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Metro Exodus Enhanced - out of the metro tunnels and back on Steam

Gerrard

Arcane
Joined
Nov 5, 2007
Messages
11,927
The throwing knife mechanic is different now. Previously it was a one shot kill regardless, but now armor factors into the equation. If an opponent is heavily armored a throwing knife will not be a one-hit kill to the body, only to the head. (If unarmored)
It was never a "one shot kill regardless" in 2033, if you hit armor or a helmet it didn't do shit except alert the guy you hit.
 

Vexxt

Educated
Joined
Feb 6, 2018
Messages
67
The throwing knife mechanic is different now. Previously it was a one shot kill regardless, but now armor factors into the equation. If an opponent is heavily armored a throwing knife will not be a one-hit kill to the body, only to the head. (If unarmored)
It was never a "one shot kill regardless" in 2033, if you hit armor or a helmet it didn't do shit except alert the guy you hit.

EDIT: actually, you are right. If you try to kill one of te heavily armored opponents that come in after an alarm it would bounce off of them. - I never experienced that I suppose.

Otherwise for normal enemies it was one-hit kill.
 

Beowulf

Arcane
Joined
Mar 2, 2015
Messages
1,963
Also it isn't a stealth game. They never called it a stealth game.

But it can have stealth segments, and you can try to play stealthy so it wouldn't hurt if the actual stealth mechanics were good.
 

Tacgnol

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Codex 2016 - The Age of Grimoire Grab the Codex by the pussy RPG Wokedex Strap Yourselves In Codex Year of the Donut Shadorwun: Hong Kong Divinity: Original Sin 2 Steve gets a Kidney but I don't even get a tag. Pathfinder: Wrath I helped put crap in Monomyth
It looks like there is armour customisation as well, judging by the armour icon in the crafting screen.

cxfiMcT.png
 

Jarmaro

Liturgist
Joined
Dec 31, 2016
Messages
1,466
Location
Lair of Despair
Bad news guys, it's confirmed they hired Dmitry Glukhovsky(Metro series writter) as scriptwriter, plot most likely will be shit. And here I thought they will make game without his influence.
:negative:
 

kalganoat

Savant
Joined
Jun 5, 2017
Messages
306
I thought he was involved since 2033? I remember reading an interview and he's bragging about his close relationship with 4A
 

Infinitron

I post news
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Messages
97,236
Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
https://www.eurogamer.net/articles/...tand-out-in-a-surprisingly-busy-february-2019

How Metro Exodus aims to stand out in a surprisingly busy February 2019
"Three other companies had the same idea!"

In May, publisher Deep Silver announced a significant delay for Metro Exodus: from autumn 2018 to February 2019.

jpg

Metro Exodus comes out on the same day as Anthem, Days Gone and Crackdown 3.

The delay means developer 4AGames has another half a year to work on the first-person survival horror shooter sequel.

Executive producer Jon Bloch told Eurogamer there were a number of reasons for the delay: chief among them to polish the game and to avoid some of the big hitters coming out later this year.

But while Metro Exodus has avoided the likes of Red Dead Redemption 2, Assassin's Creed Odyssey and Call of Duty: Black Ops 4, it finds itself in a pretty tough launch window in February 2019.

Metro Exodus launches on 22nd February 2019, the same day as BioWare's Anthem, Sony's Days Gone and Microsoft's Crackdown 3.

"Three other companies had the same idea!" Bloch said.

Metro Exodus is up against some stiff competition, then. But, as Bloch points out, it's nigh-on impossible for a video game to launch competition-free these days, with more and more games pushed to the first quarter of the year in a bid to avoid going up against annual autumn regulars - and in the case of 2018, Rockstar's sure to be all-encompassing Red Dead Redemption 2 - while still contributing to publisher's bottom line for the financial year ending March.

"If we were coming out right before Christmas we'd be having the same conversation, right?" Bloch continued.

"It seems like there are a lot of games coming out in the next year or so. We have to pick the date that makes the most sense for us and the most sense for the game. There's going to be competition no matter when we come out, right? We're not going to get our own perfect window of nobody else releasing a game, unless it's maybe like 1st January!

"A lot of people tend to avoid the holidays unless they're already just a part of that process. Other companies try to get stuff out before their fiscal ends, so March tends to get busy."

