Metroid II: Return of Samus
H-h-hello ever-ryone. It's Ch-Ch-Chutter again, h-helping
Mr. W-Walter Henfield w-with announcem-m-m-ments for Metroid
II: R-R-Return of Samus-us, which w-was re-released on the
G-Game Boy in 1991 by Nint-tendo R&D1. We t-turn now to-o
Aw, they're mingling. =]
The teenage years for a video game series can be awkward. Developers, not quite sure where a series is heading, may try different stuff. And so you get some real oddities: Castlevania II: Simon's Quest, Zelda II: The Adventure of Link, the US version of Super Mario Bros. 2, and WarioWare: Twisted! being some examples. (Well, the WarioWare series as a whole is rather demented.)
But it doesn't end there. Series move on, growing into their adults forms and producing the finest examples of their core gameplay. For Castlevania's part, games like Castlevania III: Dracula's Curse, Super Castlevania IV, and Castlevania: Rondo of Blood were just around the bend. The Legend of Zelda series would not too far in the future be responsible for A Link to the Past and Link's Awakening. The Bros. would return in Super Mario Bros. 3 and Super Mario World. And WarioWare? It would
But, even considering the transitionary nature of these second games - later entries' successes causing them to be assigned merely "prelude of things to come" significance - there's a fundamental question we must ask.
Do they have to be bad?
N-next up, g-g-g-game mecha-anics a-and elements.
Return of Samus is much more forgiving than its predecessor; with save points, energy and missile refill stations, and less brutal damage dolings, SR388 is a much more hospitable planet. I'd guess it's a right good Southerly planet, if I have any credibility on the positioning of heavenly bodies. And Samus takes advantage of its hospitality by bumping off her kindly hosts. After all, the bounty hunter's mission is that of taking out 39 still-at-large Metroids. Samus knows there are this many on the planet because, well, she's got people on the inside. Connections, baby. She owns this galaxy, and don't you forget it. If Ridley's the leader of the Space Pirates, Samus is the head of the Galactic Mafia. She's dead set on giving SR388 a slaughter it can't refuse.
Metroid was innovative, while Metroid II is fun. The game was great Metroid on the go while the series was still figuring out just where it was going.
S-s-so n-next we turn to-o gamep-play, m-music, and at-at-atmosphere.
Metroid II continues along the path set by its predecessor, with an eerie title theme, a heroic song upon starting to pump you up for beginning of your journey, and various creepy, edge-setting, and ambient songs, along with a happy end-of-the-game track. But where this game really sets itself apart is with its graphics.
Now here me out. Metroid's always been about making the player feel the simultaneous wonder and anxiety of the mystery of the unknown. You go into a big open world, there's both opportunity as well as culture shock. Take away the color, and the world's even more ambiguous. Who said looking at something black-and-white simplifies things? This is a much fairer, more merciful, more benevolent and wise and mighty measure than simply making the backgrounds pitch black.
…though there's some of that here, too.
I-if th-there's anyth-th-thing Mr. H-Henfield would like
to a-a-add to what he-he's already-eady said, let him *tries
to manage a grin* s-s-speak now or f-f-f-forever hold
Metroid II isn't a controversial game, and it's not world-renowned. Being a handheld release at a time when handhelds weren't taken very seriously (think a Walter Henfield review), it didn't receive the attention its brand name deserved. In fact, they spat on it and laughed. Following up the seminal Metroidvania and preceding its purest incarnation, Return of Samus was left abandoned, mistreated, abused, never to know peace or joy or even the faintest contentment. It's not like it was poorly-received, or didn't do justice to the series' legacy. It's not like it didn't try its dangedest in all that it did, not like it wasn't deserving of more.
Why, daddy!? Why!?
Yet most will agree Samus's second outing was at least crucial to the development of the series, as it bridged a great gap between the two buffer releases. Which is all that Metroid and Super Metroid are: buffer games to cushion Metroid II: Return of Samus so she can make it through the adoring fans and paparazzi without being imposed upon. Or, in some reality this is the case.
A-as we wra-wrap up this p-performance, W-Walter w-w-will
leave us w-w-with a few-ew concluding th-thoughts.
Metroid II isn't hailed an utter classic like other Metroids, but you know what? It's okay with that. It has its circle of fans, the respect of anyone who understands the series' evolution, and the satisfaction of knowing it's a fun, warm, and generous game. Personifications aside, her rosy-fingered scythe cut the thread of elephants and donkeys wept tears from the sky unveiling all sorts of crazy swag behind the coy iron curtain.
Besides Super Metroid, this is one W. Clarence Henfield's favorite classic-style Metroid outing, so sue 'im.
Th-th-thank you, Mr. Henfield, f-fo-for your t-time this
eveni-ning. I'd a-ask our audience m-m-members to st-stay
s-s-safe on the t-t-t-t-trip h-h-home.