On July 13, 1987, Konami released a new game for the MSX2 home computer in Japan. Its cover promised soldiers, weapons, secret operations, and a walking machine of war, all familiar ingredients for an action game during an era filled with shooters and military adventures. Yet the most important idea inside Metal Gear was almost the opposite of what its packaging seemed to promise. The player was not supposed to charge forward shooting everything in sight. He was supposed to avoid being seen.
Konami summarized the concept with a striking piece of advertising: games were not only about fighting. Instead of asking whether the player could defeat an army, Metal Gear asked whether he could slip through that army, learn its routines, gather information, rescue prisoners, find equipment, and survive long enough to complete his mission. Nearly four decades later, those ideas seem inseparable from the stealth genre, but in 1987 they helped make Metal Gear one of the most unusual action games of its generation.
The game would eventually give rise to one of the most famous series in video game history and make its designer, Hideo Kojima, internationally known. That later fame can obscure what the first Metal Gear actually was. It was not originally a Nintendo game, it did not begin with the PlayStation, and it was not created for the enormous international audience that would eventually embrace Metal Gear Solid. It began as an MSX2 computer game designed around severe hardware restrictions, a young designer’s fascination with movies, and a simple reversal of one of the most basic assumptions in action games.
A Young Designer at Konami
Hideo Kojima joined Konami during the 1980s hoping to make games with the kind of storytelling and atmosphere he admired in movies. His early career was not an immediate triumph. Kojima later remembered spending about half a year working on a project that was ultimately cancelled. He considered leaving the company, but Konami soon gave him another assignment: develop a combat game for the MSX platform.
The assignment presented a serious technical problem. A conventional combat game depended upon displaying a player, multiple enemies, bullets, and other moving objects at the same time. Kojima explained during his 2009 Game Developers Conference presentation that the MSX2 could display only a limited number of sprites, with additional restrictions on how many could appear along the same horizontal line. Trying to imitate the crowded arcade shooters of the period would therefore place the machine at a disadvantage before development had gone very far.
Kojima eventually stopped treating that limitation as something that had to be overcome. If the computer could not comfortably display a battlefield filled with enemies and gunfire, perhaps the player should not be fighting a battlefield filled with enemies in the first place.
Years later, Kojima described the assignment in slightly broader terms. Konami wanted something resembling the popular war and action entertainment of the period, while he was uncomfortable with the fantasy of one heavily armed hero effortlessly eliminating an entire army. He remembered turning instead toward films such as The Great Escape and the James Bond series. Escape suggested avoiding combat, while Bond supplied the more heroic idea of a lone operative infiltrating hostile territory. Those influences, combined with the technical restrictions of the MSX hardware, pushed the project toward espionage rather than straightforward shooting.
The result was a basic design principle that could be explained in only a few words: do not let the enemy see you.
Turning a Hardware Problem Into a Game
That reversal changed nearly everything about how Metal Gear worked.
In a traditional action game, an enemy on the screen is often an invitation to attack. In Metal Gear, an enemy is first a problem of observation. The player watches where guards stand, determines where they are looking, searches for an opening, and moves when it is safe. Getting through a room without firing can be more valuable than defeating everyone inside it.
The original manual makes this philosophy unusually clear. Players are instructed to advance through the fortress without being discovered by guards or security systems. Detection triggers an alert state and brings enemy attacks. Depending upon how Snake is spotted, enemies may attack from the immediate area or reinforcements may enter from elsewhere. The player can eventually return to normal infiltration after dealing with the alert, meaning discovery is dangerous without automatically ending the game.
That structure created a rhythm very different from the constant forward pressure of many contemporary action games. A room could be quiet, almost puzzle-like, until one mistake suddenly filled it with pursuing soldiers. Safety and danger were separated by a guard’s line of sight.
Kojima later described the original concept as a screen-by-screen sneaking game in which the player learned that being spotted changed the behavior of the enemies. Rather than increasing the number of opponents on screen, the designers increased the significance of the few that were already there. Hardware weakness became game tension.
