As a seasoned gamer and lover of immersive narratives, I find myself deeply captivated by Dmitry Glukhovsky’s insights into Metro Awakening. His words resonate with me, not just as a game player, but as a human being. The universal themes he touches upon – trust, understanding, and the complexities of relationships – are aspects of life that I believe many can relate to.
The upcoming installment in the extended Metro saga, known as Metro Awakening, is the brainchild of Dmitry Glukhovsky who has been penning Metro tales for more than three decades. This new chapter brings several innovations to the series, including being the franchise’s debut in VR and marking the first time a Metro game is developed by Vertigo Games, a team renowned for their VR expertise, rather than Ukrainian studio 4A.
Metro Awakening” serves as a five-year prequel to the initial game, set in 2028 within the Moscow Metro, the remaining refuge of mankind following nuclear catastrophe which made the surface uninhabitable. Leveraging the unprecedented realism of virtual reality technology, “Metro Awakening” presents the Moscow Metro at its most horrifying as players encounter firsthand the radiation-contaminated terrors lurking beneath the earth.
Game Rant had a chat with Dmitry Glukhovsky, the creator of the Metro series, about his work on Metro Awakening. They discussed his methods for creating a character suitable for virtual reality gaming, which presents a distinct challenge for game writers. In addition, Glukhovsky shared his thoughts on writing for Metro games versus writing for films and whether a Metro movie might be in production.
Writing Metro Awakening Is Like Writing a Movie
A: When it comes to transitioning from writing novels to creating video games, have you noticed any differences in the writing process between crafting stories for the Metro series and developing games?
As a storyteller, I find crafting narratives for video games bears striking resemblance to writing for films. In both cases, the narrative structure needs to be concise and well-defined. Unlike novel writing, where I can freely explore and improvise, not knowing the exact twists and turns my protagonist will encounter, I have a clearer path in game writing – I know the ultimate destination for my character and the themes I wish to convey.
Whereas when you’re writing a film script you need to structure, you understand that this is exactly the curve of emotions that you want your character to go through. So it’s more engineered I would say. Writing a video game is always closer to that. It has to go through certain emotions, right? But I think that what’s more important is that it’s completely erroneous to ignore these strong human emotions and the clear personal arc and changing transforming character and moral and ethical dilemmas and the higher philosophical things in the video game storytelling. When we were introducing that in the first Metro titles back on the Metro 2033 we had to put a heavy accent on the storyline and on the atmosphere, because that was the cheapest way to retain the attention of the gamer and to make a gamer feel emotions.
In simpler terms, we found ourselves going head-to-head with gaming giants who had financial resources far exceeding ours. To keep up, we decided to craft a powerful, captivating narrative – one that resonated deeply with people because it was adapted from a book. Now, I’m not a professional game writer, but I do know how to spin tales effectively in traditional storytelling formats. So, I drew upon all my knowledge and experience, incorporating philosophical ideas, social commentary, poetic scenarios, dramatic moments, and even hints of nostalgia for a bygone era – all this despite the lack of resources for motion capture, CGI, and polished visual effects.
In my opinion, one reason why Metro gained popularity over time is that its compelling story allows people to feel deeply involved. While big-budget movies can leave viewers unengaged due to a lack of emotional resonance, we often don’t care for their characters or become quickly accustomed to the visual effects. For example, after watching Harry Potter in 3D, I stopped noticing it was in 3D within just a few minutes and focused on the storyline. Even though the story was good and therefore enjoyable, if it hadn’t been for the story, I would have found myself bored despite the impressive visuals.
In my opinion, the narrative is paramount, then comes the role of VR and its functions within this specific game. This game offers an incredibly immersive experience, making you feel as if you’re truly part of that world. I initially conceptualized the storyline for Metro three decades ago, a staggering 30 years back. That was my first idea, and I was just a teenager at the time. I was significantly younger than my protagonist Artyom, who was 24. I was likely around 14 or 15 years old, and I was already typing the initial lines for Artyom and the tunnel, envisioning it all back in high school. Now, I find myself wearing this advanced VR equipment, and I’m inside it, and it’s just amazing to see how far we’ve come.
As you glance around, everything appears so authentic – even the gun seems real, though you know it’s not. The immersion becomes harder to disbelieve. In these fast-paced ADHD 3.0 times, it’s tough for me to engage with games that don’t instantly grab my emotions and pull me into the narrative without losing focus. Consequently, I struggle with slow-burn games.