What Metro Exodus has going for it is it's pretty unique, and unlike the other big games that launch in February. It's a story-driven single-player horror first-person shooter that combines open world gameplay with linear levels. Oh, and it's set in Russia. Anthem and Crackdown 3 are multiplayer-focused action games, and Days Gone is all about hordes of zombies. If nothing else, Metro Exodus is doing its own thing.

For better and for worse, Metro Exodus has its release date, which means the developers are faced with another half a year of work to prepare the game for launch. Much of this work revolves around polish, which is a rather vague term that most consider to mean "make the game better".

4AGames has set up a "strike team" that is focused on ironing out the game's niggly problems. Metro Exodus is content and feature complete, which means all of the intended assets are in the game and all placeholder content is out. Now, it's a case of buffing the experience.

"Some of the previous games were a little rough around the edges at times," Bloch said.

"It brought some charm to the games, but we want to do better this time. More than just doing more stuff for our fans or more scope, we want to push the level of quality."

4AGames' strike team, which is formed of a couple of designers, a couple of artists and quality assurance testers, is running through the game and "hammering on the environments".

This involves, for example, making sure collisions work and objects such as ladders and doors and switches work consistently throughout the game. It's the fiddly stuff that won't hit the headlines, but contribute to an overall feeling of quality.

4AGames is also using the delay to make sure the player can leap over objects properly.

"We've introduced legs and you can now vault over things," Bloch explained, "so it's not just a simple jump.

"Now when you hop over something that's at a certain height, you'll see his legs come up and go over, the arms come out, so it feels a lot more interactive. Going through and making sure that stuff works everywhere it's supposed to, so that it feels tight and intuitive and consistent everywhere. A lot of that is going in now."

And, as you'd expect, 4AGames staff are play-testing the hell out of Metro Exodus, gathering feedback and using it to "plug holes" and "buff everything out", according to Bloch.

All of this is about giving Metro Exodus as good a chance as possible of being successful. Everything from the new release date to the work that's going on to improve the game has to do with helping Metro Exodus stand out when it finally comes out on 22nd February 2019 - against all that stiff competition.
 

DeepOcean

Arcane
Joined
Nov 8, 2012
Messages
7,394
Bad news guys, it's confirmed they hired Dmitry Glukhovsky(Metro series writter) as scriptwriter, plot most likely will be shit. And here I thought they will make game without his influence.
:negative:
Not that they need help from anyone to make a shitty story, Last Light plot was pretty crappy.
 

Ivan

Arcane
Joined
Jun 22, 2013
Messages
7,474
Location
California
DLC for Last Light was pretty stellar. Looking forward to this, most likely after patches since I'm old
 

Infinitron

I post news
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Messages
97,236
Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
Hmmmm: https://www.pcgamer.com/metro-exodu...-piece-that-will-frustrate-some-shooter-fans/

Metro: Exodus is a beautiful mood piece that will frustrate some shooter fans
Soak up the atmosphere.

sW95qcovKHuvQ3sfabFB3n-320-80.jpg


The Metro series is going hiking. Where once it hid in the Moscow underground, fighting mutants and scrapping with gangs for bullets, now it's travelling eastward across Siberian tundra. Over four seasons you guide Artyom through a linear story on a mission to find a new home that isn't completely radioactive. So far I've shot monsters some icy swamplands near the Volga and fled an abnormally large bear in dark forests further east. It's going to be quite the gap year.

The Metro series is defined by meticulously detailed, claustrophobic tunnels and shonky hacked-together weapons. Exodus will feature sections like this, but some of its areas are huge, and others—like the forest—are wide corridors full of loot and weapon attachments to discover. The new environments provide a way for 4A Games to test itself, but there's also a sense that players increasingly expect open, explorable environments, so the Metro series has scaled up to adapt.

4A started with the environments and figured out which enemies, animals and structures ought to exist there. Even though the shooter will spend a lot more time outdoors, the devlopers want Exodus to retain the series‘ distinct tone, which means a hyper-attentive level of detail.

“You come across a house and it's not just like 'oh a house that a level designer put here.'” Says executive producer John Bloch. “No, it's a house, and this person lived here or lives here now, this person died here in this way, they were doing this before they got killed or whatever it was.

