An interview with Vladimir Beletsky about the game "One-Eyed Dashing"

Contents:

• About Morteshka Studio
• Conversation with Vladimir Beletsky: Features and Insights

About Morteshka studio

Morteshka is a small studio from Perm, headed by Vladimir Beletsky. Their first game, "Moose Man," was released in 2017 to positive reviews from both players and critics. At first glance, this modest game seems deeply rooted in local culture, drawing inspiration from Finno-Ugric folklore, particularly the mythology of the Komi people.

According to Komi legends, a deity named Yen, who possesses the form of an elk, created the earth, humans, and other gods and spirits. There is a clear division between the worlds of deity and humanity: gods dwell in the upper world, while humans inhabit the middle world, where spirits invisible to human sight also reside.

When the sun descends into the underworld, Yen sends his sons in pursuit. Although they are the descendants of a human woman, they inherited their father's ability to communicate with spirits and are capable of mysteriously reaching where no human has gone before—the abode of the damned.

"The Moose Man" tells the story of one of the descendants of the god En, who journeys to the underworld to return Shondi, which means sun in the Komi-Permyak language, to humanity. While creating the game, the developers didn't limit themselves to merely superficial inspiration from Komi mythology—they actively collaborated with the Perm Museum of Local History and immersed themselves in the study of scholarly works.

In "The Moose Man," you can hear the Komi-Permyak language and see artifacts related to the Perm animal style, supplemented by commentary from encyclopedias. This game is not only an artistic expression, but also a historical study, and the two aspects are seamlessly intertwined.

This method is manifested not only in "Moose Man", but also in all subsequent activities of Morteshka. In their next game, "Black Book," the studio delved even more deeply into the Kama region's heritage, exploring not only its cultural and historical aspects but also its linguistic ones.

Set in 1879, in the Cherdyn district of the Perm province, a gripping RPG adventure featuring card battles unfolds. The protagonist is young Vasilisa, who decides to become a witch to bring her beloved back from the afterlife. Under the guidance of her grandfather, the master of witchcraft Yegor, she masters magical skills and embarks on a journey through the surrounding villages. During her travels, Vasilisa helps local residents fight demonic forces, and sometimes, conversely, uses them to her advantage, passing on to them the demons she inherited.

As in the previous game, Morteshka strives for historical accuracy in "The Black Book"—the game environments are partially based on real locations, and the list of references includes nearly thirty titles. The studio collaborated with ethnographer Alexander Chernykh, folklorist Konstantin Shumov, and various museums. In addition, the game focuses on archaic language, the Perm dialect, and Slavic myths.

Read also:

Conversation with Vladimir Beletsky, the author of the game Black Book.

This approach to localization required careful attention not only to linguistic nuances but also to the culture itself. Even among Russian-speaking users, not everyone may be familiar with characters like the neighbors and the hiccup wizards. As a result, the Black Book was created with a special collection of folk tales and records that helps players better understand the peasant life of that era and its mystical aspects, as well as folk beliefs.

In dialogue, you can see words highlighted in orange—for example, "sousedki," "znatkost," "goloy povorochit" (to cast a spell with one's head). Their meanings are displayed in pop-up windows. Some terms, such as "chort," "zagovor," and "banya," have been retained in the original and are presented in transliteration to maintain authenticity. The Black Book acts as a kind of encyclopedia, representing a cross-section of Slavic mythology and culture, the study and digitalization of which has taken a lot of effort.

Shortly after the release of The Black Book in 2021, the Morteshka team began work on a new project: a black-and-white horror adventure inspired by folk tale about Evil. "One-Eyed Evil" was their first attempt at a new genre, which was made possible by the fatigue accumulated from creating a card RPG. However, the developers' interest in horror themes was even earlier: initially, "The Black Book" was planned as a more sinister game.

"Initially, we conceived "The Black Book" as a work in the horror genre. Our goal was to create an atmosphere using darker tones and a gloomy narrative. All the folk stories on which our games are based are focused on realism and are designed to evoke fear in the listener. These stories can be considered a kind of precursor to modern horror."

Vladimir Beletsky gave an interview to the publication "GEEKobraz".

