evita
Cosimo Galluzzi

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dirt enthusiast
PUT YOUR BEARD IN MY MOUTH
I'd rather be in outer space 🛸

titsay
One Nice Bug Per Day

oozey mess
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Origami Around
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Today's Document
AnasAbdin
he wasn't even looking at me and he found me
"I'm Dorothy Gale from Kansas"
taylor price

roma★
DEAR READER

JVL
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@automatasfactory
evita
eva redraws
Death Trap
Anco UK 1990
Art by Jimmy Cao
Brandish cover art by Jun Suemi. (Sources: Retro-Type, Hardcore Gaming 101)
Brandish art is awesome…
They all have that perfect “old school” feel about them.
Baldur’s Gate 1 & 2 character portraits, as re-drawn by Ryōko Kui of Delicious in Dungeon.
@stick-arms @lunaticobscurity
The “Illustrated Fantasy Book Guide” is a magazine-format book (or mook) released in 1989 by the publisher of ファミコン必勝本 “Famicon Winning Book”, an NES gaming magazine. The mook lists 37 works of fantasy originally written in English except for “Ficciones” by Borges. The editors of “Famicon Winning Book” were fond of the Wizardry port to the NES, which is my explanation for their interest in this stuff. In any case, they created the best Appendix N so to speak of fantasy translated into Japanese that I have yet found. The Japanese titles are provided below to aid the online searches of would-be buyers.
Images/Text courtesy of Japanese Tabletop RPG
I wish I could find a complete set of scans for this book!
Full list of books featured under the cut.
started playing Space Adventure Cobra for Sega CD. multi-screen entertainment, capsule showers, cool corridors, jetbikes and space travelling, not sure what else I could wish for…
Hey there! I love your writing and I've found some cool new stuff through your recommendations so I wanted to say thanks for that.
I also wanted to ask if you knew of any osr games that attempt to emulate roguelikes or roguelites. So I guess what I'm looking for is broadly compatible with old schools d&d alikes, quick or at least easy character creation since the players are expected to die a lot (but thats common to most osr), but mostly some kind of meta currency or meta progression that allows the players to slowly make progress even as the characters die. Maybe some kind of base building mechanic? I don't know. Do you have any recommendations?
THEME: Rogue-likes, Easy Characters, & Meta Progression.
Hello, thank you so much for your kind words! I've cobbled together a few disparate recommendations, many of which will probably work in tandem with some other resources. I hope that in this hodge-podge you find something that works for you!
Vicious Circle, by HauntedPicnic.
Over and Over. This Place is Wrong. This Village is wrong.
Vicious Circle is a Horror TTRPG where Players are trapped in a looping Village.
Each week it falls prey to all manner of terrifying entities, states of madness, phenomenon and creatures. Monday, all is well. By Sunday all is hell.
You play as a new arrival to the town who soon discoveries in order to break free of this never ending cycle you must survive past midnight on Sunday. If you do you are free!
Vicious Circle uses a generator table to create new horrors every time the time loop resets. When your character dies, they pass a useful item on to your next character, but they're not guaranteed to die! Survival is possible, and rewarded by new abilities that may improve chances of survival the next time round. This game appears to be built for something with a bit more longevity than a one-shot, so you might really build some history with the town before the game
Quantum Nobodies by DNGNCLUB.
YOU START AS A NOBODY AND YOU DIE AS A NOBODY.
Again and again and again and again and again…
Quantum Nobodies is a game for one night with 2–5 players. You take on the role of a NOBODY, a living paradox trapped in a Quantum Loop, stuck in a cycle of life and death. You must work together with your fellow anomalies to complete your mission and escape the liminal world before the mysterious GOD COMPLEX locates you and scrubs you from reality permanently.
Here's another game that gives you your characters back after they die, due to the nature of the time loop that they find themselves stuck in. The downside is that this game is designed to be a one-shot, with recurring loops happening in a single session. If you like media about characters who learn something new every loop, you might like Quantum Nobodies.
