Review: Metro 2033

In this second installment of the Postapocalyptic/Dystopia summer series, we’ll take a look at the Russian cult classic Metro 2033. Author Dmitry Glukhovsky started writing Metro 2033 when he was eighteen, and it was first published on the internet in 2002. It wasn’t until 2010 that the book was published in other languages, to coincide with the release of an FPS (first-person shooter) game based on it. I wager that many people arrive at Metro 2033 after discovering its video game, but my story is different: I had no knowledge of either the novel or game until I came across a paperback copy at P.— Library. And I’m glad I did – Metro 2033 is an atmospheric and engaging variation on a familiar theme, and I thoroughly enjoyed it.

Glukhovsky sets his story in Moscow in 2033. It has been two decades since someone pushed the button, effectively eradicating civilization as we know it from the face of the earth. To escape the radiation, most of the surviving population was forced to flee underground, settling in the elaborate Moscow metro system. There a new order emerged; each metro station became an independent state, complete with border control. Collectively, the metro remains in a state of constant instability – stations form alliances with one another and break them through wars. People organized factions, and the two dominant ones – the communist Red Line and fascist Fourth Reich – are locked in permanent war over resources.

Not all stations are inhabited. Some have been abandoned due to flooding and fires; some cut off from other stations by tunnel collapse; some lost to Dark Ones – mythical, paranormal creatures from the surface world. Most underground folk have never seen natural light – even the Stalkers who venture to the surface in search of supplies only do so at night. Some stations breed livestock for sustenance, but most people eat mushrooms, because they don’t require natural light to flourish. Stations are on constant alert, and for good reason: they face daily attacks from either the two main factions, common bandits or mutated creatures from the depths.

Metro 2033 follows Artyom, a young man who was born before the nuclear war, but who has spent his entire life underground at the VDNKh station. He works as a security guard. One day Artyom is approached by a strange man named Hunter, who makes the lad promise that if he [Hunter] doesn’t return from his fight against the Dark Ones, he’ll travel to the distant station Polis and seek its assistance in his name.

Guess what happens. Plot catalyst! Quest!

As you can probably tell from my overlong description of life in the Metro, one of the book’s strong points is its lore. Metro 2033 ranks among the most atmospheric books I’ve read in recent memory. Glukhovsky vividly renders the decaying, ruined work of tunnels, and at moments I could *see* myself staggering forward in perpetual darkness, guided only by faint signal fires at the station ahead. Also well-illustrated is how years of isolation has led to social degradation in the settlements (even if it seems to have happened unrealistically fast). People forgot the past and gave in to primitive beliefs and superstition. They formed oppressive regimes to preserve unity. Glukhovsky’s ideas are many, and here one will find musings on everything from history and politics to philosophy and religion. On his journey to Polis, Artyom encounters many other metro dwellers, each introducing him to a different philosophy, each having influence on Artyom and shaping his character.

Several obstacles stand in the way of a smooth trek through Metro 2033’s narrative tunnels: A lot of dialogue is not relevant to the story; the plot skips about and takes off on random tangents; characters behave inexplicably. Political and philosophical meandering is sometimes interesting, sometimes not. And the prose sounds stilted and unnatural; I’m not sure whether I should credit translation issues or the original writing style.

However, Metro 2033 is an adventure worth taking. It’s a sprawling, rich novel which covers a lot of ground, even if it might leave the reader wishing it had done so on a much clearer path. Like the underground world it describes, this book branches out in many directions – and the only way to see all it has to offer is to take every line. So pack your rations, remember to grab your flashlight, and step out into the unknown.

★ ★ ★ ★

Metro 2033 by Dmitry Glukhovsky. Translated from the Russian by Natasha Randall. Pub. 2009 by Gollancz. Hardcover, 460 pages. ISBN13: 9780575086234


I heard Metro 2034 is terrible though 🙂

Join me next week when I review Vladimir Sorokin’s futuristic dystopia Day of the Oprichnik.



