Metal Gear Solid Delta: Snake Eater is a prequel to the entire series, chronologically the beginning of the story. Here we meet a young Snake for the first time and dive into his world. For us, this was a complete debut in the franchise, so don't judge too harshly: everything - the setting, the characters, the mechanics - felt like a brand-new and unusual adventure.
Stealth in the game is both interesting and layered. Enemies don't spot Snake right away - much depends on your choice of camouflage, how well you use cover, and how seamlessly you can blend into the environment. Firing without a suppressor isn't worth it: as soon as you shoot, the alarm will be raised. It's better to sneak up from behind, quietly gather intel, knock enemies out or neutralize them, and then drag the body out of sight. Snake has the tools for it - a knife for silent takedowns, pistols with suppressors, a sniper rifle, and various handy gadgets. The game rewards a careful approach: neutralized enemies often drop useful items if you hide their bodies. All of this makes stealth feel more realistic - you have to consider your surroundings, plan your moves, and act quietly to stay in the shadows. It's exactly how proper spy work should feel.
If you'd rather not hide, the game gives you plenty of other options: AK-47, XM16E1, sniper rifles, shotguns, machine guns, grenade launchers, plus a variety of grenades - from smoke and flashbangs to far deadlier ones. This arsenal lets you go in loud and aggressive if that's your style.
But no matter how you play, there's always room for Kojima's signature style. The bosses here are truly memorable. There's the man who commands swarms of bees, equal parts fascinating and bewildering. Another darts up trees so fast that catching him off guard will be difficult. Then there's the old sniper - perhaps the most unusual opponent. His age plays just as much of a role in the fight as his rifle. And yes, crocodiles live in Siberia - because Kojima decided they should. And this is just a glimpse of the gallery of unusual characters. Each one looks unique and sets its own rhythm for combat. For longtime Metal Gear fans this is classic Kojima style, but for newcomers these encounters might feel unexpected or even absurd - in the best possible way.
The story is delivered with the same ambition. The game is packed with cinematic cutscenes, staged on a grand scale. Characters speak with pomp, sometimes a bit too much - but that mix of seriousness and theatrical flair is unmistakably Kojima.
What really surprises is the healing system in Metal Gear. Instead of just fighting a boss, you often end up wrestling with Kojima's genius ideas, which force you to dive into the menus over and over: applying ointment to your burned backside, digging bullets out with a knife, treating wounds, bandaging, healing burns and bleeding. Swamps give you leeches. Eat the wrong food - you're poisoned. Run a bit too much - you need to eat again or your stamina drops. And all this while a boss politely waits for you to finish your medical and culinary chores. Kojima wanted players to feel the pain of the character - but in the end, it's the endless menu navigation that hurts. Genius, genius.
In the end, one thing is clear: the game is outstanding. The story grabs you and doesn't let go, while the gameplay feels unlike anything else in the genre - even today it's refreshingly unique. Yes, some mechanics can be frustrating and slow down the pace, but it's easy to forgive when you remember this is a remake of a twenty-year-old game. What matters most is that it preserves the spirit: a mix of serious drama, Kojima's signature eccentricities, and the unique atmosphere of a true spy thriller.
For now, all that's left is to wait for the next remakes - and in the meantime, put the song Way to Fall by Starsailor on repeat.
