I felt compelled to eavesdrop on any conversation I could, if not to learn more about the world then just to overhear Last Light’s genuine dialogue. The human stations scattered throughout the tunnels seem lived-in, the characters all seem real. By the end, you’ll discover ulterior motives and villainous plans that help the plot be about more than just survival.Īll of this is contained within a living, breathing, believable world. Neither seem forced, and actually elevate the story to a better place as Last Light progresses. There’s a hefty dose of social commentary on racism and politics, all with supernatural undercurrents. Last Light’s story explores several human factions’ struggles for dominance over the others following the bombing. This left a wasteland where the Dark Ones’ home used to be. It struggles to find a strong pace during the first few hours, as it leans a little too heavily on exposition, but its latter half builds to a climactic ending that lets gameplay and story compliment each other instead of detract.Īlthough you had a choice between two resolutions, Last Light picks up where the “bad” ending of 2033 left things: in a bid to save the remnants of the human race living in Russia’s post-apocalyptic subway tunnels, Artyom launched missiles against the Dark Ones –– the supernatural race that threatened their sanctum. It’s ripe with characterization, direction and effect, but it doesn’t sacrifice player agency in the process. Last Light is a paragon for video game narratives. With Last Light, 4A Games is steering away from the canon of the novel’s sequels, opting instead to create their own story. It’s considered a cult classic, driven forward by a narrative based on the book of the same name by Dmitry Glukhovsky. Last Light’s predecessor, Metro 2033, never garnered a huge following. Metro: Last Light is a milestone for developer 4A Games.
0 kommentar(er)
