The video game METRO: 2033 Redux by 4A Games

Important: This game was released by the USK from the age of 18. Since it is not possible for me to check the identity or age of the visitor of this page or reader of this article, the responsibility for the appropriate use of the Internet and its offers lies with the respective educational sector.

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My first thoughts about the game METRO: 2033 Redux, were quite split and for a long time, I avoided this game because of that. It just seemed a bit old-fashioned and hacked. Moreover, it has been described by various more or less serious magazines as a “horror shooter”, which is not really one of my preferences when it comes to video games. Was I right about my assumption? Yes and no and a little of both!

The first-person shooter itself was released on 29 August 2014 for Xbox One, PlayStation 4 and the PC and itself represents a new edition of the game METRO: 2033. The latter game was already released in Europe for the Xbox 360 and the PC on 19 March 2010 and received a successor named METRO: Last Light, which was also revised as part of the release in the joint package (METRO Redux). METRO: 2033 is based on the novel of the same name by Dmitri Alexeyevich Gluchowski and tells the story of Artjom after a devastating nuclear war, so that the entire “upper world” is radioactively contaminated and the inhabitants of Moscow have withdrawn into the subway systems of the city. But also here, it does not come to the reflection of the people on a common basis, but the opposite occurs. The food is scarce, more or less new, old ideologically blinded associations, “empires”, rage in the narrow underground shafts, supposedly safe underground stations are formed, which function as quasi dwarf comunians, radioactive contaminated monster-rat-animals attack the people, the last survivors and last but not least, mankind (if one can still call them so) faces a new threat, the blacks. What the ominous blacks should be and how to deal with them (or not), the player faces in the course of this game. The Xbox One version was played on the Xbox One X.

Story // Action

As the introduction to this review of the game METRO: 2033 Redux has already suggested, the story plays a prominent role in this game. This is told quite pleasantly by somewhat outdated sequences, but it slows down the gameplay a little bit because of the narrative style. Too often you follow different characters and listen to them and listen to them and listen to them and… After a short time this aspect really disturbs. Outside of that, however, the story turns out to be really good, this one contains some unpredictable twists and can captivate it throughout the game. Although it does not appear to be particularly content-intensive, it at least gives you the opportunity to draw your own conclusions and derive confirmations or contradictions from these conclusions. This process gives the event a deeper meaning, which depends on the individual player. At the same time, the story is also suitable for those players who simply want to experience something and don’t want to think too much. The story has different ends, which differ from each other and are oriented towards the player’s actions, but the world never seems to be really influenceable. It becomes clear which decisions lead to which conclusions, but what the consequences of all this are, never really becomes clear. This becomes particularly clear in the fact that the story of Part 2 (METRO: Last Light) ties in with the negative end (of the book). So the possibility of having two ends at one’s disposal is a nice thought, but unfortunately it does not offer any real added value. Finally, it’s positive to mention that the story is very pleasantly reflected in the game world. If you pause for a moment and listen to the conversations of adjacent characters, you will learn a lot about the world and the background of the plot. The same applies to collectable notes that reflect the destinies and thoughts of individuals in this world. Their fates merge in a positive way into a pleasant, melancholic overall picture.

Characters // Figures

What is true for the plot is at least rudimentary for the figures as well. On his journey, through more or less dark subway tunnels and on excursions to the surface, Artjom encounters some monsters and a not inconsiderable number of characters. These are to be classified in two categories. On the one hand, there are NPC’s located on the stations, which react to Artjom according to their position, the position of the stations and their level of knowledge, but with which the player is not connected by any interaction. On the other hand, Artjom meets some characters directly interwoven with the plot, they act directly with the player and are the actual carriers of the story. They offer at least some variation in their character and form a pleasant counterweight to sections of the game in which you walk alone through the mostly underground underground tunnels. Some of them even introduce new gameplay tricks, which (in order not to reveal too much) are expressed, for example, in the restriction of the player’s freedom of movement. Ultimately, however, the game could also have done without the integration of most of the combatants in the actual combat gameplay, since they primarily lead to a noticeable restriction of the already limited freedom of the players.

