I got my hands on a preview build, thankfully in a high rise tower in central London, and not underground in a bomb shelter.

Adapted from the book of the same name – penned by Russian author Dmitry Glukhovsky – metro 2033 is a blast for survival in the remains of Moscow’s Metro network – the world’s largest series of bomb shelters (which also doubles as a public transport system.)

In the case of Metro 2033, it was nukes that destroyed the world, and like every other post-apocalyptic game, who shot who and when doesn’t matter all that much – it’s all about survival.

The fighting takes place both underground and on the blasted, irradiated surface, which has now become a nightmarish maze of mutants, starving humans, radioactive water and giant rats – hell on earth.

Into this world steps the lead character, Artyom, who is tasked with reaching the heart of the network to warn the populace of a new threat – one that has the potential to wipe out the last vestiges of humanity.

So far so Fallout 3, but what really set this game apart for me was the design, gameplay and sheer detail the developers, Ukrainian newcomers 4A Games, have crammed in.

The sewer system itself is a work of art, each zone offering a new look at what’s become of humanity.

Pigs live alongside humans, everyone’s armed and fearful and threats are always around the corner. Of course, the fact that your bullets are also your currency makes a heavy firefight even more galling – every wasted shot makes you that little bit poorer.

The action is brutal – mutated horrors come screaming at you, and your puny home-made rifle, the ‘bastard’, is hard pressed to hold them off.

Psychic attacks cause you to have nightmares, and if you’re in an irradiated zone you have to don a gas mask and keep a wary eye on your in-game watch – stray into the red, and you’re dead.

It all adds to a terrific feeling of immersion, and the story being set on the other side of the Iron Curtain really makes it feel fresh – this game has sleeper hit written all over it.

Though the preview code was a little patchy at times, with some of the animation a little rough and the lack of a melee button being particularly prominent (try switching to your knife when being mauled by mutated horrors – not fun 4A, not fun at all) the game seemed pretty solid, and the sound was a particular selling point – all moans and atmospheric music, which really heightens the experience.

The author, Dmitry, was also at the press gig and was quick to talk the assembled acolytes through his inspiration for the game: As a small boy he rode the Metro every day for ten years, and knew it backwards.

When hearing of the system’s hermetic seals and thick armour he was inspired to start his book, which he described as “my own personal journey”.

In it he created a world full of fear, where different underground stations have splintered and become feral: Nazis, Stalinists, traders and normal people all thrown into a mixing pot – a scene rife for movie adaptation, or in this case, a game.

He said: “Of course this is just fiction. But with the world entering a new cold war of sorts, with Iran and Israel and Palestine at each other’s throats, with rising global temperatures and global warming. Who knows? Maybe I’m closer to the truth.”

For all our sakes, let’s hope not.

Metro 2033 is scheduled for release on March 19.

Despite the last-minute vibe of the event, the production team was on hand to show the throng the latest build of the game on Xbox 360 and PS3, as well as the latest from Avalanche studios, who appeared (in giant head form) via videolink.

Here’s the highlights:
At this late stage of the production cycle the game is looking pretty good. While the Xbox 360 version, which was using the older build, still seemed a little rough around the edges, it was clear the developers had listened to the myriad criticisms fans and critics alike levelled at the first Just Cause, and have responded with more weapons, more missions, more vehicles and more explosions.

The grapple/parachute mechanic has really been ramped up this time, with agency-dogsbody Rico’s signature grapple gun now permanently attached to his left wrist.

The ease with which Rico can use the grapple is a welcome change, as the canny agent can now grapple on to any building or vehicle, latch on and drag himself in to it and either hijack it or just use it for a ride, parachute in tow.

The more interesting aspect to the grapple is its ability to grapple any two objects together, such as a speeding car and the road beneath it (sending the car flipping end over end), a gas canister and an enemy (so the man is dragged along by the explosive canister as it takes off), or even a man a 737 jet – sending the man skyward, screaming all the way, the fun is endless. The overwhelming sense of Just Cause 2 is one of fun, exploration and causing chaos – a real stressbuster.

The AI also seems to have had an overhaul, as enemies will now steal other vehicles to catch up with the agent if Rico blows up their rides – so seeing a bunch of militia chasing the agent down in a bus is a common (and hilarious) sight.

The whole look of the game (on the PS3 build) seemed sharper and more streamlined. Rico can still perform his signature vehicle stunts, and the ‘Hollywood physics’ the developers have incorporated make the game a real blast to play – exploration and improvisation is the key, and the lush environment of the island of Panau, which ranges from desert to city to icy mountaintop, is only too happy to oblige.

Also, the PS3 version is now confirmed as having the ability to record up to 10-minutes of gameplay, save it as a video and either share it with friends or even upload it to YouTube – the developers want you to discover, improvise and enjoy yourself with Just Cause 2, and they want to give you the tools to share it – a clever move by the Swedes.

Though it is still to early to tell if Just Cause 2 will deliver everything the fans have been asking for, I can’t wait to step into Rico’s shoes once again and start blowing things up – let the good times roll.