Metro 2034 can’t be called a spectacular or even great work of literary fiction. At the same time the world Glukhovsky presents is captivating and, I enjoyed this revisit to his world. We follow here some lonely souls in the wast and nightmarish labyrinth that is the post-nuclear Moscow underground. While the surface story is quite a banal telling of loss and personal sacrifice, what is facinating is what really stands out. The outstanding that is either something specifically “Russian” or maybe particular to Gulkhovsky is that his post-apocalypse is social. In more western post-apocalyptic sagas, we usually confront the individual, usually a man confronted with a wast and unfriendly surrounding. Here we see the masculinist single individual against the world, the frontiersman in the post-apocalyptic new and revealed world, a world where we’ve fallen back into the ideological image of the brute, to Hobbes “the war of all against all”. Metro 2034 distinguishes itself in that it rather shows the post-apocalypse as a deeply social world, that while modern capitalist society collapsed new societies arise. We do not speak of utopias that would be revealed by the biblical apocalypse but rather of the fragmented and diverse societies that survives like the matsutake in the ruins of capitalism. In this context the story and our so-called protagonist becomes interesting, as our traditional singular individual is confronted with societies, with the social. In this setting our lone frontiersman must surrender his singularity in favour of becoming a social being.