For example, you can do SLS, SSLS, and SSSLS. After any of the strong attacks, you can press light attack to branch off and then follow up with a strong attack to finish. The combos are designed as branching paths from the basic string of three strong attacks in a row. Strong attacks are less flexible, but do more damage and lead into the combo system. Sprinting also makes you invulnerable to bullets because you automatically deflect them with your sword, and sprint-slashing allows you to attack while being protected so you can get some breathing room as you go after the enemies with guns. You can also perform light attacks while sprinting (a.k.a. While this avoids having you whiff because you are slightly too far away, it can lead to unintended movements and possibly put you in danger. If you are a short distance away from an enemy, the game's soft lock-on mechanic will cause you to automatically dash towards the enemy. Light attacks are fast with quick recovery, making them good for getting the first hit and attacking on the move. You have two basic attacks: light and strong attacks. Not only does this pace the combat, it makes each kill clean rather than have you mindlessly swinging into the air the moment the enemy's health reaches zero. You are invulnerable during the animation, which gives you a moment to breathe and a sense of catharsis from defeating your opponent. The combat is built around an execution system where you attack enemies until you stun them, and then push a button when prompted to perform a finishing move. You have to watch your opponents, defend against attacks, exploit openings, and make precision strikes. However, this game is more than just slashing at enemies until they die. This is a third-person hack-and-slash game of running through linear levels and cutting up numerous opposition to proceed. Understanding the music led me to think about the final villain's motivations within the context of my new insights into political philosophy, and I have some worthwhile things to say. What makes music good isn't just how technically complex the sound is, but the human meaning behind it. The music is really more about the lyrics than the instrumentals, although the game does not play the vocals until the last phase of most boss battles, and the songs just don't sound complete without the vocals. It led me to learn the other songs, and I came to appreciate the music for what it is. After learning the lyrics and playing the song over and over in my head, I realized just how fitting the song was to the central theme of the game. At first, the music did not evoke much emotion and seemed like generic metal action music, but the final boss theme was pretty catchy. It has been a while since I first beat it, but what brought me back was the music. When Metal Gear Rising came out, I had my sights set on it. Raiden grew from being just a copy of the stealthy Snake, and was given his own distinct identity as a stylish frontal assault badass I wanted to see more of. I was particularly impressed by Raiden's acrobatic fighting style of wielding his sword with his cyborg feet. ![]() I particularly liked the cyborg ninjas because they were mysterious and dangerous with their badass high-frequency swords. That said, if you are new to the Metal Gear series, I recommend at least watching 4 for important context before jumping into Rising. They were particularly entertaining to watch considering how cutscene heavy they were, especially 4. When I developed an interest in watching playthroughs, I watched all of the Metal Gear Solid games from 1 to 4. However, I never got around to getting the full version, and it was no longer available anywhere by the time I was old enough to venture out to stores on my own. I liked its cinematic directing and music combined with all of the high-tech talk and government intrigue. Developer:īack in my youth, I played the demo of Metal Gear Solid on PC a lot. Visceral evisceration in a political battle of memes.
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