The True Story of The Alters

In just a few decades, video games have quickly established themselves as a giant in the global cultural industry. Long inseparable from Japan, today the industry relies heavily on the American giant (but not exclusively, don’t get me wrong), thanks to or because of studios and publishers such as Electronic Arts with the FIFA series, Activision Blizzard with Call of Duty, and Take Two Interactive, well known for one of the most influential franchises in the industry, GTA. Its influence is not limited to publishers, studios, or licenses, but extends to the omnipresence of its culture through the various productions that flood our stores every year. Its immense geographical territory allows it to be the playground for a huge number of American and foreign productions. Examples include Death Stranding from Kojima Productions, which asks us to reconnect the United States through its striking landscapes, and Watch Dogs, developed and published by Ubisoft, which takes place in the city of Chicago. But it is also the birthplace of many well-known video game characters, often modeled on the ideal of the American hero popularized in cinema, with Nathan Drake from the Uncharted series remaining one of the most iconic examples, especially since his recent arrival on our big screens.

And yet, the video game market has never been so vibrant, with the emergence of new major players in Europe such as France, of course (cocorico and all that), but also an outsider that is becoming a key player in the industry: Poland. A country whose future influence no one could have predicted in the early 2000s, and which is now establishing itself as one of the industry’s major players. A country that, in its own way, continues to resist “American cultural hegemony.”

Photo from PGA 2024 (Poznań Game Arena), Poland's largest video game and multimedia event. — Photo from PGA 2024 (Poznań Game Arena), Poland’s largest video game and multimedia event.

From Zero to Hero

According to a report by the Polish Agency for Enterprise Development (PARP), the Polish video game market has no fewer than 440 studios employing over 10,000 people. With a 3,180% surge in gaming product exports since 2013, it is now the fourth largest exporter of video games in the world according to PKO BP (Poland’s leading bank), with a significant 6.5% market share (€1.24 billion), still far behind the US, which accounts for 24.6% of the market (€4.69 billion) .

This success is partly due to its education system, which places a strong emphasis on mathematics, as evidenced by the results of the 2022 PISA rankings, where Poland ranks among the best European students, scoring 16.5 points above the OECD average in mathematics. Support for young developers also comes from numerous universities focused on the video game sector or technology more generally, offering more than 60 degree programs related to video game creation at the higher education level. That said, strong demand from studios means that Poland is constantly looking for new talent abroad, gradually and unwittingly transforming itself into a magnet for people wanting to work in the video game industry. One of its distinctive features is the involvement of its government in supporting creation, research, and development in the video game sector. Founded in 2016, the Polish Games Association (PGA), in collaboration with the Polish Ministry of Science, has set up a $20 million investment fund for various studios based in the country.

“This is a program aimed at increasing the competitiveness of the Polish gaming sector through R&D. We want to stimulate innovation in companies that already have experience in this area and encourage new companies to embark on more innovative projects.”, said Stan Just, former head of R&D at CD Projekt Red, in an interview with GamesBeat.

And since we’re talking about CD Projekt, it seems impossible to discuss the video game industry without mentioning the Polish giant. With over 700 employees and 100 million games sold worldwide, it is now considered one of the most influential studios of the last 10 years. But the studio also owes its success to its game distribution service, available since 2008 on PC, called Good Old Games (GOG), which is in direct competition with the biggest player in the digital video game market, the American giant Steam. One might even think that it was this studio, following the exploitation of The Witcher license, that kicked off the creation of the Polish Games Association in 2016 thanks to the success of the third episode in 2015. This initiative was not only supported by CD Projekt, a number of studios participated in its founding, including Techland, known among other things for the Dying Light series, the first installment of which was released the same year, but also, and more importantly, a studio that will be of particular interest to us here, which also released a game before this initiative was launched: 11 bits studio.

The 11 Bit Studios team at their offices.

A History of Context

Founded in part by former CD Projekt employees in 2010, the Warsaw-based Polish studio made its first mark with Anomaly: Warzone Earth, a fairly unremarkable tower defense strategy game released in 2011 on PC, Xbox Live Arcade (memories, memories) and iOS. But the first game we’re really going to focus on, and the one that would build the studio’s solid reputation, is This War of Mine, released in 2014. This game was hugely important for the studio, as not only did it receive rave reviews, but it also defined the studio’s identity, first and foremost through its game design, but also and above all through its themes and the way the game addressed them.

