Best to Worst: Metroid
I always wanted to get into Metroid. Of Nintendo's series that I hadn't grown up with, it's always been the most interesting to me. I was raised on Mario and, in my early teens, I decided to get into Zelda and Pokémon on my own. Still, Metroid always looked so damn cool. Come 2021, a new Metroid game is coming out and I felt left out. It was an announcement I knew was worth caring about, but I wasn't a part of it. October rolls around and I decide, "what the hell, may as play through Metroid 1 on my Switch." A couple months later and I've played more Metroid games than I even had known about. It suddenly became an addiction and I wanted more. With each passing game, I grew to understand what I value in a Metroid game.
And yeah, I'm probably the only Metroid fan without Super or Prime in my top 3.
And yeah, I'm probably the only Metroid fan without Super or Prime in my top 3.
9 Games
I mentioned before that Metroid II was where I found my place with the Metroid series. I didn't mind how linear it was because its atmosphere and mysterious world pulled me in. I didn't mind the repetition of fighting Metroids either. That said, the game is limited in most ways. The music is overly simple, the game is natively in black and white, and the enemies are super weak to accommodate for how small the screen is. Going into AM2R, I was expecting to see improvements in these areas. What I got, however, was so much more than a simple clean-up with new graphics—AM2R is a goddamn masterpiece. Where the original is the best that it could've feasibly been, AM2R is far better than I ever could've imagined. I would go as far as to say that it is single-handedly the most ideal remake of Metroid II and I don't think any other remake, official or not, could even come close.
Personally, I adore the Fusion/Zero Mission aesthetic. In general, I tend to be a big fan of GBA sprite art (see Pokémon), but I also love the sound design of both games. AM2R borrows a lot from the two in that regard, and I simply cannot complain about that. Not to mention, plenty of new sprite art went into this game. The reimaginings of the Metroids' designs are particularly great. The lighting is also incredible, leading to some areas feeling far creepier than anything in the original.
The boss fights are top-notch too. I get the feeling that a lot of Metroid fans might not like them because they are harder than usual, often taking and giving far more damage. I know Metroid is supposed to be this super-fast game to many of its fans, and many of them like when you can speedrun bosses in 10 seconds but I just... don't. You know how tired I am of being excited to fight Ridley—because he's so goddamn cool—only to be disappointed that he goes down in 20 seconds? Well, that or Prime's sluggish Ridley fight that put me to sleep. Not that Ridley specifically appears here, but I love that these bosses actually challenged me in more ways than how fast I could spam 5 super missiles into their throats. In AM2R, the bosses actually have the health to put up a fight, which is great because their attack patterns are super fun to learn and overcome. While exceedingly hard at times, I thought they were always fair. The final boss, the Queen Metroid, is possibly one of the hardest fights in Metroid but I was so engaged in the process of beating her that I exclaimed with joy when I finally blew the bitch apart. (edit: I actually beat her fairly easily on my 2nd playthrough, but my point still stands. It's a great final boss.) I died over and over and over, but it was only because my skill as a player needed work. In general, I did die a fair bit in AM2R, but there were always refills and save points nearby so I didn't mind so much. Perhaps a checkpoint right before the final boss would've been appreciated but, otherwise, those checkpoints made getting game-overs less frustrating.
Probably one of my favorite things about AM2R is the lore and the way it explores its story. Even if it is non-cannon, what's presented here is deeply fascinating. The logs that Samus finds throughout the world all contain something worth reading—information that gives you a greater understanding of SR388. Metroid II presented a barren wilderness in its world, one with only remnants of cryptic ruins. In truth, much of the original SR388 feels undercooked despite being more ambitious than the first game's Zebes. Here in AM2R, we learn more of SR388's dark and tattered past. There's more rhyme and reason as to why these ruins even exist. The Federation also has more of a role in the game, even if the results are predictable. Sometimes you find logs that detail what this planet is like to someone that isn't an unstoppable freak of nature. While Samus can plow through this planet, destroying all the Metroids along the way, what of the Federation's teams that explore the world first? Well, now we see it both first hand and through those logs. The best part? None of it is required for those who don't want to read it. I personally always like reading about the world I'm exploring, but not everyone wants to take the time to do so. On top of that, the logs don't automatically pop up and, instead, you decide when you want to open up your logbook to read your new entries. It's nonintrusive to those who don't want to be bothered yet compelling to those who want to know more about this world. Frankly, this might be the best handling of story and lore in the franchise, even more so than Fusion or Prime.
Overall, this game is incredible. In some ways, I think it's the best Metroid game and that's beyond impressive for a fanmade game based on a series that is, on average, incredible. Everything it accomplishes within the framework of Metroid II—one of the lesser titles—is outstanding. It feels fantastic to play, the menu/map/logs are super useful, the lore is compelling, and the world is beautifully dark. This is, without a doubt, one of the best games out there.
10/10
Personally, I adore the Fusion/Zero Mission aesthetic. In general, I tend to be a big fan of GBA sprite art (see Pokémon), but I also love the sound design of both games. AM2R borrows a lot from the two in that regard, and I simply cannot complain about that. Not to mention, plenty of new sprite art went into this game. The reimaginings of the Metroids' designs are particularly great. The lighting is also incredible, leading to some areas feeling far creepier than anything in the original.
The boss fights are top-notch too. I get the feeling that a lot of Metroid fans might not like them because they are harder than usual, often taking and giving far more damage. I know Metroid is supposed to be this super-fast game to many of its fans, and many of them like when you can speedrun bosses in 10 seconds but I just... don't. You know how tired I am of being excited to fight Ridley—because he's so goddamn cool—only to be disappointed that he goes down in 20 seconds? Well, that or Prime's sluggish Ridley fight that put me to sleep. Not that Ridley specifically appears here, but I love that these bosses actually challenged me in more ways than how fast I could spam 5 super missiles into their throats. In AM2R, the bosses actually have the health to put up a fight, which is great because their attack patterns are super fun to learn and overcome. While exceedingly hard at times, I thought they were always fair. The final boss, the Queen Metroid, is possibly one of the hardest fights in Metroid but I was so engaged in the process of beating her that I exclaimed with joy when I finally blew the bitch apart. (edit: I actually beat her fairly easily on my 2nd playthrough, but my point still stands. It's a great final boss.) I died over and over and over, but it was only because my skill as a player needed work. In general, I did die a fair bit in AM2R, but there were always refills and save points nearby so I didn't mind so much. Perhaps a checkpoint right before the final boss would've been appreciated but, otherwise, those checkpoints made getting game-overs less frustrating.
