Twenty Years Later, I’m Still Emotional: The Timeless Brilliance of Metal Gear Solid 3: Snake Eater | Games

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It’s unforgettable—the first time you play a Metal Gear game. Among them, Konami’s iconic stealth series is epitomized by the 2004 installment, Snake Eater. This initial chapter and its sequel acted as a reboot. Initially aimed for the PS3 due to its ambitious technology, it was eventually released on the PS2. The writer-director, Kojima, sought to take the gravelly-voiced protagonist, Solid Snake, out of the shadowy military bases and into the great outdoors. With elements like food hunting and broken bones that could be reset, Snake Eater felt far more grounded and immersive compared to PlayStation games of the 2000s.

Despite Snake Eater’s significant transformations, one classic aspect remains unchanged—stellar voice acting. In Konami’s upcoming remake, Metal Gear Solid Delta: Snake Eater, all the iconic, absurd lines from the original script are preserved. Enhanced with modern controls and stunning new graphics, Delta more closely resembles a 4K restoration of a beloved film than a standard remake akin to the latest Resident Evil titles.

“To their credit, Konami wanted to maintain the authentic experience,” says David Hater, the voice of Solid Snake. “They aimed to ensure it felt like the original, while still leveraging today’s technology.”




“Very cinematic”… Metal Gear Solid Delta: Snake Eater. Photo: Konami

Hater, who also penned the scripts for the 2000s X-Men films, takes immense pride in his portrayal of Solid Snake, a role achieved through the unique recording process of his eccentric performances. “For my first Metal Gear Solid, I recorded in an unusual house in Hollywood,” he reflects. “There were five microphones set up and it was just me and the other actors.”

This atypical setup was in stark contrast to the usual individual recording method, where voice actors would record separately, and their performances would be pieced together afterward. Hater found this collaborative approach to be incredibly effective. “I insisted my contract required me to record in this manner for all the Metal Gear games; I’d be in the booth alongside other top voice talents for months at a time.”

By the time the actors recorded their roles for Metal Gear Solid, the storyline was nearly finalized. However, for Snake Eater, they received only cues, leaving much of the visual imagination to the voice talent. “We had no visuals,” says Hater. “It was challenging to grasp the full impact of what we were creating at the time.”




“I know why you go back to it over and over again”… Metal Gear Solid 3: Snake Eater. Photo: Konami

This shared experience resonates with Lori Alan, who voices The Boss, a key character in Snake Eater. “This is where the voice director showcased his remarkable skills,” Alan shares. “The recording sessions were intense. After a session, you’d exit saying, ‘What a ride!’ as the director would quietly remind you, ‘You love him. You trained him. You’ll betray your country!’ It was astonishing, and left you feeling completely drained.”

As Alan departed the booth while Hater was recording, she didn’t fully grasp the impact of the character she embodied. “I have a devoted fan who once sent me a clip, but I’ve never played it,” Alan admits. Over two decades later, she finally experienced the iconic role she helped create. “We were filming promotional videos for the remake,” Hater recalls. “Lori mentioned she wanted to know what we did back then, but it was hard to convey! So, I sent her the complete cutscene from the game… A couple of hours later, I received an emotional call from her. She was in tears, saying, ‘Oh my god! I didn’t understand before, but now I get it.'”

“It’s incredibly cinematic,” Alan adds. “The depth of the relationships stands out, giving me chills. I found myself completely engaged in the storytelling, as one would when reading a captivating novel or watching a compelling film.”




“We didn’t need to change anything great from the original”… Metal Gear Solid Delta: Snake Eater. Photo: Konami

Beyond some audio refinement and adjustments to fit the new control system, the cast confirms that no additional material was introduced in Delta. “I like to think I’ve become a better actor since then,” Hater muses. “Yet, these recordings had to align perfectly with the original, making it surreal to step back into the booth and reprise the same role after 20 years.”

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Hater and Alan aren’t alone in revisiting the jungle—Cynthia Harrell, the original singer of Snake Eater’s theme, has re-recorded the iconic anthem for the remake. Harrell noted that she recorded her vocals with little direction. “That final scene, with the song playing as she dies, the red petals falling… I still cry 20 years later.”

Decades later, that moment remains powerful. Following an emotional climax, players are given the choice to pull the trigger. “I wished there was an option to shoot her in the leg instead,” Hater admits.