Gameplay // Play Feeling

I am very divided on this point. The basic game mechanics, are well implemented and offer a lot of variety through various tools, as well as a wide range of opponent variation. Overall, the gameplay is quite capable of entertaining the player in an appropriate way. Nevertheless, you can see that the game has reached an advanced age. The mechanics, seem a bit hackled and especially the randomly occurring loading jams of the firearms, which if at all shooter-average are at least quite good but feel, disturb the game flow, especially at higher difficulty levels quite strongly. Deaths are provoked which cannot be influenced or even understood and this can lead to some frustration in the course of the game. It should also be noted that in some situations the gameplay is not quite compatible with the choice of opponents. Especially in connection with the rather sluggish game mechanics, animations and the walking movement, some opponents appear forced unfair, which of course does nothing good for the game motivation. The fight against human enemies is passé because of the topic more boring and they also don’t act very clever, but at least the mechanics work well enough.

The opponent pool consists of different mutated animal-rat-bird-etc. creatures as well as a few opposing factions and could be bigger. However, the degree of difficulty gains weight, as the different opponent types also need different tactics to be mastered. In general, the degree of difficulty ranges from quite steep to very simple, but overall it seems relatively well balanced. At the beginning of each game run, you can also select one of two gameplay styles that distinguish mechanics, resource allocation, and difficulty levels in general. Based on the two experiences, the game offers a focus on a classic shooter-gameplay or a stronger “survival-horror-paint”, which can be regarded as standard. However, the horror factor remains at a very low level, whereas the game creates the horror mainly because of its atmosphere.

Level design // Environmental design

This game is a pure singleplayer experience, a singleplayer experience in quite extensive and partly also freely explorable areas, but in very linear levels. This linearity is not only shown in the individual levels, but also in the entire game structure. Unfortunately, it is sometimes impossible to avoid strutting through so-called “corridors of duty”. Fortunately, these are strong exceptions. The areas themselves offer the player a few secrets, but they are not spectacular and unfortunately there is little else to discover. In some places it is possible or necessary to have a look around to complete the level, but as soon as you discover the compass, which is available at any time, such tasks are even more challenging than usual. On a positive note, the levels have some surprises in store for the player despite their pronounced linearity, so you should always be prepared for monster attacks out of nowhere, but also for some secrets. The human enemies in return often hide in “fortifications”, which should make the conquest or overcoming of the positions a little more difficult. The traps, however, are the player’s real mortal enemy, as they represent an Insta-Death. Sometimes it is possible for osgar to bypass enemies without losing ammunition. Unfortunately, these paths actually seem somewhat artificial and planned. At least it is a welcome possibility to save the scarcest currency in the game: ammunition.

For this reason it can generally be concluded that the game only gives few to no occasions or even possibilities to explore levels and find your own ways. But at least one gets a partial feeling of freedom in his actions, which is at least remarkable. Finally, I would like to highlight the pleasant level of detail of the levels.

Appearance // Humor

As should have become clear in previous descriptions, the game METRO: 2033 Redux is very atmospheric. Not only in terms of quasi horror it focuses on the creation of a fitting atmosphere, also in more positive parts of the game, there seems to have been a special focus on the staging in this sense. Above all, the dramatic, melancholic, cold impression is conveyed by a suitable background music, but also by the very dull, despite its almost painterly, detailed design of the individual worlds. Especially convincing is the feeling to be attacked at any time or at least to be attackable. A little more horror would still have been appropriate.

Technology // Quality

The point that most burdened METRO: 2033 Redux is technology. Although I haven’t noticed any fundamental technical quirks or game character, the age of the game is still noticeable. Many environments look richly detailed on the one hand, but the associated textures are at least no longer quite contemporary. In addition, the video game has no customization for Xbox One X, which is directly related to its release date. While the visual design, at least not completely convincing, you can’t blame the soundtrack for anything. The soundtrack is used appropriately and is still very well produced today. Also the effects and the animations (outside the facial animations) still look fresh enough. In the end, only the already mentioned somewhat dusty control system remains, which might still need to be revised, but does not interrupt the overall picture of the game.

Idea // Conclusion

Overall, I really enjoyed playing this video game and found it to be a real added value. Although it isn’t perfect to begin with, it has just such parts and a lot of potential, which is especially drawn from the scenario and at least hasn’t fully played out yet. Nevertheless, I feel that the game is a must for every shooter player with appropriate preferences and a weakness for somewhat gloomy shooters. At the latest with a Sale everyone should strike only partially interested.

Note:

All information provided is without guarantee and of a subjective nature. They reflect my opinion about the product at the present time (15.02.19). I do not guarantee completeness or correctness of the information (even if I try to fulfill these requirements). The correct/responsible handling of the given information lies entirely in the responsibility of the reader. Claims for damages or similar claims are excluded.

I was neither paid nor tempted to test this product or to evaluate it in any way. The costs for financing the product were covered by myself.

Sources:
Wikipedia: Metro 2033 (called on 15.02.19)