Loom, by Yuigaron.
The Knot hangs ponderous, heavy - pulling taut the tangled threads of the Fabric Between Worlds. Tired, callused hands pick at the threads, easing the tangles, bit by aching bit. Slowly, deliberately, they pull at loose threads to scrutinize with weary eyes, as they mutter amongst themselves. Piles of threads form at their feet, growing ever larger, until the eldest amongst them finally speaks. ‘That is… enough. For now. With these Thrums - these tangled, fraying threads - They can return.’
The others simply nod, and gather together what threads they have found.
The eldest stares at The Knot that threatens all that exists in the worlds, ‘The rest… is up to Them.’
LOOM is a Fantasy Action TTRPG where players take on the roles of fallen Gods - tricked out of their Domains - trying to reclaim their seats of power. LOOM is a combat heavy game taking inspiration from video games like Hades.
I'm recommending LOOM because it's inspired by a rather famous rogue-like - HADES - but also because it's built on the LUMEN system, which is known for easy character creation that can get you up and running pretty quickly. LUMEN games are great for powerful characters, like gods, which means that death doesn't really work in the same way. This allows your characters to experience a game loop while still upgrading and becoming more powerful over time.
Cyclic Dungeon Generation, by Sersa Victory.
Cyclic dungeon generation is the name given to the level creation algorithm in Joris Dormans’s 2017 roguelite Unexplored.
Taking inspiration from games like The Legend of Zelda, this algorithm generates dungeons by composing together cycles: circular loops of linked dungeon rooms designed to create a specific flow of game play.
There are several types of cycles that can be used to construct a dungeon, such as lock and key or hidden shortcut.
By nesting multiple different cycles, a dungeon can be generated that feels more like a human being intentionally designed it, rather than a purely random scattering of chambers.
This isn't a game in itself, but instead a guide to making a dungeon that might help you turn any OSR game into a rogue-lite. It comes with an adventure that you can use with Old-School Essentials, and includes methods to make the dungeon interesting even after multiple passes, such as roaming monsters, false goals, and locked doors that require a key. If what you want is help making the OSR games you already love work as a rogue-like, this might be the tool that you need!
Shard, by emmy, for LIGHT.
Some settlements and bases are scattered across the system, but the Lighthouse is home; you call it home.
Not everyone has the luxury of living at the Lighthouse. With this module you will rebuild a settlement and defend it from invading forces. It will not be easy, but who said it should be?
I've already talked about how LUMEN games are great options for folks who want to emulate various elements of video games, but Shard* specifically adds the base-building that you're looking for, as a supplement to LIGHT, which just so happens to be the first LUMEN game ever written. The base is called The Lighthouse, and it's meant to be a bastion that will help you fight against the Dark.
We Deal In Lead, by Odin's Beard Games.
Stride into perilous worlds and give 'em hell with lead and grit.
We Deal in Lead is an 88-page full-color rulebook delivering genre-bending gun-slinging in a post-apocalyptic weird west world. Designed by Colin Le Sueur and inspired by The Dark Tower and the Man With No Name, We Deal in Lead is a lightweight combat-focused TTRPG perfect for brutal one-shots, tense solo excursions, or epic campaigns.
An OSR-style game built off of Cairn, We Deal In Lead is just as dangerous. It propels your gunslingers into various worlds, allowing it to work with cross-compatibility with various settings, but there are a few elements that you might find helpful in particular. First of all, your Gunslingers are part of an Order, which can both grow and take drawbacks as your Gunslingers die or progress. There's also elements of your characters that could theoretically be passed on even if your blorbo dies, such as your gun, which can be upgraded as you find key pieces of treasure, or your companion, who has their own stats and abilities that they can contribute. Since it's compatible with Cairn, any dungeon that's Cairn-compatible should work for We Deal in Lead!
Milk Bar, by Eryk Sawicki.
