![]() ![]() Call of Duty and Battlefield have had their shock value moments, but they exist within the confines of Clancy-esque fantasy warfare. Imagine if Call of Duty or Battlefield had a character that breathes through her skin, wears only a swimsuit and fishnet leggings, teleports and brutally murders people, AND the camera will have no quarry taking some slow panning shots of her ass and breasts. Other major video game franchises can’t do what Kojima does with Metal Gear. Tarantino and Kojima have moments only they can get away with, and we accept it because we chalk it up to their accentuate directing style. I say Tarantino because Tarantino is the first director that comes to mind when you think about a director who will create scenes and characters and interactions that are bold. Hideo Kojima, the brainchild of the Metal Gear series, has created a Tarantino-esque mystique surrounding his pinnacle series. It’s not that the game suggests you make your own soundtrack as you go, but it’s one of those nice touches you discover is available as you play through the game. There aren’t any games I know of that during an intense battle against a squad of teleporting sharpshooting bikini-clad super sub-human soldier sniper women, you can open up a cassette player and fight them off while Rebel Yell, Maneater (Hall and Oates), or The Final Countdown plays as your soundtrack. ![]()
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