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MGS2 Analysis --
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Adilegian
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PostPosted: Sat Jul 28, 2007 1:28 am    Post subject: MGS2 Analysis -- Reply with quote

I've written an analysis of Metal Gear Solid 2 over the past month, and I've subconsciously had posters of SB's and TGQ's likes in mind as an ideal audience. I've finished this beast at last--I take all my own screencaps, which is a chore--and I wanted to let anyone interested know about it.

I don't sign onto forums just to solicit, and I had asked Shaper if it was okay for me to post a topic about this here. I hope that my frequency over at SB kind of makes my transition here a little smoother than... well, smoother than it would be had I just shown up out of the blue to say HEY READ MY THINGS.

But anyway.

http://www.deltaheadtranslation.com/MGS2/DOTM_TOC.htm

Thanks for reading, if you do!
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dessgeega
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PostPosted: Sat Jul 28, 2007 6:55 am    Post subject: Reply with quote

i've only skimmed this thus far, but i think the use of the past tense really weakens your analysis of the game. i think games need to be considered as existing works, which persist in our culture, not as past events which are no longer relevant.
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PostPosted: Sat Jul 28, 2007 12:19 pm    Post subject: Reply with quote

I'll read this now, but have you seen this? It's fairly interesting.
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Adilegian
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PostPosted: Sat Jul 28, 2007 3:42 pm    Post subject: Reply with quote

Hi Dess!

dessgeega wrote:
i've only skimmed this thus far, but i think the use of the past tense really weakens your analysis of the game. i think games need to be considered as existing works, which persist in our culture, not as past events which are no longer relevant.

I usually agree with you, and I'm working on an analysis of killer7 in the present tense for this exact reason. In the case of MGS2, though, I deliberately wrote in the past tense for the reason given in the preface:

Preface wrote:
This essay has taken the perspective of a player's experience immediately after MGS2's release. The game has been on the market for six years, and its twists have become more common knowledge. Knowing what's ahead dilutes MGS2's formal impact. I've therefore written about the narrative and the player's experience in the past tense.

MGS1 and MGS2 had been planned around the same time, and subsequent games (like MGS3 and MPO) do a lot of retconning because (it seems) they hadn't been part of the original vision. Which is to say, I do regard MGS2's full experience as a past event, even for a reason as small as the fact that a newcomer to the series usually knows ahead of time that "MGS2 is the one where you don't get to play as Snake."

However, I don't think that past events are no longer relevant, which perhaps makes me more comfortable with the stylistic decision.

There's also the fact that the franchise has grown to the point that newcomers are encouraged to play the Gamecube remake rather than the PSX original. MGS2 got a lot of its formal punch from its having directly followed MGS1.

Which kind of gets to what I didn't like about the Gamecube remake. If the Vamp fight in MGS2 made the player formally relive the Ocelot fight in MGS1—same level design and boss patterns that force the player to run constantly when the enemy attacks—then the Gamecube remake kills the interactive similarities when the player can go into FPV and plug Ocelot without running around the level.

parkbench wrote:
I'll read this now, but have you seen this? It's fairly interesting.

Oh yeah! Artemio Urbina's a great guy. He gave me one of the best quotes in an article that should surface soon.
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PostPosted: Sun Jul 29, 2007 8:55 am    Post subject: Reply with quote

I don't have time right now to read any more than the preface and the terms... but I definitely bookmarked the site for further reading when I have a bit more time. Looks interesting.


One suggestion: make an index.html page - even if it is just a copy of your TOC. It isn't very good to let people see the folder structure of a site when all they wanted was to get back to the TOC (I assumed it was at the root).
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PostPosted: Sun Jul 29, 2007 10:47 am    Post subject: Reply with quote

I guess. But considering there's a TOC link right at the bottom of every page, I'm not sure why it matters too much, or why you even had the problem.

Edit: Fix'd, by the way.
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parkbench
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PostPosted: Sun Jul 29, 2007 12:01 pm    Post subject: Reply with quote

I want to like it, and I do. I enjoy the comparisons being drawn but, I'm on page 8 and you still haven't explained why you're doing any of this. You start out with very vague explanations of the "maps" of the series, and then go on for several pages to draw the comparisons between MGS1 and MGS2, but you have no thesis: what is the point of what you're saying?

Even if you sprinkled little hints here and there that would be fine. Right now I feel like I'm aimlessly wandering through this thought process and I don't understand why. What's are you postulating? "MGS2 is the bizarro MGS?" You have to say something, I feel, because otherwise the words have no weight.

my two cents. i'm going to keep reading.

edit: i will say that i enjoy the conclusion this is beginning to draw in later pages--and i think it makes a lot of sense. i have been..acquainted with mgs2's plot for a long time, but not until now did i realise how closely the entire game experience sought to emulate the truths of the story: that is, raiden as a poorly made copy of snake, a copy that can emulate but not replicate, and how this is pervasive in the work.
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Adilegian
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PostPosted: Sun Jul 29, 2007 5:31 pm    Post subject: Reply with quote

Hey!

silentmatt wrote:
I don't have time right now to read any more than the preface and the terms... but I definitely bookmarked the site for further reading when I have a bit more time. Looks interesting.

