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#source: I'm Konami.
shitpostingkats · 7 months
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phantastus · 2 years
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👀👀👀👀
Thoughts on Silent Hill announcements?
My thoughts are that if it's going to be Bloober Team, Bloober Team had BETTER give me Pyramid Head Wall Bonk x7 and that is the only way they can get me to tentatively edge out from my corner and accept kibble from them like an abused dog.
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jinxxedmisery · 7 months
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Not trying to attack anyone here, I get it if you don't like the new Alucard.. and granted I'm pretty biased in this because I absolutely adore the old Castlevania art made by Ayami Kojima.. but
For some of the fans that are disappointed about Alucard getting a redesign, I hope you realize this new one is much closer to his design in Sympony Of The Night
(Btw.. if you're attacking or otherwise harassing anyone, but especially the artists and animators that worked on the show for this reason... SHAME. ON. YOU.)
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And in fact, the first four seasons are inaccurate to the source material, his design from Dracula's Curse which follows the story of Trevor looks like this.. (the horror... he looks like a basic vampire, I know..)
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Side note, I really hope we see Genya Arikado before the series loses popularity... And maybe his design from Judgement making a cameo.. but I somehow doubt it..
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I have a feeling after the second season... assuming the showrunners don't redesign again according to demands by some Netflixvania fans... When the newness wears off, some that initially hated it may just grow to like it.
I also hope this encourages some that haven't to look into or play some Castlevania games too! Maybe if enough attention is given to the games Konami might finally do something with the series again? But maybe that's just wishful thinking...
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amuletduelist · 7 months
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Series: Yu-Gi-Oh! (Duel Monsters? Kinda?) Artist: Kazuki Takahashi Details: Yu-Gi-Oh! Duel MonstersGame Boy Game (Including box art, instruction manual and cartridge) Publisher: Konami Year Published: 1998 (JP only release) Source: Scanned from personal collection Other notes: Firstly. Bruh. Why did they Mike Wazowski poor Honda?! Show the man some respect! Secondly, this is an interesting case. Even though the game is titled Duel Monsters and features characters from the DM anime, as you can see, all the artwork is from the Toei anime. Given that the anime ran from April to December 1998 and the game was released in December 1998, I'm guessing they possibly tried to ride the wave of the Toei anime to draw attention to the game. Maybe? Just wild speculation on my part, to be honest. More info on the game itself can be found on the Yu-Gi-Oh! Wiki, including on how the game works. PLEASE DON'T DELETE THE ABOVE COMMENTARY!
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nogacheloveka-blog · 2 months
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The Bad Sanses somehow ended up in the Backrooms. №6
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This is the translation of the another post from Russian to English. I understand English, but it is very difficult for me to write in English, so I asked chat GPT to help me. I have corrected some parts, but there still may be mistakes.
Heh, Killer found his lost family. I thought it was funny to depict him like that. To gather information, I use both English and Russian wikis on Backrooms. Level 2.1 is in the Russian version, but for some reason it's not in the English one. I won't be too accurate with the canon and will even take liberties with it. It's quite confusing and I don't want to get too tangled up in it, since my story isn't serious. I'm just having fun.
Shaking through a couple more rooms and turning into random corners, the group began to hear the sound of working machinery. Since there were no other landmarks, it was decided to follow the noise. Along the way, they encountered more strange inscriptions and drawings on the walls. Some were particularly interesting, and Dust even wrote them down in his notebook . It seems he gets some pleasure from working with paper and pen. Especially since the previous owner kept notes sloppily and confusingly, making it not always clear what was a note for later words and what was just random phrases or a list of necessary items (shopping list?). He also constantly mentioned other people, which sent shivers down their spines.
Apparently, people mainly lived in the Hub and in small numbers in some other levels and locations.
To get to the Hub, enter the Konami code at the entrance to level 1. You can also accidentally get there through doors on other levels.
Did this mean that the locals also mess around with files? What a headache .
The group decided to avoid people for as long as possible. Of course, Error wasn't particularly worried: he was capable of destroying AUs that were sometimes entirely made up of people. (Nightmare knew that sometimes it required several regenerations in the Anti-Void, but decided to keep that knowledge to himself) .
As they made their way to the rumbling machines, the Bad Guys noticed that the temperature of the air began to change: rising sharply above Hotland and then dropping to the coolness of Snowdin. Of course, for their magic bodies, this didn't pose any harm, but they had never seen such jumps in the atmosphere before. But it seemed to be a distinctive feature of the level they were moving through.
In one of the dark locked rooms, they came across a new type of creature. Their aura seemed quite familiar . They were clearly strange distorted monsters from the underground. Perhaps Snowdin's dogs or something similar. They didn't attack, but constantly wanted to approach and sniff, which made Error swear.
These speechless creatures got along well with Nightmare, through whose ability to suppress and ignite emotions, they could communicate with them in a way, instilling the necessary direction of thoughts and receiving an emotional response. Here, the Keeper of Negativity was in his element. It was only annoying that he couldn't feed on them: Smilers simply reacted to external irritants and were slightly smarter than amoebas.
However, according to records , these monsters willingly attacked humans, and humans were terrified of them. Dust immediately set about correcting the record about them.
Smilers Nasty things, but I've been lucky enough to avoid them so far. They say there's another nest besides the Hive with these creatures alien to our world. Researchers seem to suspect that they're really from another planet. Tips : - Maintain eye contact and slowly back away. - Be quiet and don't make loud noises. - Use Smiler Repellent. - Turn off all light sources you're equipped with. Prohibitions: - Panic and run away from the Smiler if it hasn't started chasing you. - Make loud noises.- Leave your light sources on. -------------- *are safe and friendly like dogs. Killer fit in well with their pack. They love light and seem to eat it somehow. Not so strange, after all, photons do exist.
They continued on with their entourage.
From the hot spots of level 2, you can get to 2.1 (nothing interesting, leads to level 3). Some doors here lead to level 3. A strange colorful curved door leads to 283 (DAMNED CLOWN HELL).
No one wanted to go to "Clown Hell", even though the notebook compiler had been wrong about the danger level of various phenomena more than once. But if the locations of this place were called "levels," then to get out of here, they had to go through all of them, right? It sounds logical.
The group still managed to get to level 3. Although it wasn't without problems. The notes spoke of two paths: accidentally through doors and through hot areas. They seemed to have used both at the same time.
Finding a place with high temperature or doors wasn't that difficult thanks to the group's overall number, along with the Smilers . Error preferred to simply stretch threads in all directions for some reason ( He won't get his glasses in this company ) . Then it was a simple routine of opening doors in the found "hot spots." Smilers couldn't open doors themselves, so it turned out to be impossible to entrust this to them.
During these searches, they found some office paper and a few spare pens for Dust. It seems he and Cross started communicating better with each other, working with the notebook and supplementing it with their observations.
Killer entertained himself by drawing various indecencies on the walls with the help of several aerosol paint cans. Horror also drew on the walls, but his actions were more practical and consisted of leaving marks on explored doors. Essentially, they were doing the same job, just in different ways.
Finally, behind one of the doors, there was a corridor of dusty brick, similar to the many Ruins of underground dungeons they had visited. Error confirmed that this was a transition to another level. He still didn't understand how to predict where they would end up, except through visual inspection of the passage. Along with his complete helplessness during his Loadings between locations, this drove him crazy. He had extremely high demands on himself. The only thing that slightly comforted his wounded pride in such moments was the hope and need for the gaze of others looking at him with a question.
Nightmare belongs to Jokublog Killer belongs to RahafWabas Dust belongs to Ask-DustTale Horror belongs to Sour-Apple-Studios Error belongs to CrayonQueen Cross belongs to JakeiArtwork
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0m3g45n1p3r4lph4 · 4 months
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Okay Bionicle fans, I need your help with something.
Recently I got a physical copy of Bionicle the Game (2003) for Gameboy Advance, and it's hard as hell. To try to understand it better I dug through the manual, and found odd mention of a Cheats menu. The manual claims that this can be opened with some sort of command input (akin to the Konami code) and would allow Infinite Lives (dearly needed), Weak Enemies (helpful), and Mini Toa (totally unnecessary).
My research had some sources say that the menu was never implemented, while others say it exists and can be accessed via GameShark. However, no one seems to know the actual code to get in, meaning it can't be done on original hardware.
I hope to change that! If anyone has any info on this game, the Cheats menu, or is (or knows anyone who is) particularly savvy with datamining, please get in touch!
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(I'm almost willing to run through every possible string of inputs to find it. But that'd be a last resort)
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dnuoh-xof · 3 months
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Do you have anything to say about metal gear: survive? It feels like you’d have some opinions on that
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Oh, I most certainly do. As a matter of fact, I'll go off on a limb and say that there is a really good video on the subject which likely will hit more bases than I will in my own... "review," per se. (Granted, the video in question is a little lengthy, capping off at around 40 minutes, but if or when you have the time to, I would most certainly reccommend it.) And the video in question appears to void or ignore several instances which may have proven the creator's points wrong, BUT ALAS.
This is my opinion, not his, so here it is.
For those of you who might not know, Metal Gear: Survive, developed and published solely by Konami Digital Entertainment—and I'll try my best to describe it without sounding ironic or patronizing—was a little more-or-less a... "deviation," from the already-established base of the franchise, for more reasons than just one. However, the star aspect of the game in question which sticks out like a sore thumb above all the rest, would be the fact that you... fight zombies; the gist of the story following that of "the Captain, an MSF soldier who enters a parallel dimension and establishes a local command center to unravel the mysteries of a strange virus that turns people into zombie-like creatures."
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Which, yes, isn't an entirely foreign concept within the Metal Gear franchise at all; given the existence of the Skulls / Parasite Unit within Metal Gear Solid V: The Phantom Pain, joined with the vocal cord parasites, which—more or less—caused a similar, almost zombie-like effect within infected soldiers... however I believe that within that game—and every other Metal Gear game—such a presence of... idiosyncrasy, so to speak, was at least digestible without necessarily being overbearing. But, within a game like Metal Gear: Survive, it's the entire plot.
In essence, the game was quite similar to the likes of Bloons: Tower Defense, perhaps Clash of Clans... but instead of popping balloons, you're bursting blood vessels at the mere thought of not only having to micromanage platforms and... "survive", but at the cost of having to sit through a near-infuriating, almost comically disconnected story which is so far separated from the source material, that you wonder to yourself; "Is it true that Kojima greenlit such a thing?"
The answer towards which would be: no, he didn't, and even touted its existence in the very same fashion, alongside Yoji Shinkawa, who stated that, "If [he] were to have worked on Metal Gear: Survive, there most certainly would have been mechs [present within the game.]," to paraphrase. Predictably, all of this was entirely out of Kojima's hands—for reasons I'm sure we're all aware of—and thus... inevitably resulted in being a massive mess. Despite its... mixed reception.
Would this game have been better as a standalone, far separated from the Metal Gear franchise in its entirety? Perhaps... but seeing how this game appears to have been created for the sole purpose of... "milking the Metal Gear cashcow"—given how eager Konami Digital Entertainment was to resume production of its Pachinko machines, mobile games... already having brought into consideration throwing Metal Gear into the mix, even before all of this mess occurred—I find that to be highly unlikely, given how this game wasn't necessarily made with... good intentions.
Even aside from its messy production, and the entire... "Kojima v. Konami" debacle, I find that the game's artistic and programming design absolutely, positively pale in comparison to Metal Gear games of old. Which could likely easily be explained by Metal Gear concept artist Yoji Shinkawa's absence in said game's creation... however I find that the game pales in almost every category, not just in regards to its visual design. Even if, that too, is a little...
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Like... I don't even know what to say, or how to describe this, in complete honesty. And with little-to-no valuable information upon this... creature's Wikia page, much less within the game itself, it seems it would be inconsequential to just pass this off as a hiccup on Konami's behalf. And while this game is non-canonical, and a spinoff, it just... it makes no sense, at least within a Metal Gear-centric context. As well as a visual aspect, and from a conceptual aspect. Both in theory and in execution, apparently.
