Metro 2033: Narrative Involvement
Metro 2033 has a great potential in terms of expressing narratives —big part of it being storytelling and atmosphere. In fact it’s the game’s strongest points. The story succeeds at being expressed through some interesting ways (at least in terms of video games and present standards).
The most apparent way that the story is being created is through the expressive audio-visual environment. The setting is detailed and carefully crafted, trying to transmit emotions and complete the storytelling: the inside of the outpost is more likely to make you feel like home, in a cozy ambient surrounded by people that chatter and have things to do. In the tunnels, or outside the idea is opposing the nice and cozy and turn into a mystical, weird, paranormal and depraved post-apocalyptic-gray-world. The details —which are often limited by technical and economic resources— have a good enough depth to create the ambiance, which, expresses part of the story —the setting, adjacent to the storytelling.
The developers succeeded at setting up a perfectly on-rails story in an interactive way. Even if there is absolutely no alternative to the proposed one, the game is delivered more as an overall experience rather than a ludic chaos. At first you are introduced by the intro of the game, where Artyom give a monolog (while typing) about his past and present life. Just like the tempo of the briefing, the games caries in the same way: at the beginning of each stage the protagonist talks his thoughts. This helps at connecting with the avatar even though there is no actual choice, but by empathizing with him you start taking part at story. This kind of connection does not drop in importance inside the game. It affords long discussions between the game characters. There is no alternative other than to listen, but by being there, and being put and taken in/from the conversations —more like monologues here— (the game takes control of your character and shows/does things that you should (know).
Despite my insistent thoughts about the on-rails game-play, there is an actual alternative ending —your actual contribution to the story. Depending on some choices that you make (i.e. take a NY postcard from a soldier or spare the life of a scared opponent) you have the good, the bad or the neutral ending.
Just like a novel, e.g. the one that the game was inspired from, it succeeds in presenting a drama —which purpose is to get the reader/player emotionally involved— that is comprehensibly built and eventually lays a rather solid ground for player to understand it.
