The writer of the novels, and responsible for the script of the games, talk about the creative process of the shooter.

Dimitry Glukhovsky. The author of the novels of the Metro saga and, in addition, a key character in the writing of the three video games of 4A Games. Of course, of all his ideas and his initial script for the title, many things remain in the inkwell, and the writer has reviewed the most painful of the losses.

“I will never forgive them for not allowing the giant post-nuclear mammoths to enter the game,” the writer laughs. “I would have loved to have them in the video game, okay, this time it will not be, maybe in the next game, but think about it … Mammoth gigantic, the size of a house! It was going to be incredible.”

Next, he went on to explain how the relationship between scriptwriter and developers works. “The creative process at the script level for a game like this is roundtrip,” explained Glukhovsky. “I suggest things for the campaign, and they also ask me for things like … We need a trip on a train through a nuclear wasteland, and then I told them that I loved the concept, that, in fact, an of my great ideas was to make a video game about a train trip “.

“Then, they tell me: ‘Okay, then … how’s the story going to be? Tell us!'” So I start telling you what is going to happen. Artyom’s motivations, what will happen on the train. Then they ask me, `Who is going to be on the train? ‘Artyom, his wife, Miller … And I have to start to intertwine the complex relationships between them all. And who will accompany them? And I have to give shape to all those secondary characters that accompany them. Then they ask me about the locations, I have to think about them … “, he continues.” Then they tell me what they like, what they do not. This stays, this goes away … They tell me that Miller cannot be a nice guy, that he has to put some tension in situations. It is a tug-of-war similar to that of a relationship. “