Metroid Prime 4: Beyond

Sylux, Psychics, and Sidekicks

There’s something about the Metroid series. It’s a franchise that I’ve been interested in for a long time but didn’t leap into until Metroid Dread. Sadly priced out of most of the earlier entries into the series, I did consume lots of content about Metroid lore and history following my introduction to Samus Aran’s atmospheric adventures. I then jumped into Metroid Prime Remastered, and have now finally finished my third game in the franchise with the recently-released Metroid Prime 4: Beyond. I wrote about Metroid Dread here, and did a game diary on Metroid Prime Remastered here.

Nintendo’s Alien-inspired sci-fi series is fascinating to me, as its mixture of the Japanese giant’s bright and breezy style and the horror and isolation taken from Ridley Scott and James Cameron’s pair of masterpieces creates a beguiling whole. Some of the enemies are pretty creepy, and many of the bosses are incredibly monstrous, but much of the actual horror found in Metroid is inferred from background details and logbook entries. Instead, Samus’ adventures are more tightly focused on atmosphere and that all-important sense of isolation.

I tried the mouse controls and it does work well, but I soon settled on the standard controller-style method.

So, why does Metroid Prime 4: Beyond have a super-talkative companion and radio buddy, then? Honestly, I don’t think the companion characters are that much of an issue. Mackenzie, the one that everyone has the specific problem with, is kind of annoying at first, but he’s okay in the long run, and I always felt that the side-view Metroid games did the isolation thing better anyway. If you’re put off trying Metroid Prime 4: Beyond because of the complaints you’ve heard about Mackenzie and pals, don’t be, you and Samus will still have plenty of chances for alone time in the depths of some godforsaken heck-hole, way out of radio contact from your bespectacled chaperone.

I actually managed to 100% my play-through of Metroid Prime 4: Beyond. The item completion kind of happened naturally, and then I used the internet to find the last few scans before I took on the final area. I feel no shame at this; I don’t have time to piss about aimlessly looking for something called a “blow hopper” that spawns in a single location beneath a volcano, I had to ride my motorcycle around a desert smashing through a seemingly unlimited phalanx of sparkly green crystal formations. That was my way of introducing the other biggest annoyance I’ve seen people bring up about this game, by the way; the great crystal hunt. Again, I didn’t mind it, and spent an hour before my push into the game’s final sequence riding around in a zen-like state and mopping up the last of those crystals in one fell swoop. It was okay, and it didn’t take too long, even with Mackenzie sticking his oar in over the radio link from time to time.

This game has its own share of excellent tunes, but the Phendrana Drifts music will always pop into my head when looking at vistas like this.

Right, enough babbling, let’s start the “review” already. Metroid Prime 4: Beyond looks phenomenal, and uses its rich, mystical colour palette to paint a lively and awe-inspiring fantastical world. At times it reminded me of the awesome sci-fi art of the sixties, seventies, and eighties by the likes of John Harris and Manchu, at times it reminded me of James Cameron’s Avatar series of movies, and at times, yes, it did remind me of Halo. It does have its own thing going on though, and the environments look incredible whether you’re overlooking sweeping vistas and epic sky-boxes in the desert hub area or booking it through tight corridors filled with secreted alien goop at the bottom of a vast mining complex.

I was playing on the Switch 2 in Quality Mode and the game consistently looked fantastic with no noticeable drops in performance. Occasionally I would notice a few pixelated details though, and mostly on the helmet visors of the small squad of Galactic Federation soldiers Samus encounters, or on the hammerhead shark-like face of the super-beefy allied android, VUE-995. On the rare occasions when the squad’s visors open and you see their actual faces, there are no such issues and there are some high quality facial animations on show, but the fuzziness on their helmets is noticeable on occasion and can be a minor immersion killer. For the most part though, this is a mighty fine looking game.

So, what actually happens to Samus when she’s a ball?

The gameplay is also on point. There’s nothing very new to report if you’ve already played any of the Metroid Prime games (meaning that the new “psychic” powers Samus attains aren’t actually very different from her usual abilities in practice) but if you’re new to the Metroid party, expect a super-smooth FPS experience with a slower, considered pace, a fair helping of puzzles and back-tracking, and a high-concept sci-fi feel, favouring elemental-based weapons over Aliens-style modern solid round firearms. Players are expected to engage with the world by way of scanning critters, lore items, and enemies, and by exploring every nook and cranny for upgrades. Puzzles range from simplistic to devious, but progress-blocking brainteasers never offer up too much of a problem, meaning that the pace is rarely harmed.

Comparing Metroid Prime 4: Beyond to Metroid Prime Remastered, I’d say that this game is more straightforward in its level design. There are also fewer aggravating enemies, and most players will have an easier time with the general aggressive flora and fauna (as well as the mysterious “grievers”) that make up most of the combat. One or two of the bosses put up a legitimate fight, and the final confrontation is suitably challenging, but overall, Beyond is an easier game than Prime Remastered. I didn’t mind this at all, as I did find that Prime Remastered started to wear on me at times, and the fission metroids that were encountered regularly towards the end of that game were a frustrating pain-in-the-arse to fight. There’s nothing like that here, and this is alright with me.