Probably one of my favorite things about AM2R is the lore and the way it explores its story. Even if it is non-cannon, what's presented here is deeply fascinating. The logs that Samus finds throughout the world all contain something worth reading—information that gives you a greater understanding of SR388. Metroid II presented a barren wilderness in its world, one with only remnants of cryptic ruins. In truth, much of the original SR388 feels undercooked despite being more ambitious than the first game's Zebes. Here in AM2R, we learn more of SR388's dark and tattered past. There's more rhyme and reason as to why these ruins even exist. The Federation also has more of a role in the game, even if the results are predictable. Sometimes you find logs that detail what this planet is like to someone that isn't an unstoppable freak of nature. While Samus can plow through this planet, destroying all the Metroids along the way, what of the Federation's teams that explore the world first? Well, now we see it both first hand and through those logs. The best part? None of it is required for those who don't want to read it. I personally always like reading about the world I'm exploring, but not everyone wants to take the time to do so. On top of that, the logs don't automatically pop up and, instead, you decide when you want to open up your logbook to read your new entries. It's nonintrusive to those who don't want to be bothered yet compelling to those who want to know more about this world. Frankly, this might be the best handling of story and lore in the franchise, even more so than Fusion or Prime.
Overall, this game is incredible. In some ways, I think it's the best Metroid game and that's beyond impressive for a fanmade game based on a series that is, on average, incredible. Everything it accomplishes within the framework of Metroid II—one of the lesser titles—is outstanding. It feels fantastic to play, the menu/map/logs are super useful, the lore is compelling, and the world is beautifully dark. This is, without a doubt, one of the best games out there.
10/10
1
It's clear that Fusion isn't as important as Super Metroid to the history of games, but I'd be lying if I said I didn't love it even more. I give Super a 10/10 because I acknowledge its massive undertakings. It is, by all means, a game that should be studied for game design for decades. On the other side of the coin, Fusion fits my preferences for videos games to a tee.
The movement is—at a more casual level—better than Super. I know there are crazy skills you can pull off in Super, but sometimes space jumping and wall jumping just felt so hard to grasp. While it may be rewarding to learn for some players, it just got in the way for someone like me who only intended to play the game once. It's like this: Super is more technical than Fusion in every way and, while that makes it a fantastic game at a higher level of skill, Fusion is so much easier to get ahold of. I didn't have to spend 10 minutes trying to wall jump, I just could. While the wall jump is no longer as versatile, I'm not the type of player that ever felt the desire to break the game with it. Often, Fusion's movement options may be more limited, but those options serve a casual player much better than Super's. The controls are responsive, rarely ever becoming frustrating. Not to mention, grabbing ledges blessed my soul with eternal happiness. It may be a simple fix, but grabbing the ledge of a tunnel and automatically entering morph ball mode makes so much sense. Additionally, no longer having to shuffle through your skills also helps in moments of intense decision-making. Again, while the options are more limited, it results in the game feeling less demanding of the player to learn its ins and outs. Some Metroid fans relish being able to get good at Super's skills but, while I totally get it, I am not one of those players. To me, Fusion was the first time I felt like I was in full control of Samus without even needing to spend a sizeable amount of time learning how to. In general, the game feels great to play.
I also LOVE that Fusion turns the very concept of Metroid on its head. Usually, in Metroid, you are a badass bounty hunter that just stomps any enemy you come across. Even bosses are never that much of a challenge. If you die, it's rarely due to enemies. In Fusion, however, all your powers are stripped from you in a way that makes you feel small and weak. This plays super well into the gameplay, in which you are struggling to deal with the SA-X and accompanying parasites. Even the normal hallway fodder is no longer, well, fodder. Each enemy does more damage than you can possibly obtain from killing them, which makes you feel vulnerable at times. Some players probably wouldn't like this feeling but, for me, it makes becoming stronger way more engaging. When I get an energy tank or new powerup, it feels like it could very well save my life. Despite ALL of that, Fusion is hard but not unfair. If you die, it's just on you. There's not much in way of bullshit.
If placing Fusion at #1 wasn't controversial enough, I also think that the "linearity" made for a great experience. I don't feel like I need a guide to 100% the game and I'm never lost. Yet, there's still plenty to explore and discover in any given area. Samus, the player, is told where to go after every major event. The exploration is, otherwise, about the same as any other Metroid game. The map indicates where items are, but you are left to your own devices to figure out how to get them. There's always a set destination to progress the story, but everything in between points A and B is left for the player to explore. I love this approach because, while I know where I'm trying to go, getting there is filled with interesting set pieces, hard-to-obtain collectibles, and creatures to blow apart. The real kicker of what I'm about to say is that, while exploration between A and B is still great, the points of A and B are the real meat of Fusion.
Fusion isn't that much more linear than Super (excluding more advanced sequence breaks). The only difference is that you're guided towards the main objectives in Fusion. That's probably where a lot of complaints come from, actually. Personally, if I have to choose a guide online or a guide in the game, I'll choose the in-game guide as long as it's well integrated. I would say that's the case here because it ties into the idea that Samus is not in a position of power and that she has a more specific mission than in prior journies. It helps the story feel more intense as Samus, you the player, start to feel closed in by the orders you're given. You're not on your own adventure and neither is Samus. You are not a bounty hunter sent to another planet to find your target, you are a powerless weakling being hunted down with no choice but to follow orders. Forcing the player to take certain paths is required for the story to function and, more importantly, essential in building genuine fear in the player. SA-X wouldn't be so scary if I could just sequence break my way through to being powerful, would it? No, you only can earn your power by fighting and overcoming stronger enemies, no matter what creatures they may be.
I actually kind of think of games this way: I don't mind being taken on a ride, as long as the experience along the way is worth it. What was Fusion trying to accomplish by being so against sequence breaking and not allowing the player to stray too far off the beaten path? Well, Fusion is as on-rails as Metroid has ever been and, yet, I probably had the most fun with it because the contents of every area, room, and scenario were always a delight. When I was told "hey, there's a strange X over here causing this problem," I didn't mind because I was curious what it could be. I don't mind being told where to go or what to do if it aligns with my own personal interest, and Fusion's linearity rarely ever failed me in that regard. For example, bosses are a massive departure from how Metroid handled him in earlier games. From the Metroids in the second game to even Kraid or Ridley, you often stumble upon a boss with little notice. That's cool in its own way, but the foreshadowing of some of these bosses was excellent. When you're roaming a sector, heading back to talk to Adam, there's suddenly this roaring sound as a shadowy figure flies by—absolutely frightening. Adam later tells you about this extremely dangerous creature called "Nightmare" and directs you to take it out. The tension building up to Nightmare is so good that I actually anticipated it more than any other Metroid fight, even if I was told exactly where to find it. How about when you come across a frozen Ridley? You aren't told to go see him, but you will be taken to him nonetheless. It's exciting because you know the implications and that you will have to fight him eventually. It's totally scripted for this to happen, and yet it feels like you just came across a huge secret. It may not be as "open" as other Metroid games, but Fusion is constantly throwing memorable moments at you. This is Fusion's idea of an adventure, and some players will like that more than others. I thought it was genuinely fantastic. The game's adventure takes the player on a rollercoaster ride of emotions and, although it's constantly on rails, it never ceases to be exciting.
