The final boss was incredibly easy without these, so it didn't change anything.Īlso, to give a feeling for what the writers thought would be a cool power fantasy: you defeat the last boss with 3 nuclear bombs. Spoilers ahead: The gold bars just gave you a golden suit, no added benefit the pass key gave you the last power-up: invincibility when idle Note that these apply only for the last section of the game, namely, the final boss. P.S.: I went back to collect some of the stuff I missed. It's not a bad game, I guess, but I'm pretty sure it will simply be out of my mind very quickly, since it didn't do anything remotely surprising or very well. I don't understand why people talk about this as one of the best metroidvanias, honestly. For the most part, this game adds nothing to the genre. In conclusion, there was something remotely nice at the end. The last boss is nothing worth speaking about here. Some of the powerups here are actually pretty cool! But it's the last stretch of game, going through previously seen areas, only with newly found "gate" weapons so you can collect the inaccessible secrets. In this part, and only here, does the map design seem to fit a metroidvania - mostly because it's the only part where you have to backtrack meaningfully. I was very disappointed.įor the last 15%, for some reason, the game decides that there are some much more powerful and somewhat more interesting upgrades that you should collect before ending the game. Up to this point, everything was the most standard thing you could imagine in a 2D modern shooter. The map design was very linear, keeping you moving forward for maybe 75% of the game. These are also very standard and uninspired, though. The exception is the grenade types, which are what you would expect as a Metroid "gate" weapon. So much so that they replace the old one. The only somewhat cool secret is some passkey, I guess?
I find that really boring?įor example, the upgrades are some of the least inspired you can imagine: the world simply hides various grenade storage upgrades, as well as some HP/armor upgrades. Unfortunately, it just seems to streamline almost everything about the genre, and then cover it in the most gray, modern-military aesthetic they could think of, making it like most other modern "standard" games. I really enjoy metroidvanias, and this is generally regarded as one of the top! So I was excited to try it. I really don't understand all the praise this game got over the years. This might have been good in 2009, but when there are good metroidvanias out there now, maybe this is just a better museum piece for early indie games than it is a game in its own right. Maybe I just got put off by the ridiculous writing and started to nitpick, but I feel like the game just doesn't know how it wants you to play it. When the vents you shot out five minutes ago are replaced, it both erases indicators of where you've explored in a room and removes the feeling of having made a change in the world. The game will have a helicopter shooting at you in a lake, and then incentivize you to swim to the bottom of the lake and jump out into a hail of gunfire to get map tile unlock XP.Īdditionally, the way rooms reset after you leave them undercuts any satisfaction from exploration. The game will tell you to rush to the helipad to rescue your girlfriend, then hand you a box of grenades and tell you to double back and throw some grenades at things to unlock secrets. The game's mechanical incentives and the critical path also feel like they're at odds. The game's writing in the first hour verges on video game camp, but doesn't quite have the verve or wit to pull it off. I didn't get very far into Shadow Complex, but after about an hour, I didn't feel like I wanted to go any further.
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