- Average Bear
- Apr 4, 2010
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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.
It's a fireman carry, strong soldiers use it
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Aug 29, 2015 23:50
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- Adbot
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ADBOT LOVES YOU
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Jun 10, 2024 11:42
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- Average Bear
- Apr 4, 2010
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Tfw big boss will never hold you in his strong arms...
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Aug 29, 2015 23:51
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- Pablo Nergigante
- Apr 16, 2002
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Aug 29, 2015 23:52
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- SM64Guy
- Apr 1, 2005
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Tfw big boss will never hold you in his strong arms...
vr is becoming a reality
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Aug 29, 2015 23:53
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- SM64Guy
- Apr 1, 2005
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but boss, theres only one set of footsteps
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Aug 29, 2015 23:53
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- Pablo Nergigante
- Apr 16, 2002
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but boss, theres only one set of footsteps
That's when I fultoned you
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Aug 30, 2015 00:02
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- Grizzled Patriarch
- Mar 27, 2014
-
These dentures won't stop me from tearing out jugulars in Thunderdome.
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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 fucked around with this message at 00:22 on Aug 30, 2015
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Aug 30, 2015 00:15
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- cool biRd pics
- Aug 28, 2009
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you will feel ashamed of your words & deeds
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another rad vid by this dude
https://www.youtube.com/watch?v=eMq4K4IEEuI
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Aug 30, 2015 00:21
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- extremebuff
- Jun 20, 2010
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Aug 30, 2015 00:22
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- extremebuff
- Jun 20, 2010
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holy poo poo this rules
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Aug 30, 2015 00:25
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- net cafe scandal
- Mar 18, 2011
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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.
Thank you.
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Aug 30, 2015 00:28
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- LawfulWaffle
- Mar 11, 2014
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Well, that aligns with the vibes I was getting. Which was, like, "normal" kinda vibes.
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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.
Good thoughts and opinions. I don't know if Kojima's just been writing himself out of holes for the last few games or if he's always had an idea of what he's been building with the Solid series. Your last point about Ocelot coming closest to achieving Big Boss's will is something that will be fleshed out soon, and I'd like to think that it'll reveal that Ocelot has always been acting in accordance to Big Boss grand plan. Because Big Boss can't really win, per se, since Cipher/The Patriots continue to exist in the future games, it'll be more about setting up Ocelot as a quadruple agent to add a new layer to the every game staring Solid Snake.
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Aug 30, 2015 00:32
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- Soral
- May 30, 2009
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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.
source your quotes
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#
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Aug 30, 2015 00:37
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- In Training
- Jun 28, 2008
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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.
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#
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Aug 30, 2015 00:38
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- Soral
- May 30, 2009
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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.
this post takes more time to read than it takes to watch all the cutscenes in mgs4 lol
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Aug 30, 2015 00:39
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- Average Bear
- Apr 4, 2010
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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.
That's swag.
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Aug 30, 2015 00:39
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- Average Bear
- Apr 4, 2010
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this post takes more time to read than it takes to watch all the cutscenes in mgs4 lol
loll
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Aug 30, 2015 00:40
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- In Training
- Jun 28, 2008
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Lol
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#
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Aug 30, 2015 00:42
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- Soral
- May 30, 2009
-
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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.
but seriously, this post is bigger than my xbox lmao (very large)
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Aug 30, 2015 00:45
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- net cafe scandal
- Mar 18, 2011
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but seriously, this post is bigger than my xbox lmao (very large)
That's impossible.
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Aug 30, 2015 00:47
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- Zoq-Fot-Pik
- Jun 27, 2008
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Frungy!
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Aug 30, 2015 00:48
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- Average Bear
- Apr 4, 2010
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It shocks you.
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Aug 30, 2015 00:49
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- THE PENETRATOR
- Jul 27, 2014
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by Lowtax
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Ocelot is a real american hero
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Aug 30, 2015 00:49
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- frank.club
- Jan 15, 2011
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by Jeffrey of YOSPOS
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If you go through his profile he's got tons of videos of a few metal gear solid titles. Can't wait to see what he does with TPP
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Aug 30, 2015 00:49
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- Pablo Nergigante
- Apr 16, 2002
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but seriously, this post is bigger than my xbox lmao (very large)
The Arsenal Gear of posts
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Aug 30, 2015 00:52
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- elf help book
- Aug 5, 2004
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Though the battle might be endless, I will never give up
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its a good post
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Aug 30, 2015 01:00
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- Liquid Penguins
- Feb 18, 2006
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by Cowcaster
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Grimey Drawer
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I'm very excited to hang out with my true friend forever big boss
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Aug 30, 2015 01:02
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- Pablo Nergigante
- Apr 16, 2002
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I actually liked it too
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Aug 30, 2015 01:06
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- Zoq-Fot-Pik
- Jun 27, 2008
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Frungy!
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This guy rules.
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Aug 30, 2015 01:07
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- Pablo Nergigante
- Apr 16, 2002
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I liked it when the soldier put his hands up and just stood there while BB got in the truck and drove away
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Aug 30, 2015 01:08
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- In Training
- Jun 28, 2008
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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.
In Training fucked around with this message at 01:13 on Aug 30, 2015
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Aug 30, 2015 01:11
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- net cafe scandal
- Mar 18, 2011
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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.
Agreed on all counts
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Aug 30, 2015 01:13
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- net cafe scandal
- Mar 18, 2011
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I like the part where Drebin shouts "We have to get away from that MGS!"
Lmao, me too.
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Aug 30, 2015 01:13
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- In Training
- Jun 28, 2008
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Edited my post, meant to say "I jack off to cartoons"
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Aug 30, 2015 01:14
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- In Training
- Jun 28, 2008
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Snake and Ocelot pointlessly slugging it out, just for the sake of the game having a final boss because that's how games work and just so they can settle their score, despite the narrative wrapping up 30 minutes ago, is the most poetic moment in gaming.
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Aug 30, 2015 01:16
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- Adbot
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ADBOT LOVES YOU
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#
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Jun 10, 2024 11:42
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