This, alongside its music and sound design, I find to be appalling and almost shameful, because... even if you've never touched or seen anything out of this game, nor have you desired to so much as poke it with a ten-foot-pole, you can just tell that its music is completely soulless. As evident by the lack of Metal Gear Solid V: The Phantom Pain's primary composer, Ludvig Forssell, alongside several other musicians and composers which have come together over the years of Metal Gear's conception to carefully craft many masterful and memorable pieces we've all come to know and love.
If I asked you to compare these two soundtracks, blindly, which one would you prefer? If I were to give no other description, other than "ALBUM #1" and "ALBUM #2," in your honest opinion, which do you truthfully believe you would fancy better?
ALBUM #1?
Or ALBUM #2?
I'm not so sure about you, but without a shadow of a doubt, I would choose the first album. With the conception of Metal Gear Solid V: The Phantom Pain's music, near-instantly could I pick apart not only rhythms and patterns within Mr. Forssell's writing, but trademarks, of which are near-impossible to miss. I cannot say the same for the music of Metal Gear: Survive; all of which sounds too corporate and generic to have even a fragment of soul within it. As evident between the difference of "Ludvig Forssell," and "FILM SCORE LLC," present beneath each of either album's tracks on Spotify.
Because, as we all know, a very important factor of a video game's irrefutable success is its music; its memorability, its notoriety... being able to hear even a single set of notes from a piece, which near-instantly causes you to point at your radio or device screen and exclaim, "Hey! I know that song!" A very good example of such musical genius being—despite my vices against its base—Metal Gear Rising: Revengeance. And even if you've only ever listened to a single song from that game, you'll know that it KICKS ASS, even if you've never once played the game in your entire life. A sort of general consensus that all of the game's "fans" can agree upon.
But, I suppose, at the end of the day, even bad games have their fans, just as horrible, irredeemable villains have their fans. And even if I were to never touch Metal Gear: Survive with a ten-foot-pole, there are people who find it to be entertaining; viewing its punishing gameplay design as a sort of plus, in a way. And, if you were to play the game without thinking too hard about its associations or deeper themes, I would agree with that sentiment. Sometimes, just playing a game to play a game is the better route to take.
And even if that game is nothing more than a cheap grapple with relevancy, all the while remaining false to its home series's pretexts, then by all means: be my guest. Just don't expect me to make a post—as long as this one is—praising the game for anything.
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yogoodfella · 22 days
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POTENTIAL NEWS ABOUT MELODIOUS' TCG RELEASE INBOUND
I'm wording like that because I struggle to believe it's real.
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So apparently Etoile's TCG name has been revealed and it's going to be Flowering Etoile the Melodious Magnificat.
Now... As a christian, I know what that means. And because of that, I struggle to believe it.
Magnificat refers to a type of canticle used in Christian lithurgy. In short, it's a type of song you're supposed to chant during mass in a chorus.
After the Melodious in history having all the religious themes removed out of the OCG version into the TCG, it surprises me that they add a Christian theme.
Well, I can't say I confirm it for now, but here's the source.
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syauska · 2 years
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Okay so, after the rollercoaster ride of today's Silent Hill transmission from Konami, I do have some preliminary thoughts.
(I'll link to the individual trailers as I go; the full transmission is like almost an hour long, I don't want to subject anybody to that lmao)
The full slate of media being worked on is at least 5 separate projects:
Silent Hill 2 Remake, a RE2-make style traditional remake developed by Polish studio Bloober Team (Layers of Fear, The Medium) in collaboration with the core remaining members of Team Silent, Masahiro Ito and Akira Yamaoka
Return to Silent Hill, a new film by the 2006 film's original director Christophe Gans and produced by Victor Hadida, his late brother Samuel Hadida's production partner, that largely follows the plot of Silent Hill 2
Silent Hill Ascension, some sort of livestreamed semi interactive evolving media production created as a partnership between Bad Robot (JJ Abrams' media company), dj2, Behaviour Interactive (creators of Dead by Daylight), and Genvid Software
Silent Hill Townfall, a mysterious character driven piece created by Annapurna Interactive (Stray, Kentucky Route Zero) and NoCode Games (Observation)
Silent Hill f, a title left deliberately vague, set in 1960s Japan and developed by the creator of j-horror landmark Higurashi: When They Cry, Ryukishi07
I have mixed feelings about all of these! I love the original developers and appreciate the depth of care and affection all these new partners have for the franchise--multiple people at each satellite company have stated how deeply formative they found the original games--but like... there's so much going on at one time here.
Out of all of these? I have the highest confidence in Townfall and f. Annapurna Interactive has shown (to me at least) that they understand ambience, the importance of quiet spaces and environmental storytelling, emotional nuance, and no fear of taking risks or being left field. That's EXACTLY what the franchise needs right now, after years of being trash trapped in the doldrums. Likewise, Ryukishi07 (whoever they are, single plural or otherwise) has a veteran pedigree in Japanese psychological horror, and could do a lot of good transforming the games into the new world with their talents. How much it ends up feeling silent hill y is up for debate, considering how juxtaposed their normal style is from the American cinematic homage Silent Hill normally reads as, but still.
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With regards to the movie: I do like Christophe Gans, and think he's a competent filmmaker with an appreciation for the source materials and atmosphere that other directors might lack (such as MJ Bassett, the director who botched Revelation in 2012).... but. I simply don't trust the vision he's outlined in his recent interview with Konami to be a captivating movie. Why watch his movie at all? If Return to Silent Hill is going to be like they said, pretty much a straight adaptation of 2, they're not going to have the room to grow and develop from the source materials to make it feel like its own Thing the way the 2006 film managed.
I'm a bit of an outlier in that I did genuinely like the 2006 movie! Despite its problems with pacing and the corporate interference of adding the B plot with Sean Bean, and the flashbacks detailing Alessa's backstory being a bit mishandled (also likely due to upper management's demands of rewrites), the tone, the environments, and performances were really effective. It haunted me for quite a while after my first viewing, to the point where it helped develop my affinity for horror in general and the series of games in particular, which imo is a hallmark of a good movie! But the way Konami and Constantin Pictures have outlined their project for RtSH, I have no reason not to just skip it and watch a compilation of cutscenes from the game on YouTube instead and call it a day, or pony up for the remake, which is going to deliver the same story almost shot-for-shot.
I have no idea what they're doing with this Ascension bullshit. It's supposed to be interactive and crowd operated in a live setting, but like. How does that work here. This franchise has always been a very independent experience from the jump, and the only deviations have been utter failures (notably Book of Memories, a top-down roguelike co-op game on the PS Vita relentlessly hated by fans and critics). How do you translate the fear of isolation and claustrophobia and violence and the unknown into a livestream? I just don't see it being good honestly. I'm happy to be wrong! Please I hope I'm wrong here. But... considering "executive produced by JJ Abrams" has been the blood in the water for more than one esteemed franchise, because he can't fucking write his way out of a paper bag but people tell him he can, I just don't see it having the nuance or subtlety the brand needs.
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The SH2 remake is just an utter wildcard, but I'm leaning towards "eh" at this point. I just think, like... we don't really need a film adaptation of 2 AND a remake. It's so redundant, telling the same story in the same ways, when 2 is already a beloved central pillar of horror gaming to begin with. There's so much potential and so many stories to work with in the franchise already! Or even an original screenplay set in the universe could be good too. But what sounds like a 1-1 adaptation of the original game is, well. Not what I want all that much, either from the movie side or the game side. I don't know whether I like the focus in the game so far, considering it's supposed to feel quite hazy and unsettling, while the trailer feels a bit too grounded and emotive. But it's hard to say this early whether that means they miss the mark or nail it in terms of atmosphere. The discourse is pretty evenly split from what I've seen. As a good sign: Masahiro Ito and Akira Yamaoka are both involved as core members of the SH2R team, which means creatively the Bloober Team should be on a comparatively tight leash with regards to the liberties they can take with the game's direction. Bad sign: apparently Bloober Team are known for bungling topics around mental illness in some of their work... and idk if you've ever played Silent Hill 2, but that's a pretty significant component of the title lmao.
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Overall? My feelings are certainly mixed, but the fact that the series is being brought back to life after nearly a decade of silence and development hell? I'm glad. I certainly hope all of these end up good, but won't hold my breath and choke on it if I can help it. High hopes for f and Townfall, though. If any of these can make it, it's them. And as always, remember
"The fear of blood tends to create fear for the flesh"
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skaruresonic · 8 months
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Here's a fun fact for you: the writer of this show, Warren Ellis, wiki broused to write it because he has never played the games and was never interested to do so, describing them as "games where you just make a bunch of pixels jump around"
This isn't even a secret, he repeatedly admitted it during interviews, also stating that the other team members were fans of the games and so would help him out which...yeah they seemed to be perfectly happy with his choices
This actually brought to a bunch of hilarious moments in hindsight:
for example there's an OC in the second season that he wanted to name Mathias because he had found the name on the wiki and liked it, but Konami presumably stepped in to tell him that he couldn't use it because that's Dracula's original human name in the games. This info is on his wiki page btw!
Imagine writing a Sonic adaptation and somehow missing that Robotnik is also Eggman's name when it's one of the first things his wiki page says
Also for your information Nocturne, the sequel show that's coming out at the end of this month, is going to have a native american vampire as one of its villains (he's technically a game character who wasn't native in the games and looked nothing like the guy in the trailers but creating OCs and giving them the names and backstories of canon characters is standard fare with the show)....and let's just say that, given the show's track record with the representation of racial minorities (especially two asian totally not twins in season 3) I'm not holding my breath for that one
the writer of this show, Warren Ellis, wiki broused to write it because he has never played the games and was never interested to do so, describing them as "games where you just make a bunch of pixels jump around"
God, fauxteurs piss me off. Go work in some other medium if you hate video games so much, yeah? When will we get creators who aren't crotchety boomers who thumb their noses at the medium? It's nearing 50 years old at this point, why are we still being subjected to Roger Ebert levels of "games aren't Real Art" cold takes? The other thing is that often what ends up happening is even though they're adapting well-known game franchises (which would imply they're well-known for a reason, but logic is seldom fauxteurs' strong suit), their Superior Vision(tm) rarely manages to match the source material's quality, let alone surpass it. Hence why all of their bluster gets really fucking annoying really fast. Their hubris is unearned, and yet they still have the nerve to thumb their nose at the source material, the reason they have work to begin with. Sit down, dude, you just made things worse with all of your fart-sniffing. And they never stop to consider that according to their own logic, it's almost like video games are still so poorly regarded by the mainstream that they know they wouldn't be able to get work in any other medium precisely because their work isn't up to snuff. It's like how David Cage keeps pumping out glorified QTEs as games because if he pitched his scripts as movies, he'd get laughed out of the room.
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This isn't even a secret, he repeatedly admitted it during interviews, also stating that the other team members were fans of the games and so would help him out which...yeah they seemed to be perfectly happy with his choices Actually, I have certain fears that this will happen with Bloober Team and the SH2 remake, despite select members of 2's dev team working with them. I can so clearly picture Reddit in a few years going, "Team Silent approved of it, why are you complaining?"
Woodchipp and I have read excerpts from interviews that heavily imply Bloober Team is attempting to capture 2's vibes and relying on their, quote, "perfect memories" without actually playing it.
