Vehicles, armor and even weapons are pieced together from spare parts that are fascinating to look at, incredibly effective and, more importantly, believable in a Mad Max sort of way. The various underground factions have cobbled together life from scrap and what is left of the outside world. The depiction of life in this post-nuclear setting is probably as intense as your imagination could make it. While the characters won't be picking up any Oscars, the real star here is the world itself. Playing through the original isn't required to understand what's going on as well, as the events at the end of Metro 2033 are recapped in the first several minutes of Last Light. However, it's sad to see that in the end, the story of Last Light can be summed up by gaming's biggest trope it's all about thwarting world-er, Metro-domination. The player must sort through the intrigue, while asking the cliched question of who is the greater monster in a world of man and mutant. The political drama is ramped up significantly this time, with a story that shows that man has learned little from almost being wiped off the face of the planet once. The player returns as Artyom, the hero of the original game who is still on the trail of the mutant, but sentient Dark Ones. The sequel returns you to post-apocalyptic Moscow where nuclear winter and radiation still keep everyone underground in the world's largest fallout shelter, the city's subway system.
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The result is a shooter full of chilling atmosphere and hair-curling intensity, but plagued with niggling head-scratching moments and glitches that keep it from being brilliant. It's been more than three years since Metro 2033 launched, so developer 4A Games has had quite a bit of time to polish and tweak its follow-up, Metro: Last Light.
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