Let’s be frank: bad games abound in this industry. It wouldn’t be imprudent to say that most titles that come out are poor creations meant solely to win a buck and not advance games as an art form or a mode of entertainment. The mountains of mini-game collections for the Wii, the endless hack-n-slash ripoffs that come out for the Playstation 3 and Xbox 360, and even the computer titles that–even though some are decent–are shipped broken, requiring patches to fix. There’s a lot of bad stuff out there, and for the casual gamer, it can be quite daunting.
This shouldn’t get anyone down down. Having an art form buried underneath a pile of schlock is the hallmark of Hollywood, the music industry, and television. It means that the mainstream has finally discovered video games as a means of telling a story, for better or worse. Which means, indirectly, bigger budgets, bigger stakes, and more advanced titles, which translates into more scrutiny and better storytelling.
A serpent falls from the sky, and where he lands, the story begins. So it is with Metal Gear, the first in a long line of tactical espionage action games by famed Japanese designer Hideo Kojima. Much has been made of the Metal Gear franchise, from its innovative gameplay, to its verbosity, to its affection for 1980s action movies, but there has never been a true literary analysis of the games and their ties to the greatest epic poems in any language.