Creators will sometimes approve whatever just to make money or because they don't care. For example, Kikiyama, the creator of Yume Nikki, is an intensely private person, so private that some people believed they were dead for years. Kawakura Studios approached them with the idea for Dream Diary, a game that changes the fundamentals of the original's design and symbolism, and Kikiyama approved of it. So approval from creators doesn't inherently guarantee a quality product, or ensure that the new team knows what they're doing. Also, we all know how Sega approved Pontaff's scripts :)
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for example there's an OC in the second season that he wanted to name Mathias because he had found the name on the wiki and liked it, but Konami presumably stepped in to tell him that he couldn't use it because that's Dracula's original human name in the games. This info is on his wiki page btw! ...That was literally the very first thing I learned when watching a Castlevania lore video. Am I now officially more knowledgeable than Ellis? ...that's sad lol. tfw you're such a peak writer that you can't even read the wiki. At least Pontaff READ Sonic and Eggman's Wikipedia pages. Jesus Christ the bar is in hell and fauxteurs keep finding ways to dig under it lol ---
Also for your information Nocturne, the sequel show that's coming out at the end of this month, is going to have a native american vampire as one of its villains (he's technically a game character who wasn't native in the games and looked nothing like the guy in the trailers but creating OCs and giving them the names and backstories of canon characters is standard fare with the show)
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easternmind · 1 month
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You mentioned in a post that Taro Kudo worked at Telenet and I'm curious which games he worked on, given that I wasn't able to find out any info on that (as opposed to fellow Telenet to Square to Lovedelic dev Kenichi Nishi, who I could easily find info on his Telenet work)
To my knowledge, Kudo was never credited in any Telenet production. The source for this information is this interview (Japanese only) where he states that he had worked there between leaving Konami and joining Square. Axelay launched in late 1992 and Super Mario RPG's development began in early 1994. One can estimate that he worked there for an uncertain amount of time during the year 1993. He also says his experience there was mostly a leisurely one, with little actual time spent working, which indicates that he may not have been assigned to any ongoing project. Another possibility is that the project he was working on never made it to market. https://news.denfaminicogamer.jp/interview/171030
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exeggcute · 1 year
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Metal Gear Solid - Story Recap & Timeline
since I couldn't find this anywhere accessible online, here's a transcription of the "Story Recap" and "Timeline: Major Events" sections of Metal Gear Solid V: The Phantom Pain: The Complete Official Guide (Collector’s Edition). these are just bonus sections accompanying the official MGSV game guide, but, like the game guide itself, I thought these recaps were pretty well-written and just generally illuminating. even as a longtime fan, this is the first time that's metal gear's infamously byzantine plot has almost made sense to me lol.
being part of an officially sanctioned game guide, I'd imagine this is more or less accurate across the board, but with metal gear being metal gear I'm sure there's a handful of points in here that are either misconstrued or otherwise up for debate.
long post incoming below the readmore... and when I say "long" I mean LONG. (although if mile-long tumblr posts aren't your thing, here's a google doc instead.)
A FEW NOTES FROM THE TRANSCRIBER:
The following content was sourced from Metal Gear Solid V: The Phantom Pain: The Complete Official Guide (Collector’s Edition) and has been reproduced here for non-commercial educational purposes only.
I’ve attempted to preserve the original formatting from The Complete Official Guide as much as possible. That said, there may be some errors throughout, particularly in the form of omitted or garbled words; my apologies for any confusion this entails.
The Complete Official Guide has a policy (allegedly at the request of Konami itself, lol) of not revealing Ishmael’s true identity—I’d assume this is because the game guide was released in sync with MGSV and they wanted to keep some of the surprise intact. As such, there’s a lot of wink-wink-nudge-nudge language around the whole Big Boss/Venom Snake thing (and not much explicit acknowledgement of how this impacts the story), but it’s not too hard to read between the lines here. 
Metal Gear Solid – Story Recap
The story of the Metal Gear series spans over one hundred years, from the origins of The Philosophers in the early 1900s to the conclusion of Metal Gear Solid 4 in 2014. Each game is broadly a self-contained episode, yet they are all intricately interwoven; to have missed an installment can rob certain encounters or revelations of their full impact. In this extensive story recap, we explore the key moments and developments in the Metal Gear canon to enable readers, die-hards and newcomers alike, to better enjoy this absorbing tale. The density and complexity of the plot is such that we have deliberately, albeit with great regret, omitted a number of characters and events in an effort to make the overall picture more accessible.
Early 1900s
The starting point of the Metal Gear saga, the creation of The Philosophers, occurred during the early 1900s. This unique and deeply secretive organization was established by a select group of eminent figures from the three countries that were to dominate the century that lay ahead: the United States, Russia and China. Together, these individuals amassed a functionally boundless supply of funds, known as The Philosophers’ Legacy, that they believed would be sufficient to win any present or future world conflict. Those who wield the resources to wage war also possess the means to prevent it, and the Philosophers sought to achieve this noble goal by using their incredible resources and powerful influence to steer world history away from brutal, needless warfare. However, with time and the death of its founding members, the raison d’étre of this clandestine committee was gradually corrupted; the Philosophers’ philosophy was not passed on to posterity. In the confusion and chaos that ensued after the Second World War, the U.S.S.R.—or, more precisely, an individual named Volgin—gained sole possession of the Philosophers’ Legacy. This development is the catalyst for the events of Metal Gear Solid 3.
1964 - Metal Gear Solid 3: Snake Eater
During the Cold War, the U.S. and U.S.S.R. were obliged to respect the doctrine of “mutual assured destruction”: the fact that a nuclear strike by one nation would inevitably lead the other to retaliate with equal or greater force. With outright conflict impractical and unconscionable due to the inconceivable horrors that it would inevitably unleash, the nations instead rattled their figurative sabers in proxy wars on both actual and ideological battlefields.
The events of Metal Gear Solid 3 take place in 1964 in the context of the Cuban Missile Crisis, a breakdown in diplomacy that brought both superpowers closer to Armageddon than ever before or since. This is but a backdrop, however: the true story of Metal Gear Solid 3 concerns the fight between the three countries that created the Philosophers’ Legacy to retrieve it from the clutches of Colonel Volgin.
An American agent (Naked Snake), part of a CIA special services division called FOX, and supported by a remote team that includes his commander (Major Zero), is sent into Soviet territory by the U.S. secret services. The objectives of his mission are to:
Destroy the Shagohod, a weapon so powerful that it could disrupt the delicate balance that prevents nuclear warfare between the two superpowers;
Assassinate Colonel Volgin, the man in sole possession of The Philosophers’ Legacy, who plans to overthrow Soviet Premier Nikita Khrushchev’s government and use the Shagohod weapon to enable the U.S.S.R. to win the Cold War;
Execute “The Boss”, the most renowned U.S. secret agent of all time, and Naked Snake's mentor, who chose against all odds to betray her country and join forces with Colonel Volgin, providing him with two U.S.-made portable nuclear warheads as a token of her sincerity.
A master in the arts of infiltration and survival techniques, Naked Snake succeeds, after a torturously demanding mission, in destroying the Shagohod and eliminating Volgin and The Boss. It becomes clear, in the end, that the defection of The Boss was an uncompromising deception designed to enable her to approach Volgin and play an integral, irreplaceable role in the retrieval of the Philosophers’ Legacy and the prevention of nuclear war. Her final duty was to accept her role as a traitor to the last, and die at the hands of her apprentice in order to conceal the facts of her mission. It is also revealed that Ocelot, a young prodigy of the Russian military who was seemingly loyal to Volgin, was actually a double agent working for the United States government.
The biological son of The Boss, he in fact helped recover the microfilm containing the access codes to The Philosophers’ Legacy (or, as we later learn, half of it), and was working to further the interests of the CIA the whole time.
The Boss is certainly the one who knew best what the whole incident had in store for her. A patriot to the very last, she accepted the sacrifice of dying for her country by assuming the tawdry mantle of a turncoat. Naked Snake finally comprehends the gravity of her gesture at the conclusion of the adventure. His grief and disenchantment are heightened by the sheer perversity of his subsequent elevation to the rank of “Big Boss” by the superiors that so casually discarded his predecessor, the woman he worshipped above all others.
This was the price of The Boss's ideal, the cost of her commitment. She was ready to die for the way of life she freely chose, the expression of liberty that she lived for. The death of The Boss is a shockwave that reverberates throughout the entire Metal Gear Solid series. Though the light of every individual is inevitably extinguished on one fateful day or another, some continue to illuminate the world they left behind for many years to come. Others, by the same token, cast long shadows...
Early 1970s - Creation of Cipher
In the aftermath of The Boss’s death, Major Zero and Big Boss (Naked Snake, having accepted his new title) choose to embrace the ideals that they believe The Boss held dear. Her willingness to surrender all for the protection of her country leaves an indelible impression, and leads to the creation of Cipher in 1970.
Led by Major Zero in person, and co-founded by Big Boss and Ocelot (among other select associates), Cipher is envisaged by its creators as both a powerful intelligence agency serving broad North American interests, but also a benevolent steering committee seeking to benefit the global community as a whole—a reimagined version of the original Philosophers, bankrolled by a huge portion of their precursors’ funds retrieved, in secret, after Operation Snake Eater. Under the specific auspices of Major Zero, however, Cipher soon begins to adopt a radical solution to ensure peace and unify nations under a single command via a process of gradually imposing the political, economic and social model of the United States on the rest of the world.
By standardizing other nations through subtle manipulation, nurturing facsimiles of their own cultural and political landscape, Zero believes that he might prevent future opposition or outside threats: homogenized states should have less cause to quarrel. In doing so, he misinterprets the true passion behind the principles of the woman that inspired him: that a belief in individual liberty underpinned her desire to defend her nation at all costs, even at the expense of the ultimate act of sacrifice.
Where The Boss sought to create a world without borders, seeing herself as a tool or a weapon to achieve that end, Cipher—for which, read: Zero—increasingly seeks to unite the world by means of total control and domination of the entire globe. His mistake is that he interprets The Boss's will too literally—to him, a “world without borders” is one where everyone on the planet is unified under a single system. The world, in Zero’s eyes, is just a Collection of tools that he might use to achieve his goals—and, unfettered by sentimentality, he believes that the end justifies the means, no matter the cost.
It is worth noting that Big Boss also misinterprets The Boss's ideal and legacy. He takes the opposite extreme interpretation and strives to create a military nation “without borders”—free of all political influence and serving as a haven for those willing to fight for themselves. He recognizes himself as a weapon, perhaps the most powerful of all, and believes that he must keep fighting. From that perspective, he has difficulty in truly appreciating why The Boss chose to sacrifice herself. In his mind, she should have fought on, to have found another way, whereas for her, giving her life for her homeland was just a means to an end. She simply chose the course of action she felt was right at the time and believed that all humanity should have the right to do the same.
This subtle schism is crucial, in that it will drive the nascent conflict between Zero and Big Boss for years to come, and ultimately be the origin of all key events in all future episodes in the story.
With the practically inexhaustible resources that The Philosophers’ Legacy puts at Zero’s disposal, the influence of Cipher grows as banks, foundations, corporations and even governments come to rely on his investments. With the legendary Big Boss promoted as an icon, helping to guide the opinions of the masses and rich and powerful alike, Cipher begins to shape the development of the world’s political and social landscape. As the organization's power grows, so too does the disenchantment felt by Big Boss, who feels manipulated and exploited by Zero, not to mention at odds with his ideology.
Aware of the growing distance between the friends, Zero secretly launches the “Les Enfants Terribles” project in 1971-1972. Concerned by their philosophical differences, Zero realizes that Big Boss is on the brink of leaving the organization and plots to ensure that the group can somehow retain this critical ally... not to mention secure the genetic legacy of a man perceived as the greatest soldier in history. As a result, three clones of Big Boss are created in utmost secrecy: Solid Snake, Liquid Snake, and, later, Solidus Snake. When Big Boss learns of this profound betrayal, he comes to realize that his friend attaches little, if any, significance to the founding principles of their organization, and that his thirst for power would eventually suffocate all freedom in the world.
At this stage, the estrangement of the two Is complete. Major Zero dreams solely of control over minds and information, for a greater good of his personal design. In sharp contrast, Big Boss now aspires to achieve the antithetical extreme—freedom from any form of governmental control. Big Boss resigns from Cipher and disappears to found his own group of independent mercenaries, while Zero further consolidates his power and influence.
1974 - Metal Gear Solid: Peace Walker
Having broken away from the United States in general, and Major Zero in particular, Big Boss stands ready with freshly recruited troops to offer his military services to any potential client. This is how the Peace Walker Incident begins.
Big Boss's second in command, Kazuhira Miller, finds their first customers: a professor from Costa Rica’s University for Peace and one of his students, Paz Ortega. Both claim they wish to repel a mysterious armed group that has invaded their country. This force, called the Peace Sentinels, is actually a de facto creation of the CIA. Intuiting that the professor himself belongs to the KGB, and reluctant to dive back into the old, seemingly interminable struggle between the superpowers, Big Boss only accepts the mission after hearing a recording in which the voice of his former mentor, The Boss, is clearly heard. Puzzled, as she cannot possibly have survived their duel in 1964, he secretly hopes that his involvement will enable him to learn more.
