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- mors-games.itch.io
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Finally! As someone who has played the only(?) available English translation of “I am an Air Traffic Controller: Airport Hero” on the 3DS, my time has COME!
What’s that? Drug test? … Nevermind.
EDIT: But like seriously, are there any other English translations than the Osaka-KIX version? It’s all I managed to find scraping about the internet, I’d love if there was a fan translation of some of those old GBA versions with the cute, crunchy pixel work.
If you’re having fun with it 3 hours in, just wait. This game fucking goes places …
Do not quit, make sure you play it to the [E]nd. And that’s all I’ll say about that.
The soundtrack is amazing and one of my favorites to put on in the background while I’m working. The story is definitely silly and paced oddly at times, but it has a lot of things to say that really spoke deeply to me. I get a bit choked up thinking about it still. Hope you continue to have fun, I think it’s reputation is well-warranted!
There are just so many things to be said about the ills of AI, but one of them is that it is very purposefully a liability laundering machine. The decisions and thought process are blackboxed and unauditable. We’ve been trained to dismiss any oopsies as an inevitable part of the system, both while it’s still “rapidly developing” as well as just inherent to the technology. Absolutely none of this is acceptable and yet here we are.
I’m with you on that one, but I do understand it’s very much a game to a specific taste. When people tell me actually they hate The Witness it’s like, “Well … yeah.”
I just enjoy it as a cozy, pleasant little puzzler with an interesting idea. I can appreciate Braid, too, but find it generally unpleasant to play and overwrought. It doesn’t do anything for me, but given when it was released in the early days of the indies I understand the impact it had.
JB is a talented dev/designer no doubt, but he just doesn’t stand out in the crowd of indies these days like he used to.
That’s it exactly.
It’s unfortunately a lot more limited than you may expect, it’s designed around very limited ideas, but that said it’s still incredibly flexible and seeing how people have designed complex games around those limitations is half the fun.
MegaZeux is a fan extension of it (skipping over SuperZZT) that expands it further and breaks a lot of those limitations, but still has certain odd assumptions about gameplay very much from its era.
You can actually play right in browser, try Zeux 2: Caverns of Zeux, https://www.digitalmzx.com/show.php?id=182
It’s the first game released by the developer on the engine which is intended to show off a bunch of the ideas they had. It has a surprise ending that leads into a very bizarre Zeux 3 (which I haven’t beat yet). Zeux 1 was on ZZT but I think was remade for the engine at some point.
Spend an afternoon poking around the site and just trying a few games in your browser, see what it’s about! Then check out the help files and look at the scripting. The biggest downside for me is that if/then statements can ONLY EVER lead to jumps. You can’t process simple logic without jumping to a label to do so …
Lesser known, but I cannot recommend enough going back and exploring the worlds of ZZT (and by extension, MegaZeux) as an early, amateur game engine. The projects are raw but endearing and an absolutely wonderful time capsule that still has a niche but dedicated following.
Some day when I have the time, I’d like to make an extended engine similar to this. Something with a simple scripting language, extreme flexibility in character and color sets. Ability to run and host your own game worlds over SSH or something similar. Just like a real spit in the face for triple A and going the complete opposite direction of minimal but super accessible.
Beyond just Tim Sweeney sounding dumb, there’s something truly evil and malicious about this framing.
His response was to a tweet that said: Steam and all digital marketplaces need to drop the “Made with AI” label. It doesn’t matter anymore. (Emphasis mine)
All well and good for that guy maybe, but why do they need to drop it and why does Tim Sweeney agree? Why is less information for the people that want to have it a necessity. And WHY does he feel compelled to comment on the behavior of his competitors in this way.
Fucking ghouls, the whole lot of them. I hope their AI creations destroy them and they suffer even a single moment of hubris.
I always think it’s fascinating to see how the discourse around games evolves. It’s always most telling when people stop talking about a game at all. Remember Starfield? No one even talks about Starfield anymore, not even about how bad it may or may not have been. Just kinda flopped a bit and passed from memory.
I had to search “Bethesda space game” just now to even remember its generic name …
Shadow Tower Abyss (PS2 - FromSoftware 2003)
EDIT: Forgot to say, this game never released in English but there is a fan translation patch available that should be easy enough to find if you’re interested.
