Exodus Metro Analysis

Alexei Ananenko. Valeriy Bezpalov. Boris Baranov. It is possible that their names do not sound to you (I had to look at them myself, because ungrateful is life), but probably we will give them all the skin, and definitely at least "a toast and & # 39" some tears in their memory. There were three heroes, three among the thousands serving the desolacin on April 26, 1986 as a human shield. They were immersed in a swimming pool: the big safety pool under the number 4 nuclear station of the Chernbil nuclear station.

They weren't there for fun, even less coincidentally; they were simply because someone had to be. Because the radioactive material from a mortally wound reactor threatened to dump over the pools, a toxic vapor explosion caused the whole of Europe to wipe out and because the automatic empty system, like in bad Movies, Out of Action and Just One Valve Remained Manual, a last burning nail that would not even underwrite the writers' underwater under the mortal soup. Writing these lines is because they dared to raise their hands when someone asked for three volunteers. From their tragic but fascinating story, I've always been hit by the road, the long miles they separated from the fatal wreck. I imagine the indignant crack of the counters and the metallic taste of the air itself and I do not understand the infinite courage of three guys who ignored it all and kept one foot in front of the other and ran to their own death, because that's what the heroes do Metro exodus reproduces it all at times, and when that happens, it's fascinating.

It is also fair to admit that he began with a certain advantage, the one that gave him some deliveries that work the Soviet-colored apocalypse halfway between triomphalism and absolute defeat. Such passages were its passages, its tunnels, uranium and death occasionally buried through statues, by altarpieces, by remains of an ancient glory buried under snow and form. It's the perfect setting to set the battles against the clock, those moments in which the air around us burns, the filters are over and we just have to keep walking. If Metro Exodus has anything to do with survival, it is not because of the scarcity of bullets or construction materials; their survival is a physical survival, one based on dead environments shooting the counters, enthralling us, and rejecting us as an alien body; the hell we are forced to walk for. And we persist, one foot before the other, though the motives do not reveal them. Metro Exodus also knows how to make you feel like a hero.

Yet, and despite its impact on the sensory (and I dare say emotionally, something I didn't expect in Metro) is hardly moments. Metro Exodus is a game less claustrophobic, more optimistic, as it matches the story that wants to tell. I sincerely hope that nobody gets upset about this, but it is absolutely impossible to understand, analyze or appreciate what the game suggests without revealing the protagonists leaving the subway in the first stage of the adventure. There will be those who regard it as an unforgivable destroyer, and anyone who thinks that the caption itself and the practical totality of trailers and promotional material should put us on the track.

It is also not necessary to go into details. Let's say the game tells us about a trip, a journey of almost a year that structures the room and surroundings around the four seasons, and it always does aboard. 39, a train. A train that functions as a central element, as a vehicle to promote events in both the literal and the figurative sense: this is our main means of transport, but also the reason why we stop certain places or take certain risks. Because the train breaks down, it affects obstacles that someone has crossed in the road or needs fuel to advance; their needs are that of the group and often they are also the medium-term objective that forces us to stop the march and faces a series of completely sealed levels which are the most ambitious and open-minded approach of places like the Caspian mix with much more focused interludes, though not necessarily inferior. Some of the most intense moments offered by Metro exodus are lived in these linear divisions, the remnants of a hospital that was frozen in time, crossed, or fled from & # 39; a place that is not public, but in summer we need an absolute truth: more or less open, every new level implies a radical other institution and the impossibility to go back.

And that is why, although it looks shocking, I would dare say the game finds parallels with a reference as unexpected as the Dragon Quest saga. Before they are in a hurry to tear their clothes, I explain: there are, of course, no dragons here (although it is best to see them, core, do not remember) or lovely villagers who run a drink shop and desperately looks like their cousin, but the general structure we have on both sides is capital letters, global arches that try to tell a story with beginning and end, but which in turn benefits from every stop to others. which ultimately becomes the true soul of the game. So, as the last game of the Japanese franchise made use of a story of chosen and birthmarks to stop in underwater villages, cursed murals and trgic love stories between mermaids and sailors, Metro Exodus does the same with & nbsp; tour in Russia. postnuclear that leads us to oil worshipers, groups of lost children who grew up without a mentor or crazy apostles who regard electricity as a temptation of evil. A new stop, a new story with its end, node and often bloody outcome.

