Hollow Knight


Fallen Kingdom

In a game jam, developers Ari Gibson and William Pellen developed Hungry Knight, where a character killed bugs to stave off starvation. While its reception was initially scathing, it would improve after several years. They would work on another game jam with the theme “Beneath the Surface” but missed the deadline. However, the concept would provide the idea to create a game with an underground setting and insect characters. Developer Team Cherry would flesh out this idea with influence from classic games such as FaxanaduMetroidZelda II, and Mega Man X, the final product being Hollow Knight, a Metroidvania with a dark feel and some interesting concepts.

Hollow Knight opens with the eponymous bug-like protagonist arriving in the town of Dirtmouth, which sits upon the remnants of the kingdom of Hallownest. Thence begins his exploration of the underground ruins, where he learns the kingdom’s backstory while encountering other entities. The plot is told decently, with the reward that slaying specific types of enemies enough times unlocks a blurb about them in the game menus, alongside some good backstory. While the narrative never feeling forced down the player’s throat is good, the lack of direction can throw many players off. I also needed to reference the internet to figure out exactly what I needed to do to advance the main plot. Multiple endings exist as well, another element I didn’t know about until referencing the internet, and while the story doesn’t reach brilliance, it doesn’t detract from the experience.

The Castlevania influences are readily apparent.

Hollow Knight is a side-scrolling Metroidvania, with the hero able to jump and attack enemies with his Nail, which he can upgrade three times for increased attack power. Mask icons indicate his current life, with one disappearing whenever he receives damage or two in the case of more powerful enemy attacks. As he strikes foes, he acquires energy that fills his Soul Vessel, with Soul allowing him to heal lost life or fire magic at enemies. Collecting four Mask Shards will increase the Hollow Knight’s life by one mask, with three Vessel Fragments granting him an additional node that fills with Soul as he attacks and drains whenever his main Vessel loses its energy.

Sitting on benches scattered throughout the vastly connected world will restore the Knight’s health and record progress. Unfortunately, quitting the game and reloading will leave his Vessel empty, with no suspend save available. One upshot is that the player can save and stop playing anywhere, in which case reloading will bring the Hollow Knight back to the last bench he used. Doing so can sometimes be advantageous if he finds himself stuck in an unfortunate situation like low health. Throughout his adventure, the Knight will encounter special items that grant him additional moves to expand his exploration, such as the Mantis Claw, which allows him to grab onto and jump off walls. 

Most enemies leave behind money known as Geo when defeated, with which the Hollow Knight can purchase items at shops and pay for other things such as his weapon upgrades (which in turn requires a certain amount of Pale Ore). Death results in losing all Geo that the player has, a reduced limit on Soul acquisition, and a trip back to the last visited bench, with the player needing to defeat a Shade that appears at the location of their demise to recover their money and repair their Soul Vessel. Death again without vanquishing the Shade costs the player all Geo they had lost, but a safeguard exists in the form of a bank where the player can store and safeguard their currency. 

The Hollow Knight can also equip various Charms he finds or purchases throughout the game. The number he can wear depends upon how many notches he has, with this limit increasable to eleven. Charms can have effects such as increasing the speed of healing or lengthening the Knight’s Nail for better attack range, and many killer combinations exist that can be the difference between life and death. The hero faces bosses at points whom he must defeat to advance the game, with players needing to be careful about their attack patterns, which can be predictable yet random. The window for healing can be incredibly narrow in these encounters and was perhaps the most common source of my demise during the game.

The bug miner never saw him coming.

While Hollow Knight takes inspiration from the Soulsborne subgenre of RPGs regarding its death system, I never had any problem recovering whatever money I consequentially lost (and fair warning: you lose access to the mentioned bank later in the game), and in fact towards the end found myself with an excess of Geo I couldn’t use at all. Those who wish not to return to where they died can use Rancid Eggs, sporadically found in the gameplay world, at a facility in Dirtmouth to recover their Geo and repair their Soul Vessel. The gameplay has its moments, although, towards the end, I needed to reference the internet to determine the location of specific item types since there is no in-game tracking of them in each area. Alongside the difficulty of healing during boss battles, the game can be off-putting to those seeking a more accessible gameplay experience.

