![]() The main character begins in a lonely dangerous environment that tunnels them into being thwarted by simple enemies and obstacles, only to grow more powerful the further they go. Yes, players get lost, they can collect things out of order, they encounter boss fights – maybe sometimes a fair bit too early thanks to open-ended progression design – but they all share the crescendo of building power. Titles like Hollow Knight, Dark Souls, Blasphemous, The Messenger, Axiom Verge, and Ori are packed with mechanical homages to the two franchises of the Metroidvania namesake, but with their own twists which have completely redefined the “search-action” genre. What do people consider, however, when presented with a different question: What defines a Metroidvania? This is harder to answer, and in the decade since the release of Metroid Other M, the conversation has grown louder in the video game space. ![]() Many people will throw around buzz words like “isolation”, “open-ended”, “atmospheric” or “dreadful” with occasional allusion to the Alien film franchise somewhere to convey the general aesthetic. ![]() When you think of what a Metroid game is supposed to be, what do you think of? ![]()
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