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How Russia’s invasion reshaped the story of Metro 2039

Ukrainian studio 4A Games has endured arguably the worst set of circumstances a game development cycle has ever seen. The war with Russia not only made work on Metro 2039 incredibly difficult, but also fundamentally changed the game the team wanted to make.

There’s something uniquely grim about developing a post-apocalyptic game while occasionally having to stop and hunker down because of real-life air-raid sirens.

That was the reality endured by the development team at Ukrainian studio 4A Games, who have spent the last seven years since Metro Exodus working on Metro 2039.

The majority of work on the game took place on home soil despite constant conflict with Russia, and with the release date now established, the team are being frank about how the war not only altered production but also the tone of the game Deep Silver and 4A Games had originally set out to make.

It’s important to note that months after the initial invasion of Ukraine, the writer of the eponymous novels on which the Metro games are based, Dmitry Alekseyevich Glukhovsky, was arrested for speaking out against Russia, his place of birth.

He was sentenced to eight years’ imprisonment for ‘political hatred’ and ‘disseminating fake news about the military’, which thankfully never materialised because he packed up shortly after the conflict began. He has since worked and lived away from Russia, where he remains effectively banished, and continues to collaborate with 4A Games.

If you’re unfamiliar with the games or books, Glukhovsky’s vocal opposition to the invasion is especially pertinent given what Metro has always been about.

The series, which remains one of my favourites of all time, imagines a civilisation driven underground (into the metros, funnily enough) by nuclear war, radiation, and a combination of monsters and bandits. The survivors have divided themselves along political, ideological, and territorial lines and themes like fascism, communism, religious extremism, propaganda, and authoritarianism run through the games like a stick of rock.

Ultimately, Metro has always asked whether humanity can ever break its cycle of conflict, but developing the latest instalment through an actual war inevitably changed what that question meant for the developers. Metro 2039 in its final iteration is reportedly far darker than the vision the team initially had for it prior to four years of tension and struggle – with most of the development taking place at the studio in Kyiv.

The development team have described daily power cuts, rocket and drone attacks, and numerous trips to bomb shelters. When the power went out, they relied on generators and batteries to keep working and sometimes went home to find they couldn’t prepare dinner for their families.

‘When Russia started its full-scale invasion of Ukraine, it brought war to our doorsteps and we had to change our approach about what kind of story we wanted to tell,’ said executive producer Jon Bloch to IGN. ‘We wanted to tell now the consequences of war, what happens when war comes to you.’

Pawel Ulmer, co-creative director and lead audio designer at 4A Games, said in a recent interview with Eurogamer: ‘There are no parallels you can draw – no examples of how people coped with this, or worked their way through that. From what the team is experiencing, I can only emphasise the strength of spirit, body, and soul. It’s enormous.

‘We put all the negativity and aggression into the product – in a good way, you understand? I sometimes cannot understand how this is even possible myself. [But I think] the final game will represent what we have been through to make it.’

Grey morality will now be starker, and punches won’t be pulled when the story ‘explores what authoritarian regimes do’. The trailer’s mention of a ‘Führer’ and abstract images of indoctrinated children certainly put that message across.

Metro has never exactly been coy about its politics, but Metro 2039 already feels less interested in leaving things open to interpretation. There’s an anger to what we’ve seen so far that feels markedly different from the games that came before it.

‘Everything we had planned for the next chapter of Metro changed,’ said Bloch, and what we’re left with is four years of lived experience poured into fiction.

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