This is one of the reasons the first Metal Gear remains important even when viewed beside its far more technically elaborate successors. Its central mechanic was not created because better technology suddenly made something possible. It emerged because limited technology forced the designers to reconsider what the player should be doing.
Operation Intrude N313
The story surrounding that design gave players the role of Solid Snake, a new recruit in the special operations unit FOXHOUND. According to Konami’s original scenario, the mysterious fortified state of Outer Heaven had appeared deep in southern Africa under the control of a powerful mercenary. Intelligence suggested that a weapon capable of changing the nature of warfare was being developed there.
FOXHOUND initially sent veteran operative Gray Fox to investigate. Contact was lost after a final message containing two words: “Metal Gear.”
The next mission went to Solid Snake.
Snake was not introduced as the legendary soldier that later games would make him. Konami’s character material describes him as a rookie newly admitted to FOXHOUND, with Operation Intrude N313 serving as his first mission. He enters Outer Heaven with little more than his radio and must obtain weapons, equipment, intelligence, and assistance after infiltration.
His commander is Big Boss, the head of FOXHOUND, who communicates with Snake by radio and provides instructions about weapons and equipment. Other contacts and members of the resistance gradually become part of the mission, while prisoners hidden throughout Outer Heaven provide information and improve Snake’s standing when rescued.
The objective develops from locating Gray Fox and discovering what Metal Gear is into stopping the weapon itself. The machine, designated TX-55 Metal Gear, is a walking military vehicle associated with nuclear capability, a concept that would become one of the defining images of the franchise. Konami’s later official histories preserved the central outline of the 1987 story: Snake infiltrates Outer Heaven, rescues Gray Fox, learns the truth about Metal Gear, destroys the weapon, and discovers that Big Boss himself stands behind the fortress.
For a game produced in 1987, the story contains an impressive number of reversals. The commander guiding the player becomes the enemy. Instructions once accepted as help become suspicious. The mission itself turns into a struggle against the organization that sent Snake into the field.
Many of the political, military, and philosophical themes of later Metal Gear games remained far less developed here, yet the essential structure was already visible. A soldier receives orders, enters a secret conflict, uncovers information his superiors did not intend him to know, and finds that the distinction between ally and enemy is much less stable than it first appeared.
More Than Sneaking Past Guards
Although stealth gave Metal Gear its identity, the original game was not built entirely around hiding.
Snake begins poorly equipped and gradually assembles an inventory that changes what he can do. Weapons allow direct combat when necessary. Key cards open particular doors. Protective equipment makes otherwise dangerous areas survivable. Explosives provide access to new routes or targets. The player searches trucks, rooms, and enemy positions while trying to determine which item solves which problem.
Prisoners are especially important. Rescuing them provides information and can increase Snake’s rank, which in turn affects his maximum life and carrying capacity. Killing hostages can reduce that rank. The system means that exploration and rescue are tied directly to the player’s ability to survive later portions of the mission.
The radio is just as important. Instead of treating dialogue as something that occurs only between stages, Metal Gear makes communication part of the mission. Snake can contact other characters on different frequencies for information about objectives, weapons, equipment, or the fortress itself. Incoming calls can interrupt the operation with new instructions.
That radio system would eventually evolve into the Codec conversations that became one of the signatures of Metal Gear Solid, but the basic relationship already existed in 1987. The player was alone on the battlefield while remaining connected to a larger cast that existed largely through text and communication.
The combination gave Metal Gear qualities of several genres at once. There was action when alarms sounded or bosses had to be fought, adventure-style item use and exploration, puzzle solving, character conversations, and a continuing story that unfolded as Snake moved deeper into Outer Heaven. Konami’s original packaging described it as a tactical role-playing adventure with the feeling of a movie, language that shows how difficult the game was to fit neatly into the categories available at the time.
The People Behind the First Metal Gear
Later Metal Gear games would involve enormous development teams, extensive voice casts, cinematic production, and international marketing campaigns. The credited staff preserved with the original MSX2 program is strikingly small by comparison.
