LMAo i said the very same thing aloud. i thought he was about to launch into a thing about how great D-Dog was lmao

I felt that Venom didn't only feel guilt, but also really liked Paz. As Paz's last tape said 'no amount of killing, revenge et cetera will bring me back'. As Paz was Venom's own imagination (therefor his thoughts), wanting to go to the ends of the Earth to bring one person back isn't just guilt, it's affection.

I came to post this. It's the medics guilt for not finding the second bomb, the only semblance of his identity as medic left in his subconscious manifest in these hallucinations.

But this is equally bullshit. The end of Peace Walker revealed her to be another mentally ill triple agent who wanted to kill the world for some reason. Paz is a shit character who frankly deserves death. All the rape and torture is Ground Zeroes is creepy trash of course but none of that can be blamed on some random medic/pilot. What a total shit-show of a plot... Vagina bombs, dear lord.

1. Venom didn't know that otherwise it would retconns everything. 2. This hypnosis and head transplant that we didn't get to see is asinine. 3. Peace walker and 5 ruined the series.

The Wandering Shadow The whole reason he has the horn is because he tried to grab Paz at the same time BB did. Its so obvious that he cared.

All of Motherbase loved Paz, and I always felt that the guilt of missing the second bomb was Venom's only personal feeling in the story (besides his feelings for Quiet). It wasn't something he was feeling as part of "playing Big Boss", he was the medic, he feels responsible for losing her. Considering how Venom doesn't seem to mind playing Big Boss after the reveal, it honestly feels like he had a harder time accepting the lose of Paz than he did the loss of his own identity.

I'd even argue the Boss has no guilt over Paz's death. He sees her as an enemy agent who betrayed him. He only went to the camp to get her because she had information he wanted. He was more concerned with losing his intel than he was about saving her life. Venom on the other hand (the medic) was directly in charge of ensuring her health and safety and he failed. She was relying on him to save her and he failed. He has way more regret about it than the Boss does.

@@stranger59 no, killing and his hate for it is also a personal feeling cause he is a medic. He even imagined the sharpnel in his heading growing to be a demon horn.

@@pfitz9346 yeah, people seem to forget that Big Boss literally suggests or asks Kaz if they are going to neutralize her before they are compromised. You have to had not have play GZ to not know that.

ShayMay Remember V had 5 writers though. And Fukushima wrote for MGS4 for a while and that game has the worst writing in the series.

Reminding me how much I dislike Auteur theory

Polymath How was MGS1 more collaborative with the dialogue? He had Fukushima who write the CODECs and V had 5 writers in total. MGS1 sounds better because A: Jeremy Blaustien did the translation and localization and B: The actors didn't have to do lip synch. Or follow bizarre rules like in MGS2. Blaustein was fired after MGS1 and the rest of the games got a much lower quality translations because Kojima demanded that they be more "accurate" which just leads to them being more stilted in english. Also the actors now had to synch their lines to the lip synch meant for the japanese actors so they had to add or remove words all over the place or say their lines very unnaturally. Hayter said that 2 in particular was difficult and weird because they had specific instructions to not talk over certain background noises or synch some of their dialogue to rushing water or beeping noises in the cutscenes. And yea Murata probably had a much bigger role in 4 creatively than Kojima. Which is probably why its so bad. Murata also write and directed Zone of the Enders 2 and that games dialogue and story are hilariously bad. Its probably why Kojima willingly doesn't have his name on the box of MGS4 and just gave himself a producing credit on the back like it was a spin off or something.

ShayMay MGSV is basically an anti-colonialist game

I agree with you in parts Polymath. But, what you will find in every Metal Gear game(with Kojima)? meta narratives and fourth wall breakings. Metal Gear Solid 1 and V did this better in my opinion than every other game on the series, include Metal Gear Solid 2. MGS2 have the fourth wall breaked explicitly and this is insulting the expectator, "you are not understanding what I've already done on the first MGS and now I do as cleary as possible to you understand me." MGSV returns to MGS1 era, when you are cleary when you have to be cleary and put mistery when you have to put mistery. It is not so easy to understand, but as time passes and I with a open mind return to things on MGSV I like the game more and more.

Another interesting way of doing it: have the reveal in The Truth by way of Ishmael/BB voiced by Hayter, and Venom still as Keifer. I saw someone else suggest that and thought it would've been pretty cool.

djbeema Yes, that's a very good idea!

Well said, that last bit. Gonna keep that one for myself.

