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  The first game to feel truly cinematic is back - years after its creator left The series pioneered cinematics in gaming by blending cutting-edge cutscenes, voice acting and dynamic camera angles to create something that would have looked more at home on the big screen at the time. Metal Gear tackled themes not commonly seen in games, such as nuclear disarmament and child soldiers, and posed philosophical questions while also leveraging offbeat humour. The games would often break the fourth wall and ask players to find solutions to puzzles in unusual ways - such as looking on the back cover of the game's physical box. The series' significant place in gaming history meant fans were stunned when its creator Hideo Kojima quit game publisher Konami in an acrimonious split in 2015. One of gaming's biggest titles was left directionless - and there's been no game in the best-selling series since. But now, a decade later, Konami has released a remake of the third game in the s...

'It's almost like a weapon': How the blonde bombshell has symbolised desire and danger Western culture, she says, has built a whole mythology around female blondeness − from religious iconography and fairy tales, to art and advertising − that has told specific stories about what it means to be blonde. In cinema's early years, comedies such as Platinum Blonde (1931) and Bombshell (1933), starring Jean Harlow, embedded concepts of the dazzling, devastatingly beautiful blonde into the cultural vernacular. "The idea that you're a bombshell, it's almost like a weapon," says Nead. "On the one hand, it is this kind of ideal, but at the same time, it's also threatening."   Before Harlow, there was another − more natural-looking − blonde on the scene: Mary Pickford, whose amber curls helped earn her the moniker of "America's Sweetheart". But while Pickford played the guileless girl waiting to be rescued, Harlow's peroxide blonde ...