So, I've been playing Shadow Complex -- since we touched on the controversy some have raised around the game, I feel obligated to disclose I had a code for it. For whatever it's worth, I would have purchased it anyway.Snafu aside, I like it all right. "Metroidvania" style is one of my all-time favorites -- I play Symphony of the Night several times a year, for example, and given how engrossing that core style is, I don't mind much that it's "ripping off" Super Metroid.
Two issues, though -- not especially fond of the aiming. If I can't use the Z-axis, why should I have to try to target enemies that are further "back" than I am? Sometimes, it doesn't seem to work very well. Of course, given that you've got unlimited ammo and enemy soldiers generally go down easy, it's not a major obstacle, but I like feeling precise.
The larger issue for me is one of plot and tone. This particular style of design encourages the player to experiment and explore, so I absolutely love that resources are either unlimited or easily replenished, and that thus far I haven't encountered any time-limited events (hopefully there aren't any).
I also think it's interesting to see the genre wrapped in distinctly Western military sci-fi as opposed to the more fantastic environments to which we're accustomed even with Metroid -- even though it's long been my position that video games have more than enough steel gray helmets-and-guns stories.
But these supporting elements stand in direct contrast with the game design. Granted, I'm only a few hours into the game, but the dichotomy is already jumping out at me: Your girlfriend's being dragged away for advanced torture into a helicopter that is about to take off, and you...
...Decide to go and search for more stuff?
Like, really, the mission objective practically SHOUTS at you, BEFORE IT'S TOO LATE, and you're just like, "huh, I wonder if there are any gold bars hidden in this weird underground complex." Uh, okay?
The cut scenes attempt to convey a sense of urgency -- take the most direct route to solve an immediate crisis -- and yet the gameplay requires precisely the opposite mindset. If the player chooses to engage with the plot, the gameplay feels weird, and if they go the other way 'round, as most will, the plot becomes even more goofy and cliche than it already is.
None of the things I'm pointing out are dealbreakers. I'm still enjoying the game so far. And I do think it's possible to wrap this genre with an appropriate story and atmosphere -- I hope Shadow Complex sells well, and proves that there's still a strong demand for this style of gameplay. I'd like to see some more original, modern takes on it come out of its success.