Thanks! I'm interested to know what anyone thinks.

silentmatt wrote:
One suggestion: make an index.html page - even if it is just a copy of your TOC. It isn't very good to let people see the folder structure of a site when all they wanted was to get back to the TOC (I assumed it was at the root).

Okay, thanks for giving that heads up! We've gone ahead and implemented your suggestion (as deisied has mentioned).

parkbench wrote:
I want to like it, and I do. I enjoy the comparisons being drawn but, I'm on page 8 and you still haven't explained why you're doing any of this. You start out with very vague explanations of the "maps" of the series, and then go on for several pages to draw the comparisons between MGS1 and MGS2, but you have no thesis: what is the point of what you're saying?

It's difficult for me to simultaneously provide evidence for a fundamental argument while also incorporating that fundamental argument into a larger scope. I mean, I can do it stylistically, but it feels prickly.

Which is to say... I wanted first to explain the game's form, and to do that I wanted to explain how MGS2 perverts the familiar forms of MGS1. After identifying the form, I wanted to use that foundation to address the game's spin on its themes.

My brain works best via intuition and induction, so I try to reach my final conclusions via induction. To use the metaphor of electricity, I need both the ground and the wire—the formal foundation and the themes + narrative—to induce those conclusions. That's why I limited the essay's initial named ambitions to establishing the formal ground itself:

I: Maps wrote:
MGS2 created its form using its medium and three maps—three sets of the player’s expectations. It used the Series Map, wherein the player expected that MGS2 would play and behave like the first Metal Gear Solid. After the Series Map failed, MGS2 used the Scenario Map, wherein the player expected the same set-pieces and catharses that he had encountered in MGS1. At the same time, the game used the Solid Map, wherein the player expected that he would assume the fictional role of MGS1’s hero, Solid Snake.

I tried to establish that formal ground via deductive logic focused on limited goals.

My exposition writing style draws water mainly from a kind of Southern tradition of storytelling. E.G., give the reader a hook and swirl him/her circuitously (but not irrelevantly) close to where the story will end. And then suck the reader straight down the drain into those conclusions that will seem inevitable by the time the end is reached, much as getting sucked down a drainhole will retrospectively seem the obvious conclusion to (at first aimless) swirling in water.

One of the effects of this style can be the generation of a kind of suspense. Not necessarily a narrative suspense, but a feeling of dramatic suspense that arises from the reader's investment in the content, and the cogency between the evidence and the patterns being named.

parkbench wrote:
edit: i will say that i enjoy the conclusion this is beginning to draw in later pages--and i think it makes a lot of sense.

And these are the hoped-for fruits of the writing style.

I'm certainly not saying "if you didn't GET WHAT I MEANT then you should TRY A LITTLE HARDER." That would make me an asshole. =(

I'd like to know if you'd still criticize the piece on its organization after having read it, and after having learned my intentions. Did the style work? It's not a style that I've consciously adopted; rather, it's developed as a personal essay form over several years of writing. I want to cultivate the idiosyncrasy, but I don't want the idiosyncrasy to create the opposite effect—e.g, isolate the reader rather than gather him in the momentum of the argument's development, rising toward the inducted epiphanies at the end.
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PostPosted: Sun Jul 29, 2007 5:54 pm    Post subject: Reply with quote

I can retrospectively see why you did what you did, but I felt that it wasn't warranted to make the reader feel like they were wandering for 8 pages or so. I mean 1 page is fine but after many pages the reader--or at least I did--wonders "what is with all this super precise, almost anal information?" Again, I now understand why but it just seems like it was thrown in there after the vague explanation of the 'maps' thing.

Even when your thesis is at the end, you have a thesis statement at the beginning. I was just looking for some kind of clue as to why you were explaining the similarities which could almost seem incidental of the game's bosses and stuff. If you had postulated near the beginning that MGS2 was a systematic deconstruction of everything we knew about MGS, everything that happened in Shadow Moses but with all the reverse results, or something like that, and that it boiled down to every scenario I would be much more willing to read these descriptions.

I mean, maybe you did say these things. I'll re-read the whole thing one more time later. But I felt like if they were, they weren't clear.

I still liked it in the end.
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PostPosted: Sun Jul 29, 2007 6:05 pm    Post subject: Reply with quote

parkbench wrote:
I felt that it wasn't warranted to make the reader feel like they were wandering for 8 pages or so.

Noted. I've shown your suggestion to a few other people who know my writing, and most of them agree that your suggestion would improve the reader's overall sense that I'm going somewhere with this.

I guess it might be like getting in the car with you Dad after your parents got divorced and you know your Mom has custody. You're a whole lot more confident that he's not kidnapping you if he said something like, "Come on, let's go to the store and pick up some popcorn."

Not that I'd know the situation in that analogy from experience, mind.

parkbench wrote:
If you had postulated near the beginning that MGS2 was a systematic deconstruction of everything we knew about MGS, everything that happened in Shadow Moses but with all the reverse results, or something like that, and that it boiled down to every scenario I would be much more willing to read these descriptions.

