Hideo Kojima’s creations continue to be relevant even today, and the remake of Metal Gear Solid 3: Snake Eater is certainly proof of that. As the story that began the franchise, setting its protagonist up as The Big Boss, it’s an adventure that came with several twists and turns while introducing so many important narrative threads that would later surface in subsequent titles.

However, there is another title that directly continued that story, following Naked Snake’s adventures after events in Snake Eater. We’re talking about Metal Gear Solid: Portable Ops (MPO, as it’s commonly called), which was released for the PlayStation Portable back in 2006. While there were other PSP titles before it, MPO stands out among the crowd for several reasons. We would even go as far as to say that it deserves its own remake after Metal Gear Solid Delta: Snake Eater.

Let’s take a look at why this title is one that should not be allowed to fly under the radar and be overshadowed by other entries in the long-standing franchise. 

Setting up Success

Our first reason for wanting a remake of MPO is the fact that it directly follows Naked Snake’s path to becoming Big Boss in the aftermath of the events in Snake Eater. It’s quite the story on its own but its significance lies in the many ways in which it takes the franchise’s narrative forward.

For instance, it’s set in 1970, just six years after Naked Snake and Operation Snake Eater, causing the former’s disillusionment with the way things were on the military front. We learn about the FOX unit from events in the game, and how their betrayal causes Naked Snake to seek help from the most unlikely people in the bargain. It’s a setup that works very well to present Naked Snake’s reasons for growing closer to accept the mantle of Big Boss, exacerbating the emotions he felt in the aftermath of The Boss’ death.

Being unjustly framed for a crime he didn’t commit, Naked Snake’s reunion with former allies that include Major Zero, Para-Medic, and Sigint along with certain surprising ones like Roy Campbell and Null (who turns out to be Gray Fox) adds a further layer of continuity to the game’s story. It effectively ties MPO’s explosive story to the franchise’s main narrative in a way that makes sense. It’s also a great way to explain many of the new mechanics that its players are introduced to, tying the story and gameplay into one complete package.

Furthermore, it gives us a window into the inner workings of the FOX unit while showcasing Naked Snake’s leadership abilities, something that his origin story could not achieve on its own. There is also Metal Gear, the first one in the series, and a host of powerful characters in the form of Python and Gene, who play major roles in the game. Especially, Gene and his interactions with Snake are pivotal to the overall Metal Gear Saga, something that will impact Snake in future games.

Another crucial aspect of the overall narrative that MPO touches upon is the Philosopher’s Legacy. With one half of it firmly in the possession of the American government, there are multiple parties interested in bringing an end to the shadowy organization. One of those parties is none other than Ocelot, the son of The Boss who served as one of Snake Eater’s antagonists to Naked Snake. As far as its ties to the franchise’s lore go, MPO is a game that fleshes out a lot of the story behind Naked Snake’s rise to Big Boss to which he would later on accept in Peace Walker.

Although there is a bit of debate about just how canon events in MPO really are owing to the fact that Kojima was only a producer on it, it is nevertheless a fascinating insight into a character that has remained a constant presence throughout the franchise, and can serve Konami very well if it were to make it to the current generation of gaming platforms.

It helps that Konami has since included the game’s developments in its Master Book series that presents a complete timeline of the overall story. It validates MPO’s narrative and could justify the effort and resources that a remake would entail.

However, the story is only one part of why MPO can and must be brought back into the fold.

The Makings of a Great Leader

Aside from MPO’s story being a great way to explore more of the franchise’s lore, it’s also quite a good stealth-action experience. It draws heavily from the gameplay loop of Snake Eater, expanding on its mechanics in a manner that fits its narrative while managing to remain engaging as well.

One of the ways it achieves this expansion of an already solid experience is by having Naked Snake needing to recruit allies to assist him in the field. With each mission requiring you to assemble a squad of specialists, each bringing unique abilities to the field, the game incentivizes a careful, methodical approach even more than other titles in the franchise.

Gaining squad members is no walk in the park, too. Taking out enemy soldiers using tranquilizers or by stunning them doesn’t automatically recruit them to your cause. Instead, they must either be transported to a vehicle or to one of your hidden squad members who can then take care of their safe passage. A few in-game days later, your new recruits are ready to bring their unique brand of chaos to each mission.

