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THQ may be bankrupt, up for auction and newly delisted from NASDAQ, but for the developers it's just business as usual. Written by gamers, for gamers, we'll also be delivering the juiciest news from the industry, cutting commentary, insightful articles and open, honest reviews. You’re cast as one of these survivors, a ranger named Artyom, the hero of Metro 2033 returned for another valiant adventure. Indeed, getting through most stealth sequences requires stunningly little thought, and only late in the campaign are you in any real danger of running into trouble.
Metro: Last Light is a bold post-apocalyptic FPS adventure uniquely told from the Russian point of view. Last Light shines best on PC, and players looking for a fun, gritty single-player campaign will find a lot to like.
UserVelodrom3 лет 11 месяцев тому назадсудя по стволам опять хуйня будет , с чего не стреляй , один хуй 2 магазина потратишь ….
Userkukleman3 лет 11 месяцев тому назадсудя по стволам опять хуйня будет , с чего не стреляй , один хуй 2 магазина потратишь …. FIAF’s CineSalon series “Theater & Cinema” concludes October 27 with Francois Truffaut’s powerful Oscar-nominated WWII melodrama, The Last Metro. Genre lover Truffaut reaches deep into his cinematic bag of tricks in The Last Metro, paying tribute to film noir, romantic melodrama, war movies, and even musicals as he references Casablanca, The Phantom of the Opera, The Diary of Anne Frank, Gaslight, To Be or Not to Be, The Golden Coach, Notorious, and Cabaret. A brand new crop of Metro: Last Light screens suggests that the gritty survival shooter is looking very pretty indeed ahead of a March 2013 release (all being well). In a post-apocalyptic adventure that relies a great deal on constant bits of exposition, the experience quickly grows into something much more than just your everyday shooter. Artyom, along with his group of survivors -- and innocent bystanders in general -- find themselves caught with increasing frequency in the middle of warring factions in the metro, a situation made all the more dangerous and untenable by the mutated creatures that live both in the tunnels and on the surface. Simply outmaneuvering, flanking, and backstabbing -- or knocking unconscious -- adversaries is the name of the game, though there doesn’t seem to be much of a point in letting anyone live by merely clocking them in the skull. Last Light’s setting and presentation are its strong points, though the last third of its 10-hour campaign is weaker than everything that came before it.
Set in Vichy France during the German occupation, the film takes place in and around the Theatre Montmartre, which has been taken over by movie-star actress (and non-Jew) Marion Steiner (Catherine Deneuve) after her husband, Jewish theater director Lucas Steiner (Heinz Bennent), has apparently escaped the Nazi regime. He takes on anti-Semitism, anti-homosexuality, and anti-humanism in general while setting up a compelling love triangle that is echoed in the play-within-a movie, which is staged on a dramatic, surreal pink Expressionistic set. The more time you spend exploring, listening, reading, and watching, the more you appreciate what 4A Games has created: an interesting story-driven single-player-only FPS. Metro’s world is tangibly dangerous and rife with terror, with a feeling of risk and foreboding around virtually every corner.
When they are grouped together and talking, you usually have to wait for them to stop and walk away. If you want a fun first-person shooter that doesn’t remotely rise to the greatness of single player-centric adventures like BioShock but is still fun in its own right, then Last Light may just be for you.
But in fact Lucas is hiding out in the theater’s basement, where he has translated a Norwegian play, aptly titled Disappearance, and is directing it from below. Depardieu and Deneuve, who went on to make such other films together as Claude Berri’s Fort Saganne, Andre Techine’s Changing Times, and Francois Ozon’s Potiche, might not be Bogart and Bergman, but they are a magnetic duo, Depardieu’s hulking, brutishly handsome presence dominating confined spaces, Deneuve’s refined, radiant beauty glowing amid a predominantly drab palette.
The political thread that connects everything – how surviving factions lucky just to be alive could still be at each other’s throats -- makes the situation that much more interesting.


