How Super Metroid’s Music Defined the Atmosphere

Metroid is a series which I’ve heavily neglected over the years, not for any specific reason, but it’s one I simply never got around to playing. Recently, I figured it was finally time to take a dive into the series, and I figured where better to start than Super Metroid, not only regarded as one of the best games in the series, but often as one of the greatest games ever made. I won’t be delving too deep into my opinions on the game as a whole, and I’ll likely save those thoughts for a dedicated piece (especially those on Maridia…).

I really wanted to take a look at the absolutely fantastic atmosphere that I felt during my descent into Zebes, through both the sound design and world-building. Upon touching down on the planet you’re instantly struck with a pretty heavy and unwelcoming atmosphere. On top of the rainfall and thunder, there’s an incredibly low and threatening synth cutting through the noise. It’s not typically scary, but it does a great job of feeling like you’ve taken the first step into a place where you really shouldn’t stick around. Even the Item Rooms don’t give you much reprieve; there’s a mildly unsettling technological ambience every time you find an item, typically given to you by one of the mysterious Chozo statues.

The music, along with certain design decisions, makes you feel like Samus is truly alone here; and even the few things that may help aren’t always on your side, such as with the Torizo fights, which are hostile Chozo statues. Throughout my playthrough, this small combination of factors made every typically positive interaction with the mentioned Chozo statues feel potentially dangerous.

There are a few other tracks which I really wanted to highlight too, albeit from different angles. The Lower Brinstar theme is one of my favourite tracks from this era (which I have limited experience with, so any recommendations would be appreciated). It hits at a point where I was beginning to get more into the groove of things with the game; it’s not quite as ominous or threatening as music earlier on: it’s pretty catchy, while still having a level of discomfort (and that damn flute is ingrained in my brain). The Maridia Swamp theme is another which I utterly loved — despite the area driving me insane. It’s the perfect example of music for a horror-themed water stage; it has a very low bass underpinning the whole track, heavily contrasting with the rest of the instrumentation, which is much higher pitched. There’s a haunting quality to this one; you’re deep in the belly of Zebes now, and this really makes you feel like you’re in over your head.

Super Metroid is not a horror game, but its usage of horror elements is fantastic, and the Wrecked Ship area is the perfect example. The area isn’t visually too terrifying, but the weird implications of the Ship and the music do a fantastic job of unsettling the player. It feels wrong, to put it bluntly. There are drums on the whole track, but the rhythm is unpredictable and weird; the occasional other instruments popping in feel out of place. It goes incredibly well with the level design itself. You’re forced to push through hidden pathways until you can find the single path to progression, all the while being haunted by Coverns: ghosts haunting the whole of the ship.

Super Metroid completely absorbed me, its atmosphere is fantastic and still stands up incredibly well today. Its soundscape as a whole is utterly brilliant, and it’s a core aspect of the design of its atmosphere.