This game simply rules, man.
10/10
The movement is—at a more casual level—better than Super. I know there are crazy skills you can pull off in Super, but sometimes space jumping and wall jumping just felt so hard to grasp. While it may be rewarding to learn for some players, it just got in the way for someone like me who only intended to play the game once. It's like this: Super is more technical than Fusion in every way and, while that makes it a fantastic game at a higher level of skill, Fusion is so much easier to get ahold of. I didn't have to spend 10 minutes trying to wall jump, I just could. While the wall jump is no longer as versatile, I'm not the type of player that ever felt the desire to break the game with it. Often, Fusion's movement options may be more limited, but those options serve a casual player much better than Super's. The controls are responsive, rarely ever becoming frustrating. Not to mention, grabbing ledges blessed my soul with eternal happiness. It may be a simple fix, but grabbing the ledge of a tunnel and automatically entering morph ball mode makes so much sense. Additionally, no longer having to shuffle through your skills also helps in moments of intense decision-making. Again, while the options are more limited, it results in the game feeling less demanding of the player to learn its ins and outs. Some Metroid fans relish being able to get good at Super's skills but, while I totally get it, I am not one of those players. To me, Fusion was the first time I felt like I was in full control of Samus without even needing to spend a sizeable amount of time learning how to. In general, the game feels great to play.
I also LOVE that Fusion turns the very concept of Metroid on its head. Usually, in Metroid, you are a badass bounty hunter that just stomps any enemy you come across. Even bosses are never that much of a challenge. If you die, it's rarely due to enemies. In Fusion, however, all your powers are stripped from you in a way that makes you feel small and weak. This plays super well into the gameplay, in which you are struggling to deal with the SA-X and accompanying parasites. Even the normal hallway fodder is no longer, well, fodder. Each enemy does more damage than you can possibly obtain from killing them, which makes you feel vulnerable at times. Some players probably wouldn't like this feeling but, for me, it makes becoming stronger way more engaging. When I get an energy tank or new powerup, it feels like it could very well save my life. Despite ALL of that, Fusion is hard but not unfair. If you die, it's just on you. There's not much in way of bullshit.
If placing Fusion at #1 wasn't controversial enough, I also think that the "linearity" made for a great experience. I don't feel like I need a guide to 100% the game and I'm never lost. Yet, there's still plenty to explore and discover in any given area. Samus, the player, is told where to go after every major event. The exploration is, otherwise, about the same as any other Metroid game. The map indicates where items are, but you are left to your own devices to figure out how to get them. There's always a set destination to progress the story, but everything in between points A and B is left for the player to explore. I love this approach because, while I know where I'm trying to go, getting there is filled with interesting set pieces, hard-to-obtain collectibles, and creatures to blow apart. The real kicker of what I'm about to say is that, while exploration between A and B is still great, the points of A and B are the real meat of Fusion.
Fusion isn't that much more linear than Super (excluding more advanced sequence breaks). The only difference is that you're guided towards the main objectives in Fusion. That's probably where a lot of complaints come from, actually. Personally, if I have to choose a guide online or a guide in the game, I'll choose the in-game guide as long as it's well integrated. I would say that's the case here because it ties into the idea that Samus is not in a position of power and that she has a more specific mission than in prior journies. It helps the story feel more intense as Samus, you the player, start to feel closed in by the orders you're given. You're not on your own adventure and neither is Samus. You are not a bounty hunter sent to another planet to find your target, you are a powerless weakling being hunted down with no choice but to follow orders. Forcing the player to take certain paths is required for the story to function and, more importantly, essential in building genuine fear in the player. SA-X wouldn't be so scary if I could just sequence break my way through to being powerful, would it? No, you only can earn your power by fighting and overcoming stronger enemies, no matter what creatures they may be.
I actually kind of think of games this way: I don't mind being taken on a ride, as long as the experience along the way is worth it. What was Fusion trying to accomplish by being so against sequence breaking and not allowing the player to stray too far off the beaten path? Well, Fusion is as on-rails as Metroid has ever been and, yet, I probably had the most fun with it because the contents of every area, room, and scenario were always a delight. When I was told "hey, there's a strange X over here causing this problem," I didn't mind because I was curious what it could be. I don't mind being told where to go or what to do if it aligns with my own personal interest, and Fusion's linearity rarely ever failed me in that regard. For example, bosses are a massive departure from how Metroid handled him in earlier games. From the Metroids in the second game to even Kraid or Ridley, you often stumble upon a boss with little notice. That's cool in its own way, but the foreshadowing of some of these bosses was excellent. When you're roaming a sector, heading back to talk to Adam, there's suddenly this roaring sound as a shadowy figure flies by—absolutely frightening. Adam later tells you about this extremely dangerous creature called "Nightmare" and directs you to take it out. The tension building up to Nightmare is so good that I actually anticipated it more than any other Metroid fight, even if I was told exactly where to find it. How about when you come across a frozen Ridley? You aren't told to go see him, but you will be taken to him nonetheless. It's exciting because you know the implications and that you will have to fight him eventually. It's totally scripted for this to happen, and yet it feels like you just came across a huge secret. It may not be as "open" as other Metroid games, but Fusion is constantly throwing memorable moments at you. This is Fusion's idea of an adventure, and some players will like that more than others. I thought it was genuinely fantastic. The game's adventure takes the player on a rollercoaster ride of emotions and, although it's constantly on rails, it never ceases to be exciting.
This game simply rules, man.
10/10
2
While most fans had to wait nearly two decades for Metroid 5, I was not one of them. In fact, I hadn't even played a Metroid game by the time Dread came out (barring playing 20 minutes of Metroid 1). I wanted in on Dread, though, and so I started a long journey through 7 prior games to eventually reach the long-awaited 5th mainline entry. I can't say I reached the end with the highest peak of the series—that honor goes to Fusion—but the month and a half long marathon still ended with a bang.
I think you can safely group together Fusion, Zero Mission, and AM2R as being the same style of Metroid game, specifically when it comes to controls, art direction, and general feel. Those games look and play a particular way that is different from previous entries. Likewise, Samus Returns established a new identity going forward. Between being the first "2.5D" entry and adding some new combat options, it was the first departure from the GBA era. However, I actually skipped Samus Returns before playing Dread. I had just played AM2R and didn't feel like playing (or buying) a weaker remake of Metroid II. Beyond comparisons to AM2R, I had seen how the combat and counter system worked; I wasn't too impressed. The counter didn't seem super intuitive, as far as I could tell. Maybe a little forced? Maybe not well integrated? I can't say for certain until I play Samus Returns but, until then, I know that it certainly cannot be said for Dread.
