As announced earlier today through the official Konami website (opens in new tab), the servers for Metal Gear Solid 5 on PS3 and Xbox 360 will be shut down over the course of a few months. The first stage of the servers being shut down actually begins right now, as players on both PS3 and Xbox 360 are unable to make in-game purchases in Metal Gear Solid 5.

The next stage rolls out on November 30, when Metal Gear Online will be taken down from storefronts on PS3 and Xbox 360. Metal Gear Online was the standalone multiplayer component for Metal Gear Solid 5, which launched a few months after the game first debuted in September 2015.

The third phase for this process is Metal Gear Solid 5 being wholly removed from PS3 and Xbox 360 storefronts next year on March 1, 2022. Then, finally, servers for existing players on both platforms will be terminated on May 31, 2022, bringing the curtain down on both Metal Gear Solid 5 and Metal Gear Online on both platforms.

Goodnight, sweet prince. Reflecting back on things, it’s sometimes strange to remember that Konami actually managed to get Metal Gear Solid 5 working on both the PS3 and Xbox 360, considering it’s a massive semi-open-world game with a slate of intangible systems working off one another at any given time. If you want one last marvel at that old-gen technology, there’s plenty of time for existing players to enjoy Metal Gear Solid 5 and Metal Gear Online until May 2022, and servers for more modern consoles will remain available for now.

If Metal Gear Solid ever does return, under Konami or anyone else, here’s our Metal Gear Solid 6 wishlist detailing everything we’d love to see if the series returns.

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There are over forty different animals you can capture in Metal Gear Solid 5: The Phantom Pain (opens in new tab), which you can send back to your Animal Conservation Platform at Mother Base once you’ve completed at least three out of Missions 07, 08, 09 and 10. Some of these animals can be tranquilised and either Fulton recovered or manually picked up if small enough, whereas others can only be collected by placing a Capture Cage in a specific location. Read on for more information, and you’ll build up an impressive menagerie in no time!

Looking for more Metal Gear Solid 5 help? We also have the following guides:

• 20 essential tips for Metal Gear Solid 5: The Phantom Pain (opens in new tab)
• How to get D-Dog as a buddy in Metal Gear Solid 5: The Phantom Pain (opens in new tab)
• Metal Gear Solid 5: The Phantom Pain ’80s cassette tape locations guide (opens in new tab)
• The fastest way to grow your Mother Base in Metal Gear Solid 5 (opens in new tab)
• Did you spot all the PT references hidden in Metal Gear Solid 5? (opens in new tab)

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MGO3 is available on the JP PlayStation store. DL 950mb. Servers will be up tomorrow. Link: https://t.co/8splPY5Ri0 pic.twitter.com/0lauc6TPnjOctober 5, 2015

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Take note of the fact that MGO is an add-on rather than an update, meaning you’ll likely have to go to the PlayStation Store and manually start the download once it’s available in your region. Either way, you won’t be able to head online until the servers actually go live, but at least you’ll be ready for them when they do.

GR+’s own Lorenzo Veloria recently spent some time hiding in boxes and cooing at plush dogs in Metal Gear Online, deciding it was a troll’s paradise (opens in new tab) in the best way possible. If that’s piqued your interest, take a look at this complete MGO Bounty Hunter match playthrough (opens in new tab), showing off just a few of its delightful eccentricities.

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Can a game be your favorite and least favorite at the exact same time? Because that’s the sort of mental gymnastics I’ve been dealing with since I rolled credits (full credits, mind) for the third time in Metal Gear Solid 5: The Phantom Pain, witnessing the game’s true ending. How can a game be this well-designed and brilliant to play and still feel like a total mess?

Well, for one, it’s a Metal Gear game. Metal Gear games are paradoxes – mega-budget productions made by huge teams that still have a spark of weirdness from an auteur that, whether you like his particular voice or not, shines through in every aspect. The Phantom Pain is no different, though it trades the series’ linear set-pieces and half-hour-long cutscenes for an open-world, do-what-you-like approach to the game’s many missions and a story more interested in immediate emotion than in ramming soliloquies down your throat every 15 minutes. It’s this shift in focus that is simultaneously MGS5’s greatest asset and biggest downfall.

