Game for Writers: Metroid Prime

I know it’s been a while since my first entry in the Game for Writers series. I can only say that I’ve been busy editing and taken the delay to make sure I presented a good second entry. After much debate, I’m glad to say I finally settled on a second title that I can faithfully call a Game for Writers. And that game is…

G4W-Metroid Prime

If you haven’t played Metroid Prime, you might be saying, “Really?” If you have, you’re probably saying “REALLY!?”

In reply to both, I say, “Oh yeah. Really.”

This is for a few reasons. First off, I have to say that Metroid Prime has a story that’s interesting enough to be a driving force behind gameplay. That said, here are a few details about the game:

Factor the First: There Is No Dialog in Metroid Prime

None. Unless you count the grunts Samus makes when you get hit. PS- You don’t see your protagonist’s face either–at least not until you beat it with the right prerequisites. Otherwise, you’ll only see her when, say, you’re underwater and fire a shot at a wall in front of you; the light will reflect Samus’ face on her visor, and more likely than not, you’ll jump out of your short shorts at the bright, blue eyes suddenly filling your screen. But that’s it.

Factor the Second: The World Building Involved in Metroid Prime Is Deeper than Any World Building in Any Game I’ve Ever Seen

It’s just completely true. One of the biggest complaints about the Metroid Prime series is rooted in the creative depth of the worlds you explore. You can scan a lot (not everything, but definitely enough), and when you’re done, you’ll know pretty much everything about the fauna of Tallon IV (and a lot of the flora).

I may have forgotten to mention that you can also scan a bunch of architecture. Yeah.

I have to digress and add this to forestall argument: from playing any of the games, can you tell me anything about the critters native to Halo? I’m sure you could tell me about the Flood, but what about the animals, lacking sentience. Is there anything like a dog on the rings? What are the birds like? If you actually have an answer, did you get it from reading a Halo novel?… Okay then. Cause, I mean, I can tell you this about the bloodflower on Tallon IV:

The Bloodflower is able to eject toxic spores. Toxins are poisonous even to the Bloodflower itself. Three mouth-nodules protrude from the stalk beneath the flower, each with a rudimentary brain cluster and the ability to spew toxic fumes at anything with a five-meter radius. The spores ejected from the Stigma at the center of the flower are sufficient to kill this creature if they explode in its vicinity.

Aaanyway, moving on…

Factor the Third: All of the This Is Achieved Almost Exclusively with Epistles

That’s right. Letters; well, not exclusively letters, but written accounts. Journals, science experiment logs, memos, other forms I’m forgetting, and, most importantly, your suit’s data logs obtained when you scan just shy of the entire world.

So, how did they do this? How did the team at Retro Studios hold gamers’ interests in a dialog, flashy cinema, and explosion-heavy society without spoken word? The answer is a ton of writing. Not exclusively; the art style, graphics, and especially the environmental effects went a long way towards making everything visceral. But there’s a great deal that’s only transmitted through Retro’s extensive writing and cunning execution.

A Plot in Small Pieces

The mystery of why Space Pirates have landed on Tallon IV starts to be revealed by their field reports and experimental logs, all expertly placed to work with the game’s pacing. Retro gives us a Space Pirate log where they say something along the lines of, “We’re going to start excavating at this location.” And then, perhaps when you’re knee deep in that location, you’ll find another entry saying, “The Hunter has followed us to the site. She must know about Metroid Prime,” to which, of course, you as a gamer say, “Ohhhhhh… So they’re looking for Metroid Prime… Man. Where’s the next log?” As I said before, you wind up being extremely motivated to continue playing because of this approach, and the plot winds up being revealed in such a way that you can’t help being engaged and fascinated.

Although this was actually an easter egg, it was the best example of an in game log that I could find.

A Spoonful of Subtle Detail (aka Awesome) Makes the Mythos of Samus Aran Go Down

Going beyond that, however, the fear and reverence the Space Pirates show in their entries for “the Hunter” gives players an oddly satisfying illustration of how bad ass Samus Aran is. Coupled with details like the science log where Space Pirates document their attempts to mimic her Morph Ball ability (which allows all 7 feet of Samus to roll up into a tiny ball [PS-No, their experiments don’t go well at all]), we’re given a pretty solid idea of Samus’ lore; no one really knows how the hell she does the things she does, and for lots of people, that’s pretty scary. At the very least, the Space Pirates think so.