I’d like to express my thoughts about something, and it seems to me that’s exactly what we get with “Metro Awakening“. It takes you on a journey to unique locations, but the story remains central. From my perspective, I’ve made every effort to ensure that this story is emotionally engaging, personal, and dramatic, focusing on themes that resonate with us all, such as romantic relationships, empathy, family bonds, and parent-child relations – experiences we all encounter in some form throughout our lives and can connect with.
Question: When discussing character development, how do you design characters for a virtual reality game, understanding that players will essentially take on these characters physically?
Glukhovsky proposes an intriguing approach: To fully immerse yourself in the story, it’s best to create a compelling, immediate drama for your character without providing any backstory. This allows you to step into their shoes and identify with them so strongly that you become one with them. Within just 10 minutes of a two-hour film, you should feel as if you are the character, particularly during moral dilemmas. In these moments, you forget your own identity and instead embody the character completely. You experience their emotions as if they were your own – feeling their pain when life is tough, cringing at awkward moments, even sharing in their feelings of love or sexual attraction.
In our human nature, we possess empathy and mirror neurons which grant us an extraordinary level of immersion into a character in games or movies. This means that as game developers and storytellers, it’s crucial to avoid making the character’s voice unpleasant or thoughts irrelevant, as this would disrupt the player’s connection with the character they embody. The same principle applies to films: the main character should not perform actions that seem out of character or unrealistic under the given circumstances, unless the context is a comedy or an unusual thriller. We have the ability to empathize deeply and easily put ourselves in another person’s shoes, understanding their needs and perspective.
In essence, the primary goal in crafting the narrative of Metro Awakening is to ensure that the character of Khan, our protagonist, doesn’t come across as an alienated dictator to gamers. Unlike previous DLCs and games in the Metro series, this installment features a voiced protagonist for the first time, with the voice harkening back to the original Khan character from Metro 2033. This game primarily focuses on Khan, making it a prequel, but it also stands as its own robust story that doesn’t feel like a secondary or inauthentic addition to the franchise. The biggest risk here is treating it casually as a spin-off, rather than developing it as a fully-fledged game for newcomers, offering an immersive and captivating journey from the outset.
I’d like us to work together so that newcomers can immerse themselves in an authentic story and connect deeply with the characters. If we handle this well, if it turns out to be a hit, then the game stands a greater chance of being successful overall. This isn’t about exploiting the franchise’s success; rather, it’s about creating a genuine narrative that resonates emotionally with people. I don’t favor the term “audience” as it suggests a more scientific marketing approach. Instead, let’s aim for “people.” You can’t deceive people. Provide them with a sincere, coherent story that moves them, and they will appreciate it in some way or another. Create shallow commercial content, and you risk failing because people will be turned off. The more successful the previous titles have been, the greater our responsibility, as expectations are higher, and it’s easier to disappoint people when those expectations aren’t met.
As a dedicated fan, I can’t help but pour my heart into each new Metro title, even though it doesn’t come with a paycheck. It’s more than just a game for me; it’s a moral duty to ensure its success and maintain the unique narrative trajectory that has made these games so compelling – personal, emotional, meaningful, and layered with subtle political and social commentary.
The Metro Series Is Philosophical, Political, and Emotional
Question: What elements should be included in a Metro title, as per your perspective? Can you explain why Metro Awakening embodies these aspects for you?
Glukhovsky: All the Metro novels carry an underlying sense of gloom. This melancholy arises because this is a world without a promising future, making it deeply sentimental about its past and the losses it has endured. There’s a glimmer of hope, if there is any, amidst all the despair. It’s about struggling with trauma and finding ways to live despite it. About rising from the ashes and blooming in those very ashes.
In many aspects, the game series “Metro” serves as a satirical portrayal of society and political systems, featuring manipulation, propaganda, and labeling certain groups as enemies to control the masses. Topics like xenophobia or fostering hatred towards perceived threats are often used for political gain. However, in the game “Metro: Awakening”, we chose to forego the political angle and instead concentrate on deeply personal conflicts. These include trust issues within a relationship, disbelief in one another, forgiveness, and even spiritual or extra-sensory themes. Given our protagonist, Khan, possesses unique extrasensory abilities, he could be considered the “mage” and “sage” of the Metro universe.
It was very interesting to describe how Khan has become who he is, and I just had the idea that he had not always been the same person. Probably he has been transforming. It’s been a journey in which, from somebody who does not believe at all in spiritual stuff, he has become someone who does not only believe that, but can actually manifest things and do things that other people don’t even believe in. It’s a small spoiler in this particular game, but you will find some things that belong to the source book and the source game and that we wanted to make part of the first game, but we didn’t have the resources to do some of the very cool parts of the lore that are in the Metro 2033 book and never made it into the video games. I really love it.