If you thought that was fascinating, there’s more. Your recruits are expendable, requiring you to be careful about the situations you send them to tackle. While characters central to the main story do come with plot armor, others are not so lucky and you will need to be quite strategic about taking them along on your missions. It does help that recruits belonging to a specific faction can have an easier time infiltrating regions that belong to their former comrades, though.

Bringing even more novelty to the recruit system is the fact that back during the game’s release, you could use the PSP’s in-built GPS or Wi-Fi capabilities to further expand your team in specific locations! All in all, MPO adds a lot of innovative modifications to the franchise’s core gameplay loop, making it an exciting way to enjoy the experience.

Some of these mechanics would later make their way to other Metal Gear Solid titles, such as the Mother Base mechanic in Metal Gear Solid: Peace Walker and are arguably the foundation for Metal Gear Solid V’s forward operating bases. The very presence of these systems in future additions to the franchise’s lineup is another feather in MPO’s cap and makes a great case for Konami to commission a remake of it.

Considering the manner in which it builds on the franchise’s lore and gameplay, MPO is the perfect candidate for Konami’s next remake, allowing it to establish continuity while showcasing what the franchise is truly capable of to a new generation of players.

Keeping Up With the Times

It helps that the game’s audio and graphics were also quite good for a 2006 title. Konami’s decision to bring back voice actors from Snake Eater paid off while Ashley Wood’s designs fired on all fronts. Graphically, the title did a pretty decent job of bringing the game to life and we can only imagine what a remake would look and sound like if it were to come to fruition. 

While the PSP’s lack of a right analog stick required that Konami get creative with how players were able to detect enemy presences in the original MPO, a remake would erase that problem entirely, allowing the studio to recreate the experience with an additional layer of convenience and interactibility that could change the way its players approach the game.

With all of these factors considered, it would be a damn shame for such an excellent representation of everything good about Metal Gear Solid to be locked to a handhelf that is now quite obsolete. MPO can be a great vehicle for Konami’s attempts to give the franchise a new lease of life.

It’s also an opportunity to further fine tune it in the same vein as Metal Gear Solid Delta: Snake Eater. Fans of the franchise and newcomers alike could lap up more of Naked Snake’s adventures if the studio decided to bring MPO back into the limelight. Even the thought of getting to play it on a PS5 gives us goosebumps! 

We hope that Konami is looking at this the same way we are, and that we could get to see Naked Snake take on rogue FOX members with all of the current-gen bells and whistles that we now take for granted from our games. As far as the potential for remakes goes, Metal Gear Solid: Portable Ops is a game that has it in spades!

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

Daxter

Released in 2006, this spin-off of the Jak and Daxter franchise puts you in the shoes of well, Daxter as he embarks on a quest to find Jak. The journey will take you through a wide variety of levels filled with all sorts of platforming obstacles, and overcoming those challenges remains a consistently fun affair. The combat isn’t as dynamic as the mainline entries, but Daxter does feature a simple melee-based combat system that serves well to break up the pace from the platforming sections.

Splinter Cell: Conviction – Splinter Cell

Splinter Cell: Conviction was released in 2010 to a divisive reception, and a lot of that can be associated with the radical changes that the game made with respect to franchise norms. It veered away from the tactical stealth action that made the original games popular in the first place, and introduced new elements like Mark and Execute which can be used to clear out rooms full of enemies in an instant alongside the inability to hide dead bodies among others. These changes were mostly made in an effort to make the game appeal to the masses.

Sure, it’s understandable why fans of older games didn’t gel with this formula – but we adore Splinter Cell: Conviction simply because these new mechanics enable a sense of flow to the gameplay proceedings. Sam Fisher moves at a brisk pace, dotting from cover to cover and clearing out huge hordes of enemies with relative ease – and that feels really empowering which is something that’s missing from other entries. And that’s also really fitting since you are racing against time to prevent a terrorist plot, so better to be quick and ruthless than clean and slow.

#10. METAL GEAR

This was back when the series was finding its feet, so it’s not surprising that in the many years since it came out, the original Metal Gear has been surpassed by essentially all of its successors. The game’s post-credits sequence was, as the game itself was, simple and to-the-point. Metal Gear ends with Solid Snake seemingly killing off Big Boss and leaving Outer Heaven, but after its credits have rolled, the game reveals that Big Boss is still alive, and has vowed revenge against Solid Snake.