The ongoing separation between Kojima and Konami means that the original Snake Eater director isn’t involved in Delta, yet the publisher has engaged and retained members from the original development team. “For me, that thrill and surprise felt like the first time I played, 21 years ago, and that’s the experience we aimed to replicate,” shares Yuji Korekado, a producer on Delta and a former team member. Fellow producer Okamura Noriaki emphasized the intention to maintain creative integrity: “We concluded that adding twists or new plot elements was unnecessary; the original was already exceptional.”

As a new generation grows up unaware of the significance of Revolver Ocelot, Hater views Snake Eater Delta as the ideal reintroduction to one of gaming’s most revered franchises. “Someone asked me last night why they started remastering with No. 3,” he mentions. “That’s because it’s the best, you know? The characters are incredible, and the storylines are profound. These are some of the most tragic and beautiful moments in gaming history. It’s akin to living through a cinematic masterpiece for 60 hours.”
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Metal Gear Solid Delta: Snake Eater will launch on PC, PS5, and Xbox on August 28th

Source: www.theguardian.com

One Progressive Takes on Twenty Far-Right Conservatives: Medi Hasan Reflects | YouTube

mEhdi Hasan was acutely aware of his viral status. The broadcaster and author watched the views surge on YouTube, with his phone buzzing incessantly. However, it truly hit him when, at an event in Washington, someone approached him in Urdu, saying, “I saw you in 20 insanity.”


The individual referenced Hasan’s appearance in the British-American commentator segment. It’s surrounded the gladiators’ web series “1-Many Debate” hosted by Jubilee Media on YouTube. In the episode “1 Progressive vs 20 Far Right Conservatives,” Hasan was questioned about his “ethnic background” by a man whose Guardian was not masking as the organizer of two violent far-right protests. Laughter erupted in the debate when another participant concurred that he was a fascist.

“I saw the vast audience engaged with the youth. I thought it was a good platform,” says Hasan, who launched his own alternative news outlet, Zeteo, last year. “But it was really intense, something I hadn’t anticipated. It was extraordinary, for both positive and negative reasons.”


Hasan’s nearly two-hour discussion, which has been edited and repackaged for continuous redistribution, propelled Jubilee Media into the forefront of mainstream awareness, igniting dialogues about the political and social ramifications of new media formats, alongside various existential uncertainties.

The quickly expanding entertainment company, launched in 2017, captured the attention of youth by transforming Trump’s contentious debates into highly engaging content. Besides debates, it has also developed games and dating shows, yet is facing challenges. Its standout format pits one expert against another on a single chair to debate pressing political issues.

Few raised concerns about traditional broadcasters’ encroachment, with titles like “Flat Earth and Scientists: Can You Trust Science?” (31 million views) and “Can 25 Liberal College Students Betray One Conservative? (feat. Charlie Kirk)” (30 million views). The 2024 Video with Ben Shapiro, featuring a trans man confronting right-wing critics in Four minutes of outrage, was the fifth most viewed election-related content on YouTube.

Founder and CEO Jason Yi Lee established Jubilee in 2010 as a nonprofit after his video Basking for Charity went viral. He mentioned to Variety that the organization “aims to illustrate what discourse appears like and should look like.” He envisioned it as potentially “Disney for empathy.” But how does the combative nature of those performances align with the goal of “encouraging understanding and building human connections”?

Spencer Colnharbor, who comments on Atlantic popular culture, perceives idealism as genuine but fueled by ambition. “In Jubilee’s context, empathy defends voyeurism and a curiosity about others,” Colnharbor reflects. “Lee didn’t aspire to be the new UN. He aims to be Disney, a prominently recognized for-profit entertainment entity known for its capacity to commercialize anything and spawn franchises.”

Julia Alexander, a media correspondent for Puck News, noted Jubilee’s advantage from the rise of free speech absolutism and the internet’s shift toward social and video platforms. Yet, she asserts that while it may have initially aimed to alter negativity in discussions, the platform has succumbed to “the hateful vitriol that defines many social media.” She claims they have little hope against “the trivial yet understood currency of the Internet.” Essentially, contentious and alarming content generates more interaction than constructive dialogue.