For additional context, I played Hollow Knight right before playing Metroid. This is important because, for as much as I love Metroid on the whole, Hollow Knight's controls were on another level. You have such unbelievable precision over The Knight's movement yet it feels simple and intuitive. It might just be the most I've ever felt in control of a character in any game. In comparison, Samus never felt quite as mind-blowingly good to control. I really like her movement in Fusion, Zero Mission, and AM2R, but it's still not quite as smooth. I never gave it too much thought, however, because Samus is in a large, heavy suit, rather than being a nimble bug with a tiny nail. I was okay with how Samus controlled in those three games because, for what it's worth, I never expected her to move like The Knight. Then Dread came along and made me shit my pants, along with rethinking how Samus should move. This is, without a doubt, the best Samus has ever felt to control. I will note that the controls are a little complex and I don't think most casual gamers would adjust super well to it. Every button is used for something in Dread, which makes quick decision-making a little hectic when you're first getting used to the game. Beyond that caveat, the movement in this game is so goddamn ~smooth~. Sliding into a small tunnel, wall jumping with a shinespark, running through a hallway countering enemies without stopping, aiming to briefly hit a boss before flash shifting to get away—no matter how simple or complex, all of these movements are lightning fast and incredibly satisfying to do. Being able to quickly aim in a full 360° range is so fundamental in playing Dread that it's almost shocking to think of a time where you could only aim in 8 or, hell, 4 directions. Those games were designed around aiming in limited directions so it never was a problem, but Dread's approach to movement, aiming, and general speed opened up Metroid for a whole new direction: High-intensity combat.
Combat in previous games almost always boiled down to aiming up or at an angle, spamming missiles, and either tanking damage or jumping over attacks. That is not the case any longer. In Dread, bosses have far more health, jump around, hit harder, and expect you to use your skills to dodge effectively. Bosses do a ton of damage so you cannot just tank it like you used to be able to. Now, you have to dodge their hits, otherwise, you'll be seeing Zero Suit Samus before you know it. AM2R took a very similar approach to boss fights (see more on my note for AM2R; a lot of it can be applied here too), but Dread adds blistering speed in the mix. Dread's bosses will constantly challenge your reaction time to dodge, ability to aim while moving, and quick thinking. I won't say every boss is a homerun, unlike Fusion or AM2R, but the combat itself is the best it's ever been. Fights are now less about who can spam the most and are more about who can get in the quickest hits while dodging the other. This is a long-winded way of saying, the bosses are fair but they kicked my ass over and over. For almost every fight, I had to take multiple tries to learn the patterns so I could properly dodge their attacks and strike when possible. There's no Spore Spawn in this game and thank god for it. All jokes aside, Dread's combat is indeed intense. In fact, that's how I'd describe the entire game.
Stealth doesn't exactly call to mind "intense" but the E.M.M.I. segments feed right into that feeling of constantly being put on your toes. These sleek-looking robots aren't creepy in the same way that SA-X is, it's the ways they hunt you down that are. Do you choose to make a run for it, thus giving your location away? Do you take the time to cloak yourself from its vision? Do you stupidly try to combat it and get the counter to stun it? These decisions are made on the fly and you have no time to contemplate. By the time you make up your mind, it might have already seen you. While acting stealthful does slow down the game a tad, it never gets too boring nor does it even last for long. The E.M.M.I. will eventually see you and you can only rely on your own ability to act quickly to survive. I almost wish these segments were a little longer and the E.M.M.I. zones didn't have quite so many exits. I did sometimes feel I could just run for the nearby door, rather than actually outwitting the E.M.M.I. successfully. Still, there were plenty of times I had close calls in evading their sight or touch, all of which were exciting and, yes, intense. I love the addition of these as inhuman antagonists, rather than just some more boring space pirates. They give a lot of flavor to the game, and that's saying a lot.
10/10
I think you can safely group together Fusion, Zero Mission, and AM2R as being the same style of Metroid game, specifically when it comes to controls, art direction, and general feel. Those games look and play a particular way that is different from previous entries. Likewise, Samus Returns established a new identity going forward. Between being the first "2.5D" entry and adding some new combat options, it was the first departure from the GBA era. However, I actually skipped Samus Returns before playing Dread. I had just played AM2R and didn't feel like playing (or buying) a weaker remake of Metroid II. Beyond comparisons to AM2R, I had seen how the combat and counter system worked; I wasn't too impressed. The counter didn't seem super intuitive, as far as I could tell. Maybe a little forced? Maybe not well integrated? I can't say for certain until I play Samus Returns but, until then, I know that it certainly cannot be said for Dread.
For additional context, I played Hollow Knight right before playing Metroid. This is important because, for as much as I love Metroid on the whole, Hollow Knight's controls were on another level. You have such unbelievable precision over The Knight's movement yet it feels simple and intuitive. It might just be the most I've ever felt in control of a character in any game. In comparison, Samus never felt quite as mind-blowingly good to control. I really like her movement in Fusion, Zero Mission, and AM2R, but it's still not quite as smooth. I never gave it too much thought, however, because Samus is in a large, heavy suit, rather than being a nimble bug with a tiny nail. I was okay with how Samus controlled in those three games because, for what it's worth, I never expected her to move like The Knight. Then Dread came along and made me shit my pants, along with rethinking how Samus should move. This is, without a doubt, the best Samus has ever felt to control. I will note that the controls are a little complex and I don't think most casual gamers would adjust super well to it. Every button is used for something in Dread, which makes quick decision-making a little hectic when you're first getting used to the game. Beyond that caveat, the movement in this game is so goddamn ~smooth~. Sliding into a small tunnel, wall jumping with a shinespark, running through a hallway countering enemies without stopping, aiming to briefly hit a boss before flash shifting to get away—no matter how simple or complex, all of these movements are lightning fast and incredibly satisfying to do. Being able to quickly aim in a full 360° range is so fundamental in playing Dread that it's almost shocking to think of a time where you could only aim in 8 or, hell, 4 directions. Those games were designed around aiming in limited directions so it never was a problem, but Dread's approach to movement, aiming, and general speed opened up Metroid for a whole new direction: High-intensity combat.
