A fan-edited compendium of the latter’s combined non-interactive sequences clocks in at upwards of nine hours. His last numbered Metal Gear Solid game, Guns of the Patriots, holds two Guinness records, one for the longest cutscene in a game (27 minutes), another for the longest cutscene sequence (71 minutes). A self-professed cinephile (he told me in 2014 that he tries to watch a movie a day), he’s notorious for straining attention spans with marathon film-style interludes and epic denouements. We laud Kojima for his contributions to stealth gaming’s grammar, but he’s also loved and, by some, lampooned, for bouts of indulgent auteurism. That probably sounds a little backwards if you’re hip to Hideo Kojima’s long running Metal Gear Solid series, which launched in 1987 on a Japanese computer platform. Metal Gear Solid V: The Phantom Pain, a tactical stealth simulation wrapped in a colossal resource management puzzle inside a love letter to theatrical inscrutability, comes the closest of any game I’ve yet played to realizing that ideal. Pliability with just the right measure of accountability. The holy grail of world-building games, it’s argued, is a black box that lets players do as they like with minimal handholding.
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