Okay, gotcha. I'm envisioning a better order for the essay that uses your suggestion without abandoning my formal intentions. I'll pick at that a bit tonight!
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PostPosted: Sun Jul 29, 2007 6:40 pm    Post subject: Reply with quote

ps, sorry if you felt like i was trampling on your work. i know what it's like to have a labor of love and it sucks hearing shit like that about it. but i wouldn't be saying it if i didn't think it were true.

glad to hear about the reorg. make an ORG CHART. or at least that's what dilbert taught me.
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Adilegian
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PostPosted: Sun Jul 29, 2007 6:56 pm    Post subject: Reply with quote

parkbench wrote:
ps, sorry if you felt like i was trampling on your work. i know what it's like to have a labor of love and it sucks hearing shit like that about it. but i wouldn't be saying it if i didn't think it were true.

Well, I've never been averse to useful criticism. Once I set my ego aside, I can only become stronger.

But, no, I don't feel as though you had trampled the work. I don't think that I'll need to change a whole lot beyond the incomplete thesis statement, as you said. E.G., in the Maps section, I can add a paragraph that rephrases your summary of the piece in an earlier post.

This:

parkbench wrote:
If you had postulated near the beginning that MGS2 was a systematic deconstruction of everything we knew about MGS, everything that happened in Shadow Moses but with all the reverse results, or something like that, and that it boiled down to every scenario I would be much more willing to read these descriptions.

I don't think I would exactly use the word "deconstruct." Its definition makes it the exact right word, but ... I feel like there's a kind of negative aura around deconstruction, often because it's used merely to disassemble rather than to explore the nature of assembly--what it means, why we need it, and so on.

Not that this exempts me from clarifying the point, but I'm heartened to know that you understood the purpose even without an expository statement at the start.

parkbench wrote:
glad to hear about the reorg. make an ORG CHART. or at least that's what dilbert taught me.

What's an ORG CHART?
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PostPosted: Sun Jul 29, 2007 7:54 pm    Post subject: Reply with quote

Well, i mean. i'm sure there's a philosophical or artistic word for what i'm talking about. like, POSTMODERNIST DECONSTRUCTION, but i'm not educated enough (yet! Razz) to really understand what that means.

now this irks me; i have to find a better word. ;O

org charts are just some thing in the corporate world that dilbert makes fun of.

ps on the map analogy: i think it would help too if you fleshed out the map analogy a little more. i don't think it was driven home quite so the reference to the map was a little jilting--you go from borges to the MGS series map and though i understood it i think it was a JARRING JUMP.
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PostPosted: Mon Jul 30, 2007 1:00 pm    Post subject: Reply with quote

Adilegian: This is really great so far! Though I haven't yet gotten to discussions of content and thus haven't reached those aspects that interest me most, you're doing a great job at plotting out the formal relationships between the games. The series and scenario maps are perfect models in this case.

Since I'm not finished reading yet, I'm just posting to let you know about a typo in section VIII:

Vamp survival as the Harrier's pilot recalled Liquid's survival as the Hind-D's pilot.

Seems small now, but rather confused me at first.
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PostPosted: Mon Jul 30, 2007 2:37 pm    Post subject: Reply with quote

internisus wrote:
Vamp survival as the Harrier's pilot recalled Liquid's survival as the Hind-D's pilot.

Seems small now, but rather confused me at first.

OH.

I read that ten times and didn't understand what you were talking about. Now I see though. I have a kind of mild dyslexia that, besides rearranging words, leads me to replicate letters where they aren't.

E.G., "Vamp survival" turned into "Vamp's survival."

Thanks!!!
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PostPosted: Sun Aug 05, 2007 8:25 pm    Post subject: Reply with quote

by the way, ]NeoGAF found this.
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PostPosted: Sun Aug 05, 2007 10:51 pm    Post subject: Reply with quote

I saw it linked on fourhman.com so I figured I'd better take the time to read it all the way through. I liked it! I'd like to say more but I found myself in such agreement that finishing your analysis left me with nothing to say.
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PostPosted: Sun Aug 05, 2007 11:12 pm    Post subject: Reply with quote

D-A-I-S wrote:
by the way, ]NeoGAF found this.

groan
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PostPosted: Sun Aug 05, 2007 11:29 pm    Post subject: Reply with quote

JasonMoses wrote:
D-A-I-S wrote:
by the way, ]NeoGAF found this.

groan


That wasn't as negative as I expected.
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PostPosted: Mon Aug 06, 2007 8:56 am    Post subject: Reply with quote

Intentionally Wrong wrote:
JasonMoses wrote:
D-A-I-S wrote:
by the way, ]NeoGAF found this.

groan

That wasn't as negative as I expected.

It's not that it's negative, it's that most of those people don't say anything. I mean it's hard to actually read what people write on the forum, negative/positive/indifferent. I mean, most of them just want to look cool to the long time posters, half lie about everything, and the other half are just there to make fun of everyone else at their own expense. Then there's like 2% who actually have something to contribute and know what their talking about.

On top of all that, I still haven't gotten around to reading this Sad I will soon.

'EDIT: I just printed this out, which means I'll probably read it sooner as I never seem to have enough time to read more than 1000 words on my computer.
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PostPosted: Tue Aug 07, 2007 4:13 pm    Post subject: Reply with quote

Hey! (I haven't been ignoring this thread, in case my absent posts had implied as much. I just haven't had much time to respond with the depth I'd like.)