In summary, the game appears to be a faithful adaptation of the original Metro story, yet it is accessible to both die-hard fans and newcomers since it introduces a fresh character. This setup allows players, regardless of their familiarity with the franchise, to dive deep into the universe for an engaging first-time experience.
Previously, you brought up the idea that composing for Metro games is akin to scriptwriting for films. Would you be intrigued by the possibility of a Metro movie? If so, what might your vision for such a production entail?
Glukhovsky expresses: It’s been quite a lengthy journey for me. Approximately 17 years ago, at the age of 27, I first arrived in Hollywood to discuss a film rights deal. Now, 17 years later, we find ourselves in the same place. Three video games and three books have been released within this universe, along with numerous other events taking place, yet there’s still no audiovisual project based on that story. I remain optimistic as there are some recent developments I can’t disclose due to legal reasons. In the realm of film and television, one never knows; things can change in an instant, surpassing all expectations and hopes. Given my inclination towards superstition, I prefer not to reveal the project I’m working on as a screenwriter at this time.
Later this year, I’ve got a chilling thriller up for release that I penned, set within the heart of America. Contrary to any speculation, there’s no connection to Russia in this tale. As we move closer to its debut, it’s premature to discuss details, but I am confident that the Metro series has immense potential for expansion across various platforms and media formats. Whether it takes shape as a television series, another movie, or even a massive multiplayer online game, or perhaps even a mobile app, remains to be seen.
This feels as if it was designed to evolve into a cross-platform phenomenon. Unlike my other tales, they don’t share this quality. I’m not deliberately crafting stories with the aim of creating transmedia franchises, but this one seems to have that potential naturally. Why should I stand in the way of its natural evolution?
A: What thoughts or feelings do you expect players to have after playing Metro Exodus? Are there specific emotions you aim to trigger or ideas you hope they ponder upon?
In this game, I’m quite optimistic that it will evoke laughter in some parts and tears in others. While writing certain scenes, I found myself tearing up, and I hope the feeling is reciprocated. Primarily, I would say the game revolves around our capacity to empathize with others in close relationships, trust them, and accept their unique perspectives as genuine, even if they differ from ours. It’s not a matter of deceit or manipulation when someone perceives the world differently; instead, it’s about believing them when they assure us that they’re being truthful, sincere, and not trying to deceive us. This trust is crucial, especially for those who are part of our family or close relations, even if they may unintentionally cause us pain. We must learn to forgive them and extend our trust, understanding that their perspective deserves attention and belief.
It seems the narrative emphasizes these two aspects, which hold significant value across cultures. To avoid giving too much away, let me say that since our character is male in this instance, the storyline is centered around a man’s perspective, portraying things in a logical, disciplined, and non-mystical manner. I hope it resonates with many male players, encouraging them to reflect on their own lives. However, I would be thrilled if women also choose to play this game as a means of gaining insights into us, sometimes enigmatic males.
A: Are there any specific aspects of Metro Awakening that you’re especially pleased with, and if so, would you care to share some insights about them?
As a gamer, let me tell you, I’ve played quite a few games, but the one that grabbed me recently is Metro. Despite being categorized as a survival horror game, it’s so much more than that to me. It’s a profoundly thought-provoking shooter that resonates deeply, stirring up emotions and sparking conversations about complex moral dilemmas. Today, I revisited this game, and once again, I was captivated by its lyrical, philosophical narrative. Simply put, Metro is a game that makes you think, feel, and question the world around you.
But the horror elements are really cool. You’ve got all those giant spiders springing at you or ghouls walking behind you in the darkness, and you turn in reality, then you spot in virtual reality some kind of a shadow there, and then it attacks you. This freaked me out many times. So this kind of thing is really cool.
Beyond the intricacy: You hold a genuine firearm, along with an assortment of homemade gadgets reminiscent of the metro. Attached to your backpack is a gas mask that you retrieve. This whole setup is quite thrilling, significantly enhancing the immersive experience multiple times. The immersion, in my opinion, is the most captivating aspect of this virtual world. This game was developed by a Dutch team, although it wasn’t the primary Ukrainian team, they supported and aided its development. As a result, it remains true to the essence of the original game. So, it seems like a spin-off of Metro, but in a VR format, which is quite exciting. I’m contemplating purchasing a VR set to enjoy this adventure at home.
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2024-09-28 16:05