There’s a growing trend in indie games for the King’s Field-likes; Lunacid, Dread Delusion, etc. I’m a huge fan and if anyone has any other good ones to recommend, please let me know! EDIT: Just found Caput Mortem which looks like it might fit the bill near enough and also features music by Ockeroid of Crow Country notably …
But for this I thought I’d return to the roots. I’ve picked at King’s Field I (JP) and II a bit before and while I enjoy them, they’re overall still very clunky and I usually get distracted. I wasn’t sure how long I’d stick with Shadow Tower Abyss, but I feel like this one I may very well see through, I’m enjoying it quite a bit so far. That’s not to say it’s not still a clunky slog, and it’s certainly not for everyone, but there is real charm there.
(Scoring system: 1-5 being bad, OK, good, great, excellent with decimals being vibe based to push it closer to one rather than the other. For example 3.2 is meant to indicate a bit better than just good, but still not great. 3.8 might indicate close to great, but missing a few aspects that prevent it)
Sound: 3.2/5, Good. Like a lot of FromSoft games, there’s not really much music aside from the occasional musical sting which provides effective ambience. The sound design is minimal as well, but there are some very good moments of creepy thrumming, droning, and distant screeching that make it an intense environment to inhabit.
Graphics: 3.5/5, Good. What’s on display is generally competent and atmospheric, each new area has its own theme which is interesting to explore, but still, I feel like they could’ve done a lot more with the PS2 graphics. It’s certainly an improvement over King’s Field '94, but exactly how much is debatable …
The monster design is pretty good, everything has this kind of alien/abyssal feel to it. The overall theming is on point. Areas of the game have simple descriptions (i.e. Blue Light Area) that give the impression the player character is a foreign explorer rather than anyone with innate knowledge of this weird world. It’s a small aspect of world-building I appreciate.
Gameplay: 3.8/5, Good. Overall control still feels dated, but much less clunky than previous entries. The player moves at a brisk enough pace, but still slowly enough that you soak in the environment and progress feels meaningful. Being an older game you can’t really rebind the controls, but there are a variety of schemes including Type 4 which allow for the expected, modern dual analog stick looking/movement.
Combat can still be a little boxy and clunky but each weapon offers a left and right slash as well as an overhead bashing and frontal thrusting attack. Each weapon also has related stats for these types of attacks and enemies will have weaknesses or possible points of dismemberment making them vulnerable to particular attacks. Unlike some of the earlier King’s Field games, connecting attacks always feels good and has satisfying feedback.
The stats system is definitely very obtuse, even if you are familiar with From’s games and I recommend consulting a guide quickly before your first time playing. Again, as is very typical in From’s fashion, there isn’t an abundance of items but what exists is very deliberate. Money consists of these single large coins which you usually only find 1 or occasionally 2 at a time. Most things will only cost a handful of coins with healing potions being 2, boxes of ammo (for your gun!) being 1(?), and weapons and armor ranging anywhere from ~4-15. You’ll also find a plethora of items scattered throughout the game so there’s no shortage.
There is a unique balancing though as in order to heal yourself from the rare healing stations you have to sacrifice items for their value, although I’m early enough in the game that a basic Hat still seems to fully heal me from low health. In order to repair durability on your items from the rare purple repairing stations, you must sacrifice health with items like magic rings requiring sometimes more health than you currently have! This creates a tense and balanced management situation that feels like you might possibly softlock yourself by eating through too many resources, but so far hasn’t proved an issue for me. As a personal aside, I’m a big fan of playing games as they were designed so I’m doing my best to only save at the rare save points and not save state my way through the game, although this is of course up to your own tastes and discretion.
But is there a poison area with forced damage, I hear you ask? Yes, you fool, YES! Why would you even doubt it? Don’t let this discourage you though as understanding the stats system and equipping proper armor allows you to minimize the damage per poison tick such that it creates urgency as a pressure point more than a pain point. Definitely sacrificed a few lives just scouting the area out, though. Game Over means reload a save.
Summary/TL;DR Shadow Tower Abyss is a very competent dungeon crawler with a unique theme and atmosphere that’s worth exploring if you’d like to see historic FromSoft (it’s 20+ years old, as an ancient gamer I can use “historic” if I want). Miyazaki gets a lot of credit for modern From games and while a lot of that is certainly due, it’s fascinating to see how many of these deliberate design concepts have always been in their DNA.
As an aside, one day I’m going to write an entire essay on what makes a Soulslike a Soulsike. I missed the boat on the original hype and only got into them during COVID lockdown in 2020. I didn’t think I’d be a fan of the grueling, “git gud” experience but I’ve come to realize that’s not what makes those games interesting. It’s one concept and some people may find it unsatisfyingly vague, but it’s not the bonfires, or the losing souls on death, or the dodge rolling. It’s the stone-cold deliberateness. A lot of the difficulty from these games arises out of that deliberateness; what items you choose to equip and how you observe and approach unique situations. The games aren’t good because they’re hard, the specific design elements that make them hard are also the things that make them good.
