METRO 2039 gets first full trailer

Metro 2039, the fourth game in the long-gestating Metro series, has received a new trailer.

The Metro series is set in a post-apocalyptic Moscow, where the survivors of a nuclear war in 2013 have turned the Metro into a series of underground cities linked by the old rail lines. Metro 2033 and Metro: Last Light depicted the complex, multi-sided battle for control of the Metro, whilst Metro: Exodus saw a group manage to escape from Moscow altogether and find out what happened to the world beyond.

Metro 2039, set four years after Exodus, sees a mysterious stranger arrive in Moscow on a mission to kill Hunter, the leader of the Novoreich which has overrun most of the city, and find a missing friend.

It's unclear if the game will continue the move from Exodus to larger, open-world environments, or a return to the more linear levels of the first two games.

Metro 2039 will launch in February 2027 on PC, Xbox Series X/S and PlayStation 5.

Metro: Exodus

2035. The political struggle for control of the Moscow Metro, where ten thousand survivors from the 2013 nuclear war that ended the old world live with their descendants, has stabilised with an uneasy peace. For Artyom, the hero of the battle at D6, it's an opportunity to follow his dream of finding out what's happened in the world beyond the city limits. The discovery of anomalous radio signals and the capture of an armoured steam train, the Aurora, gives Artyom and his friends their chance to abandon the closed-in world of the Metro for the open skies of the world beyond...and their own, unique dangers.

Metro: Exodus is the third game in the Metro series of video games, developed by Ukrainian studio 4A Games and based on the novels by Russian author Dmitry Glukhovsky (currently living outside of Russia due to his opinions of the current political situation). It was preceded by Metro 2033 (2010) and Metro: Last Light (2013), with remastered versions of both games later released as Metro Redux. Metro: Exodus is something a mild reset of the series, removing detailed references to the events of the first two games in favour of the story at hand, and a new gameplay format.

The basics of the game are more or less unchanged. You play Artyom, a survivor of the nuclear war who has learned the hard way how to survive in the Metro. The game is ostensibly a first-person shooter, though mild survival and crafting mechanics are present and there is a strong focus on stealth. An opening section in Moscow is very much linear business as usual, until you and your allies (many of them recurring from the first two games) find a train heading out of the city and realise you can escape to the open countryside, and find out what the hell happened to the rest of the world.

From here the game adopts a structure more akin to the original Far Cry, with sequential, large and open-ish maps with a primary objective but various sub-objectives you can explore along the way, and with freedom of action in how you approach each mission. You can rush each area by doing the main objective ASAP, but going off the beaten path to explore side-areas will reveal more loot, upgrades, lore and subplots. As with the first two games there is a hidden moral metre, and behaving in a more moral and enlightened way (minimising kills, sparing surrendering enemies etc) will open up new branches in the storyline. Allies you may drive away by adopting a murder-hobo mentality will instead stay on, and provide more support in later missions.

This new approach is refreshing, allowing the introduction of open-world elements without going full open-world with a single massive map on which the whole game takes place and the main storyline takes a back seat for hours or tens of hours at a time. This structure instead allows for a degree of exploration and freedom but not too long before you have to progress the main story, which is quite enjoyable.

This is basically the Road Trip from Hell, made the worse because you don't have full control over your route (you need to stay on the rails, obviously) and even a minor setback can have massive consequences. The Russian rail services ceased to exist twenty-two years before the game takes place, so if a mudslide has washed half a kilometre of track into the Volga, you're screwed and have to go back and find another route (and hope that is passable). But it is fun, as you can repair to the train between missions and chat to other characters, building up relationships and following subplots. The characters in the Metro series have always been a lot of fun and catching up with them here is enjoyable. The main exception is Anna, Artyom's previous girlfriend turned wife, who was a formidable fighter with a sharp sense of humour in previous games and here is a bit too squeeing over Artyom, which feels odd.