Hiroyuki Fukui is credited with the main program. Tomonori Otsuka and Koji Toyohara handled sub-programming. Masami Tabata and Azusa Fujimoto are credited with graphic design. Iku Mizutani handled the main sound effects, with Shigehiro Takenouchi and Motoaki Furukawa credited for additional sound work. Hideo Kojima received the Game Design credit.
Those credits help place the game in its proper historical setting. Metal Gear was not yet the enormous auteur-driven production that the name Hideo Kojima would later suggest. Kojima supplied the central design and scenario direction within a compact Konami development environment where programmers still held enormous influence over what could actually be built.
Kojima later remembered that programmers often had the final say because planners could not independently implement the sequences they imagined. His frustration with that arrangement encouraged him to seek systems that gave designers more direct control over scripting, sound, and animation in later projects.
In that sense, the first Metal Gear was also part of Kojima learning what kind of game creator he wanted to become.
Released for the MSX2
The Japanese edition of Metal Gear appeared as a 1-megabit, or 128-kilobyte, MegaROM cartridge under Konami product code RC750. Preservation records list an original price of 5,800 yen, and the surviving manual identifies the game as a 1987 Konami MSX2 release.
Konami also released an MSX2 edition in European markets during 1987. That European presence is historically important because it means the original version was not confined entirely to Japan, even though it never received an official contemporary MSX2 release in North America.
European reviewers therefore encountered Kojima’s game before the heavily altered Nintendo version became the form of Metal Gear most familiar to American players.
The British magazine The Games Machine reviewed the MSX edition in its December 1987 issue and awarded it 79 percent. The reviewer initially found the presentation less than spectacular but became much more enthusiastic after getting deeper into the game, praising the enormous play area, varied puzzles, traps, security systems, and continuing tension. The review concluded that Metal Gear would make a strong addition to an MSX owner’s collection.
French magazines also reviewed the MSX release during the same period, including Game Mag, Arcades, and Tilt. Their existence provides another reminder that the Western history of Metal Gear did not begin solely with the Nintendo Entertainment System. The MSX original already had a European life in 1987.
Was Metal Gear the First Stealth Game?
Calling Metal Gear the first stealth game makes for an appealing story, but it goes too far.
Games built around avoidance existed before 1987. Silas Warner’s Castle Wolfenstein, released for the Apple II in 1981, encouraged players to avoid guards, use disguises, search rooms, and escape rather than simply shoot everything they encountered. Sega’s arcade game 005, also released in 1981, used enemy searchlights and avoidance mechanics, while still earlier games experimented with related forms of concealment and evasion.
What Metal Gear accomplished was different and, in the long run, perhaps more consequential.
Kojima placed enemy detection at the center of a relatively large action-adventure structure and created clear transitions between infiltration and alert. Guards had understandable sight behavior. Discovery changed the state of the game. Equipment, intelligence, level design, radio communication, and mission objectives all supported the fantasy of entering a defended installation without being detected.
Konami understandably describes the game as the point at which its tactical espionage action formula was born. From the perspective of the broader history of video games, it is safer to call Metal Gear one of the foundational works of stealth action and one of the games most responsible for establishing stealth as a recognizable design tradition.
That distinction does not diminish the game. It makes its achievement easier to understand. Metal Gear did not need to invent the idea of hiding in a video game to transform what hiding could mean.
The Nintendo Version Was Not the Original
The history becomes complicated because many players in the United States did not encounter the MSX2 version.
Konami produced a Famicom adaptation only months after the original Japanese release, and a version for the Nintendo Entertainment System later reached North America. For an enormous number of American players, that cartridge simply was Metal Gear.
Yet it was not the same game.
Kojima was not involved in developing the Famicom version. He later stated this plainly on several occasions, including during his 2012 BAFTA lecture, when he criticized the adaptation and contrasted its opening with the more immediate infiltration of his MSX design.
The Nintendo team altered maps and rearranged the structure, added an outdoor opening before Snake reached the main fortress, and changed encounters. Most famously, the actual Metal Gear machine was no longer the final mechanical target in the same way it had been in the MSX2 original.
