MARINATED in darkness, filled with the howls of prowling mutants and featuring a cast of traumatised Russians, Metro Redux works its magic with a bleak palette.
This high-def rebuild combines the two post-apocalypse tales of survival that make up the series, originally released as Metro 2033 and Metro: Last Light. Based on the desolate novels of Dmitry Glukhovsky, the games explore the stories of those condemned to live out their lives in the tunnels of Moscow’s abandoned Metro system.
Besides the next-gen gloss applied to the grimy landscapes, the gameplay has been tweaked too to smooth the frustrating kinks in Metro 2033 by applying the lessons learned in Last Light. They both continue to exist as separate titles, with Last Light’s wilder fiction introducing a more traditional game-y feel slightly at odds with the resolutely downbeat opening chapter (basically, Nazis show up).
Resources are in constant shortage, though not quite as drastically as in the original 2033. But you’re acutely aware of the need to scavenge for bullets or gas-masks, risking an encounter with the terrifying mutants that populate the tunnels and the surface.
At their heart, though, both games remain focused on story – the search for salvation that may never come. Interspersing some challenging stealth with the dominant but less accomplished sections of first-person shooting, you’re nonetheless never too far from a little vignette reminding you of the bleakness of the world.
Retailing for a reduced price, you’re getting two fine games for less than the cost of one. Metro Redux doesn’t quite count as a true next-gen instalment in the series but it whets the appetite for a potential sequel.