Excellent follow-up to the rest of the series.
I really enjoyed the hell out of this game, and getting to explore some of the larger world outside of the Moscow Metro was hella fun. I also really loved the group dynamics and the game did a really good job of making me care about Anna and her well-being. You can literally sit for hours and listen to the crew yap at you about their lives and what they think about the situation - which is something I've always loved about this series.
I will say that the ending is a little lacklustre in comparison to the previous two entries, but the overall journey was very enjoyable.
I really enjoyed the hell out of this game, and getting to explore some of the larger world outside of the Moscow Metro was hella fun. I also really loved the group dynamics and the game did a really good job of making me care about Anna and her well-being. You can literally sit for hours and listen to the crew yap at you about their lives and what they think about the situation - which is something I've always loved about this series.
I will say that the ending is a little lacklustre in comparison to the previous two entries, but the overall journey was very enjoyable.
Eu amo essa estrutura de jogo, os mapas abertos com limitações, o design um pouco confuso, mas que de alguma forma funciona, a imersão do jogo, com menus quase sempre diegéticos e ações burocráticas que precisam ser feitas regularmente como troca de filtro, ou usar o gerador para recarregar sua lanterna, tudo isso colabora pra uma das experiências mais imersivas que já tive em jogos.
Eu não sei se a franquia Metro volta, ainda mais na bagunça que a Embracer fez com os estúdios que comprou, mas espero que sim, é o tipo de jogo que faz falta na indústria.
Um eurojunk de 2019 que impressiona com seus visuais até hoje, brinquei demais no modo câmera. Mas tenho que citar também os muitos bugs que atrapalharam não só a imersão, mas me fizeram resetar o save várias e várias vezes. Não deu pra dar 10/10 por causa disso. É de longe o mais bugado da franquia, mas também é o maior, com mais ideias e melhor em tudo!
Apesar dos escorregões, Metro Exodus está à frente de qualquer FPS Triple A. Fecha a trilogia com maestria, com uma excelente história, cheia de personagens cativantes e se tornando um marco na história dos games (pelo menos pra mim).
Eu não sei se a franquia Metro volta, ainda mais na bagunça que a Embracer fez com os estúdios que comprou, mas espero que sim, é o tipo de jogo que faz falta na indústria.
Um eurojunk de 2019 que impressiona com seus visuais até hoje, brinquei demais no modo câmera. Mas tenho que citar também os muitos bugs que atrapalharam não só a imersão, mas me fizeram resetar o save várias e várias vezes. Não deu pra dar 10/10 por causa disso. É de longe o mais bugado da franquia, mas também é o maior, com mais ideias e melhor em tudo!
Apesar dos escorregões, Metro Exodus está à frente de qualquer FPS Triple A. Fecha a trilogia com maestria, com uma excelente história, cheia de personagens cativantes e se tornando um marco na história dos games (pelo menos pra mim).
A story that's told in expository monologues with a binary morality system that felt outdated a decade ago just to propel you through technically impressive environment art in an open world that isn't meant to actually be explored.
I played Metro: Last Light about two years ago and I could not recite to you a single story beat or memorable gameplay function it had. It was very playable, but that's about all. I feel like this one may stick with me more, and to it's credit I started to enjoy it more as it went on, but man everytime I'm lost inside a busily textured, pitch black level with 12 enemies moaning in Dolby Atmos it feels like my personal Hell.
I played Metro: Last Light about two years ago and I could not recite to you a single story beat or memorable gameplay function it had. It was very playable, but that's about all. I feel like this one may stick with me more, and to it's credit I started to enjoy it more as it went on, but man everytime I'm lost inside a busily textured, pitch black level with 12 enemies moaning in Dolby Atmos it feels like my personal Hell.
I fucking stood up and saluted my Colonel at the end. No more words are needed.
Um ótimo fechamento para a trilogia, gráficos bonitos e uma direção de arte linda, além de uma narrativa consistente, tendo somente alguns momentos que parecem desnecessários, sua gameplay também é um diferencial, forçando ao jogador controlar os recursos e optar por jogar de forma stealth.
Pontos Positivos:
-Bom fechamento da trilogia
-Gameplay com racionamento de recursos
-Direção de arte
Pontos negativos
-Algumas partes soam cansativas, principalmente porque você só fica parado ouvindo os personagens falarem.
-Trilha sonora esquecível.
-Sem muitos personagens marcantes.
-Inimigos não muito variáveis
-O "blind one" acaba sendo fácil demais, não tive nenhuma dificuldade contra ele, mesmo criando hype quando apareceu pela primeira vez.
Pontos Positivos:
-Bom fechamento da trilogia
-Gameplay com racionamento de recursos
-Direção de arte
Pontos negativos
-Algumas partes soam cansativas, principalmente porque você só fica parado ouvindo os personagens falarem.
-Trilha sonora esquecível.
-Sem muitos personagens marcantes.