The game plunges us into the story of the siege of a fictional city called Pogoren, which appears to be located in Eastern Europe (based on the various names of places and inhabitants). This siege pits two sides against each other: the rebels entrenched in the city, and the national army, which is trying by every means possible to retake the city from the rebels. The player takes on the role of civilians holed up in the city, trying to survive the conflict they are caught up in as best they can. And if we mention the context in which the game takes place, it is simply because of the similarities between the fictional conflict depicted in This War of Mine and the siege of Sarajevo, which was largely inspired by the difficult living conditions and war atrocities endured by Bosnian civilians during the siege of Sarajevo, the longest siege of a capital city since World War II (1992-1996). As mentioned earlier, what interests us about this game is the consistency between its game design and the story it tries to tell us. The story of war refugees, condemned to survive sometimes at the expense of others and forcing players to face difficult moral choices, but also sometimes the cruelty of this merciless world. All of this is evident when you get your hands on the game. Its slow gameplay makes each confrontation painful, sometimes imprecise and difficult. Infiltration, with noise management, makes escapades outside the walls of our shelter stressful and exhausting, constantly requiring us to remain on high alert, lest we lose precious resources or one of our survivors.

As you can see, we are a long way from the ludonarrative dissonance that is omnipresent in the world of video games, which constantly tries to portray our video game heroes as good Samaritans, when in fact we spend most of our time… shooting at anything that moves (hello Uncharted). This desire to address important issues that are close to the studio’s heart is also evident in their non-media initiatives. In 2015, 11 bit studios announced that all profits from the War Child Charity DLC would be donated to the War Child charity, which provides assistance to children in conflict zones. In 2018, sales of the DLC raised $500,000. In 2022, in response to Russia’s invasion of Ukraine, the studio announced that it would donate all profits from This War of Mine during the first week of the conflict to the Ukrainian Red Cross. So it’s not just a choice of game design or storytelling; the studio seems committed to addressing issues that are close to its heart, far from the idea of capitalizing on misery.

In a completely different but equally important area, Frostpunk evokes the hypothesis of climate disasters occurring in 1886, as described by Jacek Dukaj in his short story “Ice” (2007), with the presumed eruption of volcanoes creating an endless winter. This immediately brings to mind the Tambora volcano in Indonesia, which is mentioned in the game and did indeed erupt for 10 days in 1815. Considered one of the most violent eruptions of all time, it created volcanic ash rains and tsunamis, destroying all life on the Sanggar Peninsula and causing the deaths of approximately 117,000 people on the surrounding islands. The fine particles ejected during the eruption caused a volcanic winter that lasted three long years. The consequences were such that 1816 was nicknamed “the year without a summer,” with extremely low temperatures, snowfall in the middle of summer, and almost no sunshine during this period. As in Jacek Dukaj’s short story, the game features a highly developed narrative, forcing players to make difficult choices with real repercussions on the game.

It is therefore understandable that the studio seems determined to tackle sensitive, difficult and topical issues (such as war and ecology), which echo realities that have indeed existed. And in The Alters, the studio’s latest release on 13 June this year, there is no deviation from this rule.

“Jan, my brother Jan, can’t you see anything coming?”

The Alters tells the story of Jan Dolski, a native of a small mining town and employee of Ally Corp. He is sent on a mining mission into space to recover a precious material called rapidium, essential to the survival of humanity, torn between social conflict and growing famine. Unfortunately, things don’t go as planned, as our protagonist finds himself the sole survivor of the trip and must use technology that allows him to call upon alternate versions of himself (the famous “alters” that give the game its name) in order to complete his mission. Far be it from me to spoil the game’s storyline for you. Here, we’re going to focus on something else entirely, because after the thirty hours or so it took me to complete the game for the first time, a thought occurred to me. What if, this time around, 11 bit studios wanted to use its new game to tell us not the story of Jan fighting for survival alongside his “alters,” but the little-known history of his country, Poland, through its protagonist, or rather its protagonists, Jan Dolski.

Promotional photo for the game The Alters. — The entire Jan troupe.

Even though it is never explicitly stated, and despite the wealth of information revealed about our protagonists throughout the game, one of my hypotheses is that Jan Dolski is originally from Poland (thank you, Sherlock) and that he serves as a ‘Polish everyman’ in order to highlight his country’s culture and history through the game and its storyline.

Let me explain.