I don’t know why I expected a Zitron-esque lambsating from fortune.com, but reading the article is disappointing,
But for 95% of companies in the dataset, generative AI implementation is falling short. The core issue? Not the quality of the AI models, but the “learning gap” for both tools and organizations. While executives often blame regulation or model performance, MIT’s research points to flawed enterprise integration. Generic tools like ChatGPT excel for individuals because of their flexibility, but they stall in enterprise use since they don’t learn from or adapt to workflows, Challapally explained.
Sure. Let’s blame anything but the AI 🙄
The Surge 1 & 2 are massively underrated. They’re not without their annoying issues but even despite them I can enthusiastically say I enjoyed my time with those games. 2 was a big improvement as well. I’ll get around to revisiting them sometime and doing a second playthrough.
I never even got terribly far in the first LotF, it just straight up did not feel good to play. Everything was just a bit too clunky and jank around the edges. I intended to check the second one out but never made it a priority, guess I never will.
I’d absolutely take a Surge 3 from the other guys though!
Thanks! Yeah, only the first score extend. I’ve been trying to figure out the game on my own since I kinda treat these things as puzzles, but I think I’ve really maxed out what I can understand and it’s time I watch a video or two of a pro playing. I have a general concept of how things work, but I often forget where the hidden bees are. I’ve memorized a bunch of patterns but I still don’t really approach things with a “plan”, mostly just survive and pick up bees when/where I remember them. I also probably hold onto my hypers too long to use on the midboss and endboss, I could be more efficient with them.
Had no idea I was so far off on the scoring, though, oops. I can get the hidden extra on Stage 3 before getting the extend pretty easily, but I’ve only ever been able to get into Stage 5 twice as it is. I thought my barrier was skill, but maybe it’s scoring (AND skill). I appreciate the advice!
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I really like The Quest for being a simple first person, dungeon crawler RPG. There’s an overworld and towns and a story, so it’s not just straight dungeon crawling. Nothing mold-breaking, but for a mobile game that I just want to fill some time when I have nothing else in my pockets, it absolutely does the trick.
https://github.com/sayucchin/P2-EP-PSP/
This isn’t the CJ Iwakura patch, but if you’re not into fan translation drama that won’t mean a whole lot to you. It’s fine!
I understand, and trust me, I do try to be sympathetic to the myriad issues people can encounter switching to Linux. But I’m primarily a PC gamer and I’ve been and to make do. I can play popular titles like Elden Ring and Persona 5 Royal as well as competitive titles like Trackmania 2020 (and even install all the mods I want through OpenPlanet which doesn’t have explicit Linux support).
There is for sure a cost that comes with Linux, either learning how to troubleshoot that performance issue or accepting it. But I’m advocating for an awareness of the cost of the tradeoffs staying in Windows; losing control over your hardware.
It’s worth periodically reevaluating, and not being able to play games with anti-cheat is kind of the point because the AC itself is becoming an obscene and unreasonable ask on their end.
I understand your skepticism, but see my other comment on topic RE: TPM 2.0
It’s basically locking down your desktop the same way your phone is locked down (unless you’re one of those nerds running GrapheneOS or the likes, in which case good on ya). Theoretically this could be good in that a totally locked environment is easier to verify and shouldn’t require kernel level anti-cheat anymore. But you know, at the expense of surrendering low level control of your hardware to Microsoft and the likes.
This is incredibly gross to say the least.
Fucking hell … And there it is. I’ve been predicting it this whole time, the insidious reason that Microsoft requires TPM 2.0, remote attestation. DRM.
https://www.gnu.org/philosophy/can-you-trust.en.html
In the past, these were isolated incidents. “Trusted computing” would make the practice pervasive. “Treacherous computing” is a more appropriate name, because the plan is designed to make sure your computer will systematically disobey you. In fact, it is designed to stop your computer from functioning as a general-purpose computer. Every operation may require explicit permission.
It’s why the requirement and big push with Windows 11. To make this more effective you need to baseline it, and what better way than as a mandatory requirement for a mandatory OS upgrade. It’s why they don’t care about trashing all that old, “incompatible” hardware. This is the steel fist closing.
I hate to be the typical Linux guy, but get the fuck off Windows NOW. Do it yesterday. This is only the beginning, there will be more. Do you like how your phone is locked down? Do you wish your PC was the same?