-Inimigos não muito variáveis
-O "blind one" acaba sendo fácil demais, não tive nenhuma dificuldade contra ele, mesmo criando hype quando apareceu pela primeira vez.
red dead redemption 2: russian DLC
this may be more of a semi open world immersive sim with heavy stealth elements. but it's telling a lot of the same story as RDR2 and in very similiar ways.
both feature trains, coughing fits, and some fine natural day/night lighting. both are very slow, heavy, tactile games (in very different ways, RDR2 is more realistic but metro exodus is the game with an in-game map and a first-person camera that shows off some of gaming's most extremely textured gloves).
both are about desperate people suffering a bleak existence and attempting to survive harsh environments while clinging to dreams of a brighter future.
both take serious time out and go out of their way to explore their side characters in more depth than most games typically offer their main characters.
the best moments in both games are the quiet ones. like just the pleasure of exploring the world and taking in the atmosphere. or just listening to conversations, that either include you or don't. i think in that way both games aren't just about companionship but the importance of empathy.
both are about the consequences of your actions too. although in red dead 2 those actions are scripted. the game is third-person. you play a scripted character with a preset fate. metro exodus on the other hand, while featuring a scripted character, is in first person and has how play as someone who only ever speaks during loading screens when they're writing in their diary (another connection to rdr2 re: the diary). it ultimately tests your character's morality through your actions as a player. maybe those actions too subtle. maybe they're too dense to grasp. all i know this game left me in the same space as red dead 2 but i had to face that the bitter taste in my mouth was not the author's doing but my own, and when i realised i had to reap what i sowed, all i could say was "damn, you got me".
cool game. glad i played it. and even on a launch ps4 this thing sparkled. will play the DLC eventually.
this may be more of a semi open world immersive sim with heavy stealth elements. but it's telling a lot of the same story as RDR2 and in very similiar ways.
both feature trains, coughing fits, and some fine natural day/night lighting. both are very slow, heavy, tactile games (in very different ways, RDR2 is more realistic but metro exodus is the game with an in-game map and a first-person camera that shows off some of gaming's most extremely textured gloves).
both are about desperate people suffering a bleak existence and attempting to survive harsh environments while clinging to dreams of a brighter future.
both take serious time out and go out of their way to explore their side characters in more depth than most games typically offer their main characters.
the best moments in both games are the quiet ones. like just the pleasure of exploring the world and taking in the atmosphere. or just listening to conversations, that either include you or don't. i think in that way both games aren't just about companionship but the importance of empathy.
both are about the consequences of your actions too. although in red dead 2 those actions are scripted. the game is third-person. you play a scripted character with a preset fate. metro exodus on the other hand, while featuring a scripted character, is in first person and has how play as someone who only ever speaks during loading screens when they're writing in their diary (another connection to rdr2 re: the diary). it ultimately tests your character's morality through your actions as a player. maybe those actions too subtle. maybe they're too dense to grasp. all i know this game left me in the same space as red dead 2 but i had to face that the bitter taste in my mouth was not the author's doing but my own, and when i realised i had to reap what i sowed, all i could say was "damn, you got me".
cool game. glad i played it. and even on a launch ps4 this thing sparkled. will play the DLC eventually.
the beginning was a bit confusing and too fast for my liking, but i loved from that point onwards the sense of connection i had with every member of the train. also enjoyed most of the levels, specially the desert one and it's little silly car
no score for this one. the short time i played this game it exceeded my expectations, the traversal felt amazing to go through. but GODS the load times were just atrocious, i understand I have a PS4 but GOWR was much more faster than this game...3 mins of loading. honestly i rather just have the linear levels back with shorter load times than waiting a long time like that. i've decided i will go ahead and just wait to purchase it on PC with the rig I planned on getting some time this year
After watching the trailers I thought this game would make me like the Metro games and oh boy I was so wrong. It made me hate them even more. Boring and too slow to be enjoyable
I don't actually think this series is bad, but for some reason I haven't enjoyed either of the two that I've tried. Both this and Last Light just didn't do it for me. The setting, story, and gameplay style totally should be a good fit for me but I just really can't get over the way the game feels to play. It's way too slow for my liking. Kinda feels like you're always moving through mud.
Exodus was no joke one of the best open world games I've ever played, but as time went on, it became more and more closed-in, eventually culminating in a final level that is just like half the levels in 2033 and Last Light, but now feeling worse because of how amazing the rest of the game was. By that point, I couldn't muster any strenght to beat it, and after I've looked up the ending and my annoyances with the game have piled up, it was a death by a thousand paper-cuts situation. 4AGames are one of the most insanely passionate developers on Earth rn, and I respect their craft immensley, but Exodus ultimately fails to completely escape the shadow of the previous games in the series. A lot of problems of those games haven't really been fixed, but new great stuff was added, instead. And that's cool, but I just hope that their next game finds a way to break the mold completely and not be a half-step Exodus ended up becoming.
This review contains spoilers
AAA Slavjunk.
Updated review:
So there are two perspectives on how I see this game: as an Eastern European and as a European in general.
If I see it from a latter perspective - this is a really well-made FPS with outstanding visuals (60 FPS + RayTraycing on PS5 - are u fff kidding me?) and a unique aesthetic. If I need to put it in one line - It's kinda Wolfenstein in East Europe. You have a hub, well-written characters, meticulous attention to details such as weapons and environments and tons of "unnecessary" dialogue lines that help ground a player into the world. I think the ending is nice cause it goes against a typical, or should I say, "American" narrative and kinda feels "art-housy" by American standards.
Characters are well-written and have much to say, which helps extend the world and a player's intrinsicness to it.
The visuals and artist's work are superb, as well as the technical part. I don't know how the stuff can be so detailed, well-made and realistic.
