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

Contents:

• About Morteshka Studio
• Conversation with Vladimir Beletsky: Views and Thoughts

About Morteshka studio

Morteshka is a small studio from Perm, created by Vladimir Beletsky. Their first game, "Moose Man," was released in 2017 and received positive reviews from both players and critics. While the game may seem unremarkable at first glance, its origins lie deep in regional culture, drawing inspiration from Finno-Ugric folklore, particularly Komi mythology.

According to Komi mythology, a deity named Yen, depicted as an elk, created both the earth and humans, as well as other gods and spirits. It should be noted, however, that the worlds of deities and humans do not intersect: gods dwell in the upper world, while humans reside in the middle world, where spirits invisible to human perception also reside.

When the sun descends into the world of shadows, Yen sends his sons to search for it. Despite being the descendants of a human woman, they succeed in acquiring from their father the ability to communicate with spirits. Thanks to this skill, they are able to follow invisible paths and reach places where no mortal would dare set foot—the abode of the damned.

"The Moose Man" tells the story of a descendant of the god Yen, who journeys to the world of the dead in order to return Shondi—the sun, as it is called in the Komi-Permyak language—to humanity. It's worth noting that the game's creators didn't limit themselves to merely superficial inspiration from Komi mythology; they actively collaborated with the Perm Museum of Local History and extensively studied scholarly sources.

In "The Moose Man," you can hear the Komi-Permyak language and see artifacts related to the Perm animal style, accompanied by commentary from encyclopedias. This game is not only a work of art, but also a historical phenomenon that combines both of these elements into a single whole.

This methodical approach is inherent not only to the game "Moose Man", but also to all subsequent works of Morteshka. The studio's next project, "Black Book," explores the roots of the Kama region even more deeply—including not only cultural and historical aspects, but also linguistic ones.

This RPG adventure, based on card battles, takes place in 1879 in the Cherdynsky District of the Perm Governorate. The protagonist, young Vasilisa, decides to become a veksha, or witch, in order to bring her lover back from the afterlife. Under the guidance of her grandfather, Yegor, who teaches her the magical arts, she wanders through the surrounding villages, assisting locals in their fight against demonic entities or, conversely, listening to the demons she inherited.

Like the first project, in "Black Book," Morteshka studio strives for historical accuracy—the game environments are partially based on real-life geographic features, and the reference list includes nearly thirty sources. The developers worked in collaboration with ethnographer Alexander Chernykh, folklorist Konstantin Shumov, and various museums. In addition, the game focuses on the archaic language, the Perm dialect, and Slavic mythology.

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

This required a specific approach to the localization process, as well as to the language design as a whole. Even Russian-speaking players are unlikely to be familiar with characters like susedki (neighbors) and hiccup-witches. As a result, the Black Book was created as a separate collection of folk tales and notes, allowing players to better understand the peasant life of that era and its mystical aspects, including folk beliefs.

In dialogue, you can see words highlighted in orange—these are the same terms like "susedki," "znatkost," and "goloy povorozhit" (to cast a spell with one's head), for which meanings appear as tooltips. Some expressions were left in Russian, transliterated, for example, "chort," "zagovor," and "banya," to preserve the original flavor. The Black Book acts as a kind of encyclopedia, representing a vast cross-section of Slavic mythology and culture, the study and digitalization of which has taken a significant amount of effort.

Shortly after the successful release of The Black Book in 2021, the Morteshka team began to implement a new idea: a black-and-white horror adventure based on a folk tale. The tale of Evil. The project, titled "One-Eyed Evil," was an experiment in a new genre, which the team came to after feeling tired of working on a card RPG. However, the developers' interest in horror themes had arisen even earlier: "The Black Book" was initially planned as a darker work.

"From the very beginning, we planned "The Black Book" as a work in the horror genre. Our goal was to create a gloomy atmosphere and a dark narrative. All the folk stories that formed the basis of our games are focused on realism and are designed to evoke fear in the audience. They can be considered a kind of precursor to modern horror."

In an interview with the publication "GEEKobraz," Vladimir Beletsky shared his thoughts and views.