Garrisoning his troops in an offshore facility off the coast of Central America that they christen Mother Base, Big Boss completes a complex mission involving a walking nuclear tank known as Peace Walker, developed by a wheelchair-bound scientist named Huey Emmerich—a researcher who will play an important part in future events. A defining idiosyncrasy of this weapon is that it is equipped with an advanced artificial intelligence that can decide, with complete autonomy, whether to retaliate in the event of an enemy attack.
The artificial intelligence is the work of Dr. Strangelove—a former associate of The Boss. Strangelove created the A.|. based on a sophisticated statistical model of The Boss, taking into account everything from her history to her records, physiological data, correspondence, and emotional profile. Driven by an obsessive love, Strangelove’s ambition is to resurrect The Boss in a virtual form. This revelation, of course, explains the origin of the voice that caused Big Boss to accept the mission.
Despite a fierce battle against Peace Walker, Big Boss fails to stop an imminent nuclear launch, and it is only the robot's A.I. itself, perhaps authentically replicating the incorruptible ideals of The Boss, that saves the day by sinking Peace Walker at the bottom of Lake Nicaragua.
These events only serve to reinforce Big Boss's belief that governments and their associated agencies cannot be trusted, and that he is himself a weapon whose purpose is to grow ever stronger and to never, ever give up the fight. He decides to expand his own organization both by recruiting troops and by hiring Emmerich and Strangelove to design their own advanced nuclear deterrent on Mother Base—a bipedal tank that they decide to name Metal Gear ZEKE.
Once this Metal Gear is functional, it is stolen by Paz, who reveals that her allegiance lay with Cipher all along. Paz attempts to convince Big Boss to join Zero and to have Mother Base become the military arm of Cipher. With little possibility of agreement or compromise, Big Boss has no choice but to fight Metal Gear ZEKE, the climactic explosion of the tank leading Paz to seemingly sink without trace in the Caribbean.
Though a trial for Big Boss, the damage to ZEKE is only a setback: with careful salvage and the expertise of Strangelove and Emmerich, the Metal Gear can be restored. With a well-trained army, a Mother Base, and a Metal Gear possessing nuclear capabilities, Big Boss is well on his way to fulfilling his dream of building a nation for himself and his men. In the post-credits sequence that concludes the Peace Walker story, he makes a speech that clarifies his motivations, and the purpose of Mother Base:
“We will forsake our countries, we will leave our motherlands behind us and become one with this Earth. We have no nation, no philosophy, no ideology, we go where we're needed, fighting not for country, not for government, but for ourselves. We need no reason to fight, we fight because we are needed. We will be the deterrent for those with no other recourse. We are soldiers without borders, our purpose defined by the era we live in; we will sometimes have to sell ourselves and services. If the times demand it, we'll be revolutionaries, criminals, terrorists. And yes, we may all be headed straight to Hell, but what better place for us than this?”
Naturally, this is not something that Major Zero is prepared to permit—both in principle, and because of the precedent it sets for others who might recognize and struggle against the gossamer yoke of Cipher’s ever-growing web.
1975 - Metal Gear Solid V: Ground Zeroes
Now a true legend among soldiers worldwide, from decorated commanders to the lowliest mercenaries, Big Boss is at the head of a formidable military unit who aspire to call themselves a nation—even if this makes them enemies of Cipher and established sovereign states, particularly the major powers.
Paz, who survived the explosion of Metal Gear ZEKE and was rescued by a fisherman, is intercepted by Cipher agents, who interrogate her in a U.S. military base on the southern tip of Cuba known as Camp Omega. Soon afterwards, Mother Base is contacted by representatives of the International Atomic Energy Agency (IAEA), who demand access to Mother Base for an immediate nuclear inspection in light of damning rumors sweeping through the international community.
It is Huey Emmerich who convinces the reluctant Big Boss and Miller to comply, arguing persuasively (among other stratagems) that a pass from the IAEA would be far preferable to their intended plan of merely attempting to stonewall the agency with legal technicalities. Emmerich informs the IAEA that Mother Base will comply, and a date is set for the inspection. Preparations are made to hide ZEKE and conceal all evidence of their nuclear capabilities on Mother Base.
Meanwhile, Chico, a boy rescued by Big Boss and a long-term resident of Mother Base, learns of Paz’s predicament, and, his mind clouded by his love for the young woman, slips away to rescue her himself. He only comprehends the depth of his naivety at the last moment, when he is captured with great ease by the Camp Omega troops. Both he and Paz are subjected to protracted, abhorrent tortures to force them to reveal critical information about Mother Base.
Big Boss learns of their internment on the eve of the IAEA inspection and, aware of the sensitivity of extracting them from Camp Omega, resolves to undertake the urgent mission personally. He arrives at the outskirts of the facility just as the inspection force departs for Mother Base.
Big Boss successfully locates and rescues Chico, then Paz. During the chopper ride back home, Big Boss discovers that the incoherent Paz has been surgically implanted with an explosive device. After the on-board medic removes it in a traumatic procedure, Big Boss arrives back at Mother Base to witness the final stages of his facility being razed by the so-called inspection team—who are actually soldiers belonging to an elite, enormously secret Special Forces unit known by the designation “XOF".
The IAEA inspection, and a precision-targeted leak of information that compelled Big Boss to launch a simultaneous rescue mission at Camp Omega, were the setup for a plan initiated by Skull Face to utterly destroy Mother Base. Big Boss manages to rescue Miller from XOF forces before bullets, bombs or waves can claim him, but a second explosive device planted in Paz’s body takes them by surprise and causes their chopper to crash. Despite the sacrifice of the on-board medic, who uses his body to shield Big Boss from the explosion, the grievously wounded Big Boss is left comatose by the event.
Though the truth of the matter would not emerge until a decade later, Huey Emmerich’s betrayal of Big Boss and his comrades on Mother Base was profound: he actually made direct contact with XOF during the IAEA “negotiations” to ensure his own survival, and facilitated the circumstances that led the facility to be overrun with such merciless efficiency.
In a twist that sets up the events of The Phantom Pain, Major Zero must also contend with betrayals by a trusted underling in his shadowy organization. Unbeknownst to Big Boss, Zero long ago established another clandestine special unit, XOF, that was originally tasked to provide imperceptible yet essential support to FOX operatives during their missions—including Operation Snake Eater in 1964. From advance groundwork and hidden logistical support to clean-up operations, XOF was FOX's midday shadow.
In later years, following Big Boss's estrangement from Zero, XOF became Cipher’s elite covert ops group. However, its long-serving Executive Officer, Skull Face, had by then developed a pathological hatred of Big Boss and Zero. So many years spent facilitating, in part, the legend of the former, while complying with the bidding of the latter, leaves Skull Face consumed by a desire to strike out at them.
Skull Face’s hidden agenda first becomes apparent during the attack on Mother Base, which he orchestrated entirely on his own, culminating in the explosion of the devices surgically planted in Paz Despite the animosity between them, Zero had no desire to kill Big Boss and condemned the attack irrevocably.
The most pertinent events of the nine years that follow gradually become apparent during the course of the Phantom Pain episode, but some warrant an introduction here. After the helicopter crash, Zero arranges for the comatose Big Boss to be transferred to a military hospital in Cyprus, where he receives treatment in utmost secrecy. For his part in the events that led to Big Boss's injuries, not yet known to be a deliberate assassination attempt, Skull Face is stripped of his privileged command and exiled to a lesser role in Cipher’s African operations. Here, he develops a significant interest in biological weapons and their pioneering applications.
A year later, Skull Face makes his move against Major Zero. His principal interest in Paz, we learn, had been that she had once met with Zero in person at one of his safe houses. Armed with knowledge of this building obtained during her torture, and a package delivery to its address containing an item of extraordinary sentimental value to the Cipher mastermind, Skull Face succeeds in infecting Zero with a parasite that causes irreversible degeneration of the host’s cognitive functions. Such were the depths of Skull Face’s hatred, a clean death would simply not suffice.
Despite the best efforts of leading specialists to at least slow the effects of the parasite, Zero is resigned to his fate. Before he loses his autonomy and mental acuity—to become as we witness him at the conclusion of Metal Gear Solid 4, locked in a persistent vegetative state for almost three decades—he sets certain events in motion.
Of greatest import is the commission of Dr. Strangelove (working for DARPA, an agency which, unbeknownst to her, is serving Cipher) to contribute to the development of an extremely advanced A.I. system designed to control the flow of information in the nascent digital world. This A.I. system will only be revealed in the series at a later stage, when it will be referred to as The Patriots. In essence, Zero knows he is doomed as an individual, but refuses to entrust the world’s reins to a new generation. He instead ensures that an autonomous artificial intelligence will secretly pull the world’s strings in his place: an implacable digital enforcer of his ideology.
The last documented accounts of Zero directly interacting with known individuals all apparently pertain to Big Boss. He contacts Ocelot to task him to protect their mutual friend while he is in a coma, and also speaks with Miller to prepare his former second-in-command for the legendary soldier's eventual return. Zero even visits Big Boss himself in 1977 to say farewell—an event connected with one of the greatest mysteries in The Phantom Pain, and the identity of one enigmatic man in particular.
Meanwhile, due to the unconventional structure of the Cipher organization, and knowledge gleaned through his many years of XOF service, Skull Face is able to gradually subvert its resources to cement a growing power base: a parasite, in a sense, gorging on a robust and oblivious host. The stage is set for...
1984 - Metal Gear Solid V: The Phantom Pain
When Big Boss, or rather Ahab, awakes from his nine-year coma as The Phantom Pain begins, he is immediately embroiled in a dramatic (and, at times, terrifyingly surreal) fight for his life.
Despite safeguards put in place by Zero, not to mention Ocelot’s expert oversight, Skull Face somehow learns of Big Boss's location. He sends an overwhelming force to the Cypriot hospital to finish the job that he began with Paz’s explosive payloads. At the vanguard of this assault is Quiet, an expert assassin ordered to personally identify and execute Big Boss. Only the last-second intervention of Ahab's roommate, the heavily bandaged Ishmael, prevents his hapless demise.
Ishmael barely defeats Quiet in an unconventional duel that leaves her in flames and defenestrated. This provides a moment of brief respite where Ishmael reveals that he has been watching over Ahab for the full nine years of his coma, before XOF forces begin an all-out onslaught on the hospital, executing patients and staff alike without pity or remorse.
Bizarrely, it is a second antagonist, apparently unaffiliated with the XOF forces, who indirectly enables the enfeebled Ahab and Ishmael to escape the building. The terrifying Man on Fire, his body awash with seemingly supernatural flames and apparently impervious to bullets or explosives, appears hell-bent upon killing Big Boss himself. The slender opportunities provided by the resultant conflict between XOF forces and this creature, who can apparently effortlessly ingest projectiles and propel them back with deadly force at his assailants, provides sufficient confusion for Ishmael to steal an ambulance.
Ahab is clearly in a desperate state throughout this ordeal, and witnesses sights that must surely be hallucinations. These include the apparition of a gigantic whale appearing in the sky, twisting to snatch an attack helicopter from the air in its enormous maw.
When Ishmael loses consciousness during their high-speed escape, Ahab is forced to grab the wheel. In the aftermath of a consequent crash, he awakes to find Ishmael has disappeared. Only the timely arrival of Ocelot, and a sudden rainstorm that quells the flames of the Man on Fire, saves his life.
With physical rehabilitation and Ocelot’s expert assistance in getting up to speed in contemporary world affairs, Ahab quickly relearns what it takes to be the living legend known as Big Boss. Repatriated to a new (yet fledgling) Mother Base, established off the coast of the Seychelles by Kazuhira Miller in his absence, Big Boss's first debut post-coma engagement is to rescue his second-in-command from captivity after a recent disastrous operation.
Once Miller is back at Mother Base and restored to active duty, the command structure of Big Boss and Miller, supported by the ever-resourceful Ocelot, begin to expand the new mercenary organization—dubbed Diamond Dogs—by completing contracts for a wide variety of clients. Naturally, they derive a certain satisfaction from accepting commissions that lead them into direct conflict with known Cipher interests. One assignment ends with Big Boss capturing his would-be assassin back at Cyprus, Quiet, after a sniping duel. Curious about this unusual and gifted adversary, he takes her to Mother Base and eventually integrates her into the fold of his burgeoning army.
