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#MetroidII
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Reading my latest #Metroidvania essay summarizing/responding to S.R. Holliwell's "Maze of Murderscapes: #MetroidII"!
youtu.be/Jn7DnVwr_bw
my 2026 essay: nicksmovieinsights.com/2026/03/read...
Holiwell's "Murderscapes" (2015): www.gamedeveloper.com/audio/a-maze...
#transrights #Gothic #Communism
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White Indian, Black Planets; or, Navigating Amazon Confusion in the Shadow of Pygmalion (alongside the General Duality of Gothic Poetics) You can't scapegoat capital, but you can subvert (transform) it in stories that contain scapegoats (Gorgons, Minotaurs, or otherwise). Most stories combine this or that, a given sequel taking old things and recombining them, palimpsest-to-palimpsest. Metroidvania—especially of the Metroid-style—take "Arena" (1944) or the "Sound of Thunder" (1952), a tourist in a savage continent, and make the long-discovered territory "lost" again (Shakespeare's "undiscovered country" alluding to suicide missions on "coffin ships"). That's basically what "White Indian, black planets" means: a cycle of forfeiture and reassimilation by the ruling class through useful idiots waving false flags in bad faith/duality. Capital demands it, the actual natives long made extinct by someone inevitably taking their place: through abject terror/counterterror revenge dialogs that funnel resources up; re: capital in small. It takes Shelley's Quest and recuperates it, the ensuing (and repeat) disasters simply Capitalist Realism playing out. Samus, then, is Frankenstein's Monster if the monster was the little girl and she worked for the maker to assimilate and conduct Imperialism (the highest stage of Capitalism, as Lenin put it). She's a pirate, a soldier of fortune, a catwoman of the moon who's been spayed and weaponized; i.e., one without a home, the genocidal vessel of Caesar, Columbus, or Descartes sacking rival castles and pillaging an endless countryside—first for players to feel scared of different barbarians (Radcliffe's "banditti"), crossfading towards triumphant "heroism" when David "goes hysterical/ape" and kills Goliath (the Jabberwock, Grendel, the dragon, etc). That's the fantasy being sold, Metroid effectively Star Wars without the irony (which Aliens, Metroid and Doom all basically are—albeit to varying flavors and degrees)...
![White Indian, Black Planets
"Black" = different things, including "corruption," "devastation," and "radical change" (death). To it, Samus routinely conveys White Indian themes; i.e., operating armored/unarmored (above) inside territories of forever war/colonial decay and collapse—black planets that, per Promethean Quest, cloak-and-dagger "advisors" reclaim while working from/on "the inside": a stolen house turned into prison (usually a castle); re: of a Rambo, Amazonian bent, a given false flag (and CIA double) evoking a desire for protection that Amazons (of a subjugated "copaganda" sort) have historically evoked, Athens-to-America, across all registers; e.g., on television:
As Edward Said astutely notes in Culture and Imperialism, most societies project their fears on the unknown or the exotic other. This barren land, where the viewers are kept disorientated, is threatening. It is a place between the familiar and the foreign, like part of a dream or vision that one cannot remember clearly. There is always a sense of a lurking danger from which the viewers need protection. Nikita provides that sense of protection (source: Laura Ng's "'The Most Powerful Weapon You Have': Warriors and Gender in La Femme Nikita," 2003; cited: "In Search of the Secret Spell").