After Ameripol pushed too hard, cut too many corners, and ignored one-too-many warning lights, The Belt was shorn in half and their sick experiments flooded our farmland and destroyed our city. The majority of people left. Sadly for you, the first thing you got taught in Communard school was that jumping ship and hoping for greener grass doesn’t work: you have to stay and fight for the future you want.
Inspired by OSR games such as Cairn and Mothership, Milk Bar has easy character creation and a pretty punishing setting that likely pulls a lot from dungeon design, but re-contextualizes it in a post-Soviet, post-apocalypse, weird alien-touched setting. Because you play as hosts of a commune-like Milk Bar, I think there's also a lot of potential for base-building. You'll need to keep track of resources in order to keep your Milk Bar running, as well as manage problems that will inevitably show up in a post-apocalypse. With a whole chapter on building and running your Milk Bar, I think there's a quite a bit to make it matter, even if your characters die!
Games I've Recommended in the Past…
Dice Souls, by Chris Bissette.
Rogue Blight, by Junk Food Games.
Tower Defense Recommmendation Post
Escape from Hades, by only1marek.
RUNE, by GILA RPGs.
If you like what I do and want to leave a tip, you can check out my Ko-Fi!
list of things about mussed up houses
house of leaves by mark z. danielewski
skinamarink by kyle edward ball
the house in the ocean by mister manticore
myhouse.wad by veddge
this house has people in it by alan resnick (possible? its more like the people are the strange thing)
monster house by gil kenan (maybe not messed up in the right way for this list)
burning down the house by the talking heads (only in passing)
additions:
the haunting of hill house by shirley jackson (book)
the haunting of hill house by mike flanagan (tv adaptation of the book)
rose red by stephen king
vivarium by lorcan finnegan
changing planes by ursula k. le guin (not a house, but thematically close)
charlotte markham and the house of darkling by michael boccacino
slade house by dave mitchell
little, big by john crowley
the inner room by robert aickman
phantom architecture by phillip wilkinson
bite size terrors: erobos heaven by anoverthinker (seems like possibly the house isnt whats strange? but i dont know for sure i havent played it)
anatomy by kitty horrorshow
childhood homes (and why we hate them) by qrowscant
the house next door by annie rivers siddon
white is for witching by helen oyeyemi
haunted by poe (album counterpart to house of leaves??? holny crap)
the house with a clock in its walls by john bellairs (also has a movie adaptation)
p.t. by hideo kojima
coraline by neil gaiman (more like the creature is making the house messed up but yeah ill count it)(EDIT: okay yeah that house IS just messed up. forgot the beldam didn't make the other house)
starling house by alix harrow
the witch's house by fummy
house (hausu) by nobuhiko obayashi
the house is alive and the house is hungry by the paper chase
my house walk-through by nana825763
control by sam lake
house of bones by jeffery scott lando
lungbarrow by marc platt
if anyone knows of other things that fit this niche, any type of media, feel free to add on. i'll edit and add it to the original post. i just really like this specific niche
thank you to @bas-fish, @eggmixercortex, @ohiotpke, @posteriorpeasantpresents, @hadoom, @dougielombax, @lite-weaver, @mimillion, @elvriskastello, @apotheoseity, @hauntedhousez, @sophiewooloo, @jumbledthemes for contributing :3
i should sort this + add links putting that on my to-do list
Dungeon Crawl stickers perhaps? Maybe a fun retro colored design with holofoil finish?
𝕮𝖆𝖗𝖕𝖆𝖙𝖍𝖎𝖆𝖓 𝕱𝖔𝖗𝖊𝖘𝖙
𝔑𝔬𝔯𝔴𝔞𝔶¹⁹⁹²
Yakuza 4
Developed/Published by: Sega CS1 R&D / Sega Released: 15/03/2011 Completed: 18/12/2024 Completion: Finished the story and all substories (other than the hostess club ones.)
