To really hit the symbolism of brexit he should've set a release date then delayed it then set another release date and delayed it then set another date then delayed it and on and on and on
you win the internet today Omg.
To really hit the symbolism of brexit he should've set a release date then delayed it then set another release date and delayed it then set another date then delayed it and on and on and on
Yeah, I might have to lower my expectations even further lolWith how many responses that first post got, I'm pretty half this forum are straight up Sheldons. Bazorngo!
We will never move on from that phase.i'm excited to move on from the attacking-reviewers-for-their-opinions-or-claiming-this-game-is-for-true-intellectuals-only-and-if-you-dont-get-it-youre-just-dumb phase
So which is it? Are people too dumb or too smart for this game?Also, kojima's subtext has been pretty freshman philosophy class stoner-idea level obvious shit, as Giant Bomb was pointing out in their discussion.
On GB they basically just said that it's not that hard to understand and he overexplains ist about four times over.I dunno, people really wanna hate this game for some reason. People hate new things.
Seems like a hamfisted attempt to hitch DS to a couple of wagons to me.
You think? I've thought it was always clear that Trump/climate change/social division is what this game is trying to be about.Seems like a hamfisted attempt to hitch DS to a couple of wagons to me.
Another reason to love this game then?
We will never move on from that phase.
So which is it? Are people too dumb or too smart for this game?
I dunno, people really wanna hate this game for some reason. People hate new things.
People hate new things, specially if they're exclusives to other platforms.
They also hate Kojima for whatever reason.
You add to that that the scores are much higher than they expected, specially after reading some of those reviews, and Death Stranding is like the perfect storm of vitriol
You gotta love when people dismiss criticism like this...
Also most people thought the game would score higher than it did so I'm not sure where you are getting that from.
Kojimas games have always tackled political themes...
But we know well enough about the gameplay of the game and how it's gonna go for the majority of the game, and we saw well enough of how it's gonna work, of the gameplay loop, from people that DID play the full game. I'd say we're able to criticize with those information if we don't find it to fit what we like and what we don't.What criticism, if you and I haven't played the game? And most of the people hammering the game over and over have no intention to!
They don't really have any valid criticisms, yet..
And we have people here saying Kojima is trying to get into the "Hating Trump and Brexit" bandwagons...like, really??
A game about "connecting people in the 21st Century", seems pretty clear to me.
But noo, Kojima can't do no good...
This. He never Hid(eo) the messaging.It was always pretty clear that "Make America Whole" was his response to MAGA.
But we know well enough about the gameplay of the game and how it's gonna go for the majority of the game, and we saw well enough of how it's gonna work, of the gameplay loop, from people that DID play the full game. I'd say we're able to criticize with those information if we don't find it to fit what we like and what we don't.
I'm surprised by the immediate reaction of disbelief in this thread. As the themes of the games began to play out I felt the subtext was pretty obvious. Also, the reaction to this seems pretty lukewarm on a forum that gets really angry when developers fail to commit to political themes. Strange.
I feel like he's just saying that. The marketing for this game has been kinda weird and all over the place. Also, kojima's subtext has been pretty freshman philosophy class stoner-idea level obvious shit, as Giant Bomb was pointing out in their discussion.
So which is it? Are people too dumb or too smart for this game?
god i think the discourse around this will be really interesting when more people have beat the game. it's frustrating because i'm still embargoed from saying a lot of the things i want to say about it but i really do think the way it talks about this stuff is nuanced and interesting. i'm excited to move on from the attacking-reviewers-for-their-opinions-or-claiming-this-game-is-for-true-intellectuals-only-and-if-you-dont-get-it-youre-just-dumb phase
it's so weird. it's a game where you pee pee mushrooms, dudes get high off delivering packages, and you make grenades from norman reedus's dirty bathwater. but it also has these challenging, nuanced moments with really big, bold political statements that are the opposite of what you might expect (it was definitely the opposite of what i expected, anyway)
Poole studied English at Emmanuel College, Cambridge, and has subsequently written for publications including The Independent, The Guardian, The Times Literary Supplement, The Sunday Times, and the New Statesman. He has published two books and currently writes a weekly nonfiction book-review column in the Saturday Guardian called Et Cetera, as well as regular longer book reviews, plus a monthly column in Edge magazine... Trigger Happy was published in 2000 by 4th Estate in the UK (with the subtitle "The Inner Life of Videogames") and by Arcade Publishing in the US (with the subtitle "Videogames and the Entertainment Revolution"). It is an investigation of the aesthetics of videogames, that notes similarities and differences with other artforms such as cinema, painting and literature, and finally offers a description of games as semiotic systems that may provoke "aesthetic wonder"...
