Superlative Metroid

It’s not as good as I remember.

It’s better than that.  That’s not an easy feat, mind you, due to the fog of childhood nostalgia that enveloped me once the opening bars reverberated in an ominous screech and shudder, followed by the title screen flaring to life.  How can Super Metroid possibly be better than I remember?

And yet, it is.

Of course, many SNES and Genesis-era games have aged well visually, so long as you view them as retro 2D relics, the beneficiaries of great sprites and tiles (whereas early 3D games offer too many blurred polys to age with such dignity).  And the list of Super’s overall contemporary greats is formidable.  A Link to the Past, Chrono Trigger, and the other true masterworks of the time still stand proudly as high-water marks for gaming.  But this particular game is an outlier.  One can argue that its style — an action/adventure, platformer/shooter-amalgamation — has never been wholly transferred from the Metroid series’ 2D sidescrolling roots into the 3D realm (Prime got the progression structure right, but featured vastly different gameplay mechanics).  It still has one of gaming’s all-time great soundtracks, plays as sharp or loose as you’d like it to, and it somehow looks as good as it ever did.  Super Metroid is the Dame Helen Mirren of videogames; it shows its years, but my God, does it wear them well.

Sight and Sound

Zebes may have made its debut as a premier gaming sandbox on the NES, but it was only done justice on the SNES.  Its labyrinthine corridors looked all too similar in the 8-bit days, but the extra detail afforded by the 16-bit age filled in the gaps, making each room much more distinct.  Spatial awareness and remembering certain locales is essential in a large game world, and make no mistake, the map here was gargantuan for its day.  Even by current standards, it’s a handful.  If you’ve never played Super Metroid before, you could easily spend 12 to 15 hours exploring Zebes, without bothering to collect power-ups or really poke around to explore.  If that doesn’t sound like much time, keep in mind the brisk pacing, quick run speed, and the numerous short cuts scattered throughout the world.

There’s a lot to see in such a large world.  The environments may be primarily underground, but there’s plenty of variety in color and texture.  From the green jungle of upper Brinstar to the soggy depths of Maridia, each area of Zebes boasts a truly bespoke aesthetic that belies its common, mostly subterranean, corridor-to-corridor structure.

It certainly helps that the sprite work here is phenomenal.  Samus moves fluidly, while foes flutter and dive with nary a hiccup — integral ingredients for a game that can be played so quickly.  Yes, it can’t help but look like an SNES game, but the art style fits the intended hardware like a glove.

That all of the above is built atop one of the greatest, most evocative soundtracks in the history of gaming is very nearly unfair.

I could easily write an entire article on the tunes here, but in the interest of brevity, I’ll say they’re as good as it gets.  Super’s music manages the rarest of accomplishments: the compositions are melodic and memorable, yet subtle enough to rest into the background, setting a mood.

Story

Speaking of background, you won’t need much in the narrative department.  If you haven’t played the original Metroid, or its GameBoy sequel, Return of Samus, don’t worry.  Super Metroid provides a brief introduction, which is all you’ll need.  Our bounty hunter has captured the last metroid (an infant) in the galaxy, but it is quickly stolen from the science lab where it had been quarantined.  Cue a return trip to Zebes to track it down.

That’s it, really.  The overarching goal is important in Super, but the journey itself is a large part of the tale.  Director Yoshio Sakamoto wisely allows Zebes, and the player’s exploits within it, to function as all of the narrative you could ask for.  Samus undergoes a journey that is equal parts perilous and wondrous.  The final act brings clever visual cues that tell you everything you need to know to wrap up this tale, with a finale that rightfully ranks as one of the great twists to gaming lore.

Gameplay

A fantastic presentation and clever story aren’t what have made this game legendary, though.  There are plenty of pretty videogames that spin an interesting enough yarn, but there are few that feature gameplay as timeless as Super Metroid.

Do you prefer slow-paced exploration?  It’s here.
Do you like fast-paced arcade-y action?  It’s here.