RED DEAD REDEMPTION 2

Let’s kick things off with what’s probably the most prominent example of a great game with bad controls in recent years. Red Dead Redemption 2 is a jaw-droppingly impressive masterpiece in more ways than one, but its controls have, of course, been criticized widely, frequently, and persistently. As anyone who’s played the game will tell you, it’s not hard to see why Rockstar’s open world epic gets that criticism. On top of input latency and heavy in-game movement coming together for many to criticize the game’s controls as being cumbersome, the actual layout of Red Dead Redemption 2’s setup on a gamepad has also often come under fire at times, especially with unintentional inputs thanks to its weapon wheels, context-sensitive dialogue system, and what have you.

THE LEGEND OF ZELDA: THE MINISH CAP

The Minish Cap is easily among the most criminally underrated Zelda games of all time. Owing to the fact that it’s a handheld title and that it was developed by Capcom, not Nintendo, it’s been viewed as something of a sidequel by many, though as those who’ve played it will tell you, that’s an unfair assertion, because this is an incredible game. A remake that brings the game back to the forefront for modern audiences would surely prove that.

DEUS EX

The Embracer Group will soon finalize the acquisition of the vast majority of Square Enix’s North American business, which will include the Deus Ex IP and the studio responsible for it as well. And while that acquisition is, of course, going to lead to a new Deus Ex game down the line, the Embracer Group has made it clear that it might develop remakes in its newly acquired franchises as well. And a remake of the original Deus Ex would, honestly, be perfect at this point in time. The game was absolutely legendary when it came out and remains an all-time classic to this day, but like any game from that period, it hasn’t aged particularly well. Remaking it from scratch with modern-day visuals, a large world to explore, and gameplay mechanics that are more in line with Human Revolution and Mankind Divided, would be an exciting prospect.

So how did it get to this point? How did we go from Metal Gear Solid dominating mindshare and delivering one masterpiece after another over a pretty long period of time, to it suddenly turning into a what is essentially a dead franchise? What the hell happened to Metal Gear?

Konami’s legendary stealth franchise broke into the mainstream when Metal Gear Solid launched for the original PlayStation in 1998- though that was not, of course, the beginning of the series itself. More than a decade before that, a young Hideo Kojima led the development on Metal Gear, launching it with Konami for the MSX in 1987. In 1990, Konami followed up on it with a standalone spinoff/sequel for the NES called Snake’s Revenge, before releasing a proper full-fledged sequel, Metal Gear 2: Solid Snake, that same year for the MSX.

Those earlier, top-down 2D Metal Gear games were solid enough in their own right, especially the two mainline MSX titles. Neither of them have aged particularly well, but even so, they were enjoyable stealth experiences with what were, at that time, surprisingly engaging stories. And of course, much more important was the fact that even in those relatively games, Hideo Kojima and his team were laying down the foundations of what they would go on to achieve in future instalments.

Kojima certainly took his time with Metal Gear Solid. An eight year gap separated it from Metal Gear 2’s launch, but leveraging the PS1’s much more powerful hardware than what they had had to work with in the past, the development team ended up delivering what is, to this day, one of the most influential games ever made. Metal Gear Solid’s focus on storytelling, complete with cutscenes and voice acting and a kickass soundtrack to boot, rendered in 3D visuals – and remember, all of this stuff was cutting edge for games back then – all of this elevated it to untouchable heights. As one of the first games in the medium to truly show how integral story and storytelling can be to a great game, Metal Gear Solid’s legacy is immense.

Kojima and Konami certainly didn’t waste much time in capitalizing on the sudden wave of success they were riding after the launch of Metal Gear Solid. Over the next couple of years, we got experimental, smaller releases, like the MGS expansion VR Missions in 1999, or the Game Boy version of the first game (which was surprisingly excellent). Not long afterward though, in 2001, the PlayStation 2 saw the launch of an instant classic in the early stages of its life with Metal Gear Solid 2: Sons of Liberty.

The hype surrounding Metal Gear Solid 2 in the lead-up to its launch was unbelievable. Every time the game had been shown off before its release, it looked absolutely spectacular, boasting incredible realism and visuals and significant improvements to the already excellent stealth gameplay and storytelling of its predecessor. Its launch was, of course, met with some controversy, with Konami’s bait-and-switch pre-release marketing completely hiding the fact that for most of the game, Solid Snake is a secondary character, with newcomer Raiden instead being the protagonist.

