Metroid: Other M.
No, no, don't roll the intro yet.
I need to explain myself.
"So, DQP, what are you doing spending over 5700 words on a pretty bad game, on April Fools Day?"
you may be asking.
I usually try to be a bit more positive on my channel and I don't want to spend time being negative
about video games, especially
this game in particular.
A lot of people don't like this game.
This whole thing just kinda started as a silly
April Fools idea, but it kinda mutated and exploded into an opportunity to seriously talk about one of
my video gaming white whales.
Because while some of you may see Other M as just another pretty bad game, it's always
been something more… personal to me. Some of you are probably thinking "Oh, well it
wasn't as bad as Sonic '06 or Superman 64 or something!"
No. You're wrong. This game is infinitely worse. Sonic '06 and Superman 64 are pretty
broken, but when they do work you can kind of see where the developers were going with them.
Other M is broken on a more fundamental level; you can always see where the developers were going,
and where they were going was disgusting, offensive, and wrong-headed.
This game shut the Metroid franchise down for six years; a streak that was only technically
broken by Metroid Prime: Federation Force, which could hardly even be classified as a
Metroid game at all. Other M took one of the most iconic female protagonists in video gaming
-- a medium with so few of which to speak of -- and threw her so thoroughly through
the grinder that the public at large could no longer take her seriously. Nintendo is
still recovering from that.
So get yourselves comfy, because I'm about to spend the better part of an hour ripping
this game to shreds. It's time to talk about Metroid Other M.
Oh god, I've made a mistake, where do I even begin.
You know what, let's just start with the nitpicky stuff that everyone likes to talk
about, before we really delve into the heart of what's fundamentally wrong with this game.
The controls for this game are… not good. In this Iwata Asks, lead director Yoshio Sakamoto
said, "Metroid was originally a game for the Family Computer Disk System, and so could
be played using just the control pad and two buttons. Back then the game had simple controls:
Move with the control pad and use the two buttons to jump and shoot. That's why I
decided this time to make a game that just used one Wii Remote and didn't use the Nunchuk.
Even in a Metroid world that ended up being constructed in 3D, the player feels more affinity
with Samus when controlling her with the control pad, even more so than with the control stick."
Yeah… has Sakamoto… been here since 1995? I mean, we've tried making 3D games using just
just a D-pad. It hasn't really caught on..
I mean okay, I'll admit that I play most first-person games either on a keyboard with
WASD controls or a Steam controller with WASD controls mapped to it, but Metroid: Other
M feels like it's making a looooot of compromises to make this whole "control pad and two
buttons" thing work.
For one, the Wiimote's D-pad is really tiny. My left thumb was aching within minutes.
Second, the player doesn't need to aim at enemies anymore. Samus just automatically
targets them without any player input. Which has worked in Metroid before, but Metroid Prime still
gave players the responsibility to actually use the lock-on. Other M feels more like it's
holding the player's hand.
This is nothing like the 2D games. The careful positioning needed to land shots in games
like Super Metroid and Fusion was a necessary part of the game's difficulty and gameplay.
But now Samus can just shoot at anything without a problem.
"Oh, but she still has to go into First-Person to use missi-" okay, now we're getting
to the big control bug-bear.
In order to use missiles and the grapple beam, the player has to take this Wii Remote that
they're holding sideways and point it at the screen. This means that Samus has to stop
in her tracks, which means that Samus is vulnerable, which means that what used to be an interesting
combat tactic is now a massive inconvenience that the game sometimes forces down the player's
throat.
Now, I know what you might be saying: "It's a cool mechanic when the developers design
around it!" And that could have been true. But they didn't design around it.
Other M feels like it wants to be a Team Ninja-style action game. That's what it looks like and
that's what seems that it wants to play like with stuff like the sensemove and the
finishers. But again… we're playing on a control pad and two buttons.
Dodging requires you to press the direction on the D-pad right before the enemy attacks
you, but enemies don't do a very good job of telegraphing their attacks, so the best
tactic is to just repeatedly tap the D-pad, inching around the battlefield, until you
dodge, get your charge beam, and open fire.
But sometimes an enemy will start glowing yellow, and you have to whip your Wii Remote
out and point a missile at it. Enemies rarely give you a window to do so, meaning that you
have to switch to the next tactic of moving a moderate distance away, then pointing the
Wiimote at them and firing your missile.
