u/GizmoKSX

Not that I can think of for MGS3. For comparison, the English dub of MGS1 had some very minor quality issues in CODEC conversations like lines occasionally getting cut off and some subtle background noises. I think there was mention of it not being done in the best studio (sorry for lack of a source). Of course, all of that was re-recorded for The Twin Snakes, and I strongly prefer the original performances.

without any edits

From the PlayStation page for the MGS Master Collection: "This collection includes the classic versions of the games, complete with minimal edits to copyrighted contents."

Supposedly the licensing for the bits of live-action footage expired a few years ago, hence the games being pulled from digital distribution at that time. This may mean they're not coming back. I wonder what's replacing them.

Even the HD Collection was missing some things from the PS2 versions, like skateboarding, Snake vs. Monkey, Secret Theater, and the Guy Savage nightmare minigame.

As for MGS4 , it's commonly mentioned that the game's PS3-specific programming could make it tough to port, but I also wonder if the product tie-ins would be an issue. Snake listens to an iPod, drinks Regain, drops Playboy magazines, and can wear an Assassin's Creed outfit. Otacon mentions the PlayStation 3 by name during a CODEC call, and there were flashes of the Sixaxis controller during the Psycho Mantis scene. All that said, here's to hoping it works out somehow.

It's likely both in the intro. They've layered clean electric and acoustic guitars before, like on the intro to "Battery" and the verse to "One". ("Fade to Black" uses both too, but those are different parts, not doubling.)
However, when the part is reintroduced after the guitar solo ("Now I lay me down to sleep"), it's played on a 12-string acoustic, adding the higher octave, setting it apart from the 6-string intro version. Same for the outro.

It's understandable because it's seemingly such a bizarre case. And they didn't do what, say, Megadeth did and tweak everything for the remixes (different levels, alternate vocal takes, new drum samples, etc.). It's subtle, and it's still basically the same dry-sounding album, love it or hate it. I wonder whether the remix was a headache, or if an engineer (Fidelman?) had an easy day of just pulling the faders down a few dB.
I think the situation was that iTunes has mastering standards, the clipping had to be fixed, so they did what they had to do.

The clipping issues were introduced at the mixing stage, before it even got to mastering. Mastering engineer Ted Jensen goes uncredited on the album, supposedly because what they gave him was unsalvageable.
For proof that it's a new mix, notice slight differences between the versions of the album. In "Broken, Beat & Scarred", the rerelease has some drum ringing in the intro, audible during the hi-hat clicks. It's dry/quiet in the original mix. In "All Nightmare Long", Kirk's solo ending around 5:20 has a sharp cutoff in the original, but he's heard sliding out in the rerelease, either due to a different take or possibly just a different edit. These are mix-level differences that wouldn't be possible if it was just a remaster.
EDIT: Got another one in "All Nightmare Long" at 0:15. The original has a swelling feedback guitar in the left channel, right before the big rhythm guitars kick in. It's missing from the rerelease, which only has the right channel feedback.

Yep, that version got an official updated mix that mitigated the clipping distortion.

CQC DDT.

Metal Wolf Chaos.

Living tissue over regular bone skeleton.

The BBC Sessions aren't always true live recordings, but the band using another studio to create new takes on songs (or, in some cases, early previews of albums that hadn't yet been released). Sometimes they tracked everything fresh. Other times, they used existing backing tracks from the album versions and put new guitars or vocals on top. QueenVault has good breakdowns.

That means there's a chance of getting the Dog ending. Larry was behind it all!

Blood Omen: Legacy of Kain is a pretty cool classic-Zelda-like top-down adventure game, except with a snarky, vengeful vampire. Of course, it was followed up by the more popular Legacy of Kain: Soul Reaver, which moved the series to 3D where it stayed. As the series went on, it put a foreground emphasis on explaining the increasingly complex time-travel plot twists (and I love it), but in Blood Omen, the machinations about the fate of Nosgoth are mostly happening in the background to the annoyance of Kain, who's just trying to kill who he needs to cure his vampirism which he finds can't be done. It's got a different feel, maybe given Denis Dyack at the helm, while Amy Hennig (awesomely) directed most of the rest. It was tougher to come by digitally for a while, but it's on GOG now, and happens to be on sale for $0.97 at the moment. Ironically, it traded places with Soul Reaver in terms of availability, as that PC port can't currently be purchased, I think due to a dispute over a video codec.