“That level of detail is really important to us. It should feel like people lived there or these animals are from here. It should feel like a real place that you could go to.“

I get get a sense of that quickly from the first half of the playable demo, set In a run down old summer school. There’s met (killed) a host of bandits wrapped in rags and bone armour. As I fought through the area with a meticulously detailed crossbow I learned that these goons used to be kids at the camp, sheltered by their teacher when the bombs fell.

In the icy Volga zone and this forest, there is always some plot development happening in the background. Metro doesn’t want You to play it like Doom—you’ll run out of ammo quickly if you try—you are there to soak up the atmosphere and eavesdrop on the chatty AI.

Stealth is important too in a world of scarce resources, and while you’re skulking around you are likely to pick up more environmental detail. I learn that the so-called Children of the Forest are divided into subgroups with different views of their teacher’s lessons. Some want to live a peaceful, isolated lifestyle, others want to go looting.

I occasionally get the chance to talk to them and make a binary moral decision. I knock out the men who surrender, and spare the life of a guy I surprise while he’s fishing. Metro looks like a flashy shooter, but sometimes you get more out of it with your gun holstered. Bloch confirms that the game will be tracking your moral decisions. In the other Metro games that meant multiple endings, but Bloch is coy about whether that will be the case for Exodus.

I end up fighting my way through a town of wooden treehouses into a very different second section Set in a dark forest full of rampaging mutant wolves and the massive bear. It’s a good change of pace, even if the bear proves to be a gimmick for the area that turns up in the odd cutscene and an inevitable boss encounter.

Away from the crumbled ruins of the camp Exodus inevitable loses some of that Metro feel, which I have so far associated with crumbling structures in urban Russia. It’s still a tense section, and while the shooting is fine, the forest is again more of a mood piece. Than a dynamic FPS challenge. That’s not to say the enemies aren’t smart—the humans in particular show a lot more environmental awareness than the first two games—but I spent most of my time crouch-walking quietly through the undergrowth.

As with the Volga section I played earlier this year, there is still tension between Exodus’ determination to be a survival game and its history as a corridor shooter. In previous games stealth was always an option and bullets used to form the basis of the Metro economy, but you always had ammo for at least one of your weapons when a fight broke out. In Exodus the bullet economy has been replaced with a crafting system that lets you mould scrap into ammunition. I like the way this forces me to explore and stumble into clever traps set by the developers, but I expect it will set a frustrating pace if you love to charge into an encounter and blow everything up.

I can’t wait to go sightseeing in this world, though. The zones 4A has shown so far have been beautiful and varied, and remarkably atmospheric. I don’t mind the idea of crawling through it on my belly, finding every weapon attachment and listening in on AI survivors. In a field that contains endlessly similar Far Cry games, good Wolfenstain games, and sweet Doom reboots, Metro has again found its niche. Plus there are still going to be underground sections, and I suspect these will end up being the best, most terrifying bits.

Metro: Exodus is due out on February 22 2019.
 

Infinitron

I post news
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Messages
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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth


https://www.rockpapershotgun.com/2018/08/22/the-manchildren-of-metro-exodus/

The manchildren of Metro Exodus are adorable idiots

70


“Get lost or pay wit ur life,” says the note. Normally, I would not be threatened by such a poorly spelled message from – let me see – ah yes, the “Brezeren of the Coast”. After all, the note is written with the tone of a brat in a treehouse. That said, it was also delivered by a scarily accurate crossbow bolt, piercing the wooden post right next to my head. So maybe I should take the Brezeren a little more seriously. I mean, they have nailed an awful lot of corpses to the walls of that house back there. The open-ish world of Metro Exodus looks grim and muddy, but it’s woods and riverlands are wilder than I expected.

When I first saw that the subway shooter was emerging from the sordid underground of Moscow, I was simply happy to see it again. But I was also concerned. Metro 2033 and Metro: Last Light felt like games confined to another age. Straight-forward shooters with an A to B story and level-by-level Nazi-killing that was literally on-rails. Exodus wants to open that up (although it’s not quite an “open world”). I played a demo at Gamescom, and it feels like a shut-in shooter that has finally been exposed to the sweeping landscapes of S.T.A.L.K.E.R. and even the wide levels of Half-Life 2. I worried that such exposure might mutate the series and strip away its strengths. The claustrophobia, the squalor, the excitement of skulking in the dark, blowing out candles and popping skulls. But the Brezeren have reassured me.