Although the Metroidvania exploration can be enjoyable at times, the game is pausable, and the maps can be helpful, issues still exist that make Hollow Knight user-unfriendly. The save system, for instance, is flawed, since while the player can quit and simultaneously record their progress, they must restart at the last bench at which they rested and consequentially need to retrace their steps and reacquire the Soul they lose. The level designs can also be annoying, particularly areas with spikes that both cause the Knight to lose health and restart at the last “safe” platform. Moreover, late in the game, I had to consult the internet to discover what I needed to accomplish to access the final boss. Other issues abound, and the game doesn’t interact with players as well as it could have.

The soundtrack, however, is one of the better elements of Hollow Knight, with composer Christopher Larkin doing a decent job with many well-instrumented pieces that fit the dark milieu, although many areas exist that over-rely upon ambiance. However, the sound effects are never out of place, and the game doesn’t disappoint aurally.

The visual style near approaches perfection, also fitting the dark atmosphere, with superb use of shadowy hues, unique designs for the various insectoid characters and adversaries, and beautiful environments. The sole handicap is the misleading environmental breakage effects that accompany the Hollow Knight’s attacks yet lead not to secret passages.

Finally, the game is lengthier than average for a Metroidvania, with a playtime of somewhere from twenty-four to forty-eight hours, lasting appeal theoretically existing as Steam Achievements, exploring every corner of the interconnected world, different endings, and the higher difficulty unlocked upon completing the game. However, the above-average challenge will deter many players from wishing to devote additional time.

Overall, Hollow Knight has strong potential as a Metroidvania, given its occasional fun exploration, engaging lore, great sound, and excellent sight. However, it stumbles in many aspects, with boss fights made harder by the difficulty of healing during them, the need to reference the internet to get the most out of the game, and the frequent scarceness of the story. Although most of my top games of all time are Metroidvanias, Hollow Knight often didn’t scratch that itch pleasantly. While it has a sequel forthcoming subtitled Silksong, I can easily say that I likely will not play it regardless of how well it is received unless Team Cherry addresses the issues I mention in my review.

This review is based on a playthrough of a digtial copy purchased by and downloaded to the reviewer’s Steam Deck.


Score Breakdown
The GoodThe Bad
Metroidvania gameplay can be enjoyable.
Good lore.
Decent sound.
Pretty visuals.
Difficult to heal during boss battles.
Guide necessary to get most out of game.
Story can feel scarce.
Many players will want to go to other games upon finishing.
The Bottom Line
An okay Metroidvania.
PlatformSteam
Game Mechanics6.5/10
Control4.0/10
Story7.0/10
Aurals8.0/10
Visuals9.5/10
Lasting Appeal4.0/10
DifficultyHard
Playtime24-48 Hours
Overall: 6.5/10

Metroid: Samus Returns


Samus vs. Aliens

Late in the 1990s, many game series leaped from two to three dimensions, including Zelda and Metroid, their gameplay adapting to the visual change. Some franchises made the leap well, while others didn’t, and while the latter franchise’s 3-D Prime subseries got decent reception, fans yearned for throwback and thus came Metroid Fusion and a remake of the debut title in the series, both on the Game Boy Advance. Years would pass before the next 2-D entry, Metroid: Samus Returns for the Nintendo 3DS, released, a reimagining of Return of Samus for the first Game Boy, providing an experience on par with prior 2-D entries.

Series protagonist Samus Aran can initially fire her arm cannon; players use the 3DS’s analog stick to point her armament in any direction. Players can further lock her in place (still able to jump) and fire at will, a feature proving a real godsend. Samus sporadically receives upgrades to her combat and exploration abilities, not to mention increases in the maximum capacities of her regular missiles, super missiles, power bombs, life, and energy that powers abilities such as a shield protecting her from damage to her life.

Samus must exterminate a certain number of Metroids on the planet SR388. Another feature critical to her success is the ability to execute a physical counter which can throw them off balance when timed right, making them more vulnerable to damage. Mastery of this technique is tricky but possible, and the ability of Metroids to drain Samus’s life quickly can make the game slightly hard. Even so, sufficient tracking of their patterns can be enough to avoid damaging attacks, and aside from the slight difficulty of the game attributable to not enough energy upgrades and way too many standard missile upgrades, the gameplay serves its purpose.

