Not long ago I was a videogame reviewer when I lived in Orlando. I would not have considered myself a games journalist; I have dignity, but I did not have a great time to say the least. It is far more fun to play videogames than write about them, which explains why real games journalists are cowardly degenerates. I would either make up nonsense I did not give a shit about or outright lie to meet the required word count. The only articles I am proud of are my review of Doom (2016) and an analysis on BroTeamPill. Everything else belongs in the garbage. That being said, I find it difficult to not write something about Metro Exodus.
When we think of the post-apocalypse many imagine barren blasted wastelands patrolled by raiders in makeshift cars and revealing attire. Road Warrior and the like have taken over our imagination of what the world would look like following a nuclear holocaust. The genre has been so impacted by this collective understanding there are hardly any deviations across cultures, except for Russia. Obviously, I am sure there are other localized interpretations, but the current benchmark for the Russian post-apocalypse comes from Dmitry Glukhovsky’s Metro trilogy.
Set in the Moscow Metro the story follows Artyom, one of thousands of people living underground 20 years after World War 3. In an effort to survive with little to no resources and under constant threat from mutants, the Metro is divided among a handful of factions that look to the past to survive the future. There is the egalitarian Hansa, the communist Red Line, and the fascist Fourth Reich. Everyone is trying to take over while the Spartan Rangers keep to the margins of society, taking down anyone or anything that threatens the Metro.
Metro 2033 was the first book and first game in the series. Originally released in 2010, I played the Redux version some months ago, and before that Last Light, the sequel. Both experiences are very different, but the core design ethos of the series is still there. Half-Life 2 set the standard for all first-person shooters, but I think Slav developers like Metro’s 4A Games perfected it.
The series is known for their immersion. You really feel you are underground not just because of the atmosphere and technical tricks, but how you progress from level to level. You as Artyom walk through long stages that have different ways of progression, either loud or quiet, with little to know direction. The developers were mindful to use light sources to guide players in a natural, unconscious fashion. On top of that is the sense of claustrophobia and danger. You have to maintain the power in your flashlight and keep a supply of gasmask filters in the event you stumble into a toxic area or journey to the surface. The tension is ramped up thanks to the fantastic sound design that make monsters scary and stealth heart pounding.
Metro Exodus continues the series traditions while taking a massive risk. After a certain revelation I will not spoil, Artyom, his wife Anna, and a handful of Spartan Rangers escape Moscow by train. When they find out Russia is not as desolate as they once thought, the group decides to search for a place to settle down and give the people of the Metro a proper future. With a greatly overhauled karma system, what happens along this journey depends on your actions.
Each level is the size of a small open world with points of interest that offer supplies to craft perishables and work/rest stations. Exploration is encouraged and not restricted by linear progression. You can start a level, go just about everywhere, and the characters will even bring up that you already visited certain areas. Character requested items are located throughout that can boost your karma if you get them. There is absolutely nothing stopping you from striking out on your own and if you follow just the main missions, you will miss a ton of extra content and negatively affect the ending.
This works in tandem with the game’s character development. The way you figure out where to go or to search for items is by interacting with your comrades. You do not speak as Artyom, but when you hover around characters they will talk to you. If you played the original games, this is how you gained karma between shoot-outs. When you listen in Exodus you not only get side objectives, but also learn about the characters and build rapport. Though not quantified in a way similar to Mass Effect 2, you get to know them like real people, and enhance your experience. For your wife Anna, not matter what, listen and interact with her whenever you can.
Gunplay is vastly improved. No one makes a better military shooter than Slavs and Exodus plays like Call of Duty made by artisan craftsmen. Every shot feels like it has so much power with each squeeze and with accompanying sound effects that sell the sensation. Modifying your weapons is far more fluid and easy. The more parts you gather from enemies, the more you can change. When you trade one gun for another in the field, you can take those parts and save them for when you get the same gun again. There are also several customization options. You could turn a revolver into a rifle or the Kalash into an RPK. There is so much you can do and the only drawback is you cannot replay the game and keep all of your attachments from your first play through.
I hope that changes in the future.
It is easy to call Exodus a “fans only” kind of experience. Newcomers will not be aware there is a karma system or how it works without research and miss out on some important character moments. It would be a learning experience, as it was for me. Where I was used to the claustrophobic tunnels and mild survival elements, I had to contend with wide-open spaces and a lack of resources to create what I needed to stay alive. Couple that with great character interactions and gunplay and you get a fantastic experience that is well worth your time, fan or not. It is certainly a more worthy purchase than Anthem or that new Far Cry expansion I cannot remember.