Eilene Hao STS 145 4847638 March 20, 2002 Extension to March 20 Metal Gear Solid: an Example of What Game Design Should Be While walking around Circuit City about two years ago in my search for something worth my dollar, I glanced behind the checkout counter to find my favorite toys of all time: video games. The selection was not great, and most were pretty expensive. But as I was about to leave, a two-CD package with a white cover, solid red lettering, and a green "Greatest Hits" label on the left hand edge caught my eye. "Metal Gear Solid?" I said to myself. I remembered seeing this game on demo at a department store a couple years before but not being able to really give it a try. To be honest, having gotten only a glimpse of the very first stage, it had looked somewhat boring then. But putting my doubts aside, I thought, "Well, I guess if it's a Greatest Hits game (and thus under $20☺), it's worth a try." Little did I know that this game would completely change my standard for video games. I opened the package only to be completely sucked in, overwhelmed by its quality of detail and creativity. The game quickly became one of my favorite games of all time. And apparently, I was not the only one to fall in love with Hideo Kojima's masterpiece; all three editors of IGN-PSX editors voted Metal Gear Solid (MGS) as the number one PlayStation game ever made in IGN's 2002 "Top 25 PlayStation Games Ever Made" chart. But why? What made these two discs stand out above thousands of other games out there? What made it so fresh? The answer, I believe, lies in MGS's progressiveness, pushing the limits of game design. Its quality of detail, use of technology, and amazing storyline, set a new standard, and it serves a landmark for the future generation of games to follow.Mold for the Metal: The History of the Metal Gear Series In the mid 1980s, Hideo Kojima, producer of Snatcher (1994) and Zone of the Enders (2001), had an idea that would open up new realms for the video game world: an action game where strategy was more valuable and key to success than shooting everything in sight. This idea became his first project with video game giant Konami and in the industry, the original Metal Gear. The game created the "stealth action-adventure" genre, as it was the first to emphasize stealth and avoidance of confrontation as opposed to brute force (Shoemaker, Ajami). In the game, the player takes control of Solid Snake, a "green", or rookie, agent of the special forces unit FOX-HOUND sent on a one-man infiltration mission to find a missing-in-action member of his unit and gather information about a new, super-powerful nuclear weapon. Equipped with only his codec (coder-decoder interface), a high-tech communication device that allows him to contact his authorities for information, Snake must find all his weapons and items as he goes. Metal Gear was the first action game to give the player a wide variety of items that the player had to use logically to progress from stage to stage (Ajami). The camera views Snake from overhead in a somewhat Legend of Zelda fashion so that the player can see enemies ahead. The player must sneak around boxes and crates to avoid being spotted, lest a horde of enemy reinforcements comes after him out of nowhere. Konami released Kojima's Metal Gear in 1987 for the MSX, a popular computer in Japan, and the next year, it released a slightly revised version under its American label Ultra Games for the Nintendo Entertainment System (NES), expanding distribution to the United States. The game quickly gained popularity, for not only did the concept of stealth intrigue gamerswith its originality and novelty, but also the extremely well designed, thought-out, yet complex storyline built suspense for what would happen. With the success of Metal Gear, Kojima produced Metal Gear 2: Solid Snake, released in 1990 for the MSX2 in Japan, also under Konami. This game continued and evolved the same stealth concept of its predecessor with features such as a radar system to see enemy locations, improved graphics, an even more engaging plot, and more development of Snake as a character based on the original. However, Solid Snake never left Japan, and Americans were left waiting for more. In response, Konami, again under the Ultra Games label, made a different game for the NES, Metal Gear: Snake's Revenge, which was not produced under Kojima's brilliant eye. The new game diverged terrifically from the core of the original two in many ways, including less focus on stealth and significantly less thought in the plot (the main villain's name was a bit silly: "Higharolla Kockamamie"). In fact, rather than being on a one-man infiltration mission as in the rest of the series, Snake led a team of commandos. Most hard core fans do not even consider this a part of the Metal Gear franchise and call it the series' "bastard stepchild." (Shoemaker). But Metal Gear and Solid Snake established a strong foundation for the series and the genre. At the E3 Expo 1997 in Atlanta, a decade after the original and with a military base with turrets and pyrotechnics set up around its booth, Konami announced the development of a new game for the series, this time for the Sony PlayStation: Metal Gear Solid (MGS). (Keighley). Produced, written, and directed once more by the great Hideo Kojima and designed with the talents of character and mechanical designer Yoji Shinkawa, the game would take full advantage of the 32-bit PlayStation processing power to bring the stealth genre, andvideo games as a whole, to new levels. Other team members included Assistant Director Yosikazu Matsuhana, main programmer Kazunobu Uehara, and sound effects director, Kazuku Muraoka, who have worked with Kojima for over a decade, and co-writer Tomokazu Fukushima. The game also featured music by TAPPY and Rika Muranaka ("Staff"). As the press received more information about and screenshots of the game from then until its release in 1998, MGS generated much hype and became one of the most anticipated games of its time and of all time (Shoemaker, "Metal Gear Timeline"). After its release on September 3, 1998 in Japan and on October 19 that same year in the United States, the title sold 2 million copies worldwide by January 1999 ("Metal Gear Maintains Solid Sales"), eventually leading to a total of nearly 1 million copies in Japan and 5 million in America and Europe (interestingly enough, more in the
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