Look, this ain't exactly Bayonetta. This isn't an action game with loads of depth.
There are exactly two strategies to every encounter in the game and both of them are
an uncomfortable hassle.
And all of this could have been fixed if we had something more flexible than a sideways
Wiimote! Like, even something as simple as a SNES pad means that we also get a "dodge"
and "missile" button, which would make combat much more fluid, even if using the
D-pad in 3D isn't really fun.
"But combat isn't everything that makes a Metroid game worth playing," you might
be saying. Well…
Exploration is a key element of every Metroid game. Even the most linear games like Fusion
and Samus Returns have at least some bonus items to find if you're willing to look,
and unlike a lot of other Metroidvanias, the least useful finds are still at least an upgrade
to your missiles or power bombs or something, and that can still be pretty useful.
Other M does have exploration and hidden goodies, but they are worthless. They are all worthless.
And the reason they are all worthless is because of this.
See, in previous Metroid games (and Samus Returns) you typically restore health and
missiles by enemy drops, or at a recharge station or something. But enemies don't
drop anything in Other M. If you lose a health point, that health point is gone forever until
you reach the next save station. However, you can point the Wiimote up at the ceiling
and hold A to recharge your missiles to max capacity, and if you're below a certain
threshold of health you can also restore an E-Tank or a set of E-Tanks depending on how
late in the game you are.
So why bother collecting Missile Tanks or E-Tanks at all if you can just reliably restore
them easily mid-fight? Good question. Someone should have asked Team Ninja.
Missile tanks are worthless. Energy Tanks are worthless aside from like the first three
that you find, and so are the "Piece of Heart" Energy Parts that they introduce
in this game. The only power-ups that truly matter are Accel Charges and Recovery Tanks,
and those are easy to find.
The only reason to collect everything is to hear Samus say "Perfect! Congratulations!" at the end
item tally. That's it. There's no reason to go off, explore, and find all the Missile
or E-Tank expansions.
And even if you do want to find them, just for completionist's sake, I guess, the game just tells you where they all are late
in the game, so what's the point in even exploring to find them? And I don't mean
like Super Metroid or Metroid Fusion where they tell you where some of the items are,
and they're still tricky to find beyond that. Like… the power-ups in Other M are
dead easy to find once the game tells you where they are. Even if you want to explore,
there's still no real exploration.
With that in mind, Other M is a completely linear game. Even more so than Fusion, which
was already pretty linear by Metroid standards. And you know what, that can work sometimes
if the storytelling is good enough.
I mean, come on. You know where this is going.
So let's recap the story of Metroid: Other M for those of you who have not played this game,
or if it's been a long time since you've played this game, and I understand if you've forgotten the story,
it's a little hokey, so here we go.
After defeating the Mother Brain at the end of Super Metroid, Samus receives a distress
signal from a nearby research station called the "Bottle Ship." She decides to check
it out.
When she shows up, she runs into a small platoon of Galactic Federation soldiers who also answered
the distress signal. Among them is Anthony Higgs, an old friend,
("Remember me?")
and Adam Malkovich, Samus's old commanding officer from the days when she wasn't doing freelance bounty
hunting. She and the platoon run into a giant purple bug monster that almost kills them,
and Adam's like, "Alright, Samus. You can join us and help us figure out what's
going on, but you have to do everything I tell you and not use any of your suit powerups
until I authorize them." And Samus is like, "Okay."
So Adam has the entire gang split up, ultimately sending Samus to Sector One, which is where
the ship's biological research took place. They all reunite at this big research center
where they discover that the scientists were making biological weapons based on all the
enemies from Super Metroid, and that's kind of illegal. A big purple lizard attacks the
crew and kills one of the soldiers, then runs off to Sector Three, the superheated area.
Samus spends a good chunk of time looking for the big purple lizard but Adam eventually
redirects her to Sector Two, the cryofreezer area, because Adam thinks there might be some
scientists alive in there. She finds a woman in a lab coat, but the two of them are quickly
attacked by one of the Feds. Samus realizes that the Galactic Federation probably sent
an assassin to clean up the operation once the investigation was finished, and dubs this
traitor "the Deleter."
Adam tells Samus that the big purple lizard is still causing problems in Sector Three,
so she should go there and kill it. While en route, the Deleter offs another soldier.