They say: you can have either 60fps or RayTraycing on the new console generation. Well, this game gives you both at the same time! How? I don't know.
Gunplay is OK. It does the job.
And the main protagonist of this game - the world and environments.
They are sensational. Superb. So good.
Environment artists should get some sort of award for their job.
The only caveat here is the sound. I can't recall any song or melody from this game. The music is super generic and lacks of identity. And the sound mastering and sound design. I dunno, maybe Microsoft paid Gearbox and 4A games, but on PS5 - sound-design and mastering were awful. Sometimes I was thinking how this could be real in such a big game.
Some voices during the action scene are super low, and some sound FX are super high; it's all over the place. I guess it has to do something with the gas-mask, if so - they didn't handle it right. I had a constant feeling that I was either deaf or had hearing issues because of the pitch and sound spacing (in 3D space). It's bad.
Now from an east-european perspective.
I was mostly disappointed by the story and the message, or lack thereof.
What initially started as a clear homage to a Moscow-centrism with its typical modern-fascist russia slogans: "Who, if not us?" - this is what putin says to his people when sending thousand of russians to kill Ukrainians in Ukraine while his daughters and friends live a good life and make money in Europe. Or Imperial-expansion and colonization and later resource extraction and culture appropriation. I remind you that modern russia is an empire, not a state with hundreds of different nationalities and unique languages, which governs from the centre (Moscow). The crew and a player who departs from Moscow go around post-apocalyptic Russia - and kill locals. If you play stealth and do not kill - technically, you still intervene in the locals' lives by stealing their goods and extracting what's needed for you.
High level of paternalism and chauvinism. Anna's father (a colonel) is hiding that Moscow wasn't the only city that survived because he (55+ old man and military) knows better what suits the younger generation.
Here it could be a homage to conservatism and nationalism that spread in russia during the last 10-13 years. Instead of developing this trope, you go on the last mission with the colonel, who, in a typical manner, preaches about everything and tells you what to do. So technically speaking, he always retains his authority during the story. So you're still operating in this small, miniature, proto-military police state when everything governs by old white men.
This also could be extended to the fact that all women in this game have at least size three breasts. Thank God Anna has short (male-like) hair, but I bet a publisher asked 4A games to do so. Women objectification is a common trope in East Europe even today.
And lastly, Artyom - I think it's quite symbolic that he has nothing to say because he has no agency; he acts based on what he was told to do by the authority figure, and he sacrifices himself in the end and dies, which is a typical east-european male mythology, where a "hero" only those who die and not those who live. It's all adds to this never-ending fatalism and nihilism that spread within Russian and Ukrainian (though here to a lesser degree) cultures and an excellent engine to the death drive, which we see in its culmination since the 24th of February 2022.
Updated review:
So there are two perspectives on how I see this game: as an Eastern European and as a European in general.
If I see it from a latter perspective - this is a really well-made FPS with outstanding visuals (60 FPS + RayTraycing on PS5 - are u fff kidding me?) and a unique aesthetic. If I need to put it in one line - It's kinda Wolfenstein in East Europe. You have a hub, well-written characters, meticulous attention to details such as weapons and environments and tons of "unnecessary" dialogue lines that help ground a player into the world. I think the ending is nice cause it goes against a typical, or should I say, "American" narrative and kinda feels "art-housy" by American standards.
Characters are well-written and have much to say, which helps extend the world and a player's intrinsicness to it.
The visuals and artist's work are superb, as well as the technical part. I don't know how the stuff can be so detailed, well-made and realistic.
They say: you can have either 60fps or RayTraycing on the new console generation. Well, this game gives you both at the same time! How? I don't know.
Gunplay is OK. It does the job.
And the main protagonist of this game - the world and environments.
They are sensational. Superb. So good.
Environment artists should get some sort of award for their job.
The only caveat here is the sound. I can't recall any song or melody from this game. The music is super generic and lacks of identity. And the sound mastering and sound design. I dunno, maybe Microsoft paid Gearbox and 4A games, but on PS5 - sound-design and mastering were awful. Sometimes I was thinking how this could be real in such a big game.
Some voices during the action scene are super low, and some sound FX are super high; it's all over the place. I guess it has to do something with the gas-mask, if so - they didn't handle it right. I had a constant feeling that I was either deaf or had hearing issues because of the pitch and sound spacing (in 3D space). It's bad.
Now from an east-european perspective.
I was mostly disappointed by the story and the message, or lack thereof.
What initially started as a clear homage to a Moscow-centrism with its typical modern-fascist russia slogans: "Who, if not us?" - this is what putin says to his people when sending thousand of russians to kill Ukrainians in Ukraine while his daughters and friends live a good life and make money in Europe. Or Imperial-expansion and colonization and later resource extraction and culture appropriation. I remind you that modern russia is an empire, not a state with hundreds of different nationalities and unique languages, which governs from the centre (Moscow). The crew and a player who departs from Moscow go around post-apocalyptic Russia - and kill locals. If you play stealth and do not kill - technically, you still intervene in the locals' lives by stealing their goods and extracting what's needed for you.
High level of paternalism and chauvinism. Anna's father (a colonel) is hiding that Moscow wasn't the only city that survived because he (55+ old man and military) knows better what suits the younger generation.