  1. Hey J.T.! I more or less liked Metro 2033 too. I can’t say it’s the best sci-fi ever written 🙂 But it’s not the worst if we look at the contemporary Russian science fiction. I started reading 2034, and I wasn’t as impressed as with the first book.
    Will be waiting for your Day of the Oprichnik review. This book doesn’t seem to lose its relevance through the years. Unfortunately.
    I’ve posted a review of it a few years ago.
    Have you read Norma (The Norm) by Sorokin?


    • “Have you read Norma (The Norm) by Sorokin?”

      No. Day of the Oprichnik was my first Sorokin book, and I haven’t read any other of his books since then. I’m kinda behind on reviews 😦


  2. Hi! My name is Lyt and I have never been the MetroVerse fan.

    I only read it (but not “2034”) due to being sucked into the original hype (only back then we didn’t know that word – we used “мода” instead) of the aggressively promoted “Metro 2033”. And when I say “we” – virtually anyone in my group of friends and acquaintances, plus my siblings.

    The original FPS (made by the same people, who created “S.T.A.L.K.E.R.”) was pretty mediocre, to be honest. Yet, a group of my friends working in the VG-adv scene got a contract to make a series of promo clips, teasers and presentations of the game. They were/are not picky, they have done the same to much worse (“IL-2 Shturmovik” [shudders]). But, as the bonus and part of the play they’ve got the Book itself.

    As for me – I fell victim to the aggressive hidden advertisement campaign on the pages of “Mir Fantastiki” magazine, which I bough back then. Virtually everyone in our group played (and absolutely adored) the original “Fallout I-II” games, the genre of post-apoc had its fair share of fans in Russia since the 90s (“Coincidence? I don’t think so!”), and it’s been widely believed that this “Russian answer to Fallout”. And this marketing formula “Russian answer to [X]” is incredibly effective on the uninitiated even to this day.

    Only now I’m “initiated” and even more well-read cpmpared to the year of the book’s release. So now I’m going to rate it only as “Okay” – but definitely not good. Preachy tone of Glukhovsky and his many, MANY logical and scientific (the author cannot into biology…) mistakes became grating and annoying for me over the years and a couple of re-reads. The fact that the war with the Dark Ones uncanny resembles the main plotline of the “Ender’s Game” by O.S. Card (also, fairly well known in Russia). And the moment I saw that they (not only the author himself, but also the publishers) are turning it into a “Verse”, with kilo-tons worth of dead trees wasted on mediocre to awful scribblings of amateurs, which were hardly better than fanfics, well… I knew that the Series are going downhill, thanks to many other examples elsewhere. There is only so much you can just regurgitate Campbellian “Hero’s Journey” even in the different “locations”.

    Oh, and no. J.T. – that’s not the fault of the translator. The book is indeed written in such, ah, “peculiar” style. Yeah…

    Glukhovsky as a person proved to be ill suited to the newly acquired fame – in the interviews he claimed that “there are no good Sci-Fi authors in Russia anymore” sans him, and that Pelevin is just a burnout author (which is… not entirely untrue). He became even more preachy and lost the last vestiges of humor, already not big to begin with. His view of the world and human society are trademarkly one of the typical member of the “shy and conscientious intelligent” ™.

    Glukhovsky IS a kreakl, who “came out” as the proponent of the modern and trendy liberal Fronde at the very first opportunity (he has nothing to fear – he lives in Israel). Naturally, for him there is no difference between communists and Nazis, as there is no difference between the USSR and the 3rd Reich for the people, who share his views. It is symptomatic, that the role of the “Orcs” is fulfilled not by racially exterminating Nazis, not by amoral neo-capitalist Hansa, not by the totalitarian anti-utopian Brotherhood of Steel rip-off Polis, but by the commies, whom the author hates with burning passion. And after his phrase from the “Sumerki” about GPW’s veterans – well, there goes the last vestiges of appreciation.


  3. As an author of post apocalyptic novels, I think that the whole metro series is just absolutely splendid and keep on rocking! It’s amazing what these creators put on the road in bits and bytes and how these terrific story lines and visual art and the whole plot of the game just continues to grab me by the boo-boo. I’m looking forward to the next installment. Any other friends want to play this in a Internet mode game jointly together?
    Cool and marvelous an over-the-top and hip as ever that’s metro.


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