Like other 2-D Metroid titles, Samus explores a vast world with certain abilities to advance exploration; teleportation points also become available. Somewhat preventing players from losing themselves is the ability to use energy to scan the surrounding area to reveal unvisited places on the automap. Issues in terms of control include the sloppy placement of opportunities to recover life, ammo, and energy, with many stretches to boss Metroids lacking them when the game could have combined them. The player also can’t view playtime within the game, some jumps can be tricky, and the lack of a suspend save is inexcusable. Still, things could have been worse in interaction.

The Metroid series has never been heavy on plot, and the remake is no exception. Little reveals itself in the series mythos or Samus’s backstory; however, players can unlock artwork depicting the background of the Chozo civilization, and the ending ties well with Super Metroid.

The graphics are one of the game’s highlights.

There are many good pieces in Samus Returns’s soundtrack, all fitting extraterrestrial setting, with maybe a piece or two from other entries in the series such as the ominous “hot area” music from Super Metroid rife with chanting; however, the music is largely unmemorable. The sound effects are good, though, and the remake is easy on the ears.

The developers largely went all-out with the visuals, which are in a 2.5-dimensional style akin to titles such as Valkyrie Profile 2 and Castlevania: The Dracula X Chronicles. The graphics also utilize the system’s 3-D capabilities, and they look gorgeous, with excellent alien scenery and Metroid designs (albeit with some reskins), Samus herself having good animation and attack effects, with occasional dialogue-less cutscenes sometimes being fully three-dimensional. Some of the usual drawbacks of 3-D graphics exist, like blurriness and pixilation of environmental textures, but the remake is an excellent-looking game.

Finally, while one can blaze through the game in as little as eight hours, one could take up to twenty-four (and I should note the in-game clock doesn’t consider time wasted on losing battles), with a smidgeon of lasting appeal in the form of acquiring every enhancement, ending variations, and a higher difficulty setting unlocked after an initial playthrough. However, the frustrations at points may deter players from investing more time in the remake.

Overall, Metroid: Samus Returns is a successful reimagining of its Game Boy original, with the upgraded gameplay central to the series, a big contiguous world to explore, good sound, and polished visuals. However, it leaves room for improvement, the difficulty attributable to the disproportionate life and ammo upgrades, and the developers could have addressed the segregation of the save, recovery, and teleportation points. The narrative is also scarce, but the game is worth a look from fans of prior games in the franchise, not to mention those that enjoy action/adventure titles that don’t quite qualify as roleplaying games.

This review is based on a single playthrough to one of the standard endings of a digital copy purchased by the reviewer and downloaded to his Nintendo 3DS.


Score Breakdown
The GoodThe Bad
-Good Metroid gameplay and exploration.
-Decent sound.
-Solid 2.5-D graphics.
-Little room for error against bosses.
-Paper-thin plot.
-Many players will be done after one playthrough.
The Bottom Line
Fun but at times frustrating.
PlatformNintendo 3DS
Game Mechanics7.5/10
Control6.5/10
Story3.0/10
Aurals8.0/10
Visuals8.0/10
Lasting Appeal6.0/10
DifficultyHard
Playtime8-24 Hours
Overall: 6.5/10

Feudal Alloy


The Alloy of Law

The Czech Republic (uncommonly called Czechia) is a relatively young country in Europe, half of the peaceful dissolution of Czechoslovakia in 1993, and, surprisingly, a marginal contributor to the world’s videogame industry culminating in the annual Czech Game of the Year Awards. One Czech developer most gamers are very likely unfamiliar with is the two-person Attu Games, whose first title was the puzzle platformer Toby: The Secret of the Mine. Their second game was the Castlevania: Symphony of the Night-inspired Feudal Alloy, which is surprisingly good for an RPG developed by only two people.

Feudal Alloy follows the journey of a robot named after the game’s developer, Attu, who searches throughout an interconnected world for ten medals owned by the antediluvian robots at the retirement facility where he works. The plot isn’t elaborate and doesn’t receive a conclusion until the player finishes the game, with the locket collection subquest a surefire missed opportunity for further narrative development. While the game’s unique robotic medieval setting shows promise, it goes unfulfilled, seeming an afterthought, perhaps a drawback of the minimalist development team.