Here it could be a homage to conservatism and nationalism that spread in russia during the last 10-13 years. Instead of developing this trope, you go on the last mission with the colonel, who, in a typical manner, preaches about everything and tells you what to do. So technically speaking, he always retains his authority during the story. So you're still operating in this small, miniature, proto-military police state when everything governs by old white men.
This also could be extended to the fact that all women in this game have at least size three breasts. Thank God Anna has short (male-like) hair, but I bet a publisher asked 4A games to do so. Women objectification is a common trope in East Europe even today.
And lastly, Artyom - I think it's quite symbolic that he has nothing to say because he has no agency; he acts based on what he was told to do by the authority figure, and he sacrifices himself in the end and dies, which is a typical east-european male mythology, where a "hero" only those who die and not those who live. It's all adds to this never-ending fatalism and nihilism that spread within Russian and Ukrainian (though here to a lesser degree) cultures and an excellent engine to the death drive, which we see in its culmination since the 24th of February 2022.
A lot of things about this game are janky and awkward, but the things it does right are so amazing that I'd absolutely still recommend it.
Artyom should totally be able to talk to Anna though.
Artyom should totally be able to talk to Anna though.
This review contains spoilers
I first played this game two years ago and it was the first game I covered in my YouTubing video all about the Xbox Game Pass. Despite loving Metro Last Light (which on replay went down for me) and generally enjoying Metro 2033 (which grew on me), Metro Exodus was a bit of a disappointment. I was none too pleased with the more open world approach, and so when playing the game I kind of ruined it for myself by just not engaging on that level at all.
I think this is the sort of game where you really get out of it what you put into it, and I think with Exodus initially I had trouble meeting the game halfway on what it was trying to actually accomplish, instead of just dismissing it because that's not what *I* wanted. So with replaying Metro Exodus, I kind of anticipated it to become my favourite of the three since Last Light really didn't hit me the same way. And so naturally, Metro Exodus is probably my favourite of the three now, being by far the most dynamic and interesting. Unlike my initial playthrough, I really managed to get involved with the world and I tried my best to explore each location, which predictably made me enjoy the game far more since I was actually doing what the game wanted me to be doing, fancy that.
Despite that, the main draw of these games for me is still the story, though I suppose Metro 2033 has the advantage there since it is a strictly linear game that can pace itself a lot better, where in Exodus you may find yourself running around and doing nothing for like 30 minutes before getting on with it. The characters and the overall story is so great here, Red Dead Redemption 2 for good reason is mentioned when it comes to great ensemble casts, but I think Metro Exodus outdoes even that game. Again due to my unwillingness to play along, I found it hard to care when Artyom died at the end, I wasn't sure why it happened and didn't really care about anyone. Here, I gave the game a chance to do its thing and I ended up enjoying every character, because I actually spent time with them and allowed the game to showcase the people in your crew and also the people inhabiting the world.
One of my favourite interactions was during the idyllic but warring forest area of the game, where after coming across an abandoned lumber mill you go up to the rooftop and find a crazy guy in a wheelchair, comforted by a bird in a cage and two rotting corpses that he parades around as if they're alive and talking to him. It goes on for almost ten minutes and it's quite depressing, before the man falls asleep to you playing guitar after sharing a drink, but it's such a simple and considered moment that adds so much authenticity and emotion to the world.
Also, the train is great and I was smoking crack before. In fact, most of my favourite moments initially didn't really hit me the same this time, so if anyone watches that Game Pass video, just imagine the opposite of everything I say about Metro Exodus lol. Long.
I think this is the sort of game where you really get out of it what you put into it, and I think with Exodus initially I had trouble meeting the game halfway on what it was trying to actually accomplish, instead of just dismissing it because that's not what *I* wanted. So with replaying Metro Exodus, I kind of anticipated it to become my favourite of the three since Last Light really didn't hit me the same way. And so naturally, Metro Exodus is probably my favourite of the three now, being by far the most dynamic and interesting. Unlike my initial playthrough, I really managed to get involved with the world and I tried my best to explore each location, which predictably made me enjoy the game far more since I was actually doing what the game wanted me to be doing, fancy that.
Despite that, the main draw of these games for me is still the story, though I suppose Metro 2033 has the advantage there since it is a strictly linear game that can pace itself a lot better, where in Exodus you may find yourself running around and doing nothing for like 30 minutes before getting on with it. The characters and the overall story is so great here, Red Dead Redemption 2 for good reason is mentioned when it comes to great ensemble casts, but I think Metro Exodus outdoes even that game. Again due to my unwillingness to play along, I found it hard to care when Artyom died at the end, I wasn't sure why it happened and didn't really care about anyone. Here, I gave the game a chance to do its thing and I ended up enjoying every character, because I actually spent time with them and allowed the game to showcase the people in your crew and also the people inhabiting the world.
One of my favourite interactions was during the idyllic but warring forest area of the game, where after coming across an abandoned lumber mill you go up to the rooftop and find a crazy guy in a wheelchair, comforted by a bird in a cage and two rotting corpses that he parades around as if they're alive and talking to him. It goes on for almost ten minutes and it's quite depressing, before the man falls asleep to you playing guitar after sharing a drink, but it's such a simple and considered moment that adds so much authenticity and emotion to the world.
Also, the train is great and I was smoking crack before. In fact, most of my favourite moments initially didn't really hit me the same this time, so if anyone watches that Game Pass video, just imagine the opposite of everything I say about Metro Exodus lol. Long.
