review metal hellsinger


If you like metal, rhythm games and FPS, Metal Hellsinger is made for you. We play it on PC and tell you all our experience.

review metal hellsinger

Music in video games had a radical change with the advancement of technology. There are classic melodies that remained impregnated in the minds of many, like the intro of the Maniac Mansionfor example, or the theme of the Monkey Island. Later the saga final-fantasy took his musical proposal to orchestral levels, or games like The Last of Us hired a renowned musician like Gustavo Santaolalla to stand out. DOOM of 2016 and its sequel, DOOM Eternaltook this relationship one step further, thanks to the synergy achieved Mike Gordon between music, sensations, feelings and gameplay. Taking this inspiration, the game BPM – Bullets Per Minute It puts in a very metal soundtrack so that we, as players, have to shoot, dodge and charge following the tempo of the songs. The necessary evolution to all this is called Metal Hellsinger.

We don’t know in what context Metal Hellsinger can be compared to DOOM, beyond superficial issues. Yes, both are FPS, they have metal music and a horror theme where hell becomes important. But they are, for us at least, two wildly different titles, and it all comes down to freedom of play. Metal Hellsinger It has a dungeon-like gameplay and level design that is meant more so that we can focus on shooting in tempo rather than following a story with the freedom to move forward however we want and however we can.

That said, that difference does not make one better than the other because, precisely, they are two completely different searches, which may or may not share the same audience.

Metal Hellsinger has its strength, in large part, around the feedback it generates. In other rhythm games, like Guitar Hero, for example, missing a note meant receiving an annoying and particular sound, which cut a little with the whole dynamic of the song and, if we missed several times, the song was cut, people booed us and we lost. From the psychological aspect, the game bet on the player’s frustration as a method of seeking self-improvement. One got angry, frustrated and wanted to prove to oneself that we could pass such a complicated issue, so we played it again.

Times change, forms too, which is why this title seeks to reward the player if they follow the music in time, instead of punishing them for not doing so. Can we be wrong? Sure we can. The character will still shoot, and the enemies will die. But the underlying theme, the one that has been marking the tempo, is not going to evolve.

For Metal Hellsinger, getting the tempo right not only offers us continuity, but doing it repeatedly will add different layers of sound to the song that is playing. To exemplify it in a very clear way, it is as if, from the outset, only the drums were playing. We started a streak of not missing any tempo and suddenly, a guitar was added. Then the bass. Then a lead guitar. Then the theme becomes more powerful, with greater distortion, and then a singer is added, to finish giving it shape.

This type of positive feedback, which seeks to reward and not punish, makes the player want to do things well not for fear of retaliation, but for self-satisfaction in knowing that, if he does things well, he will achieve certain things that he would not otherwise achieve. On this path, not only music interferes with positive feedback, but also with the power of weapons.

The combo bar that we have goes from 2x, to 4x, then to 8x and finally 16x. With each increase, the enemies will be more and more vulnerable to our attacks, to the point where, if we are with the bar at 16x, the largest enemies that before we could only slow with our shots, will now explode in the air of a just shotgun.

Missing the tempo of the music, as we have already said, does not generate anything significantly negative, but it makes our combo bar start to slowly decrease. The more we err, the more it decreases. The first levels, the easiest ones so to speak, have the peculiarity that this negative effect on the combo bar is slow and slow, but as the difficulty of the levels increases, the bar begins to descend faster and faster, so we have to be more attentive and focused to re-engage that streak of combos that are practically the axis of the entire game.

There is a peculiarity when it comes to eliminating an enemy, which is still a factor in comparison with the beloved DOOM. We zero in on an enemy, shoot him until he’s down, but he’s still not dead. If we press the E while the character is glowing, there is a finishing move that not only banishes the enemy from hell, but also restores our health.

If we remember, DOOM we can do something similar (which gives us health or ammunition, depending on how we finish it), but it is not something exclusive to the DOOM. Many other games have done it before, from other genres and themes. Comparisons are often necessary to exemplify, but everything has its limit.

We might think, then, that once we have mastered the balance of the combos, once we understand how to make our bar stay at its maximum, everything is simplified. On the one hand it’s true, being able to eliminate enemies with a single shot to the rhythm of music that makes you want to get into the game is extremely satisfying.

Thus, The problem is that if we play like this, we won’t be able to recover our health, and that’s a more than important counterattack. Therefore, we are going to have to doubly balance our way of playing, choosing at times to break with the constancy of our bar at 16x in order to extract from our enemies that energy that, at times and worth the redundancy, can be vital for our advance.

On our way, we are going to meet different types of demons. Each level introduces new enemies that are like the differential point of extra difficulty of each level. The bestiary is extensive and the power of each enemy is noticeable in those moments where the game takes the form of a dungeon, as we already said.

The linear advance is cut, we are locked in a certain place, where waves of enemies appear that we have to eliminate so that we can continue advancing. The bosses are always the same, although their attacks and small details of their behavior vary so as not to feel monotonous.

Whose music is Metal Hellsinger?

For those of us who are metal fans, and really enjoyed what Mick Gordon did with the last two DOOM, Metal Hellsinger it brings us happiness. While the rhythms of Gordon what they did was generate environments, in this title there are properly constructed songs, with a clear structure and, the icing on the cake, with guests from prominent bands of the genre. Between musicians and singers, let’s hear Lamb Of God’s Randy Blythe, Jinjer’s Tatiana Shmayluk, System of a Down’s Serj Tankian, Arch Enemy’s Alissa White-Gluz and Trivium’s Matt Heafyamong others.

To finish, we can affirm that the game is entertaining within its own chaos, but it becomes repetitive as the minutes go by. The visual aspect is correct, although the designs fall back on the clichés that we can expect from a representation of hell. The fact that the strength of the game is the concentration that we must have to hit the predetermined tempo of the songs, so that the attention is focused on that section and we leave aside all the rest.

Honestly, we didn’t notice how repetitive the scenarios were until we started to feel like we were doing the same thing over and over again. And again, the risk of comparing Metal Hellsinger with DOOM is that the bar is immediately set very highwith a game that has neither the same quest, nor the same goal, nor the same production costs.

RELEASE DATE September 15, 2022
DEVELOPER The Outsiders
DISTRIBUTOR funcom
PLATFORMS PC, PS5, Xbox One, Xbox Series S/X



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