Jan is the equivalent of John or Jean in most Germanic and Slavic languages, with roots in the Hebrew “Yohanân,” meaning “God is gracious.” It is a name with religious and historical connotations that has been around since the early 17th century. But what interests us here is the growing popularity of the name in Poland, where it has been steadily gaining popularity since the early 2000s. In 2024, it was the third most popular name (as in 2023), with more than 5,000 newborns given this name, according to the Polish government’s official website. As for his surname, Dolski, it is a name of Polish origin derived from the word “dol,” which means ‘hole’ or “pit” in Chopin’s language. The suffix “-ski” is very common in Polish surnames. However, according to the Institute of the Polish Language of the Polish Academy of Sciences, only about 400 people have this surname, making it one of the least common surnames in Poland.

So, does this mean that my hypothesis that Jan Dolski is a name used to identify our video game hero as a typical example of the perfect Pole doesn’t hold water? Have you ever heard of “John Doe”?

In 1996, renowned independent writer Paul Dickson explained in his book “What’s In A Name?” that the use of “John Doe” dates back to the reign of Edward III (King of England in the 14th century) and the “Act of Ejectment,” a legal procedure used at the time to settle land disputes in England. Landowners used the name “John Doe” as a fictitious name to appear in court and prove their right to land against squatters or abusive tenants (the defendants being called Richard Roe). This ruse was based on common animal names in the 14th century (doe = female deer, roe = male deer), with “John” being the most common first name. Nowadays, “John Doe,” like “John Smith” in the United Kingdom, or its most common Polish equivalent “Jan Kowalski,” are most often used to refer to anonymous people, missing persons, or those who are difficult to identify. It seems obvious that Jan Dolski and John Doe are similar in both their phonetic structure and their function (a generic name for an anonymous person), a common first name followed by a short, easily memorable surname. It could be that the studio wanted to avoid a name that was too cliché, such as Kowalski, which is very often used in American productions to refer to a Polish character, as for example in the Fantastic Beasts trilogy with the Polish Muggle in the person of… Jan Kowalski, the one and only…

This idea that Jan Dolski was an anonymous “everyman from Poland” is reinforced by the use of job titles to refer to Jan’s various alter egos (Jan the scientist, Jan the doctor, etc.). This is all the more interesting when we realize that “John Doe” was used to name people who wanted to claim land, while Jan Dolski is an Earthling who traveled to the far reaches of space to mine and… claim extra-planetary land. One of the only tools we have to learn more about our protagonist is the “tree of life,” which allows us to explore Jan’s past life through various important events that may have marked him, but also those of his alters, since it is through these events that certain versions of Jan will branch off to trace their own lifelines.

Illustration of one of the branches available in The Alters' tree of life. — Illustration of one of the branches available in The Alters’ tree of life.

Jan comes from a small mining town like dozens of others that existed in Poland in the 20th century (more than 100,000 miners were active). The history of Poland is closely linked to mining, as it was already renowned in the Middle Ages for its salt mines, known as “white gold,” and today it remains the second largest coal producer in the European Union. One example is the Wieliczka salt mine near Krakow, which has been a UNESCO World Heritage Site since 1978, with no less than 300 km of tunnels, making it a must-see tourist attraction more than 20 years after it ceased operations in 1996.

We also learn that his father was a notorious alcoholic who was violent towards his family. Here too, Jan’s story is closely linked to the history of his country, as Poland is still one of the biggest consumers of alcohol today, with 12.5 liters of pure alcohol per capita each year, placing it 13th in the world ahead of France. This situation is a real societal problem, as in 2023 there were more than 4 million people living in households with at least one alcoholic member. It is a pattern that repeats itself from generation to generation, as Polish psychologist and addiction specialist Joanna Flis explains: “The hereditary nature of this addiction is one of the many consequences of alcoholism.” This is undoubtedly one of the reasons why Jan and some of his alters developed a penchant for drinking after their mother’s death, recreating a situation in their home similar to that of their childhood.

As we progress through the different acts that make up the game, we will unlock certain alters, each with their own storyline and related skills that make life easier. The alter we’re particularly interested in is Jan “Doctor,” but it’s not his medical degree that catches our attention, but his cooking skills. Each Jan has a series of side quests that give us the opportunity to learn more about his history and personality, allowing us to make him an ally we can count on in times of trouble. The Doctor’s quests involve helping him cook up dishes typical of their childhood to boost troop morale, dishes steeped in history, which once again allow the studio to reveal a little more about Polish culture. Little known yet extremely rich, Polish cuisine has become a staple of the European scene in recent years (a funny coincidence when you consider that the Polish video game market is now following the same pattern), with dishes made from simple ingredients steeped in history and deeply rooted in its peasant origins. The crops had to be inexpensive, resistant to Poland’s long winters, but also easy to grow and highly nutritious, such as potatoes and cabbage, which are extremely popular in Poland. This heritage gave rise to many dishes that are now considered typical, and 11 bits studio has decided to introduce us to some of them through its resident chef.