A blacksmith lived in a village. He mused: "What kind of troubles are they talking about? I have never encountered grief. "Perhaps it's worth trying to find him." Thus begins the story preceding the release of the new game Morteshka. A blacksmith, accompanied by a tailor who can be both bold and not so wise, heads into the depths of the forest. By nightfall, they find an abandoned hut and decide to stay for the night. However, they are unaware that they have fallen into a cunning trap: one of the doors slams behind the blacksmith, and he, left alone, is forced to descend the stairs. Wooden walls gradually give way to the stone vaults of an underground cave, where the ominous faces of ancient idols stare out at them from the darkness.

Suddenly, the cave leads to an exit that opens up to a view of the sea and a small pier. A boat is moored at the pier, and in the distance, on the horizon, the Isle of the Dead looms. The wreckage of an ancient Greek vessel lies on its shore, and the dilapidated walls of ancient temples can be seen in the rocks. How did this ancient Greek legacy end up here? Inside the cave, a blacksmith discovers a book containing the legend of Odysseus and Polyphemus.

Upon closer analysis, one can see that the reason for the giant's blindness in this legend is similar to the motif presented in the tale of Lichus. The myths of various peoples often contain similar plots that transcend cultural boundaries, and it is this feature that the developers explore in the work "Likho Odnoglazoe".

What trials and adventures await the blacksmith beyond the cursed hut on the legendary island of the dead? We will only receive answers to these questions after the game's release, scheduled for 2025. It is known that players will have to solve puzzles using matches, meet the tailor in his new guise, and encounter the awakened Evil, from whom they will need to hide.

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 the main sources of inspiration. We also learned why the 4:3 aspect ratio was chosen for this game, why the publishers considered the project risky, and much more.

Conversation with Vladimir Beletsky: Views and Thoughts

Before the interview, I re-examined this fairy tale and came to the conclusion that Slavic folklore is an excellent basis for creating horror games. Did you draw inspiration exclusively from "The Evil One," or did you adhere to its plot? Perhaps you incorporated elements from other folk tales and legends associated with the Kama region culture?

The original plan was to create a faithful retelling of the original work in a game format. As we developed the project, this concept remained, but it took on a different meaning, evolving into the unique interpretation of the tale that our studio offers. We delved into the motif known as "the giant's blinding" and sought to reflect cultural diversity in the game's storyline.

The current demo features an element in which the player encounters different interpretations of the tale, in which he is portrayed as a blacksmith. He is surrounded by numerous references to these interpretations: for example, on the Isle of the Dead, the remains of a wrecked ancient Greek ship can be seen, a reminder of Odysseus. A similar myth is also represented in the Permian Animal Style artifacts that the player encounters in the hut.

The game repeatedly features another key motif that reflects the origins of the studio. Many game assets and models were created with an emphasis on the animalistic style. However, this style also continues to develop the theme of the giant's blinding. According to some research, the plot of the tale of the evil spirit dates back to the Paleolithic era, when hunter-gatherers lived. These ancient cultural traditions are closely associated with Bronze Age artifacts made in the animalistic style.

— Did you encounter any problems adapting to the game format?

Creating any video game is quite a challenging task. Narrative-based games in particular can be more labor-intensive compared to system-based projects, as they require meticulously orchestrating every minute of gameplay. In "The Dark One," the story has a more linear structure, but its development requires special attention to detail.

In the latest trailer presented at the Future Games Show, I noticed a new theme that had not previously been reflected in either the demo or promotional materials—the theme of rebirth. Please tell me, will she play a role in the storyline, or have I misinterpreted the tailor's words? Will the main character, the blacksmith, be looking for a way out of the magical kingdom, or has he already settled in this world?

— We chose an interpretation of the fairy tale based on its historical roots, rather than the mythological elements typical of folk tales. Therefore, our hero faces many trials typical of fairy tales, but with the addition of elements of horror, which gives the plot a special atmosphere. Thus, the blacksmith finds himself in the Far Far Away Kingdom, the world of the dead, where he dies and must find a way to return to life. The game begins and ends in the world of the living.