Moment to moment, The Phantom Pain is one of the best games ever made, taking the building blocks first put into place by systems-driven games like Far Cry 2 and expanding on them in ways we’ve only dreamed of. Guards react to your actions by upgrading their weaponry based on your playstyle, their patrol routes randomized and responsive to everything they see or hear. MGS5 is an open world, but it’s not completely open, as there are certain pathways you’re forced to take to reach its myriad bases and outposts. So while you’re free to tackle each of the game’s missions how you see fit, there’s still an authorial hand guiding all the different moving pieces.

That kind of balance is incredibly difficult to get right, especially in an open-world game, but Metal Gear handles it flawlessly. It’s smart enough to know when to funnel you into specific scenarios, but trusting enough to pull back and let the game’s intertwining systems work their magic. It respects your intelligence enough to give you all the tools you need to tackle your objective without ever being overbearing. Did you accidentally kill the guy you were supposed to tail? Any other game would send you to a mission failed screen, but MGS5 says, “OK, so you screwed up your objective – now what, soldier?” It’s amazing when you can pull out a victory from the jaws of defeat, and those moments happen constantly in The Phantom Pain.

The same can’t be said for its story, whose pacing can only be described as… unconventional. The brilliantly horrifying and bizarre-even-by-Metal-Gear-standards intro sets the stage for an equally harrowing plot, but The Phantom Pain quickly devolves into a rote ‘rescue/kill this random dude because reasons’ story structure, with a few unexpected sequences peppered in as you progress.

Your mission: seek revenge against Skull Face for destroying Mother Base during the events of Ground Zeroes nine years ago. You go about this by taking on random jobs to earn money and soldiers to build up your forces – people you kill or extract are typically important generals or higher-ups, but they amount to nothing more than random targets in the grand scheme of the story, as the loss of their presence on the battlefield has virtually no effect on the day-to-day operations of your opposition.

It’d be one thing if MGS5 traded its long-winded cutscenes for a stronger forward momentum, but that’s clearly not the case here, as a whole lot of nothing happens in between quick bursts of exposition. I actually longed for Snake to say something – anything – in many of The Phantom Pain’s most pivotal scenes, as Kiefer Sutherland does a fantastic job with what few lines he has, bringing a subtlety and gravitas to the character that had never existed before. Instead, he stands mute for most of the game, occasionally interjecting while his advisors Miller and Ocelot bicker back and forth.

And that’s to say nothing of Skull Face, who is so undercooked as a villain that Gordon Ramsay would have thrown him in a trash can and called Kojima a donkey. You discover Skull Face’s master plan (involving parasites that infect the vocal cords, killing the host if they speak a specific language), eventually culminating in one of the most anti-climactic showdowns in video game history, as not one, but two of the game’s most intimidating villains are effectively Boba Fett’d (opens in new tab) out of existence. The world is saved, game over, roll credits.

But the game keeps going – now you’re entering ‘Chapter Two’, showing the further adventures of the Diamond Dogs as Big Boss’ army continues to grow. It’s here that MGS5’s bizarre pacing becomes truly evident, as story events just sort of happen to you at seemingly random intervals. Since the main conflict of the game is over, The Phantom Pain now focuses on the relationships you build with your men and your role as their leader, but it’s here that the game starts to drift along aimlessly.

It’s not that there aren’t any great moments in The Phantom Pain, and Kojima and crew make dozens of bold decisions in ways no other game would dare to make. A late-game outbreak back at Mother Base forces you to systematically murder dozens of your fellow soldiers, lest the virus spread further, all while your iDroid coldly declares “Staff Member Died” each time you put a bullet into the skulls of the infected. These aren’t just random people. These are the staff members you recruited, and they’ve been helping to make Mother Base a powerful force on the world’s stage. Another late-game mission permanently removes the scantily-clad crackshot Quiet (a character whose own paradoxical existence is worthy of her own, separate discussion) from your roster of buddies. A rescue mission goes south, and Quiet (infected with the English strain of the vocal cord parasites) utters her first words of the game to ensure your survival, effectively dooming herself to death.

Few developers would be willing to incur the wrath of players by creating one of the most powerful characters in the game, building out a wealth of upgrades for her, integrating her completely so as to make her absolutely vital during some particularly difficult missions, then taking her away forever. But it’s one of the many ways Kojima is able to express the game’s themes – of loss, of despair, of that lingering ‘phantom pain’ right there in the game’s title – and I respect the hell out of Kojima for removing a core component of gameplay to express those themes.

