Your survival is acutely conveyed in the first-person, a perspective that comes with a great power that few games wield very well. Now, rather than fussing with the controls, you can easily fire away, and focus on surviving the hellscape.
The Metro games aren't about the power fantasy in so many other shooters, and it doesn't reinvent shooting a gun. It just.feels like a modern shooter, and is no longer a distraction. This translates to the mouse and keyboard, as well, and reflects a general shift in combat design to encourage more than popping off rounds and hoping for the best. On a controller, the controls are much more streamlined, and allow you to swap tactics on a whim.
It takes precious few moments with Metro: Last Light to appreciate the mechanical upgrade. I’m partial to the theory that awkward controls can actually contribute to immersion when done properly (see: Silent Hill), but in Metro 2033, you’re supposed to be a gunslinger with a deadly arm, and it was tough to be that guy. The gunplay was shoddy enough to break the illusion. Artyom appeared to have successfully destroyed all the Dark Ones, but Last Light opens by encountering a survivor of the blast, starting a quest to learn their true nature.Ītmosphere went a long way towards helping you forget the frustration of shooting things in Metro 2033. There’s not much food, water, or other supplies, and in addition to the mutated animals that have adapted on the surface, a new race of sentient beings capable of destroying folks’ minds with a wave of their hand is causing humanity to wonder if it’s about to be replaced. Ever since the bombs dropped, the survivors of the area around Moscow have been barely scraping by living underground. Metro 2033 concluded with Artyom launching a barrage of missiles at a nest of Dark Ones. I’m happy to report Metro: Last Light makes impressive strides there, changes that will make jumping into its world easier for those who were put off by some gameplay elements that didn't work well last time. Metro 2033 was drunk on atmosphere, and brought players to an alien place where the real and the supernatural swapped places at will. You wanted to swig from a vodka bottle to be a little closer to it-I called it “full immersion.” Just being different wouldn't be enough, though. Metro 2033 was set in Russia, made in the region, and played like it came from there. That’s what made 4A Games’ Metro 2033 stand out. Metro alternates between the cramped underground and the ruined surface. That we cannot tell if a game is from one place or another suggests the desire for worldwide acceptance is often stomping out quirks that could help define the medium. It’s also resulted in a homogenization of design. If it’s fun to play, does it matter? In some respects, this makes games a wonderfully progressive medium, one in which the quality of the creation is judged for what it is. Unlike movies, books, and music, games are made in different parts of the world, but we hardly take note of their place of origin.
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