Wednesday , June 16 2021

Metro Exit: Beautiful, brutal single player game – with insane RTX benefits

Four seasons of the subway are waiting for you.
Zoom in / Four seasons of the subway are waiting for you.

Deep Silver / 4A games

The best I can say Metro Exit, anyone who is not familiar with his place in the trilogy of combat with first-person monsters is that this is the best game I've ever seen.

"Eurojank" is an unofficial term for this class of stretchy, versatile and often brilliant action / RPG titles originating in Eastern European countries like Russia, Poland and Ukraine. (The top of this pile is The Witch 3, whose previous two games were definitely less; newer examples Elex, Kingdom come: Deliverance, and The Technomancer) And rarely these games hold the hands of players, usually because they lack lessons or because of unclear GUI elements.

Metro ExitLike the two Metro games that 4A Studios have made before it, it has all of these peak qualities – although it's definitely the most affordable Eurojank shooter I've come across. And yes, calling this "the most accessible Eurojank shooter" is like calling Taco Bell "the most delicious Mexican Mexican restaurant". But its steps towards accessibility are important because it is a game of high peaks and so low levels. You will have to miss some obvious imperfections. Do it, however, and you are in the role of a solo experience that respects players and the challenges that people say they always dream of in the themes of commentary on always online games.

Plus, in the case of this game, there is a special beauty for anyone who has embraced one of Nvidia's new RTX-series graphics cards. As a result, I spent my review period focusing on RTX's experience and I was particularly impressed. What game makes you feel good with rays for trading? Play as Metro Exit, this is what.

Winter, spring, summer and autumn

For anyone who has missed or does not remember the previous one metro Games – Based on the books of the Russian author Dmitry Gluhovski-mass exodus begins with a long preformed sequence that summarizes metro the universe in an absurdly neat manner. The nuclear apocalypse forced the citizens of Russia to become an underground network where they rebuilt their lives only to face two equally deadly forces: supernatural monsters and political friction.

Now, the quiet main character, Artyom, has begun to push more muscles into a personal quest: to find signs of life elsewhere on Earth. To do this, he does not obey direct orders, goes up and – of course – finds out more than he or his comrades had expected.

What follows, as revealed in the hands of the game, is a significant change in the pace of the series. The preferred focus of the games meant that his levels of combat were definitely linear issues, though those with satisfactory firepower and decent stealth-path options. Metro Exit still has a linear thrust, but also gives players a massive canvas of open spaces that appear in each of the seasons of the game.

When you start a new chapter, you usually land in a massive, architecturally-minded way that can be traveled as you please. Instead of using invisible walls or artificial barriers, mass exodus makes his outdoor sky areas some of the most dangerous in the game. You can get from point A to almost anywhere in a zone, whether on foot or by additional transport (like a boat in the first "winter" zone). But once you are out of the distinct paths, the worst monsters – large, cumbersome, furry beasts with terrible growls – are more prone to hunt and run in packs and you will see the open valleys that separate you from an intriguing tower or energy object.

The result is a wonderful equation for risky management reward as an open-ended gamer. Is the optional switch to an interesting building worth the trouble? Will you take a killer a new weaponry or a boat of craft supplies, and will it cost the amount of ammunition and the health packets you will burn? 4A Games pushes the needle of this adventure by making a remarkable thing in open-air games: maintaining 3D architecture is varied and interesting, while managing some clever content and copying across giant ecosystems. (You will also not have a single boot screen when you are in a particular area.)

Anyone who does not like it Negative impact 4generic landscapes as much as I would enjoy the ecological post-nuclear stories and disclosure opportunities that mass exodus contains. Any painful running in this game something to peel off and taste.

mass exodus also careful to keep some of the game's fundamentals, manageable among challenging parts. Creation and "cleaning" add some complications and taste to weapon maintenance, but these systems revolve around an ordinary currency unit. A clumsy card can be accessed on the wrist of your character, thus filling the screen, but you also get an elegant compass to check in a pinch. And most of the game's user interface is placed on a weapon and wrist indicator, but you can always tap a quick flash button on all important numbers for ammo and inventory.

Problems with artificial intelligence, onboard and dialogue

But not all roses mass exodustrip to the apocalypse.

The first question – and it is great – is the AI. Since the press, something strange is happening with the answers of the human enemies of your presence. Usually this is a bigger mistake than "why does not this person see me" and not "how does this person see me through a wall?" Some of the epic shooting and stealth missions of the game become easier if you shoot your gun in the air, thus provoking your hostile quest with AI.

Sometimes they will be directed to you for easy killings (helped by the generous and silent weapon of the knife that can be thrown and removed from a body for constant reuse in a limited-cartridge game). Sometimes they will be transferred from the edge of the building and will be located in a way that prevents them from heading directly to you. Sometimes they scream "I see it!" as you stand in the opposite direction and stand still so you can take your sweet time and arrange the killing stroke.

Not everything is bad. The monsters of the game are a little more prone to this stupidity, which reinforces their importance as an "open-world" police force. And do not rely on this "shot in the air" trick to work in many of the firefights. In some of the best missions and moments you will not get the use of stealth, flank, or other intelligent fighting, and thank God. But there is enough AI to silence the meaning Metro Exit must be played in a certain way to overcome its difficult difficulty. And I find mass exodus is more fun when playing in this "o, shit o, shit o nonsense" mode.

The next part of the list of negatives is the rough on board and the introduction of the way metro The universe works. If you do not touch the help menus that are a little thin on their own, you will never get an explanation for the gas masks you need sometimes, or what the buttons on the screen mean when a new weapon is on the ground. In some cases, a new hint appears for a new system during play and then disappears forever if you miss it. In my case, I still have no answer in the game just how to "tag" remote objects when I see them through binoculars – and this is not a small gameplay that wants players to look for far and wide landscapes. ,

The same problem applies to the health system of the game, which shows the player's damage by making the screen border redder and more red and adds heavy breathing. At what point am I a single blow from death? Does the health kit completely cure my character? And if my missile runs out of the air reservoirs, how long can I survive before Artyom suffocates? All this is a bit vague.

The latter is the plot that is not as bad as it is uneven and verbose. metro fans of the series already know what they are doing: the plot is mostly distributed in "stay a little and listen to" the stretching of a telling dialogue. They appear mostly when you return to your base and talk to other soldiers, but they also appear when they happen to a non-violent NPC in one of the massive areas of the game and they start cracking and screaming.

Do you like a game whose combat and discovery mechanics are entirely divorced from the stop and wait delivery of long, winding dialogue, are always spoken by over-impatient actors with thick East European accents? If so, you need really pleasant moments of character development; they just snapped in too long stories that might tell you "to do this, man," after a while. On the other hand, irritable stories are felt like a fine B-movie cheese. Sometimes they are filled with "important" scam messages. (And sometimes filled with comically intense evil.)

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