The camera automatically tracks the action from the best angle, giving a broad overview of the scene, where the player is often running and gunning in a side-scrolling perspective. The story is a bit cheesy and not quite as mature as one would hope, but the cinematic sequences look spectacular. And when you finally do get authorization, the feeling of accomplishment you'd normally experience in previous Metroid games is completely gone because you didn't find or earn it. It results in some mind-numbingly stupid situations like when Samus is forced into the heart of a volcano, and actively takes damage from the heat because Adam hasn't specifically told her to turn on her protective armour. This is Other M's way of solving the Metroid formula's biggest problem: how to remove Samus' powers at the outset of each new game. Starting right where Super Metroid left off, Samus has access to every ability in her arsenal from the beginning – she's just not allowed to use them until Adam authorizes it.
This has led some fan-boyish reviewers to be overly critical of what amounts to a solid and enjoyable action game with many experimental elements that don't always gel perfectly. Metroid: Other M fleshes out Samus' back story and relationship with her former commander Adam, but in so doing betrays our perception of her. Her personality was left to the player's imagination, akin to Star Wars' Boba Fett, and that's how players liked her. Throughout the series' 8 previous games, Samus Aran's personality was little more than an outline tracing a fearless, silent galactic bounty hunter. (Metroid: Other M, developed by Nintendo and Tecmo's Team Ninja (known for the Ninja Gaiden and Dead or Alive games) is the first in the series where the main heroine, Samus Aran, has a speaking role.
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