This is a Griever. The game’s story definitely has a light theme of grief, mourning and loss, which is unsubtly hinted at with some of the species names.

The weapons and gadgets are as fun to use as always. By collecting enough of the infamous green crystals Samus can upgrade her basic cannon, and this upgraded version feels a lot more satisfying to use. The super-charged fire shot is also a lot of fun to unleash, and the super-charged thunder shot is an absolute dream, sending a devastating beam of erratic, electric energy that homes in on every enemy nearby and erases them in a visual feast of spectacular obliteration. It almost feels overpowered, but you’ll have earned it by the time you get it, and it uses a fair chunk of ammo, too.

Not that I ever really had to worry about ammo. Well, not until the very last battle at least where I was spamming the final suit’s overshield ability which inexplicably uses your missile supplies to power up. Metroid Prime 4: Beyond locks its hard difficulty until you’ve completed the game on normal. I haven’t tried it yet, but apparently it causes save points to only restore health instead of health and ammo, so I suspect that this, along with the generally tougher enemies, means that ammo conservation comes into play a lot more if you’re brave enough and time-rich enough to go through another play-through on hard mode. I won’t be doing it, I’ve got other games to play. Those last few bits of concept art in the gallery will have to stay locked, I’m afraid.

So, should I be getting attached to these guys or nah?

I really enjoyed Metroid Prime 4: Beyond. Its stellar art direction, memorable musical accompaniment, and tried and tested gameplay and progression made for a very satisfying and compelling experience. I found the supporting cast likeable (even Mackenzie by the end) and they were used sparingly enough that the sense of isolation still had its time to shine. I enjoyed the boss fights and felt comfortable with the controls, and I only occasionally got a bit exasperated with the back-tracking and the more fiddly areas (like some of the morph ball sections in the powered-up bike factory).

Speaking of bikes, I’m a sucker for a sleek, futuristic motorcycle design, and Metroid Prime 4: Beyond does not disappoint in that regard. Vi-O-la, as Samus’ glamorous, metallic steed is known, is a highlight of the game, even if you’ll mostly be riding it around empty desert hunting down those blasted green crystals. I like a sci-fi bike, and Vi-O-la is a sci-fi bike that I like.

As a self-confessed Johnny-come-lately to the venerable Metroid franchise, Metroid Prime 4: Beyond gets an enthusiastic thumbs-up from me. Sleek, slick, and exceedingly pretty, Samus’ most recent outing didn’t outstay its welcome and kept me interested throughout, never once becoming a chore, even when I was filling the crystal receptacle so that I could get a special memory fruit or whatever that bit was all about. Look, just stop being such a blow hopper and give it a try, okay?

Alien: Isolation

Is This a Rescue Mission, or Another Bug Hunt?

One of the last scripts I wrote for the sadly-defunct TripleJump YouTube channel was a giant list ranking every single Alien and/or Predator video game ever made. Unfortunately, the channel went under before the video was released, but here’s a peek behind the curtain for you; Sega’s 2014 survival horror hit, Alien: Isolation, was at number one. However, despite heavily featuring the perfect organism in a starring role, Alien: Isolation isn’t a perfect game, but it is probably the closest a video game has come to perfectly capturing the atmosphere of the movie franchise upon which it’s based, Alien or otherwise.

This is Amanda Ripley. Her family line has pretty appalling luck when it comes to run-ins with predatory space bugs.

Creatively assembled by British studio, Creative Assembly, who are most well known for the Total War series and its combination of real-time battles and grand strategy, Alien: Isolation took the developers into unfamiliar territory. With very little experience in the survival horror genre, Creative Assembly made a host of outside hires, and soon enough a 100-strong team were orchestrating visceral encounters and crafting ’70s-style retro tech.

The crew were reportedly handed around three terabytes of production material from 20th Century Fox, and through deconstructing this “gold mine” of information, they were able to build a startlingly authentic world that specifically recalled the atmosphere of Ridley Scott’s 1979 original. Stellar lighting and graphical effects, flawless sound design, and a talented cast of voice actors all combined with this vision to create one of the most atmospheric and genuine movie-to-game experiences ever seen.

For a game released in 2014, Alien: Isolation’s environments can look pretty insane. The character models are showing their age a bit though.

It’s pretty scary, too. For most of the game, the player character (Amanda Ripley, daughter of the legendary Ellen Ripley) is completely defenceless against the overwhelming speed, power, and bitey bits of the towering xenomorph, and will have to sneak around quietly, hiding in every available nook, cranny, or orifice in order to avoid a swift and gory demise. They even made it so that the alien can hear sounds that come through your mic, breaking the fourth wall in an unsettling manner and making it so that the hoot of an errant owl in your living room can spell death for poor old Amanda. I told you to keep that window shut.

As I already mentioned, though, this is not a perfect game. Progression can fall into a trial and error process at times, and clever players can work out the xenomorph’s AI, thus being able to manipulate the initially panic-inducing monstrosity into easily-avoidable loops. On the other end of that scale, less proficient players might find themselves constantly harassed by the chitinous terror’s perpetual presence, with observers noting that the xenomorph’s AI tends to be a little too adept at homing in on Miss Ripley even when it should logically be at the other end of the station, violently breaking and entering the cranium of some other defenceless schlub.

