Tag: GameDev

Book: Elena Khudenko – “Translation and Localization: An Introduction to the Profession”

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I’m absolutely in love with the field of localization in development. Once, in my youthful overconfidence, I dove headfirst into translation and became the translator of the first novelization set in the Starcraft universe in Russian (these days, I would never agree to such a thing—so youth definitely has its advantages). Later, I helped build and for many years led the localization department at Wargaming (though I’ve mentioned that many times already, I think). That’s why almost no book on this topic escapes my attention. And that’s exactly the case with Translation and Localization by Elena Khudenko.

From the blurb, it seemed that Elena would dive into the specifics of the field—why it’s important and interesting. Especially since she herself has extensive experience in this area. She has translated books, brought Russian text to many TV shows (Killing Eve, Silicon Valley, and others), worked as a localizer for the Duolingo app, and translated many video games into Russian (The Whispered World, Batman: Arkham Asylum, etc.). In other words, she truly knows what she’s talking about.

And in this book, she tries to cover different types of translation, essentially following the arc of her own professional experience.

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Book: Raphaël Lucas “The History of The Witcher”

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The Witcher is one of the few Eastern European franchises to achieve worldwide fame and recognition. In his book, Raphaël Lucas set out to tell the story of how this franchise came to be.

I know that many fans of both the games and Andrzej Sapkowski’s literary original were thrilled when this book was announced. It quickly became a coveted gift for any occasion. I’ve read the main saga (except for the later novel that stands somewhat apart) and played through all three games in the series adapted by CD Projekt RED. My feelings toward the books are lukewarm, which has earned me the disapproval of some of my more fervent fan friends. Among the games, I especially highlight the third one, where the developers clearly sold their souls to the devil (and I say this with firsthand knowledge of what it takes to create games).

That said, I’m always interested in reading about how such iconic products come to life, especially from industry peers, so it didn’t take long for me to pick up the book—luckily, it’s not very long.

While expecting a comprehensive overview of the franchise, I knew this wouldn’t just be about the games (even though the cover prominently features a poster from the third installment). However, the author started from an even earlier point.

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Bad/good manager

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Since my school years, I’ve wanted to start some kind of business. I tried myself in various roles while simultaneously working as an ordinary developer. Although I spent more than half of my 30 years in IT in GameDev, over these years, I also had the opportunity to work in other interesting fields: educational apps, enterprise software, the semiconductor industry, and a bit in banking and telecommunications.

At some point, I realized that not everything I did turned out great.

Initially, I was upset, realizing that I wasn’t as strong in creativity or in coming up with crazy ideas and inspiring people with them. This is precisely what a leader of the inspirational type excels at (Adizes, in his framework, refers to such people as entrepreneurs).

But then I reflected on what I had done well over these years and what truly resonated with me. And I realized that my strength lay elsewhere. So, I began to develop in that direction. Over time, the list became clearer: I am good at production, evaluating and building effective teams, working with people, negotiations, operations, and administrative tasks. In other words, I am a very good “right-hand man” to a CEO, who is usually the one generating ideas and acting as the driving force. I, on the other hand, am more inclined toward the pragmatic work of “making it all happen.” This role in many companies is often gathered under the COO title or split between the CPO and COO.

And when I understood this, my career and self-esteem took off. Yes, I’m not much of an idea generator. But without people like me, even the best ideas might never be realized.

It’s impossible to be the best at everything; you need to find your strengths, the ones that interest and energize you, and develop them. The key is not to get complacent, not to stop at what you’ve achieved, and to keep learning, always asking yourself, “Am I doing everything right, and could it be done better?” Of course, here you need to guard against two well-known pitfalls. The first is perfectionism (because things can always be improved, but sometimes you need to stop and release a good product rather than chase an unattainable ideal). The second is self-doubt (when you start thinking that you haven’t done enough and that someone else could have done it better. Maybe so, but that person isn’t here, and you’re the one leading the project).