But ultimately, this scene, like so many others in The Phantom Pain, are just that: scenes, loosely connected by the barest hint of a story. Metal Gear Solid 5 doesn’t really have an ending in the traditional sense. There’s some closure with the death of Skull Face, but Chapter One leaves so many plot threads hanging that it can hardly be called a proper climax. You then wander from scene to scene, getting bits of closure here and there, until, at some arbitrary point, you unlock the true ‘ending’. But even that isn’t an ending, so much as it is a replay of the introductory hospital level, but with one important bit of information added: the character you’ve been playing the whole time isn’t actually Big Boss, but rather his loyal medic, who effectively becomes Big Boss thanks to some expert plastic surgery and the power of suggestion.

This is a bizarre bit of fridge logic (opens in new tab) that makes less and less sense the more I think about it, and it’s a strange way for The Phantom Pain to ‘end’, but putting logic aside (which is usually for the best when it comes to Metal Gear), it’s a hilariously Kojima way to give a big wink to all of the fans who have loved the series since the beginning. Now, the name and avatar you created at the beginning of MGS5 is technically also Big Boss, helping to build the legend that we come to hear about in later games in the timeline. Your character is even the one who fights Solid Snake (and unfortunately dies) at the end of the very first Metal Gear game. It’s a ridiculous twist, but it’s purely and distinctly Metal Gear, and I couldn’t help but smirk during The Phantom Pain’s denouement, that we’re as much a part of Metal Gear as the characters of Kojima’s own creation.

But it’s not an ending, and the one thing that you could conceivably call an ending to the loosely-connected set of events The Phantom Pain calls a story isn’t even on the disc. The collector’s edition documentary disc details a 51st mission (opens in new tab) that neatly ties up many of MGS5’s loose ends, capping the game off with what sounds like a hell of a final boss fight. But, for whatever reason – whether it was Kojima cutting it for unspecified reasons, or Konami, a company dying to get the hell out of video games, stepping in and forcing the game to be finished by September – this pivotal story mission didn’t make it into the game.

In fact, most of The Phantom Pain’s second half feels incomplete. Many of the main ops in Chapter Two are basically retreads of levels you’ve already beaten but on a harder difficulty, and their role as padding couldn’t be more evident. The true ‘ending’ isn’t revealed in some grand, explosive fashion, but simply presented on your list of things to do once you reach a specific set of milestones, making it feel hastily slapped in to give all of your prior actions context. And the four missions that unlock after the true ‘ending’ are more rehashes of old levels, with no narrative reward for completing them. Instead, you merely appear in your helicopter, ready to head back into the field to increase your mission ranking, cross off items on your side ops list, or to recruit more troops. It’s a shame, because there’s no sense of closure from the revelation that we were the real Big Boss all along, and the story as a whole ends up feeling hollow as a result.

So if you’re taking The Phantom Pain strictly as a Metal Gear ‘experience’ – that is, the narrative, the twist, the connection to the broader series as a whole – then the game is an inconsistent, unfinished disappointment. But when looking at The Phantom Pain as the story of Diamond Dogs and my time as its leader; of the individual vignettes I experienced both on and off the field; of the demon I had to become to see my team through the hardest of trials; then MGS5 is quite possibly one of my favorite games of all time. And there are so many great stories to tell merely within the framework of its gameplay that the paradox of The Phantom Pain becomes far easier to bear.

Even as the lackluster story weighs heavily on my heart as a die-hard Metal Gear fan, I’m still excited to go back and finish off the rest of side ops, to mess around with its numerous systems and see how else I can exploit them, as well as invading other players’ forward operating bases. And besides, I shot a bear up with tranquilizer darts and strapped a balloon to its leg to send it back to a burgeoning zoo back at my base, I built my relationship with my horse high enough so he’ll poop on command, and my helicopter plays Spandau Ballet’s “True” when it picks me up. Games have won awards for far less.