Well, it’s taken me five years to play another game in this series, thanks to a global pandemic meaning my PS3 was in storage miles and miles away from me, and because one of the main roles, Masayoshi Tanimura, was recast for the remastered version, I absolutely refused to play it first (it’s like wanting to play a Lucasarts adventure in EGA. You want to see the original author's intent!)
Anyway, it’s a good thing too, because–as I mentioned the last time I was on the Insert Credit podcast–Yakuza 4 takes ages to install and while it’s installing it’s the only place you hear the vocal version of the main theme, “For Faith” and it absolutely slaps. They literally just play it about ten times in a row, setting a precedent where I play it ten times in a row. I find it hard to believe there will be a better track across the entire series (though I’m excited to find out if there is) because I have to be honest that nothing from 1, 2, or 3 stuck with me.
You should listen to this while reading the rest of the article, right?
Unfortunately, outside of one of the most hype tracks ever, Yakuza 4 is… kind of a mess? It’s not actively the fault of the Yakuza core, which is all there and accounted for, but simply that the game feels like it’s a billion hours long and the narrative is… genuinely nonsensical.
Taking place a year after Yakuza 3, with Kiryu still running an orphanage in Okinawa, the plot hinges on a massacre of 18 yakuza in 1985 in a botched hit on a clan chairman. We play and follow the stories of Shun Akiyama, a loan shark(!), Masayoshi Tanimura, a corrupt cop(!!) and Taiga Saejima, the guy who did the massacre(!!!) gradually unravelling the mystery of what happened and why it connects their lives, before Kiryu has to show up and (ostensibly) pull all the threads together in a humdinger of a climax.
This does not, exactly, go as you might hope. First let me say that one of my absolute favourite thing about the Yakuza games is that it is a rule that you are playing the kindest, nicest person who ever lived, but who will also, at a drop of a hat, beat you within an inch of your life with the nearest piece of roadworks. It reaches absolutely absurd levels here as our loan shark turns out to be giving his money away without even charging interest [“come on man, at least charge inflation”--Investment Ed.] our corrupt cop turns out to be shaking people down to support and protect immigrants who otherwise have no legal recourse, and our mass murderer turns out to (spoilers!) have never killed anyone at all!!!
This “our heroes are the most honorable men to have ever lived” gimmick is especially funny here because if you look a bit deeper it gets a bit confusing. Our loan shark does a surprising amount of funnelling desperate people into sex work as a condition of a loan (sex work is work, but it definitely feels like coercion) our corrupt cop turns a blind eye to some seriously fucked up stuff to get kickbacks, and Saejima… definitely intended to kill those dudes!
The problem ultimately is that compared to the (relatively) straightforward stories of 2 and 3, 4 gets lost in a web of increasingly unbelievable twists even as it should be following a fairly straightforward episodic form. You have never seen any piece of media where this many characters get shot to death and then turn out to never have been shot at all. Indeed my favourite bit in the game might be when a character says “ok I’m going to kill these two people now” before a cliffhanger, only for one of the characters you just thought were shot to show up in basically the next scene and for another character to attempt to explain away why he said that. It doesn’t work.
The game was written by Masayoshi Yokoyama as the other games have been, but I have to wonder if the script was in flux for a long time, or if there was meddling from the top down. Notably, Kiryu feels absolutely inessential to the plot here. His chapter front loads about an hour of cutscenes and he doesn’t really do anything except any substories you choose to do. It’s possible he wasn’t originally planned to be included, but maybe they just liked the idea of the fourth game having four protagonists.
The game generally feels unbalanced–the first character you play, Akiyama, does seem to have the most interesting stuff to do, and he’s the most charming, interesting non-Kiryu protagonist–and I was disappointed in the substories this time around. Maybe it’s just that I’m four games in, but “go to place, beat up guys, go to other place, beat up guys” isn’t that interesting the hundredth time you do it, and the stories generally aren’t interesting enough to make up for it.
