Metroid Marathon: The Little Things (MP1)

[Part of a series of posts in which I discuss my favourite videogame franchise: Metroid. Today, a look at the incidental details in Metroid Prime that are so easy to overlook, but enrich the experience when noticed.] 

If three big moments characterized Metroid Prime’s transition from 2D to 3D for me personally, then it is the little things that form the game’s unique personality, give it its atmosphere and constantly surprises almost wherever you turn. It’s the little things that, when combined as a whole, give Metroid Prime a level of detail that few other games can achieve, and when separated provide a subtle, if even unnoticed, addition to the game’s immersion.

Attention to detail isn’t new in videogames, however, the effort some developers put into their games to create an experience that is unlike any other often being the key contributing factor as to whether the overall product -- the end result of a carefully considered vision or idea -- is successful or not. Games like the Uncharted series, Grand Theft Auto IV and BioShock all take care to include the little details, minor additions that will cooperate and assist major ones in forming a particular point of view, understanding or atmosphere, each enhancing the overall experience rather than detracting from it.

A Sap Sac hanging on the side of a wall.

But Metroid Prime’s attention to detail is, I would argue, a lot more subtle than the aforementioned games -- and it’s worth pointing out that they’re all current generation games, too -- using existing features of the game’s world to enhance the immersion. Rain droplets fall onto Samus Aran’s visor if she looks up towards the sky, whilst other drops splash and bead on her infamous beam cannon. Flamethrowers in the Magmoor Caverns area of Tallon IV -- initially something to be avoided -- can be frozen once the Ice Beam has been acquired, progress beyond them now achievable with relative and quick ease. The electricity of Samus’ Wave Beam pulsates whilst the Ice Beam leaves a tiny, cold fog as she moves her beam cannon around. Juice from a Sap Sac drips once it has exploded, whilst acid from a mindless creature’s attack splashes on Samus’ visor upon impact. Fish gently swim amongst the water, quickly scurrying as Samus draws near; a reflection of Samus Aran’s eyes and face can be seen as a burst of light emanates from a nearby explosion; steam clogs up her visor and limits visibility for a brief period of time. When submerged underwater -- particularly before the acquisition of the Gravity Suit -- movements become slow and subdued, with a pleasing sense of weight and a floaty feel making for a nice contrast to the usually quick, agile movements enjoyed on land; the morph ball’s bomb jump ability also shares a similar feeling of weight and casual buoyancy, bobbing up slowly rather than bouncing immediately as on land. Continuing the underwater theme, it actually feels like you truly are submerged when traversing its many depths, the cold, blue and translucent water stretching out beautifully while the aforementioned movement and the game’s clever use of sound enhances the feeling and ensures its effectiveness. Few other games can achieve this submerged feeling -- BioShock 2 is one of the only other examples that comes to mind -- keeping the immersion high and the game’s unique attention to detail amazing.

Fish scurrying about as Samus approaches.

Enemies also receive this level of attention, with a variety of ways to kill them coming to mind. The environment plays a part, a carefully placed shot on a nearby Sap Sac instantly killing something upon its explosion, whilst an idle defense turret can explode on impact from a missile or be disabled by a few shots of the Wave Beam, collapsing it in confusion. The Space Pirates aren’t immune either, their weaves and dodges of one beam quickly turned around as you freeze them, their bodies crumbling to pieces upon another concussive shot. Even boss battles contain subtle ways in which to attack, allowing for strategies that might not be immediately obvious.

The little things may not be unique to Metroid Prime nor might they be instantly apparent, but they all combine to enhance the game overall and assist with immersion, leaving a tiny but acknowledging smile on the face of those who notice them, and indirectly improving the experience of those who don’t.

The New Tomb Raider

Recently I made the comment on Twitter that “the best posts are the unexpected ones”. When I made the remark, I was thinking about this post, not because I was doing it but because I wasn’t expecting to be writing about the new Tomb Raider*. You might remember that a while ago I expressed a desire to respond to the various articles and posts that resonated with me. This didn’t eventuate -- in some respects it did if you include my responses to the R18+ debacle -- and instead I went on to write about other things. Well with this post I’m rectifying that and I begin with a response to Game Informer’s recent reveal of the new Tomb Raider as part of their cover story for their January issue.

