Normally, I don't think I'd write about a video game on what is ostensibly an artist's blog, but at the same time, every artist should reflect on the things that influence them, regardless of how mundane they are perceived to be; Videogames hold a similar status as some manner of 'bastard child' as comic books do, and are pretty frowned upon, but once in a while, there's a special something that comes along, exactly the same as the movie industry; For every standard rom-com or generic action movie, there is an imaginative take on a particular genre, be it, say.. Clueless for rom-coms or Kick-Ass for the superhero and action genres.
It's somewhat odd, however, that the game that has inspired me since playing at the beginning of September is not a big, overhyped console game. Not something you play in HD in your comfy chair with your surround system blaring, but instead, something for the lowly Playstation Portable, a handheld even less reputable than the Nintendo DS. Metal Gear Solid: Peace Walker is the system's killer app, as the term is, and it's a pity it took five years to arrive. If Sony had something bankable like this each and every year, they might've seen some more sales of the system.
Regardless, Peace Walker is a continuation of the epic, immense storyline of the Metal Gear Solid series, filling in many of the blanks from the other games and yet occupying an unusual side-story or 'gaiden' status - Crowed about by many fans as 'inessential' due to the lack of production for a current-gen console. Regardless, as usual, series master Hideo Kojima expertly crafts a careful tale set toward the twilight of the Cold War; This is the first time the series has been so firmly placed in history. Richard Nixon's resignation as President of the United States following Watergate is referenced, as is Vietnam, the Manhattan Project and the SALT (Strategic Arms Limitation Talks) meetings of 1974. The last article plays an immense role in the final chapters of the game - Which is to be expected, since Metal Gear has always played heavily with nuclear themes such as proliferation and deterrence - The latter is a major theme in this game, especially the concept of how it can be twisted, or how it is ineffective without a demonstration of power (which is horrifically true, given having mere numbers of nuclear weapons reached the ridiculous point where millions have been produced).
The story also plunges the depths of greed, betrayal, deceit and blackmail. The antagonist is willing to initiate all-out nuclear war in order to regain his former glory as the Director of the CIA - He himself is betrayed (inevitably) by Russian colleagues. The protagonist is a man who proliferates war for money and for purpose in life. A scientist tries to replicate the personality of the woman she loved in order to understand her final hours. And a young woman who seemed innocent to all around her becomes a tragic foe, blackmailed herself into trying to forcefully recruit the antagonist and his men. To link up to future (in terms of the series' chronology) events in the games, there is heavy hints of a would-be dystopian future where all information is governed and released carefully with regard to what is necessary in order to properly see the propagation of humanity as a species, rather than lose ourselves in a sea of unnecessary information; Choice is another important theme in the game. Rather than have it stripped away entirely and their choices be made for them, as is the concept in one of the games, several characters make tracks down definitive paths that will see them demonised, attacked, adored, and killed. Pretty deep for something you play in five minute blasts.
The visuals of Peace Walker are also another triumph. The 3D graphics engine is a mere enhancement of the one created for the first PSP installment, Portable Ops, and so are the fascinating cutscenes. The art shown above is developed by Australian comic-book artist and painter, Ashley Wood, and in the game it is actually animated. The girl, Paz, squeezes water from the hem of her skirt as we watch; Amongst other scenes, we see the climax of the story played out, all in amazing collaborations between Wood and Metal Gear series artist Yoji Shinkawa. The combination of styles works to the game's favour. Shinkawa is a more careful line artist and Wood is a slightly messier one, allowing for interesting contrast in watching the scenes. Also impressive is a development of the usual 'QTE' or 'Quick-Time-Event' - Which are present in the cutscenes of this game, and require a careful series of button presses to allow progression. To fail presents different visuals than succeeding. One particularly impressive sequence sees the player forced to ride a horse, chasing a rampaging machine through mortar bombardment and collapsing trees.
Wood's art is a triumph, for me, and part of the reason I'm writing, but also, the story curiously ties in with some of the themes I'm dealing with at the moment in my work. If I have more thoughts, you can be sure they'll end up here.
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