...Hideo Kojima's games notoriously combine sharp reflections on contemporary political themes (The Phantom Pain concerns itself at length with issues of nuclear proliferation) with overscripted, didactic longueurs. There are, even his staunchest admirers agree, far too many hours of non-interactive expository "cut scenes" in his games, as well as his signature elements of surreal and supernatural invention... Yet as a cultural figure Kojima may be something like the Noam Chomsky of video games: someone who first introduces a player or reader to the iniquities perpetrated in modern history by the "good" guys. In a still-young medium whose most successful products are deeply conservative, he insists that video games can and should convey critical arguments about international relations and jus in bello. In this sense—in terms of his sheer cultural reach, and the ability of his gleefully odd games to sweeten the bitter pill of philosophy—Hideo Kojima is not just one of the great video-game designers of our times, he is arguably one of our most important political artists...
...Such joyous bathos has long distinguished the work of the Japanese video-game director Hideo Kojima, whose games have sold upwards of 36 million copies to date... In their dynamic procedure as well as their scripted rhetoric, Kojima's games are stealthily anti-war war games. In contrast to the fairground bullet-shower of the billion-grossing Call of Duty series (the equivalent in war-themed video games of Michael Bay movies)... The player may thus feel dirty and guilty for doing what is mere routine in other games. As well as in other art forms: MGSV's emphasis on fanatical caution and planning, as well as the humane neutralizing of enemies, works too as an implicit rebuke to gung-ho war movies -- in particular, in this case, the Afghanistan-set Rambo III (1988), whose hero deals very differently with the Soviet occupation...
On the other hand, it may help to lure some of the video-game audience into a critical engagement with issues that most games take unthinkingly for granted... Kojima may cut a lonely figure at the blockbuster end of video games, but a modern movement of serious, critical indie games is in full bloom... As any artist must be who works at the blockbuster end of his medium, Kojima is loyal to the perceived commercial and demographic requirements of the form, while reserving the right to extend its parameters in surprising ways... It is, first and foremost, a hugely enjoyable video game, and many players might not even notice the ambient satirical allusions. That might be a shame; but if the game were no fun to play, its politics would reach no one at all because no one would play it...
Yeah realised it after posting but didn't have time to edit it(was on my way to work)😁
Kojima needs an editor. He beats you over the head with everything.On GB they basically just said that it's not that hard to understand and he overexplains ist about four times over.
Oh, I went and actually watched the gameplay TGS thing and Kojima is the one that said to make the hat red in that bit.
Armstrong is the ultimate politician. Nanomachines Son! would be his campaign slogan.Politics in a game Kojima produced or directed? Say it ain´t so chief!
Senator Armstrong played college ball you know? Vote for Armstrong in 2020. It´s what George Sears would have wanted!
PS: I learned what about the Gulf War syndrome through MGS.
it's already in every thread that has any sort of chance of having an ounce of negativity in it. i thought this kind of meta shit was against the rules.this quote should just be posted in every kojima thread at this point lol.
It's an interesting allegory, all your divisions mean shit when us as a species is at risk, quite prescient at this time of (somewhat hidden) crisis; our world, our society is edging towards a collapse of sorts.You think? I've thought it was always clear that Trump/climate change/social division is what this game is trying to be about.
Beyond the ghosts and weird shit anyway
It really isn't.With a critical mind and a willingness to separate fact from fiction, the MGS series is a fairly compelling 20th century Western history course.
But Gamers are lonely too....Well he just slashed his numbers in half. None of the alt rights will support this. They'll take a stand just like they did with Far Cry/Battlefield 5.
Very constructive. Glad to see you actually want to engage in a discussion.