Latest news with #MetalGearSolid2
Yahoo
17-05-2025
- Entertainment
- Yahoo
Norman Reedus would "for sure" star in A24's Death Stranding movie: "I don't know what's happening with it"
When you buy through links on our articles, Future and its syndication partners may earn a commission. Norman Reedus says he would absolutely play Sam in the upcoming Death Stranding movie if it "was an option." "If it was an option, yeah, for sure," Reedus told IGN. "I don't know what's happening with it, right? It's so [production] right now. But yeah, yeah, of course!" You can watch the clip below. Death Stranding, created by none other than Hideo Kojima, was released in 2019 and featured voice and motion capture from the likes of Reedus, Mads Mikkelsen, Léa Seydoux, Guillermo del Toro, and Margaret Qualley. Taking place in an apocalyptic America, the player controls Sam Porter Bridges (Reedus), a courier who must deliver supplies to remote colonies known as Knot Cities - which make up what is known as the United Cities of America - and reconnect them via a wireless communications network. Death Stranding 2 is set to release in June, with Reedus reprising his role as Sam. Michael Sarnoski, who directed the critically acclaimed and commercially successful A Quiet Place: Day One, is set to write and direct - with some help from Kojima, of course (who won't let Sarnoski play Metal Gear Solid 2 and 3 for some reason). Kojima also clarified last year that this is just one of many Death Stranding projects in the works (one being a movie that he wrote himself, but doesn't "have time" to direct). He also reportedly said that the upcoming film will be both "strange" and "unbelievable." Death Stranding does not yet have a release date. For more, check out our list of the most exciting upcoming movies in 2025 and beyond, or, check out our list of all the upcoming video game adaptations that you need to know about.
Forbes
07-04-2025
- Entertainment
- Forbes
Phil Wang: 'I Used To Play Metal Gear Solid 2 On An Open Air Veranda'
Phil Wang onstage during the BAFTA Games Awards 2024 British comedian Phil Wang will host the Bafta Games Awards for the second year running when the event is livestreamed on Twitch and YouTube on Tuesday evening. Wang was born in Malaysia and shot to fame as a comic after appearing on TV shows like Taskmaster and Have I Got News For You. He hosts the podcast Budpod and regularly tours as a standup. He's also an avid gamer and he sat down with me recently to discuss his life in games, from the first console he owned to a gaming memory that he cherishes. The first game I remember playing was SkiFree on Windows 95. It's just a vertical skier moving up and down on the screen and you have to dodge trees, bumps and eventually the abominable snowman. My cousin had a computer and he showed me the game and I thought it was thrilling and dynamic. I asked my dad if we could get a computer; he was excited and thought his child was a master of the future digital revolution, but I just wanted to play the game. The Sega Saturn. I don't know why I got that. I was very influenced by my older cousin, who implied the Saturn was the thinking man's PlayStation, but it wasn't. I remember playing Sonic games and House of the Dead. I had the light gun for that too. After that, I graduated to the PlayStation and the original Game Boy. Metal Gear Solid 2 FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder I always think about Metal Gear Solid 2 on the PlayStation 2 in 2001. At this point in my life, I was still living in Malaysia and my PlayStation was out on a veranda in the open air. If I played too late at night, I'd have to get a mosquito coil and light it at my feet because they attacked me. I've such a strong memory of 'Snake, Snake!' ringing out across the veranda. I've played that game so many times. I was just so astonished by it. Everytime there's a leap forward in graphics, we always say 'it's not going to get better than this'. I remember playing that and thinking nothing could improve on it because they looked like real people in the game. I'm such a sucker for production value and so I love my PlayStation 5. I love the controller; I think the haptic feedback on the PS5 is such an achievement, it's stunning. I remember playing Spiderman 2 last year and getting hit with a crowbar - they made the controller vibrate as if you'd been hit by a piece of metal. It's unbelievable. Thank Goodness You're Here! is so funny. I don't remember laughing that much at a game since Portal. The boldness to be so unashamedly British in its language and humour is so fun. I also like the humour in Helldivers 2, but then the gameplay gets pretty serious. It's very hard to make a game properly funny because comedy requires timing and as a player, you're the one in control of that, not the gag. Pac-Man - he's big and eats too much. I could say Dave the Diver, but he's a lot more physically active than I am. Still Wakes the Deep is set on an oil rig in the seventies I'm playing Astro Bot. I've also started playing Split Fiction with my girlfriend and Still Wakes the Deep by The Chinese Room, which I love. I really enjoyed their other game, Everybody's Gone to the Rapture. This one is a lovely length and has a really good story. It looks really beautiful too - well you're on an oil rig in the seventies, maybe beautiful is the wrong word. I'm playing Balatro too. A friend advised me to complete one run of that game and delete it otherwise it'll ruin my life, so I did. What an amazing achievement it is. Not that people dislike this, but maybe it's just too niche or nerdy - but I'll say the WWE games. Smackdown! Here Comes The Pain and Know Your Role; that run of games in the noughties are some of the most influential experiences in my life. I loved wrestling when I was young and I still kinda love it now. WWF Attitude, which most people say is the worst wrestling game ever, was the first character creation system I got into in a game, not that I was ever any good at it. My characters were so ugly. I remember when I played Mass Effect and I thought I'd make my guy really fit - he was the ugliest person I've ever seen in my life and I couldn't change him. I think it'd be Red Dead Redemption 2. I spent so much time on that game and barely scratched the surface. You can play that game forever and have any type of experience you want. It's not just about killing people all the time, there's beautiful parts too.
