Analysis of Metro 2033

In games on April 15, 2010 at 3:22 pm

When in 2002 Dmitry Glukhovsky began writing on his blog a story about a chavalin called Artyom who lived in the Moscow metro network with forty thousand survivors of a nuclear catastrophe on a planetary scale, I had no idea what was coming above. His modest story began to fascinate hundreds of thousands of Russians who were reading online every advance in the evolution of the life of Artyom and three years after the material was compiled and published in paper automatically becoming one of the most significant of bestsellers recent years in the icy domain of Putin.

And, as has become customary, following the literary glory came time to make the leap to the screen to harness the power of the brand, and why not the idea. But this time, contrary to what is customary, it was not a film to massacre the original work and embittered fans of the book, but to develop a game able to immerse the player in a harrowing atmosphere in a that only this medium can achieve. Metro was born 2033, an SPF of linear development that puts us in the skin of that cloistered Artyom and forces us to pass our stability whores heart and sacrifice for the greater good: the survival of the human race.
Although the post-apocalypse is being so exploited that is poised to become the new World War II genre, make no mistake: when we saw the first trailer for Metro 2033 the vast majority appeared to us an important tent at the crotch. The influence on the visual (visual only) Fallout 3 was (and is) evident in every frame of the game, just as you also feel the whiff of STALKER a mile away, but luckily 4A Games has managed to process the source text with the skill to give this title of a strong personality. Fortunately, we are not facing an embarrassing case of like Dante’s Inferno pseudoplagio. 2033 Metro drinks from many sources, but never gives the feeling that you are trying to follow a path marked by someone else beyond the novel on which it is based.

A as in the book, the strong point of the game is brutal ability to immerse the player in his own universe. The imposing 4A engine does its work great in this regard, and presents us with some very detailed environments, rich textures and complex lighting system that may not inspire in the XIV century German chiaroscuro, but it is certainly capable to get the ass the size of an olive with a pair of sinister silhouettes projected onto a wall. Ten to that effect for members of GSC Game World that founded this new study, because they have again shown that being born in Ukraine and no call John Carmack, also can be a master at this to make jueguicos bonico.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: