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Ground Zeroes has six missions in total that unlock as you play, which in turn are unlocking more gear and extras and challenges as you go through them. Kojima Productions' greatest mistake with Ground Zeroes is rolling the credits so early, because it makes the opening of the game seem like the entirety – your instinctual thought is "that's it?" Then you return to the main menu and at the bottom see Completion ranked at nine percent. Put so baldly, this can sound like a raw deal and, when the credits roll after a few hours on the main mission, feels like it too.
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What all this means is that Ground Zeroes is the opening act for a game, The Phantom Pain, that will be released at some yet-unknown point in the future, and as such consists of only one (sizeable) location and a series of missions and challenges to be carried out within it. The most divisive aspect of Ground Zeroes is undoubtedly its alleged length, which depending on your source is anything from ten minutes to two hours, and its strange status as a Metal Gear Solid and the prequel to a real Metal Gear Solid. Finally, it seems, Kojima has learned that less is more.Īnd how true that turns out to be. The whole thing is over in a few minutes, and all the more powerful for it.
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The next few minutes showcase the new standard of animation tech from the top-tier Kojima Productions – individual fingers waggle, eyes track with subtlety rather than staccato movements, and facial movements add a convincing emotional resonance to every line. Ground Zeroes opens with a long tracking shot of the main antagonist in a prison camp. This is a series that, for all its brilliance, is equally known for over-indulging creator and director Hideo Kojima's cinematic leanings a weakness that reached a nadir with 2008's Metal Gear Solid 4, a nearly-amazing game smothered by exhaustingly long interstitials. The most impressive thing about Metal Gear Solid V: Ground Zeroes' opening cutscene is its brevity.
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Konami PS3, PS4 (version tested), Xbox 360, Xbox One 18+ £24