|System: PS3*, Xbox 360, PC|
|Dev: 4A Games|
|Pub: Deep Silver|
|Release: May 14, 2013|
|Screen Resolution: 480p-1080p||Blood, Intense Violence, Nudity, Sexual Content, Strong Language, Use of Drugs and Alcohol|
None of the visual issues were game-breaking by any stretch of the imagination, but I could definitely see the hardware limitations shining through the ambitious graphical design.
Along with spotty visual issues, the sound of Metro: Last Light has its weak and strong points as well. For the most part, the sounds of the Metro are creepy and well timed. Issues only crop up when you are engaged in conversation with an NPC, or watching characters within the Metro. Character actions don’t always line up with their sounds (as I mentioned before) and this can break the immersion. However, this is a small issue, and doesn’t really detract from the game’s sound as a whole.
The orchestral score is dark and fitting, and sports acoustic guitar in some spots. The blend delivers a down-trodden bluesy feel, which is appropriate given the circumstances. Additionally, the ambient sound of the Metro is spot-on. Scaling music intensifies already tense situations, and the echoing tunnels amplify the creepy sounds of would-be mutant attackers.
Throughout your time in the Metro, you will fight for air and ammunition, fight against Fourth Reich Nazis and Communists, and fight for your continued existence. Along the way you will be treated to one of the most intense and immersive environments in gaming, backed up by an excellent story that shines throughout the game and tells a unique tale that is both evenly paced and compelling.
This is one of the most original games I have ever played. It steps away from industry gameplay and structure standards, which could have been disastrous, but pulls it all together in a tightly woven experience.
In the end, Metro: Last Light emerges from the dark underground as an exceedingly enjoyable single-player experience and one of the best games this year. So far.
Date: May 13, 2013