More than a quarter of a century ago, on the outskirts of the Soviet city of Pripyat in the Ukraine, the Chernobyl nuclear facility was rocked by a huge explosion that blasted radioactive fallout over much of the former USSR and Europe.
Beyond the 30 to 70 killed (reports from the USSR varied) by the explosion and radiation sickness, the human cost of the disaster is hard to quantify. Some estimate there will be between 50- to 60,000 excess cases of cancer attributable to Chernobyl.
In the four years after the event, Ukrainian farmers reported more than 350 animals born with severe deformities such as missing or extra limbs, eyes, heads and ribs.
The city of Pripyat was entirely evacuated. Now it’s a ghost town of stodgy Soviet apartment blocks and a solitary, forlorn Ferris wheel deep within the Chernobyl Exclusion Zone.
This is the setting not in which Metro: Last Light takes place, but against which it is developed. “There's no way this game is made anywhere other than there,” the game’s producer, Dean Sharpe, famously told media in 2011. “Because Ukraine is a depressing f**king place. Ukraine is just as depressing as hell – especially in the winter.”
“I now have a fake sun light I sit with for an hour every day just so I don't shoot myself.”
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METRO: last light hands-on by JAMES CULLINANE
(An article by: James Cullinane editorial director of Gameplanet ANZ)
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