For example, this instance:Īt one point in Venice I found myself at the top of a staircase, about to return to the hustle and bustle, when a young woman quietly walked in the direction I came from. Between reliving the world as it was, and small stories snuck away in an alley, Last Light’s overarching plot of war on the horizon begins to feel increasingly archaic. The writers have taken advantage of the video game format and once again introduce some abstraction and hallucinated sequences, which are some of the more interesting parts of the game. There is also an alternate ending available to devotees who manage to identify the game’s subtle and at times forward moral decisions, but the choices at hand more ultimately boil down to what gun you’ll use to ward off mutants underground. Speaking of the story, you’ll run across a few persistent characters who help players identify a face with its governing faction, and personalities who represent a greater idea at play. The result being a more competent FPS (although with some lackluster AI) with some monochromatic, Kodak-Moment-a-minute art direction, and character-heavy plot. Perhaps 4A Games decided not to make gravity the focus of Last Light, and by letting it be more of a traditionally action-oriented FPS were able to make sure the roller coaster had all the elements a good ride should deliver. If not for the updated engine and refined mechanics, then for the fact that it allows for a conservative campaign that doesn’t overstay its welcome. This is primarily why I rather liked Metro: Last Light. I really can’t think of a more tasteful way to justify ladies prancing around on stage for our entertainment. The communist front also features a few sights to see, while maintaining an at-war profile one might recall from WW2 materials. Venice, in particular, is a standout hub that paints a picture of what a vacation destination might offer tourists of the future– what with the debauchery and waterways. There’s a stronger sense of setting this time around, and whereas the different towns in 2033 looked pretty similar throughout, Last Light thankfully delivers identity to towns. Since the draw of these games has always been the attention to detail in recreating a post-apocalyptic society that is so believable it will have you opening your window to let out the dust, that’s exactly the note that Last Light plays strongest. Apparently this is a future that is more resolute than ever on a per-colony idealogy, so that the only way to toss out a bad apple is to dump the whole bushel. As far as Last Light is concerned, if it’s not the player committing genocide, then it’s someone else who you have to stop. I guess the books would know more about that if I read them. We are designed to kill ourselves, and usually ignore the things that might keep us alive, but I just wonder how the Nazis made it further than North Korea after all-out nuclear destruction.
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Regardless, we are at war with ourselves– a point the Metro series is insistent on driving home. It wasn’t a perfect game by any means, and Metro: Last Light includes a lot of welcome changes towards what hangups players had in the prior game, including a competent approach to stealth sequences (along with a very welcomed option to knock enemies out instead of stabbing or shooting everyone), a more transparent story with identifiable antagonists, and a more stable engine to run it all.
That being said, after Metro 2033 there was almost no difficult second album to be had. Also taking place in post-apocalyptic so-and-such. They both ran the same amount of time, as well. That being said, you can expect a game with a wealth of context at the front end, a long walk for the first two acts with at least one major hub area, and a finale that quickly wraps things up without overstaying its welcome. Atmosphere can only go so far for a game, however, and having recently played the former release back-to-back against its sequel, I’ve got a few things to say about both games– one of them I’m reviewing for the first time.įirstly, the story arcs are nearly identical. The only horror remaining was of course the idea of the Metro universe being one slight reality away from ours due to a few poor political decisions.
I can’t remember if it was marketed as a horror game at the time, but it definitely doesn’t seem like one now.
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Remember when Metro 2033 came out? It was notoriously gorgeous – at a cost to high-end PC users – and deliberately oppressive in its atmosphere.
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