Starbreeze’s The Chronicles of Riddick: Escape from Butcher Bay is one of the most competently organized and coherent games ever made. While nothing particularly dramatic or life changing will happen while playing, like Star Wars: Republic Commando it sticks with the basics and hits all the right notes. There are numerous things that the average action game screws up that Butcher Bay gets right. The setting makes sense with the way that the levels are setup. The game effectively makes you feel like you’re in prison through small details and interactions. While I don’t expect Butcher Bay to radically change the way that people think about games, I think it solidly establishes the bare minimum of what a “good” plot driven game is supposed to do.
The plot is divided into three coherent segments that are matched with proper variation in design to mirror what’s going on. Each segment is basically the same conceptually but varies in length. Riddick is placed in a low security portion of the prison where he talks with prisoners and sneaks around. After mucking about for a bit, you eventually establish a way to escape. The game then switches from stealth and dialogue to action as you tear the place apart while making your exit. Something goes wrong, you get caught, and you get dumped in another part of the prison. It holds together thematically because despite the fact that you will meet dozens of characters there is still only one overarching goal: escape from Butcher Bay. This leaves room for the dialogue to establish character instead of constantly explaining why this person is bad or why the player should care. All missions and side-missions build towards escaping, so you don’t have to worry about what the player is thinking. As Mitch Krpata puts it, “You always understand what your character is doing, and why. Riddick has to accomplish fetch missions, but they’re not burdened with a bunch of useless filler” (“The Chronic-what-cles of Riddick”, Insult Swordfighting, 29 April 2009).