D-A-I-S- wrote:
by the way, ]NeoGAF found this.

Yeah, I caught that link as a referring site. That thread simultaneously captured the best and the worst of the responses I've gotten thus far.

The biggest misunderstanding of my piece—a misunderstanding that I can only attribute to bad reading—is that I'm somehow justifying or explaining MGS2's story, which I'm not. It seems to stem from the assumption that form ultimately submits to narrative, which I don't think is necessarily the case. I made pretty clear (I think) why I think that MGS2's narrative stemmed from its formal ambitions, but many respondents seem unwilling to regard the game formally.

And I don't really mind that approach to MGS2. It's a valid perspective for their criticism, but it's an ungenial perspective for their criticism of my critical piece, which did look at the game's formal elements.

The thread also shows a pattern that I expected: opinions of my analysis almost always reflect the opinions that people formed about MGS2 over five years ago. I write "almost always," because I've gotten a few well-articulated emails that thanked me for explaining the game from a vantage point other than the usual narrative focus, which had redeemed the game in their eyes.

By far, this post from NeoGaf reflects the most pervasive criticism of the analysis:

NeoGaf poster wrote:
I think it's wonderful that someone can find something to admire in MGS2's mortifying train wreck of a storyline.

Even if that person has to ignore reality in the process and make Kojima infallible as a storyteller.

I've already touched on the first fallacy: my essay primarily viewed the game's form, and I applied the narrative as needed to highlight the form's internal significance. (This is postmodernism, after all, and we can't move very far without recognizing the role that self-reference plays.)

The second fallacy is the assumption that I'm defending Kojima. As a critic of whatever kind of media, I prefer to take the New Critics' approach and address the work as an object that exists independently from its creator. I'm pretty sure that I omitted all direct reference to Kojima in the body of the essay itself, and I even qualified my stance in the preface.

Preface wrote:
I'm no apologist for Kojima's status as a genius, but a formal analysis of MGS2 in conjunction with its narrative and themes reveals a brilliant organization.

I tried to pull the emphasis away from Kojima and toward the work itself.

Which leads me to reflect on the irony of some of these reactions I've gotten, in light of the theoretical basis I gave the essay. I discussed MGS2 from the perspective of the player's expectations—abstract "maps" that a person follows in spite of evidence to the contrary—and my essay and I have been criticized along whatever lines seem most natural from the critic's perspective.

I think that explains the most frequent presumptions about the piece that I've noticed over the past week or so. The attacks against my character are likewise presumptuous, mainly (1) that I'm a Japanophile, (2) that I have no life, (3) that I'm a lonely virgin, and (4) that I'm an unemployed English major who didn't get into the graduate school of his choice.

I don't feel that it's particularly necessary to defend myself against any of these accusations, though I expect that the latter criticism comes from engineering/computer science majors with biased ideas about English majors. It makes me laugh because I've been well employed because of my English degree, and I actually did get into the graduate school of my choice—one of the top ten M. A. programs of its kind in America.

Apparently (so I hear) there's a thread on SA's forums dedicated to mocking me.

IntentionallyWrong wrote:
I liked it! I'd like to say more but I found myself in such agreement that finishing your analysis left me with nothing to say.

Thanks a lot! I appreciate reading that.

I actually wrote the analysis so that I didn't expose every single formal parallel that I saw between the two games. For instance, I think it's really neat that, while Raiden and the player were fighting Vamp and escorting Emma Emmerich, Snake was escorting Hal Emmerich to the same destination and fighting Olga. It's pretty indicative of the kind of let-down that MGS2 forces on the player through the whole game. I had wanted to leave enough about the game unsaid so that readers could return to the game and find new things for themselves. So you might find something new if you play it back through looking for those patterns.

Shapermc wrote:
Then there's like 2% who actually have something to contribute and know what their talking about.

Yeah, this falls along the lines of what I'd said about reader responses mirroring their reactions to MGS2 forged years ago. One guy over at NeoGaf hit the nail on the head:

Bizarro Sun Yat-Sen wrote:
Maybe I'm being unfair but I sort of get the impression that the people hating on this essay object not only to it but to the idea of formal game analysis as such. What would you consider a good analysis? Have you ever read one you liked? From my perspective, the essay is mostly pretty straightforward and elementary, not even remotely "pretentious" except for some editorializing at the beginning and end.

This gets to the heart of another problem that I think The Gamer's Quarter also has to deal with—the widespread lock-down of thought on videogames that sticks solely to consumer-report sound bytes. It's this idea that any writing that says more than "Yea" or "Nay" on a game is trying to walk too big for its britches.

Put another way: the adjective "pretentious" tends to apply more to the speaker than the topic of his conversation. (Not always, mind.) To write pretentiously can mean to write about a low topic from a lofty vantage point, or it can mean that the author presumes to write about a high topic when he hasn't got the credibility or experience to write with the authority implied in his tone.