Big Boss eventually obtains a solid lead on Skull Face’s whereabouts. Though this does not lead to a decisive confrontation, the mission brings him into direct contact with Huey Emmerich, who he then takes back to Mother Base for interrogation. The scientist had been forced (or so Emmerich insists) to work for Skull Face on a new Metal Gear with nuclear capabilities dubbed “Sahelanthropus”. Though Big Boss, Miller and (especially) Ocelot believe Emmerich to be a compulsive liar, and still harbor grave suspicions over his involvement in the destruction of the original Mother Base, the decision is made to allow him to stay on board to contribute his considerable expertise to the organization's R&D projects.
We also learn the identity of the Man on Fire, and the strange, gas-mask-wearing “floating boy” who accompanies him. The Man on Fire is none other than the twisted human wreckage of the former Colonel Volgin, presumed dead after the events of Operation Snake Eater. Catatonic but still clinically alive, Volgin's body was retrieved by Soviet military scientists, who maintained his vital functions in a stage of hibernation while they studied his apparently paranormal capacity for manipulating electricity.
The floating child, meanwhile, is known only by. the designation given to him by Soviet military researchers: Tretij Rebenok or “The Third Child”. Traumatized by the effects of his arcane psychokinetic abilities from an early age, he became a shell broadly devoid of emotion and ego. His advanced powers when we first meet him as an adolescent, it transpires, are fueled exclusively by his proximity to extremes of hatred or anger felt by others.
After a plane crash, in which The Third Child was the sole survivor, a chain of events led the boy's mind into sufficient proximity to sense Volgin’s boundless enmity for Big Boss. With this, their association was forged: Volgin, a scorched carcass imbued with an overpowering obsession to kill the man who destroyed his dreams; and The Third Child, who could facilitate his desire for vengeance. This conjunction gave birth to the creature known as the Man on Fire.
(This was also, it transpires, the means by which Skull Face learned of Big Boss’s location after a nine-year search. Having received word of their curious relationship through Cipher channels under his control, Skull Face took an interest in the case of the strange child and the former Soviet colonel. This led to a momentous development: the animosity felt by Skull Face became the primary inspirational force behind The Third Child's powers in close proximity, effectively putting both the child and Volgin at his disposal. When Skull Face investigated the particulars of the plane crash, he discovered that the events that led to its destruction began over Cyprus: caused, Ocelot later posits, by The Third Child sensing the latent anger of Big Boss far below as his flight passed overhead. Skull Face thought this anomaly worthy of further scrutiny—which led to his discovery of Big Boss.)
On the trail of Skull Face in both Afghanistan and Africa, Big Boss gradually learns about his development of peerlessly advanced biotechnological processes that enable the specialists in his employ (and, by extension, him) to repurpose rare parasites for their precision-engineered military applications. Some are applied to a host to gain the benefit of a highly profitable symbiotic relationship—such as those carried by the fearsome Skulls, his crack soldiers, that imbue them with such astounding physical capabilities. These augmentations are also a part of Quiet’s body, which explains her extraordinary gifts (and, of course, the mechanism for her recovery from the injuries sustained on Cyprus).
Not all of the parasites under development have a beneficial relationship with their host, though. Big Boss learns that Skull Face has been working on the development of a parasite specific to human vocal cords: a variety that lives within the throats of carriers and is activated, weaponized, when it detects the distinctive strains of a specific language.
One of his more fateful missions has Big Boss extract a child soldier from Africa: the “White Mamba”, a charismatic and remarkably tough 12-year-old boy who we will come to know as Eli for the rest of the story.
1984 - Metal Gear Solid V: The Phantom Pain (Continued)
Focusing on the parasite lead, Big Boss draws ever closer to Skull Face. Their climactic encounter, however, is defined by its absence of a traditional showdown between the mortal enemies. With Big Boss placed in a broadly helpless situation, Skull Face opts to relate the dimensions of his ingenuity to the man who eclipsed him for so many frustrated years.
Perfectly aware that Zero, now in persistent vegetative state, has already set in motion his plan to control world affairs via an advanced A.I. system that would later be known as The Patriots, Skull Face explains his elaborate two-step plan.
The first stage is to release a contagious vocal cord parasite strain that targets a specific language: English. Any person infected who subsequently speaks the language will both trigger the proliferation of the parasite within their body, leading to certain death, but also cause the infection of all other people within transmission range. This explains why Quiet does not speak until, much later in the story, she feels that she must: as a host, the parasite would kill her and potentially lead to an epidemic.
The propagation of the infection could, ultimately, lead to the effective destruction of the English language on a global scale, which would in turn prevent the Patriots system from ever becoming operative to within a fraction of its envisioned design parameters. Not even the artful Major Zero could have anticipated such an event while developing the blueprints for his A.I. successor.
The second step of Skull Face’s plans to mass-produce nuclear-equipped Walker Gear technology designed by Emmerich, and then supply this weapon to all suitable interested parties: governments, Private Military Companies (PMCs), even terrorist cells. His scheme relies on the use and manufacture of mysterious microorganisms known as Metallic Archaea—two varieties in particular: one that corrodes metals, and another that has a profitably distinctive relationship with uranium. With the latter, Skull Face found a way to create nuclear warheads without the expense and complications of conventional processing and enrichment technologies. In other words, he can easily mount nuclear missiles on the mass-produced Walker Gears, making weapons of mass destruction available to virtually anyone—a development that would completely rewrite the balance of international relationships.
Using Sahelanthropus as a propaganda tool to instill fear and paranoia in the population, Skull Face hopes to rekindle the Cold War and foster a worldwide nuclear arms race. Thanks to a failsafe device installed in each Walker Gear, Skull Face could monitor and control all of the warheads at his whim, putting him in the position where he would effectively control the entire world’s nuclear arsenal.
Helpless and clearly incapable of defeating the varied forces confronting him, Big Boss is saved against all odds by the presence of Eli, who had stowed away on the Diamond Dogs support chopper hovering above prior to take-off. When The Third Child senses Eli, he exults in the boy's deep-rooted and colossal capacity for animosity—a strain of hatred that surpasses even that of Volgin and Skull Face, whom he promptly abandons. Overwhelmed by the sensations that the child soldier's mind evokes, The Third Child sends the Metal Gear on a rampage, trampling Volgin, devastating the XOF troops and mortally wounding Skull Face. By employing his incomparable expertise, however, Big Boss stops the Metal Gear in a spectacular showdown.
When Big Boss and Miller approach Skull Face in the wake of the fight and ascertain the extent of his injuries, both resolve to leave their nemesis to either take his own life, or die in protracted agony. It is Huey Emmerich, to the surprise of those present, who unexpectedly steps forward to deliver the coup de grace. Eli returns to Mother Base with Big Boss, but has clearly formed a dangerous bond with The Third Child. For those who have followed the series since Metal Gear Solid, this event should cement any suspicions about the future identities of these two.
Though the stories that follow the conclusion of the main Skull Face arc (and that oh-so-deceptive credits sequence) may be briefly misconstrued as postscripts, these subsequent tales turn out to be of great import. Each tale is a vicious gut-punch to the protagonist that, if we accept that violence and discord serve to sow their own kin, perhaps shapes the man that Big Boss becomes at the nexus of the Metal Gear canon: the point at which we arrive at Mr. Kojima’s first two installments in the series. At this stage, the hero of the pre-1990s stories must necessarily become the series antagonist for a time, no matter how nuanced he or his actions appear in light of past and future episodes.
It cannot be denied that, even for a man as outwardly implacable as Big Boss, the closing tales of The Phantom Pain represent anything but a succession of profound sorrows for the legendary soldier. As witnessed in the (entirely illusory) cinematic sequences ‘where he imagines himself interacting with a still-living Paz, he is by no means devoid of emotion or sentiment in the margins of a mind that, he later claims to Solid Snake, died with The Boss. His relationship with Quiet, founded on a mutual respect that grows throughout their association on Mother Base, almost certainly lacks a traditional romantic dimension for either party. This fact doesn't diminish the significance of the connection between two very distinct soldiers—or Quiet’s sacrifice of her own life to preserve that of Big Boss.
Despite Ocelot’s assurance that Big Boss is not his father, Eli's belief that he is a product of the “Les Enfants Terribles” project is unshakable. Even if what he believes is true, Big Boss is no more his father than he is his brother; in clinical terms, based on what the overarching story tells us, the Diamond Dogs leader cannot be described as anything more than an unwitting template. And yet, the hatred that this man inspires in Eli is inexhaustible: it comes to define him. His arcane relationship with The Third Child almost assuredly exacerbates the situation.
Based on available evidence, particularly Big Boss’s encounters with Volgin, it might be construed that the modus operandi of The Third Child at this point in his life might be to bring his subjects into proximity and direct conflict with the subjects of their rancor, without ever permitting a decisive blow or any slender degree of reconciliation or acceptance. Eli’s uprisings and escape attempts on Mother Base culminate in his theft of Sahelanthropus, thereby permanently dividing him from the few individuals in the world who might have rehabilitated the single-minded child soldier. But if The Third Child simply reflects what truly lies at the heart of an individual, perhaps Eli really is truly naught but a terrible little bastard—and whatever his future fate may be, it’s assured by the depth of his unwavering and unwholesome obsession.
In the thematic coda to The Phantom Pain, the outbreak of a mutated English strain of the vocal cord parasite on Mother Base forces Big Boss to slaughter his troops to contain a global catastrophe. Though he grimly assumes this grave responsibility without complaint or apparent compunction, the visual cues suggesting that this act further loosens the shackles on his “inner demon” are inescapable.
Maybe the cumulative events of The Phantom Pain truly do set Big Boss on the path to become the “oni” he resembles in this episode—and Solid Snake's later defeat of him is virtuous and necessary, Patriot paymasters and all. But even if this is the case, his is not a classic “heel turn”, a villainous conversion with a flourish and an impish wink to the crowd. It is, instead, the product of a gradual erosion of a man to the point where only his obsessions remain.
In the short term, Big Boss is more determined than ever to strengthen his troops to the point where he can found his own nation free from traditional governance—a dream that he will later come close to fulfilling in the 1990s.
1995 & 1999 - Metal Gear & Metal Gear 2: Solid Snake
(Note: Naturally, for the two games developed at the very beginning of this intensely story-rich series, the events that occur during their specific time period only swim into recognizable focus for most players when viewed through the lens of prior or subsequent episodes. They remain canon, of course, but large portions of their dialogue and developments are now taken with a generous pinch of salt. Our brief focus here rests upon revelations and developments that actually appear in other episodes.)
The games Metal Gear and Metal Gear 2: Solid Snake tell the story of how Big Boss, now at the head of a very large army of mercenaries, establishes two (fictional) military nations, Outer Heaven, and, later, Zanzibar Land, in an attempt to stand on an equal footing with governments worldwide. On both occasions, the aspirant tyrant (and, of course, the titular weapons technology at his disposal) is foiled by a rookie agent, Solid Snake, his son—or, as we all came to understand later in the real-life Metal Gear chronology, one of the three clones from the “Les Enfants Terribles” project.
Despite being unaware of their existence, Solid Snake unwittingly acts as a tool for Zero’s Patriots, who have been seeking to neutralize Big Boss for years. Once Snake completes his missions in Outer Heaven and Zanzibar Land, The Patriots secretly retrieve the body of Big Boss and pacify him by inducing a state of perpetual coma.
Though Zero has been in a persistent vegetative state for over a decade, The Patriots, now a fully computerized A.|. system designed to manage world affairs and control the flow of information, still act in accordance with his beliefs: in particular, that society can only function through a necessary measure of uniformity with restricted individual will. The Boss's deeply human ideal of freedom and personal commitment is therefore profaned by Major Zero’s A.I. to become a perverted and pathological obsession with control and order, a distrust of unanticipated innovation or initiative, and a belief in the power of enforced conformity to engender perpetual, manageable repetition.
For Ocelot, one of the founding members of Cipher who still understands and appreciates the true nature of the sacrifice made by The Boss (his mother), a growing unease with the methods and corrupted ideology of The Patriots eventually becomes a sense of outrage. But how might he strike out at an omnipresent enemy, an organization with agents embedded within political, military and economic hierarchies throughout the world? To conceal any evidence of his involvement, he devises a sophisticated conspiracy of bewildering complexity.
