The genius of Metro: Last Light isn't the shooting, its the sad portrayal of post-apocalyptic life

There are few feelings as comforting as arriving at a station in the post-apocalyptic Moscow Metro, the blast doors groaning shut behind me to block out the ungodly mutant shrieks reverberating through the decrepit, varicose tunnels. Inside these stations, people stoically get on with their lives in corrugated subterranean shacks – trading, working, drinking, procreating – giving a powerful sense that, even when things are at their very worst, humanity grits its teeth and powers on.

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To an extent, the above scene could be from either Metro game, bespeaking the lack of significant evolution between 2033 and Last Light. The mechanics are identical and the plot is a direct continuation, as mute protagonist Artyom must track down the last remaining survivor of The Dark Ones – the telepathic species he wiped out at the end of 2033. But while Last Light may lack raw ambition, it does an incredible job of amping up the atmosphere and world-building.

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