The first dish we will be tasting is a must-try, as it is considered the national dish traditionally served on Boxing Day. Although there is no single recipe for Bigos due to its age, we can still agree on a common base of fermented cabbage (a legacy of the peasant practice of preserving food for the winter), tomato purée, pieces of sausage and smoked pork, which are very popular in Poland and inexpensive, as well as potatoes as a side dish. It was also traditionally served in a rye bread loaf used as a container. It is a dish steeped in history, still found on the menus of many Polish restaurants, and incredibly delicious.

The second dish is even more popular, although most people are unaware of its Polish origins: pierogi. Often dismissed as Polish ravioli, pierogi (pieróg in the singular), first introduced by influences from Russia and Ukraine, were adapted to Polish cuisine in the Middle Ages to create a dish in keeping with its culinary heritage. Very often cooked during celebrations, just like bigos, it is usually made with cabbage, potatoes, and cottage cheese, although there are many variations, including those with meat and mushrooms. Once again, its egg-free dough and simple ingredients such as potatoes and cabbage make it an inexpensive and accessible dish.

Image of Pierogi tasting from the game The Alters. — A small tasting of pierogi, in the company of Jan and Jan.

As mentioned above, these dishes are most often served to celebrate important events, and it’s no different in The Alters. The introduction of new dishes will be an opportunity for all the Alters to get together for a convivial moment, giving rise to some enjoyable scenes, but above all allowing them to boost morale in the most critical moments, through sharing and a love of potatoes. Potatoes are now officially presented as a major asset for space exploration, since in 2016, NASA has been experimenting with the idea of growing potatoes in the Martian environment, reminiscent of Andy Weir’s 2011 novel “The Martian” (and Ridley Scott’s 2015 film of the same name), in which an astronaut stranded on Mars survives by growing potatoes—quite a coincidence.

The use of potato-based dishes would therefore not be insignificant, as it ties in with the game’s setting (an unknown planet) and the constraints of space travel. This possible coincidence is even more incredible when you consider that just 12 days separate the release of The Alters from the launch of the international space mission Axiom-4, carrying Sławosz Uznański-Wiśniewski, the second Polish astronaut to travel into space and the first to reach the ISS (International Space Station), with you guessed it, freeze-dried pierogi.

Dr. Sławosz Uznański-Wiśniewski and Axiom-4 mission commander Peggy Whitson discuss experiments at the Columbus Space Laboratory
and present pierogi stuffed with cabbage and mushrooms. International Space Station, July 6, 2025.

Było bardzo dobre, It was very good!

It took 20 years for Poland, under the influence of various industry players and its government, to become a standard-bearer for European video games. Steeped in diverse influences, both in its culture and in its video game art, it is now at the forefront of the industry and continues to diversify through its productions. Although CD Projekt remains the first studio that comes to mind when talking about Polish video games, 11 bits studio has managed to stand out by offering experiences that are sufficiently different and innovative to attract the curiosity of the press and gamers around the world. With This War of Mine, Frostpunk 1 & 2, and The Alters, the studio has demonstrated the maturity its teams have shown for nearly 16 years, tackling diverse and difficult subjects with a sincerity and accuracy rarely seen in the industry. Focusing on games that shine thanks to their gameplay but above all their writing, its independence allows it to impose its editorial line and give its teams great creative freedom, resulting in titles that are politically and environmentally engaged, but always relevant.

Since 2014, the studio has also been a publisher and continues to expand its catalogue with a certain mastery, offering us titles such as Children of Morta, The Invincible, the Moonlighter series (with a second instalment due out this year) and Indika, all of which are unusual titles that have been very well received internationally, reinforcing the idea that 11 bit studios is also determined to join the big leagues, without giving up what makes Eastern European productions so charming. These games are full of all kinds of oddities (hello Indika) and are sometimes rough around the edges, moving further and further away from American productions in both their ambitions and their execution, unlike CD Projekt, which seems determined to maintain their Westernisation. With its latest game, the studio tells a more intimate and personal story through its hero Jan, a love letter to his country and culture that the game celebrates, offering players an immersive experience, constantly juggling between its different game systems and its omnipresent narration, scattering here and there the seeds of what I believe makes it a unique game, which I cannot recommend highly enough. It is a game that questions, moves and attempts to show the whole world that in 2025 it is possible to make video games that are engaging, creative and interesting, with complex heroes and varied gameplay systems, without ever forgetting their primary objective: to entertain.