In videogame form, Nintendo sells token alter-egos (exotic warriors) to American children; i.e., those reared, from cradle to grave, on capital intervening on a global stage/smothering Communism "in the crib":
From the early days of Space Invaders (1978), Pac-Man (1980) or Donkey Kong (1981) to Mario, then (about seven years—about twelve, if you start from 1973 when the elite began their first experiments with neoliberalism in South America), the usual place of neoliberal business and indoctrination transitioned from single arcade machines to larger amounts of money [...]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:d2545ppta4lpznhyjvs4tl6p/bafkreicg44qhnyhmmb6v2frv6zhyxeonpxx5y7hmrszrsahyflfbfp7iz4)
White Indian, Black Planets "Black" = different things, including "corruption," "devastation," and "radical change" (death). To it, Samus routinely conveys White Indian themes; i.e., operating armored/unarmored (above) inside territories of forever war/colonial decay and collapse—black planets that, per Promethean Quest, cloak-and-dagger "advisors" reclaim while working from/on "the inside": a stolen house turned into prison (usually a castle); re: of a Rambo, Amazonian bent, a given false flag (and CIA double) evoking a desire for protection that Amazons (of a subjugated "copaganda" sort) have historically evoked, Athens-to-America, across all registers; e.g., on television: As Edward Said astutely notes in Culture and Imperialism, most societies project their fears on the unknown or the exotic other. This barren land, where the viewers are kept disorientated, is threatening. It is a place between the familiar and the foreign, like part of a dream or vision that one cannot remember clearly. There is always a sense of a lurking danger from which the viewers need protection. Nikita provides that sense of protection (source: Laura Ng's "'The Most Powerful Weapon You Have': Warriors and Gender in La Femme Nikita," 2003; cited: "In Search of the Secret Spell"). In videogame form, Nintendo sells token alter-egos (exotic warriors) to American children; i.e., those reared, from cradle to grave, on capital intervening on a global stage/smothering Communism "in the crib": From the early days of Space Invaders (1978), Pac-Man (1980) or Donkey Kong (1981) to Mario, then (about seven years—about twelve, if you start from 1973 when the elite began their first experiments with neoliberalism in South America), the usual place of neoliberal business and indoctrination transitioned from single arcade machines to larger amounts of money [...]
![The General Duality of Gothic Poetics
Metroidvania are—at the end of the day—Gothic castles (re: "Lost in Necropolis," 2018), so first thing's first. "Hogle argues that modern Gothic is grounded in fakery," writes Dave West (source: "Implementation of Gothic Themes in 'The Gothic Ghost of the Counterfeit,'" 2023). In turn, he adds, "Hogle's observation of the history of [Horace Walpole's 1764] The Castle of Otranto forms the basis for understanding the concept of counterfeit as a result of the abjection process." I argue, abjection can reverse through our aforementioned "Amazon confusion," doing so in a shared operatic* space) [...]
(exhibit 0: [...] Escapism and rebellion aren't mutually exclusive. Furthermore, resistance and submission—while categorically separate—share the stage while fetishizing under state dialogs/capital; i.e., that workers reclaim, mid-abjection. They do so in Gothic dialogs on nature-as-criminal, whose critiques allow for cultural appropriation and appreciation: terms like "White Indian" and "black planet" taken back from white-savior vaudeville and/or explored in exports to America; e.g., The Red Nation's "RPH vs. Avatar: Fire and Ash" and Leo.Amaya21's "[preview #4] - 18 vs Vegeta" [2026]. The irony isn't always there/must be added by the critic[s] skeptical of representation; i.e., as a state tactic of cunning recognition [...] meant to stymie resistance; re: me vis-à-vis Glenn Coulthard's Red Skin, White Masks [2014]. Amazons are Numinous, yes, but also deeply trashy actors sitting between worlds: the Wisdom of the Ancients, or "cultural understanding of the imaginary past" in Gothic, but also Indigenous Culture's Wisdom of the Ancestors [which my Indigenous partner, Bay Ryan, helps me catalogue and explore, in "The Value in Showing Intersectional Solidarity When Combating Fascism," 2026]. SWERFs are TERFs and TERFS are fascist, but react through grievance on kernels of truth used for state revenge.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:d2545ppta4lpznhyjvs4tl6p/bafkreidri6i7ezymhffwjazkcdcpjs3fwbejthge7ttpkkkc4otm4tjnve)
