The Dichotomy of Tone in Metal Gear Solid V
The Metal Gear series is weird. I donât think anyone can really argue that, not even longtime fans. Itâs been that way since the original, which was full of strange translation issues (an iconic moment of the game happens where Snake sneaks onto a truck, says âI FEEL ASLEEP!â and is transported to another area).Â
Later games were strange as well, but for reasons of tone. Of course, thereâs the base premise- the games take place in a (mostly) normal representation of the political and social state of the world, in whatever time-frame each game is supposed to take place in. But, at the same time, each game is centered around the eponymous Metal Gears, which are essentially giant war mechs outfitted with nuclear payloads. Cloning, mind control, and the occasional supernatural element are huge parts of the Metal Gear mythos, and itâs all just as crazy as it is compelling.
 It doesnât end there either- the gameplay also has some serious goofiness within it, and itâs often vital to the gameplay. The most obvious example is the iconic cardboard box, which is vital to getting around open areas unseen despite being completely silly. It became so prevalent in the series, that in MGS3, the box became a running joke, with Snake becoming obsessed with it to an extent.Â
Even that, however, isnât what got me thinking- itâs the story, which most of the time is stone-cold serious, despite all the joking. Hereâs a little snippet from my playthrough of Phantom Pain so far:
The Wildlife Conservation Organization has tasked me with capturing any animals I come across during my travels. After all, they want to keep all the innocent critters out of the crossfire in the various war-zones I end up going through. This is especially true for farm animals, who have all been abandoned due to the various hostile takeovers going on, and are now out in the wilds. Thereâs one in particular that theyâve asked me to capture- a sheep that was being held in the heart of a small town thatâs been converted into a Soviet outpost. Theyâve offered a rather significant reward for this sheep, considering that itâs right in the middle of enemy territory. After landing in the dropzone, I get on my horse and start traveling to the town, and start scoping the place out from a nearby hill. Thereâs four soldiers, which I take out by carefully sneaking, hiding in a box, and using CQC and tranquilizers to silently take them all out. After a few minutes, theyâre all out of the picture, and I see the sheep alone in the pen. I attach a Fulton balloon to it, see it rocket into the sky at mach 1 comically, and head back to base. On the way back, a cutscene plays that focuses on Snakeâs face for a while, and I notice the giant shard of metal that was lodged in his head during the previous game. âOhâ I think to myself, âthatâs right, Iâm supposed to be building up and get my revenge, arenât I?â
This is the kind of thing that fascinates me about Metal Gear. This duality of tone is incredibly stark, and in anything else would probably just be ludicrous... But for Metal Gear, it just works. It has the perfect blend of serious and silly, and it knows when to tone down either side. Anybody else have examples of a game, movie, or anything else that is on par?








