Metro: Last Light is an unquestionably interesting exploration of the decrepit realities of a post-apocalypse, which is marred by a damning level of inconsistency and a distinct lack of focus.

This series is set in a dilapidated Russia, in which nuclear fallout has ensured that the only inhabitable zone left is the subterranean retreat of the metro train stations.

Last Light picks up after the events of the first game, with protagonist Artyom seeking out the last of a mutated race he all-but wiped out last time around. Amongst this core thread there are Nazi/Communist subtexts involving a developing war and internal mutiny, the salvation of a species and the redemption of our disgraced hero. Not to mention the several stop holiday tours of the Metro’s finest underground towns. Much in the same vein as its mechanics, this is one of Metro’s biggest problems: a lack of focus. Trying to juggle so many plot threads results in all of them being underdeveloped and eventually relatively disinteresting, in comparison to how successful such ideas could have been if isolated and properly developed.

In an attempt to flesh itself, Last Light has long monologues between missions to explain. But in doing this it only undermines itself, as if executed properly large monologues between levels shouldn’t be needed. A good narrative is a marriage of gameplay and story and thus should be weaved subtly within every action taken by the player.

On a technical level, the title is a mixed bag. The weapons are really well placed into the derelict feel of the game’s universe, with makeshift modifications adding a level of tactical depth. All of which are punchy and individual, each having their ideal applications. Throughout play, only a very limited level of ammunition is available, which is reminiscent of survival horror titles such as Dead Space & Resident Evil 4. This is a great means of amplifying player involvement and creating a truly tense feel of desperation.

Metro: Last Light is not without a great deal of frustrating inclusions however. For instance, when in largely populated rooms, conversational noise is not layered and so trying to listen to one particular person speak is impossible amongst the flood of idle chat. Which is monumentally irritating when trying to listen to key plot points. Furthermore, poorly conceived vehicle sections and a highly inconsistent stealth mechanic mean that the game breaks immersion about as often as it induces it.

The textures never have an issue popping in and to the game’s credit it is competent in its presentation. But in striving to create a brown & grey, derelict world, the ability to inspire is more or less extinguished. Played on a console, this was far from the technical exhibition that developer 4A Games had so nonchalantly proclaimed it to be on PC.

 

We welcome the new consoles to join the “generation” we’re already in on PC with Metro: Last Light.

— Metro: Last Light

 

 

The post apocalypse is very well fleshed in this iteration. Not simply as an aesthetic presentation, but as a construct with the relevant social and political frictions that truly define a society. It illustrates evidently, that it is within mankind’s nature to fight bitterly within its ranks for even the slightest victory, hollow as it may well be. This is highlighted perfectly by the existence of factions, even within the Earth’s ruins. A point the game makes both implicitly and wonderfully.

This aside, Metro’s most prominent feature is inconsistency. It is a clash of concepts and ideologies and never makes a decisive enough attempt at editing to keep a concise thread. Which is frustrating, as this lack of focus tarnishes every fiber of the title with several good ideas lost amongst one too many bad ones. For every quality idea that is well executed, there are three, moderate ideas that are poorly executed.

For example, in an attempt to elevate the sense of a decaying world, on the surface a gas mask must be equipped at all times, with the filters changed after several minutes. This is a good means of intertwining narrative with function and really adds to the sense of existing with a wasteland. However, Metro has so many different items within the player inventory, that their significance is lost: with chargers, air pumps, lighters, torches and more, it harbors the atmosphere of a camping holiday as much as it does an apocalypse. The sense of scavenge is clearly what was attempted by all of this, but given the linearity of the title, such features are never really explored or indeed necessary.

The game also attempts to replicate the hub-style mission breaks that some may remember from Deus Ex: Human Revolution, in hopes to boost the appeal of the rather convoluted narrative. However, these are poorly fleshed out and little more than superficial. They add little more than depth to the admittedly excellent surrounding world, which owes credit to the naturally rich source material. (As the series is inspired by the best selling novel: Metro 2033) But never truly develop any distinct flavor of player investment, which come curtain call is minimal, due to a lack of focus on all fronts by 4A Games.

Metro is a strange exhibition of both the best and worst aspects of the genre, and a title of varying qualities throughout. Rarely can such a distinct contrast between internal standards be seen, but true to this formula, Last Light flicks between a high, mid and distinctly low quality at whim; resulting in a final product that is very difficult to pin to any one of those three quantifying levels.

The constructs for a high-quality FPS lay within this title, with many intelligently implemented features bringing a much-needed breath of originality in an admittedly stagnated genre. It is a great shame then that within Metro’s post-apocalyptic ruins also sits the constructs for a rather generic, linear, shooter that brings little more than forgettable fun. With all this accounted for, Metro: Last Light is in sum a title of moderate standard, but is certainly worth a night in the bunker playing, due to a few irradiating ideas and concepts.

 

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