Super Metroid Message Board

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Posted by Kotaku Apr 11 2014 12:30 GMT
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Metroid's Zero Suit Samus and Samus in her power armor, combined into one amazing fan-art by the talented Wen-JR. A wonderful tribute to the series!Read more...

Posted by Kotaku Mar 27 2014 00:30 GMT
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If this Metroid Lego project idea gets 10,000 supporters, Lego will consider making an official Lego set. Vote for it here—by the way, the set would include Samus' gunship. (Thanks, Christian!)Read more...

Posted by Kotaku Jan 16 2014 00:15 GMT
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Four people race through the Super Nintendo classic Super Metroid. Who wins? Also, how in the world do they do this stuff? Read more...

Posted by Kotaku Jan 10 2014 13:30 GMT
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No matter how full the internet is with Metroid fan art, there's always someone topping it with something special. Here's an injured Samus Aran with some awesome coloring by DeviantART user muju. Could look at this all day.Read more...

Posted by Kotaku May 28 2013 23:45 GMT
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Last time we checked in on Miiverse, some players were having trouble with Super Metroid. We shook our heads. We snarked about them damn spoiled kids. But at least one of those folks— PaulyU—persevered and finished the game. Here's the spoilery proof. Hooray! Granted, he stumbled on his way there. ...a lot. Apparently these are but a third of his posts on Metroid: Despite the trouble he had, Pauly's other posts prove there's an art to Miiverse. Maybe these are troll posts—I can't say. What I do know is, they're flippin' hilarious. Take a look:

Posted by Joystiq May 12 2013 18:30 GMT
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ANNE, the 2D nostalgia-laden platformer from developer Mo, hit its $70,000 Kickstarter goal, and from today it still has nine days left to earn more money. In a multilingual thank you update, Mo said words couldn't express his gratitude, so he created the happy robot image above.

"For sure the money is what will allow me to get the job done, but knowing that there are people like you out there that believe in my game, in me, just this is worth more than money," Mo said.

The first stretch goal for ANNE is $80,000 and it would add Mac and Linux versions of the game to Mo's development schedule. At $90,000, ANNE would have achievements and a Gender Swap mode, and later stretch goals (up to $150,000), add Ouya, PSN, Vita and Wii U versions.

ANNE is a combination of ideas from some of Mo's favorite 16-bit games, including Mega Man, Contra, Gradius and Super Metroid. That last one was a big inspiration, Mo told Joystiq in April.

"I remember at the beginning, you had this amazing ship," he said. "A crazy sprite landing slowly and then, the next thing you know, you're just on foot. And I was just, 'What a tease.' What if you could actually go in [the ship] and fly? What would that look like, and how fun would that be? So basically, it's picking up from just questioning myself and just trying to see what, you know, what am I really looking for as a player right now?"

Posted by Kotaku Apr 30 2013 22:00 GMT
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By the end of the 90s, the 16-bit era ended and 3D took over. With the PlayStation and 3D graphics cards out there allowing for new possibilities, narrative and gameplay, the 90s produced some of the most attractive characters in video game history. Well-known mascots and protagonists made their transitions to 3D, other, yet to be famous ones made their low polygon debut. In the second part of our series—showing the most attractive females and males in video games—we explore the 90s. But let's not rush forward. Games in the first half of the decade featured primarily improved 2D graphics, creating some really detailed and memorable characters. Chun Li, Ryu, Ken and Guile in Street Fighter II (1991) Bubble Bath Babes (1991) Sonya Blade and Johnny Cage in Mortal Kombat (1992) Mai Shiranui in the Fatal Fury and The King of Fighters series (1992) Leather Goddesses of Phobos 2 (1992) Spellcasting 301: Spring Break (1992) Night Trap (1992) Time Gal (1993) Morrigan Aensland in Darkstalkers (1994) Samus Aran in Super Metroid (1994) Voyeur (1994) Tanya in Command & Conquer: Red Alert (1996) Leisure Suit Larry 5-7 (1991-1996) Princess Rosella in King's Quest VII (1997) Elaine Marley in Monkey Island 1-3 (1990-1997) Nico and George in Broken Sword I-II (1996-1997) Although the PlayStation was already out in 1994 in Japan, the real 3D breakthrough happened two years later with the release of Core Design's Tomb Raider. Can't say that these early 3D character models were perfect compared to the beautiful 2D ones, but it they made strides as the years went on. Kazuya, Michelle and Anna in Tekken (1994) Princess Peach in Super Mario 64 (1996) Jill Valentine and Chris Redfield in Resident Evil (1996) Duke in Duke Nukem 3D (1996) Lara Croft in Tomb Raider (1996) James Bond in Goldeneye 007 (1997) Tifa, Cloud and Aeris in Final Fantasy VII (1997) Aya Brea in Parasite Eve (1998) Elexis Sinclaire in Sin (1998) Red Lotus in Deathtrap Dungeon (1998) Solid Snakeand Meryl in Metal Gear Solid (1998) Heishiro Mitsurugi in SoulCalibur (1998) The Hunter in Quake III Arena (1999) Squall and Rinoa in Final Fantasy VIII (1999) Compared to the 80s the 90s introduced a vast amount of attractive characters. Our list is just the tip of the iceberg, so make sure to leave your picks and favorites in the comments with visual support! sources: eVoluci0n, cubex55, Joao Carlos, stormypetrel, Darius320, Broken Sword Wiki, szemigi, Fernito, Fighters Generation, Quake Wiki