In the end, all they and the players know is that she has ancient armor that allows her to do amazing things, and that if she doesn’t like you, you’re pretty much screwed. Oh, also, that when she’s blowing you, your tank, or your sentient tank to pieces, she’s going to be completely quiet about it.

The Depth of Tallon IV

The scans of enemies with your visor do the rest. Just as the example above does for the bloodflower, your Scan Visor illustrates a ton of the enemies and environments you go through, layering all of it with as healthy a helping of wonder as logs and data entries do for Samus’ reputation. Yeah, sure, you’re going to be scanning a lot of enemies, but you’re also going to wind up feeling like you really are exploring an alien planet. You can scream lame from the rooftops if you want, but I stopped shooting certain creatures because they were just creatures foraging or protecting their young, not douche bag Space Pirates.

What does all of this mean for writers, however? How would playing this help you expand your repertoire? Simply put, I think it would seriously expand any sci-fi or fantasy writer’s mind. The sheer devotion to the world, the execution of the plot, the approach to a completely silent protagonist-it all makes for an extremely unique experience that gamers shouldn’t pass on and writers definitely shouldn’t miss.

Published by

Louis Santiago

I'm a fantasy writer based in New York. One of my short stories, "Aixa the Hexcaster," was published at Mirror Dance Fantasy. You can read it here:

4 thoughts on “Game for Writers: Metroid Prime”

  1. Wow. I never really got to play MP (or its sequels) besides playing a minute of it at a friend’s house, since I got a gamecube really late, and then gave it to someone.

    But this sounds like the type of game I’d love simply because it’s the pure essence of immersion.

    A lot of games claim to be able to do that: put you into the boots of a character and make you care about them and that world, but most give such a empty idea of that experience that the idea itself loses power.

    Sandbox gameplay of any type is my favorite type of game. I like choosing where I go, what I explore, and when possible, what mission I can choose and when I want to play it. But what makes a game stand out is how far it takes you down the proverbial rabbit hole, how deeply it puts you into a different world, be it one that looks and appears like ours or one as alien as Metroid Prime.

    And this sounds awesome. Custom data on every flora and fauna you come across. A real, unique environment. Creatures with different behaviors. It’s all its own world, and we love stuff like that. Pokemon was only distinctly popular because it made kids feel like the creatures were very distinct, as they were based on different animal characteristics. Name a pokemon and some can tell you not only what powers they have but what behaviors they have. Hell, I remember that better than the movies. I remember that Mankey was particularly aggressive to many stimuli. I remember that Cubone (one of my faves) got his bone helmet from the skull of his mother and his bone weapon from her body, and that it was very protective of its home (little creepy, but awesome). I remember Slowpoke was a bit “Dee dee dee” looking, Snorlax was a fatass, and Magikarp sucked until he inexplicably turned into a huge fricking dragon.

    So what better place than a game? Where that opportunity is even more immersive than a cartoon or handheld game?

    And I can only imagine the insane level of pride you take out of being Samus, especially when you supplant her as yourself (since you are playing as her), and you see a journal that says how badass you are. Bigger, badder weapons sure will make you powerful, but stroking our egos is the best way to make us feel on top of the world. And in turn, when you take on a boss, you subconsciously think “I’m going tear this baddie a new asshole”.

    Thanks again Louis, for an awesome post. I actually bought Silent Hill 2, just waiting to get a PS2 again (I have a story to tell you about that) and this makes me want to get a gamecube again just to play this.


    1. You could always get a Wii if you don’t have one; they are backwards compatible with Gamecube games.

      Also, just to specify, you don’t scan absolutely everything, but definitely enough to be immerse you in Tallon IV.

      This is TURTWIG!
      This is Turtwig.

      He’s tiny, his shell is made of dirt, and this is what he will do to your pokemon:

      Also, and always, thank you for your epic comments!

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