There's nothing subtle about fighting these beasts. It's not hard to run out when you're unloading clip after clip into a horde of monsters.
In the depths, you'll want to preserve your ammo as best you can.
This leads to two very different approaches to combat. The game alternates not just between over-land and underground, but between mostly human foes and mostly monster foes in any given stage. It's deeply creepy stuff, even if most of the spelunking is resolved with a gun. There aren't any really great "jump out of your seat" moments, unfortunately, but the game does a great job playing with light and shadow and sound. In the Metro itself you find yourself gunning your way through buildings and tunnels, and at times going further down into some seriously spooky catacombs. There are different approaches to different problems, and levels, while not open world, are still open enough to give you some room to maneuver. This works pretty well in a story-driven game. Level-wise, the game is linear but open to exploration. The Nazis and the Communists are both pretty much straight-up evil (which is to be expected) though one of your chief antagonists manages to be a great deal more interesting than your stereotypical mustachioed villain. I won't go into great detail on the plot. I'm all for more sex in games (games have plenty of violence but not enough sex and rock-and-roll) but the stuff in Metro: Last Light is lowest-common-denominator material, not up to par with the rest of the game.)Įye candy aside, the game is mostly about bad people doing bad things when given the opportunity. Maybe it is, but I personally believe a game can have plenty of sex and nudity and do it in a way that isn't quite so crass. When Poland-based CD Projekt RED took flack for their own sexual immaturity in the first Witcher they discounted criticism as American prudishness at play. (4A Games is a Ukranian developer, by the way. It's too bad that, sexually at least, it comes off as so juvenile. It's not a fantasy comic game where everyone is simply drawn to absurd proportions-it's a serious shooter that trades in pretty interesting themes and ideas. There's nothing wrong with sex in a game, but the sex (and stripping) on display here is childish-a poor fit for an otherwise pretty interesting game. I'd argue they're presented in a way that goes beyond the (perhaps) intended realism: that such a world would undoubtedly be unkind to women goes without question then again, I doubt breast implants would be terribly common here either.Įven Anna, a hardcore sniper who at first discounts Artyom as a noob, a rookie, is treated to a sex scene largely featuring her half-exposed, physics-defying, breasts. Indeed, women are largely treated poorly in Metro: Last Light. There are mini-games like betting on your shooting acumen and, rather less tastefully, paying for a topless lap dance (one of the most uncomfortable moments I've ever experienced in a video game, honestly.)
You also find yourself trading for ammo and guns and poking around the nooks and crannies of the various settlements you encounter. You learn quickly that although the monsters in the tunnels and on the surface are brutal, fiendish creatures, the real monsters are your fellow men.
Once again, you travel the underground metro-a massive, crumbling bomb shelter filled with misery and the pathetic hangings-on of humanity, crowded together in their shabby settlements. News of one surviving Dark One spurs Artyom and his sniper companion Anna to go out looking for the creature, but everything goes terribly wrong, and soon Artyom finds himself mixed up in a three-way political crisis and brewing war between the Nazis, the Communists, and his own people (the Order.) In a world gone mad with poison air, massive winged demons, and other deadly beasts at every turn, did the Rangers mistakenly kill off their only true friends? Is it possible these strange, telepathic aliens (who Artyom alone could communicate with) were not villains, but rather a benign race? Mostly-silent-protagonist Artyom has destroyed the Dark Ones but now wonders if that was the right call. The story picks up where Metro 2033 left off. And perhaps most importantly, Artyom is a much more tolerable avatar than Prophet. There is no mention of an Alpha Ceph, for instance. This isn't to say that Metro: Last Light is without storytelling flaws-it has plenty-but its flaws are not so glaring, and the game is richer and deeper for it. But Metro: Last Light has a far more interesting story to tell, and its cast of characters is more fleshed out and feel more real than their Crysis 3 counterparts.
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