Posted by Kotaku Jul 13 2012 03:30 GMT
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#metroid This is the cover to the Japanese edition of the official guide to SNES classic Super Metroid. I can see what they're trying to do with the idea, maybe, but in execution it just looks weird. Like a Nintendo console getting on in years, re-released in a transparent colour scheme. More »

Posted by Giant Bomb May 02 2012 19:36 GMT
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Super Metroid is mighty impressive in ways you may not notice, especially if you only played it as a teenager.

Before entering the room containing the destructive Plasma Beam, there’s a pile of goo requiring several shots. Samus--well, the player--enters the room, and finds the Plasma Beam waiting for them in the corner. Like almost everything in Super Metroid, once you’ve acquired the Plasma Beam, that’s it--triumphant music, and you’re back in the world. There’s no tutorial explaining why it’s useful, but the moment you leave the room, the pile of goo is back, but with a twist. The first shot from Plasma Beam freezes it, and the second one blows the whole thing up. Voila.

Today, that moment would have several minutes making totally sure players know what the Plasma Beam does.

"Lots of people applauding closure for not assuming the player is stupid,” wrote designer Tyler Glaiel on Twitter a few days after the launch of Closure, the game he’d been working on for the past three years.

The comment struck me, and I connected with him on Skype, and asked Glaiel to elaborate.

“That’s a comment that shouldn’t even need to be a comment,” he said. “It’s just sad that so many other games don’t do that, but it’s become a plus for games when it should just be expected out of them.”

Glaiel pointed to Super Metroid as an inspiration for Closure’s own design philosophy, a game that goes out of its way to avoid holding the player’s hand, while also ensuring they are completely informed.

Fez, possibly the most talked about game this year, arguably has a different game hidden inside, one that definitely doesn’t assume the player is stupid. Besides one or two pieces, the information required to put together the grand revelations within Fez are staring you in the face. You just need to piece it together. When you do, it’s gratifying.

The Flash version of the game is recognizably similar, but obviously mechanically evolved.

Closure started as a Flash game, and you can still play it on Newgrounds. Glaiel and artist Jon Schubbe decided to expand on the concept, a development path very similar to Super Meat Boy. Glaiel and Schubbe didn’t work on Closure full-time for nearly a year a half, partially explaining why the game took so long, even after winning several Independent Games Festival awards in 2010.

I wondered whether this assertion the player deserves to be challenged was a conscious invoking of the more exploratory design of the earliest video games, but Glaiel didn’t really buy that argument. Some games, like Super Metroid, communicate instructions without being frustrating, but not all of them.

“Older games just didn’t explain anything, which ended up being a problem in some situations,” he said. “You end up with games like Zelda 1, which are really, really hard to understand, even though people like that game. I’m not a huge fan of it. Older games didn’t explain anything and newer ones [like Closure] are trying to explain everything that they can without using too much text or instructions. It’s slightly different.”

Interestingly, both games are from Nintendo.

There is no text in Closure, a decision that came about for two reasons. Most importantly, adding text would require localization, and the team didn’t have time or resources for it.

“It’s something that you should usually try to do with most games, even if you end up having to fall back on text, in the end,” he said. “If you can explain your game without text, it helps a lot.”

