Zeno Clash is the artistic antithesis of Arkham Asylum's purely derivative, design-by-committee, bland, sexiness: it is a celebration of ugliness and asymmetry; the stranger realms of "Heavy Metal" (1981) with the soft core nudity supplanted by the broken detritus of an steam punk brawl between H. R. Giger and Pablo Picasso (during his surrealist phase).
In the same vein, the storyline is impenetrably mysterious and schizophrenic, very much "Through the Looking-Glass". The entire game experience could well have just been the oddest dream you've ever had. Batman, on the other hand, is Batman; you're getting the whole multi-billion dollar franchise shoe-horned (very successfully) into a Bioshock meets Streets of Rage framework with a side helping of Assassins creed. It incorporates the current characterisation of the whole mythology quite nicely; an epic win for Batman fans (of which there are many, hence the guaranteed return necessary for investing the effort of a large game developer) but perhaps a pretty uninspiring prospect for some regular folk.
Admittedly Zeno Clash is a
rail shooter corridor fighter, which makes it positively claustrophobic compared to some of the spaces available in Arkham Asylum's sandbox-ish environment. However, it's arguable how much all that freedom adds to the game: a lack of location discontinuities does make the story more immersive, but this was balanced (for me) by constantly wondering if I was pointed in vaguely the right direction, or if I had understood correctly which part of the
shopping centre island I should be rendezvousing at next. Of course, Zeno Clash is very low budget in comparison, it's creators having had to scale back from a much more ambitious project to get it done at all.
So based mostly on artictic originality, we have an early leader:
Zeno Clash 1-0 Arkham Asylum
