Samuel Claiborn argued that the game ramps up perfectly, meaning that it never felt slow or awkward. This is something that PJ O’Reilly discussed as well, adding that the game itself never has problems with things like framerates dropping in handheld mode. By having excellent pacing and a smooth gameplay experience, “Metroid Dread” earned praise for its performance and structure, but critics also adored its moody setting as well.
Most critics loved the atmosphere of the game. Giovanni Colantonio painted the picture when he said that the game included “visually striking biomes” that kept him interested. However, not all critics agreed. Chris Carter from Destructoid argued that the maps just weren’t memorable and tended to feel too similar as the game progressed.
PJ O’Reilly was one of the few critics to praise the stealth aspect of the game. He tied the stealth back to combat by pointing out that having to be stealthy to avoid death made coming back to the enemies when you’re able to destroy them feel pretty satisfying. Since doubling back on one’s path is a tactic the “Metroid” series practically invented, it’s nice to see “Metroid Dread” using those tactics in new ways.