Closure never ended up having to add text, and avoiding localization logistics forced the team to construct creative solutions to obstacles encountered during playtesting. If players didn’t understand something the game was trying to tell them, the team tried to invent visual effects to aid with communication.

When players didn’t know when they could pick up orbs, a key component to solving puzzles, an outline was added to orbs when it was possible to grab them. Solved. When it was unclear pedestals moved back to their original position after removing an orb, a light source was added to then, visually informing players of movement. Solved.

Many of these solutions came from watching players work through the tutorial stages (which aren’t even labeled as tutorial stages, it’s just how the game opens), and making sure that was perfect.

Glaiel believes Zelda doesn't explain enough, while most modern games explain too much.

But nothing can be perfect, and eventually puzzles have to leave the nest. Once the main stages in Closure are completed, a set of challenge rooms open up. Glaiel figured the rooms would be too tough for the quality assurance department, so he tasked his testers with capturing video footage to send over with the game.

Cue shock: the footage that came back showed players implementing solutions that weren't the ones Glaiel intended.

“I watched the video walkthrough that they did and they were solving puzzles the...wrong way,” he laughed. “Their solutions were ones that I didn’t even know were possible, but almost none of them were easy solutions--they were all more difficult than the actual solutions.”

There’s a reason those challenge rooms are so tough, too. They were designed as development wrapped, when Glaiel was simply tired. Three years in, he couldn't be sure what was interesting anymore. The mechanics had lost meaning, and he'd design half of a room, ones that shouldn’t have the tools to be solved. Then, he’d tried to make it work. If there was a way to crack the room, it went in the pile.

The real test came when it was released, and his dad played it. His father had seen the game but barely played it, and Glaiel said he didn’t play many games. His dad managed to make it through the entire game and all but the final, excruciating challenge room. But there was a good reason: a last-minute glitch made one jump absurdly hard.

“It’s the one that everybody gets stuck on,” he said. “It’s understandable, I’m surprised he got that far!”

Posted by Joystiq Apr 26 2012 19:40 GMT
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We've all had those days, when we sit down, say to ourselves, "Hey, self. We're going to create something amazing today," and then we spend hours browsing the Internet or playing Borderlands, and most decidedly not making anything amazing that day.

Redditor telekinetic overcame this rite of procrastination (while Reddit was right there the whole time) and created this Super Metroid battery gauge for his Android phone, viewable to the left. Telekinetic modded various widgets and programs, such as the ADW Launcher EX and the Ultimate Custom Clock Widget, hacking his way through to reveal this final, super product.

Telekinetic is talking with excited developers on his Reddit post about making this gauge a gettable thing for the larger Android audience, and there is a tutorial on its creation in a separate post.

As telekinetic puts it, he "got a little carried away," but as we see it, he got carried away just enough. Carry on, telekinetic. Carry on.

Posted by Giant Bomb Feb 02 2012 15:00 GMT
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Pellet Quest is one example of Howard's wild experiments, in which Pac-Man goes the way of the RPG.

We all have goals--some long, some short, and most of them will never happen. Maybe it’s finishing a beloved game that’s fallen into a pile of shame, or shuffling our feet to the gym more than once a year. For Sean Howard, who refuses to call himself a game designer, it’s devising and fleshing out 300 game mechanics and putting them online.

Howard, who most recently contributed dialogue to both of the DeathSpank games, is otherwise a stay-at-home dad who’s hoping to finish reading the Song of Ice and Fire series “before his nerd wife spoils the damn thing."

He also needs to come up with 153 more game mechanics to add to his current pile of 147.

The reason for drawing the line at 300 ideas is simpler than you might think: it’s a big number, a dramatic one, and perhaps a number that would be difficult to top. It's a feat that would be something Howard could call all his own.

“The reason I wanted to do something like that in the first place was because I was sick of people saying that ideas were worthless,” said Howard over email. “It's something I've been hearing for so long, and always at such a deafening volume, that I just wanted to fight back. I wanted to say that, if nothing else, good ideas inspire. They excite you and get the gears moving. That's not worthless. I don't think you can worship the fire without respecting the spark that starts it just a little bit.”

Negative Space was an early idea that Howard has iterated on several times over the years.

Negative Space, in which he explored the sizable number of gameplay possibilities from being able to flip between black and white spaces, was the first concept published in the experiment, all the way back on May 9, 2007. It's one that he’d actually first started developing farther back in a Usenet post from September 2001.

