The transition between stealth and being spotted is marked by a jolting 'exclamation' sound effect, and a seconds-long minigame where you aim in slow-motion and try to take out the guard before he radios you in and begins an Alert phase.īig Boss just feels great to control. Context-sensitive actions like Big Boss placing his hand on a nearby wall give useful information (I'm in cover) without breaking into the game's flow. Simple changes make an enormous difference. Much of how great it feels comes down to how Big Boss is animated and framed in this uneven environment – when sprinting, the camera zooms in closer as his feet pound through the mud, adjusting their angles exactly to the terrain's contours. The reason this works is that GZ significantly reworks the Metal Gear control scheme, enormously refining and streamlining a moveset that felt a little baroque by the time of MGS4. Working your way from the camp's fringes to the inner compound involves a hundred small decisions rather than a straight choice of route, with the terrain's richness creating diversions everywhere. You know that feeling when you enter a room in a game and instantly see where you'll be taking cover? Ground Zeroes is the opposite.Įssentially what open-world Metal Gear Solid boils down to is freedom of approach. The range of assets used is incredible, meaning every tiny area has an identity, and the layout looks more like a 'real' place than an arena. This is all about unprecedented detail and variety – a place you learn and master, while constantly finding more. Most important of all, Camp Omega is a great game location, and a new take on what 'open-world' means.
The methods and technology of Camp Omega are brutal, while the all-too-human guards and broken prisoners bring home what a truly barbaric achievement it is. The site of the 9/11 attacks is now known as Ground Zero, and the game's musical theme is a Joan Baez / Ennio Morricone song about two innocent men executed by the USA for anarchist beliefs. Ground Zeroes still has a bad dude named Skullface, but Camp Omega's focus is so much more specific – with collectable cassette tapes filling in countless details – that it's a direct, emotive broadside. In a larger context Ground Zeroes marks a distinct maturation in tone for Kojima – his games have always had big geopolitical themes, but painted with a broad brush and populated with slightly daft characters. The recent US Senate report confirming the CIA's widespread use of torture at Guantanamo and elsewhere make Camp Omega feel even more timely than it did at launch. There's a complex next to a helipad, various configurations of buildings, some tented areas, watchtowers, storage facilities, and a fenced area where inmates are kept in cages. Ground Zeroes does not end after one mission, so let's put that aside, but it does only have one map on which all the missions are played and no real 'campaign' to speak of.Ĭamp Omega is a parallel dimension's Guantanamo Bay, an isolated chunk of rock playing host to guards and orange-jumpsuited prisoners. What lends these claims credence is that Ground Zeroes takes place in a single environment, and the central story mission can indeed be completed quickly if you know what you're doing. What's that - "prologue act"? Isn't this the overpriced demo everyone was moaning about on console six months ago? Ground Zeroes' reception suffered enormously from various reports that it was over in less than an hour, and was a sign of Konami trying to pull a fast one.
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And with Metal Gear Solid V: Ground Zeroes, the prologue act to next year's full release of MGSV: the Phantom Pain, Kojima Productions reinvents itself as a PC developer. Though not without critics, each MGS feels like a reinvention rather than a sequel, consistently innovative, stylish, and changeable.
Over the past two decades Konami's Kojima-led team, eventually formed into Kojima Productions, has produced classic game after classic game – almost all of which are Metal Gear titles. Hideo Kojima is one of console-land's greatest champions.
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