Metro last light
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The manner in which Anna is written shows just how poorly (and, whether inadvertent or not, offensively) Last Light‘s creators choose to portray female characters. there’s nothing hotter than two people just sitting around, waiting out the verdict on whether or not they’re terminally ill. When they’re reunited later in the game, quarantined together after potentially contracting a deadly virus, Anna inexplicably throws herself at Artyom because, well, she’s the game’s only named woman and. The pair only spend a short time together before they are split up while trying to fulfill their objective. Anna is introduced as a tough sniper sent to accompany Artyom on his mission to kill the last remaining Dark One. This problem is exasperated through Anna, the only character who appears to exist outside of these categories.
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Simply enough, 4A Games, in spite of the considerable imagination they display in adapting Dmitry Glukhovsky’s novel to an interactive medium, can’t figure out how to make a female character that falls outside the binary of mother or prostitute. From my time with the game I encountered only mothers, showgirls, strippers and a single member of a military faction (described below). Women, on the other hand, occupy far fewer roles.
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The men are mostly soldiers, but they are also arms vendors, panhandlers, fishermen and more. When the player is given a break from combat they are able to soak in Metro‘s fiction by walking around and observing how ordinary people live their lives after the end of the world. The trouble with omitting female characters from the game’s armies pales in comparison to the actively concerting issue of how Last Light chooses to portray what women it does bother to include in its exploration levels, though. That all of the soldiers encountered during combat sections are male+ is problematic enough. In the exploration segments the player continues in the role of a man who is able to non-violently interact with both men and women. In the combat sections of the game the player takes on the role of a man who kills men. In between these levels the player is instead placed in impressively rendered environments - typically roughshod subterranean villages constructed by the survivors of a nuclear disaster - and given the freedom to walk around, eavesdropping on conversations or interacting with mini-events. In the combat sections the player character, Artyom, must gun down monsters or dispatch enemy soldiers.
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Last Light, like its predecessor Metro 2033, is broken up into segments that are characterized by either combat or exploration. Aside from the stray soldier, developer 4A Games portrays the women and girls of their world as either mothers or whores - or some combination of both. Unfortunately, they are characterized in a drastically different manner than the male population of the Moscow ruins.
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There may not be quite as many of them as there are men, but they are there. There are women living in the ramshackle settlements of Metro: Last Light‘s post-apocalyptic subway system.