Though it isn’t clear at first, Metro 2033 suffers from a
severe identity crisis. The game starts out cohesive enough introducing you to
the FPS mechanics of the game and giving to the basis of the story.
Unfortunately as the game goes on things start to unravel. Random turret levels
are suddenly forced upon you and near impossible stealth sections throw any
sort of patience you once had out the window.
The game is set in a post-apocalyptic Russia. Because a
nuclear event that happened years ago, the citizens of Moscow were forced to
live in the underground metro system. Roughly eighty-five percent of the game
takes place in that metro system. The environments here are well detailed and
feel very “lived in”. You can’t engage in conversation with many of the
citizens in the various cities you’ll come across. But there are the few that
will give you pieces of lore, or even a side quest.
The tunnels of the metro look as though they’re designed to
frighten you. It’s damp, dark, and the sounds of the unknown echo throughout.
It all looks like something out of a horror game. Unfortunately Metro 2033 is
nothing like a horror game. Though it tries to be atmospheric and haunting at
times, the game up ends all the tension by constantly throwing waves of enemies
at you. It’s like they were trying to frighten you but couldn’t figure out how
so they just had everything attack on sight.
The fact that half the time you’re fighting humans doesn’t
help either. During these sections you have the “option” of trying to “stealth”
your way through or by opening fire on everything you see. This choice is an
illusion though. There are several sections of the game that practically
require you don’t be seen. Anything short of that leads to a quick death from
all angles. All in all it’s rather frustrating because you’re given very few
tools to work with and those barely work as it is. Silenced weapons can still
be heard (even from afar) and throwing knives randomly connect with the enemy.
Above the ground you’ll find the winter wasteland that
Russia has become. It’s beautiful in a haunting sort of way. These sections are
few and far between though and you are usually unable to explore because you’re
being hunted by a winged mutant. It’s a shame these areas were expanded on a
bit more.
Another mechanic of Metro’s is the gasmask and stopwatch.
When you’re above ground, or in areas with polluted air you’ll be required to
wear your gasmask. When you wear it, your character will set his watch. This
indicates how long the filter will last before needing to be replaced. Sounds
like an interesting idea, no? Alas, you’re given plenty of filters throughout
the game so there’s never any danger of running out. The only thing you have to
worry about is getting in a fight that could break your mask, but it’s unlikely
to happen. My mask only broke once throughout the entire game.
As you continue on your journey throughout the tunnels of
the metro, you’ll come across several of your fellow Russians. Most of them are
well voice acted, but there are a few (especially the children) that sound
absolutely fake. There’s nothing worse than listening to two people talk to you
with accents of opposite quality.
The goal of Metro 2033 is to save your station from these
mysterious people called “The Dark Ones”. Not much is known about them in the
beginning of the game and by the end even less if known. There are two endings
to game and one of them explains a bit more than the other, but nonetheless
you’re left completely confused about who you’re fighting and why.
Metro 2033 seemed interesting enough at first, but it
suffers from trying to be several different games at once. It’s certainly a
good looking game and plays well enough, but you’ll become frustrated by forced
stealth sections and awkward vehicle turret levels. All in all, I would pass on Metro 2033.