Exploration is a lot of fun, with your growing equipment collection allowing for better exploration and detection of possible supplies. Some of the maps provide you with vehicles for exploration, including boats and buggies, which are an enjoyable change of pace. Each map, separated sometimes by thousands of kilometres from the last one, has its own set of characters and factions, making the game sometimes feel like an episodic road trip TV show, which is enjoyable. Making sure you close off the subplots in each region before moving on can be a bit hit-and-miss, and the game sometimes can be unclear on what you should or should not be doing. I had a rather limited experience on the Caspian Sea level, for example, by inadvertently killing what turned out to be a major NPC during an early scuffle, closing off a bunch of options for resolving that particular crisis more peacefully.

Combat remains solid, and mostly unchanged from prior games. Weapon selection is solid and a frontal assault is usually possible as long as you don't get swamped by superior numbers (and can re-arm quickly). Stealth is more more satisfying, however, with silent knife throws, critical takedowns and silenced weapons all providing excellent opportunities for stealth operatives. Lethal and non-lethal options are available in most cases, and going for the non-lethal approach can result in enemies letting you live in thanks rather than trying to kill you later on. There are granular outcomes to your choices in the game that are not immediately obvious, meaning you find yourself considering your options more carefully in a more traditional cartoon sandbox where mass violence is always rewarded positively.

The game does struggle reconciling its linear past with its new, more freeform present. The Volga and Caspian levels are huge and open to explore, but the ultra-linear Taiga level, a corridor pretending to be an open riverbank, is a little weird, and feels designed to shuffle you between cutscenes. The game feels better when it's fully embracing the open-world or when it places you in tight confines once again; a late-game visit to another Russian city with a Metro feels pleasingly nostalgic rather than irritating by snatching the open world away again. A greater irritation is that cutscenes do tend to go on a bit too long, and sometimes repeat information that is redundant. The English-language voice acting can also be a bit of a mixed bag, and hardcore veterans of the series may find the decision to completely ignore some major story and lore ramifications from the first two games a bit odd. Newcomers will be completely at ease, though.

The main game itself is solid, but these days the game also ships with its DLC. The first DLC, The Two Colonels, explains the backstory to a character mentioned but MIA in the main game. It's quite linear and very short, but it does have some interesting gameplay ideas and some great dialogue. The second DLC, Sam's Story, is huge by the standards of most such expansions. It adds the city of Vladivostok to the roster of locations, with your character exploring a fairly large area on foot and by boat, aligning with different factions and searching for vital supplies that will help your ambition of crossing the Pacific Ocean and finding out what happened to America. One of the best maps in the game and some strong NPC characterisation makes this a fine slice of the Metro series.

Overall, Metro: Exodus (****½) is a fine addition to the series. It changes things up at a point when they could have become stale. The gunplay is great, the stealth is excellent and the story is solid, with the subtle way the game handles morality, choice and consequence being refreshing. At around 30 hours (including the DLC), the game gives a solid amount of content without being too stuffed with filler.

The game is available now on PC, PlayStation 4, PlayStation 5, Xbox One, Xbox S/X, Mac and Linux. A sequel, Metro 2039 which sees a stranger arrive in Moscow, is due for release in 2027.

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Metro: Redux

In 2013, a nuclear war devastated the Earth. The city of Moscow was destroyed by several direct nuclear hits, the few thousand survivors being driven literally underground to seek refuge in the Moscow Metro. Twenty years later several competing factions have arisen, with the Spartan Rangers, the Fourth Reich and the Red Line fighting whilst several independent city-states try to survive in the crossfire. And above their heads, strange creatures have arisen to take control of the surface world.

Originally released in 2010 and 2013, the first two instalments in Ukrainian 4A Studios' Metro series of first-person shooters were accomplished games. Metro 2033 and Metro: Last Light told an intriguing story of survival, horror, war, love and loss against a superbly-realised background, provided by Dmitry Glukhovsky's trilogy of source novels (Metro 2033, Metro 2034 and Metro 2035). The developers have form from working on the earlier S.T.A.L.K.E.R. series of games, although the Metro series eschews those games open-world settings for a much more linear and focused experience.