Tomb Raider is intended to be a reboot: of the multi-media franchise we’re already familiar with; of the approach to the game as well as how it is played and designed; and of Lara Croft herself. It’s this latter decision that will receive the most attention, Lara’s sex appeal a product (literally and figuratively) of prominence in the past and the first thing associated with her and the Tomb Raider franchise. Her new look in this new game, combined with the new motivations that define it, will be the subject of much scrutiny as more is revealed in the coming months but for me, more interesting will be her new characteristics.

Girl’s Got Character

Lara is young, potentially naïve, and eager to get out from underneath her parents’ shadow. Fresh out of university she’s ready to prove herself in the world and embarks on a voyage to a remote island in the search for lost relics. As per every story that is set up like this, tragedy ensues and Lara, along with her fellow archeologists, find themselves stranded. What follows makes up the game but, more importantly, the events and mishaps along the way -- plus how Lara deals with them -- will define the new title, the experience it provides and our perception of Lara as a whole. She has the potential opportunity to go from industry icon and sex symbol to a person we care about, a person who is real, and a person who is our friend. Much like Elena Fisher or Chloe Frazer from the Uncharted series or Alyx Vance from Half Life, Lara could become someone we love rather than enjoy, only this time in playable form which could directly affect the impact of each moment and outcome. That’s not to say Lara wasn’t an endearing character in the past, just that her status in the industry transcended any attachment individual players felt or had for her. Survival appears to be a key focus of this new title and as such, Lara’s mortality will be more obvious than other games. Mis-time a jump or don’t react quickly enough to falling debris -- even by only milliseconds -- and Lara could die or be extremely injured, changing the dynamics and pace of the events that unfold. What this will mean in conjunction with the well established gaming convention -- reloading after death and resuming your progress -- remains to be seen. Obviously, it can’t be like Heavy Rain where death is -- or can be -- final, as Lara is the primary character and without her, Tomb Raider wouldn’t be Tomb Raider, but even so I hope the emphasis on survival equates to a realistic and meaningful impact on the experience purely because if it does, it’ll be much easier to resonate with Lara’s plight and indeed, her story. Time will tell.

A New Adventure Awaits

More interesting, for me, is how the new game will actually play. The Tomb Raider name brings with it certain expectations such as acrobatic maneuvers and exploring deep labyrinths in the hunt for treasure. Naughty Dog’s Uncharted series -- partially inspired by miss Croft’s adventures -- has gone on to lofty heights, raising the bar while Tomb Raider struggled with tradition and a lack of direction. According to Game Informer’s cover story, the new Tomb Raider is going down a different path with its gameplay, adding some of the set-pieces that made Uncharted so popular, as well as emulating -- perhaps ironically given Uncharted’s repurposing of mechanics and style from Tomb Raider -- the variety in play styles (platforming, combat, etc.) and carefully considered pacing. Interactions with NPCs seem to be more important, actions seem to be defined by circumstances and overall everything appears to be intended to improve what a game featuring Lara Croft can be like -- as opposed to one which uses her name to make a quick buck. Basically, it seems like developer Crystal Dynamics cares this time around, which should bode well for the moments in game where we are trying to flee a pursuer or we are timing our button presses under pressure (think Uncharted 2’s train climbing opening sequence), making the overall adventure exactly that, an adventure, and not just a tour to locations that, while visually spectacular, are anything but.

All in all the Game Informer preview got me excited for a Tomb Raider game -- a series I’ve only ever had a passing interest in previously -- and intrigued as to how Crystal’s new approach to everything, from Lara herself to the adventures she lives through, will redefine our expectations of what it means to play a Tomb Raider game. Will it match or outclass Nathan Drake’s escapades? Probably not, but then, Lara always was quite the individual.

*As for why it took so long to actually get this posted, the word “Notch” should give you all the clues you need.