In the metro tunnels beneath Moscow, you scavenge for ammo to use as currency as well as munitions, burn away cobwebs with your lighter, and search for gas masks that allow you to breathe the perilous air should you approach the surface.
In both Metro: Last Light and in the refashioned Metro 2033, there is more dread in the deafening silence than there is in the retort of a shotgun. Both adventures allow you time to choke on their dusty, irradiated air, time in which you simply are, time that makes you wonder how the survivors of humankind's nuclear error find the will to carry on. Assassin's Creed features plentiful characters-heroes, lovers, and betrayers among them-but the cities of Damascus and Jerusalem, their temples and mosques, the way the golden spires reflect the sun, are the centerpieces of the historical journey.Īnd so it is with Metro Redux, a collection of two melancholy games, each of them crushed by the weight of a ruined Earth with little hope to tender. The Chronicles of Riddick, for instance, is less about Richard Riddick and his throaty threats than it is about Butcher Bay, a stifling prison that serves as a parched planet's only bastion of intelligent life. Blocks fall from above and you maneuver them into place, you twist dials into the correct pattern, or you collect enough currency until you can afford a stronger helmet or a sharper sword. Some games are about people-their struggles, their hopes, their dreams, their powers.
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