She will encounter old enemies, and some new ones this planet has no allies for the player. This is pretty much all the storytelling you’re handed, outside of some panels of text and short and awkwardly placed cut-scenes at the start of the game that establish us in Samus Aran’s timeline. Metroid Dread is a game about trying not to die alone in a cave system full of hostile fauna and predatory machines that are invested in hunting you down.
In the 20 years since we last saw bounty hunter Samus Aran run around in one of these 2D space stations, there have been several indie games modelled on the Metroid format – such as Iconoclasts, and Hollow Knight – that offer far more atmosphere, depth and life than Dread’s slickly predictable tunnels. There is little to hold the player in the world beyond the feeling of a perfectly executed attack or dodge. Metroid Dread is proficient at all of this: it feels good to play, for a while. A limited map you unlock gradually and rewardingly.
T he recipe for a Metroid game is clear and concise: there’s a labyrinthine system of rooms and corridors, an oppressive science-fiction environment, an escalating series of power-ups.
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