Atmospheric storytelling defines any immersive experience that allows one to feel enveloped by a world without necessarily being able to interact with it. Strong atmosphere typifies the Disney World experience as visitors walk and ride through convincing environments and narratives. Though Metro: Last Light takes a darker twist on the concept, its similarities to theme parks in this sense are notable. Metro repeatedly forces the player to walk through environments that show glimpses into daily life in this post-apocalyptic world.
Though every level in the game envelops the player in the story, the developers even include levels that contain little to no action and instead are entirely dedicated to immersing the player and delivering the story. These levels take players through Sparta—a lackadaisical military base, Teatr—the cultural epicenter of the post-apocalyptic world, Venice—the world’s crime-ridden underbelly, and a destroyed Moscow, in which every non-player character (NPC) is having a unique conversation. By giving such varied personalities to every character in a wide spectrum of communities, the game brilliantly incorporates its humanist themes into gameplay, revealing that every citizen and every country in the Metro has its own story, motivation, and goals; no one in the Metro is any more right than the next.
In the opening level to Metro: Last Light, the player starts out in Spartan Station and must walk through a heavily detailed environment that sets the stage for much of the atmospheric experience to come. These traversable worlds consist of about two or three dozen NPCs going about their daily life. The attention to detail in these levels is admirable (to say the least) as each character has an interesting and unique story to tell. The Spartan station level bombards the player with conversations left and right which they can choose to listen to in full or quickly move through. Either way, the player receives a very believable experience of the player character’s home.
Later levels, Teater and Venice, show the good and bad sides of the average citizens of the Metro. Even though a lot has gone wrong in the world of the Metro, there are still people in Teatr devoting their lives to preserving culture. The player passes by a man relating stories of life before the war and has the opportunity to watch a show among other observable phenomena in the environment. However, at the same time Venice shows the underbelly of society in the Metro, adding to the long-list of crimes and atrocities committed in this post-apocalyptic universe. The player witnesses shady dealings in the back alleys, hangs out in a bar, participates in gambling, and visits a strip club. While not necessarily critical of these activities, the game depicts this as the edgier and more morally corrupt part of the Metro.
In the level Dead City, the player gets to see first-hand the destruction that humanity caused. Dead City adopts a more horror-like tone to underscore the terrors of the war. Apparitions and shadows of the dead citizens of Moscow appear in the player’s path as they traverse the ruins of the once great city. The color scheme is notably very gray, the only exception being Artyom’s occasional visions of families living out their normal lives before the bomb was released on the city, and one unsettling, bright red table cloth. As in other parts of the game, these images along with the constant, distant whispers add a chilling note to the experience and remind the player that the area used to be a vibrant and densely populated city. Later, the player is forced to walk through a tunnel surrounded by ghostly bodies that reach out to them—a hellish image of tortured souls that serves as the strongest reminder of the horrors of war.
Even the enemy NPCs are given a semblance of individuality. Many games recycle dialogue for enemy NPCs; most notably, in Thief, enemies repeat the same five quotes at least a hundred times before completing the game. Contrastingly, in Metro: Last Light, while stealthily moving about enemy territory, interesting scenes and unique dialogue unfold before the player. This attention to detail allows for an even more immersive experience as repeated lines of dialogue often pull the player out of the game and make them realizes that it is a video game. Most importantly, by giving every NPC an individual personality, the game delivers its humanist philosophy that no person or country is any more good or evil than the next.
Metro: Last Light thoroughly taps into one of the most unique abilities of video games as an art form by delivering narrative and background through its atmospheric setting. Many games from Bioshock to Brothers: A Tale of Two Sons have similarly been lauded for atmospheric delivery of narrative, but no game has quite the same amount of detail and purpose behind their atmospheres as Metro.
While the game’s atmosphere is intricately designed and impressively executed, it’s important to note that the game is not a flawless work of art either as some of this imagery is extremely objectifying and demeaning towards women. I will return to Metro: Last Light in a later article to discuss its unfortunately misogynistic undertone.
While the game’s atmosphere is intricately designed and impressively executed, it’s important to note that the game is not a flawless work of art either as some of this imagery is extremely objectifying and demeaning towards women. I will return to Metro: Last Light in a later article to discuss its unfortunate misogynistic undertones.