So what makes a Metroidvania anyway? It isn’t really a scholarly thing. showed up with Castlevania Requiem, and with all the other Castlevania madness happening, it’s no wonder I have this stuff swimming to the top of my brainspace. God of War, for example, uses a massive hub world and staggered access to it as a way to move the player around a single space over the course of the game. You can look in the AAA space for Metroidvania DNA as well. But it isn’t just high profile indie games using this bucket of arcane gaming concepts. I’m talking games like Dead Cells, Timespinner, Hollow Knight, and Iconoclasts. Just in the past year or so, we’ve seen several new takes on the concept from the indie gaming scene, many of them so good they’ve breached the mainstream consciousness. A lot of it boils down to not only the game’s impressively thoughtful level design, but also the variety of helpful tolls contained within its map. And you can bet your collective asses I’m about to attempt applying that specificity to Resident Evil 2. “Metroidvania” as a genre or game-defining terms is in contention to this day, but there’s no denying the specificity of what that word describes. This is only slightly a joke hear me out.
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