Guns of the Patriots

Today is the big day.

That’s right. Metal Gear Solid 4: Guns of the Patriots is out on PS3. Unfortunately, I am leaving town and won’t be around to watch my friend David play. Yeah, that’s right—it’s a one-player game, but I am such a fan that I intend to watch someone else play it, because I must know what happens next!

You see, this is supposedly the final chapter of Solid Snake, the protagonist since Metal Gear on classic NES. Metal Gear Solid 3 was a prequel to all of the other games, so the questions left dangling at the end of MGS2 are finally going to be answered. In a big way. Metal Gear Solid 4 is not necessarily the end of the franchise, just the end of the main arc. I don’t know, I guess they want to take it in a different direction than just following the exploits of the characters we know and love. Why do producers always feel that way? Oh well, the Metal Gear mythology is big enough to do all sorts of stuff, I guess.

Anyway, in honor of this momentous occasion, I am devoting my listening list to Harry Gregson-Williams (one of my top favorite composers period):

Metal Gear Solid: The Twin Snakes
Metal Gear Solid 2: Sons of Liberty
Metal Gear Solid 3: Snake Eater
The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe
Kingdom of Heaven
Spy Game
Man on Fire
Enemy of the State
Armageddon (the awesome two-disc bootleg score, not the Rabin-only commercial release)

Unfortunately, I do not yet have the scores to Metal Gear Solid 4: Guns of the Patriots or The Chronicles of Narnia: Prince Caspian. But I will. Have. Them.