Super can be played slowly, as a collect-a-thon.  Or you can try to speed-run it in under an hour.  You can methodically explore every nook and cranny of Zebes, or you can keep your finger on the run button, zipping across the world in a blur.  There is no “wrong” way to play it.  You can play it as a quasi-RPG, leveling our heroine up until she’s a veritable tank, or you can play as a survivalist.

This would be the part of the review where I say that the controls are as scalpel-sharp as ever, but they’re not.  They’re better.  The only complaint I’ve ever had with Super Metroid is purely mechanical: the placement of the run button.  The game has always allowed you to remap different actions to different buttons, but if you’re like me, you’ve always kept the left and right shoulder buttons mapped for directional aiming.  With an SNES controller, that always left the run button under your thumb.  Now, with the Wii U’s additional triggers on the GamePad, you can map run to one of them instead.  Since you’ll have a spare trigger, you might as well map missles to the other one instead of select, while you’re at it.  And with that, my only complaint about this classic has been removed.  The Metroid run-shoot-jump recipe is now as close to perfect as I can imagine any game being.

The aiming is magnificent.  Samus sprints with a planted stability, and jumps with just enough float.  And now you can time your runs and swap your weapons as never before.

Something that required no fixing in this title was its progression structure.  Super has gained fame as a speed runner’s paradise, mainly because there are certain gameplay mechanics that can be exploited for sequence breaking.  The real beauty of this game, though, is following the loose path suggested to you.  You’re never told “go here,” but the progression of power-ups (which act both as arsenal boosts and keys to reach new areas) and layout of the rooms strongly suggest you to explore Zebes in a certain manner.  For instance, once you pick up power bombs, you could keep digging in the area you found them.  However, there’s a sequence of rooms placed along your path that will send you back to Crateria and Brinstar, where you’ll have access to new rooms, and where your new abilities will make mincemeat of enemies that had caused you a good deal of trouble not so long ago.  It’s a genius little touch, a series of moments where you can appreciate your hard-earned powers.

Or you can ignore it, and try to best the game in whichever manner you deem fit.

Conclusion and Score 

Super Metroid has always been in the wrong place at the wrong time.  Its release in 1994 was quickly overshadowed by Rare’s Donkey Kong Country, with its flashy digitized graphics.  In 2007, its Wii Virtual Console re-release coincided with the halcyon days of motion controls, lost in the cultural zeitgeist.  Now, it has been re-re-released on the Wii U, right as the console is having a rough go in its early life.

It’s possible, though, that this fate fits the game.  Although Super really can be played in just about any manner you’d like, it’s still an acquired taste.  It imparts a somber quality, quite unlike most other videogames.  Many action/adventures place you as a lone hero in a large world, and many horror games place you alone in unforgiving surroundings, but Super Metroid?  It’s a plaintive thing.

Alex set a precedent with Super Castlevania IV, scoring that game an 11 out of 10.  Some might say it’s a semi-facetious score, but it’s also quite appropriate for classics.  I suppose you could call this the Spinal Tap range, where 10 simply isn’t enough.  Some games are so miraculously crafted, so achingly good, so visionary and so influential that they transcend a “perfect” score.  They’re something more.

If you love videogames, you need to play Super Metroid.  Our highest possible recommendation.

11/10

The game offers a humorous and endearing journey into the DC Universe, pitting the most memorable of DC superheroes against its most vile of villains, as part of a story that is fun for all ages. The LEGO version of Gotham City delivers a sprawling playground of exciting combat, imaginative puzzles and a near-endless number of collectibles.

“LEGO Batman 2: DC Super Heroes is a big hit and we are very happy to make this exciting adventure available to owners of the Wii U,” said Tom Stone, Managing Director, TT Games. “The Wii U GamePad offers gamers the stellar charm, humor and adventure that fans and families love about the LEGO games.”

