For those interested in a thoughtful, deliberately-paced thriller with Tarantino-esque explosions of shocking violence, intelligent world building and genuinely scary monsters Metro Exodus might just be the train to board.
You remember that scene in Quentin Tarantino’s Inglourious Basterds? Right in the opening, where Christoph Waltz is talking to that hapless dairy farmer about trying to uncover any Jews hiding in the area. Waltz is amiable, chatty and very decorous right up until the moment he isn’t, and a bunch of nazis are blasting through the floorboards and it’s shocking and scary and you can’t quite believe the tension has finally been expelled? That’s the feeling you get playing Metro Exodus.
Metro Exodus is the third, and possibly final, chapter in the Metro trilogy comprising Metro 2033 and Metro: Last Light. The series has always been a criminally underrated slice of post-apocalyptic, first person action and suspense and hopefully with this entry will finally get the recognition it deserves.
The story revolves around Artyom – a robust but disillusioned man who, along with wife Anna, believes there are people and life outside of the claustrophobic confines of the metro system. Without getting into too many details – he’s bloody right and this fact sets him, the missus and a bunch of other characters off on a mostly above ground journey through post-apocalyptic Russia. This is a huge change for the series, and it works well for the most part. As atmospheric as the tunnels were in previous games, the change of location has added a lot more world building to the tale, and gameplay variety has increased.
The game is essentially divided into three large sandboxes that house the main missions, but also lots of side missions and environmental storytelling. The side missions aren’t 100% essential, but are really worth taking on just for the sake of getting a complete sense of the taste of texture of this grim, evocative setting.
It’s at this point we should probably bring it back to the Tarantino comparison, because Metro Exodus is a slow game. Artyom moves slowly, not sluggishly, but definitely with a certain deliberate pace. Most combat is best tackled in a stealthy manner, because death can arrive with little warning. You’ll need to worry about every bullet, because ammo is scarce, and even the ability to craft new ammo isn’t always going to help because the materials necessary to do so are also scarce. The game rewards thoughtful, meticulous forward planning and strategic thinking. Don’t get us wrong, it’s not a strategy game, and when the action kicks off, it’s frenetic and exciting, but the pace between encounters is not going to be for everyone.
Another potential sticking point is a few moments where the game’s a tad rough around the edges. The voice acting is a bit dodgy – utilising the ubiquitous but senseless ‘speaking English in bad Russian accents’ technique that hasn’t died yet for some reason – and there are minor bugs here and there, with a couple of hard crashes along the way. This is by no means everpresent or game-ruining, and will probably be fixed in patches, but it’s noticeable. There’s a slight clunkiness to some of the movement too, with the melee attack in particular feeling strangely weightless and clumsy. Still and all, these are minor issues when set against everything that works in this sprawling, ambitious tale.
Metro Exodus is engaging, tense and occasionally frustrating, but always compelling. Beset by occasional quirks of its lower-than-blockbuster budget it nonetheless delivers a freight train worth of excitement and never flies off the rails. For those interested in a thoughtful, deliberately-paced thriller with Tarantino-esque explosions of shocking violence, intelligent world building and genuinely scary monsters Metro Exodus might just be the train to board