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Want the complex interlocking systems of MGS3? You've got them. How about the cinematic drive and gangs-all-here fan service of MGS2 and MGS4? Well, that's here too. Like the knock-out recruiting and army management of the PSP’s Peace Walker? It turns out that there’s room for that as well. And the emergent, open-world gameplay of Metal Gear Solid: Ground Zeroes? Well, you hardly needed to ask.
Kojima seems to be toying with the idea himself in the prologue; one of the greatest sustained gaming sequences I’ve played this year or any other. Linear, but jammed with taut set-pieces, shock moments and extraordinary build-ups of suspense and release, it’s an absolute stormer, and by the time Kojima has pulled in some of his trademark oddball villains – adversaries to rival MGS3’s Cobra Unit or Metal Gear Solid’s Foxhound – you’ll be ready for some formidable action scenes and a storming climactic chase.
However, The Phantom Pain also sees the addition of the D-Horse; the first of several ‘buddies’ you can call on during your adventures. Sorry, Roach, but D-Horse is the finest steed yet found in a video game, beating the Witcher 3 and Red Dead Redemption’s equine chums with a mixture of smooth controls, believable horsey handling and a great set of sneaking and galloping manoeuvres.
And just when you’re wondering ‘where’s the story?’, The Phantom Pain has an ingeniously nasty habit of pulling the rug out from under you mid-mission, transforming one straightforward mission into a deadly boss battle, or what should be a eventless journey into a taut sniper duel. Kojima knows what he’s doing here, effortlessly balancing the emergent, open-world gameplay of Ground Zeroes with the big cinematic moments that Metal Gear has become famous for. This is virtuoso games design.
Visually, it’s little short of astonishing. With the FOX Engine, Kojima finally has technology capable of realising his cinematic ambitions, handling near-photorealistic close-ups and big, sweeping landscape shots with equal power, and rarely conceding any screen tear or dropped frames. The way The Phantom Pain uses light and textural detail is incredible, and while it’s possible to make complaints about the repetitive, generic trooper models or the limited variety of the scenery, it still feels like you’re picking holes. The weather effects, meanwhile, are about as good as we’ve seen in any action game, if not better. I’d hate to guess at The Phantom Pain’s budget, but given the art, the voices, the size of the team and the music involved it must be huge. If so, not a penny has gone to waste.
http://www.trustedreviews.com/metal-gear-solid-5-the-phantom-pain-review
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lazygamer - 9.2
The Phantom Pain is an unusual Metal Gear experience, one that not everybody may enjoy if they cling to systems of old. If they’re willing to adapt and accept this new way of exploring Kojima’s world however, they are going to be blown away, absolutely, and one hundred percent guaranteed. This new open world is one that is begging to be played with, in whatever way a player wishes.
http://www.lazygamer.net/genre/stealth/metal-gear-solid-v-the-phantom-pain-review-whos-the-big-boss/
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The Phantom Pain combines an open-world setting with the best Metal Gear Solid gameplay the series has to offer and a killer narrative to boot.
-The best core gameplay in a Metal Gear title to date
-Huge amounts of content to enjoy with varied mission objectives
-Great storyline and production values
-A few bland visual elements
-A lot of time spent fiddling in menus for Mother Base
9.5/10
http://www.psu.com/review/27916/Metal-Gear-Solid-V--The-Phantom-Pain-PS4-Review/?page=2
