Hades II: A Tale of Self-Conflict
Be warned, this article contains spoilers for Supergiant's games Transistor, Hades, and Hades II.
Supergiant's 2014 gem, Transistor, is a unique blend of love story and apocalyptic sci-fi. It follows Red, a singer whose voice is stolen after an attack on her life. Her only companion is the Transistor, a greatsword that holds the soul of her lover, the Unknown. As Red embarks on her journey back to the city of Cloudbank, now overrun by the Process, a force gone rogue, she uncovers the truth behind the assassination attempt.
What sets Transistor apart is its concise narrative. Despite its brevity, the game excels in precision and detail. It masterfully conveys its story through art, mechanics, and an incredible soundtrack. The combat system, with its coding-inspired Functions, adds depth to the narrative, reflecting the city's turmoil.
But here's where it gets intriguing: Red's voice, a key element, is largely absent. This absence creates a disconnect between the player and Red's motivations, making the story all the more captivating. As the game progresses, we realize Red's true intentions lie not with saving the city, but with her lover. In a heart-wrenching twist, Red chooses to end her life to be with him, leaving us with a bittersweet ending.
And this is the part most people miss: Transistor's linear structure allows for a definitive ending, a rare feat in gaming. It's a narrative masterpiece, showcasing how a compact story can have a profound impact.
Now, let's talk about Supergiant's breakout hit, Hades. While it shares some design elements with Transistor, such as the isometric format and build customization, Hades takes a different narrative approach. It transforms the roguelike genre, known for its 'Try again, fail again, fail better' philosophy, into a compelling family drama.
Hades follows Zagreus, who repeatedly attempts to escape the underworld, seeking his mother Persephone and defying his father, Hades. Along the way, he forms bonds with the underworld's residents. Each run offers a chance to meet shades and build relationships, both romantic and platonic. The game's narrative excels in portraying the joy of these connections, especially when Zagreus finally meets his mother.
But Hades' true brilliance shines post-main story. The game continues, offering a unique ending where every character, immortal or otherwise, finds eternal happiness. It's a beautiful conclusion, leaving players satisfied.
I first played Transistor during a holiday PC separation, which led me to Hades II. By then, I had invested over 55 hours in Hades II, achieving a 32-fear clear and reaching the story's epilogue. The game's writing, especially its ending and protagonist, has sparked much discussion.
The issues with Hades II lie in its narrative structure. Attempting to fit a war story into a roguelike genre was ambitious, but ultimately problematic. The game starts as a family drama but expands into a grand war narrative, exploring philosophical questions about fate and control. However, the roguelike genre struggles to deliver the sweeping changes and endings such a story demands.
Melinoë, Zagreus' sister, is at the center of this conflict. She is fighting to free her family from Chronos' grasp, but the game's scope expands beyond her capabilities. The side characters, gods, and titans present challenges that Melinoë, as a soldier, cannot address. This leads to a fundamental issue: despite being called the 'Agent of Change,' most characters remain unchanged at the story's end.
As Jay Castello points out, Melinoë, handicapped by her role and gender, lacks the depth and flaws that could make her a compelling character. She is competent but seemingly unable to bring about meaningful change beyond defeating Chronos. Unlike Red in Transistor, who chooses her fate, Melinoë's story feels restricted and frustrating.
Game studios often feel the pressure to 'go big' with their next project, and Hades II is no exception. While it excels mechanically and artistically, its narrative struggles within the roguelike genre. It craves a world where choices matter and change is possible, something the genre cannot fully accommodate.
So, what do you think? Is the roguelike genre a limiting factor for narrative-driven games? Should developers take risks and push the boundaries, or is it better to stick to what works? Let's discuss in the comments!