Yeah can't have any fanservice in MGS. Oh wait there's ALL OF QUIET

Gren Wren the game's whole twist was all about fanservice, lol

I think that actually would have been a brilliant way to end things. Or at least Intrude N312 where he captures Grey Fox.

Personally I think Sutherland was perfect. Venom seemed to be softer and "mature". Hayters gruffer voice doesn't feel as fitting to me.

I had to watch phone booth too imagine how it could have been x)

Kojima's a starfucker. That's why he keeps bringing back Reedus and Del Toro. He's gone from wanting to work in Hollywood to trying to bring Hollywood to him.

Rodrigo Lanas Before he passed away, John Cygan, the voice of Solidus Snake should have voiced Big Boss AND Venom Snake. That is narratively fitting.

Sutherland has lots of emotional scenes and line deliveries but for whatever reason, it's just cut and left sitting in the game files. There are in fact a small number of completely finished missions with full audio, that were just left behind. They really did just run out of time, the last six months must have been a complete mess.

How's anyone supposed to expect a second bomb inside someone's ass?

The problem is... he was phoning it a lot. He knew all along the medic wasn't Snake.

jedisquidward I WAS PLAYING HIM LIKE A DAMN FIDDLE

RexVergstrong no he didn't, Ocelot did. Miller found out at the end.

did he? I took that dialogue as during the time of the hospital escape.

watch?v=wwoLZS8-gCA this one

Except in MGS2, it was done WAY, WAY better.

Meme Bump His inclusion in GZ indicated greater potential. His revenge quest pretty much writes itself after suffering from the hands of Skull Face. Omitting him from TPP was a huge mistake imo. “Oh yeah Boss, btdubs Chico died; you didn’t see that though. Sorry.” I mean come on.

So you're the man who masterminds the game?!

It's a joke about his name, dude. But yeah I get his point.

It makes me think that Kojima is looking at the wrong Western media, we know he's a fan of. Seeing what "Westerners" apparently like, and then going from their. This in a way makes me a little... nervous (shall we say) that his next game which uses the Decima Engine (Horizon Zero Dawn) will follow in MGS5's footsteps.

Assassin's Creed II is still the best open world game ever.

I'm honestly ready for the death of open world games at this point. They have their merits, and god knows I've sunk many a joyful hour in to them, but at the end of the day they just aren't as fulfilling on an emotional level as a good, tight narrative.

I still feel there are two big points at the end of the story: the charade of entrusting you as Big Boss is Kojima's way of saying "you made Metal Gear what is, not the corporation owning IP's or trademarks" and that time sink with details not properly executed (such as Ahab was at Outer Heaven, Ismael was at Zanzibar Land and that the parasites were genetically engineered from microbes from The End's body) is supposed to you with a phantom limb - looking for something to be there, but never will be. I also think the game's themes would have been better as Identity and Loss and not Race and Revenge. Even the song "The Man Who Sold the World" in the game's context could be about taking Big Boss with us and leaving and empty vessel for Konami that we - the ones in the know - know not to give a damn about.

Sorry, should be fixed now!

Thank you. I love your videos a lot!

You should probably not make your HOBBY (video games) into your LIFESTYLE. Your ROLE MODELS should not be BRAND NAMES.

Connor Foster Lol words can't describe how hyped I was for this. Ask any of my friends and they'd tell you I simply never shut up about it for a year. What a monumental disappointment. More false advertising than misdirection.

I know that feel, man. Ever since I saw the first reveal trailer in 2013 I was excited as hell for it. Then once it finally came out and I played it, it was just undewhelming as hell.

I really don't think the vocal chord parasites were the problem... I'd say the characters were.

They weren't. It was the way the characters were rushed and pulled off like Venom being silent mostly because of the "muh you're Big Boss" thing.

a cover of elegia, by new order. it was used in one of the phantom pain trailers! haymish makes all of the music for this channel himself, so i think the cover is by him probably

The first chapter was the primary story. The second chapter focused in wrapping up sub-plots.

No, it was focused on making you think the game had more than 7 hours worth of gameplay and story.

"focused on" Dude this game wasn't focused on anything

It was focused on taking your money.

Quiet was always going to be there, no chance of her being written out. Kojima hyped her up more than any of the villains, and it really helped the Joost's career.

Honestly Quiet's final scene was one the most moving scenes in the game (alongside Shining Lights). It was worth the build-up. I also think the vocal chord parasite, while a little convoluted, are the most "Metal Gear" thing in the entire story, so I don't think removing them is a good idea, if anything they should have been introduced earlier. Maybe wrap the Revenge plot up quicker and then move it into a global contagion containment (psuedo-horror style like the wandering husks) for Chapter 2? The implementation of audio tapes was such a disappointment... all the story hidden away and not enough was front loaded.