2005 - Metal Gear Solid
The first major play in Ocelot’s grand plan to destroy The Patriots takes place in 2005. A group of terrorists seize control of an Alaskan nuclear weapons disposal facility on Shadow Moses Island, Alaska, which secretly houses a radical new weapon: Metal Gear REX. In response to the crisis, special agent Solid Snake is sent to neutralize terrorist leader Liquid Snake (Solid Snake’s twin brother from the “Les Enfants Terribles” project) and his men—with Ocelot counted among their numbers.
The Shadow Moses Incident, as it would subsequently be known, was actually initiated by United States President George Sears (Solidus Snake, the third and final Big Boss clone from the “Les Enfants Terribles” initiative), who sought to obtain test data from the Metal Gear REX project as part of a plan to escape the control of The Patriots. He commissioned Ocelot to retrieve the required disc from the Shadow Moses facility, perhaps unaware that Ocelot himself was a founder member of the Cipher/Patriots organization. Ocelot, in turn, is of course working to achieve his own ends, and does so by manipulating Liquid—whom we can speculate he first met as Eli during his time on the Mother Base in the 1980s, subsequently cultivating their relationship over the intervening years.
To gain control of Metal Gear REX, Liquid artfully misdirects Solid Snake, who unwittingly activates the war machine for him. During the process, Snake makes the acquaintance of Ocelot (even severing his arm during their fight) and Hal “Otacon” Emmerich (the son of Huey Emmerich and Dr. Strangelove). Once the war machine Is operational, Liquid assumes direct control of it, but Snake triumphs against REX and ultimately kills his brother.
Select but damning details of the Shadow Moses Incident are leaked to the press, and the existence of Metal Gear REX is revealed on the eve of a planned nuclear disarmament agreement. President George Sears (AKA Solidus Snake) is now in possession of the Metal Gear REX test data secured by Ocelot. Solidus abandons his presidency and disappears from public life.
2007–2009 - Metal Gear Solid 2: Sons of Liberty
In the two years between the Shadow Moses Incident and the continuation of the story in Metal Gear Solid 2, Solidus hides from The Patriots and prepares to strike against them. Meanwhile, Snake and Otacon join forces to found an independent non-governmental organization (Philanthropy) dedicated to preventing the proliferation of Metal Gear technology.
In 2007, Snake and Otacon learn that a disguised oil tanker transporting a new, inordinately powerful amphibious model of Metal Gear (Metal Gear RAY) is due to pass close to New York City. Snake infiltrates the vessel and obtains footage of the machine, but matters take a turn for the worst when Ocelot activates a series of explosions to scuttle the tanker and then suddenly, inexplicably, undergoes a series of convulsions that seem somehow connected to his replacement right arm—the original having been severed during the Shadow Moses Incident. It becomes apparent that he is seemingly possessed by the spirit of the deceased Liquid Snake, the original owner of Ocelot’s new limb. Seemingly under the control of Snake’s brother, he escapes aboard Metal Gear RAY before regaining his full faculties.
The story resumes two years later at a water purification complex (the “Big Shell”) built on the site where the tanker had sunk. As before, the events that occur are the product of the meticulous and multifaceted designs of The Patriots, with Ocelot again serving his own separate and artfully concealed interests.
In fact, while central character Raiden initially appears to have been deployed to combat a terrorist threat, the entire setup is a bewilderingly elaborate real-life simulation, modeled on the Shadow Moses Incident and devised to push its principle protagonist (Raiden) to the very limits of his mental and physical endurance. This experiment is a part of the “Solid Snake Simulation” plan (abbreviated as “S3"), contrived to enable The Patriots to explore the complexities of the human psyche so they might better control it. By studying Raiden’s responses (and, indeed, those of other players in the charade) to the evolving challenges and conditions, The Patriots ultimately hope to refine their software routines.
The Big Shell purification facility was built on the pretext that the sunken tanker had leaked oil, but is actually a mobile fortress and home to Arsenal Gear, the latest development in Metal Gear technology. The Big Shell is controlled by a Patriots A.I. system engineered by Emma Emmerich (Otacon’s step-sister) to manipulate the flow of digital information throughout the world. When Solidus and his followers attack the facility to take control of Arsenal Gear to aid their fight against The Patriots, the shadowy organization has—naturally—anticipated and effectively encouraged this attack.
Indeed, almost every party involved in the Big Shell experiment has been unknowingly manipulated by The Patriots to act out principal events of the Shadow Moses Incident. Solidus and his cohorts play the role of Liquid and the “terrorists”; Raiden, ostensibly deployed to thwart Solidus, is their primary test subject, and is therefore given the role of Snake. Even the deception of Raiden in Codec conversations with his superiors and support team broadly replicates the misinformation that Snake faced in his fight to stop Liquid and Metal Gear REX.
Only Ocelot and Solid Snake appear to lie outside the operational parameters of this most sophisticated simulation—Ocelot still seeking the downfall of the organization he helped to create, Snake searching for a meaning to his life beyond the narrow boundaries once dictated by his former paymasters. As rogue variables in an intricate program, it is they who cause the simulation to “crash”—their actions and involvement lead to a situation where a computer worm created by Emma Emmerich attacks the A.l. system. Though it does not fully destroy the A.l. as planned, Emma's program seriously impairs its functionality.
By the end of the drama aboard Big Shell, virtually all of its actors are dead barring Raiden, Ocelot, Snake and Otacon. In the final battle of Metal Gear Solid 2, Raiden complies with the wishes of The Patriots and eliminates Solidus, despite learning the real purpose of his “mission”. Devastated by the sheer spirit-crushing import of their revelations, and his submission to their lies, he is nonetheless inspired by a speech made by Snake. Raiden, the veteran warrior explains, is free to commit to (or, indeed, fight for) any way of ife or action he has faith in, and his humanity stems from the sincerity of his faith. Interestingly, this is strongly reminiscent of the beliefs held so dear by The Boss; the very principle of individual liberty which has inspired the ongoing attempts of Ocelot to destroy The Patriots from within. Perhaps this is why Ocelot does not attack Snake during the story of Metal Gear Solid 2: as, despite their different roles and methods, both believe in the same cause.
In the aftermath, we can reflect that Ocelot has gained the most from the Shadow Moses and Big Shell incidents. Of Solidus, only a body remains, but like that of Big Boss, it still has an important role to play. The Patriots fear the bizarre eruptions of spiritual possession that cause Ocelot to act under the control of Liquid Snake, but do not understand that they are merely an elaborate subterfuge used to conceal Ocelot’s true objectives. He has taken another step towards defeating the man who steered Cipher so far from its founding purpose, and gave life to The Patriots: Major Zero.
2014 - Metal Gear Solid 4: Guns of the Patriots
Almost every protagonist in the Metal Gear saga bears a burden and seeks atonement for past sins. From Ocelot, who strives to bring an end to The Patriots (the organization he helped to create), to Raiden, who is haunted by memories of his life as a child soldier, to Snake, who is but a clone of Big Boss and has been manipulated by The Patriots for an entire lifetime, it is a desire for redemption that drives the events of Metal Gear Solid 4 and brings about a conclusion to the overarching narrative.
After Arsenal Gear runs aground on Manhattan Island in 2009, the international community unites in its condemnation of the United States government. To address the growing fear of powerful state-run armies being used to satisfy questionable political agendas, it is deemed safer to entrust Private Military Companies (PMCs) with a greater degree of control in future conflicts. Technically bereft of ideology or motive beyond a drive to increase profitability, and held to account by both shareholders and public opinion, the meteoric growth of these corporations leads to an unforeseen development: the “war economy”, where the commercial potential of armed conflict (from weapons R&D and manufacture, to the salaries paid to individual mercenaries) becomes a dynamo that drives global financial markets. War, in short, becomes the key to growth and prosperity.
The Patriots-controlled mechanism that facilitates the growth of the war economy is called Sons of the Patriots (SOP): a secured system of real-time battlefield control. All soldiers and PMC mercenaries under its watchful eye are injected with nanomachines that identify each individual, monitoring and essentially controlling their behavior, interacting with a host’s metabolism and manipulating body chemistry to vastly improve combat ability. Controlled by a central A.I., these nanomachines are used to engender a “combat high” to suppress natural human instincts, negating potential anxiety, apprehension or remorse as soldiers engage their opponents. Other benefits included heightened awareness and improved teamwork; on a strategic level, SOP is the culmination of every military tactician’s most feverish dreams.
An additional application of the System is to restrict the use of military hardware, from small arms to vehicles, to approved subjects only. Combatants can only use a weapon if their ID authorizes them to do so; the central A.I. ensures that a soldier’s rifle is deactivated in the hands of any other individual, even his colleagues. Throughout the world, virtually all weapons—both existing and newly manufactured—are modified or designed for exclusive use with the SOP System.
On a micro level, SOP breeds a new generation of more compliant, peerlessly efficient soldiers; on a macro level, military officials can monitor and instantly react to developments on the battlefield. This is the realization of the “clean” conflict ideal, a perceived end to human rights violation, whereby weapons can be deactivated (or soldiers restrained on a biological level) to prevent acts of barbarity. Another attraction for governments is that conflicts fought by PMC contractors are cheaper, and remove the need for states to maintain large standing armies.
A side-effect of the “war economy”, however, is that armed conflict becomes a business like any other. The PMC corporations, inferred by nationalist sentiment or political dogma, begin to offer their services to the highest bidder: be that nation state, guerilla movement or even terrorist faction. By 2014, PMCs control more than half of the world’s combined military forces.
As the story of Metal Gear Solid 4 begins, five PMC corporations, each one a multinational with a distinct influence in world affairs, dominate their shared marketplace. However, all five of these are controlled by a single parent company, Outer Heaven (named as homage to Big Boss's 1995 uprising), whose principal director is none other than Liquid Ocelot: Ocelot (ostensibly) possessed by Liquid.
A prematurely ageing Snake is requested to undertake a new mission. Unusually, this is not to be under the mandate of a specific organization or government, but merely for the greater good. It appears that Liquid Ocelot is planning to use the five PMCs under his control to launch an insurrection; Snake's mission is to eliminate him before this can happen. The manhunt begins in the Middle East, Liquid Ocelot’s last known location.
When Snake locates Liquid Ocelot, he attempts to line up a clear shot, but is interrupted as the surrounding soldiers are suddenly subjected to enormous pain and confusion. Struggling through this sobbing, convulsing, agonized crowd, Snake also falls afoul of the unknown effect, missing his opportunity to assassinate Liquid Ocelot.
Snake then travels to South America, where he learns the true nature of the inexplicable conclusion of events in the Middle East. Rather than manipulating the nanomachines within each soldier's body (as initially assumed), Liquid Ocelot had simply deactivated them. Freed from the influence of these microscopic yet powerful devices, the soldiers were instantly subjected to the full force of the psychological and physiological effects that the SOP System had previously repressed. It might take a war veteran a lifetime to barely come to terms with their role in a conflict. Stress, pain, remorse, fear, revulsion, anger, and more: all these extremes of feeling were unleashed within a second at Liquid’s command, suffocating the soldiers’ minds and causing them to cease to function beyond a basic animal level. The SOP System, in essence, operates as a prophylactic. Beyond this barrier, the blood, brain and flesh of each subject remember and store every detail. Outwardly the very epitome of calm, capable professionalism, the biological reality for each soldier was anything but sanguine—the utilitarian SOP System being designed to repress effects, not address causes.
Snake realizes that Liquid Ocelot’s aim isn’t to destroy the “Sons of the Patriots” system, as doing so would cause the collapse of his own army. Instead, his objective—dubbed “Guns of the Patriots”—is to gain sole control of the system, leaving him with the only valid army in the world. Once again, Liquid Ocelot performs a second SOP “experiment”, causing the same effects witnessed in the Middle East.
Liquid Ocelot’s plans now become clear. To take control of Sons of the Patriots, he needs to obtain Big Boss's genetic code and biometric data: the keys to the virtual castle built by The Patriots. The two disruptions of SOP in the Middle East and South America had been Liquid Ocelot’s attempts to use code and data derived from Liquid (through his replacement arm), and then Solid Snake (from samples). The unsatisfactory results were the consequence of Liquid and Solid Snake's status as incomplete clones—the modifications (infertility, short life span) common to the brothers actually caused both attempts to fail, as only Solidus had been an authentic clone of his “father”.