The Guardian
06-03-2025
- Entertainment
- The Guardian
Maximum points: what is the most influential video game ever?
Ahead of the 21st Bafta games awards this April, the institution is running a public survey asking people to nominate the most influential video game of all time. As the survey points out, this is an open-ended question: early, groundbreaking titles such as Space Invaders and Pong regularly crop up as answers because they helped write the rules of the form, but on a personal level, the right game at the right time can be exceptionally influential, too. For players, it's often the games that made us feel differently about what games could do that feel the most influential. For a game designer, a film director, a writer or a musician, one particular game might inspire a whole creative era. Inspired by Bafta's survey, we asked people from across games and culture for their most influential game – and not one name cropped up twice. Mike Bithell, game designer and head of Bithell Games Metal Gear Solid 2 (2001) hit me at the perfect moment. I was trying to power through my GCSEs, and here came this perfect thing that pointed to a future of games that took me seriously as a player. (I nearly failed my last maths test after staying up for those final few cutscenes.) It engaged with sci-fi tropes and stylish storytelling in a way that felt generations ahead of its peers. Shenmue was the game that convinced me I wanted to make games, but MGS2 showed me the kind of games I wanted to make. One day I'll get there. Louise Blain, creative lead at Blumhouse Games Helpfully, the constantly evolving nature of the horror genre means that a new game can arrive and instantly unlock a fresh fear. Hideo Kojima and Guillermo del Toro's shortform horror game PT (2014) holds a special place in my heart, and it's all the more bittersweet for the fact that it is now unavailable and its full-length successor, Silent Hills, never saw the light of (foggy) day. Taking the lead from Amnesia: The Dark Descent's oppressive first person experience, the simplicity of PT's looping corridor is its masterstroke. All you really need to do is push forward and peer into its darkest corners, making this a frankly agonising haunted house taken entirely at your own pace. The game has spawned an infinite number of spiritual successors in atmospheric horror over the last decade, but even the recent trend for anomaly horror has a distinct PT flavour, as we enter the same spaces over and over again, on edge for the frightening differences. Keza MacDonald, Guardian video games editor As Grand Theft Auto's Dan Houser once said: 'Anyone who makes 3D games who says they've not borrowed something from Mario or Zelda is lying.' The Legend of Zelda: Ocarina of Time (1998) set an example for explorable 3D game worlds that is still followed today – everything, from Link's movement to the sword combat to the little fairy who acts as a guide to what was then a new way of controlling games, was designed from scratch and with little precedent. But it's the mood of this game that I think was especially influential, not just on me but a generation of children who played it. Ocarina of Time is exciting, but also scary and a little sad. With its child hero, who hurtles forward in time against his will, it depicts a loss of innocence; it trusted young players to overcome their nervousness and get to grips not just with a new type of video game, but with all the threatening creatures, malevolent forces and hidden secrets that might be out there in its world. I think it's the first video game I played that felt like it wasn't just for fun. Ellie Gibson, comedian The obvious and only correct answer is Tomb Raider (1996). It introduced the idea that a female video game character could be the star, rather than sidekick or hostage. It was the first game I played that wasn't just about collecting shiny things or killing baddies (and it's a great shame the series lost its way down these rabbit holes in later years). It was about adventure, exploration and clever puzzles that made you feel like a genius when you finally solved them. Tomb Raider went on to inspire a raft of successful action adventure titles, such as the Uncharted games, and its influence is still present in the Assassin's Creed series. It's a shame this influence didn't extend to inspiring a raft of strong female characters, but patriarchy gonna patriarchy, innit. On a personal note, Lara Croft was such a huge influence on me personally that in 2002 I visited Angkor Wat wearing a tight vest and attempted to climb up a temple via some overhanging vines. I got shouted at by a security guard and ran away. Nina Freeman, game designer The most influential game for me must be QWOP (2008), by Bennett Foddy. It sort of brings me back to my roots when I play it. I've always been drawn to small, experimental games, and QWOP is a timeless example of that. At one of the first game jams I ever did, my friends and I made how do you Do It?, which was heavily inspired by the physical humour of QWOP. Bennett, whom I hadn't yet met, was a judge at the jam! We showed him the game, chatted a bunch, and kept in touch after that. Bennett ended up becoming one of my biggest mentors at this early stage of my career, so his work in general has had a big impact on me. Brenda Romero, game designer Look, I admit a bias here, but even if I were not married to John [Romero], my answer would still be the same: Doom (1993). I actually tried to think of something else, but nothing compared to its impact. Doom defined the first person shooter and set the stage for what is gaming's most popular genre. At the same time, it introduced deathmatch and online multiplayer to a wide audience. All FPS games truly owe their DNA to Doom. Doom was created to be moddable, and that decision is part of the reason why the community is still active almost 32 years later. I don't know of a single game developer who was not taken aback when Doom hit. It was mind blowing and a cultural shift for both games and game culture. At the time, consoles really dominated, and Doom sold the PC hard. From