In one settlement, there lived a blacksmith who one day thought: "Well," he said, "I've never encountered real troubles. "I've heard there's evil in the world. It's time for me to look for it." Thus begins the story of a new game called Morteshka. Together with a tailor, who could be both brave and a little reckless, a blacksmith ventures into a dense forest. By nightfall, they reach an abandoned house. They decide to stay the night, but soon find themselves trapped: the door suddenly slams behind the blacksmith, and, left alone, he has no choice but to descend the stairs. Wooden walls gradually give way to stone vaults leading to a deep cave, where the terrifying faces of ancient idols begin to emerge from the darkness.

Suddenly, the cave leads to an exit that opens onto the sea and a small pier. A boat is moored at the pier, and in the distance, on the horizon, the island of the dead is visible. The wreckage of an ancient Greek ship is scattered along its shores, and the crumbling facades of ancient temples can be seen in the rocky cliffs. How did this ancient Greek legacy end up here? In the cave itself, a blacksmith discovers a book containing the legend of Odysseus and Polyphemus.

Upon closer examination, one notices that the reason for the giant's blindness in this myth and in the tale of Lichos has similar roots. The mythologies of different peoples often contain common themes and plots that transcend cultural boundaries. The developers draw attention to this unique feature in their work "One-Eyed Evil."

What trials await the blacksmith beyond the enchanted hut on the legendary island of the dead? We'll only be able to find answers to this question after the game's release, which is scheduled for 2025. It's known that players will have to solve puzzles using matches, encounter the tailor in his new guise, and hide from the awakened Likho.

During this time, we discussed the process of creating the game with Vladimir Beletsky and found out which aspects of the films "The Lighthouse" and "The Witch" became key sources of inspiration. We also learned why the developers chose the 4:3 aspect ratio, what reasons prompted the publishers to consider the project risky, and much more.

Conversation with Vladimir Beletsky: Features and Insights

— Before conducting the interview, I familiarized myself with the fairy tale again and came to the conclusion that Slavic folklore is an excellent basis for creating horror games. As far as I understand, you drew ideas from "The Evil One" merely as inspiration, or did you strive to remain faithful to the original? Did you incorporate elements from other fairy tales, legends, or aspects of the Kama region's folk culture?

The original plan was to create a faithful retelling of the original in a game format. However, as we worked on the project, this concept remained unchanged but took on new meaning and evolved into the unique interpretation of the tale that our studio presents. We began exploring the motif known as "the giant's blinding" and sought to highlight the multicultural aspects of the plot within the game itself.

In the current demo, the player encounters various interpretations of the tale, in which he takes the guise of a blacksmith. The environment is saturated with references to these interpretations. For example, on the Isle of the Dead, one can see the wreckage of an ancient Greek ship, a reminder of the legend of Odysseus. This myth is also reflected in the Perm animal style objects that the hero discovers in the hut.

Another important aspect that permeates the game is a deep connection to the roots of the studio. It features numerous objects and models executed in an animalistic style. This style is not only present but also continues to develop the theme of the giant's blindness. According to some research, the plot of this tale has its roots in the Paleolithic era, when hunters and gatherers lived. Their culture is closely linked to Bronze Age artworks executed in an animalistic style.

— Did you encounter any difficulties in adapting it to a game format?

Creating video games is truly a challenging task. In particular, developing narrative games can be more challenging than systemic ones, as it requires careful direction of every moment of the gameplay. In the "Likho" project, the plot has a more linear structure, but its development requires special attention and detail.

In the recently unveiled trailer that you demonstrated at the Future Games Show, I noticed a new theme that had not previously been seen in either demo materials or promo videos—the theme of rebirth. I'd like to know if it will be key to the storyline, or if my thoughts about the tailor's phrase were wrong? Does the main character, a blacksmith, truly seek to find a way out of the magical realm, or is his life already closely connected to this world?

— We chose an interpretation of this tale based on its historical roots, rather than the mythological elements typical of folk tales. Therefore, the protagonist faces many trials typically found in fairy tales, but with the addition of horror elements to the narrative. Thus, the blacksmith finds himself in the Far Far Away Kingdom, the world of the dead, where he dies and is forced to seek a way back to life. The game begins and ends in the world of the living.

I remember that during our acquaintance When I played the demo at Game Construct Conference 2022 in Perm, I was impressed by the new mechanic involving matches. It reminded me of Amnesia 3. The element of fire, which can easily go out and leave the player in pitch darkness, certainly creates tension. However, there's a risk that this mechanic could become unnerving. If the game features consumables, they must be constantly sought out, and given that the primary light source is so fleeting, the player is often forced to grope around and bump into various objects.