This demo sees Artyom, the returning quiet man of previous games, waking up in a swamp. There’s a nice mutant deer sniffing harmlessly at his face. It isn’t long before I’m crossbowed up and ready to wander through the world. The bodies strung up on the house near the riverbank are decorated with signs that translate via a caption as “Marauder” or “Rapist”. They aren’t fun to be around, so I leave. I could go across a bridge but it looks too vulnerable to whoever is watching me, shooting darts with poorly composed notes attached. So I dander towards a wood instead. There’s a bandit tied up, squealing as a wolf bites his ankles. I kill the wolf but leave without untying the bandit. Oddly, he doesn’t protest.

I pass through the wood and come to an abandoned schoolhouse. Developers 4A are once again leaning hard on the ol’ environmental storytelling. Statues of children play around a bigger statue of Lenin. Notes in the classroom talk about “the Teacher” in respectful, almost worshipping tones. I can see the ideas forming here. We’re going to have a settlement of young ‘uns, I think to myself. Another Little Lamplight. I’m vindicated when three figures leap out of a tree on the road ahead and start talking in pirate slang, three mateys brandishing their crossbows and threatening to gut me if I don’t leave. Except, looking closer, they aren’t children. These pirates are fully grown adult men. A schoolyard worth of kids has grown up here in isolation, and now they’re stuck with the lingo and culture of childhood. Russia’s own Lost Boys.

I look for a route around the manchild encampment. There is something so endearing about their childlike chatter, that I can’t face killing them, even if the reticule of your gun turns red when you aim at them. That’s noticeable because the reticule is the only unnatural thing on the screen. The HUD, as in earlier Metros, is pristine. There are no bullet counters permanently fused to your retinas (although they do show up when you reload or fire). No objective markers dragging you through the world with icon-vision. There is still a “pull out your lighter” button, and a dedicated “put on gas mask” button. Although perhaps the latter is not that dedicated, because holding the same button will also wipe the plastic visor. All the same, I’d rather a misty gas mask than numbers and gauges that are branded into my optic nerve.

“Who’s behind that fence!”



Oh no. I’ve been spotted. One of the manchildren shouts for his friends and I run to a hiding spot beneath a bridge. There’s a barrel on fire and I extinguish it, more out of a long-dormant habit than an attempt to find cover in the twilight. But it takes longer to die down than the lamps and candles I’m used to blowing out. This hiding spot is no good. So I run out and run like billio for a small tower, climbing a ladder to the second level. The manchildren holler, and crossbow bolts ping around me. I smack a sentry in the head on my way up. I hope he’s okay. Oh look, a zip line. Weeee.

I’ve landed far away and escaped the Brezeren, but the night is coming in fast, and the forest I’ve landed in is full of bad things. A pack of five or six slavering mutant wolves is running nearby. Also, a giant bear with a hunchback and peeling fur is chasing after the mutowolves, Benny Hill-style. I creep through the forest, full crouch, and night finally covers everything in darkness. The body of a deer lies in a glade. Was this the deer who woke me up earlier? I’m going to say yes because it’s poetic. Good bye, mister deer. I’m sorry you’re dead.

I see a light in the wood – a lamp in a treehouse – and head for it. The wolves dart through the trees. Six wolves? Seven? It feels like the pack is getting bigger. They briefly spot me and I run the rest of the way to the ladder up to the treehouse. I like Metro games. I like the blind panic they inspire. From up here, zip lines go off in two directions, again showing off the multiple routes of the level. For a series that has been underground for years, it seems to have learned some solid level design. At least, judging by these riverside woodlands. Light leads me to investigate important points, and clear routes in different directions show me where I might go. Years ago I dreaded the outside portions of Metro 2033, not because they were filled with scary flying beasts, but because the messy rubble and bad directions made it unclear which direction you should head. This was extra annoying when you only have a few minutes worth of clean oxygen filters for your gas masks.