Puuuh, das war mal deutlich schwächer als die beiden Vorgänger. Beginnt interessant, kommt dann aber irgendwie gar nicht mehr vom Fleck, ist viel zu lange und wiederholt sich einfach nur. Die Open World tut dem Spiel alles andere als gut und auch in Sachen Gameplay ist jetzt von PS3 zu PS5 kaum ein großer Fortschritt zu erkennen. Wirkt alles irgendwie so beliebig. Wollte mich zumindest noch durchkämpfen, damit ich storytechnisch auf dem aktuellen Stand bin, aber irgendwann ging das einfach nicht mehr und hab dann doch abgebrochen (was bei mir äußerst selten passiert) und mir das Ende der Story bei Wiki durchgelesen. Meh.
Meh(tro)... Ex(it to desktop)odus.
At one point I stopped to check the map and a bunch of weird dog-creatures ran past me while snarling and it scared the shit out of me. Very immersive, liked it a lot
Uma experiência imersiva sensacional e emocionante. Desde a história até os gráficos, gameplay, cenários e etc. Um jogaço em todos os sentidos. Valeu a pena cada centavo e minuto gasto.
An excellent game, in my opinion the best in the series, everything is done perfectly, the plot, locations, atmosphere are all at a high level, the dlc is also interesting and worth playing through, the only good ending seemed sadder, bad)
10/10
10/10
o jogo te pega pela imersão e o fato de quase não ter hud. Por ser o primeiro jogo da franquia metro que eu joguei, apreciei bastante, porem acredito que depois da metade do jogo ele vai ficando mais desinteressante (Acredito que seja porque vai ficando mais linear), mas ainda assim foi uma experiência que eu não esperava pq baixei do nada so pra ver qual que era do negocio e acabei curtindo
É incrível como esse jogo conseguiu ser o melhor dos 3. Ele junta tudo o que todos fizeram bem e adiciona o mundo aberto. Nessa estrutura de road trip, nos locais abertos que você chega, cada um com seus personagens únicos que influenciam como você verá aquilo. E personagens, a Ordem nunca foi tão boa. Todos os seus companheiros de combate são pessoas, profundidade, sentimentos, frustrações e sonhos. É um jogo que te da tempo de sentir a humanidade nos seus companheiros de combate, de uma forma que nenhum CoD ou BF consegue e jamais conseguirá. Esse período conhecendo ele faz algo que eu achei fantástico, que é me fazer criar uma conexão muito forte com os camaradas da Aurora, eu senti esse trem como sendo minha casa.
Vale falar que as escolhas morais no jogo são no combate, é muito bom ver um jogo que faz isso no combate e não na forma básica de conversa. E mesmo fazendo isso no combate, ele deixa claro em que momentos você pode escolher a forma menos violenta, ainda assim, o jogo te permite participar de muitos tiroteios. Não perde nada da graça.
Eu gostei muito mais do que eu esperava. Só nao vou dar mesmo 5 estrelas porque fiquei triste que tiraram a divisão de dificuldade que tinha nos anteriores, que era de escassez de itens/combate. Eu gostava de jogar com um combate difícil mas sem escassez. Acabou que eu ficava alternando a dificuldade pra mais fácil em momentos de exploração para ter mais itens e munição, e no combate eu pausava e aumentava. Como os menus são bem rápidos, não me incomodou muito.
Fora isso, o jogo é absolutamente lindo, apesar de já ter 2 anos e nao ser exclusivo de nova geração, foi o primeiro jogo que eu joguei no meu Series S que me fez realmente sentir "Okay, esse é o poder da nova geração".
Um espetáculo de jogo, fãs de boas histórias, de fps, de jogos imersivos, ate um pouco pros fãs de survival horror (esse beeeem menos mas ainda um pouco), JOGUEM. Esse é um jogo muito subestimado e que merece muito ser conhecido.
PS. Eu joguei ele praticamente todo no quick resume, facilmente a melhor funcionalidade do Series X/S
Vale falar que as escolhas morais no jogo são no combate, é muito bom ver um jogo que faz isso no combate e não na forma básica de conversa. E mesmo fazendo isso no combate, ele deixa claro em que momentos você pode escolher a forma menos violenta, ainda assim, o jogo te permite participar de muitos tiroteios. Não perde nada da graça.
Eu gostei muito mais do que eu esperava. Só nao vou dar mesmo 5 estrelas porque fiquei triste que tiraram a divisão de dificuldade que tinha nos anteriores, que era de escassez de itens/combate. Eu gostava de jogar com um combate difícil mas sem escassez. Acabou que eu ficava alternando a dificuldade pra mais fácil em momentos de exploração para ter mais itens e munição, e no combate eu pausava e aumentava. Como os menus são bem rápidos, não me incomodou muito.
Fora isso, o jogo é absolutamente lindo, apesar de já ter 2 anos e nao ser exclusivo de nova geração, foi o primeiro jogo que eu joguei no meu Series S que me fez realmente sentir "Okay, esse é o poder da nova geração".
Um espetáculo de jogo, fãs de boas histórias, de fps, de jogos imersivos, ate um pouco pros fãs de survival horror (esse beeeem menos mas ainda um pouco), JOGUEM. Esse é um jogo muito subestimado e que merece muito ser conhecido.
