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https://steamoss.com/sharedfiles/filedetails/?id=3241855778

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https://steamoss.com/sharedfiles/filedetails/?id=3182746872

I write after having finished the game 2 times and having done Layers of Fear 1 and its DLC but not Observer from the same studio.

I do not understand the negative reviews on the game that can be read on the net, many criticize it for not scare but Bloober Team does not make Outlast games it is above all a studio that seeks to install atmospheres with horrific visuals. Sure there are chases and jumpscares but that's not the essence of the game. It's macabre, creepy, whatever you want but it's not Resident Evil or Outlast.

Because of the reviews I almost didn't buy it DayOne, in the end I find it better than the first one which tended to go around in circles in terms of ideas based on chandeliers that fall or paintings that jump from the wall. Those who simply want to find the Layers of Fear atmosphere, namely visual ideas that you cannot see elsewhere, an interesting scenario for the genre and an unhealthy atmosphere you will get your money's worth. Lifespan around 7-8h for a first run without being cunning or dragging your feet.

The +:
- Very good graphics for the genre, clear improvement over the first
- Excellent soundtrack
- Gold mine for cinephiles, many references (fight club, metropolis, psychosis, the army of 12 monkeys, The Shining Nosferatu etc)
- The scenario that I found very good
- Interesting puzzles that break the monotony
- Artistic direction at the top, visual ideas in spades, several remarkable passages
- Interesting replayability, 3 endings and new objects to recover in the NG + which add information to the scenario

The - :
- The passages with the "thing" a little frustrating but there was a patch yesterday or today which largely corrects this
- A bit cryptic scenario, I like it but do not expect to understand EVERYTHING easily the first time
- One act (out of the 5 offered by the game) a little below the others

nope

bad

good game vr

<3

good game

good game

The melancholy of the Zone radiated from Prypiat, then Metro 2033 arrived. One was followed by the other's enclosed asphyxiation. Then 10 years go by, pacing the buried underground lines, 10 years looking for an answer. In Metro Exodus the opening vicissitudes will move the familiar group, Artyom, his wife, Colonel Melnik and his men, in the cabin of a locomotive, the Aurora, ultimate messenger, of iron and coal, to find the answer away from the ashes of Moscow. The ballast trembles, the strikers strike and the masks inspire. Metro Exodus launches.

Metro Exodus, proud of 10 years of concrete, successful and distinguished experience, rises even further, supported by the 8th generation and optical reflections on the best performing computers. Metro Exodus is always this peril with the rifle, a technical outcome in the first person where the sensitivity of the body and movement are not just a detail; even if the characters by our side and the strangers encountered are disembodied, strictly static. But Metro Exodus is essentially lonely. A game of the test of desolation and confinement, described as an experience lived through the eyes of the character. A likely experience. Likelihood is embodied in fact in the technical representation of an environment, in the multitude of machineries played but also in the ecological credibility of an environment (because it is always more realistic) and in the rhythm of the journey. Metro Exodus bumps dangerously.

Rather, it is a good idea to have an idea of ​​how the game will go before continuing.

The genius of Ukrainians first comes to life on the eutrophic banks of the Volga. Aurora must stop, Artyom leaves his loving car. The sky is dark, angry, veiled by demons. The carcass of an exploded plane is stuck in the silt. The ruins of the Orthodox Church glisten with the twinkle of the lanterns of the survivors, who escaped from the hamlet below him, underwater, the Church, herself, awaiting drowning; industrial chimneys and inactive electric pylons stand in the distance. Farther still, the railway warehouse collapsed, the sheets and concrete smoke, expectorate the greenish grime. The metal shelter hides some horror. In this distressed, destroyed caldera, the river winds imperturbably, a fishing basin before then a monstrous burrow after the disaster. Life would have been present. Life is no more. Ragged ends live here and there. This expanse is revealed to us, an expanse closed by play, in which we are free. The flight from Moscow has been rushed and resources are lacking. Ammunition is counted in both hands. Adventure is necessary. An adventure in a world that worked, and that we can understand by crossing it. The Volga is plausible, this Volga is plausible. The railroads were used to transport food, these locomotives were maintained in the warehouses, then taken back in turnes for bandits; the river was the source of the peasants of the village, the waters caught up with them, the most gallant took refuge in the Church in a boorish and obscurantist cult (the technique and the machine did not save us, let's renounce them), the others are nothing more than corpses that we return motivated by the marauding; The total level is a composition of anecdotes, stories and narrative mist. Finally, the advent of a sensation, 4A Games is, in the end, the only heir to GSC Game World. The rascals had hidden this ambition. They benefit from the expansion of the limits of closed but discovered levels, finer, more accomplished, more told. Metro Exodus is the culmination of 5 games into a perfect monster. Metro Exodus, La Volga, is S.T.A.L.K.E.R 2. Then a season passes. Iamantaou.