In this demo, however, I’ve had no such problems. And the gas mask is only needed in certain radioactive bits. Everything feels clear, the way(s) forward are signalled by flickering lights or cobblestones or trampled desire lines in the leaves. It’s also possible to miss whole areas. Katharine also played a short snippet of the same demo and told me afterwards about a fisherman she stumbled across. She murdered him in cold blood, which isn’t very pleasant. But I never encountered him. When a shooty-shooty-bang-bang includes this level of detail, despite knowing that characters lounging near riverbanks or boltholes hidden in thickets or will go unseen by many players, it only makes me respect the world even more for its commitment to minutiae.



Oh shit a massive water-dwelling insect. Excuse me. I just have to, yes, there. Only went and tore his leg off, didn’t I? I’m in a cave now, you see. I didn’t wait around while explaining my level design thoughts.

The cave is a damp, abandoned place, full of glowing mushrooms. You can harvest these for chemicals to use in crafting. I pull out my backpack and make a distracting tin can from some bits and pieces I found earlier in the wicker baskets littered throughout the level. I also take the time to upgrade my guns with any new lasersights, barrels and stocks, all scrapped off guns I’ve found on my way through ruins and shelters along the way. The menu for this is clean and simple, but it also seems like the world is continuing as I tinker with the suppressor on my submachinegun. The wind is still whipping around the mouth of the cave. You can make throwing knives and molotov cocktails too. But it seems unfair to use those against the lost boys.

I come out of the cavern and sneak back into the wolf-woods. The pack snarls its way past me in the dark once more, very close this time. I swear there’s now nine or ten of the chompers. As a pack, they’re as unsettling as any monstrous demon thing on Moscow’s streets. One of them howls on a rock alone as the others run back into the woods, and I continue onward. I’m beginning to like the wildlife, the wolves and the crows, almost as much as the mankids.

But I’m not hanging about. I’m going to –

Ah wait I’ve been caught in a rope trap, so I guess I am hanging about. It’s a first-person storytelling moment. Two wild-looking manboys waltz out of the undergrowth, pleased with their work. They’re going to take me to the “Forest Court”, which doesn’t sound that bad to be fair. But then two more ladults march out of the bushes and start bickering with the first pair. Don’t they realise this is a Pirate trap? Oh yeah, say the wildboys, then why is it in Pioneer territory? Two groups of grown men, the Pirates and the Pioneers, caught in some eternal feud of mutual arrested development are now snidely arguing over who gets to bring me in. I’m so glad I didn’t kill any of these adorable idiots.





They start arguing about “the Teacher”. This isn’t what he wanted, yells one of them. From their chatter, it feels like this figure from their past was a well-meaning man who died before he could see his pupils truly grow up in this era of mutants and radioactive shrooms. But before any of their history is made clear we’re interrupted by a nice big fella with a furry back and lots of saliva.

“THE BEAR!”

The manchildren are in a panic.

“The explosive tip!” one of them yells. “Now, quick! The molotov!”

The bear erupts in flames but not in time to prevent him savaging one of the lost boys. The rest of the gang scarper. Exit stage right, pursued by bear.

I continued playing for a while after this. Artyom cut himself loose and went looking for a way through the rest of this morbid, faintly humourous land of littluns trapped in big-people bodies. I’m glad the boys helpfully shouted what items I would need to use against The Bear. But I also never got to test their methods, because my time with the demo ended shortly after this encounter. I was hiding in a bush from some of the mancubs when I was sadly cut off from my new pals and their radioactive Neverland. Although if you want to read about a different area entirely, Edwin was given a longer demo that involved some crazed luddites.

By this stage, many of my worries about Metro’s move into the open had evaporated like hot bog water in an old swamp bed. As ever with prime cuts of videogame demo, it’s hard to tell if that quality will stay consistent throughout the rest of the shooter. But it has both impressed and reassured me that the next Metro has not lost its greatest strength: its atmosphere. There was buckets of it here. From the howling wolf pack skittering through the forest to the soggy treehouses of its more human denizens. The decrepit outside world feels like a good place for the series to go after all, and the Brezeren of the Coast are already more likeable to me than anything Fallout 4 offered. Even if they are terrible at spelling.
 

Squid

Arbiter
Joined
May 31, 2018
Messages
536
Am I crazy or do some of those dog barks sound a lot like they did in Shadow of Chernobyl?
 