The General Duality of Gothic Poetics Metroidvania are—at the end of the day—Gothic castles (re: "Lost in Necropolis," 2018), so first thing's first. "Hogle argues that modern Gothic is grounded in fakery," writes Dave West (source: "Implementation of Gothic Themes in 'The Gothic Ghost of the Counterfeit,'" 2023). In turn, he adds, "Hogle's observation of the history of [Horace Walpole's 1764] The Castle of Otranto forms the basis for understanding the concept of counterfeit as a result of the abjection process." I argue, abjection can reverse through our aforementioned "Amazon confusion," doing so in a shared operatic* space) [...] (exhibit 0: [...] Escapism and rebellion aren't mutually exclusive. Furthermore, resistance and submission—while categorically separate—share the stage while fetishizing under state dialogs/capital; i.e., that workers reclaim, mid-abjection. They do so in Gothic dialogs on nature-as-criminal, whose critiques allow for cultural appropriation and appreciation: terms like "White Indian" and "black planet" taken back from white-savior vaudeville and/or explored in exports to America; e.g., The Red Nation's "RPH vs. Avatar: Fire and Ash" and Leo.Amaya21's "[preview #4] - 18 vs Vegeta" [2026]. The irony isn't always there/must be added by the critic[s] skeptical of representation; i.e., as a state tactic of cunning recognition [...] meant to stymie resistance; re: me vis-à-vis Glenn Coulthard's Red Skin, White Masks [2014]. Amazons are Numinous, yes, but also deeply trashy actors sitting between worlds: the Wisdom of the Ancients, or "cultural understanding of the imaginary past" in Gothic, but also Indigenous Culture's Wisdom of the Ancestors [which my Indigenous partner, Bay Ryan, helps me catalogue and explore, in "The Value in Showing Intersectional Solidarity When Combating Fascism," 2026]. SWERFs are TERFs and TERFS are fascist, but react through grievance on kernels of truth used for state revenge.
Full Commentary on "Murderscapes" This portion comments, piece-by-piece, on "Murderscapes"; re: as I wrote it originally before writing "Summary and Theory" but after the preface. To keep things short(er), I'll highlight specific portions that "leapt out," in italics and color code, then reply with one paragraph; i.e., while referencing other essays, if you want to know more (and using Holiwell's visual aids—save for the bookends, below). My commentary omits her conclusion, which discusses trauma specific to the author (who we'll interview at a later date). (source: Metroid Database) I first played Metroid II: Return of Samus in the women's wing of a homeless shelter in Providence, Rhode Island. There I endured five months of homelessness; the rest of the time was spent on streets or in psychiatric wards. I screamed a lot and frequently lost my mind. It wasn't the first time I'd been homeless or nearly died, and it won't be the last. I see you, girl, and you're valid. As for Gothic, it generally speaks to home; i.e., as something alien, violent and false to interrogate through displacement—an anti-home to explore and dredge up buried atrocities that, when exposed, undermine nuclear models/power fantasies normally made to maintain state hegemony (order vs chaos, man vs nature/woman/animal/the elements, etc):
Screencaps of different section openings from "Unto the Breach." 3/3
#Communism #transrights #Metroid #MetroidII #fascism
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Preface: Some Context before We Start This preface gives the context behind "Unto the Breach": the catalyst with Metroidvania Guru (and definitions for Metroidvania) alongside my conversation with Chozologist before speaking with Holiwell, about Metroid II. Metroidvania Guru (and Metroidvania definitions) (source: Metroidvania Guru's "Top Twenty Metroidvanias of All Time! (2025 Update)," 2025) Despite compiling my older Metroidvania research into its 2025 corpus, I continue to make new content concerning Metroidvania in 2026. This includes essays, but also interviews (which I used to do more of, 2019-2021; e.g., my "Alien: Ore" series in 2019, and Metroid speedrunner series in 2021). After hoping to interview Metroidvania Guru (above), I learned he actually dislikes Metroid-style Metroidvania; i.e., as I define them—meaning the genre Metroidvania are a location-based videogame genre that combines 2D, 2.5D, or 3D platforming and ranged/melee combat—usually in the 3rd person—inside a giant, closed space. This space communicates Gothic themes of various kinds; encourages exploration* depending on how non-linear the space is; includes progressive skill and item collection, mandatory boss keys, backtracking and variable gating mechanics (bosses, items, doors); and requires movement powerups in some shape or form, though these can be supplied through RPG elements as an optional alternative. *Exploration pertains to the deliberate navigation of space beyond that of obvious, linear routes—to search for objects, objectives or secrets off the beaten path (source: "Mazes and Labyrinths," 2021). and the Metroid side of the larger spectrum:
![Chozologist, Their Video, and Discovering Holiwell's "Murderscapes"
I digress. Several weeks ago, my YouTube feed recommended Chozologist's "Metroid and the Chozo" (2026), whose description reads: "The Chozo are not the peaceful and wise people they want you to believe." My attention piqued; the video cited S. R. Holiwell's "A Maze of Murderscapes: Metroid II," a write-up I—a Gothic ludologist, having studied Metroidvania for years—had never heard of. For reasons we'll get into, "Murderscapes" resonated with me. However, I accidentally mistook Chozologist for the author and reached out, whereupon the following conversation ensued:
Chozologist (pinned comment): Because I got a comment on this topic several times, I want to share my opinion on it: / While it is true that Prometheus [2012] came out long after the first Metroid game [1986], I would argue this: In the different versions of Alien's early script, and even in the final movie, it is heavily implied that the "Space Jockey" was killed by its own cargo, and that this very load basically is a bioweapon [a metaphor for weaponized chattel/slave power during the Trans-Atlantic slave trade]. The ambiguity and ambivalence of the Chozo therefore was already there, the second Nintendo RnD chose the Space Jockey as one of the main influences for the Bird People – why would this alien race have a giant ship full of killing machines? In Prometheus then we can see this thought carried to its conclusion [uncanny doubles of the West, empire, and Cartesian thought/the Enlightenment (mad science): abjected onto a noble-savage warrior race; i.e., akin to Lovecraft's Old Ones from At the Mountains of Madness (1931) or MGM's Krell in Forbidden Planet (1956) as laid low by Promethean hubris [...]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:d2545ppta4lpznhyjvs4tl6p/bafkreiaxsozuylyjyadpe25xm3idu5hwdqn6thzldjizffjejtqrwsomt4)
Chozologist, Their Video, and Discovering Holiwell's "Murderscapes" I digress. Several weeks ago, my YouTube feed recommended Chozologist's "Metroid and the Chozo" (2026), whose description reads: "The Chozo are not the peaceful and wise people they want you to believe." My attention piqued; the video cited S. R. Holiwell's "A Maze of Murderscapes: Metroid II," a write-up I—a Gothic ludologist, having studied Metroidvania for years—had never heard of. For reasons we'll get into, "Murderscapes" resonated with me. However, I accidentally mistook Chozologist for the author and reached out, whereupon the following conversation ensued: Chozologist (pinned comment): Because I got a comment on this topic several times, I want to share my opinion on it: / While it is true that Prometheus [2012] came out long after the first Metroid game [1986], I would argue this: In the different versions of Alien's early script, and even in the final movie, it is heavily implied that the "Space Jockey" was killed by its own cargo, and that this very load basically is a bioweapon [a metaphor for weaponized chattel/slave power during the Trans-Atlantic slave trade]. The ambiguity and ambivalence of the Chozo therefore was already there, the second Nintendo RnD chose the Space Jockey as one of the main influences for the Bird People – why would this alien race have a giant ship full of killing machines? In Prometheus then we can see this thought carried to its conclusion [uncanny doubles of the West, empire, and Cartesian thought/the Enlightenment (mad science): abjected onto a noble-savage warrior race; i.e., akin to Lovecraft's Old Ones from At the Mountains of Madness (1931) or MGM's Krell in Forbidden Planet (1956) as laid low by Promethean hubris [...]
![It bears repeating that, while transphobes tend to gatekeep the franchise by dismissing my work as "political" or not responding at all (re: "Those Who Walk Away from Speedrunning," 2025), Chozologist's initial response felt encouraging. To that, the actual author of the article reached out, several weeks later. Chozologist had tracked Holiwell down, putting her (a fellow trans woman*, below) in touch with me!
*With trans women often relating to Amazons/the Gorgon under Cartesian norms, the latter framing us as "of nature" in abjectly criminal ways; i.e., as freaks of nature that—unlike Samus—don't assimilate (despite their baggage/occupying the same "fuzzy" areas of play our inkblot avatar [and her double, Mother Brain] do). Even so, we generally oscillate before the mirror/suffer mirror syndrome on Athena's mirror shield (the Aegis) during Amazon confusion; i.e., seeing the destroyer in oneself as victim or vice versa, and the making ambiguous of the Amazon's performative role (two terms of mine, which we'll unpack deeper in).