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But something changed around Metal Gear Solid 3. After writing himself into a corner in MGS2, Hideo Kojima shifted the series’ focus to the 1960s, finally telling the origin story of the series’ most diabolical villain: Big Boss. But in doing so, something fantastic happened. The series was no longer about Solid Snake and his attempts to right the wrongs caused by a laundry list of absurdly over-the-top megalomaniacs. Now, Metal Gear Solid was about a tragic hero’s fall from grace; how his plan to unite the world caused untold conflict and strife; how Solid Snake has been a pawn, used by the real villain from the start; and how Big Boss ultimately breaks the 50-year-long cycle of violence he helped create.

In many ways, Big Boss is the Anakin Skywalker of the Metal Gear Solid franchise – a one-dimensional villainous figure who slowly gained humanity and depth as the series grew and developed. You could easily make an argument that Darth Vader is the real hero of the Star Wars saga; that Anakin was meant to be the chosen one, but was twisted by darkness until his son, Luke, pulled him out of it. In the end, Luke Skywalker was a supporting character in Anakin’s own hero’s journey, much like Solid Snake is with Big Boss. By the time Return of the Jedi rolled credits, we had a much different perspective on what it meant for Anakin to become Darth Vader, and what sacrifices it took to finally achieve redemption.

But unlike Star Wars (and, well, virtually every major series ever), Metal Gear’s story is told out of sequence, and to explore why Big Boss is the Anakin Skywalker of the Metal Gear franchise, we have to remember that Kojima has crafted the series over the course of nearly three decades without any real master plan. Instead, he opts to tell each story individually and fit the pieces in however he can, which often includes liberal doses of retroactive continuity. While this certainly makes following Metal Gear’s timeline (opens in new tab) far more convoluted than it really should be, it also means that characters and events can be given a whole new context – and how a series’ greatest demon can actually be its most misunderstood savior.

When the series first started out on the Japanese MSX2 computer, Big Boss was a cartoon villain, double-crossing Solid Snake at the game’s 11th hour. But in Metal Gear 2: Solid Snake, we start to see a deeper, more nuanced side of Big Boss. He still has nefarious plans, but we learn that he truly cares for the children and resistance fighters he takes in. These soldiers revere him as a father figure and idolize him, and they willingly work with Big Boss to take on the government that betrayed them. Solid Snake defeats Big Boss with a makeshift flamethrower at the end of the game and emerges a hero, but we still get the feeling that maybe Big Boss isn’t the real villain here; that the true enemy is more of a concept than a single entity.

The pieces are falling into place, but it wasn’t until the 1960’s-era MGS3 that we really got a sense of why Big Boss became the feared despot of the MSX2 era. Manipulated by the government to kill the one woman he truly loved, Big Boss becomes disillusioned with the current state of global affairs and strikes out on his own, partnering with his former CO, Major Zero, to create The Patriots. The cloning project that gave birth to Solid and Liquid caused a schism between Zero and Big Boss, generating a perpetual rivalry that would span decades and continents. In its final, 70-minute-long cutscene, MGS4 reveals that Big Boss had been trying to fight Major Zero since the beginning, that every ounce of pain and strife that Solid Snake has gone through has been a result of the struggle between these two stubborn individuals.

Knowing that now, it’s interesting to go back and play those old MSX2 games and see them in a whole new light. Big Boss wasn’t just building up nuclear armaments to take over the world – he was doing it to defeat Major Zero and his clandestine organization. In fact, it’s The Patriots who invariably use Solid Snake out of self-preservation to foil Big Boss’ plans. The final moments of MGS4 sees Big Boss finally ending the cycle by killing Major Zero and sharing a final, tearful goodbye with his ‘son’, Solid Snake, before paying for his own sins with his life.

That’s what makes following Big Boss into Metal Gear Solid 5 so interesting. We already know how all this ends, how many of the series’ narrative threads get tied up in MGS4. While The Phantom Pain aims to show us how Big Boss became the demon we knew from the MSX2 games, we already know the man he was up to that point, and the man he becomes afterward. The path he takes is tragic, and thanks to the series’ narrative structure, fated.

So while Solid Snake may have been the ‘good guy’ of the Metal Gear universe and the main character for many years, ever since Snake Eater, the story is no longer about him – he’s merely a supporting actor in someone else’s narrative. A single game has reframed the entire structure of the Metal Gear saga to tell the story of a soldier who fell from grace and the fallout of his actions. Over the course of three decades, Metal Gear has transformed from an action series into a tragedy, and Big Boss has replaced Solid Snake as is its tragic hero.

