The different truths neither clash nor mesh. They stay inside their little pounds, leaking whatever truths suits them into the growing cesspool of society at large. Everyone withdrawals into their own small gated community, afraid of a larger forum. The untested truths spun by different interests continue to churn and accumulate in the sandbox of political correctness and value systems. It's an expansion on the themes of internet culture in 2001's prescient MGS2, where Rose and the Colonel explain: “The digital society furthers human flaws and selectively rewards development of convenient half truths. Quiet is the antithesis of this, who demonstrates her values through actions, and only speaks when she has something vital to say, which serves as its own indictment of the Twitter age of permanent, oft-meaningless, discourse. Huey suggests Mother Base's soldiers are softening their language to make themselves feel like the good guys.
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Why do you call D-Dog a dog, cries Huey, when he is clearly a wolf. It also explores confirmation bias, and how we manipulate language and facts to suit our beliefs. Most obviously, how 'proxy wars' of ideas and philosophy calcify individuals around belief sets, or how information erodes as it travels, losing the original meaning (listen to the 'Origins of Shalashaska' tape). MGS5’s meta-depths have yet to be fully explored, but behind the themes of race, religion, language and revenge, is a clear warning about the ceaseless chatter of the information age. This 'proxy war without end' is also the name of a mission near the end of MGS5, which is likely no accident. MGS4's PMCs could easily be equated to fanboys locked in the endless cycle of the console 'war'. MGS4 almost lampoons its fans desire for resolution, while remaining genuinely powerful and nostalgic, with clear antipathy toward the rise of the FPS and the 'bigger, badder and better' endless lust for sequels.
![mgsv tpp parasite mgsv tpp parasite](https://i.ytimg.com/vi/DXu8OSng110/hqdefault.jpg)
MGS2 is deliberately designed to be 'dumb' to raise bigger questions, with its classic sequel structure and naive lead character Raiden.
![mgsv tpp parasite mgsv tpp parasite](https://cdn.wallpapersafari.com/68/14/LyREdg.jpg)
MGS2 is a post-modern critique of sequels, the nature of video-games and the illusion of choice – a deceptively deep game that took fans years to understand. For many, we've been playing MGS5, and its guessing game of clues and misdirects, for over 3 years. We all liked the Psycho Mantis boss battle where he reads your memory card, but you could argue all of Kojima's output is fourth-wall performance theatre, where release trailers, Twitter clues, events, fan theories and, yes, the games, intermesh to form the coherent, contextual, whole.
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It plays into the bigger, more contextual, issue of how to interpret Hideo Kojima's games. How many endings do we need? MGS5 alone has three endings. We know exactly how every character's arc proceeds after The Phantom Pain. If this wasn't enough, there are a total of five MGS games set after 1984 and the events of MGS5 (six if you count Metal Gear Rising). It's wonderful, awful, fan-baiting tosh, that makes the ending of Lord of the Rings: The Return of the King look concise.
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Bar a genuinely touching Snake/Big Boss reunion, it features a scene with Raiden (complete with stitched-on arms) cuddling his lost son, plus the wedding of Johnny Sasaki and Meryl. It ties up *all* of the series' loose ends in almost an hour of cut-scenes.
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MGS4: Guns of the Patriots, released in 2008, is the series chronological finale set in 2014. The Wachowski Brothers spectacular 'alternate ending' to The Matrix: Path of Neo is the best example, where existential questions are replaced by a boss battle with a giant robot Agent Smith – before a party in Zion to Queen's 'We Are The Champions'.
![mgsv tpp parasite mgsv tpp parasite](https://pics.me.me/miller-parasite-unit-code-talker-unknown-words-that-kill-earbud-53584330.png)
The inverse scenario is when creators give their fans *exactly* what they want to make the reverse point. I'd happily see George Lucas imprisoned for the Star Wars prequels, but I defend his right to make an atrocity. Whether creators truly own their work, or it belongs to fans, isn't the core issue.