To realize his goal, Liquid Ocelot therefore needs to locate the body of Big Boss, apparently maintained in an artificial coma, as a “biomort”, at a secret location. Traveling to Eastern Europe, Snake learns that Liquid Ocelot is waging a war to eliminate Major Zero, and that The Patriots are attempting to exert total control via a system of A.l. programs: GW (believed defunct from Arsenal Gear), TJ, AL and TR (the initials of the four American presidents represented on Mount Rushmore), all controlled by a master A.I., JD (‘John Doe”). Following the neutralization of GW on the Big Shell in 2009, these A.I. programs continued to monitor and filter the flow of information through world networks. From politics to finance, law to social values, and, latterly, the war economy, nothing escapes the attention of these indefatigable sentinels. However, GW was merely “fragmented” by Emma Emmerich’s digital attack, and is now held by Liquid Ocelot. By using GW in conjunction with the data derived from the body of Big Boss, Liquid Ocelot will have everything he needs to cross otherwise impenetrable security barriers and take control of The Patriots’ system.
Despite Snake's best efforts, Liquid Ocelot succeeds in obtaining the body of Big Boss, which is subsequently consumed by fire. Taking control of SOP, Liquid Ocelot locks the weapons of his would-be captors at the very moment when his cause seems hopeless (and, for that matter, of all troops other than his own, worldwide). Few survive the resultant carnage as even vehicles fail to respond to the frantic interactions of their operators, and Liquid Ocelot calmly departs the scene of a grizzly, one-sided melee.
Liquid Ocelot’s control of the system is still limited, though: to fulfill his objectives, he must destroy JD with a sufficiently powerful weapon. With weapons of mass destruction still locked away by the master A.I., he travels to Shadow Moses to retrieve the rail gun from the remains of Metal Gear REX: the one weapon anterior to (and therefore outside of) the System and within his grasp capable of destroying his intended target. With JD destroyed, control of The Patriot's system would revert to GW—and, therefore, Liquid Ocelot.
2014 - Metal Gear Solid 4: Guns of the Patriots (Continued)
In hot pursuit, Snake infiltrates Shadow Moses as he did nine years before, but on finding REX—still lying as Snake had left it so many years previously—he discovers that its rail gun has already been removed. Snake and his companions therefore have no choice but to infiltrate Outer Haven, an Arsenal-Gear-style vessel that Liquid Ocelot had previously seized from The Patriots. Only by destroying Outer Haven’s central server, home to GW, can Snake prevent his adversary from achieving his goal.
After a withering series of ordeals on his way to Outer Haven’s server room, an exhausted Snake enables Otacon to upload a virus. Surprisingly, though, the virus does not focus exclusively on GW and spreads to the rest of the system, even affecting the central A.I., JD. As Snake lies gravely wounded, fatigued beyond rational measure, alive through sheer brute force of will, he witnesses a recording hidden in the virus code. It transpires that the virus was designed to destroy all of the A.I. programs, as The Patriots were planning to extend their control network to govern not just soldiers, but all mankind.
In his final confrontation with Liquid Ocelot (who finally dies in the duel’s aftermath), and the later meeting with Big Boss, Snake learns that it was this outcome that Ocelot had sought from the very beginning: to release mankind from the twisted auspices of The Patriots, and the prison of their rational, micro-managed world. With the death of Major Zero, and the A.I. programs that were to succeed him, The Patriots—and their ideals of standardization and social control—are no more.
Ultimately, the story of Metal Gear Solid 4 is the conclusion of a vast, series-long conspiracy—at the end of which, Ocelot destroys the legacy of Major Zero’s ideology. We should be under no illusions as to the true role of Ocelot from the very start. As Big Boss reveals during the finale, “In order to fool the system, Ocelot used nanomachines and psychotherapy to transplant Liquid’s personality into his own mind. He used hypnotic suggestion to turn himself into a mental doppelganger of Liquid.” Foreseeing every step Snake would make, every likely outcome, Ocelot allows his apparent adversary to complete the most integral parts of his plot because he understands, fundamentally, that Snake is the tool of The Patriots, and therefore above suspicion in their eyes—whether he knows It or not.
Ocelot, faking the presence of Liquid Snake within his consciousness, has no intention of using the rail gun retrieved from Metal Gear REX. Neither does he truly plan to become leader of The Patriots himself, despite his assertions to the contrary. Ocelot simply wishes for an end to The Patriots’ control system, and leads Snake, their trusted yet unknowing tool, to become the agent of their ruin. For greater verisimilitude, at no point does Snake enjoy an easy ride: the sheer ferocity of the forces ranged against him underlines the apparent sincerity of Liquid Ocelot’s desire to slay the legendary soldier. And yet, Ocelot, significantly, fails to dispatch Snake when given several opportunities to do so, in a manner that clearly surpasses the traditional cliché of villainous arrogance.
Ocelot, then, is not a nefarious figure in his later life, a tyrant seeking endless power, but the mastermind behind a plan to break the authoritarian web that The Patriots were weaving over the world. From this perspective, Ocelot (even in his guise as the pitiless Liquid Ocelot) is as much a hero as Snake. Despite the mutual antagonism from their first encounter, Snake and Ocelot actually worked together to stop The Patriots’ rule. In that sense, both lived up to the example of The Boss's legendary commitment: the resolute will not to try to forcefully change the world, but to preserve it no matter the cost, even if this leads to self-sacrifice. This is echoed in Big Boss's words once he finally understands what The Boss wanted: “It’s not about changing the world. It's about doing our best to leave the world the way it is.”
Big Boss and Major Zero, the two souls who contribute so much momentum to the stories of the Metal Gear Solid series, are polar opposites, extremes of the same scale. While the former thirsts for a form of absolute liberty in the sense of government-free individuals (as demonstrated by his actions in both incarnations of Mother Base, then Outer Heaven and Zanzibar Land), the latter desires total control. Both misinterpret and corrupt the teachings of The Boss, losing sight of the reason behind her final sacrifice. Big Boss believes in an ideology that promotes individual liberty and endless fighting for disparate causes at the expense of stability, security and structure, thus restricting true freedom of citizens to speak, to grow, and even to exist. Conversely, Zero's obsession with order, and the perceived need to preserve society by means of standardization and intrusive governance, leads society to the brink of disaster. His A.I. creation begins to shape a future where individuals would unknowingly suffer not only restrictions in their freedom to act or express themselves, but also to feel beyond the confines of managed boundaries. A perverted liberty of a kind might still exist in such a civilization, but in the narrowest, least genuine sense of the word.
For Zero, freedom would be preserved by imposing a set of constraints and offering individuals liberty within this context; for Big Boss, it could be assured through the absence of constraints and never-ending conflict. Both could only define freedom in relation to boundaries, to limitations, and this was the core of their betrayal of The Boss’s legacy. She saw liberty in a far more positive light, as the result of personal and collective commitment.
From the day they founded Cipher in 1970, the way of Zero and Big Boss was that of oblivion—by forgetting the sense The Boss had shown them, they forgot who they were and what they were truly fighting for. This led both to instigate a chain of events in which the same tragedy is repeated over and over, a series of questions that always seem to elicit the same replies. This explains why the Metal Gear Solid games follow a palpable blueprint: the same themes (death, vengeance, deception), the same actors (a hero, a designated enemy, an elite unit), the same goals (freedom, redemption). Though each episode's narrative offers a similar scenario, they are all different from one another via distinct variations—deviations in the series’ DNA that make each installment unique. This, it could be said, is a reflection of life itself, and mankind in particular: reproducing fundamentally the same things, and yet never reliving exactly the same thing.
After Big Boss's failure to create his warrior’s utopia in Outer Heaven and Zanzibar Land, Zero’s dream of an ultimate form of control over humanity could finally prosper. Having lost both his dearest friend and the force that kept his principles and beliefs in check, the advanced autonomous A.I. program that operated in his stead attempted to apply order to mankind by seeking the continual reproduction of the same, an administrable repetition without end. Its behavior can be likened to a dog chasing its own tail, or, more pertinently, a computer program stuck in an infinite loop. This explains why the Patriots (or, rather, the A.I. that succeeded Zero) use Solid Snake as the primary agent of the system, and the same stratagems with each iteration.
On every occasion barring the last, the circle is refreshed, the hegemony of The Patriots challenged (though not broken) when the A.I. fails to take an unseen variable into account. Of greatest import is the reality that, in each episode where he appears, Ocelot’s true role, his betrayal to Cipher/The Patriots, is never anticipated or understood. However, every time the story is told, certain distinctions and innovations abide; the protagonists grow, and certain things survive, if only via the influence that Snake has on those he meets.
Solid Snake, it transpires, is the true heir of The Boss’s legacy. Just like The Boss, he is ready to sacrifice himself to save the world, without ever caring about his personal fate or reputation. All that matters to him is that his ideas and actions be passed on, despite his imminent death and his infertility. As he puts it himself:
“Life isn't just about passing on your genes. We can leave behind much more than just DNA. Through speech, music, literature and movies... what we've seen, heard, felt... anger, joy and sorrow... these are the things I will pass on. That's what I live for. We need to pass the torch, and let our children read our messy and sad history by its light. We have all the magic of the digital age to do that with. The human race will probably come to an end some time, and new species may rule over this planet. Earth may not be forever, but we still have the responsibility to leave what traces of life we can. Building the future and keeping the past alive are one and the same thing.”
Timeline: Major Events
1935 - Birth of Big Boss (real name: John; nickname: Jack).
1944 - Birth of Ocelot.
1945 - Boris Volgin secures the Philosophers’ Legacy in the aftermath of World War II. The Legacy falls in the hands of his son, Colonel Volgin, a few years later.
1950 - John (later known as Big Boss) begins training with The Boss.
1962 - Major Zero forms the FOX unit, along with a classified XOF unit (led by Skull Face) designed to back up FOX in utmost secrecy.
1964 - Operation Snake Eater: The Shagohod is destroyed, and both Colonel Volgin and The Boss are killed by Big Boss. Ocelot retrieves half of the Philosophers’ Legacy for America and brings it back to Zero.
1970 - Ocelot retrieves the second half of the Philosophers’ Legacy. Creation of Cipher by Zero, along with Big Boss, Ocelot and three others, an organization that plans to use the appropriated funds to spread the ideals that they believe The Boss held dear.
1971 - Zero initiates the “Les Enfants Terribles” project.
1972 - Solid Snake and Liquid Snake are born as part of the “Les Enfants Terribles” project, followed by Solidus Snake. Big Boss permanently leaves Cipher and goes off on his own to build his army of mercenaries, recruiting Kazuhira Miller in the process.
1974 - Peace Walker Incident: Big Boss becomes entangled in a crisis that involves the CIA and the KGB, with Cipher manipulating all parties in the background. It is but a ploy designed by Major Zero to force Big Boss back to the Cipher fold. At the conclusion of the incident, Big Boss commands a large force stationed at Mother Base, and a Metal Gear with nuclear capabilities called ZEKE.
1975 - Ground Zeroes Incident: Falling afoul of a trap set by XOF commander Skull Face, Big Boss mounts a critical rescue attempt that clears the way for a sneak attack that destroys Mother Base. Skull Face makes an unsanctioned assassination attempt on Big Boss, leaving him gravely wounded and comatose.
1976 - While Big Boss is in a coma, Skull Face, exploiting the expertise of biotech specialist Code Talker, infects Zero with harmful parasites. Zero knows he will not survive, but buys himself a few years thanks to his connections and resources. Zero decides to create an A.I. system that will survive him and carry on his will—a system that would later evolve into The Patriots. The groundwork for the advanced A.I. is designed by Dr. Strangelove.
1977 - A diminished Zero visits Big Boss during his coma. He will soon lose all cognitive functions and says goodbye to the man he still considers as his dearest friend.
1980 - Dr. Strangelove, who joined and married Huey Emmerich while he was working on the design of Sahelanthropus for Skull Face, gives birth to Hal “Otacon” Emmerich.
