Dead Cells, described by the developer as a "RogueVania," marries Roguelite and Metroidvania into a challenging, frustratingly addictive experience.
Metroidvania's are often praised for their super-tight execution that combines level design with gameplay and story in perfect harmony. Sounds like the formula for any good game right? They often feature upgrades to player abilities a little bit at a time and those upgrades have to balance feeling like progression without making earlier areas or weaker enemies obsolete. The same guys I took out with a pistol in the first act still need to pose some sort of a threat when I pass back through with an assault rifle and new armor. Enemy placement can handle that. For example, placing an enemy high up in a room, where it would have an advantage, while another enemy patrols the ground level in plain sight requires observing their attack patterns and good aim no matter the weapon. I'm very much harnessing Shadow Complex, a notable Metroidvania that forgoes the typical high fantasy story in favor of espionage. Now, Dead Cells aims to maintain that type of design while using procedurally generated levels and permadeath, the Rogue aspect. This combination seems like they would upend each other, but using chunks to construct levels and having branching level paths proves that these different designs can complement each other.
So you spawn, you weird alchemic-experiment-gone-wrong-you, pick up a weapon and shield (or forgo the shield and get used to dodging a lot) and that's it, fight through the Prisoner's Quarters to the end. There are however two doors to exit through, and one door requires using the first Rune you get at a later level. Assuming you don't beat the game on your first try, the second first-level exit door can be accessed pretty early on in your tenure. There will also be an area filled with enemies and no branching paths for you to get used to combat. Then there are teleporters with many branching paths on either side, often to a store or item chest and another toward an exit door. And the map is filled with all kinds of secrets that you can't access without finding Runes in later levels that grant new abilities. It's like gaining the ability to double jump in Shadow Complex and then finding secrets back in the early sections of the map. Even with Dead Cell's smaller, but more numerous levels, there's so much to find. To get a balanced, procedurally generated level, they seem to be constructed in chunks. The game even gives you hints. The map is color-coded so if you see purple ahead of you and you have no money, you can avoid the shop. From the very first level, you can rub the purple statues to no avail. Why would you do that? Find a Rune later on that changes the rub action to something more interesting, it might unlock a new area. If you see that thing and know you can't access it yet, then it's clear your exit is the branching path you said you'd check later. Grab your nearest teleporter and snap back to it instantly. The levels are filled with all kinds of secrets, that spawn with recurring patterns so even exploring the first level on your 100th run isn't completely random, but it's new and there are design choices that let you know just where you are. It's random without being aimless, a sign of a good Metroidvania baked right into the Roguelike.
Even enemy spawns are kept interesting by pairing enemies with different attack patterns on patrol together. The enemy placement can't be as hyper intentional as the first Castlevania, a linear experience, but spawning a zombie, who swings or leaps forward, with a shieldbearer, who charges and can't be hit from the front in most cases, creates a challenge akin to something more linear and intentional. You can't just mindlessly plow through these enemies, there needs to be a slight plan. And that plan can change depending on if you have a shield-sword combination, a hammer-bow combination, two different bows or varying attack speeds and power, or two different magic skills. Even if you summon the Great Owl of War, you have to be in range and not get hit.
Then there are the many level pathways to take because there are more than is necessary to beat the game once. You can beat the game without ever going to the Ossuary, but finding the way there might be beneficial to exploring and unlocker even more abilities. Secret bosses? I don't know. (I do know) The rest stops between levels allow you to invest your Cells in skills that make your life easier through later playthroughs. Dying constantly is maintained as an aspect of the story because while death restarts your physical level progress, it doesn't wipe out the fact that you've been there before. The passage of time is real for you, the player, and in the game. Tying the story and gameplay together tightly is a significant trait in Metroidvania design, and Dead Cells' choice to make death a part of the story can make the Roguelike permadeath system feel less frustrating. You die, curse a little bit, and in seconds you're back to seeing what random weapons the game starts you with, quite an addictive scenario. So dying, and dying, and dying sucks, but it doesn't come without its rewards. And if you beat it, the game rewards with an item to make the game harder while unlocking new doors and levels that hadn't been there before. If you're in the mood for a challenge, a twist on two genres, and a little rage, try Dead Cells, and maybe make some tea for the stress.
- Ben R.
Player of Games
Metroidvania's are often praised for their super-tight execution that combines level design with gameplay and story in perfect harmony. Sounds like the formula for any good game right? They often feature upgrades to player abilities a little bit at a time and those upgrades have to balance feeling like progression without making earlier areas or weaker enemies obsolete. The same guys I took out with a pistol in the first act still need to pose some sort of a threat when I pass back through with an assault rifle and new armor. Enemy placement can handle that. For example, placing an enemy high up in a room, where it would have an advantage, while another enemy patrols the ground level in plain sight requires observing their attack patterns and good aim no matter the weapon. I'm very much harnessing Shadow Complex, a notable Metroidvania that forgoes the typical high fantasy story in favor of espionage. Now, Dead Cells aims to maintain that type of design while using procedurally generated levels and permadeath, the Rogue aspect. This combination seems like they would upend each other, but using chunks to construct levels and having branching level paths proves that these different designs can complement each other.
 |
| Who is looking for me? |
 |
| Shamelessly trying to make this game look cool to you |
Even enemy spawns are kept interesting by pairing enemies with different attack patterns on patrol together. The enemy placement can't be as hyper intentional as the first Castlevania, a linear experience, but spawning a zombie, who swings or leaps forward, with a shieldbearer, who charges and can't be hit from the front in most cases, creates a challenge akin to something more linear and intentional. You can't just mindlessly plow through these enemies, there needs to be a slight plan. And that plan can change depending on if you have a shield-sword combination, a hammer-bow combination, two different bows or varying attack speeds and power, or two different magic skills. Even if you summon the Great Owl of War, you have to be in range and not get hit.
Then there are the many level pathways to take because there are more than is necessary to beat the game once. You can beat the game without ever going to the Ossuary, but finding the way there might be beneficial to exploring and unlocker even more abilities. Secret bosses? I don't know. (I do know) The rest stops between levels allow you to invest your Cells in skills that make your life easier through later playthroughs. Dying constantly is maintained as an aspect of the story because while death restarts your physical level progress, it doesn't wipe out the fact that you've been there before. The passage of time is real for you, the player, and in the game. Tying the story and gameplay together tightly is a significant trait in Metroidvania design, and Dead Cells' choice to make death a part of the story can make the Roguelike permadeath system feel less frustrating. You die, curse a little bit, and in seconds you're back to seeing what random weapons the game starts you with, quite an addictive scenario. So dying, and dying, and dying sucks, but it doesn't come without its rewards. And if you beat it, the game rewards with an item to make the game harder while unlocking new doors and levels that hadn't been there before. If you're in the mood for a challenge, a twist on two genres, and a little rage, try Dead Cells, and maybe make some tea for the stress.
- Ben R.
Player of Games
Comments
Post a Comment