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And also a new excuse, because the game is essentially again and again the locals in a short cut of unwanted sins for two reasons: so we have something to shoot and justify having our fuel stay with their tools or with that precious passenger car hardly infected with radiation. This is not a particularly serious sin, and if it is sought, the feeling that in post-nuclear Russia life is not worth appreciating a little rubble, success is blunt, even uncomfortable. Not always, because the game also knows how to find space for humor, but for every couple of guards who strive foolishly, we'll run a few slaves killed in a clear sexual way. There are many environmental stories, many skeletons embraced by a photo of his family or in a flower gown dressed as a companion for a man who lost his reason, many decades, much defeat; Many reasons, briefly, to make us think of a Fallout, are a few points darker, although at the time of jumping to the field, the deal isn't that much.

It is true that this is the delivery that looks the most and that the levels are more open, more sandbox type, in which the rest is clearly thrown at the level of resources and production values, trying to play something similar. At least in terms of scale, there is little to object and the same can be said of an art department that makes us travel so fast by dividing a coastal town into two when the earth opens up as the action in & # 39; an impromptu prison over the oil industry's toes. Metro Exodus is a gift that does not stop for lovers of roa, xido and improvised scrap metal elevators and a pulley (of course, of course), but even under the sandbox full of upcoming sandboxes & # 39 a more guided heart, more theater, which has a few goals behind others and recognizes little relationships. There is more or less insignificant secondary (we'll talk about this soon), but if you more or less celebrate, the game finally ends in a half life of particular wide runs. And I won't regard it as a mistake at all.

But we talked about optimism. A optimism, a heap that regularly drips on, serves as a break from the rain and the hordes of guys who want to make a backpack with our legs. And a hope, again, it comes back on the train, and in some interludes it's very intelligent the game offers optional. So, mission-to-mission, station-to-station, spring-to-summer jumping will be represented by a drive as long as you want, in which the characters simply travel, talk through the passages of the passenger module, and discuss what to do. to do with lining the boiler or grabbing a championship blind. They are moments of calm that only occasionally advance the narrative in itself, and it shines in a special way in the episodes of total intrascendence; In the toasts, in the very bad jokes, in the bluffs about amoros and in all the scenes that seemingly do not contribute, and that they obey the same purpose as the possibility of occasionally sitting in a chair to smoking some repulsive cigarettes bundled with newspaper: remind us that we are human. It helps and helps to build characters that will eventually make things feel like this is because we've started playing the guitar after a nice festival. That's why we'll meet Alyosha, Stepan or Idiot and so we'll create the links that the game needs to hit hard later. Indeed, if you think of the rondita for Normandy when you return from every mission, you're right.

But it's hard to start playing the guitar without having one, and here are the secondary missions we've mentioned before, often on the rise of messages. To improve people's lives in some way or other, although it usually involves jugrsela: Metro Exodus is, in addition to everything that has been discussed so far, entails a game of fairly skilled and reasonably-able shots to survive. the action of a headline. He will also not speak precisely but of discipline; to shoot when you play, to exploit lies when possible, to think before you act. And most importantly, knowing how to manage, manage, bump and crack a team running water on all sides, and run out of battery and don't let the cowboys play in a row for more than five minutes without to stop filling the pressure gauge manually. our gun. It sounds like a lot of work, and while it is true that the game is not exactly Quake III Arena, it will say that all of these facets of resource management are measured extremely well and never stand in the way. We just need to be aware of more things, especially in encounters with creatures that do not leave rifles or scrap metal behind to rage. If you ask me, I prefer the confrontation against human opponents, although a bit of the ears: that artificial intelligence is comparable in both cases, not exactly a technical achievement without a goal is not.

And that's a shame because the game is enough in that respect; This is not the most important thing, it's not what you have real earnings. It won't give you more than twenty hours to give pirulos through the Russian steppe, but such graphics won't hurt anyone. The game is a spectacle, especially in terms of environments, drawing distance and lighting. Although some animations that occasionally remind the relatively modest origin of the game, the balance in strict technical terms is overwhelmingly positive. It's more: the game itself is aware that the raw performance is one of its strengths and tries to exploit it by periodically setting pieces that may not know how to be justified, but undoubtedly press the accelerator fully. As soon as the chains tied her to the basement of the Russian capital were broken, the saga seems to be trying to restore a podium position. & # 39; N Trinity. & # 39; Treatment with all the laws defended by prosecution collapses and a kind of ambition that we all know well. And it may be that the play goes well, because of course it has many arguments, but even before the mother of all the explosions I prefer to stay with those more intimate moments, with the heavy walk to nowhere, with the time in which the Lantern left me and my head began to spin, but persisted, for it would not have been too terrible. That's what I remember just as I try to remember it.

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