The main weakness in most of these criticisms comes from the fact that writing is called "pretentious" when the author is focused on a topic that's exactly on his level—the preface's recounting of my personal experience playing MGS2 for the first time, for example. There's also the tendency to call something "pretentious" because it applies the human mind's ordering faculty to material that struck the reader as essentially disconnected. That "pretentious" process is called "forming an argument," and it's the kind of thing that I've been educated to know how to do (as the proud holder of a B. A. in English Literature lol).

None of this diatribe is a direct response to NeoGaf's Bizarro Sun Yat-Sen, by the way. It's more a response from his post, regarding topics that he also addressed.

I can kind of understand describing the essay's Terms section as "pretentious," and I think that use of "pretentious" hits closer to the low-topic-treated-loftily meaning. Really, though, it shows a lack of engagement with the world of the arts.

Being involved with the arts means involvement with the created objects as well as the criticism about those objects. There's a symbiotic relationship between creator and critic, since both help to foster the general cultural consciousness of whatever people seem to want to achieve through the medium. Creators give critics objects to write about, and criticism helps make creators aware of what has or hasn't succeeded in their work. This is the essential relationship in order for craft to prosper in any medium.

I'm sure that others have developed idiosyncratic critical language to write about videogames, and I wanted to use simple terms that I thought best served my essay's ends. While the process of naming things can create cognitive problems later on—if a person sees the abstraction "tree" rather than the individual oak in front of him, for example—it's simply necessary in order to develop coherent thought. Perhaps this reveals my unfounded optimism about people, but I'm consistently surprised at the lack of curiosity that leads people to shoot down efforts to understand the world around them.

I guess it might go back to the idea of "maps" and expectations. Hell, I've been compared to Tim Rogers more times than I can remember, both because of this and because of my erstwhile killer7 plot analysis. Really, though, Tim and I have markedly different writing styles, and the comparison only seems valid on the most general level.

Shapermc wrote:
'EDIT: I just printed this out, which means I'll probably read it sooner as I never seem to have enough time to read more than 1000 words on my computer.

I'm looking forward to knowing what you think!

The overall reactions that I've gotten tell me that I've done my work well. The positive reactions understood the underlying critical ideas, and the negative reactions seem to have come mostly from people who misread it.

Long post, I know, but TGQ seems like the best place for me to unload my observations from the last week or so.
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PostPosted: Tue Aug 07, 2007 4:19 pm    Post subject: Reply with quote

here at the gamer's quarter, we like words.

i'm going to try to get around to reading this soon, too.
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PostPosted: Tue Aug 07, 2007 4:20 pm    Post subject: Reply with quote

dessgeega wrote:
here at the gamer's quarter, we like words.

And that's why I like TGQ!

^_^
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PostPosted: Tue Aug 07, 2007 6:19 pm    Post subject: Reply with quote

It's funny that you posted today, because I just finished reading this.

First I was mildly confused because you took to analyzing the structure of the game itself rather than the narrative. The preconceived notions of analysis on MGS2 basically point to this being an analysis on the story and you don’t quickly enough let the reader in on this. So I continued on with my map in hand.

Second (while still mildly confused on when you were getting to the story) I was feeling where this was trimmed down (as you stated in the preface). I kept thinking that you needed to include more; more about the MGS2 ninja, more about how certain events started, more about the outcomes of these events. Then I slowly started to pick up on what you were getting at.

After that I started to feel like you left too much in. This is twofold really. Primarily you left too much in before you really start to state how things pull together, and then when you do many of the points seem moot or more like a list that is far too detailed. Secondly there is a lot of reference (and assumed knowledge) of the first Solid game which isn’t really explained as why it’s important.

Finally I was devastated. While not explicitly stated your analysis basically points out that this game is worthless without it’s mirror: MGS1. You shine your light on all the points and places about the game that are truly brilliant, though by doing this you expose its fraudulence. As a huge fan of the second game I never really liked MGS1. My only experience with the game before the sequel was a very sleep deprived weekend in high school where I watched my friend complete the game with his overly machismo commentary (he had already beaten it and knew all the tricks). After playing and falling in love with MGS2 I tried to go back and play MGS1 but found myself unable to play beyond Sniper Wolf.

This leads me to my recommendation that, since you provide your opinion on the sequel in the preface, that you also let the reader in on your MGS1 experience. I have no idea if you love/hate/feel indifferent towards the first game, or even if you had played it before playing MGS2.

I find it incredibly interesting that every time I run into a critic of MGS2 that their defense relies heavily upon the fact that they love Snake and MGS1. I loved Raiden. It was a surprise to me when I was no longer playing as Snake, but I never craved his return either. I still connected with the game similarly to how you describe the relationship between the actor/character/player goals, but in a completely different way. I hardly noticed the connections between the first and second game on my play through of MGS2, and the ones I did were by far the most obvious (the torture section for example). I was Raiden, as intended, and grew with him. By the time we were fighting Solidus Snake in the destroyed NYC I was at full tilt, and then the game ends. I felt like it had just ramped up to the inevitable point the game would reach, though I did not expect that to be the end/moral of the game.