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Konami first disabled some of MGS5’s online features (opens in new tab), then pulled the servers down to work on them. They’ve recently started coming back online (I watched the PC servers tick over from “undergoing maintenance” to “operating normally” while writing this) so PS4 likely isn’t far behind. Hopefully the online experience will be much improved for players on PC, PS3, Xbox 360, and Xbox One now – but if you find your game starting to lag again, there’s always the offline mode.

Unfortunately, even if you’re not interested in comparing stats with friends or raiding their Forward Operating Bases, you will need to connect online to transfer over your data from Metal Gear Solid 5: Ground Zeroes. It’s far from essential, but it’s nice to have the extra support staff from your earlier exploits, not to mention access to Camp Omega. Either way, this will all hopefully be sorted by the time Metal Gear Online launches in October (opens in new tab).

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FOBs are used to expand your operations far beyond Mother Base, giving you more resources and a vulnerable point for other players to invade. Useful as they are, FOBs are still a bonus on top of your standard facilities and are largely inessential for progressing through the main game. You should be able to keep playing unperturbed while Konami sorts things out.

MGSV: We are currently experiencing server connection issues, so the following temporary measures have been taken to remedy the problem …September 1, 2015

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MGS Servers 1)Number of missions listed in the FOB MISSION list has been decreasedSeptember 1, 2015

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MGS Servers 2) Display of info regarding Win/Loss, Points, Supporting/Supporters, and Heroism have been disabled in the FOB MISSION listSeptember 1, 2015

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MGS Servers: 3) Number of missions listed in the online COMBAT DEPLOYMENT menu has been decreased.September 1, 2015

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MGSV: We deeply apologize for the inconvenience and are working hard with all parties to bring these features back as soon as possible.September 1, 2015

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Hopefully the server situation calms down in time for the Metal Gear Online (opens in new tab), MGS 5’s squad-based multiplayer component, on October 6. That’s more than a month out, but you never can tell how long online issues will plague games once they get started – remember Halo: The Master Chief Collection and SimCity?

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There are times when Konami and Kojima Productions seem to acknowledge that Codec scenes and their radio ancestors are a bore. MGS2 lets players subvert the seriousness of these dialogues by pressing buttons to zoom in on faces, or wiggle analogue sticks to move them. It’s a typical bit of silliness, but it did turn MGS into what its detractors glibly described as the series that encourages players to listen to endless conversations while twiddling their thumbs.

Still, as tempting as it is to dismiss the Codec, MGS’s radio conversations are – alongside cardboard boxes, exclamation points and giant robots – a crucial part of the series’ identity. More importantly, they’re the means by which the series comes closest to reconciling its love of scripted dialogue with its interactive nature. At least that’s true for the optional ones. Players keen to get on with the action may rarely bother with its extra functions, but the Codec can make calls as well as receive them. Snake was running about Shadow Moses with access to a set of contacts long before Rockstar handed Niko Bellic a mobile.

There are scores of games in which the protagonist embarks on a mission aided by a support team delivering context and instruction into his or her earpiece, but MGS lets you actively choose to call on that support, and even provides a basic logic to what you’ll hear and when you’ll hear it. Equip a gun and ring weapons specialist Sigint in MGS3 to hear an exhaustive rundown of its technical specifications as well as some more practical information. Enter a new location for the first time and you’ll be given a briefing on what to expect if you call your CO. Call up anyone during a boss fight and you’ll get relevant tactical tips or well wishes. There’s a kind of contextual dialogue system at play in MGS; it may have a mountain of script to scale, but it also weaves player-influenced and -instigated conversations into an action game without resorting to dialogue trees.

The Codec allows players to tailor their experience, choosing how much background information they want to embellish the story with, and how much help they receive. One character in the first Metal Gear Solid, Ukrainian weapons analyst Nastasha Romanenko, is entirely optional: Snake need never hear an accented word from her unless you decide to seek out more background info on nuclear armaments or want operational tips for your FAMAS assault rifle. Mass Effect’s extensive Codex arguably performs much the same expository role as the Codec, but the latter ensures that Snake, Big Boss or Raiden functions as the vehicle for your curiosity, and keeps information seeking hemmed inside the game’s present tense.