Combat in previous games almost always boiled down to aiming up or at an angle, spamming missiles, and either tanking damage or jumping over attacks. That is not the case any longer. In Dread, bosses have far more health, jump around, hit harder, and expect you to use your skills to dodge effectively. Bosses do a ton of damage so you cannot just tank it like you used to be able to. Now, you have to dodge their hits, otherwise, you'll be seeing Zero Suit Samus before you know it. AM2R took a very similar approach to boss fights (see more on my note for AM2R; a lot of it can be applied here too), but Dread adds blistering speed in the mix. Dread's bosses will constantly challenge your reaction time to dodge, ability to aim while moving, and quick thinking. I won't say every boss is a homerun, unlike Fusion or AM2R, but the combat itself is the best it's ever been. Fights are now less about who can spam the most and are more about who can get in the quickest hits while dodging the other. This is a long-winded way of saying, the bosses are fair but they kicked my ass over and over. For almost every fight, I had to take multiple tries to learn the patterns so I could properly dodge their attacks and strike when possible. There's no Spore Spawn in this game and thank god for it. All jokes aside, Dread's combat is indeed intense. In fact, that's how I'd describe the entire game.
Stealth doesn't exactly call to mind "intense" but the E.M.M.I. segments feed right into that feeling of constantly being put on your toes. These sleek-looking robots aren't creepy in the same way that SA-X is, it's the ways they hunt you down that are. Do you choose to make a run for it, thus giving your location away? Do you take the time to cloak yourself from its vision? Do you stupidly try to combat it and get the counter to stun it? These decisions are made on the fly and you have no time to contemplate. By the time you make up your mind, it might have already seen you. While acting stealthful does slow down the game a tad, it never gets too boring nor does it even last for long. The E.M.M.I. will eventually see you and you can only rely on your own ability to act quickly to survive. I almost wish these segments were a little longer and the E.M.M.I. zones didn't have quite so many exits. I did sometimes feel I could just run for the nearby door, rather than actually outwitting the E.M.M.I. successfully. Still, there were plenty of times I had close calls in evading their sight or touch, all of which were exciting and, yes, intense. I love the addition of these as inhuman antagonists, rather than just some more boring space pirates. They give a lot of flavor to the game, and that's saying a lot.
10/10
3
Yes, I know. Super Metroid at only #4 (not to mention Prime at #5). I may not have Super held as highly as other fans, but that doesn't mean I don't adore it. In fact, this is still a near-perfect game. The reason why I don't rank it at the top is a matter of values, I suppose. I'm not a person that gets overly excited about sequence breaking or high-skill techniques. I'm simply not the kind of player that will endlessly replay Metroid games to get a lower time. I played Super once, as of now, and I probably won't touch it again for quite some years. I understand and respect the appeal of breaking the game, but I also don't think that makes Super an inherently better game. It achieves those goals flawlessly, but I don't believe what Super accomplishes is inherently more valuable than what Fusion, AM2R, or Dread does. Fusion may be significantly less open than the sequence breaking that Super offers, but it also exchanges that for a more surreal experience—a terrifying adventure of being cornered, vulnerable, and challenged. While Super is a masterwork of open-ended creativity, that isn't the only way for a game to be "good." While I applaud Super for being a stunning game, I also can't deny that I value what those three games did a little bit more. It isn't that I love Super less than its fans—I am one of those fans—it's that I am also a fan of the approaches Fusion, AM2R, and Dread all take in being "Metroid" games. Perhaps, I love those games just a bit more than your average Super Metroid fan.
That said, I cannot understate that Super Metroid is still deserving all the respect it gets. In almost every conceivable way, it is the perfection of what Metroid had been building up to. Nearly three decades later and it's still the darling of the metroidvaina genre. From rewarding gameplay mechanics to rich exploration, the game has it all. Shinesparks, bomb jumps, wall jumps, and mockball are all skills that are rewarding to learn but vary in skill level. This creates a reason to revisit the game or, at the least, attempt to do things you are not expected to. Even if that isn't my exact cup of tea, there's a reason why this game is still widely regarded as the best Metroid game to speedrun. Even beyond revisiting, though, I would say that learning how to bomb jump on a first playthrough makes the experience a lot better. The world is actually fairly linear (even if it doesn't tell you exactly what to do) if you never use any of those high-level skills. When you start learning how to bomb jump, the world opens up that much more for you. It's quite cool, actually.
However, what really sticks with me, considering my own taste, are the world and bosses. Even the designs of the bosses are significantly better than what came before Super, with Kraid being especially impressive. The sprite art is some of the best on the SNES, which is able to provoke a genuine sense of horror, be it Kraid's massive size or Motherbrain's disgusting appearance. Plus, Ridley looks sick. I wouldn't say most of these fights are the most riveting in terms of combat, but they actually pose some sort of threat, even if only in concept. Certainly, a massive dragon that takes up multiple screens is a cooler boss than whatever the hell Kraid was in his first appearance.
Super also has a great atmosphere; the world feels lived in, yet desolate. It's genuinely foreboding despite feeling like an adventure. This is helped by the music, which can be triumphant (like Metroid) or simply haunting (like Metroid II). I would probably argue this was the peak of the series in terms of setting the tone with music if it had not been for Prime. Nonetheless, the soundtrack, along with the spite art, gives the game another worldly vibe.
10/10
That said, I cannot understate that Super Metroid is still deserving all the respect it gets. In almost every conceivable way, it is the perfection of what Metroid had been building up to. Nearly three decades later and it's still the darling of the metroidvaina genre. From rewarding gameplay mechanics to rich exploration, the game has it all. Shinesparks, bomb jumps, wall jumps, and mockball are all skills that are rewarding to learn but vary in skill level. This creates a reason to revisit the game or, at the least, attempt to do things you are not expected to. Even if that isn't my exact cup of tea, there's a reason why this game is still widely regarded as the best Metroid game to speedrun. Even beyond revisiting, though, I would say that learning how to bomb jump on a first playthrough makes the experience a lot better. The world is actually fairly linear (even if it doesn't tell you exactly what to do) if you never use any of those high-level skills. When you start learning how to bomb jump, the world opens up that much more for you. It's quite cool, actually.
However, what really sticks with me, considering my own taste, are the world and bosses. Even the designs of the bosses are significantly better than what came before Super, with Kraid being especially impressive. The sprite art is some of the best on the SNES, which is able to provoke a genuine sense of horror, be it Kraid's massive size or Motherbrain's disgusting appearance. Plus, Ridley looks sick. I wouldn't say most of these fights are the most riveting in terms of combat, but they actually pose some sort of threat, even if only in concept. Certainly, a massive dragon that takes up multiple screens is a cooler boss than whatever the hell Kraid was in his first appearance.
Super also has a great atmosphere; the world feels lived in, yet desolate. It's genuinely foreboding despite feeling like an adventure. This is helped by the music, which can be triumphant (like Metroid) or simply haunting (like Metroid II). I would probably argue this was the peak of the series in terms of setting the tone with music if it had not been for Prime. Nonetheless, the soundtrack, along with the spite art, gives the game another worldly vibe.