The PC iteration avoids many of its console counterparts' technical issues, but bad AI is still a problem here. The theaters are still busy in part because they are one of the few places which still have reliable heating. The film uses the metaphor of theater as a way to escape reality, whether on an individual basis or during an international crisis, but of course Truffaut is also citing film as its own escape, a place where people flock to when times are both good and bad. Getting through Metro: Last Light also requires a different kind of patience, the kind that lets you forgive occasionally uneven play, questionable AI, and a story that starts strong but ends flat.
Last Light presents itself linearly, but it does a wonderful job of setting up plenty of context for your actions and goes to great lengths to make itself more than just another shooter as it alternates between missions that are action-packed and those that are slower and more deliberate.
One of those theaters is the Montmartre, which was formerly owned and directed by the renowned Lucas Steiner, a Jew, who fled the country to unknown parts to avoid persecution and probable concentration camp imprisonment. Only Marion knows where Lucas is, but danger grows when critic, publisher, and Nazi collaborator Daxiat (Jean-Louis Richard) starts sniffing around a little too much. The Last Metro — the title refers to the final train of the night, which passengers must catch in order to not break the strict curfew — is a beautifully made picture, the second in Truffaut’s planned trilogy of films about entertainment, following 1973’s Day for Night and preceding the never-finished L’Agence Magique.
These issues aren’t enough to sink Last Light – it’s most certainly a good game – but 4A Games’ latest foray is certainly hindered by them. The latter are what make Last Light truly shine, for it’s here that you get to experience the careful attention to detail that 4A Games has packed into its dystopian adventure.
Just be prepared to reap the whirlwind; if an enemy alerts his comrades, heavily-armored backup will scour the area looking for you, and you’ll need to use all of the firepower you have to survive, supplemented by the ammo, firearms and other goods your foes constantly drop once felled.
Thankfully, Last Light on PC is technically superior to its console brethren, and doesn’t suffer from issues found on PS3 and 360, such as texture loading problems, occasional screen-tearing and lock-ups. The mood and atmosphere pad gametime with something more meaningful than loading screens and bad dialogue (though Last Light’s dialogue is littered with sometimes-abysmal Russian accents).
On the other hand, with Last Light’s litany of mutated creatures, stealth gameplay won’t work.
They are mounting a new production called The Disappearance, which was staged by Lucas before his departure.
Inspired by the Metro universe created by author Dmitry Glukhovsky, Last Light is a follow-up to 2010’s Metro 2033’s riveting story of the years following a mutually assured destruction nuclear holocaust from the Russian point of view. Exploring the various outposts and settlements you encounter conjures up tangible thoughts about what a post-apocalyptic situation would be like. The guns-blazing approach is a requirement, and it’s in these action-oriented engagements that the adventure begins to lose a little of its luster. The play is being directed by Lucas' assistant, Jean-Loup Cottins, using the notes left by Lucas.
Metro: Last Light shows this world-changing event in a stunning opening cutscene that illustrates the bombardment of Moscow as Russia launches its own missile stockpile, when it’s already too late for anything but revenge. Some of the better locations successfully transport players to this fictional place and time in question. The interplay between being underground in dank tunnels and caverns and on the surface in hazy, debris-strewn sunlight is admittedly brilliant – post-blast Moscow is stunningly detailed and a highlight of Last Light -- but fighting the abominations that stalk the desolate cityscape leaves something to be desired. Factory manufacturing is no more, large-scale agriculture is impossible, everything that already exists suddenly has a new, ingenious use, and just about anything you can hold in your hand – from an old postcard showing the colorful pre-war world to finely made bullets that act as currency – is precious. These frays run the gamut from acceptable to obnoxious, and there are a few instances that vividly illustrate that while human enemy AI is weak, creature AI is too aggressive.


Survivors are packed into the dark and always-dangerous subway tunnels under the dilapidated, radioactive capital city. Precious, too, is electricity, clean water, and breathable air, the latter of which becomes essential to gameplay as you constantly have to juggle gas masks and filters to scrub the atmosphere’s isotope-laden oxygen. This could be lazily explained away by the game’s lore, but Last Light tends to create the wrong kind of scares during fights with abominations in particular, the fright that comes from knowing that the odds are against you due to unbalanced, frenzied AI. Discovery also comes through conversation, and while Artyom is your typical silent protagonist, everyone around you has a great deal to say, even if they’re not talking directly to you. You can spend a great deal of time listening to these conversations, building context for and understanding of the plight of the metro’s survivors, holding on to life by a mere string. You can even see things from Artyom’s point of view in the form of journal entries strewn around the tale’s various chapters. In a clever twist, these weren’t written by others; when found, Artyom will write notes to himself in his journal, working around his silent posture and providing players with one of two ways you get insight from the protagonist himself. The only time you ever actually hear him speak is during load screens when he verbally explains what’s coming up next. The play is being directed by Lucas' assistant, Jean-Loup Cottins, using the notes left by Lucas. It starts out strong and really got me into Artyom’s plight – which I won’t elaborate on here – but things get muddled towards the end.
With a chance to focus more on the survivors, their settlements, and individual stories, Last Light ends up getting mired down in a more supernatural tale that’s simply not as interesting as everything grounded in post-apocalyptic reality. Bernard seems primarily interested in sex, most particularly with Arlette Guillaume, the company's costume designer who doesn't give him the time of day. By the last third of the game, I was longing for more about the Nazis and Communists (yes, both faction factions survived the apocalypse) and less about otherworldly entities.
When it matters, Last Light chooses to ignore the politics and personalities that prove far more interesting.
There’s plenty of action to be had in Last Light, though its gameplay isn’t as strong as its presentation. They, however, are both hiding issues relating to the war - Marion's having to do with Lucas' whereabouts - which, when revealed, makes the issues they are hiding about their feelings all the more poignant. It’s a stealth-first game that changes between bouts of forced action and slow-paced, methodical sequences that dare you to keep quiet and stay out of sight. Little things, like crouching while walking and unscrewing light bulbs or extinguishing oil lamps can leave your foes at a disadvantage and give you the edge, though Last Light’s predictable and easy-to-manipulate enemy AI removes much of the drama if you want to play with a stealth slant.
Truffaut completed the screenplay for the third installment, L'Agence Magique, which would have dealt with the world of music hall.
In the late 1970s he was close to beginning filming, but the failure of his film The Green Room forced him to look to a more commercial project, and he filmed Love on the Run instead. During the winter months of occupied Paris, there was no way to obtain coal and the only manner in which people could keep warm was attending plays in theatres which ended just before the last train left.



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