PS. Eu joguei ele praticamente todo no quick resume, facilmente a melhor funcionalidade do Series X/S
vodka 3
Legendary story
Metro Exodus for me was shaping up to be a very disappointing experience, thought the plot alone was almost enough to ruin the whole series and the fact it was going the "semi open world" route worried me.
But surprisingly enough, I think it's actually the best in the series. It retains the great atmosphere and story of the other games but without many of they're issues, which means that the gameplay isn't just fineee.
I thought the gunplay was quite great in this one, the way you unlocked attachments for guns was also cool, you don't buy them but get them by looting guns that enemies drop. You can change attachments on the fly now which makes adapting from stealth to combat a lot easier when you can just change to a suppressor when you want to play it stealth and then change to something else when you fuck up the stealth and shit goes to hell.
The backpack and crafting system is implemented extremely well and though I miss using bullets as currency (which was a mechanic with A LOT of potential and was really interesting but oh well), I also like how it is in this game, you don't just pause the game to go to a menu where you can craft stuff but rather take out your backpack in game and then you can craft stuff, it keeps you vulnerable and doesn't break immersion.
Influences from Far Cry 2 can be felt heavily on how the map works for the open areas and the gun jamming thing.
Pulling up your map is, well literally just pulling up a map in front of you, something I wish more games implemented personally. And you have to clean your guns now when you get to a crafting bench otherwise your gun will jam which is a nice twist on gameplay when you're in a really tense moment and then suddenly your gun stops working and you panic and don't know whether to fix it or just switch to another one. Though I have to say, it prb won't happen often to you, for me it only happened like twice in the first 3/4th of the game and a bunch of times in the last mission.
The semi open world aspect of the game will prb be the make or break for most people and for me it’s a make, because it’s actually really well done and doesn’t just go into OK HERE’S THE MAIN OBJECTIVE BUT ALSO HERE’S 6895329532 MARKERS ON THE MAP THAT ARE ALL JUST COLLECTIBLES AND COPY PASTED SHIT! territory, you gotta find the side stuff yourself usually or you’ll be told about them and then the markers appear on your map, there’s only a couple of side missions per area and they are usually either around where a main mission takes place or it’ll be on your path. They’re pretty alright as side quests go and I enjoyed the ones I did.
The train sequences were a huge highlight for me. The game really comes alive in these scenes, the writing is great, the characters are all likeable and it’s really hard to not care for them by the end, they’re all doing something or have something to tell you, it’s not always something deep or important but that’s kinda what makes them so nice, it feels like a friend telling you a story, not a piece of information for the 5 people who want to know everything about the lore or whatever.
The only issue for me is...well Artyom himself, the loading screen narrations are all interesting but the problem is, he never talks outside of them, it’s always been something unique to the metro games but it always felt more like a useless restriction rather than something that adds to the story, especially here when a lot of great scenes could have been elevated into amazing if Artyom just fucking talked or responded to the characters. But oh well as it is, not that bad, at least he talks over the loading screens which is always cool to hear.
The attention to detail in this game is almost insane at points, not just in terms of environment and graphics but also in dialogue and in game stuff, like getting different dialogue if you killed/didn’t kill enemies, if you holster a weapon while talking to someone, that someone might acknowledge it and act differently afterwards. Hell in one of the areas, if you kill enemies you’ll end up getting a bad ending (you’ll get told a bunch to not kill enemies during that part though so you’ll prb figure out that you aren’t supposed to do it lol).
During certain fights, you can notice the enemies dialogue changing as you pick them off, going from them being confident and sure that they’ll kill you to slowly losing that confidence and getting scared, sometimes the last enemy/enemies will even put down their guns and surrender, begging you not to kill them. Seeing that shit happen and not having it be a scripted sequence is simply amazing.
The Metro games up until this game have all been just a bit short of reaching the 10/10 level for me because if the gameplay itself isn’t that great, then the story and atmosphere can only get me so far. But since now the gameplay is great and the atmosphere and story didn’t take a beating, it reaches that level for me.
Really looking forward to seeing where the series goes from here, I hope the next one can be just as good or even better than this one somehow.
But surprisingly enough, I think it's actually the best in the series. It retains the great atmosphere and story of the other games but without many of they're issues, which means that the gameplay isn't just fineee.
I thought the gunplay was quite great in this one, the way you unlocked attachments for guns was also cool, you don't buy them but get them by looting guns that enemies drop. You can change attachments on the fly now which makes adapting from stealth to combat a lot easier when you can just change to a suppressor when you want to play it stealth and then change to something else when you fuck up the stealth and shit goes to hell.
The backpack and crafting system is implemented extremely well and though I miss using bullets as currency (which was a mechanic with A LOT of potential and was really interesting but oh well), I also like how it is in this game, you don't just pause the game to go to a menu where you can craft stuff but rather take out your backpack in game and then you can craft stuff, it keeps you vulnerable and doesn't break immersion.
Influences from Far Cry 2 can be felt heavily on how the map works for the open areas and the gun jamming thing.
Pulling up your map is, well literally just pulling up a map in front of you, something I wish more games implemented personally. And you have to clean your guns now when you get to a crafting bench otherwise your gun will jam which is a nice twist on gameplay when you're in a really tense moment and then suddenly your gun stops working and you panic and don't know whether to fix it or just switch to another one. Though I have to say, it prb won't happen often to you, for me it only happened like twice in the first 3/4th of the game and a bunch of times in the last mission.
