Meet Anna. She’s the first female character in the Metro series to have a name — other than Nikki the prostitute from the first game. Which means, if you couldn’t guess, today I’m writing about the sexist undertones in Metro: Last Light.
If you thought you’d never see the word “sexist” here on Space-Biff!, you’re not the only one. Since this is a site about the things I like, I don’t often talk much about the things I don’t like. Even my few negative reviews only exist because I really enjoy panning bad games. The thing is though, I really like both games in the Metro series. For the most part, they encourage thoughtful, even considerate, behavior. That’s a rarity in any genre of videogame, let alone in the first-person shooter genre, which one could argue makes its bucks by being the exact opposite of “thoughtful.” In fact, I’d go so far as to label Metro 2033 as one of the most moral games I’ve ever played — which is precisely why the sexism in Last Light bothers me so deeply.
It’s more than a little flattering that my most-received request for Space-Biff! is for my thoughts on Metro: Last Light from 4A Games and Deep Silver (and formerly THQ, rest in peace). This is probably owing to the synopsis I wrote last year, which you should totally read, if only because it makes me feel beautiful on the inside.
My one hangup in delivering an actual review is that, while I’d love to fall back on a tried-and-true critique like “it’s two steps forward and one step back,” the reality is more that Metro: Last Light is dancing the Charleston, with so many steps, leaps, and bounds in every direction, that in the end I can’t be sure which direction it’s moved at all. Which isn’t to say I don’t have thoughts on the proceedings — I’ve got plenty. And you can read them below, in a format that includes only a few minor spoilers.