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It's still a game of sometimes glacial subterfuge that borrows liberally from all across Metal Gear's history. In case it's not obvious though, The Phantom Pain isn't exactly a radical reinvention of the stealth genre. Now imagine the possibilities afforded when that same design ethos is applied across countless missions and a sprawling, constantly changing world.

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It was a giddying sandbox of simulated subterfuge that offered infinite possibilities once you had learned how to spot them. Ground Zeroes offered a single 20-minute infiltration mission (with a handful of variants,) that could easily stretch to countless hours thanks to the game's open-ended design and expansive tool-set. Of course, if you've played last year's Ground Zeroes, you'll already have an inclining of Metal Gear's new-found focus on freedom - but The Phantom Pain goes considerably further. Metal Gear Solid 5 is a game that delivers its singularly ambitious vision - absolute freedom within the stealth genre's familiar framework - with laser-focussed clarity. This is still a game where you can parachute animals (and tanks and people) into the stratosphere on a whim, a game where you can make your horse crap on command, a game where you can strap a knife to your pet dog for more efficient killing, and a game which considers Kim Wilde's Kids in America as perfectly good musical accompaniment to traditional bouts of stealth.ДЄll that stuff is a footnote in the grand scheme of things however, and - unlike most open world games, happy to bury their middling mechanics beneath an excess of window dressing - The Phantom Pain's strength is in the way it confidently allows its wonderful, fiercely-refined systems to come to the fore. That's not to say that Kojima's idiosyncrasies are nowhere to be found. It's fascinating to see such restraint from Kojima, a man well known for his self-indulgence and excess, especially considering that The Phantom Pain is likely his Metal Gear swan song.

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Beyond an outlandish, action-packed opening sequence - which we're not allowed to go into detail on, but we can probably reveal that it involves a hell of a lot of butt crack - The Phantom Pain is a remarkably economical affair, telling its tale of '80s cold war subterfuge through snatches of radio dialogue (courtesy of Ocelot), and the occasional return to Mother Base between missions.

Bold stuff.Д®qually sparse are the game's story elements. It offers miles upon miles of desolation to explore on the back of your pooping horse - only occasionally punctuated by an enemy outpost, abandoned village or industrial military facility. Afghanistan, where much of the early action takes place, isn't without its own sun-bleached beauty, but it remains as purposefully barren an open world as we've seen. In contrast, The Phantom Pain is wonderfully under-imagined. Swords aside, it is a warm bubble bath of a game. The Witcher 3 is a game of meticulous world building, where rich environments meld with a sweeping narrative and winning characterisations. In many ways, The Phantom Pain is the antithesis of CD Projekt's lavish high-fantasy dazzler. In a year where The Witcher 3 set the new standard for open world gaming, Kojima's final bow makes for interesting playing. Metal Gear Solid 5 is abrupt, aloof, and very, very brown.

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Our full review from final retail code will be live in the near future. Editor's note: This is an early impressions piece of Metal Gear Solid 5: The Phantom Pain, based on a recent review event.