At the time, Metal Gear Solid 2 caught quite a bit of flak for that, with many players upset about the reduced role of Solid Snake, and unhappy about playing as what was, at the time, viewed as a whiny and annoying character (though over time, Raiden would, of course, go on to completely win over Metal Gear fans). Interestingly enough, you can draw plenty of parallels between the backlash both Metal Gear Solid 2 and The Phantom Pain faced at launch. As the years passed though, the controversy surrounding MGS2’s launch subsided, and people realized that when viewed on its own merits, it’s an excellent game.

The stealth mechanics were incredibly tight, the level design was spectacular, there were a bunch of excellent boss fights in the game. Visually, the game was spectacular, and where storytelling was concerned, even with Solid Snake not playing as prominent of a role, MGS2 told an amazing story, one that not only had memorable moments and great characters, but also one that was over time proved to be surprisingly insightful and ahead of its time.

Metal Gear Solid 2 was definitely a swing for the series, a successful risk that paid off in spades. And after two consecutive stealth masterpieces, expectations from any follow ups were bound to be sky high. In 2004, we saw another flurry of activity from the series. First came Metal Gear Solid: The Twin Snakes for the GameCube, which, frankly, isn’t a great remake of the first game in most ways. Towards the end of that year, Metal Gear Acid also launched in Japan, and then in the West just a few months later. A fun distraction, but a largely forgettable spinoff.

Of course, 2004 was also the year that Metal Gear Solid 3: Snake Eater came out. Unlike Metal Gear Solid 2, MGS3 was exactly what was promised, and exactly what it was expected to be- a spectacular stealth game. And though it wasn’t nearly as surprising as its predecessor and didn’t do as much to grab headlines, so to speak, it still grabbed everyone’s attention. And that was purely on the back of how unbelievably good it was. Kojima and his team once again honed their excellent stealth gameplay and mechanics in intelligent ways, most notable with the addition of camouflage as a mechanic, while Metal Gear Solid 3 also surpassed the achievements of its predecessors in various other crucial areas as well- characters, the story, boss fights, you name it. Naked Snake was an excellent protagonist, The Boss remains one of the most complex and fascinating characters of all time, and then there were the likes of Revolver Ocelot, Volgin, and Eva- each a crucial part of the Metal Gear saga. To this day, there are many who regard Metal Gear Solid 3 not only as the best game in its series, but also as the best stealth game of all time, period- and it’s not hard to see why.

After Metal Gear Solid 3, for the next few years, we saw quite a few Metal Gear spinoffs coming out. Metal Gear Acid 2 launched in 2006, and much like its predecessor, it was a decent but unremarkable game. In that same year, we also got Metal Gear Solid: Portable Ops, a proper, full-fledged Metal Gear game for the PSP which turned out to be excellent in its own rights, providing solid stealth action and an engaging story in a handheld experience. At the time, Portable Ops was supposed to be part of the Metal Gear canon, but Kojima would eventually go on to change his mind- which still frustrates some series fans… but that’s a different discussion.

2008 was when Metal Gear swung for the fences again, in the form of Metal Gear Solid 4: Guns of the Patriots. Billed as the conclusion to the long-running saga, MGS4 had impossibly high expectations to like up to, and the hype and attention that it garnered all the way up to launch was unbelievable. And when it came out, it was excellent- though it would also be fair to say that at the time of its launch, Guns of the Patriots was also the most divisive game in the series.

It clearly did a lot of things right. Mechanically, it was, once again, a spectacular stealth game, continuing the series’ upward trajectory in that department. Visually, it was a stunner, clearly having leveraged the PS3’s hardware to great effect. Narratively, it was probably the most ambitious game of its time, not just because its story was ambitious and was told in an ambitious way, but also because it had to properly wrap up an infamously convoluted, long-running saga, which was no easy task. Viewed on its own merits, Metal Gear Solid 4 is an amazing game.

But it’s also been criticized for a number of things over the years, and many of these criticisms are more than fair. Metal Gear cutscenes are always a joy to watch, and MGS4 had a lot of well-directed ones, but its infamously long cutscenes were- well, they were pretty damn long. And a lot of people liked that, but there were just as many people who actually wanted to play the game. Other criticisms brought up issues with the story as well, primarily because of what was essentially deemed as an excess of fan service, almost to the point where it felt like MGS4 was tapping hard into nostalgia just for the sake of it. And, of course, there were the nanomachines, which turned out the be the ultimate deus ex machina.