Can I tell you a secret? I haven’t finished this game. It’s just too long.

It’s at times like this when Alien: Isolation’s cloying horror can teeter on the verge of aggravation and annoyance, and players might find themselves desensitised to Amanda’s torso getting brutally severed by the xenomorph’s spiky tail after the fourteenth time in a row while fear turns to frustration and frustration turns to controller-throwing rage. All of this, along with long stretches of dealing with the less-interesting android enemies, means that Sega’s most beloved Alien adaptation can outstay its welcome a bit.

During its high points, though, Alien: Isolation is excellent – a stunning interpretation of the first film’s timeless atmosphere and an almost unbearably tense and trouser-ruining experience throughout. As the game celebrated its ten-year anniversary in October 2024, Creative Assembly employee and Alien: Isolation creative director, Al Hope, confirmed that the team are working on a follow-up, and if they iron out the annoyances that made Alien: Isolation fall just short of all-time great status, this follow-up has a chance to be the best sequel since Aliens.

The Seegson androids have more in common with Ash than Bishop. That’s a bad thing.

This article was written for the now-defunct Sega Force Mega as part of a planned Halloween special featuring lots of Sega-published Halloween-appropriate games, alongside The Ooze and Devilish. This is the last unpublished article I’d written for that magazine. I updated the intro to reflect the fact that TripleJump are also now defunct. 

Metroid Dread

The Grim Brightness of the Far Future

I’ve been orbiting the Metroid series for a while now, but it wasn’t until this most recent offering that I finally hit the boosters and made planetfall. Metroid Dread is an immaculately polished space adventure in a classic, retro style. Nintendo’s artistry is abundantly evident in the way they’ve brought the side-scrolling action to life with detailed, 3D graphics, flawless animation, and a great sense of consistency, atmosphere and depth to the environments. The story is told through environmental changes and subtle, background elements as much as it is through cut-scenes, and, from what I’ve read, there are countless fascinating links to the larger Metroid universe for the eagle-eyed fan to find. All this makes for an excellent, expertly presented sci-fi narrative experience.

The gameplay is refined and precise. Silent bounty hunter Samus Aran controls with pinpoint smoothness, and dashing through caverns and corridors, latching on to ledges and blasting the local fauna is immensely satisfying. The immersion increases as progress is made and new skills and weapons are unlocked. These skills and weapons also provide the main means of travelling to new areas. Double jumps, weapon upgrades and the ability to roll up into a ball and squeeze through gaps all open up new places to explore and new dangers to face.

The game can be difficult, but this difficulty is mostly limited to the E.M.M.I. encounters, certain boss fights, and the uncovering of secret areas. Even when things do get tricky, it’s never down to fiddly controls or unfair level design. Metroid Dread gives you the tools you need to succeed, you just have to figure out how to use them. Bosses that seem insurmountable at first will be felled eventually once weaknesses and patterns reveal themselves. The learning curve is natural and satisfying, if you’re willing to stick with it.

The most controversial sticking points are the encounters with the E.M.M.I. machines. Samus’ standard weapons are useless against these contorting arrangements of metallic sinew. They stalk through quiet, eerie areas sealed off from the rest of the level, and can form and reform in order to pursue Samus across any surface and through any gap. Their inquisitive bleeps and bloops haunt the areas they patrol, and once one catches sight of its prey, a quick exit is the only way to avoid a nasty demise. These relentless automatons are almost at odds with the rest of the game in terms of visual design. While most of the other enemies are indigenous life-forms or fleshy abominations, these E.M.M.I. creatures look like they were dreamed up by a focus group in an Apple laboratory.

The submerged areas are some of my favourites to traverse. Metroid Dread does a stunning job of creating an immersive atmosphere with its deep and detailed backgrounds.

Speaking of laboratories, Samus will be exploring a few of them, many with life-forms on display in an apparent state of mid-autopsy. One especially effecting area has a huge creature suspended by probe-like machinery, its hideous visage gaping open in the background as its muscles spasm and jolt. There’s a definite sci-fi horror vibe, sprinkled with a seasoning of gross body-horror for flavour. These dark themes juxtapose strangely with that trademark Nintendo brightness, like a coat of bright paint over rusted metal. Or like Aliens if it was directed by Michael Bay. No, scratch that, that’s a horrible thought…

Metroid Dread is an expertly crafted, exquisitely balanced game. Samus is a joy to control and the world is a fascinating one to explore. The E.M.M.I. enemies have divided opinion, and there is certainly a line beyond which being one-shotted by the same invincible horror over and over again goes beyond tense and terrifying and becomes annoying, Alien: Isolation style. In my view, however, the E.M.M.I. encounters just about stay on the right side of the line throughout, and add to a great experience. All of this put together means that Metroid Dread is modern, old-school gaming at its best. Also, Samus is a girl. I know, I couldn’t believe it either.