10/10
4
I struggle with Metroid Prime. That's not to say I find it overly difficult nor is it a bad game. On the contrary, I think Prime is a wonderful game 90% of the time and that is exactly why I struggle with it. As it stands, the game has a few design choices and gameplay mechanics that hold the game back from reaching the heights it nearly reached. When it's good, Prime is the best Metroid game on earth. When it's bad, I feel like throwing the stupid disc into the nearest toilet. The game is, as I said, fantastic 90% of the time—a large majority. It's just that remaining 10% that drives me insane.
I write this coming from the perspective of someone that is experienced in first-person shooters. I've played my fair share of Call of Duty, Halo, and Left 4 Dead. In comparison, Prime comes across as limited in movement, a far cry from the Super or Fusion. Without dual analog controls, aiming with precision is hardly an option. You are forced to either lock on your shot or hold your position to aim (which is still limited). Beyond shooting down weak enemies in your way, there is no running and gunning in Prime. Thankfully, the game's level design and combat are mostly designed around this limitation. Generally, enemies are not trying to get behind you and there's plenty of time to lock on and shoot. Even enemies that rush towards you telegraph their attack so you have time to dash around them. Eventually, I got used to how Prime plays and started to enjoy it more. Overall, controlling Samus is actually not too bad for the majority of game time.
Massive asterisk coming up, though. The other 10% is a goddamn nightmare. A shame too, because it almost exclusively culminates in a choice few bosses. These fights often posed a challenge—a challenge to properly lock on, dodge, and shoot. When I say challenge, I don't mean that in the most flattering of ways. Often bosses felt unfair—not hard per se—because I couldn't see where I was going. Between the limited controls and claustrophobic FOV, it's hard to feel in control when some big monster is constantly in your face. If I needed to escape from a close encounter with a boss, I often fumbled around trying to figure out what the hell was ever going on. The Omega Pirate is THE example; I never felt like I could get a good enough distance from him because, by the time I ran away and turned around, he was already closing in on me again. There were times where I couldn't see (limited vision) and it was hard to get into a better position (limited controls). This is literally only because turning in this game is so goddamn slow and, to a lesser fault, is in 4:3. Again, it isn't usually a problem because most enemies are designed around the shooting mechanics. In this case, however, I feel nearly claustrophobic when he closes in on me and I've backed myself into a wall. I don't think it was even the boss himself that was the problem, it was the game's limitations that really killed it for me. There's something to be said about designing a game within its limitations. Metroid II did this fantastically, for as much as it isn't an incredible game. Prime occasionally bites off more than it can chew, unfortunately.
There are, of course, other bosses. Meta-Ridley, for as much as I want to love him, is a bit of a disappointment in terms of gameplay. When he flies away, you're left there for about half a minute just waiting for him to return. It looks cool seeing him fly out there, but there's a bit too much waiting. When he eventually lands, the fight becomes a matter of simply jumping to the side and, again, waiting for your chance to strike. Isn't the whole point of Ridley's fights to be nonstop action? In the 2D games, he always dies too quickly, but at least it remains consistent with the type of fight it's supposed to be: A quick fight to the death. Prime's hellbent on making you wait to attack Meta-Ridley but I would've rather he have more aggressive attacks and a larger hitbox. Likewise, Thardus is an underwhelming boss that takes an eternity to beat. He hardly changes his attacks (none of which are challenging to dodge) and it takes upwards of 10 minutes to beat him. What an uninteresting slog. Maybe when you're designing a boss, don't make it both long and uninteresting?
If it weren't obvious, I don't particularly like most of the bosses in this game, because I don't feel they typically play to the game's strengths in design. They are, in fact, solely the 10% I was referring to. These few bosses take away from what could've been awesome encounters with deadly and huge creatures. That's not to say every boss is bad, though. The best bosses in the game, namely Flaahgra, involve you rotating around the boss, rather than actively trying to get away. The final boss's first phase is actually pretty cool (if a bit long) because it remains mostly in the same place while the two of you trade blows from afar. That was one of the few boss fights where I never felt as though I was being unfairly punished because of limited controls. The second phase gets close to entering that 10% but it's interesting enough that I don't mind the frustration so much.
Bosses were never my favorite thing about Metroid and, more than ever, Prime's strengths lie elsewhere. For as much as I rag on the boss fights, I actually like the way Samus controls when I'm not asked to move in uncomfortable ways. Jumping from platform to platform, locking onto an enemy and having a shootout, or rolling around as the morph ball—all of these are a delight. I really felt as though I was seeing this world through the eyes of Samus. It's during these moments that I'm glad I'm not playing some fast-paced shooter—I am a powerful bounty hunter that will overcome any challenge. Even if it means being a tad slow, I don't simply have a tiny sub-machine gun. I have an arm cannon, and that's rad as hell.
I may have gripes with Prime (I just spent multiple paragraphs detailing my one severe criticism), but the game is otherwise a fantastic transition to 3D. Exploring, along with fighting normal enemies, is not hampered by limitations, which is a blessing because the world of Tallon IV is detailed, rich, and intriguing. I've said before that the world of Super Metroid, Zebes, felt alive but this is on another level. Every location, every set piece—it all feels like it belongs. The best part? It's not simply in the background, it's surrounding you at every turn and you are seeing it with your own eyes. This is a world that is much bigger than you. You are but a lone bounty hunter on this massive planet with structures far taller than yourself. It isn't totally hostile, only uncaring of your own presence. You've come into contact with a hollow world, with its civilization long since passed. The Chozo once built this awe-inspiring world, only for it to now lay in ruin. It's hard to tell where the Chozo's architecture ends and nature begins, not to mention the Space Pirates' influence. Traversing each location, there's always something to find, something to ponder on. The atmosphere and world-building give purpose to exploration; I felt like the world was truly corrupt and I wanted to find out why. My answers came in the form of the Chozo logs, which were implemented perfectly. A player can either choose to learn more about the world's lore or ignore it all together, it doesn't change your mission. These logs are merely context for why Tallon IV is in this state of being.
I really value "ideas" in games. Experiences that are new and exciting, be it gameplay mechanics or story elements, are what I look for. These ideas are like little sparks in my eyes, things that undeniably catch my attention. Sometimes, an idea can surpass what is either technically "good" or "bad." Prime is not a perfect game and it has limitations, but it's packed to the brim with all sorts of incredible ideas. What makes Prime so great is the "idea" that Tallon IV is a character within itself. We are experiencing the world alongside Samus and witnessing the corruption of what was once a beautiful land. The adventure is not about the bosses, Meta-Ridley, or even Samus—it was the world that took centerstage. This was a truly fresh and forward-thinking way of progressing the Metroid series.