Maybe not remove the revenge plot quicker but do a better job of tying everything together, with the revenge plot serving as the main thread? That's a big problem with the game's structure, the fact that so many of the plot points don't blend together as cohesively as they should, so it all falls pretty flat. Even Huey's betrayal, which should have been a major emotional gut punch didn't feel as impactful as it should have, and like so many elements of the game, Skullface wasn't as well realized a villain as he could have been, just popping up every now and then like some kinda boogeyman. And all that talk about his past being deeply connected to Snake's in Ground Zeroes had no real payoff either, along with the reveal that Kaz was working with Cypher at the end of Peace Walker. There's a lot that could have been done to improve the game's story, truth be told. Of course, as I said, there was a lot of behind the scenes stuff going on that was detrimental to how the game turned out. Now we can just look at what we got and imagine what could have been.

No parasites would mean no quarantine platform though.

Auteur art takes a certain mindset, definitely.

gus dam I'm always the first one to compare something to a Lynch movie, but I didn't see it whatsoever with this game. All I saw was an extremely poor story with awful pacing.

Eh kinda, difference is Lynch's movies tend to have a good, satisfying plot even if you're left with more questions than answers at the end. His movies are mostly a character study and all the strange dreamlike moments are often related to a characters psyche (lost highway) or just supernatural occurrences that are to far beyond human comprehension to ever fully explain (twin peaks). In that respect mgs2 is more like a David Lynch project than mgs5 because everything came to serve the plot in the end even if you didn't realize it at the time. Where as mgs5 has multiple plot lines that don't even connect to the main theme and then tops it all off with a twist that, while unexpected, doesn't serve or add meaning to the previous hours AT ALL.

I'm see your point. Though I mostly agree, mgs2 is more related than mgs5 and that in Lynch the plot is more satifsying, I would say that most of Lynch's zanny elements have the flimsiest relation to a narrative or a meta narrative and are mostly there for the sake of being quirky, interesting and entertaining (I'm mostly thinking Twin Peaks and Blue Velvet). In the same way, Mgs5 story didn't bother me with its plot holes, unanswered questions or the acute disconection of very realistic setting and surrealistic plot, as I believe they serve a greater purpose of meaning or game-feel than their role within the narrative. I believe that was what Kojima intended for every Mgs but achieved it better on Mgs 5. The end twist (even though I didn't finish the game, but seen it on videos) was apropriate to tie in the other metal gears and add complications to the lore of the entire series. I think that this was in accordance to usual ongoing theme Kojima likes to explore of gamer-character relation (which he showed on mgs 2 when he just blatantly said "now you play as raiden and not solid snake" as well as many other instances of clones,future selves etc.). What I hated on Mgs5 was that storytelling was mostly delivered through damn audio tapes and 4/5 missions felt like a rpg grind.

gus dam Oh I agree that kojima was definitely trying to go for what your saying and that Lynch definitely incorporates elements just for the sake of being weird and interesting, the difference in my opinion is that even if those elements were obviously made just for the sake of weirdness, they always felt at place within the world set up (or deliberately out of place in an effort for a tone shift) and also overall added an interesting layer to how they connected to each character. Take Eraserhead for example, everyone says it's so random and complicated of a movie but really most the dream sequences obviously deal with fears the main character has about commitment, his child, and his yearning to feel wanted. Despite all the hype around how impossible it is to understand, it really has a simple explanation to most of it's weirdness and questions. Overall it's simplicity was hiding in plain site for viewers wanting complicated answers. And in a similar fashion the answer was hiding in plain site in the game and overall (for a metal gear game) wasn't that complicated of a twist to understand so I agree that kojima was definitely going for a meta Lynch style narrative, I just think he kinda fell flat with his execution and lack of meaning the overall twist has on the rest of the narrative other than explaining that big boss can sometimes be a dick and that venom is us trying to influence the saga but ultimately only causing a dent. Both great ideas, but executed bad in relation to the plot in my opinion

wswsd 32 nope! This is just my opinion.

Although the first four games are far superior than this game, but it does not mean that this game is bad. This game should have been lenier just like the rest. The open world was empty, the story is very incoherent and chopped, graphics and gameplay mechanics and the only elements that really alleviate the game and save it from being boring.

If this game was a brand new IP, without all the narrative bullshit that plagues it, it would actually be a much greater game. It's because it's a Metal Gear game that hurts it the most, I think.