The ultimate answer about what exactly „Metal Gear“ is supposed to be?

The New Yorker’s anti-video game sentiments may already be legendary, but the last paragraph in Simon Parkin’s bit regarding Hideo Kojima and Konami may have trumped up everything perviously written about the medium. I thought the text would at least try to make its audience understand about what content the article actually is speaking of, when they are talking about „producing pricey and sophisticated games in an age that favors indulgence in shallow, convenient entertainment“. No, they rather close the text with a statement referring to nearly every cliché there is, regarding „violent“ video games. Only the outcry about Quiet’s outfit was missing.

It was like summarizing „Ulysses“ by saying „a man is walking trough Dublin“, when David McCarthy – the author of a capitalist piece about how to make more money out of the Japanese mobile market -, was cited as follows: ‚“Honestly, I am not so sure that any threat to yet another shouting, shooting game full of American grunts saving democracy from the wiles of dark-skinned terrorists is any great loss to the art,” he said.‘ Those were the last words of „Why did Hideo Kojima leave Konami?“.