What is the role of matches in your game, and what purpose do they serve? I imagine they play a significant role in some puzzles. Can you tell me how they will be used? And how will they function as a light source?

— The demo provides examples of their use. For example, setting objects on fire opens new paths or activates certain mechanisms.

In this game, matches have an infinite supply and play a key role in creating a tense atmosphere. They are much easier to use than flashlights or lamps, which are common in horror games, as they provide an unexpected light effect that momentarily illuminates distant objects, reminiscent of the camera flash from games like Visage and MADiSON. At the same time, they also serve as a constant source of light.

In certain parts of the game, there is semi-darkness, where the use of matches becomes necessary, while in more illuminated areas, they serve as an additional element of the gameplay.

Does "Dark Souls" contain new and interesting mechanics that might surprise both players and the developers themselves?

This game features unexpected puzzles that require an individual approach. The focus is not on mechanical aspects, but on the story and atmosphere, making the gameplay quite typical for this genre. Users might not be prepared for companion interaction mechanics reminiscent of Firewatch and The Invincible, as such elements are still quite rare in horror games.

— I won't repeat myself and specify what prompted you to change genres—I've already read other interviews in which you shared your thoughts about how, after working on "Black Book," you experienced creative burnout and decided to try something new. And the project itself was originally conceived as a horror game, an interest you had been building for a long time. But I'd like to know something else: what difficulties did you encounter in a new genre? Did you have to learn anything new in the field of game design to complete this task?

The gaming industry is very diverse. Each game requires a unique approach and specific tools, and not all the skills acquired in the development of one game can be fully applied to other genres.

In our case, the situation developed similarly. We had to master many new skills: from developing more complex levels using blocking and art passes to implementing spatial sound, which allowed us to create a more realistic game environment. I hope these skills will be useful in future projects.

— What tools were used to create a terrifying atmosphere, and what techniques did you choose for intimidation?

We aimed to create a sense of impending horror that doesn't manifest itself in constant sudden bursts of fear or an abundance of blood, but is perceived as something ominous and ancient, always present on the edge of our perception. The blacksmith and the player find themselves drawn into this dark current and must find a way to escape it.

There is nothing supernatural in the game mechanics—it's just sound, lighting, and storytelling. With their help, we strive to create tense situations that will allow players to experience emotions and experiences along with the characters.

Among the key sources of inspiration for "Likho" are such films as "The Lighthouse", "The Witch" and "Midsummer". What specifically about these films interested you? What elements did you use as references: shot composition, narrative techniques, restraint in dialogue, or the fatalism of the plot? It's interesting to note that all of these films draw ideas from folklore. Although the cultures are different, did you draw any parallels between them and Slavic folk tales, especially the story of the Evil One?

For me, The Witch is a perfect example of a film adaptation of the very folk tales that formed the basis of The Black Book. We usually encounter lighter, more adapted versions of folklore, perceiving it as something ancient and fantastical. However, in reality, these stories were conveyed with an emphasis on veracity, meaning the storyteller sincerely believed in their reality or sought to convince their listeners of this. And in these stories, sometimes terrifying events occur.

We took this concept from cinema, realizing that the horror genre can not only frighten, but also provoke thought. We also like the minimalism in the frame and the overall aesthetics, so we strive to create a similar feeling both in the interface and in the visual design of the game.

— Are there any games, especially indie projects, that influenced the creation of your new project?

— Our game is a collection of many projects that have merged into a single whole. In the horror genre, we can mention games like Visage, MADiSON, Blair Witch, and Alan Wake. In the narrative genre, Firewatch, The Invincible, and What Remains of Edith Finch stand out. Stylistically, we drew inspiration from Mundaun and Return of Obra Dinn. And that's just a small selection; we could go on and on.

— Did you entrust the localization to specialists again this time? Could you tell us who exactly is working on it, if it's not a secret?

At the moment, the localization for the demo version is being done in-house, but the final version will most likely be entrusted to a professional studio. The text in "The Dark One" is simpler compared to "The Black Book," as the characters use fewer dialects. This is because the story isn't tied to a specific time or geographic location.

— The 4:3 resolution for the game is a rather interesting and unconventional choice. Can you tell us more about the reasoning behind this decision? What were its goals, and how did this impact the design of the game's locations, given the player's reduced field of view?

Initially, we wanted to stand out from the crowd of indie horror games. The screen compression was meant to heighten the sense of dread, but we hoped to find a more original application of this idea in the gameplay. Ultimately, we were unable to integrate this solution into the gameplay. We have now concluded that potential fear is not a sufficient reason to force players to experience restricted vision, so we have made resolution an option available at the start of the game.

— Have you considered releasing on consoles? I know this question may seem trite—I saw information in the comments on VKontakte that you intend to create new ports if the PC release is successful. But! I want to clarify: in one of your interviews, you said that it's important to think through the project's architecture in advance with future ports in mind. With "Leaky," did you follow this advice, or did you decide to focus exclusively on PC first? If so, what prompted that choice?

— Our architecture already includes all the necessary elements for porting, as we have the relevant experience. However, we don't port for two reasons: firstly, we don't currently have convenient access to devkits, and secondly, we decided to focus on improving the quality of the game itself. Porting would have distracted us from the process of polishing the project.

— Did demonstrating the game at GCC 2022, when the project was just beginning, have a significant impact? Based on this experience, at what stage of development should demos be presented to players?

I am convinced that a demo should be presented immediately after its completion. Its development should be planned in advance and viewed as an important stage. Preparing a demo is a kind of mini-release that allows developers to better evaluate their own project. We recently updated our demo on the Steam platform.

In one of your interviews, you mentioned that you were unable to find a publisher—"Likho" was considered a high-risk project. For someone without deep knowledge in this field, this seemed quite surprising to me. The first footage and demo you presented at GCC 2022 looked very promising, and now it seems like player support is only growing. Many are eagerly awaiting the game's release. What exactly made publishers consider your project risky?

All things are relative, and our project should be assessed against the backdrop of upcoming global releases. There are thousands of them, and among them, there are hundreds that generate far more anticipation than our game. This is easily evident by looking at the public data on the Steam platform. Moreover, our game has a distinctly local character. It has no English voiceover—at Gamescom, we presented a trailer with subtitles. This can be both a positive aspect, like the case with Venba, and a cause for concern among players accustomed to the familiar format.

— Is there a specific reason why the decision was made not to seek additional funding through crowdfunding this time, especially in light of the rejections from publishers?

Contrary to expectations, crowdfunding is currently not as popular as one might think. In order to succeed in fundraising, either a truly unique concept or active cooperation with publishers and advertising companies is required.

— You said that "Likho" had to be repeatedly revised and significantly changed, as well as many things removed. Looking back, can you explain what prompted this approach? What major transformations occurred with the game throughout the entire process of its creation?

During development, such situations are common, especially when you strive to create something original. Some ideas prove ineffective and have to be excluded from the project. In the context of "Likho," we considered the concept of presenting the game's events as fragments of a cursed film strip, deepening the gameplay. However, from a gameplay perspective, this solution didn't work out.

While this isn't strictly about "Likho," I still can't help but touch on the topic. I learned that you've been a longtime fan of tabletop role-playing games, and I was very pleased, as I'm also a fan of this hobby. How has your experience in RPGs influenced your work as a game designer? What games and adventures do you prefer to play? Have you considered creating your own modules based on Slavic mythology, for example, based on "Likho"?

— I believe that every game designer aspiring to develop computer RPGs inevitably encounters tabletop games. This contributes to a better understanding of aspects such as balance, game mechanics, and narrative systems. Personally, I primarily play fifth edition D&D and am currently running a Curse of Strahd campaign. Among other systems, I enjoy Tales from the Loop for its amazing atmosphere. However, I don't create my own modules or settings, because if I started doing that, I simply wouldn't have time to develop computer games.

— And finally, a question: have you ever wondered why Likh has only one eye?

This question is truly complex and again raises the topic of the giant's blindness, which has no definitive answer. It all depends on which researcher you consult. In our interpretation, the character Likh has only one eye, since in the first recorded version of the plot in the Odyssey, he is depicted as a Cyclops. However, according to Paleolithic reconstructions, having only one eye is not necessary—in various versions of the story, the giant is depicted with two eyes. We decided to use the image from the earliest version.