He goes deeper than a few expository lines about a half-baked concept, instead producing extensive pixel art--a personal expertise--to elaborate on what might otherwise be hard to mentally visualize. Practice within the art of the pixel comes from Howard’s own webcomic called A Modest Destiny, which has lived for years.

All of these ideas used to exist in a notebook, and besides providing a sense of grand ambition and scale, collecting and publishing them online was a way to categorize them for Howard’s own perusal.

“I do feel a need to create at all times,” he said. “It's a clawing need that gets worse if I'm without a project for too long a time.”

How many of us don’t have a similar, gnawing passion? When I go a few days without putting pen to (digital) paper, it hangs heavy. It doesn’t matter what I end up writing, I just need to get a thing out, or else I feel terribly guilty.

“I just want to feel closer to games,” he said. “There's something about them. I'm drawn to them in a way I can't possibly describe. When I was kid, when my future could hold any possibility, I played a game that spoke to me in a way nothing else has. It inspired me and turned on a little light that I've never been able to turn off.”

Outside of contracted dialogue work on DeathSpank, Howard hasn’t been a part of any other game that’s shipped, and the game he worked on that didn’t make it onto shelves, he has no kind words for. It caused him to step back.

Some of the dialogue you may or may not have chuckled along to in DeathSpank was by Howard.

“The Three Hundred [Mechanics] is a way for me design games without being a game designer,” he said. “Ask a hundred people how to be a game designer and you'll get a hundred answers. Many of them involve paying your dues. Many involve classes you have to take in college, jobs you have to be employed in, people you have to know, slogans you have to follow, skills you have to have, programs you have to master, and employers you have to flatter.”

One might wonder about the risk of publishing all of your ideas online, and Howard is well aware of the problems. He claims to have seen some ideas taken and turned into commercial products. At one point, he simply asked for credit in such scenarios, but after a few situations turned sour, he waved that away.

“I decided that I would remove that requirement, releasing the ideas fully into the public domain, to end that threat forever,” he said. “It wasn't an easy thing to do. I still feel pride in my ideas. But I've decided that pride should be the reason I share these ideas instead of the reason not to.”

Some ideas are begging to be made, such as Pellet Quest, where Pac-Man gets infused with RPG sensibilities spread across a gigantic, persistent map, and the main character must return to old areas with earned abilities, ala Super Metroid. Or Diorama Designer, in which players create a “screen shot” for a game they’d like to play, and the game procedurally generates a game that makes that scene possible. Or SimMMORPG, in which the player doesn’t manage an ant colony, tower or civilization, but a simulated MMO world. None of these ideas sound easy to make, and there are much simpler ones within Howard’s set of 147 ideas, but they’re exciting to page through and dream.

“I may never earn the right to call myself a game designer,” he concluded, “but the Three Hundred [Mechanics] allows me to feel closer to games than being in the game industry ever did.”

You can continue to follow Howard’s work at

Posted by Kotaku Aug 29 2011 19:40 GMT
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#fanart Metroid lifeforms (Chozo, Etecoon & Dachora) from planet Zebes come to life in these rad travel posters created by artist Andrew Kolb. More »

Posted by Kotaku Aug 29 2011 11:00 GMT
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#fancypants We usually salute the best in cosplay craftsmanship (or craftswomanship!) here on Fancy Pants. Or the best in photography, or modelling. It's not often we salute the best in ideas. So let's change that today. More »

Posted by GoNintendo Aug 24 2011 23:59 GMT
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This is incredibly cool...well, at least the first minute and half anyway, but at least you can hear some amazing interpretations of the SNES classic for the remainder of the video. If you haven't downloaded it yet, go over to Shinesparkers and get yourself a copy of their new Metroid-themed album, Harmony of a Hunter. I've been enjoying it for the past week or so; you should be too.

Source: Shinesparkers

Posted by Kotaku Aug 02 2011 22:30 GMT
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#fanart Artist Justin Currie, admittedly an inexperienced Metroid player, gorgeously illustrates the disintegrating armor of Nintendo icon and bounty hunter Samus Aran, a moment before it fully forms around her (or disintegrates, depending on your point of view). More »

Posted by IGN Apr 21 2011 23:00 GMT
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CLICK! An almost painfully nostalgic sound met my ears when I recently pushed the clunky, purple power button of my twenty-year-old Super Nintendo to the "on" position. The screen wavered a bit, as the crotchety, old system attempted to read the information off the well-loved game cartridge it held...