I think Ground Zeroes also briefly reprised a piano arrangement of "Love Deterrence" from Peace Walker when you rescued Paz.

Sure. The early Reaper is obviously Lovecraftian, but Lovecraft was best known as a writer of short stories. They bend your mind in uncomfortable ways, job's done, on to the next thing. (Yes, there's world-building between those stories, but you're not expecting them to build to a narrative climax.) Mass Effect was not only a much longer time investment, but the first in a planned trilogy of lengthy games. The Reaper threat is introduced fairly late in the first game, but it's a clear sequel hook with a tease of learning more, in a game built around discovery, complete with a codex.

There's a line between artfully leaving things open to interpretation, and feeling like the storytellers just dragged you along with no good explanation in mind. Mysterious vagueness has its place, but probably not at the end of a 100+ hour RPG trilogy. After all that buildup, originally, the stargazing kid was probably saying, "No, Grandpa Buzz, you established those Reapers like 100 hours ago, and I am not going to bed until you explain them." And he says, "Are you sure you wouldn't rather hear what happened to Aria's missing couch? All right, my sweet. I've been talking for an entire week, but here's one more story."

SOVEREIGN: I am beyond your comprehension.
SHEPARD: Can you at least try? You're going on about being eternal, so surely a few minutes trying to explain wouldn't inconvenience you. Also, I'm an extremely highly-ranked representative of a spacefaring species.
SOVEREIGN: No.
SHEPARD: Maybe you're just a bad teacher.
SOVEREIGN: I... am beyond y...

SHEPARD: You don't even know, do you?
SOVEREIGN: Comments on this communicator have been disabled.

Dude whose catchphrase was "Feed me more" spending this whole clip eating checks out.

There's an interview with someone who worked on the effects talking about using leftover props from the Goosebumps show. I appreciate their work with the budget they had, even if it was doomed to be a weak adaptation from the get-go. The Andalite and Hork-Bajir props look decent enough, although they're not nearly mobile enough for the action described in the books. The Taxxons being left out entirely was probably a better choice than what we would have gotten. It's actually pretty fun seeing stuff like a spaceship control panel that's just... an audio mixing board.

Of course, even if the budget was there, we definitely weren't getting all the envelope-pushing stuff you mentioned from the books on kids' TV in the era of sending people to another dimension and even the title of Beast Wars being too edgy for Canada.

"War is bad" throughout the series for sure. Not arguing your point that nukes are an important part of most of the games (they are called Metal Gear, after all), but they're interestingly less emphasized in the later chronological entries. By MGS2, It's established that Metal Gears inspired by REX have proliferated, hence RAY being a counter-measure, but that's really just a setup for the real power in controlling the flow of information. And MGS4 has the war economy with small-scale proxy battles. The prequels consistently play up the nuclear threat.

"This Winkie's."

20-second count? The white will not be set on the outside. It will be runny until it gets hard. We will force it to be harder.
No yolk breaks. Because the true nature of man is measured in its ability to flip in a pan. There is no over easy way out. You will flip. No spatula.
Doneness Quality is enforced: Diner's choice. You decide how done the yolk is. Why? Because it's fare. And breakfast is all we have.

The GOG Galaxy launcher is optional. GOG lets you just download the game installer.

Blood Omen is available on GOG. Soul Reaver was pulled from digital distribution over a video codec usage dispute; hopefully it comes back someday soon. SR2 and BO2 have gotten recent drag-and-drop fan patches from Gemini, with Defiance in the works.

Sounds like a Hammond Organ, plus a couple of distorted bass tracks running through a Leslie rotary speaker.

Mods can break when games are updated. End of support means the DX11 versions of the games probably aren't getting updated, which is fine for mods as long as the DX11 versions stay available.

Per co-author Michael Grant, there's one piece of post-ending content on the way, hopefully in a couple months. But if it's from Cassie's perspective, it likely wouldn't really address the ambiguous ending since she stayed behind.