Programmer Masahiro Ueno later recalled being assigned to convert the MSX2 game to the Famicom early in his career under an extremely short development schedule. Accounts based on his testimony describe roughly three months of work and instructions that the adaptation should differ from the original.
Those differences produced one of the stranger situations in video game history. The version that spread the Metal Gear name to much of North America was not the version Hideo Kojima designed.
This matters because discussions of the first Metal Gear sometimes mix the two games together. Elements remembered by American NES owners may not belong to the MSX2 original at all, while features central to Kojima’s design can be missing or altered in the Nintendo version.
For the history of the series, the MSX2 game is the starting point.
From a Small Computer Market to a Global Series
The original Metal Gear was successful enough to continue, but the series did not immediately become a global phenomenon.
Kojima himself later characterized the MSX market as relatively small and noted that the original game had not been released for that platform in North America. Konami’s own retrospective history says that despite the praise the first game received, its MSX2 platform had a limited user base and the project initially appeared as though it might remain a one-off title.
The sequel happened in an appropriately unusual fashion. Konami’s retrospective account says Kojima encountered a younger colleague on a train who was a fan of the original and wanted a true sequel. The conversation inspired Kojima, who reportedly developed the story proposal that became Metal Gear 2: Solid Snake. It appeared for the MSX2 in 1990 and expanded enemy behavior, sound detection, radar, crawling, and many other ideas that would later seem fundamental to the series.
Still, the name Metal Gear remained much smaller than it would become.
That changed in 1998 with Metal Gear Solid for the PlayStation. Three-dimensional environments, voice acting, cinematic presentation, and a worldwide release exposed a vastly larger audience to the ideas Kojima had begun exploring more than a decade earlier. Kojima later described the PlayStation title as the true international turning point of his career.
Players who began with Metal Gear Solid could look backward and find that much of its conceptual DNA had already existed in 1987. Solid Snake, Big Boss, Gray Fox, FOXHOUND, Outer Heaven, radio conversations, nuclear weapons, misleading orders, military infiltration, alert states, and the tension between fighting and avoiding combat were all present at the beginning.
The technology changed dramatically. The underlying idea did not.
The Importance of Metal Gear
The easiest way to describe the historical importance of Metal Gear is to say that it helped create the stealth genre, but that description captures only part of what made the game unusual.
Its larger achievement was proving that limitations could become rules rather than weaknesses.
The MSX2 could not easily deliver the crowded combat game Konami initially imagined, so Kojima reduced the importance of combat. Fewer enemies made their positions more meaningful. Limited animation encouraged clearer systems. Screen-by-screen movement helped turn rooms into infiltration puzzles. A machine that appeared poorly suited to the assignment became the reason the assignment changed.
That philosophy stayed with Kojima. During his 2009 GDC presentation, he used the history of Metal Gear to argue that game design could overcome technological barriers by questioning the assumptions behind them. The first game was his clearest early example. Instead of asking how to make an MSX2 behave like an arcade machine, he asked what kind of game the MSX2 could make possible.
The answer was a game about vulnerability.
Solid Snake may carry guns, explosives, and military equipment, but his greatest advantage is often information. He survives because he knows where guards are standing, which door a card opens, which prisoner has useful intelligence, when an alarm will bring reinforcements, and when avoiding a fight is wiser than winning one.
That approach made Metal Gear feel different in 1987, and the surviving advertising suggests Konami understood exactly what it was selling. The company’s message was not that its new game contained better fighting. It was that fighting did not have to be the whole game.
From that reversal came Solid Snake, Outer Heaven, Big Boss, Metal Gear, and a series that would spend decades returning to questions about soldiers, technology, nuclear weapons, loyalty, and the people who decide what a mission is really for.
Long before the cinematic cutscenes, celebrity voice actors, PlayStation hardware, and worldwide launches, it began with a small figure moving across an MSX2 screen, waiting for a guard to look the other way.
The safest move was not to shoot.
It was to disappear.
Sources & Further Reading
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