Metro: Last Light (2013)

Every so often, a sequel to a janky game will make a concentrated effort to improve the mechanics, but somewhere along the way lose part of its charm. Metro: Last Light is one of those games. My biggest complaint with Metro 2033 was a number of glitches and overall clunky gameplay, but the atmosphere and survival aspects were on point. Metro: Last Light is ultimately a smoother experience, but it has lost some of the more nuanced characteristics that made the original great.

The setting and plot of Metro: Last Light obviously follows it predecessor. You play as Artyom, a young man living in the metro tunnels of Moscow after the world has been decimated by nuclear wars. Communities have formed across the metro stations, and factions have fragmented society. The Rangers, a peacekeeping force of which Artyom is apart of, control critical sections of the tunnels that more violent groups want to overtake. Tension is boiling over between the Rangers, the Nazis, and the Communists over who will ultimately control the metro.  

One of my problems with Metro 2033 was how little time was spent exploring the communities living in the metro stations. Thankfully, Metro: Last Light lets the player indulge in the post-apocalyptic society that has evolved in the Moscow underground. Throughout the game the player will visit the hubs of activity for all the major factions, as well as some other interesting stations. While there often isn’t a plethora of things to do in these visits, it was nice to spend a few minutes talking to inhabitants and just observing their way of life.

The Metro series has become synonymous with terms immersive and atmospheric. These games have the player creep through dark and dingy tunnels with nothing but a flashlight as a light source. Unknown horrors lurk in the shadows, and you can hear them skittering and stalking you. With a minimalistic HUD and a focus on scavenging to survive, these games thrive on their ability to be immersive. Metro: Last Light is no different than its predecessor in this regard. There will always be a sense of dread when exploring the ruins of Moscow and hearing eerie whispers of the dead. Or spelunking through the collapsed tunnels while mutated beasts travel in packs to hunt for their next meal.

The biggest improvement that Metro: Last Light makes over its predecessor is its focus on better designed combat scenarios. I often felt that Metro 2033 railroaded the player into forced gunfights, despite that being the weakest aspect of the game. Luckily, this game constructs its encounters more carefully and makes the gunplay more enjoyable. In forced combat there is more space to kite enemies around the arenas, rather than being cornered and mauled. In battles against humans, there is often a way to stealthily take out most of the opposition before engaging.

With its higher emphasis on combat, something seems to be lost in the design of Metro: Last Light. The original game placed importance on conversation of your tools such as bullets, health kits, and filters to survive the radioactive zones. Yet I never worried about my use of resources in Metro: Last Light. I never ran low on anything, which certainly deducts some of tension of encounters. When I’m not worried about running out of bullets, standard enemies don’t pose much of a threat. Moreover, I felt less of a need to scavenge for bullets and filters, which was a critical component of the previous game.

One of the other issues that I have with this game, along with its predecessor, is its implementation of morality. The series attempts to immerse the player as much as possible, and as such does not intrude on the game to tell the player whether what choices they are making are morally correct. The game does not even mention that it has a moral system, you are just shown one of two possible endings depending on what choices you have made. On one hand I like this implementation as it feels less “game-y”, as you aren’t being bombarded with messages telling you whether you’ve been well-behaved or not. But after completing the game and seeing online what actions were morally important, I can’t help but feel like they were overly arbitrary.

Making choices to save captured civilians should obviously be a “good” moral decision. Similarly, executing soldiers who have surrender should clearly be counted as “evil”. But Metro: Last Light contains many seemingly arbitrary actions that can ultimately determine the fate of the metro civilization at the end of the game. Choosing to strum a guitar laying around, eavesdropping on certain conversations, or walking to the back of a train are all somehow deemed as morally correct and will gain the player moral points. But tipping a dancer or killing monsters that usually attack you are considered bad behavior and you will be penalized.  

Overall, I don’t have too much to say about Metro: Last Light that I haven’t already said about Metro 2033. They are remarkably similar games, unsurprisingly. While Metro 2033 does focus more on the survival aspects of the game, Metro: Last Light improves the combat encounters. I wish that Metro: Last Light did have more resource scarcity, as that would have led to more tense encounters and encouraged scavenging. At times, the game can feel a bit derivative of some of the generic first-person-shooters that were its peers. While it certainly was a more polished game, it did partially lose what made the original game special.

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