9/10
I write this coming from the perspective of someone that is experienced in first-person shooters. I've played my fair share of Call of Duty, Halo, and Left 4 Dead. In comparison, Prime comes across as limited in movement, a far cry from the Super or Fusion. Without dual analog controls, aiming with precision is hardly an option. You are forced to either lock on your shot or hold your position to aim (which is still limited). Beyond shooting down weak enemies in your way, there is no running and gunning in Prime. Thankfully, the game's level design and combat are mostly designed around this limitation. Generally, enemies are not trying to get behind you and there's plenty of time to lock on and shoot. Even enemies that rush towards you telegraph their attack so you have time to dash around them. Eventually, I got used to how Prime plays and started to enjoy it more. Overall, controlling Samus is actually not too bad for the majority of game time.
Massive asterisk coming up, though. The other 10% is a goddamn nightmare. A shame too, because it almost exclusively culminates in a choice few bosses. These fights often posed a challenge—a challenge to properly lock on, dodge, and shoot. When I say challenge, I don't mean that in the most flattering of ways. Often bosses felt unfair—not hard per se—because I couldn't see where I was going. Between the limited controls and claustrophobic FOV, it's hard to feel in control when some big monster is constantly in your face. If I needed to escape from a close encounter with a boss, I often fumbled around trying to figure out what the hell was ever going on. The Omega Pirate is THE example; I never felt like I could get a good enough distance from him because, by the time I ran away and turned around, he was already closing in on me again. There were times where I couldn't see (limited vision) and it was hard to get into a better position (limited controls). This is literally only because turning in this game is so goddamn slow and, to a lesser fault, is in 4:3. Again, it isn't usually a problem because most enemies are designed around the shooting mechanics. In this case, however, I feel nearly claustrophobic when he closes in on me and I've backed myself into a wall. I don't think it was even the boss himself that was the problem, it was the game's limitations that really killed it for me. There's something to be said about designing a game within its limitations. Metroid II did this fantastically, for as much as it isn't an incredible game. Prime occasionally bites off more than it can chew, unfortunately.
There are, of course, other bosses. Meta-Ridley, for as much as I want to love him, is a bit of a disappointment in terms of gameplay. When he flies away, you're left there for about half a minute just waiting for him to return. It looks cool seeing him fly out there, but there's a bit too much waiting. When he eventually lands, the fight becomes a matter of simply jumping to the side and, again, waiting for your chance to strike. Isn't the whole point of Ridley's fights to be nonstop action? In the 2D games, he always dies too quickly, but at least it remains consistent with the type of fight it's supposed to be: A quick fight to the death. Prime's hellbent on making you wait to attack Meta-Ridley but I would've rather he have more aggressive attacks and a larger hitbox. Likewise, Thardus is an underwhelming boss that takes an eternity to beat. He hardly changes his attacks (none of which are challenging to dodge) and it takes upwards of 10 minutes to beat him. What an uninteresting slog. Maybe when you're designing a boss, don't make it both long and uninteresting?
If it weren't obvious, I don't particularly like most of the bosses in this game, because I don't feel they typically play to the game's strengths in design. They are, in fact, solely the 10% I was referring to. These few bosses take away from what could've been awesome encounters with deadly and huge creatures. That's not to say every boss is bad, though. The best bosses in the game, namely Flaahgra, involve you rotating around the boss, rather than actively trying to get away. The final boss's first phase is actually pretty cool (if a bit long) because it remains mostly in the same place while the two of you trade blows from afar. That was one of the few boss fights where I never felt as though I was being unfairly punished because of limited controls. The second phase gets close to entering that 10% but it's interesting enough that I don't mind the frustration so much.
Bosses were never my favorite thing about Metroid and, more than ever, Prime's strengths lie elsewhere. For as much as I rag on the boss fights, I actually like the way Samus controls when I'm not asked to move in uncomfortable ways. Jumping from platform to platform, locking onto an enemy and having a shootout, or rolling around as the morph ball—all of these are a delight. I really felt as though I was seeing this world through the eyes of Samus. It's during these moments that I'm glad I'm not playing some fast-paced shooter—I am a powerful bounty hunter that will overcome any challenge. Even if it means being a tad slow, I don't simply have a tiny sub-machine gun. I have an arm cannon, and that's rad as hell.
I may have gripes with Prime (I just spent multiple paragraphs detailing my one severe criticism), but the game is otherwise a fantastic transition to 3D. Exploring, along with fighting normal enemies, is not hampered by limitations, which is a blessing because the world of Tallon IV is detailed, rich, and intriguing. I've said before that the world of Super Metroid, Zebes, felt alive but this is on another level. Every location, every set piece—it all feels like it belongs. The best part? It's not simply in the background, it's surrounding you at every turn and you are seeing it with your own eyes. This is a world that is much bigger than you. You are but a lone bounty hunter on this massive planet with structures far taller than yourself. It isn't totally hostile, only uncaring of your own presence. You've come into contact with a hollow world, with its civilization long since passed. The Chozo once built this awe-inspiring world, only for it to now lay in ruin. It's hard to tell where the Chozo's architecture ends and nature begins, not to mention the Space Pirates' influence. Traversing each location, there's always something to find, something to ponder on. The atmosphere and world-building give purpose to exploration; I felt like the world was truly corrupt and I wanted to find out why. My answers came in the form of the Chozo logs, which were implemented perfectly. A player can either choose to learn more about the world's lore or ignore it all together, it doesn't change your mission. These logs are merely context for why Tallon IV is in this state of being.
I really value "ideas" in games. Experiences that are new and exciting, be it gameplay mechanics or story elements, are what I look for. These ideas are like little sparks in my eyes, things that undeniably catch my attention. Sometimes, an idea can surpass what is either technically "good" or "bad." Prime is not a perfect game and it has limitations, but it's packed to the brim with all sorts of incredible ideas. What makes Prime so great is the "idea" that Tallon IV is a character within itself. We are experiencing the world alongside Samus and witnessing the corruption of what was once a beautiful land. The adventure is not about the bosses, Meta-Ridley, or even Samus—it was the world that took centerstage. This was a truly fresh and forward-thinking way of progressing the Metroid series.
9/10
5
Let me say this before anything else: My experience with Zero Mission is unfortunately lessened by other Metroid games. It is not that those other games are significantly better, but that I just clicked with them in a way I just couldn't with Zero Mission. Maybe I was hitting a wave of burnout by this point—the point of playing my 6th Metroid game in a row—before my second wind of excitement came from how amazing AM2R was. For what it's worth, I honestly think I would've liked this game more had I not played so many before it. That said, even if it is ranking near the bottom of this list, I still rated it a 9/10 for a reason.
Zero Mission is a good Metroid game and an awesome remake. I would almost say this does NOT replace the original merely because it adds so much that it's a whole other experience. If you play the original first, this game almost feels more like a reimagining of it, rather than a 1:1 remake. It isn't just that things have been added, the game has been changed from the ground up. It certainly retains the general framework of the original but the contents that fill said framework is what's different. While the general map layout is the same, the rooms feel totally different. Hallways are less barren and the look of each room is more distinctive. I wouldn't say it makes huge strides in making Zebes as good as it was in Super, but the world is still is a massive improvement over the original.