To that, I had been planning to respond to Holiwell's article, anyways, but still needed to read it in full. Having done so, now, I wish to summarize my thoughts, here, then give an extended commentary afterwards (written first).
Summary and Theory (re: Gorgons and Amazons)
After reading "A Maze of Murderscapes" in full, I wrote down my basic thoughts; i.e., summarizing and sending them to Holiwell. I've since expanded and divided these in two (focusing on Gorgons and Amazons, Amazonomachia a core Metroidvania staple): summary and theory (the latter frankly a bit dense/academic, whose jargon I'll "translate" in the Full Commentary section).](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:d2545ppta4lpznhyjvs4tl6p/bafkreicxjakcgqj4d75xaxxzzfq7uvhdctmcwja7ygbnu4ql5neyv4b4va)
It bears repeating that, while transphobes tend to gatekeep the franchise by dismissing my work as "political" or not responding at all (re: "Those Who Walk Away from Speedrunning," 2025), Chozologist's initial response felt encouraging. To that, the actual author of the article reached out, several weeks later. Chozologist had tracked Holiwell down, putting her (a fellow trans woman*, below) in touch with me! *With trans women often relating to Amazons/the Gorgon under Cartesian norms, the latter framing us as "of nature" in abjectly criminal ways; i.e., as freaks of nature that—unlike Samus—don't assimilate (despite their baggage/occupying the same "fuzzy" areas of play our inkblot avatar [and her double, Mother Brain] do). Even so, we generally oscillate before the mirror/suffer mirror syndrome on Athena's mirror shield (the Aegis) during Amazon confusion; i.e., seeing the destroyer in oneself as victim or vice versa, and the making ambiguous of the Amazon's performative role (two terms of mine, which we'll unpack deeper in). To that, I had been planning to respond to Holiwell's article, anyways, but still needed to read it in full. Having done so, now, I wish to summarize my thoughts, here, then give an extended commentary afterwards (written first). Summary and Theory (re: Gorgons and Amazons) After reading "A Maze of Murderscapes" in full, I wrote down my basic thoughts; i.e., summarizing and sending them to Holiwell. I've since expanded and divided these in two (focusing on Gorgons and Amazons, Amazonomachia a core Metroidvania staple): summary and theory (the latter frankly a bit dense/academic, whose jargon I'll "translate" in the Full Commentary section).
![Canonical Metroidvania; or, Geopolitics, Cartesian Dualism and Token Amazonomachia Enacting State Predation, under Capitalist Realism
Gothic is a deeply nostalgic mode, one of subversive reclamation during fatal homecoming (the decay of mastery and uncertain lineage through tremendous obscurity and power). To that, and which the foreword already explained, "Metroidvania have a canonical role: upholding Capitalist Realism to hide state predation—generally through Cartesian dualism and token Amazonomachia, mid-abjection, in heroically monomyth language: "metroid" = alien, and alien = bare life/the unhoused as something to canonically feed on; i.e., while fearing it, and which—like Frankenstein's Monster/Creed's monstrous-feminine (the Promethean Quest)—reliably return to seek revenge, doing so "from inside the house" (our thesis argument). "Once more unto the breach," said Henry the V (who Ripley was modeled after). Same idea with Samus, the space knight/cowgirl/tomboy who patrols a frontier in space—one both "vacant" of civilization and occupied by an ancient race that isn't (according to her movie double) Indigenous, but rather abject invader-impostor who must be tracked and killed with stolen armor and weapons (of power, called power-ups in Metroidvania; e.g., Samus' power armor). For fear of deportation/reenslavement (thus destitution if not outright homelessness), Samus triangulates to make others homeless out of state revenge. To that, she's always returning to old homes, banishing Grendel's Mother (or some-such "despotic" scapegoat, during regime change) through force/with extreme prejudice. Just one more war, one more score to settle by White Indians on black planets. Forever. Because capital demands it, and Metroidvania canonically play with such things, mise-en-abyme in small: "Pray for a true peace in space!" The cake is a lie.
