Tag: games

The Last of Us — Season Two

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I’ve watched the second season of The Last of Us. I was already very disappointed with the first one, though my wife liked it.

I watched this season with great difficulty. But by the end even Tanya said she doesn’t want to watch the next one.

My complaints are fairly straightforward. Bella Ramsey is a good actress, but she’s completely wrong for this role. And appearance isn’t even the main issue here. Although, yes, let’s briefly touch on looks too. I do want adaptations to resemble the characters we know from the games. And even Pedro Pascal, charismatic as he is, still doesn’t quite match my image of Joel. But Bella creates an entirely different perception of the character because she is fundamentally different. Dina in season two also doesn’t look like her in-game counterpart, but at least her personality fits. Anyway, after the first season I had already made peace with the visuals.

My main complaint is that the writers, together with Neil Druckmann, for some reason completely reworked the characters’ personalities and motivations. For the sake of flashy spectacle, they changed both the internal logic of the world and the characters’ actions.

The episode with a zombie army attacking Jackson may look impressive, but it’s illogical (fast zombies in such huge numbers would have wiped everyone out instantly), it doesn’t exist in the game or its logic, and it directly contradicts it — the area around Jackson is constantly cleared precisely to prevent any large horde from forming. Yet somehow they missed an entire army. And narratively, this episode is completely unnecessary, in my view. The game’s motivation works far better without any zombie armies.

From the very first episodes, Ellie is portrayed as a reckless, self-absorbed idiot who doesn’t care about rules and just does whatever she wants. And not only does no one put her in her place — everyone around her turns a blind eye to it (which, honestly, explains how they ended up with a horde right next door). And everything Ellie does afterward only reinforces this impression. She’s not a strong character with an internal code. She’s not someone who has to overcome herself to torture a person and then break down in tears afterward. All of that remained in the game and was effectively buried by the writers. In the series she’s just an extremely unpleasant fool — to the point where at some stage I actually found myself wishing she’d just get shot already and the show would end on that happy note.

All in all, I’m genuinely surprised that the creators are doing such a thorough job of undermining their own work. I won’t be watching any further — especially now that even watching it out of solidarity is no longer required.

Songs: Andrius Klimka & Wargaming

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At one point, I was in charge of the audio design service department at Wargaming and even got to participate in a field recording of real tanks in Jordan. Officially, I was in charge of the entire trip, but in reality, I was mostly getting in everyone’s way 😉

A bit later, we decided to restructure the team, but I still maintained (and continue to maintain) good relationships with many of the guys. I remember when a new guy, Andrey, joined the Minsk team—now widely known as Andrius Klimka, the creator of many iconic tracks from the game World of Tanks as well as its promo videos.

Andrey truly crafted some legendary tracks, and a couple of them have found a permanent place in my playlist. Those are the ones I want to share today.

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Steam: A Proper Family Library

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As the saying goes, it only took them twenty years — and Steam’s creators have finally realized what a monstrosity their Library Sharing was. Originally, it was meant as a way to let your family (or friends) play your games. But it was implemented in the most ass-backwards way imaginable. Sure, you could make your games available to your family, but the moment you started playing anything yourself, your entire library became unavailable to everyone else. So let’s say you’ve got 400 games in your personal library and you let your kids play them. Your son launches Game A and is happily playing, and then you come home from work and decide to play too — Game B. And suddenly your son gets kicked out of Game A because “the owner is back.” Even though you’re playing a different game. Why on earth can’t he just keep playing the first one?

Nobody ever understood why this feature was introduced in such a dumb way, because its value was extremely low. Mobile platforms introduced the idea of a family. Streaming services like Netflix let an entire household watch content under one family subscription. But game platforms held out until the bitter end.

And finally, on March 18, 2024, Steam launched proper Family Groups in beta. What does that mean? You can now create a family group and add up to five family members (six total: the creator plus five members). Everyone’s personal libraries are merged into a single shared family game library: no matter which family member owns a game, it becomes available to all members of the family group. Steam explained this feature in detail in an announcement and in answers to frequently asked questions. I’ll focus here on the most interesting points.

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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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TV Show “The History of Russian Computer Games”

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Recently, the streaming service Okko released a documentary series titled The History of Russian Computer Games, about how the video game industry developed across the post-Soviet space—starting with the USSR era.

Anton Vert recommended it to me, immediately pointing out a few downsides. But it’s one thing to listen to smart people, and another to watch it yourself and then share your own opinion that nobody asked for.

In 30–40 minute episodes, the series talks about different milestones in the industry’s formation—first in the USSR, and then across the entire territory of this former Soviet empire. At least, that’s how the series is sometimes positioned (I’ll come back to this in more detail later).

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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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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.