Kojima knew players would visit the Codec regularly, though, because it also functions as a save screen. Calling Mei Ling, Rosemary or Para-Medic to save your progress applies vast quantities of C4 to the fourth wall, but just stops short of detonating it. There’s something so reassuringly straight-faced about the way all three characters discuss the ‘mission data’ you’re storing that the act of saving progress becomes, thanks to the Codec, a simple bit of military protocol.

Unless, of course, you keep calling Mei Ling and refusing to save until she gets fed up and sticks her tongue out at you. That probably breaks protocol. But it wouldn’t be MGS unless the Codec was used for occasional levity, whether that’s Easter Eggs like Mei Ling’s anger, or overt digressions such as Para-Medic’s long-winded chats about movies. Yet the latter serve a thematic function, firmly establishing Snake Eater’s ‘60s setting despite the game’s jungle environment leaving Snake cut off from the prevailing culture.

Of course, the funniest Codec dialogues are the ones you have to work hardest to uncover: the throwaway conversations that occur when you push behavioural limits within the game, such as when you murder too many Huskies in Shadow Moses and get told off by your comrades. For a linear action series, MGS has always offered densely simulated environments, packing them with optional interactions and opportunities for mischief, and the Codec is an easy way for the game to acknowledge that, yes, it has taken notice of your attempts to break it.

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It’s these silly, extraneous conversations that frequently feature the series’ best writing. Freed from explaining torturous double-crosses and convoluted plans, the Codec lets moments of human warmth and character seep into what are supposed to be lone-wolf sneaking missions. The Codec and the radio aren’t just MGS at its most indulgent, they’re its lifeblood-pumping heart.

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“There are some microtransactions involved in the game,” MGS 5 (opens in new tab) community manager Robert Peeler tells TheAngryJoeShow (opens in new tab). “What it does is allow players to finish the efforts they make in the game a little bit quicker, a little bit differently. Different from unlocking it which you can also do. It’s completely optional. It’s something that players can use to help them throughout the game if they’re having trouble but in general you can unlock everything. There’s no difficulty with just ignoring that aspect of the game and unlocking it naturally.”

We don’t know what these ‘efforts’ are yet but Peeler says that players can avoid the microtransactions altogether but it might make things easier for those new to the franchise. “In general Metal Gear Solid 5 has been designed for a wide variety of players,” he says. “We want to open it up to people who maybe haven’t tried the Metal Gear series before and they might have a little trouble getting past some of these hurdles. We want to make it easier for them by using this method. In general for the hardcore player and really everyone who wants to play this way you can unlock everything naturally in the game and that’s perfectly viable.”

When asked about the future of the series Peeler didn’t give much away about releases after MGS V but was adamant that there will be more games. “Metal Gear is a very important franchise for Konami. We’re not going to just abandon it,” he explains. “We already have spoken about hiring for new material, hiring for things down the road. I can’t really give any details about any future releases at this time but I can say that this is not a franchise that we’re abandoning at the end of Metal Gear Solid 5. Metal Gear as a franchise is something that we want to continue.” The fact that this will be without Kojima is still mostly heart breaking.

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Here’s the first question out of the way: Hideo Kojima doesn’t know if Metal Gear Solid V: Ground Zeroes will be released together with The Phantom Pain–so the series’ creator told CVG in a recent interview. With that in mind, he at least made the case for the strange division in the upcoming cross-gen game:

“The Phantom Pain provides a vast world where the player can really go anywhere and get lost,” Kojima said. “But for past Metal Gear fans used to a linear experience it would probably be hard for them to get used to that without having a prologue and a way to get used to it. So Metal Gear Solid Ground Zeroes is an interpretation to really give them a very short, smaller version of that scale.”

Ground Zeroes’ is set solely at night, and in a much more constrained region than The Phantom Pain. Playing in that order, series fans can get used to controlling Snake before they begin to tackle sneaking around an open world governed by the cruel march of the sun.

Kojima said he was set on making an open world to allow “users to create their own gameplay.” He’s being extra-literal there–players will be able to create and publish missions through tablet and smartphone apps and find them scattered around the game.

Kojima Productions’ LA Studio is making a new Metal Gear Online multiplayer mode for the game, too, so MGSV should pack a lot of bang for your buck whether Ground Zeroes and The Phantom Pain are sold together or not.

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