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'Hades II': A Tale of Self-Conflict and Narrative Woes
This article contains spoilers for Supergiant's games 'Transistor', 'Hades', and the highly debated 'Hades II'.
'Transistor', a 2014 masterpiece, weaves a love story amidst an apocalyptic sci-fi backdrop. Meet Red, a singer whose voice is stolen, leaving her with a unique companion - the Transistor, a greatsword housing the soul of her lover, Unknown. As Red returns to the city of Cloudbank, now overrun by the rogue Process, a force once controlled by the city's leaders, the game's narrative unfolds.
What sets 'Transistor' apart is its concise storytelling. A tight six to eight hours, the game excels in precise world-building. Its combat, centered around coding-inspired Functions like Cull() and Void(), adds a unique twist to the story of a city torn apart by its own code. The soundtrack, a blend of diegetic vocals and non-diegetic music, is a highlight, with publishers recommending players experience the game before listening to it separately.
Red's voice, a rare treat, is heard only through vocal tracks and occasional humming. This absence of her voice keeps her motivations hidden, creating a disconnect that drives the story. The game's ending reveals Red's true intention - not saving the city, but reuniting with her lover, even if it means taking her own life.
This ending, made possible by the game's linear structure, offers a unique and irreversible conclusion. While 'Transistor' offers a replayable mode, the narrative remains unchanged, emphasizing the tragic love story.
'Hades', Supergiant's breakout hit, builds upon 'Transistor's' design elements, like the isometric format and the concept of a 'build'. But it takes a different narrative approach, transforming the roguelike genre into a compelling narrative about family and interpersonal relationships.
In 'Hades', the player controls Zagreus, who repeatedly attempts to escape the underworld, bonding with its denizens along the way. Each run offers a chance to meet shades and build relationships with the residents of the House of Hades. The game's narrative excels in its portrayal of Zagreus's journey and his impact on the lives of those he encounters.
However, the true brilliance of 'Hades' lies in its post-main-story moments. The game's narrative continues, even after Zagreus's parents are reunited, as he takes on the role of Security Specialist, tasked with finding exploits in the underworld's security. This leads to Zagreus forging bonds and improving the lives of those around him, offering a unique and satisfying conclusion.
But what about 'Hades II'? Well, that's where things get interesting, and controversial...
'Hades II' expands the scope of the story, transforming it into a war narrative. The initial gameplay loops focus on Melinoë, Zagreus's sister, who fights to rescue her family from Chronos. Once this mission is accomplished, the game attempts to narrow the focus back to family, but it soon expands into a philosophical debate about control over Fate.
The problem? The roguelike genre struggles to accommodate such a sweeping narrative. After a war, players expect significant changes, but 'Hades II' falls short in this regard. By introducing a story involving gods, titans, and the Fates, the game sets up expectations that the side characters, especially Melinoë, cannot fulfill.
As Jay Castello pointed out, despite being called the 'Agent of Change', Melinoë fails to bring about any significant change. She lacks the charm and snark of Zagreus and, being a woman, is seemingly immune to flaws. This lack of depth extends to other characters as well.
Gita Jackson noted that Melinoë's only notable trait is her competence. She experiences a moment of frustration but little else. Unlike Red in 'Transistor', who had her internal motivations hidden, Melinoë lacks any real interiority.
The story of a soldier, disconnected from her family yet sacrificing her life for them, could have been powerful. But without the space to explore her emotions and the inability to bring about change, Melinoë's character falls flat.
It's a common trend for successful game studios to aim bigger with each release, but sometimes, this ambition can lead to narrative conflicts, as seen in 'Hades II'. While the game excels mechanically and artistically, its story feels at odds with the roguelike genre. It needed a world where choices mattered and change was possible, but instead, it offered a narrative that felt constrained and lacking in impact.
And this is the part most people miss: sometimes, the biggest challenges for game developers lie not in creating new mechanics or stunning visuals, but in finding the perfect narrative fit for their genre.
What are your thoughts? Do you agree that 'Hades II' struggled to find its narrative footing? Share your opinions in the comments below!
