(Louise Brown)
Take a young gamer, tore out the timeline of any Metal Gear, and place it at late (inflammatory) amounts to a political fantasy trip obstetric forceps-armed who claim that the creature just torn away from the uterus can remember things that may not have experienced. Metal Gear Solid 4 is not a work for everyone.
With all due respect to those owning a PlayStation 3 have believed it possible to run into a paradigm of all-encompassing, rewarding and totally "fun", the latest Metal Gear is a matter of nostalgia, the heart and remember the reason and the " common sense "gaming has little to do.
Wanting to consider any mass production, and surrendering to the fact that the quality of "seasons" of a TV series can not be determined throughout the last episode, it is right to consider Metal Gear saga as a mental (intentional irony) composed of a body of work that have gaming raison d'etre is that in their in their entirety (every time) partial incompleteness.
That said, Metal Gear Solid 4: Guns of the Patriots will never work in video games today and to be negligible, mainly due to the fact that the substance of the work is inscribed to the end and beginning of a evolutionary process that affects the video game medium in all its parts. If it is true that "the medium is the message" as McLuhan says the sociologist is also true that the medium can "go beyond" the message over Playstation3 then, more than marketing or wishful thinking autoriali di uno sparuto game designer, tutta la forza che l’ultima opera Konami possiede in sé é in grado di trascendere totalmente qualsiasi derivazione produttiva: meta-linguaggio e fantapolitica, overflow d’informazioni e controllo della coscienza, implicazioni bellico-centriche e clonazione di esseri umani, manipolazione genomico-militare e IA neuronali, telecinesi, nanomacchine e madri surrogate… come per ogni buona opera d’arte che si rispetti, Metal Gear va oltre la summa delle sue parti.
Vivere Guns of The Patriots equivale a rimanere imbrigliati in un discorso estremamente esigente quanto accondiscendente, contraddittorio quanto spettacolare: si tratta dell’emozione di trascendere completamente la materia videoludica per donarle le vestigia di qualcosa di imperituro, granitico quanto relativo, trascurabile quanto… sacro , diciamolo pure. Guns of The Patriots compie difatti un’operazione perniciosa in seno a tutta la comunità videoludica, dividendo in due l’utenza che avrà sempre la pretesa (a torto o a ragione) di voler guardare all’oggettività videoludica.
Non sarebbe invece errato pensare alla saga Konami come ad un qualcosa di tendenzialmente diverso da ogni altra produzione mediale, cinema e videogioco assieme e al contempo sodalizio e divorzio fra le due arti, coacervo di contraddizioni e intensità di significati all’interno di una entità polimorfa dallo sguardo trasversale.
It may not have ever played Guns of the Patriots or have completed several times, the substance would not change: the experience of Metal Gear Solid is not finally be judged. Criticism as it was, with the analytical tools handed to a criticism that must necessarily take account of the game and its specific in the strict sense, this is, but not finally be judged. That's because Metal Gear implies first of the excitement and pride in understanding what it takes to be a gamer, paying spectator / actor interpretant, user cogitante thinker and gambling, a meta-reflection within the game play itself, the console is on or off the gamer or present / absent - everything is potentially possible in a Metal Gear, even the possibility of being surprised and delighted, puzzled or overwhelmed: the appraiser who knows the work knows what I mean. 
This is because those who loved the series since the past knows what it takes to live a new Metal Gear on your console: it is - every time - a thrilling gaming existential - a power that only the great works Art can shoot out. Being a work in rewriting, each iteration of the same involves a sensitive touch back the memory and experience of lived worlds first years, when likely to had other consciousnesses, insights, game systems and ideologies, most probably play different habits and / or less complex than the current.
The contributions given in this narrative of the last chapter also involve the re-definition gaming to the past with all its many gamers, destabilizing load exegetical. All this because
Guns of The Patriots, regardless of the specific qualities of the work itself involves the solicitation of Being gaming, gamers and their feeling of affection for the game characters and elements borrowed time dall'estimatore work because, for over 20 years now, Metal Gear has become a reality for gamers grew up together, and with entertainment technologies to the pitch, the first MSX2 current PS3.
Needless to say that Opera has marked a step to Konami always, if you want a paradigm or a standard from which to address a non-unavoidable medium and the art of game which, thanks to a mixture of pure language video game (gameplay) and film (or FMV cut-scenes), Metal Gear has never forgotten to mention something fundamental in the current discourse that divides Ludologica and narratology: a story - or if you want an epic - all to tell thanks to the "game". Approaching a
Guns of The Patriots then leads - inevitably - the ludonarrata dive into a long story for which (and thankfully) will never become any consideration of a canonical Review: distilling the features of that work within the boundaries of an assessment purely "fun" is merely a ridiculous sham.
Guns of The Patriots is a story that goes final narrative "lived" well played, as it's likely an end with the claim to untie knots interweaving twenty years, inevitably a story that is mainly played as well as "vision" In his account then, letting go of the pad and unraveling the overflow of sediment data in memory, between the response and outstanding unexpected alliances, past memories and all the exaggerated military rote learning, leaving wrecked by the flood of meaning and information, questions and dissolutions, lost and found, agitated and embittered. Hideo Kojima was peremptory: Solid Snake is the player, everything that happens (and happened) in time to Solid Snake has happened to me, truism, of course, but with a grip and empathy and emotional impact with a shot smothered the heart as probably no other video game character - on a global scale so large - have shown that they do with such "human" strength.
Just as happened with a handful of other large icons / videogame brand, for many gamers Metal Gear Solid Snake IS a clone and the status of the game yesterday and today, and everything that can happen to the game, for better or for worse, is reflected in the criticism, the defense and offense confidential by the community at the "Old" Snake.
This is something that, in respect of an icon, an experience and a continuous gratidudine for what until now has represented such entities, personally I'd never be able to do.
So let this last experience (film) and, per una volta, semplicemente se stessa, senza volerla per forza controllare.
Il cuore e l’emozione infine… non li si può giudicare.
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