My only other comment is that this is a brilliant body of writing. Don’t let my initial impressions bother you, they were just that: initial. As a result of those impressions I would like to recommend that perhaps with the Terms section you build a clearer thesis for the reader to shatter some preconceived notions of the analysis. After reading this I would love to see a sort of mirror to your analysis from someone looking for the same things you are in the game design but by having the game stand alone, completely. Were I a stronger writer, or more knowledgeable in formal analysis I would try to make the effort myself, but I don’t think I have the stamina for the task.

PS: I knew reading this would make me want to replay MGS2. This analysis also had the unfortunate side effect of making me want to attempt MGS1 again… I do have that GC remake (Twin Snakes) that I never opened.
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PostPosted: Tue Aug 07, 2007 7:41 pm    Post subject: Reply with quote

Excuse me while I butt in here, but I never played the second and wouldn't mind playing the first again, is twin snakes a good way to do it?
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PostPosted: Tue Aug 07, 2007 7:46 pm    Post subject: Reply with quote

nope.

i forget exactly why. do i remember the cutscenes are even longer and more terrible. play the playstation version.

better yet, play ghost babel.
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PostPosted: Tue Aug 07, 2007 8:18 pm    Post subject: Reply with quote

No way, the cutscenes are better! They go from being sensible to completely ridiculous, which--hell, why not? Snake does one backflip in the original game, and in Twin Snakes he does. . . a lot more. Almost one every cutscene. He backflips over a door for no reason. There is bullet time. It is amazing and stupid.

But the rest of the game, ick. The ability to shoot in first-person breaks a lot of boss fights, especially Ocelot and Psycho Mantis. None of the levels are designed with the MGS2 abilities in mind, so it doesn't play as well. It has less of that arcade feel that made the original so great. It's glitchy as hell and I think there are even a couple seams in the textures that you can shoot right through. It's a mess, don't bother. Or find a friend who has the movie theater unlocked so you can just watch that.
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PostPosted: Tue Aug 07, 2007 8:20 pm    Post subject: Reply with quote

i remember there being a scene where grey fox slices a slab out of the ceiling with a sword and then kicks it at someone.
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PostPosted: Tue Aug 07, 2007 9:00 pm    Post subject: Reply with quote

What if you find a lot of the PS1 version mostly unplayable anyways? Would it be ok to play Twin Snakes then?

Also, what am I missing? I mean, I really, really, really don't like Ghost Babel.
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PostPosted: Tue Aug 07, 2007 10:25 pm    Post subject: Reply with quote

a heart, apparently ;_;
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PostPosted: Tue Aug 07, 2007 10:26 pm    Post subject: Reply with quote

ghost babel is what metal gear solid would be if it was a videogame.
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PostPosted: Wed Aug 08, 2007 1:05 am    Post subject: Reply with quote

Responses!

Shapermc wrote:
The preconceived notions of analysis on MGS2 basically point to this being an analysis on the story and you don’t quickly enough let the reader in on this.

I see.

I don't intend to come off sounding minimally glib, by the way. While I don't plan to revise the essay at this point (mostly because I'm starting grad school in one and a half weeks and won't have time), I plan to write about games in this mode in the future. I'm noting the places where I seem to have made mistakes to help with future work.

Shapermc wrote:
I kept thinking that you needed to include more; more about the MGS2 ninja, more about how certain events started, more about the outcomes of these events.

Do you mean that I should have included more summary of the narrative context? Or were you expecting that I would address the most obvious connections between MGS1 and MGS2, such as those that Ocelot pointed out toward the end?

I was wrestling with how to execute this when I wrote the piece, and I had decided to organize the essay by ideas rather than by events. It probably made things more confusing since the critical framework (Series, Scenario, and Solid Maps) most naturally relate to each other in the order of MGS2's events.

However, if you've come away with the sense that I left out more than I should have, then I might have failed one of my objectives. I had wanted to describe the relevant parts to refresh the memories of readers who hadn't played them recently, and I only wanted to describe those parts when the idea-centered organization demanded it.

Shapermc wrote:
After that I started to feel like you left too much in. This is twofold really. Primarily you left too much in before you really start to state how things pull together, and then when you do many of the points seem moot or more like a list that is far too detailed. Secondly there is a lot of reference (and assumed knowledge) of the first Solid game which isn’t really explained as why it’s important.

This sounds similar to Parkbench's criticism that I led the reader along my desired tracks without clearly stating why I was showing those details and similarities. (Am I right in assuming that you're referring to sections VI through VIII?)

Shapermc wrote:
While not explicitly stated your analysis basically points out that this game is worthless without it’s mirror: MGS1.

Yes, you're absolutely right about that. This relates to my decision to describe the experience of MGS2 in the past tense. The experience described in the essay was possible at its highest pitch immediately after MGS2's release because most people (I think) playing MGS2 then had MGS1 fresh in their minds.

Shapermc wrote:
As a huge fan of the second game I never really liked MGS1. My only experience with the game before the sequel was a very sleep deprived weekend in high school where I watched my friend complete the game with his overly machismo commentary (he had already beaten it and knew all the tricks). After playing and falling in love with MGS2 I tried to go back and play MGS1 but found myself unable to play beyond Sniper Wolf.

That's really, really interesting. It also exposes a weak side of my essay, since the essay presumes a sort of common ground from the player's perspective.