I remember well how during the demonstration at At the Game Construct Conference 2022 in Perm, I was drawn to the new mechanic involving matches. It also brought back memories of Amnesia III. While a fire that can go out at any moment, leaving the player in complete darkness, adds to the tension, it also runs the risk of becoming annoying. If the game features consumables, they must be constantly sought out, and when the main light source is so short-lived, the player is often left wandering around, bumping into walls and 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. Could you elaborate on how they will be used in this context? I'm also curious to see how matches will be used as a light source?

— Examples of this can be seen in the demo. This applies to setting objects on fire to clear a new route or activate a specific mechanical element.

In this game, matches are unlimited and play a vital role in creating an ominous atmosphere. Their use proves more effective than flashlights or lamps, which are typical in the horror genre, as they combine the element of surprise, creating brief flashes that instantly illuminate the surrounding space, reminiscent of camera flashes from games like Visage and MADiSON, with a stable light source.

Certain areas of the game are dark, and matches are essential. In other, lighter places, they serve as an additional element of the gameplay.

— "Likho" has some fresh and unique mechanics, This game features unique puzzles that require a unique approach, rather than game mechanics. The focus here is on the story and atmosphere, making the gameplay feel quite familiar in this genre. Players may be surprised by the companion interaction mechanics, reminiscent of Firewatch and The Invincible, as such elements are still quite rare in horror games.

— I won't try to find out the reasons for your transition to a new genre again. I've already read other interviews where you shared that after working on "Black Book," you felt tired and decided to try yourself in a different direction. Besides, "Black Book" was originally conceived as a horror game, so you've always had an interest in this topic. However, I'm curious to know: what difficulties did the new genre bring? Did you have to learn anything new in the field of game design to implement this idea?

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

In our case, something similar happened. We were faced with the need to master a number of new methods: from complex level design using blocking and art passes to the implementation of spatial sound in order to create a realistic gaming space. I sincerely hope that these skills will prove useful in our future projects.

What aspects were used to create a terrifying atmosphere, and what techniques were employed to intimidate?

— We aimed to create an atmosphere of escalating fear without relying on constant jump scares or copious amounts of blood. Instead, we wanted to convey the feeling of an ancient abyss that always lurks somewhere on the edge of perception. The blacksmith and the player find themselves drawn into this maelstrom, and they must find a way to escape.

There is nothing supernatural in the gameplay mechanics—it's simply sound, lighting, and storytelling. By using these elements, we aim to create tense situations that players can experience alongside the characters.

— Among the main sources of inspiration for the project "Likho" are such films as "The Lighthouse", "The Witch" and "Mostice". What specifically about these films captivated you, and what elements did you borrow as references: the composition of shots, narrative techniques, restraint in dialogue, or even fatalism? It's interesting to note that all of these films also draw ideas from folklore. Although the cultural traditions are different, did you draw any parallels between them and Slavic folk tales, particularly the tale of Evil?

"The Witch" is, for me, a model example of a film adaptation of the very folk tales that formed the basis of "The Black Book." We often encounter rather light and adapted versions of folklore, perceiving them as something from the distant past and fantasy. However, in reality, folk tales were transmitted with an emphasis on veracity, and the narrator sincerely believed in the real events that took place, or was able to convince his listeners of this. These stories often involved horrific events.

We drew this concept from cinema, recognizing that horror can provoke thought, not just fear. The minimalist frame and overall visual aesthetic are also appealing. We strive to create a similar impression in both the interface and the game's graphics.

— Are there any games, especially from the independent segment, that have influenced your new project?

— Our game includes many projects that have been combined into one. Among horror games, we highlight games like Visage, MADiSON, Blair Witch, and Alan Wake. Among narrative games, we should mention Firewatch, The Invincible, and What Remains of Edith Finch. Stylistically, we drew inspiration from Mundaun and Return of Obra Dinn. The list goes on and on.

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

At the moment, the localization for the demo version has been done in-house, but the final version will most likely be commissioned from a specialized studio. The text in "The Darkness" is simpler than in "The Black Book." The characters here use fewer regional idioms, as the story isn't set in a specific time or geographic location.

— The choice of a 4:3 aspect ratio for the game does seem quite unconventional. Can you elaborate on the reasoning behind this decision? What were its goals, and how did it impact the design of the game's locations, given the player's limited field of view in this format?