(source)
Of this, there are geopolitical elements to consider, offstage. [...]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:d2545ppta4lpznhyjvs4tl6p/bafkreifvqcx62kftfhnpriqynytncfkin5kyb6ffbxl7bqjjq2iebz6uim)
Canonical Metroidvania; or, Geopolitics, Cartesian Dualism and Token Amazonomachia Enacting State Predation, under Capitalist Realism Gothic is a deeply nostalgic mode, one of subversive reclamation during fatal homecoming (the decay of mastery and uncertain lineage through tremendous obscurity and power). To that, and which the foreword already explained, "Metroidvania have a canonical role: upholding Capitalist Realism to hide state predation—generally through Cartesian dualism and token Amazonomachia, mid-abjection, in heroically monomyth language: "metroid" = alien, and alien = bare life/the unhoused as something to canonically feed on; i.e., while fearing it, and which—like Frankenstein's Monster/Creed's monstrous-feminine (the Promethean Quest)—reliably return to seek revenge, doing so "from inside the house" (our thesis argument). "Once more unto the breach," said Henry the V (who Ripley was modeled after). Same idea with Samus, the space knight/cowgirl/tomboy who patrols a frontier in space—one both "vacant" of civilization and occupied by an ancient race that isn't (according to her movie double) Indigenous, but rather abject invader-impostor who must be tracked and killed with stolen armor and weapons (of power, called power-ups in Metroidvania; e.g., Samus' power armor). For fear of deportation/reenslavement (thus destitution if not outright homelessness), Samus triangulates to make others homeless out of state revenge. To that, she's always returning to old homes, banishing Grendel's Mother (or some-such "despotic" scapegoat, during regime change) through force/with extreme prejudice. Just one more war, one more score to settle by White Indians on black planets. Forever. Because capital demands it, and Metroidvania canonically play with such things, mise-en-abyme in small: "Pray for a true peace in space!" The cake is a lie. (source) Of this, there are geopolitical elements to consider, offstage. [...]
Screencaps of different section openings from "Unto the Breach." 2/3
#Communism #transrights #Metroid #MetroidII #fascism
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Nintendo Music: aggiunti all'app dei nuovi brani di Super Metroid www.nintendohall.it/nintendo-swi... #supermetroid #metroid #metroidii #samus #NintendoMusic #Switch2店頭販売 #ios #android #nintendoswitch #nintendo #music #switch2 #switch #NintendoSwitch2 #NintendoSwitchOnline
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Como no me traje mi cartucho de Metroid Prime 4, me puse también a hacer retrospectiva de #MetroidZeroMission y #MetroidII ...
Chale, si me gusta la estética de GameBoy, pero se andaba aceptando el Remake de 3DS...
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Vi que alguien posteó algo sobre #MetroidII y cambié la paleta de colores de Game Boy Pocket a Game Boy Color. Ciertamente, el juego cobra nuevos bríos a color.
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Todo el metroidvania que se jugó esta madrugada
#MetroidII
#MetroidZeroMission
#Castlevania #PortraitofRuin
Bueno, y también #ShutenOrder
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Round 2 - voting is now open on our #GameBoy Season 9 bracket!
challonge.com/SSC9
#Zelda #LinksAwakening #oracleofseasonsandages #MegaManV #MetroidII #DonkeyKong94 #CastlevaniaLegends #GargoylesQuest #QuestforCamelot
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The voting bracket for the next season of the Super Switch Club starts Wednesday! (But you can predict which game is going to win now)
challonge.com/SSC9
#GameBoy #NSO #TheSuperSwitchClub #Zelda #MegaManV #MetroidII #SuperMarioLand #DK94 #LinksAwakening
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It's that time again - in the latest episode we lay out our nominations for the next #GameBoy season of #TheSuperSwitchClub!
#NSO #TheLegendOfZelda #LinksAwakening #OracleofSeasonsandAges #MegaManV #DonkeyKong94 #MetroidII #SuperMarioLand #GameBoyColor
open.spotify.com/episode/7Hy8...