Shapermc wrote:
This leads me to my recommendation that, since you provide your opinion on the sequel in the preface, that you also let the reader in on your MGS1 experience. I have no idea if you love/hate/feel indifferent towards the first game, or even if you had played it before playing MGS2.

Understood. I'll think about how I can work that kind of observation into the essay.

I generally prefer an objective tone that focuses more attention upon the object than my perceptions of the object, and I like to reserve personal remarks to a preface and a conclusion. Perhaps future work could benefit from more confession of my relationship to the object itself before digging into the analysis.

Shapermc wrote:
I find it incredibly interesting that every time I run into a critic of MGS2 that their defense relies heavily upon the fact that they love Snake and MGS1.

See, this interests me too! In formal terms, I tried to explain why I thought this was midway through the essay....

X: Till Death Do Us Part wrote:
MGS1's narrative had forced Solid Snake to fail before he could succeed, just as videogames force players to fail before they succeed. The player had failed many times against Psycho Mantis until the fictional support staff told him to switch the controller's port, just as Snake had failed to defeat Rex until a fictional supporting character made it possible to defeat Rex. The player could happily identify with Snake because they had shared parallel frustrations and redemptions. MGS1 had created its form when its narrative mimicked the player's experience with the game.

I really think that people playing a videogame pay significantly more attention to the parallels between narrative and gameplay than to the narrative itself. Snake proved himself a pretty consistent patsy in MGS1, and he wasn't enough of a warrior outside the player's control to prevent getting kidnapped and hoodwinked into the events of MGS1 in the first place.

Either they weren't paying any attention to the narrative (which is likely), or the feelings that they shared with their actor made them like Snake as a kind of loveable loser who makes it on top in the end.

Shapermc wrote:
My only other comment is that this is a brilliant body of writing.

Thank you very much!

Shapermc wrote:
Don’t let my initial impressions bother you, they were just that: initial.

I still take them to heart!

These comments are all quite useful since, in a broader sense, "Driving Off the Map" is one among many attempts to establish how I want to write essays outside an academic context. Outside the context of videogames, this essay was an attempt to explore formal expository writing as a passionate, personal investment.

Put another way—I'm going to grad school for poetry, and that will require that I submit my poems to a hyper-critical audience—a method that many people dislike because they feel that poetry belongs more to the individual than the audience. I think differently, though, and I ultimately want all my non-paid, non-editor-watched (looking for an adjective that I'm not finding here) writing to resonate with readers regardless of its private origins. I think that's best achieved by paying attention to the spark and pestle of initial reactions—not all of which I'll ultimately obey, of course, but all of which I'll seriously consider.

So! Nothing bothers me. ^_^ I love knowing what goes wrong because learning how to cure broken methods is part of the joy of writing.

Shapermc wrote:
After reading this I would love to see a sort of mirror to your analysis from someone looking for the same things you are in the game design but by having the game stand alone, completely.

I would love to see someone disagree with my essay on its own grounds. (Or at least interpret MGS2 differently on formal grounds.) I'm much more interested in fostering different ways of writing about videogames than I am about reaching a hard, final conclusion about the topic at hand. I know plenty of folks at TGQ are, too, and this kind of writing is what I'm best able to contribute.

Shapermc wrote:
Were I a stronger writer, or more knowledgeable in formal analysis I would try to make the effort myself, but I don’t think I have the stamina for the task.

Getting this essay into shape for the 20th anniversary of MGS wore me out. I've got most of the whole body of my killer7 piece written, but I'm really far too drained at this point to devote the kind of intense energy that I want. (Especially since I'll need to reserve that energy for the semester.)

Which is to say: I don't blame ya!

Swimmy wrote:
No way, the cutscenes are better! They go from being sensible to completely ridiculous, which--hell, why not?

From my POV, it's not as much an issue of "sensible to ridiculous" as it is "cogent to isolating." Cutscenes in the Playstation MGS1 only showed Snake doing things that the player could also do in-game. Cutscenes in the Gamecube TTS showed Snake doing things that made the gameplay a retarded concession to the player—who apparently turned Snake from an face-grinding motherfucker into White Man Can't Jump.

Put another way: MGS1's cutscenes made the player feel like he was actually helping Snake do the things that Snake could do. TTS's cutscenes made the player feel stuck with barrel rolls when Snake was clearly Spiderman.

Swimmy wrote:
He backflips over a door for no reason.

Not to mention that the whole gun-dance scene with Meryl totally kills her as a believable rookie.

Snake: "PSH! When I was a boy, we could juggle each other's carbines while we were pissing in grandfather's boots! Think you can really shoot me while I'm pirouetting across the desk and dancing the Charleston on that naked guy's ass, rookie!?"

The cutscenes contradict almost everything I liked about the narrative from the first game, so I'm a little annoyed by them. Playing that game was like rummaging through my storage room, finding my yearbook from when I was a senior in high school, and discovering that Ryuhei Kitamura masturbated over the pictures of the girl I had a crush on.

Shapermc wrote:
What if you find a lot of the PS1 version mostly unplayable anyways? Would it be ok to play Twin Snakes then?

*cries*

dessgeega wrote:
ghost babel is what metal gear solid would be if it was a videogame.

