Batman: Arkham Asylum
Edge|April 2020
Lauded on release, the passage of time reveals a curious lack of character
Samuel Horti
Batman: Arkham Asylum

The thing that defines our caped hero, he posits in 2005 film Batman Begins, is “not who I am underneath, but what I do”. If you judge 2009’s Batman: Arkham Asylum on those skin-deep terms, it was an unequivocal success. Its fluid fistfights kickstarted a new brand of thirdperson action, and you’ll still hear developers talking about “Arkham-style” combat today. It reversed the fortunes of Batman games, which up to that point were mostly forgettable tie-ins. And it transformed Rocksteady, then an unknown team with a single game under its belt – the obscure Urban Chaos: Riot Response – into one of the UK’s hottest studios.

Judging Arkham Asylum by what’s ‘underneath’, however, is trickier. It pits Batman against a host of his arch-enemies, including the Joker, Harley Quinn and the Scarecrow, but reveals nothing new about these characters. It toys with deeper themes of grief and trauma, but fails to explore them. In other words, Rocksteady doesn’t appear to say much about Batman other than: here’s how you make a good Batman game. That was fine at the time, but three other good Batman games later – Arkham City, Arkham Origins and Arkham KnightAsylum looks less like a revolution. The deeper you dig, the more it looks like a missed opportunity.

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Diese Geschichte stammt aus der April 2020-Ausgabe von Edge.

Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.

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