Speaking of foreign territory, The Phantom Pain explores modern, controversial, political themes like nothing before it. Metal Gear Solid 5: The Phantom Pain is the apex of the series and a fitting way for Kojima et al to bow out: as one, as best, as Big Boss. The game's various systems add reconnaissance options, including a young Revolver Ocelot - voiced by Troy Baker - provide clairvoyant remote service and, assuming you're pushing the faculty back at base to its limits, intel teams can also track danger zones ahead of Snake, giving him a heads up as he enters new foreign territory. Getting spotted gives you a limited grace period to respond with a slow-motion retaliation before a full-blown attack phase occurs, adding an incredible amount of tension to already tense situations. The Phantom Pain takes everything the Solid entries of the Metal Gear series have done right so far - from 1998's debutant Metal Gear Solid, to last year's analogous Metal Gear Solid 5: Ground Zeroes - and somehow improves on every last measure. Metal Gear Solid 5: The Phantom Pain is not like most games. Metal Gear Solid 5: The Phantom Pain checks them all. Peace Walker's base building systems, Metal Gear Solid 4's war-torn environments, Snake Eater's camouflage ensembles, the entire series' self-indulgent cutscenes and its fictitious-cum-pseudo-realistic narrative: it's all there in spades, refined yet beautifully nuanced. Some games will check two or three of the above list, making most players happy as a result.

Most games will check one or two of the above list, making some players happy in return.

To some, a killer tracklist is more appealing than gritty realistic audio in essence your idiosyncrasies, your quirks, your habits and characteristics all determine how you arrive at a personalised definition of a 'good' game.

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