Either way, Metal Gear Solid 4 was a fitting conclusion. Ambitious and dedicated to its vision, and doing things that no other game would do in service to that vision. But though it was the narrative conclusion, it wasn’t, unsurprisingly (and in spite of Hideo Kojima’s repeated best efforts), the conclusion of the franchise itself. Because there were more great Metal Gear Solid games after that. Of course there were.

There was Peace Walker in 2010, a game that was, early on in development, meant to be Metal Gear Solid 5. Kojima viewed it as integral to the series’ story, serving as a direct sequel to Metal Gear Solid 3, and was insistent on releasing it as a mainline numbered title. But with it being a PSP game and all, Konami decided to remove the number and just release it as a mainline spinoff, so to speak. But honestly, it was good enough to be a numbered game. Peace Walker’s mission structure and general progression are quite different from all the Metal Gear games that preceded it, but it is an addictive, mechanically dense, and surprisingly replayable game- and, of course, tells a great story.

Not long afterward, in 2013, we got Metal Gear Rising: Revengeance. Kojima and Konami had tried to get the idea off the ground before, of an action-adventure Metal Gear spinoff featuring Raiden as the protagonist and focusing on hack-and-slash gameplay. That didn’t pan out, and they ended up turning to PlatinumGames for help- which, as we now know, was a really smart move. Metal Gear Rising is still one of Platinum’s best games to date, and as a character action game, stands as tall as all the giants of its genre. Definitely not a traditional Metal Gear experience, for very obvious reasons, but still an unmissable one.

Of course, the next mainline numbered title was also not a traditional Metal Gear experience. As desperate as Kojima was to be done with Metal Gear and make something new, the franchise would go on to continue with Metal Gear Solid 5– and this was where the trouble began.

Just as he did with MGS2, Kojima once again rolled the dice on what was a pretty big gamble with Metal Gear Solid 5. That, in fact, was something that bled over into the game’s marketing as well. Its initial reveal as what was supposedly a new IP called The Phantom Pain by an unknown developer called Moby Dick Studio only fooled people for a short while, and that whole thing with Hideo Kojima covering his face with bandages and appearing in an interview was fun, but ultimately, the game was revealed as Metal Gear Solid 5: The Phantom Pain. And it was making huge changes.

It was going fully open world. It was removing series stalwart David Hayter, instead bringing in to play Kiefer Sutherland to play Big Boss (or so we thought). After Metal Gear Solid 4, it was also dialing back on the emphasis on storytelling, focusing this time on emergent open world stealth gameplay. It was a huge experiment, and Kojima’s desire to be freed from the restrictions of working on the same property for years on end was clear to see. Metal Gear Solid 5 was promising to be completely unlike anything Metal Gear had ever been in the past.

It worked and it didn’t work. It worked because mechanically, both Ground Zeroes and The Phantom Pain are spectacular games. Hands down, those two are the best playing stealth games at this moment in time. They’re mechanically dense, their open world is full of interconnected systems that lead to excellent emergent gameplay, they boast amazing artificial intelligence. When you’re actually playing Ground Zeroes or The Phantom Pain (the latter especially), you’re guaranteed to be having the time of your life.

But The Phantom Pain was crippled by so many significant issues. Issues during its long and protracted development cycle are well-known by now, and those issues manifested in ugly ways in the game. Most of the second half didn’t make it into the final product, and instead had to be replaced be what were basically remixes of previous missions. There was also the fact that the game was literally incomplete, ending abruptly and having left so many questions unanswered because important parts of the story had to be cut out due to time constraints.

Many also felt that in its attempts to tone down its focus on storytelling after MGS4, it ended up overcorrecting. The story was severely de-emphasized in Metal Gear Solid 5, with very few cutscenes and crucial details being relegated to missable audio logs. And of course, that final reveal of Venom Snake’s identity was not a popular one, and remains controversial to this day. And those weren’t the only issues- a barren open world, features being cut from the game, a disappointing lack of boss fights… as mechanically spectacular as it was, Metal Gear Solid 5 was weighed down by just too many issues.