a design perspective, Doom introduced the abstract level design philosophy, the style for which John Romero is still known. As a designer, the non-linear and non-standard level design was a big break from the way things were done at the time. I have heard others say that everything about those early levels was a masterclass in game design. Not a week goes by where a well-known game developer doesn't credit Doom for inspiring them and starting their career. And it's still going, now playable on everything from pianos to ATMs and pregnancy tests. Iain Cook, musician, producer and composer I had mostly kicked my video game addiction for the only period in my life between 1997 and 1999, but fell off the wagon hard when the PlayStation 2 was released. The next-gen allure of Metal Gear Solid 2, Silent Hill 2 and Gran Turismo 3 convinced me that I was missing out on something revolutionary. But in 2001 I was suddenly in the recording studio and on tour in Europe and America with my first proper band, Aereogramme, and there was a lot of downtime to fill. Eight-hour driving days in the back of a smokey van; endless post-soundcheck afternoons, waiting anxiously to go on stage. Not that I didn't succumb to other vices, but video games made the hours melt away. Advance Wars was a huge hit with me and my bandmates; the pass-and-play turn-based strategy really worked to engage the brain in between service station piss stops and weed-induced naps. But it was Mario Kart (1992-present) that really got the heart pounding. In time trials on 2001's Super Circuit I would spend an hour or more trying to shave a tenth of a second off the previous best three laps laid down by the fastest racer in the band. Once we'd dialled in on a new course, identified the shortcuts and mapped out the best racing line, you had to stitch all of those things perfectly together in a single run. Mess up and there's no point in continuing. Restart. Deep breath. Palms sweating. You needed total focus as well as muscle memory. The mounting anxiety explodes in expletive-filled euphoria when you cross the line. This game has brought me together with some amazing people. I'm now part of a WhatsApp group where my friends and I compete with other bands and video game industry people, setting a new course every couple of weeks, posting screenshots to validate authenticity. I know for sure that when Mario Kart 9 drops, my productivity is going to drop sharply again. Sam Barlow, game designer and founder of Half Mermaid Super Mario Bros (1985). What more to say? You move a character – he looks like a human, and a characterful human. There is a world: the one in the background, evocative landscapes and skies; and the one in the foreground that you run and jump over. The imagery! Natural landscapes mashed up with Alice in Wonderland. The physics and the controls allow expression – you can go fast, slow, cautious, bold … it's the way in which we exist as a primal level as a biped that walks through the world, condensed down into a game. Challenge, exploration, expression. We go left to right, and there are levels and goals and bosses … and secrets! This game laid down the structures and the ideas that we've been using ever since – but also showed that masterful execution is the heart of a video game. Shuhei Yoshida, former head of PlayStation Studios My most influential game of all time is Journey (2012). Journey moved players deeply; they had tears in their eyes at the end. It was proof that a game, like movies and novels, could affect people emotionally. This game, which was developed by a small team of 18 people and could be played in three to four hours, swept most of the industry's highest game of the year honours, competing against AAA blockbuster titles. I believe it was the first time that had happened in the industry. Meghna Jayanth, writer and narrative designer The Princess Maker series (1991-2007). You are tasked with raising a fairy princess disguised as an ordinary human girl, managing her time between learning important skills, pursuing her interests, adventuring and dating. This early social simulation game is surprisingly crunchy and punishing; it's extremely possible for your 'daughter' to die or be exiled during the various social and political trials that mark her coming-of-age. Each instalment varies, but it's not uncommon to have 50+ endings as well as branching dialogue and narrative events conditional on your princess's particular stats and attributes. As a narrative designer this game was a revelation, and apart from in my own work, I think you can see its influence in everything from the wildly successful Persona games to last year's intriguing indie meditation on capitalism Final Profit to any of Hanako Games' niche but satisfying offerings. In fact, I see a genre through-line all the way to the ambitious and genuinely brilliant design of indie game Closer the Distance, one of this year's Independent games festival narrative nominees. Oh, and it was unashamedly marketed to and interested in girls. I wish more publishers and executives would pay attention. This is a game that I wish was even more influential. Keith Stuart, Guardian video game correspondent In the early 1980s, most of the games I played were extremely abstract: you were a space ship fighting aliens, or you were a hungry yellow circle being chased by ghosts. But in 1985 Atari released Paperboy, a game in which you were a boy delivering papers. Not only was this arcade classic revolutionary in that it featured a real-life job, it also presented a world that was absolutely full of detail and experimentation, in which players were actively rewarded for messing about. What if you threw a paper at a window or a passerby? You got feedback. You got feedback whatever you did. As a schoolboy with an actual paper round it felt weirdly therapeutic to do the job badly, but in game design terms it also taught a generation of designers that the everyday world is an exciting, amusing and challenging place to set a video game. It was also a game that let you mess about, it rewarded mischief. It was GTA a dozen years early.
