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Jason is locked to the 2D foreground, but enemies will often appear from the background, such guards sniping from adjacent catwalks or helicopters coming in from the horizon for a strafing run. The main aspect that separates SHADOW COMPLEX from its genre peers is the incorporation of its 2.5D perspective into gameplay. The leap in power from the early segments to later ones is amazingly massive, yet still manages to feel as natural as it is fulfilling. Even a minor task like climbing a ladder becomes enhanced when Jason can use his jetpack to rocket slide to the top. Rather than having to swim across lakes, diving occasionally to avoid chopper fire, Jason simply sprints at supersonic speeds to the other side. Enemies that previously required multiple grenades or several clips of ammunition to defeat can now be punted across the room with a hydraulic kick. Once Jason acquires his power armor, however, the entire dynamic changes. Using cover and running from bigger foes is a major focus in these early stages, thrusting more tactical considerations upon the player than is typical for games of this class. Unlike genre icons Samus and Alucard, Jason begins with only a pistol, a flashlight, and a Hot Topic t-shirt, and he feels appropriately fragile and underwhelming in combat. The difference here is how SHADOW COMPLEX presents them. SHADOW COMPLEX is reminiscent in many ways to Metroid games like FUSION and ZERO MISSION, with the abilities and pacing being nearly identical.
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The insistence of trying to keep such an inherently arcadey title grounded is just baffling.īut alas, I’m focusing on the plot of a game that, despite its pretensions, is primarily defined by its gameplay. If the cutaway anthill-style presentation didn’t already suspend the player’s sense of immersion, two minutes of gameplay certainly will. Yet this is a game where you can fall several stories without taking a scratch, rooms of slain enemies are re-garrisoned upon leaving them, and first aid supplies glow incandescent blue when shined upon with a flashlight. Guns are supposedly ID-locked to guards, explaining why they can’t be taken from fallen foes, but on several occasions Jason will just grab a new weapon in a cutscene.
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For example, a two minute cutscene explains that Claire has been given a special paralyzing agent, explaining why she can’t join you after you free her from her captors, but can still operate a radio station to give you hints throughout the game. The game also goes to great lengths to contextualize its mechanics. There’s also a stress on his unwillingness to kill, despite the fact that he casually bombs and neck snaps hundreds of goons over the adventure (usually with a corny one-liner to boot). Jason hurdles insurmountable gauntlets to save a girl he’s known for a period shorter than the sum of GAME OF THRONES, rather than running far, far away from the underground militia. For such an old school genre with a suspended sense of reality, SHADOW COMPLEX strangely places a lot of emphasis on its plot, largely with poor results. When the pair stumble across a secret base run by high tech domestic terrorists, Jason has to turn the enemies’ weapons against them to save the girl, and the nation, in time to get home for Netflix and chill. You play as Jason, a dime a dozen Nolan North schlub who goes spelunking with Claire, a girl he just met at a bar. But while SHADOW COMPLEX is certainly an important game for the genre, that doesn’t necessarily make it a defining one, and some of its mechanics don’t quite make the jump to present day with the grace you’d expect. It’s been long enough now that, like everything else these days, we get a remastered edition for the current generation of consoles. It additionally sparked a resurgence in Metroidvania type platformers while offering its own unique twists on that template. SHADOW COMPLEX turned a lot of heads back when it released on the Xbox 360 in 2009, proving that downloadable titles were indeed a viable avenue for AAA development.