Topic: Mark Brown analyzes Symphony of the Night on Boss Keys

[RichterB]

In case you don't know, former game journalist Mark Brown has done an in-depth series about game design called Boss Keys. He's currently going through the "Metroidvania" genre after going through all of Zelda, and he just completed Symphony. It's interesting to hear this in relationship to other "Metroidvanias" and it makes one wonder how Bloodstained will execute things overall.

https://www.youtube.com/watch?v=a1hHOVIkrcc

[Gaawa-chan]

"In-depth"
"Sub-20 minutes"

His videos are awful.  The occasional fancy 3D models can't salvage his vapid commentary.

[zangetsu468]

He lost me at dead-ends. The truth is that SOTN does generally contain breakable walls or bonuses at dead ends and this has continued into later games (Claimh Solais anyone?) and I'm not sure how this can be avoided, particularly that it generally rewards the player for venturing into unknown territory. It's not always with some un-acquired skill, he misses the point that there are optional boss fights to consider; Galamoth for one, and Death - who is a part of the overall narrative, which offers the player closure prior to completing the game.

Yes Super Metroid is an awesome game, but let's be honest, SM's pacing and the way the map is navigated through is vastly different to SOTN. SOTN plays slower with the exception of specific abilities, the "float" following mid-air stun by certain enemies lasts for a lot longer and knocks the player considerably, the boss fights don't feel nearly as urgent for the most part, and generally require slower reflexes. You also don't break blocks that only break in a single direction when playing SOTN, it feels more open and the areas seem more architectural even though they may not be architecturally correct. Although one inspired the other, playing both is like chalk and cheese when you really get into them.