LEGO Batman 2: DC Super Heroes makes use of the Wii U GamePad, giving players the ability to use the touchscreen to assemble a team of powerful heroes suitable for any task, or utilize an enhanced interactive map to intuitively reach their next objective. Players can even tackle the whole experience on the GamePad’s touchscreen in off-TV mode, or invite a friend to hop in on the TV without having to share screen space.

In this new entry of the game, Batman must defend Gotham with the help of powerful friends like Superman and Robin, to put a stop to the diabolical plans of Lex Luthor, The Joker and their entire team of super villains, including The Penguin and Harley Quinn. Encounter many of the Dark Knight’s iconic allies and enemies in a charming, hilarious, family-friendly adventure full of exciting gameplay.

LEGO Batman 2: DC Super Heroes, which received both the Xbox 360 Platinum Hit and PlayStation 3 Greatest Hit “Best Seller” awards, is also available for the Wii system, Windows PC, as well as the Nintendo 3DS and Nintendo DS handheld systems and PlayStation®Vita handheld entertainment system.

Just last week Nintendo laid claim to having the right to gain money off of user created YouTube videos involving anything Nintendo related such as game play, music, or i.e. film with Nintendo characters in them.  The Big N would like to place ads around the videos which would then generate money for Nintendo and not the video creator.

In a sense of irony YouTube issued a statement today regarding issues like the one Nintendo addressed last week.  The statement said:

We know we have a lot of partners who love and want to post videos relating to games, so we wanted to share some tips to help you monetize gaming content.

As always, you should ensure that you have all the necessary rights to commercially use all content in a video before you submit it for monetization. Video game content may be monetized depending on the commercial use rights granted to you by licenses of video game publishers. Here are some tips!

● Check the video game publisher’s license agreement (Terms of Use, EULA etc). Some publishers allow you to use all video game content for commercial use and state that in the license agreement.
● Get written permission. Some publishers may allow you to monetize videos containing their game content if you reach out and ask.
● Videos showing software user interface may only be monetized if you’ve signed a contract with the publisher or paid a licensing fee.
● If you do have the appropriate license, submit your documentation to YouTube in a timely manner. If you do not have the appropriate license from a video game publisher, your videos must contain minimal use of video game or software user interface and be as informative and educational as possible – commentary must follow the live action shown step by step.
● Use your video metadata wisely! Use relevant, accurate titles, tags and descriptions for your videos.
● Make sure your dialogue is family friendly, so fans of all ages can enjoy your video.

A final reminder: Simply buying or playing a video game does not grant you the copyright or permission to monetize. To earn revenue from videos from the game, you need commercial rights.

What do you think about this statement? Do you agree or disagree with YouTube’s stance?

[Source: GoNintendo via YouTube]

Jorgenson also pointed out that consumers would decide which console is the most successful this generation, rather than manufacturers and publishers.

Bear in mind that EA Spokesman Jeff Brown said just last week that EA “has no games in development for the Wii U currently”. These most recent comments could either be seen as in direct contradiction, or alternatively, supplemental in clarifying that while there are no games in development right now they do have plans to support the system in some way.

Another plausible scenario is that EA are being intentionally duplicitous, in order to prevent burning ties with the Nintendo fan base altogether.

What do you think about these developments? Let us know in the comments below.

[Source: Polygon]

If you remember back to Feb 12th 2012, Nintendo acquired Mobiclip in what was a surprising but very interesting purchase for the company. Mobiclip specialised in highly optimised software technologies including Mobile VOD software that included, but was not limited to, Video Codecs and DRM technology.

Now under the title of Nintendo European Research and Development, or NERD as it has affectionately become known, they now seem to be a full fledged technological centre for Nintendo.  Jérôme who is the Chief Science Officer at NERD stated;

We are working on a wide range of areas from low-level optimisation to very high-level web technology

This would lead to the understanding that they are both working on 3DS and Wii U technologies.  It could lead to some interesting developments as Jérôme explains his title he states;

Basically, I’m working with Alex to define the strategy for the research and development area inside the company. I’m not working all the time in Paris with all the team, I’m doing development on specific and secret projects for the company. That’s why we had to find a title that was rather strange, or shall I say, specific.