What really stings, of course, is the fact that it was also the last game in the series. At least right now. Maybe Metal Gear will come back some day, but even if it does, it will be the last game in the series to be directed by Hideo Kojima, and it just doesn’t seem like a fitting place to end. Kojima’s acrimonious departure from Konami ensured that Metal Gear’s future would be shaky, and shaky it has been indeed. We got the abomination that is Metal Gear Survive in 2018 (the less said about that, the better), and other than that, there’s been… well, nothing.

Of late, there have been rumours that a Metal Gear Solid revival could be in the cards. Reports have strongly suggested over the last couple of years that Konami is looking to license out some of its biggest properties, including the likes of Silent Hill and, yes, Metal Gear. A remake of the original MGS1 has been mentioned in some purported leaks, Bluepoint Games’ name has been brought up, while it’s even been suggested that multiple Metal Gear Solid remakes will be developed one after the another.

It’s hard to judge how accurate these rumours are right now, but it’s undeniable that right now, that’s all they are. They may very well end up being true, but right now, there’s very little concrete evidence to suggest that they are. We desperately hope they are, of course. Even though it won’t be the same without Hideo Kojima at the helm, a new Metal Gear Solid game would be hard to say no to, especially if the series’ path back into the limelight is not through a new entry, which is a very risky proposition, but a remake, which would have a much better chance of doing well and winning over fans.

There’s no telling when, or even if, we’ll find out how true these rumours are, but one thing is undeniable- our collective gaming lives would be better if Metal Gear was back on top, where it belongs, once again. Hopefully, that’s more than just a pipe dream.

BATMAN: ARKHAM ORIGINS

Batman: Arkham Origins could not have released under worse circumstances, in retrospect. Not only was it developed as a stopgap and sandwiched between two of the series’ biggest games in Arkham City and Arkham Knight, it also came out exclusively for 7th-gen consoles right on the cusp of the beginning of the next console generation. The fact that it was developed by WB Games Montreal while the series’ main devs Rocksteady focused on Arkham Knight did its pre-release hype no favours either, while Warner Bros. themselves have, bafflingly enough, continued to roundly ignore the game in the years that followed. That’s a real shame, too, because with a great story, some of the best boss fights in the series, and the typical strengths in combat and open world traversal that the Arkham games are know for, Arkham Origins did everything series fans wanted it to.

Jordan Vogt-Roberts, the director of Kong: Skull Island is now working on an upcoming Metal Gear Solid film. While we don’t know much about this upcoming film, it’s evident that Vogt-Roberts is passionate about this franchise as a whole and that he’s an admirer of Hideo Kojima’s direction style.

In a new tweet, Jordan Vogt-Roberts shared his admiration for Kojima’s direction in Metal Gear Solid V: The Phantom Pain. He went on to compare the direction in the game to the camera control displayed  by Derek Cianfrance in a baseball commercial. Of course, Kojima’s directing abilities aren’t very surprising given that he’s a huge fan of cinema and frequently draws from films for inspiration for his games. Additionally, Vogt-Roberts went on to share his love for Metal Gear Solid: Portable Ops and  Metal Gear Solid: Peace Walker and he stated that they are two of the most “brave and affecting entries” in the entire series.

When a fan stated that these games should be remade, Jordan stated that the original Metal Gear games i.e. Metal Gear (1987) and Metal Gear 2: Solid Snake should ideally be remade first.

Overall, it’s clear that Jordan Vogt-Roberts knows the Metal Gear series  very well and he may be the right person to make a film based  on the games. You can check out the tweets below.

To be fair I think METAL GEAR & METAL GEAR: SOLID SNAKE (MSX versions) would be in line for a remake first. Those are such giant elements of the story that aren’t visualized like the others.

— (((Jordan Vogt-Roberts))) (@VogtRoberts) March 18, 2018

! @HIDEO_KOJIMA_EN’s direction in PHANTOM PAIN is groundbreaking. The unbroken virtual camera shots remind me of the insane motion control rig Derek Cianfrance used in this: https://t.co/kHQjBwpQbf The camera moves through space & zooms in an imperceptible way to focus on story.

— (((Jordan Vogt-Roberts))) (@VogtRoberts) March 18, 2018

Just putting it out there that PORTABLE OPS and PEACE WALKER are two of the most brave and affecting entries in the MGS series and I don’t think they get the attention they deserve because they were on the PSP.

— (((Jordan Vogt-Roberts))) (@VogtRoberts) March 18, 2018