mantaou, bunker except dug as a refuge by government debris, the reception is misleading. There is a snag. Hungry meeting with cannibal comrades. Hit ! YELL ! Mitrai !! er! Resonance of screams and bleeding from the walls. Fresh carcasses, spoiled carcasses, rolling heads, heaping of bodies. Count the members! The fun mass grave, it is a matter of sprinkling the most wild shrapnells (an accomplishment is moreover dedicated to it, serving perfectly the degenerate hysteria taken by the game), has nothing more of wet wandering and lonely by the river. Cacophony, dissonance between two contradictory sequences. This is not this Metro Exodus started.

Caspian wipes the same rough spatter. The excursion is bitter and dry at the start of the level, perfectly reflecting, moreover, the exodus and the constrained, desperate diaspora of a dozen individuals. This level is the best representative. The locomotive stopped and the natural environment stood in front of the men. Caspian assumes, like the beginning of Taiga, the larger nature, deeper than these few characters, who will manage to extricate themselves from the sands nevertheless. So the excursion deviates. The local Baron prefers to take refuge in his tower (the Ukrainians do not fail to question about perishable resources, and the dependence of men. We, like the bandits, all depend on these resources). Below, the plebs are bleating. At the top the harem hails. Topped with a huge skull of odds and ends, the orbits of which are lit by fiery braziers, the drill tower suddenly ignites. Guns are exchanged, corpses rain. Caspian ruins itself. The Volga is far, far behind us.

A third season passes. Could the call of the forests expel the disease? The Taiga, a Russian super-biome, nevertheless had its virtues. Two factions compete for the humus, and compete for the woods, and confront the wildlife. These two tribes dress in skins and feathers, survive entrenched behind palisades of ♥♥♥♥♥♥ or perched on leafy tops. Rational, a danger on the ground, Man, spared the cunning of radiation, escapes fangs and claws in the trees. On the other hand, the level, the Taiga erodes in a series of gorges, then valleys, then calm passes where to settle and save, then tunnels, then an arena, then .... Under rails - wood, a railway line, straight, straight. The thick and thick, dark Forest, inhabited by savages and haunted by beasts, is a gallery of scattered dioramas. However, the first minutes of the journey frighten with fear of the prey, to be eaten. Taiga is nothing more than a gleaming level on a guided paraphernalia, from which the player cannot escape at any time, and whose living sense is stripped immediately. Taiga cannot exist in this way. The Volga could.

Then, Terminus. The frozen walls of the Dead City contain themselves. Wisely. The morbid contemplation, frozen by the winter of the atom, between broken cars, viscous underground cesspools then hospital corridors is racing because a life is at stake. There are no more reasons to explore, or to raise resources. It is healthy to rush on hoped for care and to run in the corridors. No more forest, no more desert or malaria strike, a goal after the door. The character must hasten, the player too. Let us breathe, this sober end, coldly implacable, is more successful.

Lost. Arid, cruel and wandering nomadism in this Russian ire? Armed, unreasonable and angry outburst? Who is Metro Exodus? The confusion of the two. A spectacularly sober, resplendent and magnificent game, to contemplate although humanly stiffened; which, when it accelerates, becomes tangled, coils and then goes astray. The Volga suddenly heralded the then obvious supreme fusion of unique playing experiences. The augury falls in haruspice. The picnic will not go out of the way too guided, even if this side step was the best still life for a long time.