In 2014 both games were reworked and re-released in "Redux" editions. These editions of the games rework graphics, AI, controls and difficulty to provide a more consistent and linear experience across both games. Minor differences in controls, interfaces and enemies are smoothed out to form what is effectively one large game.

Being the older game, Metro 2033 benefits much more from the upgrade. Graphics, physics and lighting are much-improved and things like the games' stealth system is now more reliable and works better. Best of all is the evening out of the first game's infamously punishing difficulty. The original game's "normal" is now "hard" and a newer, normal difficulty level has been imported from Last Light, which makes ammo easier to find. In contrast, Last Light has inherited 2033's more punishing optional difficulty levels to turn it more into a survival game. The disparity between the two titles is gone and you can now play both as either a hardcore survival shooter or a more relaxed and forgiving action title.

Both games have aged well, and their at-the-time impressive focus on stealth has become all the more impressive. The games don't do a great job of telling you about the stealth system though. Basically, enemies, no matter how tough, can be killed with a single thrown knife as long as you take them unawares. You can also sneak up behind them and knock them out or kill them in close proximity without alerting their friends. If one enemy does spot you, instead of magically letting everyone else know your precise location via telepathy, you do have a narrow window of opportunity to disable them before they can alert other guards, allowing you to recover from serious errors. You can also use muffled weapons to take down enemies, extinguish lights, although causing too much mischief from the shadows can lead to the enemy getting suspicious and switching to a higher alert state.

Both games retain impressive action set pieces and the storytelling remains intriguing. The environmental storytelling, reliance on NPC companions and your status as a silent protagonist all make for positive comparisons with the Half-Life series. However, the games suffer a little from their morality system, which they don't tell you about. Basically, the less mayhem you cause, the more guards you knock out rather than kill, the more you go out of your way to avoid killing (even mutants), the higher your morality score. This unlocks secret endings for both games. For Metro 2033, to be honest, this is a bit pointless as the secret ending is not canon (Last Light starts the "negative" ending from the first game, which is off-putting if you're playing both games together), but for Last Light it's more important because the "secret" ending in Last Light is the canon one and sets up the third game in the series, Metro: Exodus. Unfortunately, some of the high-moral outcomes in Last Light are a bit obtuse, requiring you to uncover secret caches and avoid killing even when it appears fully justified to do so.

These vagaries are minor annoyances, and made up for by the package's impressive amount of side-content. All of Last Light's generous DLC is included, including more missions expanding on background events in Last Light (focusing on various side-characters and their own storylines), a solid single-player survival mode set on an open world map with you scavenging for supplies at a huge library, and a specialist (and punishingly hard) sniper map.

Metro: Redux (****) takes two strong, older games and makes them sharper, better and more enjoyable for modern gamers. The morality and stealth systems feel a bit under-explained, but once you get to grips with them, they enhance an atmospheric and accomplished pair of shooters. The package is available now on PC, PlayStation 4 and X-Box One.

Metro: Last Light

2034, post-apocalyptic Moscow. A year has passed since the Spartan Rangers discovered and occupied the D6 bunker, making them one of the powerhouses of the Metro. Artyom is now a respected ranger, but is haunted by his decision to nuke the mysterious 'Dark Ones'. When word arrives of a Dark One infant that survived the cataclysm, Artyom sets out to rescue the creature and atone for his actions. Along the way, he discovers that one of the other factions in the Metro has discovered a secret weapon that could turn the tide of power amongst the survivors forever.

Metro: Last Light is the sequel to Metro 2033, picking up where that game left off and building on its storylines and characters. Last Light is pretty unforgiving to those who haven't played the first game, not bothering with backstory or exposition, so I recommend that players either pick up the first game before this one, or make full use of online plot summaries to get them up to speed.