“I hope they choose to concentrate on generating positive internet content. We surely need it,” she remarks. “Yet, I worry as they are compelled to scale continuously and surpass previous performances, leading to a tendency to produce even more extreme content.”


Hasan, also a contributor to the Guardian, recognizes the allure of the more extreme videos produced by Jubilee. He authored “Win Every Argument,” a book on the art of debate, arguing that traditional media has vacated the battlefield, allowing platforms like YouTube to fill that void.

“Mainstream media performed poorly in facilitating discussion and debate. They gave a voice to those with unorthodox perspectives,” he comments. “But I believe there is a balance between extremes. There are no standards when it comes to censorship versus narrowing opinions. There are no guardrails; as long as you’re clicking, you can post whatever you want on YouTube.”

He acknowledges some criticisms he has received for his engagements, even agreeing with aspects of them. Author and disability rights advocate Imani Barbarin pointed out that Hasan’s takedown clips of far-right militants were shared by progressives celebrating his “victories,” while equally substantial numbers were shared as proof of his failures. “We live in a memetic culture of politics,” Barbarin stated in a post on x. “These moments are literally extracted from space and time. […] The surrounding context of that moment becomes irrelevant.”

Hasan expressed that if he has any regrets, it would be not knowing more about the individuals he faced and failing to recognize the presence of extremists among them. As for overall regret regarding his participation, he contemplates.

“I stand by what I said. I believe I performed adequately in the debate,” he reflects. “The broader question remains: is the format itself problematic? Are these arguments worth making? And I’m uncertain of the answer. Ask me again in five years.”

Source: www.theguardian.com

Twenty million years ago, the giant freshwater crayfish inhabited New Zealand.

The fossil record of freshwater crayfish is surprisingly sparse, mainly containing trace fossils, some body fossils, and rarely gastroscopy. Paleontologists from Flinders University, the University of New South Wales, the Canterbury Museum and the University of Canterbury have discovered that the small molars (jaws) of the lower jaw of Gondwannan freshwater crayfish have a stiff, robust apatite layer. They discovered eight jaw fragments of a fossil freshwater crayfish that lived in New Zealand during the early Miocene period.

Swamp Yabby (Cherax Latimanus), Australian freshwater crayfish species. Image credits: McCormack & Raadik, doi: 10.11646/zootaxa.5026.3.2.

Prehistoric freshwater crayfish grew to about 25 cm long compared to about 8 cm of today’s New Zealand species.

“Crayfish were important creatures in ancient settings,” says Dr. Paul Scofield, senior curator at the Canterbury Museum.

“The crayfish’s body does not fossil because it is made from the wrong chemical elements. However, the molars in the jaw are made of different materials, like mammalian teeth, so they do fossil because they are made from different materials.”

“This means that we can clearly say where freshwater crayfish lived in prehistoric times. It will speak more about prehistoric ecosystems and how they worked.”

Dr. Scofield and his colleagues sifted through hundreds of thousands of small fossil fragments found near St. Batan in central Otago and used microscopes to identify prehistoric crayfish to identify each piece.

Crayfish were identified from eight jaw fragments each, about 4 mm in length.

An exciting observation was to show that the three lower jaws showed that the three types lived together.

There are currently only two species in New Zealand and live in different parts of the country.

Fragments are very rare. One distance of the 100 kg fossil fragments recovered from St. Batan produced only one fragment.

“We also identified the first fossilized Yabby buttons, which are calcium deposits that form in the stomachs of crayfish,” said Dr. Trevor Worthy, a paleontologist at Flinders University.

“Historically, paleontologists have often misidentified Yabby buttons as fossilized fish teeth.”

“Several fragments like these are sitting in boxes of museum collections around the world and are marked with question marks. Now we can say what they are.”

“Small fossils can reveal a lot about prehistoric life,” said Dr Vanessa de Petri, a paleontologist at the University of Canterbury.

“It’s not just about big sexy bones, it’s about the little things. Every piece has a story to tell.”

Team’s result It was published in Alcheringa, Australian Journal of Palaeontology.

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Trevor H. Worthy et al. Decapoda, Parastacidae, of the fossil mandible from the early Miocene of New Zealand. AlcheringaPublished online on April 13th, 2025. doi:10.1080/03115518.2025.2488056

Source: www.sci.news