Metal Gear was a game developed for the Nintendo Entertainment System in 1988, by Hideo Kojima (after first being developed for PC). It told the story of Solid Snake’s infiltration of the compound known as Outer Heaven, in Africa’s southern mountains and jungles, seven years ahead of its publication date, 1995. Depending on whether you played the PC or Nintendo version of its sequal, Snake’s Revenge, the sequel told of his infiltration of a “Central Asian” (I still claim African because I found it on the actual map) militant nation called Zanzibar, four years later (against the seven-year coinciding date between publication and setting, 1992/1999).
A pair of games that pioneered the notion of on-site procurement, they were in fact to eventually serve as the preliminary backstory for the far more ambitious chapter of the story, Metal Gear Solid for Sony Playstation. Tying real-life events in with fictional and developing a level of detail never seen before (and I believe since) in console-video games, “director” Hideo Kojima had by then created a game series that many today call the greatest ever made. Involving everything from the presentation of the game’s “prologue” as a video taped briefing interview to Snake’s stealth entrance through the underwater arctic passageway to nano-machine technology that regulated his system to nuclear threats by terrorists, genetic engineering experiments and conspiracies and more, MGS rewrote the standard by which modern action-adventure games are judged.
Volume IV of the this saga, dubbed Metal Gear Solid 2: Sons of Liberty, again told the story of terrorist threat to the world, but revealed a deeper agenda by the Powers That Be. Rather than fighting for truth and liberty in the previous games, agents such as Snake, and the newly introduced Raiden, were shown to have been used as pawns, puppets and/or other forms of pieces in an elaborate scheme by an unidentified group of twelve conspirators, known to others (lesser people such as the President of the United States[!]) by numerous titles, up to and including the “La-Li-Lu-Le-Lo” and The Patriots (and for that matter, The Majestic-12, if UFO investigators are to be believed in real life), to supplant notions of freedom throughout both the United States and elsewhere, and to seize dictatorial power for itself for the express purpose of “guiding the evolution of humanity into the future, permanently.” Most amazing of all this, in the end, was how effective Kojima was in presenting the tale as believable, and creeping out near everyone with the seamless connections made with seemingly disparate events over the last 50 years…if not longer (“move over X-Files”…the last two lines of the fourth game revealed the dauntingly bizarre scenario that “we” had on our hands, and has led some players to hypothesize that the entire situation/conspiracy apparently began at the conclusion of the Civil War).
Metal Gear Solid 3: Snake Eater, part five, is presently still in the perfecting stages. Every single electronics gaming magazine (at least that this author has seen), both American and Japanese and European, dedicates extensive room to the rumors surrounding any developments in the series, and almost religious coverage for the releases themselves. For all intents and purposes at this point, Metal Gear has been to gaming circles what Lord of the Rings has been to movie theaters.