Initially, we wanted to stand out from the crowd of indie horror games. The compressed screen was meant to enhance the atmosphere of dread, but we hoped to find more engaging ways to implement this concept into gameplay. Ultimately, we couldn't figure out how to integrate this idea into the gameplay. Currently, we feel that the ability to experience fear is not enough to force the player to adopt a limited view, so we have made the choice allowed at the beginning of the game.

— Have you considered the possibility of releasing On console? This is probably a standard question—I noticed in the comments on VKontakte that you plan to create new ports if the PC release is successful. But here's what interests me: in one interview, you mentioned that it's important to consider the project's architecture with future ports in mind. Did you follow this advice during the development of "Leh" or did you initially decide to focus exclusively on PC? If so, are there any specific reasons for this approach?

Our architecture already includes all the key aspects for creating a port, as we have the relevant experience. However, we don't port for two reasons: firstly, we don't have convenient access to devkits right now, and secondly, we decided to focus on improving the quality of the game itself. Porting would have taken up time that could have been spent on polishing.

Presenting the demo at GCC 2022, when the project was just getting started, had a significant impact on the game's subsequent development. In general, based on experience, at what stage of development is it recommended to share demos with players?

I believe a demo should be presented immediately after its completion. You can even plan its development in advance and view it as an important stage in the process. Preparing a demo is a kind of mini-release that allows developers to better understand and evaluate their game. We recently updated the demo on the Steam platform.

In one interview, you mentioned that you were unable to find a publisher because the "Likho" project was perceived as too risky. As someone with little knowledge of the field, this struck me as surprising—after all, the initial footage and demo you presented at GCC in 2022 looked quite promising. Moreover, it seems that player interest is currently only growing, with many eagerly awaiting the game's release. Can you explain why publishers considered this project risky?

— Everything is relative, and our project should be evaluated against the backdrop of upcoming global releases. There are a huge number of such games, and hundreds of them generate far more interest than ours. This becomes apparent when studying public data on Steam. Furthermore, our game has a distinctly local focus. We don't plan to have English voiceovers—at Gamescom, we presented a trailer with subtitles. This can be both a positive aspect, as in the case of Venba, and a negative one, since it may be something unusual for the average player.

— Is there a reason why you decided to forgo crowdfunding this time, especially given the rejections from publishers?

Crowdfunding, despite its relevance, hasn't attracted much interest lately. To succeed in this field, you need to either have a truly unique concept or establish partnerships with publishers and advertising companies.

— You said that "Likho" had to be revised several times, significantly edited, and certain elements excluded. Looking back, can you explain why this happened? What major transformations have the game undergone throughout the development process?

During development, situations often arise when, while searching for original ideas, you come across unsuccessful solutions that ultimately have to be rejected. In the "Likho" project, we explored the concept of setting the game's events within a cursed film strip, which would have added an extra layer of player interaction. However, this idea didn't pan out in terms of gameplay.

— Although this isn't strictly related to "Likho," I can't help but touch on this topic. I learned that you've been a fan of tabletop RPGs for a long time, and I'm very happy to hear that, as I'm also a fan of this hobby. How has your experience with tabletop RPGs influenced your development as a game designer? What kinds of games and adventures do you prefer to play? Have you considered creating your own modules inspired by Slavic mythology, such as "Likho"?

In my opinion, every game designer who aspires to work in computer RPGs sooner or later becomes interested in tabletop games. This helps them better understand aspects such as balance, game mechanics, and narrative systems. Personally, I play D&D 5th edition most often and am running a Curse of Strahd campaign. Among other systems, I like Tales from the Loop for its unique atmosphere. I don't create modules or game worlds because if I started, I wouldn't have time for computer development.

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

This question is truly difficult and again brings us to the topic of the giant's blindness, which cannot be answered definitively. Everything will depend on the point of view of a particular school. In our interpretation, the character of Likh is depicted with one eye, since the original version of the plot in the Odyssey presents him as a cyclops. However, according to Paleolithic reconstructions, having only one eye is not a mandatory attribute—in a number of other variants, the giant is depicted with two eyes. We chose the number of eyes based on the earliest version.