Samus meets back up with Anthony and they run into the big purple lizard, which it turns
out is actually a clone of Samus's longtime nemesis Ridley. Samus goes into enough of
a panic attack that Ridley has the time to seemingly kill Anthony. She then tries to
fight Ridley off, but he escapes.
Samus then realizes that Adam's been oddly quiet lately, and she seems to discover the
Deleter making his way back to Sector One. Samus follows him until she runs into the
woman in the lab coat again, who introduces herself as Madeline Bergman, head of operations
at the research facility. Madeline claims that the Federation's been cloning Metroids
in a restricted zone called Sector Zero, in addition to an artificial intelligence based
on Mother Brain called MB, and Samus vows to head there and eliminate them once and
for all.
Right before entering Sector Zero, Samus is attacked by Adam, who decides to go into Sector
Zero and destroy the Metroids and MB himself because he doesn't want Samus to die. Right
before sacrificing himself, he orders Samus to find and kill the Ridley clone, look for
another important survivor in Sector One, and also tells Samus that Madeline Bergman
can't be trusted. Then he walks into Sector Zero, shuts the door, and dies.
Samus heads back to Sector One and finds the corpses of not only another GF soldier, but
also Ridley, weirdly. She stumbles into a redheaded woman who summons a Queen Metroid
out of fear. After destroying the Queen, Samus confronts the woman and tells her that she's
not gonna hurt her, and the woman lays the entire story bare.
She is the real Madeline Bergman, and the woman that Samus met earlier is actually an
android housing MB. Just then, MB shows up with a mob of monsters, and another Galactic
Federation platoon shows up at the same time, and there's a big wild shootout until Madeline
kills MB. All the monsters conveniently die at the same time. The new GF platoon is about
to take Madeline in for questioning before Anthony shows up alive, telling them that
he has orders from Adam to rescue Madeline and keep her safe. The new GF CO allows this,
and Anthony, Madeline, and Samus all leave the bottle ship and let the Federation clean
up the mess.
The End - no wait, there's a post-credits playable epilogue where Samus goes back and
grabs Adam's old helmet as a memento, but after that, yes, the end.
That's the entire plot. ...Wait, no, it's not the entire plot.
Throughout the story we hear Samus deliver monologues about her backstory; in particular,
her history in the Galactic Federation military and her old CO Adam Malkovich.
I'm going to boil it down for you in a much more concise way than Samus herself does in
Other M: Samus used to be a soldier, and she saw Adam as a father figure, but Adam made
a tough decision during an operation and a frustrated Samus decided to leave the Federation and
pursue independent bounty hunting.
That's what happened. But in-game, Samus delivers that story over the course of several
minutes and explains every single emotion that ran through her head in great detail.
In fact, she does this extensively throughout the entire game. She practically explains
to the audience every little thing that goes through her head during the entire adventure.
A lot of people complain about the monologues in Metroid Other M, and
they're right, but to say that it's a problem entirely of Other M's invention is
not really being fair to it.
After all, Super Metroid opens with a big long unskippable monologue, and Samus also
monologues a lot in Metroid Fusion. Fusion also explored the relationship between Samus
and Adam, and did so with internal Samus monologues.
Both Fusion and Other M violate that great visual storytelling rule of "Show, don't
tell," and by extension, the video game storytelling rule of "Do, don't show."
And this is especially frustrating for Metroid fans because the Metroid franchise has always
been a shining beacon of that axiom.
Super Metroid opens with that giant monologue, but after that, the entire story is delivered
through visuals and interactivity. Why do you think so many players are emotionally
affected by the death of the baby Metroid at the end of Super? It's because they earned
that moment; both visually and through gameplay.
The baby attacks Samus at first, leaving her with only a sliver of health before realizing
it's tragic mistake and flying off in shame. That alone communicates so much to the player
about how the baby feels through gameplay. Then, during the Mother Brain fight, it's
such an awesome moment when the baby swoops in and saves Samus, but then it's such a
bummer when it sacrifices itself, but then there's finally a bit of melancholic hope
as you get the Hyper Beam and take Mother Brain down. That entire emotional rollercoaster
is constructed wholly out of interactive gameplay.