As usual, there are a zillion mini games, but this time round managing hostesses is made as tedious as possible (you have to walk around the club listening to people and constantly dressing your hostesses differently???) and the only other in-depth mode is a martial artist manager that I wasn’t too excited for either.
This is still a Yakuza game, though, and it’s still entertaining! I love strolling Kamurocho and I still enjoyed the fighting even if I didn’t love having four different fighting styles to remember in the climax. The issues really do relate to the story, which constantly undercuts any opportunity to be moving by constantly being confusing or ridiculous. The game actually ends with an intense one-on-one battle for each of the protagonists to a different arrangement of For Faith and it should have made me so hype but for at least three out of four battles I was confused as to why they were happening.
Unfortunately, I’ve heard that Yakuza 5 doesn’t make massively more sense, but hopefully it won’t take another five years to get to it.
Will I ever play it again? Of the Yakuzas I’ve played, this definitely feels like the most inessential to play. 1 and 2 have Kiwami versions (although I believe that 2 has some cuts and visual downgrading in its remaster) and 3 was chopped to ribbons in localisation, whereas this one has everything in the remastered version. So probably not!
Final Thought: Actually, it might take five years to get there, considering I’ve got two PSP exclusive Yakuzas and Yakuza Dead Souls to get through first. There are so many of these!!!
Every Game I’ve Finished 14>24 is OUT NOW! You can pick it up in paperback, kindle, or epub/pdf. You can also support Every Game I’ve Finished on ko-fi! You can pick up digital copies of exp., a zine featuring all-exclusive writing at my shop, or join as a supporter at just $1 a month and get articles like this a week early.
Shanoa's Roll & Rocker-moment in Vampire Survivors: Ode to Castlevania.
The Tasks of Tantalon (1985) is sort of a Fighting Fantasy oddity, the first Fantasy Questbook, written by Steve Jackson. This is essentially an illustrated puzzle book in the spirit of Masquerade and other armchair treasure hunting books. Unlike many similar books that started to appear around the same time, there was never a prize for solving Tasks, as far as I know, but Puffin did eventually release a solution guide that explains everything. That should give you a sense of how difficult the damn thing is. I managed the counting puzzles well enough but everything else veers sharply into the inscrutable. I looked up the solution for the location of the Ting Ring, which is hidden somewhere in the painting of the alchemist’s lab, and I just simply do not believe anyone would have A. Ever found it to begin with and B. If they did, ever feel sure they had gotten the correct answer. I think that is probably the most frustrating thing about the book — there is really no certainty in the proceedings. I spent scads of time poring over the pictures and straining my brain, but within the text, there is nothing the assures me that I am on the right track. Perhaps doing so proved too difficult a task? I don’t know, but I can say with some certainty that I never felt so angry with Maze.
I should also note that it isn’t apparent who this is really for. The presentation feels very much tied, if obliquely, to Puffin’s Fighting Fantasy books. Yet it is A4, full-color, linear and seems geared to a younger audience. But only seems. It is clearly meant for an older audience, as it is impossible for me to imagine children tackling these puzzles. This enigma of audience is ever more present in the second Fantasy Questbook.
Anyway, the paintings are all by Stephen Lavis, whose work I am not familiar with. He seems in a way a synthesis of other ’70s fantasists I know better — there are glimmers of Alan Lee, William Stout, Julek Heller and others in here. I like it, but encountering it so much later than those others makes it feels slightly disorientating. For me, anyway. Love the Minotaur and Medusa here. And the lobster joust!
A compilation of 2024 articles/essays
Hi, everyone.
Below is a list of most of the pieces I published on Substack last year. Not all of them are entirely new. #10 is simply a republication of a piece I wrote for No Escape. #4 and #11 were published in some form on here a while back, but both have been edited and feature new conclusive sections.
Of the bunch, I'm most pleased with #2, #8, and #13.