The semi open world aspect of the game will prb be the make or break for most people and for me it’s a make, because it’s actually really well done and doesn’t just go into OK HERE’S THE MAIN OBJECTIVE BUT ALSO HERE’S 6895329532 MARKERS ON THE MAP THAT ARE ALL JUST COLLECTIBLES AND COPY PASTED SHIT! territory, you gotta find the side stuff yourself usually or you’ll be told about them and then the markers appear on your map, there’s only a couple of side missions per area and they are usually either around where a main mission takes place or it’ll be on your path. They’re pretty alright as side quests go and I enjoyed the ones I did.
The train sequences were a huge highlight for me. The game really comes alive in these scenes, the writing is great, the characters are all likeable and it’s really hard to not care for them by the end, they’re all doing something or have something to tell you, it’s not always something deep or important but that’s kinda what makes them so nice, it feels like a friend telling you a story, not a piece of information for the 5 people who want to know everything about the lore or whatever.
The only issue for me is...well Artyom himself, the loading screen narrations are all interesting but the problem is, he never talks outside of them, it’s always been something unique to the metro games but it always felt more like a useless restriction rather than something that adds to the story, especially here when a lot of great scenes could have been elevated into amazing if Artyom just fucking talked or responded to the characters. But oh well as it is, not that bad, at least he talks over the loading screens which is always cool to hear.
The attention to detail in this game is almost insane at points, not just in terms of environment and graphics but also in dialogue and in game stuff, like getting different dialogue if you killed/didn’t kill enemies, if you holster a weapon while talking to someone, that someone might acknowledge it and act differently afterwards. Hell in one of the areas, if you kill enemies you’ll end up getting a bad ending (you’ll get told a bunch to not kill enemies during that part though so you’ll prb figure out that you aren’t supposed to do it lol).
During certain fights, you can notice the enemies dialogue changing as you pick them off, going from them being confident and sure that they’ll kill you to slowly losing that confidence and getting scared, sometimes the last enemy/enemies will even put down their guns and surrender, begging you not to kill them. Seeing that shit happen and not having it be a scripted sequence is simply amazing.
The Metro games up until this game have all been just a bit short of reaching the 10/10 level for me because if the gameplay itself isn’t that great, then the story and atmosphere can only get me so far. But since now the gameplay is great and the atmosphere and story didn’t take a beating, it reaches that level for me.
Really looking forward to seeing where the series goes from here, I hope the next one can be just as good or even better than this one somehow.
Metro works best in the dark and claustrophobic tunnels, which is why the open world sections get a little boring after a while. These parts are my least favorite in this sequel, and I much prefer the more narrative driven and linear bits. Nevertheless, Exodus still has lots of anxiety inducing moments, improves on many aspects of its predecessors and has stunning graphics. The Novosibirsk stage in particular is one of the, if not the best level of the Metro saga. Overall, a great sequel which expands a lot on the world of Metro and I can't wait to see where this goes next.
Os desenvolvedores do leste europeu têm uma habilidade incrível quando o assunto são jogos imersivos. Stalker e a própria saga Metro são apenas alguns exemplos de obras que atingiram um status cult entre a comunidade por esse motivo.
Metro sempre foi uma obra com uma temática interessante: a ideia de uma civilização subterrânea surgir no metrô de Moscou após uma guerra nuclear é fantástica. A estética das armas improvisadas, com os mutantes e anomalias espreitando em cada canto, é incrível. Além disso, tudo isso é integrado suavemente na jogabilidade. Trocar filtros, recarregar a lanterna, colocar a máscara de gás... Tudo isso faz parte do ciclo de gameplay e acrescenta muita imersão.
E é nisso que a terceira entrada da franquia brilha: Metro Exodus é o jogo mais imersivo que joguei nos últimos anos. O grau de realismo adicionado, como a manutenção das armas, em conjunto com o que já existia, não permite que você perca a atenção por um segundo sequer. O áudio desse jogo também é INCRÍVEL e contribui muito para a imersão. Se você tiver um fone 7.1, use, por favor.
Outro ponto forte do jogo são os personagens. Como você acaba passando bastante tempo com alguns membros da equipe em cada missão, acaba conhecendo a personalidade de cada um deles e criando um apreço que é recompensado no final. No entanto, o voice acting inconsistente do jogo também prejudica um pouco as interações, podendo tirar o jogador da imersão.
A história do jogo por si só não é nada de muito incrível, mas acaba deixando o jogador investido justamente por ele se sentir tão dentro do mundo, como disse anteriormente. Um ponto muito positivo também é a direção do jogo, que fica muito evidente na fase mais linear, que é a da cidade fantasma. O clima de tensão criado nessa fase, em conjunto com a ambientação, é de cair o queixo. Sério, aquele momento inicial em que você se arrasta na neve com o contador de radiação apitando é impagável, o mesmo vale para a sequência final da fase.
Para mim, Metro Exodus sai com um saldo muito positivo, faltando só um pouco no lado narrativo e de voice acting para se consagrar como um dos melhores fps narrativos dos últimos tempos.