I don't even have to joke about how Other M would bungle that scene up because it does
bungle that scene up at the beginning of the game. It's literally the game's introduction.
"Thanks to the Hyper Beam, which was given to me somehow by the Baby, I laid Mother Brain
to waste..."
It's like explaining a joke. You don't explain the joke because it's inherently
funny; having to explain the punchline kinda ruins the point of it. Similarly, why tell
the audience how Samus feels when the developers can use the gameplay to make the player empathize
with Samus?
And to Other M's credit, they do do that. Twice.
First is this awesome moment.
"Any objections, Adam?"
Put a pin in that moment. We're gonna get back to the whole "Adam authorizing powerups"
thing in a bit. But let's get to the other empathetic moment.
"Ridley?!"
No, I didn't stutter. I'm about to defend the Ridley scene.
The Ridley scene is frustrating because it almost presents a vision of an alternate universe
where Other M was halfway decent.
In this scene, we see Samus freeze in terror at the sight of Ridley, who she rightly assumed
was dead after Super Metroid. And you could have easily had Samus do another monologue
about her history with Ridley, but she didn't. Samus's trauma is communicated entirely
through visuals, almost wordlessly.
And from what I understand, this checks out. People have shown this scene to people who
actually have PTSD and they respond to it in a way that suggests that Sakamoto and Team
Ninja did their research.
Samus's trauma is also something they explore more in-depth in the Metroid manga that they
released in 2002, and I highly recommend checking it out if you're interested. For those who
haven't read it, it explores Samus' history with Ridley and the Chozo, and goes into detail
about how Ridley killed her parents and homeworld; an event she never really got to come to terms
with until her Zero Mission.
But in 2010, when Other M was released, Metroid fans had a visceral reaction to this
scene. They hated seeing Samus in a position of emotional weakness. And I can understand
that; I mean, when I was a kid, Samus Aran was right up there with Spider-Man and Luke
Skywalker in the cool fictional-role-models club.
A part of that is chronological consistency. Other M is the penultimate game in the Metroid
timeline chronologically, and at this point in the Metroid canon, Samus has defeated Ridley
one, two, three, four, five times by this point. And in the two previous encounters
(I'm not counting Samus Returns because it's a weird remake of a game Ridley wasn't even
in in the first place), Samus didn't really have that much of a reaction to Ridley.
But I'm willing to give that a pass, and I want to address the people who say that
her PTSD reaction is inconsistent with the rest of the Metroid series; especially the
set of people who think that Samus is a blank slate character. Because she is not that.
Y'all weren't complaining about that back then.
To say that Samus is a blank slate character is to ignore a lot of important stuff in
basically every Metroid game.
Lemme put it this way. Gordon Freeman is a blank slate character. We never see him aside
from when he's holding a weapon, and even then he doesn't really exude much personality.
Samus is a different story entirely. We can tell a lot about her just from facial expressions
and body language, and that's before she actually starts speaking in Metroid Fusion.
Samus fears Ridley. She holds enough respect for the Chozo to mourn their death on Tallon IV.
She's friendly, but she plays off praise like it's no big deal.That being said, she
holds regret whenever she can't protect someone, and when given the chance to fix
her mistakes, even slightly, she takes it.
And of course, we learn in Fusion that if the Federation is doing something shady, she's
not afraid to stand up to them, though that's communicated through dialogue instead of visuals
and gameplay. But it's still an example of Samus being a character, and it's consistent
with the character that they build up to in the rest of the franchise.
Now here's where I think fans really got riled up in regards to Metroid Other M.
You may have noticed that Samus's gender is basically a non-issue in regards to her
character. Hell, the entire reason that she's a woman in the first place is because the
game designers thought it would be a neat twist in an NES game.
Even in Prime 3, where there's more of an emphasis on Samus's interactions with the
Federation and other bounty hunters, her gender is never really brought up. Admiral Dane,
a stereotypical gruff military general type, respects Samus like he would any other respected
soldier or hunter.
Other M changed all of that. Samus goes to the Bottle Ship in order to intercept a Baby's
Cry type distress signal. Samus mourns the death of "the baby" and meets with Madeline
Bergman, who was a mother figure to MB, who was modeled after Mother Brai- do you get
it now? Do you understand the symbolism that is being shoved in your face?