As before, this is a first-person shooter which alternates combat with exploration and survival elements. Combat is great fun and enhanced this time around by the addition of better stealth mechanics: Artyom can knife opponents from the shadows or knock them out if he can sneak up behind them. Given a fairly frugal approach to ammo in the game (although it's not as punishingly stingy as the first game), conserving firepower and resorting to stealth rapidly becomes the first choice in every situation. Stealth is even more important when fighting the game's mutated wildlife, who can't be stealth-killed but can be avoided by hugging the shadows and extinguishing light sources.

The survival element comes in the form of the handy gas mask, which is necessary to survive on the surface and exposed parts of the underground. The mask's filters need to be changed on a regular basis and it can get covered in debris, gunk from exploded enemies and water quite easily, forcing you to wipe it clean. This is fine in general exploration, but mid-combat it can add a panicky moment of blindness which adds to the chaos of combat. The survival element is tremendously enhanced by the impressive visuals and the bleak, lonely atmosphere. Metro: Last Light does atmosphere better than almost any other FPS game I've played.

The moments of bleakness are counterbalanced by the towns (former Metro stations that have been taken over as habitations for survivors), which are bright, warmer and packed with people. The towns are a good place to chill out and restock on supplies before heading out. Unfortunately, as with the first game, they are essentially just shops with only modest improvements in giving you more to do (though a couple of optional missions can be found, along with a dubious strip club and a shooting range mini-game). The towns are crying out for more development, and as with the recent BioShock Infinite there is a feeling that maybe this would have been a stronger game if it had been more of an RPG than a FPS.

Still, an FPS it is and a good one at that. Making the linear corridor FPS (which is what Last Light is, apart from a couple of enormous arena-like outdoor areas where you have more freedom to choose what approach to take next) compelling and interesting is difficult, but 4A Games has managed it by giving the game a sense of place and atmosphere that is second to none. The limited nature of the genre means that you can't explore the people and places as much as you might want to, but through overhead dialogue, some excellent art design and Artyom's own notes, they successfully engross the player in this strange world.

Voice-acting is good and characterisation is fairly strong, although a romance with another character does kind of come out of nowhere. Whilst you spend a good chunk of the game going solo, you also team up with other characters for chunks of it, and they manage to be effective aids in combat without hogging the limelight. One character 'buffs' you by providing you with intelligence on enemy positions and numbers rather than fighting outright, which is a great idea that the game executes well.

Metro: Last Light (****½) is an improvement on its predecessor in almost every department: it's slightly longer, with more impressive graphics, more satisfying combat, vastly superior stealth and a more interesting storyline. On the minus front, it does feel very reminiscent of its forebear, more the second half of the same game rather than a sequel, and arguably the game makes a few too many concessions to the mainstream, with more plentiful ammo and supplies meaning less moments of nerve-shredding terror. Still, it's a bleak, atmospheric and gripping game. It is available now in the UK (PC, PlayStation 3, X-Box 360) and USA (PC, PlayStation 3, X-Box 360).

Metro 2033

2033. Twenty years have passed since a nuclear apocalypse ended civilisation. A number of survivors have built an underground society based in the Moscow Metro. Stations and their adjoining halls and tunnels now serve as towns, some banded together into factions. Some of these factions are at war with one another, and all are threatened by the hostile creatures (transformed by radiation into mutants) that roam the tunnels and the overground.

A young man named Artyom volunteers to leave his station and journey to the largest town in the metro, Polis, to seek help against the creatures threatening to destroy his home. However, this is only the start of a long journey as he discovers that there is a potentially greater threat gathering and he may be the only hope of stopping it.

Metro 2033 is a first-person shooter developed by the Ukrainian 4A Studios, an off-shoot of the recently-closed GSC Game World (the creators of the STALKER series of games). It's a post-apocalyptic game employing some elements of survival horror in addition to its more traditional FPS trappings.

The game is played from the POV of Artyom, who narrates the game through observations that appear during loading screens. Otherwise, he is a silent protagonist in-game, more willing to listen and learn from other characters than engage in lengthy conversations. The game style is inspired by the Half-Life series, most notably the idea that it's up to the player how much exposition and backstory they need to hear. When in a peaceful area, such as a town, you can simply press on immediately with the next mission or stick around and listen to conversations to pick up more information about the world and setting. There are a variety of NPC characters who help Artyom out during missions, though usually they are forced to bail out at some point, leaving Artyom to press on alone.