So don’t be discouraged if something doesn’t work out. Find what drives you, what you’re valued for. It’s better to become strong in that than to try to excel at everything. Even Gaius Julius Caesar, who according to legend could multitask like no other, didn’t end up too well. 😉

Book: Damien Mecheri, Sylvain Romieu “Dark Souls: Beyond the Grave. Volume 1: Demon’s Souls – Dark Souls – Dark Souls II”

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The term souls-like is now well established in the video game industry—players immediately understand what to expect from a game in this genre: it will be very hard, you’ll die many times, respawn, try again and again, learning your enemies and honing your skills along the way.

But just fifteen years ago, that wouldn’t have meant anything to anyone. “Souls-like” as in… like souls? What souls? Because it was only in 2009 that a game called Demon’s Souls came out and challenged the established rules of game design—at a time when the industry was increasingly trying to hold the player’s hand and help them at every turn. FromSoftware showed that if you kill the player from the very first minute and make it clear that their entire gaming experience means nothing in this world, it won’t just fail to scare people off—it can create a whole army of fans and, in essence, invent a new genre.

The book Dark Souls: Beyond the Grave promises to tell the story of how this series of games was created—starting with Demon’s Souls and continuing with its “offspring” in the form of the Dark Souls trilogy and beyond. And I was extremely interested to read how the creators came up with this approach, why they decided to bet on it, and how they built these games. First, this really is an entire subculture within gaming—and I’m not exactly its best representative as a player (I don’t like suffering all the time). Second, my team is currently making a game with similar mechanics, even if we want to push further (and who doesn’t?).

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Book: David Kushner “Masters of Doom”

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It seems like not so long ago I used to get carried away in computer clubs, where you had to move a few squares across the screen from point A to point B, and then there was a masterpiece in the form of the game Karateka. These days you look at a game that’s, say, five years old — ten, heaven forbid — and you already think: ugh, how could we even play that? And yet 35 years ago it was those very squares on the screen that seemed to us like a miracle of miracles.

And that’s why it’s so fascinating now to read the biographies of people who are, essentially, already legends, who rapidly changed both the video game industry itself and society’s attitude toward it. The story of id Software is just such an example.

David Kushner’s book is titled Masters of Doom, making it clear which game is considered the most famous, which name can attract potential readers. Modern players are more likely to know Doom (2016) and its sequel Doom Eternal, and are unlikely to have ever played those very first games.

For me, though, the acquaintance with the company’s games began much earlier — although back then I paid no attention to who actually made them. I remember playing Commander Keen in the school computer lab. And later, when Wolfenstein 3D appeared, it became not only a breakthrough and the progenitor of all shooter games. It was also the first game my father ever played on a computer — and at that time he was about as far from technology as one could be. So, you could say I’ve walked almost the entire path alongside this company — only as a player.

But when I say that the book tells the story of id Software, that’s not quite true. It’s not so much the story of a company as it is the story of its two founders — “the two Johns,” as the author constantly calls them: John Romero and John Carmack, two guys who “created an empire and transformed pop culture.”

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Books Worth Reading (2017–2022)

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I am sometimes asked which books I would recommend reading. For the blog, this is generally not difficult — it’s enough to open all posts with the tag “I-recommend.” But since it’s been almost five years now since I revived my blog and began writing about the books I’ve read, I decided to put together a selection of non-fiction books I’ve read during this time that fall into the category of “you must read them.”

I have already written detailed reviews of all these books, so this time I’ve selected only the very best, grouped them by topic. For each book I give only brief recommendations on why they are worth reading, but you can always open the link to the full review. I hope this will be useful to someone. So, let’s begin.

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Book: Dan Irish “The Game Producer’s Handbook”

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The word “producer” entered our everyday vocabulary in the former USSR around the 1990s. For many, it was associated both with a person who could turn any idea into a product and any person into a star, and at the same time with something shady. Apparently this was because many people back then had a lingering sense that any business was tied up with some kind of crime or vulgarity.