Your custom title is a lie!

(Which is okay by me.)

^_^
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PostPosted: Wed Aug 08, 2007 6:26 am    Post subject: Reply with quote

dessgeega wrote:
ghost babel is what metal gear solid would be if it was a videogame.


Dess, you've been on a roll lately with these venomous one-liners! We need to start a collection for the magazine, seriously.
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PostPosted: Wed Aug 08, 2007 11:06 am    Post subject: Reply with quote

Adilegian wrote:
Shapermc wrote:
What if you find a lot of the PS1 version mostly unplayable anyways? Would it be ok to play Twin Snakes then?

*cries*

Well, to be fair, the game doesn't even have analogue support. This makes going back to the game after playing MGS2 and 3 extensively even more difficult. This same reasoning makes it hard for me to play Silent Hill 1 as well (tank controls only). Luckily SH1 is much, much shorter.
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PostPosted: Wed Aug 08, 2007 11:41 am    Post subject: Reply with quote

Lestrade wrote:
Dess, you've been on a roll lately with these venomous one-liners! We need to start a collection for the magazine, seriously.


i think there is merit in this idea.
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PostPosted: Wed Aug 08, 2007 2:10 pm    Post subject: Reply with quote

1-up Zine had running heads with trivia and other miscellany; we could add a "Dessgeega Says" spread in TGQ!
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PostPosted: Wed Aug 08, 2007 2:22 pm    Post subject: Reply with quote

it could be accompanied by a little dr. wright-esque caricature of me, rapping at a blackboard with a pointer.
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PostPosted: Wed Aug 08, 2007 2:24 pm    Post subject: Reply with quote

ALSO

Adilegian wrote:
dessgeega wrote:
ghost babel is what metal gear solid would be if it was a videogame.

Your custom title is a lie!


i never said i don't love metal gear solid! additionally, if i maintain that metal gear solid isn't a videogame (as the above quote clearly suggests), then i can not love it without violating my custom title!
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PostPosted: Thu Aug 09, 2007 1:40 pm    Post subject: Reply with quote

Shapermc wrote:
Well, to be fair, the game doesn't even have analogue support.

That's true now. It's easy for me to forget how frustrating that can be as a step backward. I got over that hump after the first couple of hours playing back through MGS1 for the article's screencaps, so it seems much less obtrusive to me now. However, I fully admit that that's a matter of adaptation. Compared with the later games, MGS1's controls ain't no-how intuitive.

Dessgeega wrote:
additionally, if i maintain that metal gear solid isn't a videogame (as the above quote clearly suggests), then i can not love it without violating my custom title!

Snap crackle BURN.
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PostPosted: Thu Aug 09, 2007 6:25 pm    Post subject: Reply with quote

dessgeega wrote:
ghost babel is what metal gear solid would be if it was a videogame.

And if it had a worthwhile story.

Not to mention by far the coolest cast of villains. The last boss is practically noir Bomber Man.
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PostPosted: Thu Aug 09, 2007 6:33 pm    Post subject: Reply with quote

psycho puppet dyke is my favorite metal gear boss ever
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PostPosted: Thu Aug 09, 2007 7:33 pm    Post subject: Reply with quote

Most definitely.

I get shivers just thinking about it.
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PostPosted: Thu Aug 09, 2007 7:43 pm    Post subject: Reply with quote

what nice lines your clavicles have, snake.
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PostPosted: Fri Aug 10, 2007 7:38 am    Post subject: Reply with quote

dessgeega wrote:
psycho puppet dyke is my favorite metal gear boss ever


But... but... I thought Marionette Owl was a boy!
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PostPosted: Fri Aug 10, 2007 11:29 am    Post subject: Reply with quote

nah, that's silly.

this thread makes me want to replay the game again. i think i will!
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PostPosted: Fri Aug 10, 2007 2:11 pm    Post subject: Reply with quote

i am now replaying metal gear gbc. officially! i played through the first three stages and was only spotted three times. one of those was an infrared laser, though, so it only half counts.

outer heaven??
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PostPosted: Fri Aug 10, 2007 2:36 pm    Post subject: Reply with quote

Me too!

Though I'm trying very hard not to be spotted, reloading every time I do. Tiresome in many respects, certainly, but it's a challenge and the prospect of starting over again always encourages one to pay attention.
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PostPosted: Fri Aug 10, 2007 10:17 pm    Post subject: Reply with quote

slasher hawk gets such a great send-off.

also, "a boomerang??" > "a hein d??"
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PostPosted: Sat Aug 11, 2007 5:33 am    Post subject: Reply with quote

I just popped in MGS2 to test something on my TV and ended up playing it for a bit. I think I'm hooked again!
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PostPosted: Sat Aug 11, 2007 12:26 pm    Post subject: Reply with quote

stage five completed! why don't any of the other metal gear games have a puzzle built around the cardboard box? i was only spotted once - twice if you include setting off a c4 in the wrong location. but it was worth it for jimmy's reaction.

there is totally an allusion to masturbation in snake's conversation with jimmy. right afterward i called mei-ling to save my game, and she said "you're not doing something else while you're playing this game, are you?"

!
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