The STALKER influence can be seen in the atmosphere, which is dark, brooding and often oppressive. When on the surface or in gas-filled chambers, Artyom has to wear a gas mask to survive. As the gas mask's filter clogs up, his breath starts to fog over the screen and the sound of his increasingly laboured breathing becomes dominant, until he replaces the filter. Finding filters is thus essential to survival (though only truly an onerous task at the highest difficult levels). This gives a tremendous sense of claustrophobia to some parts of the game. Another issue is that bullets are relatively difficult to find in the game and enemies tend to soak up a lot of damage, making the player have to think much more carefully whether to engage in combat or attempt to sneak past enemies by sticking to the shadows.

The game employs a highly naturalistic style to its interface. Your journal and compass are in-game objects and looking at them means unequipping your weapon, which can be lethal in dangerous areas. The onscreen HUD only appears when needed and tends to vanish whenever you're not using it. There are both stealth and morality mechanics, the former tracking how locatable you are and the former how 'good' or 'bad' your decisions have been, but both are invisible to the player. This adds to the atmosphere, as it leaves you wondering if you have made the right decisions rather than being able to hit a button and bring up a bald numerical figure representing your situation.

The game's art style is dark but impressive, cold in atmosphere and successful in conjuring up an air of constant terror during missions. The towns are warmer and richer, with people huddled over fires discussing how they are surviving and merchants eager to sell you their wares. However, the towns are let down by a lack of variety (they're similar to one another, with little in the way of optional side-quests available) and also a sense that they are not necessary. Whilst ammo is very limited, there's usually enough to be looted in the wild to make depleting your (extremely limited) supply of currency. Amusingly, currency in the game are also bullets, which in moments of desperation you can use as ammo.

Combat is chunky and in many cases satisfying, but the game's difficulty level can make it frustrating. At normal difficulty headshots have no impact and enemies can take a lot of damage to kill. At high difficulty levels enemies can be killed more easily, but at the expense of also making you extremely fragile and also making ammo and money extremely difficult to find. Unfortunately, the game also pulls the old Far Cry trick of removing the satisfying human opponents in favour of unconvincing monsters and mutants later on, but unlike Far Cry never brings back the human enemies later on. The mutants tend to be much less satisfying to fight, which is a problem since they dominate the second half of the game. Particularly annoying are the ape-derived 'librarians', who take ludicrous amounts of ammo to put down. There is a system for 'staring them down', but it feels somewhat arbitrary whether employing this tactic is going to work or not.

Metro 2033 features regenerating health, but only at a very slow rate, making it almost impossible to heal up mid-battle (you also have pain-killing injections that speeds up the process, but is little help in frantic firefights). There is also no cover system (at least beyond the old-school 'duck and pop up again to shoot' technique). These reductions in modern gaming's most tedious and over-used elements are successful in returning real menace and tension to combat, although they do sometimes go the other way and make battles annoyingly frustrating to win. This isn't helped by a checkpoint system that, whilst never as enragingly awful as Max Payne 3's, is still sometimes unforgiving, forcing you to replay lengthy sections as punishment for tiny mistakes (or random chance).

The game's atmosphere is tremendously effective, its setting interesting (and surprisingly varied) and the characters you meet and ally with tend to be well-motivated individuals. There's a jet-black sense of humour that constantly pervades the game. The game also has a surprising, twist ending (but only if you've done enough 'good' acts to unlock it) that nicely subverts the violent action game you thought you were playing. This has to be balanced against sometimes frustrating spikes in difficulty and a sometimes ridiculous lack of ammo for a first-person shooter.

Metro 2033 (****) is definitely one of the more original and impressive first-person shooters of recent years. If you can get over its brutally unforgiving difficulty, this is definitely a game worth playing. It is available now in the UK (PC, X-Box 360) and USA (PC, X-Box 360).