Having been in a coma for nine years, he’s seeking revenge on those responsible. In The Phantom Pain, it’s 1984 and Snake is attempting to rebuild his military offshore haven Mother Base following its destruction at the end of Ground Zeroes (I strongly suggest you play that before this).
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The narrative that’s here, too, is pretty sobre and convincingly serious for a series known for elderly snipers, vampires and men who can fire killer bees. It’s so different to previous numbered Metal Gears in its lack of cutscenes that it takes some getting used to. As someone who’s enjoyed the entire series, I see this as a natural progression from Metal Gear’s mini stealth sandboxes into something that realises the potential that was there all along, without any compromises.Īs a result, the balance between game and story has now shifted significantly in favour of the former. Crossing the ten-hour mark, this range of instantly accessible options expands into AI companions of varying skillsets, airstrikes that let Snake summon fire from the skies, helicopters that can provide supporting fire and lots more. Importantly though, you can also have anything from your armoury sent to the battlefield at any time via Snake’s iDroid device. Heading into a mission, you pick Snake a limited loadout of two primary weapons, one sidearm, and explosives. The mission objectives tend to be a bit basic on the surface-extract this guy, assassinate this informant, stop this convoy-but what happens along the way is often unexpected and almost always exciting. Out in these environments, MGSV throws together smart AI, uncontrollable weather situations and varied types of locations in ways that frequently generate new stories. The Phantom Pain’s story missions take Snake to one of two enormous military sandboxes: the cliffs and plains of a Soviet-populated Afghanistan, and later, the swampy Angola-Zaire border.
The goal that guides every level (and every Metal Gear) is to sneak through environments without being caught by the enemy-if they spot Snake (or Big Boss), an alert phase ensues until you can lose his attackers. Like Ground Zeroes, though, the lack of mouse control in the menu screens means this is better played with a controller. Dropping a couple of the settings here makes a consistent 60fps easy to attain. My PC’s specs are pretty decent, but my GTX 780 is two years old, and even with every setting on ultra high I didn’t notice a framerate drop beneath the low 50s, and even going below 60 was pretty rare.
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Like Ground Zeroes, The Phantom Pain’s PC port is really well-optimised. Graphics options: 4K resolution, V-sync, motion blur, depth of field, model detail, texture settings, texture filtering, shadows, lighting, post processing, effects, ambient occlusion, volumetric clouds Nothing boring ever happens when it does. But when the controls are this good, when your tactical options are so extensive, it’s in no way a bad thing to be part of these escalating, huge-scale battles, which offer the sort of moment-to-moment thrills most action games would struggle to script. Some hardcore players will never want to find themselves in that position: Metal Gear has always been a stealth-focused series, after all. I’ve had to hide from swarming troops and mortar fire behind buildings, patting my dog for reassurance while I call in more ammo drops, preparing for my second wind as the night turns into morning. Nighttime battlefields fill with smoke, flares and explosions. I’ve had weird and wild battles of unending nightmare gunfights across giant bases, battling reams of soldiers, mechs and even a chopper as an ill-equipped one-man-and-a-dog army.
The punishment for a stealth mission going wrong is an exhilarating set piece in a constantly surprising open world.
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