Unlike previous games, Other M goes all in on the topic of Samus's gender and her role
as a surrogate mother to the baby Metroid. And I will grant you, it doesn't do it well.
But a lot of the vitriol I've seen seems to boil down to "Samus has emotions therefore
she's ruined as a character," and I'm sorry, but you just implied that emotional
vulnerability implies weakness as a character and those implications are very, very troubling.
Hoo, alright. So I'm just going to come out and say the thing: a lot of video gamers, particularly those
who prefer Metroid to other Nintendo franchises, are overwhelmingly male and toxically masculine.
Not all of them! Don't click off the video! But a looooot of them.
Samus's gender not being an issue in the previous Metroid games probably helped some
of this masculine audience connect with Samus because she's a tough intergalactic bounty
hunter, and the video gaming community likes to latch on to female protagonists because
they like having a character to shove in the faces of people who complain about gamer culture
being overly masculine.
So as soon as Samus shows just a little bit of emotional vulnerability in Other M, fans
start complaining about "character assassination" and the like because the image of Samus showing
that vulnerability conflicts with masculine ideals of being tough and emotionless, which I guess
some fans did see in Samus.
That's why I don't see much to complain about in the Ridley scene. Samus should be
able to show emotional vulnerability. I mean, if you were an intergalactic bounty hunter
whose parents were brutally killed right in front of you, and their murderer just won't
die, wouldn't you start to lose it after a while?
We need to stop complaining when characters show that kind of behavior. Hell, The Last
Jedi just came out and we're still having this discussion because of Luke Skywalker's
new characterization. The audience reaction to Luke's new arc is nearly as visceral
as the reaction to Other M's portrayal of Samus, if not more so. But we need to come
to terms with the fact that these kinds of stoic character expectations are just not
healthy.
And honestly, in a game with as many issues as Other M has, it's Samus's emotional
trauma that you're complaining about? There are so many other issues that are worthy of
criticizing instead of focusing on this one, toxically-masculine video game protagonist
ideal of emotional stoicism.
For example, the "Adam authorizing items" thing is far more troubling in terms of Samus's
character than the Ridley scene ever could be. Hey, we haven't talked about that yet!
Adam Malkovich is a prime (heh) example of gameplay overriding story and exposition.
By all accounts, I should love this character. Hell, I did love this character back in Metroid
Fusion. But Other M screws it all up because of one specific gameplay quirk.
Normally, in Metroid games, Samus starts without any of her trademark power-ups. In Super Metroid
and Return of Samus, it's not explained how she lost them, but from Prime and Fusion
onward, the developers came up with story excuses to rob her of her powers at the beginning
of each game. Prime gives her a big concussion. Prime 2 has the Ing steal all of them.
Prime 3… well, Prime 3 kinda dances around the issue, but you could make the argument that
she left all of them on Aether at the end of the last game and whatever it's not important.
Fusion has the X steal her Power Suit, so there's story reasons there.
The excuse in Other M is that Samus never loses her power-ups per se, but only decides to use
them when Adam says it's okay.
It's really not the worst idea on paper. But they just spectacularly screw it up.
Here's the obvious example of how they screw it up. Adam sends Samus through the super-heated
Sector Three, but doesn't authorize the Varia Suit that has traditionally protected
her from heat in previous games. And Samus doesn't turn it on. She runs through a hazardous
environment basically naked just for the sake of following Adam's orders.
I shouldn't have to explain how that bugs me. I shouldn't have to explain how it should
bug you. It paints Samus as a dimwitted idiot that can't do anything unless her father
figure tells her first, and it paints Adam as an unreasonable authority figure that Samus
still latches onto almost like a child.
Neither Samus nor Adam explicitly say anything about this, but the gameplay says it very clearly. And
I don't know if it was intentional on the part of the dev team, (I really hope it wasn't
intentional on the part of the dev team), but in a video game narrative, information
communicated through interactive gameplay trumps all other information.
The information being telegraphed to the player, through the gameplay, is that Samus can't
be trusted to activate even a set of protective armor to survive a hazardous environment unless
her surrogate father figure okays it first. And that says some really unsettling things
about Samus's character, Adam's character, and just… Other M in general.
See, now I can start throwing phrases like "character assassination" around because
"Samus has a panic attack because the thing that killed her parents just won't die"
is a lot more believable and fits Samus's character better than "Samus puts her life
in danger solely because Adam didn't explicitly say the words, 'Varia Suit is authorized.'"
