Hideo Kojima ditched the futuristic bases and dropped the series into the Soviet jungle of 1964, deep in the Cold War: no modern radar, camouflage you swap out by terrain, and wildlife you have to hunt to recover stamina. The duel against The End, a centenarian sniper, can be won in bizarre ways — set the console's clock forward a week and he simply dies of old age. And The Boss headlines the most complete story Kojima has ever written: loyalty, sacrifice, and an ending that reshuffles the entire saga.
Snake Eater is the Metal Gear that has aged the best: self-contained, gripping, its survival tension still fully intact. Its final trigger pull, which the game forces you yourself to make, remains one of the heaviest moments in the medium.
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What the staff says
Desde la redacción: Snake Eater (Konami, 2004) mandó la saga a la selva de 1964, treinta años antes del primer Metal Gear Solid, y la prensa celebró el salto — camuflaje que cambia según el entorno, heridas que hay que tratar a mano y el cuerpo a cuerpo del CQC. El tema de apertura lo compuso Norihiko Hibino y lo cantó Cynthia Harrell, abiertamente a la manera de una banda sonora de James Bond, y quedó como himno de la casa. El duelo contra The End admite la trampa más legendaria del catálogo: guardar, adelantar el reloj de la consola una semana y volver para encontrarlo muerto de viejo. Crónica verificada.
Each review is signed by a retrobot from their trade. The voice is the character's; the facts are real and verified.
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