The guards, in this run-down environment, are used to temperamental lighting and so don't panic at a temporary blackout. All large rooms with enemies have light switches somewhere around, which can easily be flipped off. With that said, stealth is the most enjoyable combat mechanic here, which is largely down to how it ties into light. Stealth sections often begin with a small group of guards chatting once the conversation is over, which can take minutes, they'll move into much more vulnerable positions. The only point where such enforced passivity becomes truly irksome is when it bleeds too much into the action. Often, details from what you hear will crop up further down the line, small and large, and sometimes you can get our hero Artyom involved. There's no other choice, because this is where Last Light's best stories are - from the widow being told her husband was lost on a patrol, to parents reassuring their children with little lies. But it is definitely watching rather than playing and, agonised by the possibility of missing key dialogue, I sit there twiddling my thumbs. I walk a few steps forward and do the next, then the next, and so on. When entering a town, I stop and listen to the first conversation. Last Light's primary method of narrative delivery is eavesdropping. Gorgeous stuff, eh? Your time on the surface is limited but Last Light makes good use of it, with more open areas and swarming enemies creating gritty shoot-outs. This is at its most obvious in the settlements you periodically stumble across almost every character, and there are always a lot, has plenty of dialogue. It is a game designed to be savoured rather than rushed through. This can mean finding a hidden locker with precious bullets or a whole annex stuffed with nasty surprises.
Like the first game, this is a linear shooter that often gives you room to explore. Metro 2033 caught this atmosphere in its tight corridors, and Last Light does the same, albeit with more caveats.įirst, it's important to understand how Last Light is structured.
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Metro is based on Dmitri Glukhovsky's series of books, and the pitiless dystopia crafted over two volumes is one where humanity bleeds, both figuratively and literally. Not that your companions Anna and Pavel are dislikeable characters - the latter's a chatty rogue with charm and surprises to spare - but their presence feels unnecessary. So, to give one example, you're accompanied for large stretches of the game's first half - a crutch at the best of times, and one that rather taints the atmosphere here. Metro: Last Light is a game torn between the niche its predecessor staked out and genre conventions that are perceived to help sales. But if you also want tits, QTEs and hand-holding companions, then congratulations - you're part of the wider audience this game is looking for. With Metro: Last Light, it's more a question of expectations: what do you want from the Metro series? For me, it's a scary and dark post-nuclear Russian underground, a first-person survival horror-slash-shooter with scarce resources and terrifying scenarios.
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