Garcia said:
I wholeheartedly agree with the concept of a cinematic and a gameplay Samus because that's precisely the thing you actually feel while playing throughout the game. The problem here is that because of these inconsistencies, her persona has not only taken the characteristics of a submissive woman who likes/enjoys being mistreated and lectured by a dominant man, but she's also portrayed as the most bizarre schizophrenic bounty hunter.
You're telling me that the same Samus that quite graphically anihilates every single being inside the Bottle Ship, the one that can easily rip off the wings out of every foe she encounters in the most sadistic way, who stands right above the head of a monster to blow its brains out, the same Samus that puts her gun inside the mouth of any motherfucking monster just to finish him off is also the very same woman shown in the cinematics?
Either Samus is schizophrenic or Sakamoto. I'm inclined to think the later.
If anyone called the gorish Samus we've all known for years a "princess", I'm pretty sure she would immediately raise her gun and point directly into the head of that individual.
The character of Samus could, AND should be one of the most interesting in videogames. She's an orphan who saw both of her parents' heads being crushed by her archinemesis when she was 3 years old. She lived surrounded by wisemen/humanoids who thought of herself as a weapon and she had to survive being surrounded by the most vile predators on Zebes. Watching Sakamoto's approach to show who Samus really is is just..... utterly pathetic and nonsensical.
I can really. Because when Samus is fighting, she's acting via instinct and more primitive responses. Similar to doing sports, you're not thinking about stuff, you just act. It is after all this, when someone has the ability to introspect is that you act with hesitation regarding your past actions, that's when you act "weak". And it's important it's only to herself.
And going along the lines of sugesting she's a submisive woman seem like such an over the top assesment. The whole Adam / Samus awkward relationship is based on Adam's kid brother thing. Adam made the right decision, but Samus won't admit it to herself and won't forgive Adam for not taking the chance at saving him. That's why she wants to protect everybody now, even with the whole emotional ditachment toward people. The problem is that there's a ton of anime interactions between the characters and Sakamoto was hell bent in not having a good localization.
I think Haunted has it right with the PSX JRPG comparison. I mean, a game like Bayoneta is way more chatty, and has way more cutscenes ridled throughout. But separating it between chapters makes the cutscene distibution more bearable. Not to mention you're not bombarded with a huge exposition dump in the begining and the end.
And regarding the bathroom stalls, I think that investigation parts, held a much more important part in early development. Linking both to the ereaser subplot and MB. But was later dropped for not trying to alienate fans with gameplay elements so foreign to past Metroids and/or not going well with the deadline.
Metroid Killer said:
I agree it's a clash between gameplay Samus and cinematic Samus (or just gameplay and cinematic). But still even rationalizing that cinematically it was just Samus going from a to b with no dangers so no reason to don the varia suit (which makes sorta sense) it still clashes with the gameplay when the part is supposed to be a rush run.
It could have been executed much better; Authorizing the varia suit earlier and then have some creature or machine increase the heat beyond the Varia suit's capacity. Then the gameplay and story would have made sense together.
Yeah, I agree it could've been handled better. And yeah, the distinction between the two personas is one of the main faults. It could be told as theoretical (or movie/gameplay) avatar, and the player oneself controlling it. Similar to the Power Bomb debacle. Similar to a Kojima type of deal, it separates the player from the character. Samus knows that the power bombs will work, but not the player. My guess is that it's trying to create the feeling of "Oh Samus is so clever, she can work around so many situations", but instead creates a frustrating experience, and in a way takes control away from you by not presenting the universe clearly.
Similar to the lava scene, on the script, Samus is suposed to nimbly go through the area chasing Ridley until she's ordered to do something else, any perchance that happens in this scene is the player's fault. And that right there is one of the worst game design elements ever incorporated in a game.
Haunted said:
edit: my personal tip for a much improved game experience would be to mute Samus in the monologue cinematics. :lol Especially since they're well designed visually, so they're easily understandable anyway!
Man the japanese voice acting was superb and spanish subtitles was natural dialogue. English localisation is horrible.