Even the boss fights have been completely overhauled to be more in line with Super and Fusion's interpretation of said fights.
8/10
Zero Mission is a good Metroid game and an awesome remake. I would almost say this does NOT replace the original merely because it adds so much that it's a whole other experience. If you play the original first, this game almost feels more like a reimagining of it, rather than a 1:1 remake. It isn't just that things have been added, the game has been changed from the ground up. It certainly retains the general framework of the original but the contents that fill said framework is what's different. While the general map layout is the same, the rooms feel totally different. Hallways are less barren and the look of each room is more distinctive. I wouldn't say it makes huge strides in making Zebes as good as it was in Super, but the world is still is a massive improvement over the original.
Even the boss fights have been completely overhauled to be more in line with Super and Fusion's interpretation of said fights.
8/10
7
While nearing the bottom of this list, Metroid II was where I really found my place with this series. I went into Metroid expecting to not like either of the first two games. I was surprised by how much I liked the first game but I was floored by how much I loved the second. It isn't the most mind-blowing or inventive game, not then or now, but I admire what it was able to accomplish on the Game Boy. Samus looks less cartoony and feels a lot better to play. After Super Mario Land, it's a nice refresher to see a Game Boy game actually one-up its NES counterpart in those regards. I'll gladly sacrifice color if it means Samus has this much of an upgrade.
Also, this was the moment that I noticed I don't mind linear design in Metroid. This would later be more relevant when I played Fusion, but Metroid II offers a similar idea: Take the player down a path but let them explore it as they like. You can still find secrets throughout the entire map, even if that map is often linear. This is helped by the size of the rooms which, in comparison to the first game, are structured less like hallways and more like open caverns. It isn't as if they are neverending, but they are more engaging to explore than any single area of the first game.
I also was surprised by the story of the game. While simple, it effectively makes the player question why they or Samus would wipe out a species on the merits that another species could take advantage of them. It doesn't feel right killing the queen or her children, but it suggests that it must be done. The ending is poetically beautiful and sets the tone for Super Metroid, where the story becomes fully realized. The first game may be more important to the series in design but this game is more important for the story going forward.
Ultimately, this game is limited by its devices but not overly flawed. It was surpassed many times over by its sequels, but that doesn't mean this wasn't a good step in the right direction. In fact, this game paved the way forward.
7/10
Also, this was the moment that I noticed I don't mind linear design in Metroid. This would later be more relevant when I played Fusion, but Metroid II offers a similar idea: Take the player down a path but let them explore it as they like. You can still find secrets throughout the entire map, even if that map is often linear. This is helped by the size of the rooms which, in comparison to the first game, are structured less like hallways and more like open caverns. It isn't as if they are neverending, but they are more engaging to explore than any single area of the first game.
I also was surprised by the story of the game. While simple, it effectively makes the player question why they or Samus would wipe out a species on the merits that another species could take advantage of them. It doesn't feel right killing the queen or her children, but it suggests that it must be done. The ending is poetically beautiful and sets the tone for Super Metroid, where the story becomes fully realized. The first game may be more important to the series in design but this game is more important for the story going forward.
Ultimately, this game is limited by its devices but not overly flawed. It was surpassed many times over by its sequels, but that doesn't mean this wasn't a good step in the right direction. In fact, this game paved the way forward.
7/10
8
It isn't unpopular to say that the original Metroid is rough. It has shamelessly copy-pasted rooms, no map, cryptic collectibles, lame bosses (conceptually cool, though), and some of the most frustrating frame rate I've experienced. Sometimes, it feels as though I'm supposed to be lost in the game, not beating it.
Yet, I still think it's a decent game even by today's standards. That said, it really comes with the caveat that the player uses a guide and, preferably, save states. Dying and losing not only progress but all your resources is more than enough to make it justified, I think. Gen Xers be damned, I'm not playing the game otherwise. That said, if you allow yourself those leisures, Metroid is a surprisingly fun game. I love the game's personality a lot, which includes some iconic music and great atmosphere (all things considered). Metroid had some pretty cool ideas too, from the different types of beams to the morph ball. This also extends to the "characters." Even though the bosses are easy and have little to no story to offer, the characters of Motherbrain, Ridley, and Kraid are fantastic editions that get more fleshed out in future entries.
The real beauty of it all is the freedom the game gives the player. Much like the original Zelda, it hands the reins to the person who's controlling Samus, not Samus herself. You decide where you go, what collectibles you find, and the way in which you want to proceed to the end. While a guide does rob the game of this, to an extent, I can't imagine how cool it was back in the 80s to be this robot guy blasting through alien lifeforms at every turn, finding hidden powerups, and taking whatever path you desire. It wasn't really about getting to the end, it was about getting lost on the way. Playing it now, I don't care to experience it that way but I surely respect what that means to people that played it back before you could look up the answers on Google.
Also, it cannot be understated how important of a game it is. Without it, an entire genre of games collapses, much like would be the cases for the original Mario and Zelda titles. Metroidvania is one of the most dominating genres in the modern-day, especially in the indie scene, and none of that could exist without Metroid or Super Metroid.
6/10
Yet, I still think it's a decent game even by today's standards. That said, it really comes with the caveat that the player uses a guide and, preferably, save states. Dying and losing not only progress but all your resources is more than enough to make it justified, I think. Gen Xers be damned, I'm not playing the game otherwise. That said, if you allow yourself those leisures, Metroid is a surprisingly fun game. I love the game's personality a lot, which includes some iconic music and great atmosphere (all things considered). Metroid had some pretty cool ideas too, from the different types of beams to the morph ball. This also extends to the "characters." Even though the bosses are easy and have little to no story to offer, the characters of Motherbrain, Ridley, and Kraid are fantastic editions that get more fleshed out in future entries.
The real beauty of it all is the freedom the game gives the player. Much like the original Zelda, it hands the reins to the person who's controlling Samus, not Samus herself. You decide where you go, what collectibles you find, and the way in which you want to proceed to the end. While a guide does rob the game of this, to an extent, I can't imagine how cool it was back in the 80s to be this robot guy blasting through alien lifeforms at every turn, finding hidden powerups, and taking whatever path you desire. It wasn't really about getting to the end, it was about getting lost on the way. Playing it now, I don't care to experience it that way but I surely respect what that means to people that played it back before you could look up the answers on Google.
Also, it cannot be understated how important of a game it is. Without it, an entire genre of games collapses, much like would be the cases for the original Mario and Zelda titles. Metroidvania is one of the most dominating genres in the modern-day, especially in the indie scene, and none of that could exist without Metroid or Super Metroid.
6/10
9