Fortunately, the gameplay serves Feudal Alloy well, the player outfitting Attu with stat-increasing robot parts and a sword, only initially able to execute a forward or upward slash with his weapon. However, the player ultimately receives new abilities that allow him to perform actions such as a dash that can send him safely to the back side of an enemy, shoot electromagnetic pulses in different directions (necessary to down some barriers), and so forth. Attu has two primary stats: oil, serving as his life, and temperature, which dictates how many times he can attack without overheating and being temporarily unable to act.

Attu can gather parts from defeated enemies for money to purchase bombs necessary to break some barriers and make certain foes vulnerable to standard attacks, oil vials to restore his health, coolant to allow him temporary infinite use of commands, and equipment. He can also acquire experience for sporadic leveling, where the player can purchase abilities from one of three skill trees allowing increased attack power, heightened defense, or an improved cooling system, the last tree having a magnetic ability letting the robot collect parts from downed enemies.

One quirk of Feudal Alloy is that there are only two genuine boss fights throughout the game. However, several points abound necessary to advance where Attu must battle enemies that spawn from retracting chambers for several rounds. The game is friendly to players when they die, with Attu respawning at the last save point with no experience or money lost. These account for a satisfying battle system, with only minor shortcomings like Attu’s inability to slash his sword when kneeling (although he does get the ability to release an electromagnetic pulse in said position).

The game looks gorgeous in motion.

Control is smooth, with players in each subsection acquiring maps showing Attu’s current location, and while the game has an inventory limit, I never reached it in my playthrough. As in the RPG Castlevanias, skills can assist exploration of the massive, interconnected world, with some barriers, for example, downed by electromagnetic pulses. Granted, one can get lost in the gameplay zones, and a minimap would have been welcome since the in-game maps aren’t detailed. Other absent quality-of-life features include a suspend save and sortable items. Glitches in the Steam version with the rumble feature exist also, and the game could have interacted better with players.

The music is one of the much better efforts for a Western RPG, unsurprising given Europe was home to many an excellent classical composer. The soundtrack includes riveting Celtic medieval tracks that rarely give way to silent moments, but more variety would have been welcome. The sound effects are believable, and Feudal Alloy’s aurals well accompany the gameplay experience.

The hand-drawn visuals are also pleasing, looking much better in motion than YouTube videos would have one believe, with new equipment, for instance, affecting Attu’s looks, alongside a nice variety of enemy robot designs. While some foes look similar, they aren’t mere palette swaps, the framerate additionally staying consistent, with little to no slowdown or choppiness. There are some oddities, including the instant disappearance of uncollectible monster parts at times, but otherwise, Feudal Alloy is a visual treat.

Finally, akin to other Metroidvanias, the game is generally short, from eight to sixteen hours, depending upon whether the player wishes to unlock all achievements. However, there isn’t much lasting appeal afterward, and finding every elusive treasure chest to achieve all can be frustrating, given the lack of in-game tracking on how many unopened are in each area.

Overall, Feudal Alloy, considering its development by only two people, is surprisingly good, given its great Metroidvania gameplay, the fitting soundtrack, and the fluid visual style. Granted, those unfamiliar with its subgenre might find it easy to get lost in the large, interconnected world, the narrative is lackluster, and there aren’t nearly enough reasons to play on well after completing the game and most achievements. However, fans of the niche videogame genre will likely find plenty to celebrate in what this reviewer considers one of the first good releases in 2019.

This review is based on a playthrough of a digital copy downloaded to the reviewer’s Steam Deck to the canon conclusion, with all but one achievement earned.


Score Breakdown
The GoodThe Bad
Great Metroidvania mechanics.
Pleasing soundtrack.
Nice visual style.
Can be easy to get lost.
Paper-thin plot.
Little lasting appeal.
The Bottom Line
Not a masterpiece, but still decent for a game developed by two people.
PlatformSteam Deck
Game Mechanics9.5/10
Control6.5/10
Story5.0/10
Aurals8.5/10
Visuals9.0/10
Lasting Appeal3.5/10
DifficultyModerate
Playtime8-16 Hours
Overall: 7.0/10