Metro sempre foi uma obra com uma temática interessante: a ideia de uma civilização subterrânea surgir no metrô de Moscou após uma guerra nuclear é fantástica. A estética das armas improvisadas, com os mutantes e anomalias espreitando em cada canto, é incrível. Além disso, tudo isso é integrado suavemente na jogabilidade. Trocar filtros, recarregar a lanterna, colocar a máscara de gás... Tudo isso faz parte do ciclo de gameplay e acrescenta muita imersão.
E é nisso que a terceira entrada da franquia brilha: Metro Exodus é o jogo mais imersivo que joguei nos últimos anos. O grau de realismo adicionado, como a manutenção das armas, em conjunto com o que já existia, não permite que você perca a atenção por um segundo sequer. O áudio desse jogo também é INCRÍVEL e contribui muito para a imersão. Se você tiver um fone 7.1, use, por favor.
Outro ponto forte do jogo são os personagens. Como você acaba passando bastante tempo com alguns membros da equipe em cada missão, acaba conhecendo a personalidade de cada um deles e criando um apreço que é recompensado no final. No entanto, o voice acting inconsistente do jogo também prejudica um pouco as interações, podendo tirar o jogador da imersão.
A história do jogo por si só não é nada de muito incrível, mas acaba deixando o jogador investido justamente por ele se sentir tão dentro do mundo, como disse anteriormente. Um ponto muito positivo também é a direção do jogo, que fica muito evidente na fase mais linear, que é a da cidade fantasma. O clima de tensão criado nessa fase, em conjunto com a ambientação, é de cair o queixo. Sério, aquele momento inicial em que você se arrasta na neve com o contador de radiação apitando é impagável, o mesmo vale para a sequência final da fase.
Para mim, Metro Exodus sai com um saldo muito positivo, faltando só um pouco no lado narrativo e de voice acting para se consagrar como um dos melhores fps narrativos dos últimos tempos.
o jogo tem seus problemas e não é tão "perfeito" quanto um triple A da vida, ele ainda mantem aquela essência de eurojunk, mas é um junk muito bom.
a ambientação, sons, gunplay, word building são excelentes, me lembram a sensação de exploração dos fallouts, q eu adoro.
a historia e os personagens são bons, não aquela maravilha, mas são legais, vc se importa com eles, mesmo o foco sendo total na anna.
a ambientação, sons, gunplay, word building são excelentes, me lembram a sensação de exploração dos fallouts, q eu adoro.
a historia e os personagens são bons, não aquela maravilha, mas são legais, vc se importa com eles, mesmo o foco sendo total na anna.
What is maybe most surprising about Exodus is how much I warmed to its characters. I like this series well enough for being a densely atmospheric horror/shooter, channeling a mix of Far Cry 2 and STALKER, though the writing has always felt off. It’s gesturing at Big Ideas is undercut by the shallow characters, the annoyingly centrist depictions of warring factions, and your typical video game-y misogyny to top it off.
Some of that is still definitely present in Exodus (in its pastiche of post-apocalyptic tropes & villains) but by bringing the focus onto a smaller cast of characters, I found myself genuinely caring for the story it was telling. There's a lot of heart in this found family of survivors in search of a home. For that reason, the train sequences when you’re interacting with those characters were some of my favourite, though the whole silent protagonist thing didn’t work for me in those moments. I wish they’d either give Arytom some lines (he has plenty to say during his monologuing between chapters) or commit to him being mute; the latter is what I ended up using as my head canon. Even still, I can recall plenty of scenes on the train that felt more genuine than a lot of the writing I’m used to in bigger games. Having a smoke with the new guy we picked up as he regales me with stories of his old car, overhearing the little girl guilt the group technician into teaching her how to sow, watching the cold demeanor of the commander father-in-law thaw as the crew gathers around to listen to a newly wed sing & play the guitar. All of these interactions are effectively optional but Exodus does a superb job of rewarding you if you take the time to be a part of this family.
Some of that is still definitely present in Exodus (in its pastiche of post-apocalyptic tropes & villains) but by bringing the focus onto a smaller cast of characters, I found myself genuinely caring for the story it was telling. There's a lot of heart in this found family of survivors in search of a home. For that reason, the train sequences when you’re interacting with those characters were some of my favourite, though the whole silent protagonist thing didn’t work for me in those moments. I wish they’d either give Arytom some lines (he has plenty to say during his monologuing between chapters) or commit to him being mute; the latter is what I ended up using as my head canon. Even still, I can recall plenty of scenes on the train that felt more genuine than a lot of the writing I’m used to in bigger games. Having a smoke with the new guy we picked up as he regales me with stories of his old car, overhearing the little girl guilt the group technician into teaching her how to sow, watching the cold demeanor of the commander father-in-law thaw as the crew gathers around to listen to a newly wed sing & play the guitar. All of these interactions are effectively optional but Exodus does a superb job of rewarding you if you take the time to be a part of this family.
The good ending is such an incredible end to Artyom's journey, but I personally preferred the smaller linear set pieces of the previous games compared to this game's vast open worlds, as most of my time in-game was spent just traveling to the next mission. Also getting jumpscared by spiders crawling on my face every time I used the lighter definitely angered me more than once lol
The writing and voicework is absolutely atrocious. I'm stunned this was approved. Having Russian with no subtitles is actively how it should be played because visual storytelling gets the only points you need across. Gunplay is solid but not particularly noteworthy, the open world is fine but not noteworthy... Maybe it's just not worth actually recommending