"The Best of Elden Ring's Level Design"
"Heavenly Purgatories: The Postmodern Labyrinth"
"A Casual Evaluation of the Xenogears Soundtrack, Having Not Played the Game"
"PREPARE 2 SIGH: The Music of Dark Souls, etc."
"Lesser and Greater Wills to Power"
"Spacetime and the Body of Attention"
"The Popular Nihilism of 'Everything Everywhere All at Once'"
"A Modern Myth of Things Set to the Side: UFOs as Cloaking Devices for Worldview Warfare"
"That Unknown Place to Which I Return"
"The Soul of Place"
"Castlevania: Curse of Darkness; or: It’s Just Like Symphony of the Night, Except Not At All!"
"Politics as Energetically Vampiric Theater for the Impotent Civilian Body"
"Wherefore the Love for Metroidvanias?"
So Ranni's Dark Moon is a cold sorcery. Ranni appears inhabiting the form of an artificial doll. And as far as I'm concerned that goes a long way towards confirming that her ending is the true end of Elden Ring. Because it is the only available option that launches FromSoftware out of the Victorian Era that is portrayed in Bloodborne: the production of artificial cold.
The modern world would not exist without the advances in artificial cold storage that were made through the 1860's to 1910's. And at the same time significant discoveries about electricity were being made through the 1800's - altogether leading to the first commercial refrigerator for home use in 1913. Air conditioning is now ubiquitous in North America (much more than in Europe for example, which struggles with climate change driven heat waves that exceed the capacity of houses traditionally designed to promote air flow for cooling). Superconductors! Discovered in 1911 thanks to the development of refrigerants. Powerful electromagnets used in MRI/NMR machines, mass spectrometers, and particle accelerators.
The point being: the ability of humans to produce electricity and cold on demand revolutionized technology and population distributions. There is significant potential to explore these in the fantastical framework that FromSoftware has been using in previous games - similar to the medical metaphor of Bloodborne.
On the other hand, I believe that there is not a single ending to Elden Ring capable of resolving the looming threat of the Frenzy Flame - and this is intentional. We haven't figured that one out in real life either. There is no magic fix for summers so hot and dry that vast stretches of forest burn in fires on the west coast of America every year, or for oceans heated to the point that coral reefs experience catastrophic bleaching. Refrigerators do not create cold, but instead have a process for removing heat from a confined space. Many methods of electricity generation (including nuclear) are actually accomplished using steam and thus have a byproduct of heated water. It is a reality that creating artificial cold contributes to the net increase in planetary heating. It is also a catastrophic problem whenever a location reliant on electricity and cooling is suddenly cut off - such as in the case of natural disasters. These are warnings that not even the most technologically advanced places in the world are resilient enough to the increased severity of natural disasters that go along with climate change.
Overall, viewing the creation of cold as an incomprehensible source of horror in the style of H.P. Lovecraft's "Cold Air" will not help. Taking cold for granted and assuming that someone else will solve the complex problem of sustainability and regulating global thermodynamics also will not help. We could sit around and hope that some volcano erupts and fills the sky with ash worldwide to cause a period of global cooling - which would likely have only a temporary effect and also cause its own problems. As much as we can explore different methods of producing electricity, we can't ignore that a large portion of that electricity is and will continue to be allocated to refrigeration.
"As it is now, life, and souls, and order are bound tightly together, I would have them at great remove. And have the certainties of sight, emotion, faith, and touch... All become impossibilities." - Ranni
And with the real world context that the 84 of the 118 known chemical elements were discovered after the year 1800 it can be pieced together what Ranni is likely talking about in her speech. The Age of Stars is the Atomic Age - or at least the years leading up to the 1940's. You can't see or feel atoms but they exist and can be empirically quantified whether or not a person believes in them.
(And on the other hand the heyday of the movie star is positioned right in this timeframe from the 1920's to 1960's. Age of Stars - but not in the way that you might think. The stars are other people).