Infinitron

I post news
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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
https://www.pcgamesn.com/metro-exodus/metro-exodus-day-night-cycle

Metro Exodus’s combat is transformed by the game’s new day/night cycle
By introducing the passage of time, 4A Games has created the grandest, most strategically deep Metro game yet

metro-exodus-1420x800.jpg



I’m bloody nervous. There’s a tangled forest around me, wisps of fog rolling across its base, the treeline silhouetted by intense moonlight. Luminous green mushrooms pick out spots in the gloom, but with memories of my parents’ many warnings and an unfortunate hospital visit echoing through my head, I elect not to consume any of them. Some torches burn in the distance, the flames dancing across a series of tree houses, each interconnected by makeshift wooden bridges and precariously narrow poles. Whoever built them needed to stay off the ground for some reason. Y’know, the ground that I’m stood on.

A couple of minutes earlier, a stampede of deer thundered past me out of the darkness, but it doesn’t seem likely that they are the problem. And while the marauding packs of large, hungry mutant wolves are certainly bothersome, they’re easily put down with some crossbow-dart-infused tough love. No, the issue at hand, I sense, is probably whatever is making that otherworldly howling racket from somewhere in the distance. I’m willing to stake my life on it, in fact.

It’s a remarkably spooky scene. Progress through it is achieved in piecemeal steps as I uncomfortably assess the defensibility of each point in my agonisingly slow journey. But it could have all felt very different: despite the fact that every part of this moment feels expertly directed, the nerve-shredding darkness is simply the result of the new day/night cycle in Metro Exodus. Had I arrived a little earlier, that monstrous howling would have been accompanied by birdsong, warming sunshine, and considerably less-upsetting lines of sight.




A bit of soothing daylight would also have profoundly altered the character of the faction camp I tackled prior to stumbling into these eerie backwoods. The camp belongs to a group called the Children of the Forest – a self-important bunch who seem to have taken an instant disliking to me after I freed some chap they’d tied to a pole as a warning. At any rate, they refuse to chat.

Reacting badly to being spurned, I instead find a gap in the perimeter of their compound – a collection of dilapidated buildings built around a now ruined bell tower – and begin systematically choking them unconscious. The darkness provides plenty of shadows in which to skulk – creating paths that would be more difficult to take advantage of during the day – and I manage a pretty long stint undetected before hubris gets the better of me and I’m spotted. At that point, an enemy dashes to the top of the tower, and rings the bell. Things get messy.

Instinctively, I switch tactics, and begin choking people from a distance. With bullets. The wrecked town buildings provide plenty of cover for both sides of the fight as the enemy digs in and tries to flank me. Before long, however, the majority of threats are down and the last few combatants surrender – presumably despairing at their hard-coded inability to land shots anywhere near as often as I do. Sticking to my code of honour, I choke them too, and steal their stuff before scarpering off into the woods.

Which brings me back to that howling from earlier. I come face to face with its origin when I’m ensnared in a net trap laid by some more Children of the Forest. I can’t quite make out the details of the creature in the dark, but it’s big. Really big. It makes short work of my panicking captors and, in the confusion, someone throws something explosive which coats the area in the flames. The now whimpering beast retreats, making a huge racket as it bashes through trees, and I’m violently set loose when my rope prison gives out in all the commotion. That’s where my Gamescom demo ends, and I immediately want to try it all again in the daylight.

The Metro series has always built choice and variety into its encounters, but the option to tackle situations at different times of the day – it’s worth noting, too, that you rest to progress time – adds yet another layer of depth to 4A Games’ unconventional, unusually deep interpretation of the FPS genre. Metro has also always done a good job of conveying an epic sense of journeying, but the passing of time here – whether that’s the changing seasons along the way or simply the onset of evening – promises to make Metro Exodus Artyom’s grandest pilgrimage yet.

Want to know more about Artyom’s next adventure, the new crafting system, backpacks, weapons, and the Metro Exodus release date? Well, click that link and we shall provide.
 

ciox

Liturgist
Joined
Feb 9, 2016
Messages
1,279
I.....incredible.....it's like it's 2007 all over again, I hope we find out more about Strelok Artyom's next adventures very soon.
 

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