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🚀🎵 Samus returns to #NintendoMusic with the addition of 19 tracks from the #MetroidII soundtrack
For those who're curious, the Nintendo Music service now contains soundtracks for over 110 titles
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Nintendo Music: aggiunti all'app dei nuovi brani di Metroid II - Return of Samus www.nintendohall.it/nintendo-swi... #metroid #metroidii #samus #NintendoMusic #Switch2店頭販売 #ios #android #nintendoswitch #nintendo #music #switch2 #switch #NintendoSwitch2 #NintendoSwitchOnline
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As we close in on 500 votes, here's a reminder of how each #Metroid did last year. Vote!
#MetroidII #SuperMetroid #MetroidFusion #MetroidPrime #MetroidPrime2 #MetroidPrimePinball #MetroidPrimeHunters #MetroidPrime3 #MetroidOtherM #MetroidPrimeFederationForce #MetroidSamusReturns #MetroidDread
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We're closing in on the end of the annual favorite #Metroid game poll! We're nearing 500 votes, so if you haven't voted yet, what are you waiting for?
Vote for your favorite below!
#MetroidPrime #MetroidDread #SuperMetroid #MetroidFusion #MetroidZeroMission #MetroidPrime2 #MetroidPrime3 #MetroidII
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Metroid II - Main corridor (Locrian)
#metroid #metroid2 #metroidii #gb #gameboy #vgm #bgm #ost #soundtrack #gaming #gamemusic #videogames #videogamemusic #locrianvgm #locrianmusic #locrian #mode #scale #locrianscale
#locrianmode #メトロイド #メトロイド2:リターンオブサムス #メトロイド2 #ロクリアン
youtu.be/-T9F8RA9RIw?...
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Metroid II - Title (Locrian)
#metroid #metroid2 #metroidii #returnofsamus #gb #gameboy #metroidgb #metroidgameboy #vgm #bgm #ost #soundtrack #gaming #gamemusic #videogames #videogamemusic #locrian #mode #scale #locrianscale
#locrianmode #メトロイド #メトロイド2:リターンオブサムス #ロクリアン
youtu.be/D-wb1RYhVq8?...
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....and three Dread-styled sprites for a super-hard mode
(Dread Mode..?)
#METROID #aseprite #MetroidII #MillasMetroidIIRemake
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metroid three
#METROID #aseprite #MetroidII #MillasMetroidIIRemake
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gravity suit
dunno which one i should use......
#METROID #aseprite #MetroidII #MillasMetroidIIRemake
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holy SHIT
#METROID #aseprite #MetroidII #MillasMetroidIIRemake
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…feel confident in choosing this monochrome handheld game as my favorite Metroid experience. #MetroidII #Metroid2 #ReturnOfSamus #Metroid #GameBoy
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Fans of #MetroidDread should really do a 100% run on #Metroid #SamusReturns
They not only added lots of backstory to #MetroidII and #MetroidFusion (X-parasites), they also managed to add snippets of backstory that directly leads to Dread.
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All that remains are three of the biggest, baddest of the Metroids, the Omega Metroids, before finding the ACTUAL biggest and baddest of them all. Then the galaxy can be at peace. If you ignore the rests of the games following this one. #metroidII #retro #nintendo #GBC
youtu.be/Cy4s6n4h61g
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With the lava flow changing once more, we get the chance to meet some more Metroid friends! And they're uh... much bigger and much more Missile tolerant than the Gamma and Omega Metroids. #metroidii #retro #nintendo #GBC
youtu.be/C23JEnSx_vw
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I don't know what this one area is with all the jumping hotdog octopuses is. And I don't even know why such delicious looking enemies exist. But it's probably one of the shortest areas of the game.
#metroidII #retro #nintendo #GBC
youtu.be/KFl_HCFC9q0
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This next area is filled more with the Gamma Metroids than the Alpha. And some are in unusual spaces. But with Spazer Beam on hand, it should be easy to get to all of them, right?
#metroidII #retro #nintendo #GBC
youtu.be/MPN4HX_n_Cw
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Through sand pits and climbing on walls, we get some more staple upgrades, like the Varia suit! However, we also discover one of the next stages of the Metroid threat. #metroidII #retro #nintendo #GBC
youtu.be/jhzQdTFSt4o
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