Later, however, the word no longer felt foreign in the language. In film it replaced the position of “film director” (in the sense of production management), and in many other industries the role finally came to mean what it should — someone who helps organize production as a whole, and who enables the team to create the product.

In the game industry, to which I have already devoted many years, this role exists as well. Yet to this day, few could really explain to you what exactly a producer does on a team. People still do not understand the meaning of a producer’s work, and some consider producers to be arrogant, overpaid idlers and budget-burners.

Dan Irish is an experienced game producer (the legendary Myst series was created with his participation, starting from the third installment). In 2005 he wrote the book The Game Producer’s Handbook, which is still often recommended to novice (and not only novice) producers.

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Reading Results of 2021

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The main theme of my blog is books, so I decided to write about the best ones I’ve read this year and would recommend.

I’ve read 78 books, but the number isn’t as impressive as it seems because it includes several short children’s books that I read with my younger kids before bed. Still, there are many great books I can recommend.

As for fiction, I didn’t read much this year, and most of it consisted of well-known works that I either finally decided to read or was revisiting. I’ll highlight just one:

  • Britt-Marie Was Here — a wonderful novel by one of the best contemporary authors, Richard Backman. I savor each of his books and wait a long time before picking up the next one.

And the most delightful part: this year, I received the first review of my own book (only in Russian) — Graphomaniacs Don’t Cry.

Who Needs Credits?

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Recently, there’s been another heated debate on the internet about the rules that certain game companies use to decide whether to include or exclude employees from the credits of their games. And this is indeed a fascinating topic!

Games weren’t the first to come up with credits. Movies come to mind much earlier. However, even in films, credits have undergone massive changes. I remember absolutely hating the credits in Soviet children’s films, especially when they were placed at the beginning of the movie. You’d sit down in front of the TV, all ready to enjoy your favorite film—perhaps one you’d been waiting for all week (this was before you could just hop onto Netflix and watch anything). And then you’re hit with “film director,” “cinematographer,” “director”… I couldn’t care less! I wanted to watch the movie, not read their names!

That said, I have to admit that sometimes creators managed to make this part interesting. In some films, they would show the actor in their role alongside how they looked in real life. That, I loved to watch—it didn’t make me want to switch off. Off the top of my head, I can recall this approach being used in New Year’s Adventures of Masha and Vitia and the later Don Cesar de Bazan. In those films, the actors in their everyday appearance looked nothing like their characters on screen.

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Difficulty in Games

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Once again, I’ve been reflecting on gaming preferences. I’m generally almost omnivorous when it comes to genres—I enjoy a wide variety. But a few years ago, I realized I’ve started gravitating toward casual gameplay. Games like Dark Souls already terrify me just from their descriptions. I want a great story, engaging gameplay, but without bone-crushing difficulty.

I still enjoy hack-and-slash games, but in recent years I often play them on easy mode. I understand this means I miss out on some of the satisfaction. But trying to beat a boss 100,500 times robs me of far more enjoyment. Life is too short for that.

Even with this approach, I sometimes encounter wildly unbalanced gameplay. Take Darksiders 3 (which I didn’t like at all compared to the first two games). My daughter spent a week trying to beat one boss on normal difficulty. I spent four days on easy. The balance is horribly off when most of the game feels smooth, and then you hit a sudden spike in difficulty. Honestly, I’m surprised I didn’t quit. What’s strange is that after that boss, the game gets easier and smoother again until the end.

In Darksiders Genesis, like a true masochist, I play without a gamepad (despite constant reminders from the developers that playing without one is pain and suffering—then why even bother including keyboard controls if they couldn’t make them decent?). And halfway through the game, there’s another boss where I hit a wall. This, despite my characters being leveled about 30% higher than the recommended level for that boss.

What I’ve been pondering is this: who are all these people playing games on Nightmare mode? When even on easy, I sometimes feel like giving up.

And why have I suddenly shifted toward easy modes in so many games?

In general, I’m all for adaptive difficulty. A game should help the player make it to the end and get maximum enjoyment. The worst outcome is when a player quits a game and is left with a bitter aftertaste.