpetrated? In Acts 1 and 2, you see rebel militia, but notably you never see who they are actually rebelling against. The opposition is entirely represented by the PMCs.

This gets into the real meat of MGS4's thematic approach: the argument that the trauma resulting from war is incredibly dehumanizing, and that technology fills the gap left behind when humanity is stripped away. The world of MGS4 is in a perpetual state of conflict-by-proxy, to the point that everyone is experiencing that trauma. You can consider the SOP program to essentially be the product of that trauma - it's PTSD on a global scale.

I think the B&B Corp was an attempt to put a face to this idea, though the execution leaves something to be desired. (I think Skullface is going to be playing a similar role in TPP, at least partially). Drebin's stories are extreme to the point of parody, and it's possible that he was making them up completely, but in the end he is just telling iterations of his own story - a child traumatized by war, stripped of even their name, and confined to a technological prison by the Patriot AI (Drebin's APC isn't all that different from the Beast suits, at the end of the day).

edit: Also worth pointing out that the world of MGS4 comes pretty close to creating "a timeless enemy" by wrapping the entire globe into a cycle of reciprocal violence - everyone is at war with everyone, always, for reasons that are entirely unclear ("We've always been at war with Eastasia"). In a way, Ocelot ends up being the person who comes closest to carrying out the Boss's will, and he probably didn't even realize it.

Anyway that is my completely unsolicited MGS4 wall o' text.

Soral posted:

this post takes more time to read than it takes to watch all the cutscenes in mgs4 lol

Soral posted:

this post takes more time to read than it takes to watch all the cutscenes in mgs4 lol

Zoq-Fot-Pik posted:

Grizzled Patriarch posted:

Just 100%ed GZ for the second time because I am running out of ways to contain my need to play this game.

I also beat MGS4 and PW (main story missions only) again, played them back and forth this month. So now I can officially say that I have completed Metal Gear August.


Gonna sperg about MGS4 a bit, because it gets knocked for its story all the time and I think it has kind of an unfair reputation:

I mentioned earlier in one of the threads about how, if you approach the series chronologically, you can see that as warfare shifts from a conflict between ideals to simply conflict for its own sake, you see less "magic" and more technology in its place.

MGS4 is neat because it goes to all this trouble to create an atmosphere that most people just completely ignored. You have all the fake advertisements for PMC recruiting, and In Act 3 you have this sort of Orwellian Europe where loudspeakers calmly announce that anyone out past curfew will be executed on the spot. Though I have some problems with Act 3's gameplay, it's pretty important thematically for a few reasons.

First of all, you have to consider that Acts 1 and 2 take place in the Middle East and South America, which are basically the 2 de-facto settings for most FPSes / military games. But suddenly Act 3 drops you into Europe, and it's a PMC occupied dystopia where armed drones are literally patrolling the skies at all times. Act 3 is basically a very unsubtle attempt to ask, What is the ethical / moral burden of war when your country isn't losing any lives? What if Blackwater did all of our fighting? What happens when technology can completely divorce you from the actual violence being perpetrated? In Acts 1 and 2, you see rebel militia, but notably you never see who they are actually rebelling against. The opposition is entirely represented by the PMCs.

This gets into the real meat of MGS4's thematic approach: the argument that the trauma resulting from war is incredibly dehumanizing, and that technology fills the gap left behind when humanity is stripped away. The world of MGS4 is in a perpetual state of conflict-by-proxy, to the point that everyone is experiencing that trauma. You can consider the SOP program to essentially be the product of that trauma - it's PTSD on a global scale.

I think the B&B Corp was an attempt to put a face to this idea, though the execution leaves something to be desired. (I think Skullface is going to be playing a similar role in TPP, at least partially). Drebin's stories are extreme to the point of parody, and it's possible that he was making them up completely, but in the end he is just telling iterations of his own story - a child traumatized by war, stripped of even their name, and confined to a technological prison by the Patriot AI (Drebin's APC isn't all that different from the Beast suits, at the end of the day).

edit: Also worth pointing out that the world of MGS4 comes pretty close to creating "a timeless enemy" by wrapping the entire globe into a cycle of reciprocal violence - everyone is at war with everyone, always, for reasons that are entirely unclear ("We've always been at war with Eastasia"). In a way, Ocelot ends up being the person who comes closest to carrying out the Boss's will, and he probably didn't even realize it.

Anyway that is my completely unsolicited MGS4 wall o' text.

Soral posted:

but seriously, this post is bigger than my xbox lmao (very large)

net cafe scandal posted:

That's impossible.

net cafe scandal posted:

That's impossible.

cool biRd pics posted:

another rad vid by this dude

https://www.youtube.com/watch?v=eMq4K4IEEuI

Soral posted:

but seriously, this post is bigger than my xbox lmao (very large)

elf help book posted:

its a good post

cool biRd pics posted:

another rad vid by this dude

https://www.youtube.com/watch?v=eMq4K4IEEuI

cool biRd pics posted:

another rad vid by this dude

https://www.youtube.com/watch?v=eMq4K4IEEuI

In Training posted:

I think all the cracks in the game where Kojima's depression peaks through are more interesting than the large-scale
PTSD. Although I don't disagree with that guy, but the story beneath the surface is more interesting to me, the metatextual narrative embedded in the very creation of the work.. I jack off the cartoons.

In Training posted:

I think all the cracks in the game where Kojima's depression peaks through are more interesting than the large-scale
PTSD. Although I don't disagree with that guy, but the story beneath the surface is more interesting to me, the metatextual narrative embedded in the very creation of the work.. I jack off the cartoons.

Grizzled Patriarch posted:

I like the part where Drebin shouts "We have to get away from that MGS!"

In Training posted:

I think all the cracks in the game where Kojima's depression peaks through are more interesting than the large-scale
PTSD. Although I don't disagree with that guy, but the story beneath the surface is more interesting to me, the metatextual narrative embedded in the very creation of the work.. I jack off to cartoons.