Let’s hope that NERD get some recognition for the work they do with it specifically coming public knowledge, with new experiences being made possible through NERD technology. Imagine a credits page with an image stating “Powered by NERDs”.

On the official Kickstarter page for A.N.N.E a post was made stating what if some of the stretch goals were not made.  Gamesbymo stated;

The consoles listed in the stretch goals will happen regardless of if we meet the stretch goals or not. But it will take longer than if we do meet the stretch goals. This could be a good opportunity for the wishful to pledge $15 and up and then when the game comes out on console later, it will be a good reason to explore Planet Gomi a second time!

So regardless if the platforms stretch goal is met or not, it will release on that platform. This is pretty exciting news in terms of commitment to the project. For the remaining 18 hours of the Kickstarter campaign, how much capital is raised by Gamesbymo really will determine how fast you get your hands on A.N.N.E on your platform of choice.

Currently the project is sitting at $90k, with the stretch goal of $140K being the overall target for a Wii U release.

Abyss is a DSiWare underwater adventure game that offers accessible, light, yet challenging gameplay with fluid (no pun intended) controls and a feeling of scope despite low production value and simple gameplay mechanics.

In Abyss you take on the role of the biomechanical robot Nep2no, an entity that looks like a Metroid with a large eye.  With Nep2no you must scour the depths of the ocean to harvest a new source of energy, the “Gaia stones”.  Game play is built around carefully maneuvering Nep2no through tight, cavernous ocean depths, aided only by a small amount of light that can run out and leave you in the dark if you aren’t quick enough.  Find and capture all of the Gaia stones to unlock the exit and progress through the game.

Just this past April, EnjoyUp Games posted images on their Facebook page of what looked to be some version of Abyss running on the Wii U, captioned with just that “Abyss on the Wii U?”

Abyss on Wii U?

It seems they are at it again, with another image on their Facebook timeline showing the Unity development environment, and a caption “Abyss HD Wii U in #Unity3D?”

Abyss HD remake Wii U in #Unity3D?

So would an HD remake of this DSiWare title developed in the Unity engine be a tempting eShop purchase? Let us know in the comments below. Either way it looks like we’ll have the opportunity to guide Nep2no through the depths on the Wii U at some point in the future.

[Source: GoNintendo]

This may well be Nintendo’s answer to the recent developments regarding WiiKeyU.

So there you have it, fire up the Wii U and set it to download, if it wasn’t already running. Let us know in the comments if you see any notable changes.

[Source: Nintendo]

This game was developed by Rebellion Developments who released the original edition on other home consoles last year and it is an actual remake of the original “Sniper Elite” released back in 2005.

“Sniper Elite V2” was well-received by some critics and the WiiU version is going to have new features by the usage of its unique gamepad.

Note at this point that there is a nice present for pre-orders made on Gamestop (a Sniper Elite V2 Medal). Since the game is listed there for a release on 24th May you might have still a chance in getting one of those medals.

Don’t forget to check out the official launch trailer of the game:

Wario has taken to the internet to promote his upcoming Wii U title Game & Wario. Being the genius that he is, the man of WarioWare fame has decided that crowdfunding is clearly the best way to get more heads turned in his direction. Or, rather, “crowdfarting”: by checking out Wario’s “CrowdFarter” campaign, you can donate Facebook  likes and Twitter tweets towards the campaign’s goals of unlocking special content related to the game.

Furthermore, the page goes a bit into detail about some game specifics, highlighting that all the game’s minigames will utilize the Wii U Gamepad (not that that’s very surprising) and that some of Wario’s pals from previous games will be returning. The site also shows a minigame featuring Ashley, which seems to be Wario’s take on simple helicopter games.

Game & Wario was released on the Wii U in Japan on March 28th of this year. North America and Europe will be graced with Wario’s presence on June 23rd and June 28th, respectively.

[Source: Nintendo]