1984 - The Phantom Pain episode: Big Boss wakes up from his coma and leads a new army, the Diamond Dogs, to eliminate Skull Face in his attempt to wipe the English language from the face of the Earth using vocal cord parasites. Huey Emmerich, after multiple betrayals that lead to the death of many Diamond Dogs soldiers, is banished from Mother Base. Eli, a child soldier extracted by Big Boss from Africa, escapes Mother Base thanks to his special bond with The Third Child—and presumably reappears in his more familiar guise as Liquid Snake years later, in the Shadow Moses Incident. Ocelot is already preparing his grand stratagem to take down Cipher/The Patriots.
1995 - Outer Heaven Uprising: Big Boss attempts to fulfill his dream of establishing a nation of mercenaries free from all government controls. He is stopped by the intervention of Solid Snake.
1997 - Huey Emmerich commits suicide after discovering that his son Hal and his second wife are conducting an affair.
1999 - Zanzibar Land Disturbance: Big Boss makes a second attempt to establish his free nation of mercenaries, but is stopped again by Solid Snake. Big Boss's body is retrieved by The Patriots and maintained in a state of perpetual coma for fifteen years.
2005 - Shadow Moses Incident: Solid Snake stops a terrorist unit led by Liquid Snake from launching a nuclear missile with Metal Gear REX. Ocelot has an arm severed during a duel against Snake. Kaz Miller is found dead in his house a few days prior to the incident, presumably killed on Liquid’s command—and possibly by Ocelot himself.
2006 - Ocelot has Liquid Snake's arm transplanted in place of the one he lost during the Shadow Moses Incident, which he will use as a prop while faking his Liquid Ocelot persona. Solid Snake and Otacon found Philanthropy, an NGO fighting to restrict the proliferation of Metal Gear technology.
2007 - Tanker Incident: Solid Snake takes photos from the newly developed Metal Gear RAY. Emma Emmerich is recruited by The Patriots to begin work on the GW artificial intelligence system.
2009 - Big Shell Incident: Raiden and Solid Snake eliminate Solidus Snake, who was attempting to free himself and the world from the influence of The Patriots. The whole incident was orchestrated by The Patriots in an attempt to better understand (and therefore, control) the human psyche.
2014 - Guns of the Patriots episode: Solid Snake and Ocelot (in his Liquid Ocelot persona) put an end to The Patriots by destroying their A.I. systems. Ocelot, Zero, and a briefly resurrected Big Boss all die at the conclusion of this episode.
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I am well aware I have not been personally present on both this blog and the precious fanfictions it is dedicated in sharing with the world. But from the news of this morning, I feel I have an obligation to address it, particularly while I still have the motivation to do so. So here it is, and I will also be reblogging my older posts that relate to this topic later today.
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I was gonna start off by saying this man shaped my childhood, but... I feel I'd be like lying to myself in an effort to making it sound cliche and poetic.
No no. This man (let's say his name everyone, Kazuki Takahashi) literally molded and morphed my whole fucking life. And I'm not exaggerating either. It's no mystery to those that know me in acknowledging I didn't exactly have it easy growing up. But in spite of the bullying and numerous other hardships, I always had Yu-Gi-Oh. Like I nearly ditched Pokemon and Digimon so fast because of this. As a kid this show and its card game had become a bit of an obsession and I don't think any other form of media resonated with quite like Yu-Gi-Oh did.
Like I wanted to be THAT guy. Someone who was strong and confident, who knew what they were doing and didn't spend every other waking minute in fear of what would come next. I think we all put on a sort of alter ego when going out into the world, especially when we are just trying to figure out who we are. But in that journey of putting on a different face for others to be impressed by I find eventually we look within and slowly become comfortable with our true selves. I know it took me a long fucking time to do so. And who knows maybe deep down I'm still that scared little kid not knowing what their next move will be. But I definitely owe my personal growth to the world and characters of Takahashi's imagination.
If it wasn't for the card game, I wouldn't have met a good number of the people that walked in and out of my life. If it wasn't for the show, I wouldn't have my love for mythology and the ancient world. If it wasn't for the manga, I wouldn't have become the writer that I am today. I've drawn more Yu-Gi-Oh related art probably more than any source material. My walls and shelves are filled with countless memorabilia of the very franchise that I love so dearly. It even pains me to know that I will no longer see updates to this man's social media or any new artwork. And now with a very, oh so heavy heart I address a day I didn't think would come so soon. Rest in peace Kazuki Takahashi and Thank You for the being such a phenomenal part of my life and character.
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P.S. To those that own any of his Alternative Arts in card form, hold them close to your heart and preserve them, for unless Konami decides to reprint and /or release unused artwork, we may never see the likes of his masterpieces again.
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snugglyporos · 6 months
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// SIGH.
Still not able to get venmo to play ball.
And now I'm unhappy because a bunch of my friends are mad that Creative Assembly, the people behind total war, are being assholes.
Bros. My guys. they're owned by SEGA. Sega is notorious about this sort of thing. They're like konami; they make pachinko machines now.
Also, brands are not your friends.
Like I do not get people who ascribe great faith and trust to faceless corporations. Previously good things is no proof of future good things. Trailers are lies, hype is the opium of the masses, until a product is physically in your hands, assume everything you've been told is a lie, and even then it still might be.
There is absolutely no reason to ever assume that the people whose main activity is selling you products are being honest or forthcoming to you. You are a mark, a source of wealth that they are to extract. You are not a person, they are not a person, this is not a friendship, it is a transaction between corporation and customer.
brands are not your friends, stop ascribing feelings and loyalty to faceless entities.
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dragontamer05 · 6 months
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Thoughts / sort of rating of the Yugioh dubs;
DM- Look for all it's flaws, weird edits and censorship over all it's fairly decent. Most of the voices are good, generally speaking the tone and story are still relatively in tact. No episodes were skipped or out right cut, although changes were made.
Are somethings handles better/ make more sense in the orignal form for sure but during a time among a sea of very mixed dubs (and even compared to some of the other series 4kids/4K tried) It's honestly pretty good.
GX- Look while I admit to having some nostalgia for it's just.. not great. The joke meter got turned farther up and while some areas they did manage to keep the tone/ emotion- particularly there's a few good lines of Jaden/Judai from the dub when desperately going after Jesse/Johan
BUt oh boy is it sure just a product of its time with just some of the dialogue feeling very peak 2000s energy. And also a lot more questionable voice choices for characters (some is decent tho)
I'll sooner recommend someone watch the sub first if genuinely interested in the series. But if you've got a bit of nostalgia or just want to have some fun riffing on something it can be a fun watch.
Other majour problem is due to the desire of wanting to get on the next series fast as possible it never got completed and never got s4
5Ds- A mess.
Once again for a lot of the main cast voices are okay but definitely getting worse/more extreme in their attempts to try and hide death / censor or alter things. Whole chunks of it simply was not dubbed at all which I'm sure made pacing weird.
Never actually watched it all but oof. Even if everything else was great just the fact that there is a good chunk that got cut / not translated makes it hard to recommend watching it.
Might be a fun curious watch I guess but probably the dub series with some of the most issues (maybe)
Zexal- Well at least it got completed, like DM did so that's something. Personally kind eh about some of the voices. Astral's is great love it, Yuma is okay but I can understand how it may get annoying for some.
Another one with pretty bad censorship problems that I think even some who's only watched dub could probably figure seem off.
Probably could have ended up a lot worse truth be told but even looking at how DM was handled probably could have been better in places.
Still suggest subs over dub generally but if knowing of the changes doesn't bother you / okay with the voices I mean there's worse out there.
Arc V-
Decent. A clear sign of things to change and improvements. Complete series, still some expected censorship and changes here and there but otherwise fairly faithful to the source. No egregious changes even any allusions to death if altered it's in away that still makes sense / doesn't totally negate it just perhaps stated less overtly or something.
Serious moments often able to be kept serious (compared to some from what I recall just the usage of jokes didn't feel as egregious / bad)
Voicing pretty good over all with only a few characters that make me question the voice direction.
Overall, for sure worth watching it's fun (also there are just some great very quotable lines that got me laughing)
Likely helped in part by being owned by Konami thus I'd assume giving them some control/input on how things go
Vrains-
So good. Voice acting great and just everything was handled well I think.
Once again Complete series, some of the typical changes that are just usual stuff at this point but for a series that can get as dark and serious as it does they handled it pretty well. I think honestly they even have a few lines that just wow.
Like as much as it would be great to have them do a dub where nothing gets changed (say for anything that is typically might happen for any localization- i.e like changing a joke that doesn't work in translation or whatever) I'd say it's pretty darn close and over solid job.
I know some people we kinda eh on that ending/scene in the last episode and I get it, wasn't what was expected or hoped for maybe but I thought it was fine. Far from the worst thing they could have done and it still felt at least fitting/ pretty in character. And if your someone watching only dub I think they still manage to hit and keep the emotion of that scene just doing it in a different way.
Sevens-
As it is, Sevens is a pretty goofy show with big Saturday morning cartoons energy. From the get go it had the makings of what would be a fun dub and they nailed.
Voice choices are so good, continuing on the track of completing series and whatever changes might have been made be it dialogue or what have was nothing that I ever noticed or affected the plot/story in anyway.
Like obviously the script can't/won't be word for word exact but I'm pretty sure more often then not whatever was used or said was pretty close to/equivalent there of whatever was in the original anyway.
It's good, it's fun and silly and I can promise that despite what you may think I'd argue the vast majority of jokes come straight from the Sub itself or at the very least it keeps within the general tone /feeling of something the character would say. Never came across any moment where a joke was used that did feel quite right.
As said as it is Sevens is a pretty silly and fun show even in its original form and the Dub does a great job of keeping the spirit alive and story intact
Sub or dub I strongly recommend watching it anyway. Yes it's animated by a different group- no longer done by Studio Gallop. But honestly it fits and works. I have no idea how much was already planned out before the switch was made or any of the behind the scenes but regardless the art/animation style really fits well the tone of the series - and you can still look at it and go 'that's a yugioh'
Plus after the plot of Vrains ngl kinda nice n fun to have what Sevens brought.
Also look it's time to accept that for as much as it is a series that anyone can enjoy the target demographic IS technically kids / a younger audience (and trying to use this as a means to attract more of that younger audience get them interested)
Go Rush doesn't have a dub yet but I'm hyped and am sure it'll be a blast to.
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soaringonblackwings · 9 months
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I'm curious, could you go more into detail with this?: https://www.tumblr.com/soaringonblackwings/723510641596432384/crow-never-deserved-the-nonsense-he-got-i-wish-he?source=share
For the most part, I've mostly just see Crow get ignored or sidelined by the fandom, but I've only been in the fandom for a few years.
So let me preface this by saying that if y’all haven’t seen the stuff I am going to mention that is great. Good for you, I wish I was y’all. This is all from a single person’s experience and is in no way indicative of the fandom as a whole. Lastly, I apologize if my reply becomes incoherent at some point. Now on to the reply.
Where to start. Let’s go all the way back in time to when the fandom was thriving. Where the issues began, the lies/rumors. I am not going to go into too much detail but bottom line is that due to the bad writing, people made up headcanons about the show’s production and for some reason everyone unanimously agreed that they were all true with no proof. This was the catalyst to the nonsense that makes me wish Crow was never associated with this fandom.
Due to the rumors fans mostly treated him as the sole reason that the show went downhill in terms of writing. Saying that he was never originally a planned part of the show (again with no proof). His bad writing being used as proof that the rumors about him are true. Somehow every character past the Dark Signer arc is treated with understanding when it comes to their bad writing, but Crow was never given the same kind of grace. Even nowadays when people talk about Crow you can tell the rumors permeates what they think about him.
Crow fans getting hate (thankfully this doesn’t happen anymore).
When Darkwing Blast card pack was announced, one of the discourses around the pack was that Crow was stealing Akiza’s spotlight again. As she hadn’t gotten support in a long time. Meanwhile, these same folks vanished when Leo and Jack’s support got announced too. Something similar happened years ago too, when after Akiza got support and Konami hinted at winged-beast support (not Blackwings) shortly after, the Crow vitriol came back in full force. Claiming that Crow is taking attention from her again.
Obviously, this doesn't happen much anymore. But the vibes can still be seen in bits-and-pieces. Folks are more normal about him now.
I am not sure how to end this. But yeah, this is the elaboration of that post. People can believe me or call me a big fat liar. Feel free to add-on if you want. Whatever makes you happy.
I am glad Crow gets ignored by fans nowadays. He deserves some peace after all the shenanigans.
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