And this isn't just an isolated case in Sector Three. Many times Samus will go up
against a boss and bumble against it until Adam says the magic words and suddenly we're
allowed to use the tools to win. It isn't just insulting to Samus, but to the player too.
It paints new power-ups in the disgusting new context of "wait, I had this power the
whole time and just couldn't use it!?" instead of "hey! A cool new ability to use
and cherish for the rest of the game!" Getting new abilities feels awful because of this,
which is definitely not what you want your player to feel in a Metroid game.
When Adam abruptly redirects you to other sectors while you're running around exploring,
it reinforces that feeling. How is the player supposed to respect this character as Samus
supposedly does when the gameplay makes it almost feel like he's just toying with you
for the lulz?
And let's unpin that "Any objections, Adam?" moment, because yes, it feels awesome
when it happens. But I feel like it only works because the player already has so much contempt
for Adam at this point in the game, and yet as snarky as Samus is in this moment, the
context is different from what the player feels; Adam has gone missing, maybe killed.
For Samus, this isn't an act of defiance like the audience feels, but rather an act
of simple logic; and when we get to that emotional scene where Adam sacrifices himself, the audience
is expected to still have that respect for Adam when in reality, it's just not there anymore.
Adam's death isn't earned because the gameplay has unintentionally reinforced
the idea that we hate Adam Malkovich.
The "Any objections Adam" scene is amazing, but it still works against the game as a whole.
So we have a control scheme that holds the player's hand, a story dominated by monologues
and internal dialogue, an extremely linear world map, and gameplay mechanics that suggest
that Samus can't even basically function without the support and authorization of male
authority figures.
This game fundamentally misunderstands what makes the Metroid series special.
Previous Metroid games relied on subtle, gameplay-fueled interactive storytelling, even in the games
that were relatively linear. They presented to their audience a female protagonist that
could do her job and do it well without people constantly reminding her that her gender makes
her fragile, without letting her traumatic past make her weak.
Metroid: Other M spits on that legacy. It isn't a complete disgrace; there are spatterings
of a more intelligent narrative here and there, but they're drowned out by systems, mechanics,
and aesthetics that, intentionally or not, submerge the franchise in a layer of filth
that it has trouble washing out to this day.
And even though Nintendo would shelve the Metroid franchise for six years, they'd
still continue to trot out Other M's iteration of Samus in games like Smash Bros.
as a bitter reminder of what they published; almost as if to rub more salt on the wound.
I understand that Nintendo is probably not being intentionally malicious about this;
they wouldn't have greenlit this project if they didn't have at least a little faith in it.
But even so, I would argue that it stands as the single darkest and most disgusting
smear on their legacy as a company. I don't think I've ever seen another work of media
that so thoroughly misunderstands the appeal of a property; that disgraces its franchise
in the public eye so much that a new Metroid announcement is not so much greeted with fanfare
anymore as it is with weariness and caution.
Like… even the Zelda CD-i games haven't tarnished Zelda that badly. Batman v. Superman
came close to tarnishing DC's legacy, but Wonder Woman was able to claw that brand out
of the grave.
This is what I mean when I say that Metroid: Other M is bad on another level; that it's
not just merely incompetently made, but rather offends popular culture with its mere existence.
And I didn't even get to the other minor nitpicks, like how the Deleter subplot never
gets resolved, or how its ugly art direction is compared to the rest of the Metroid series
as The Simpsons: Hit and Run is to the TV show it's based on.
Other M is a cultural catastrophe that Nintendo is still recovering from to this day.
Why do you think they've waited seven years to announce a new Metroid game that isn't
a remake or a spin-off?
This game was likely a mistake that Nintendo is carefully making sure never
happens again. Samus Returns was a decent return to form, but we still have yet to see
if Metroid Prime 4 is in good hands.
And yes, I understand that creative risks do need to be taken in this industry. That's how
we advance, that's how we get better games as the years go on. But at the same time, you need to
take calculated risks. You need to take careful risks. And the decisions that were made in Other M do not
feel like calculated or careful risks.
The decisions that Sakamoto and Team Ninja made in Other M damn near killed the franchise.
And it really definitely resulted in what I would consider to be... the worstest game.
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