This is the biggest factor for me now, too. Not to go all old man Millennial, but humor me for a second:
I’ve been playing games since the NES era. The scene used to be a lot slower and while I never played every single game that came out or even every console, I was enough of a hobbyist that I could still follow all the major developments. These days, there’s simply TOO MUCH. And I don’t mean to imply that an abundance of choices is bad, just that it’s an absolute firehose that no one person can follow. You have to dedicate yourself to your specific interests, your specific niches. These can well be served by indies and the whole back library of games.
Because that’s the other thing, we’re starting to more thoroughly recognize games as art, as a library rather than as pure content. Unless you are absolutely committed to sucking on the end of that firehose to catch all the new content at its zenith, what’s really the point?
Fuck man, it’s time to go back to the NES for me, pick up all those games I never beat as a kid and sink 10,000 hours into learning how to speedrun some of my favorites. There’s simply no need to spend $70-80 fucking dollars on subpar, rushed, exploitative content. Fuck 'em.
You’re describing neurosymbolic AI, a combination of machine learning and neural network (LLM) models. Gary Marcus wrote an excellent article on it recently that I recommend giving a read, How o3 and Grok 4 Accidentally Vindicated Neurosymbolic AI.
The primary issue I see here is that you’re still relying on the LLM to reasonably understand and invoke the ML models. It needs to parse the data and understand what’s important in order to feed it into the ML models and as has been stated many times, LLMs do not truly “understand” anything, they are inferring things statistically. I still do not trust them to be statistically accurate and perform without error.
Absolute trash statement, I really hope this bites them.
They’re just repeating a lot of the same misinformation that Pirate Software had been saying, the exact things that had riled the gaming community and caused this latest wave of action. We’re already primed to discount the points they’re trying to make and it shows exactly how disingenuous they’re being.
Positively, I hope this reflects some true fear on their end.
Private servers are not always a viable alternative option for players as the protections we put in place to secure players’ data, remove illegal content, and combat unsafe community content would not exist and would leave rights holders liable. In addition, many titles are designed from the ground-up to be online-only; in effect, these proposals would curtail developer choice by making these video games prohibitively expensive to create.
As has been stated over and over and over again, private servers used to be an option until the industry decided they weren’t any more. If the result of this is that it forces the industry to not make shitty, exploitative games, that’s still a win for the consumers. I would rather have no game at all than something that psychologically tries to exploit my FOMO and drains my wallet.
I keep screaming about how the TPM 2.0 requirements of Windows 11 are insidious due to the ability to implement remote attestation now. I don’t think they’ll spring the trap immediately, but it’s locked and set and you’d be a fool to believe it won’t happen eventually.
Remote attestation allows changes to the user’s computer to be detected by authorized parties. For example, software companies can identify unauthorized changes to software, including users modifying their software to circumvent commercial digital rights restrictions. It works by having the hardware generate a certificate stating what software is currently running. The computer can then present this certificate to a remote party to show that unaltered software is currently executing.
I suspect handhelds are going to be the future for awhile now. It’s not just out of a growing demand or simply because portable graphics processing and battery power have improved (although those factors do help) but it’s another chance to:
- Push locked hardware
- Funnel to controlled storefronts
- Bring down and moderate the increasingly unsustainable AAA development costs
Those first two aren’t particularly surprising, they’re the key elements that Nintendo has honed in on while Sony and particularly Microsoft continue to struggle. Microsoft feels like they’ve just left XBox to languish while they focus on Game Pass as a means to ensnare you into their economy which is why they’re first down this path, but I think Sony will follow shortly. In an ideal world, I’d love to see Sony get back to hardware manufacturing with a Vita like device you could load Linux/SteamOS onto. Vita was a great little product, done so dirty. EDIT: I know the Portal exists, but that’s mostly just a dumb receiver as far as I understand it. Still, they’re already not too far off … come on guys, just a little further.
But moreover it’s that last point, really. It’s hard to continue to push out these extraordinarily big budget, bordering on AAAA (lol) territory games that continue to flop. I know the Switch 2 is already doing stuff like Cyberpunk 2077, but that stuff can still be hell on battery life as well as requiring lower resolution and lowered visuals in portable mode.
I feel like Nintendo is making a big mistake pushing that 4K60 envelope with the Switch 2, although I see why they made that maneuver. The Switch was perpetually underpowered and they felt the need to close that gap, but they already struggle to push out big budget tentpole franchises as is illustrated by Mario Kart World being the only big release title. Also, I just want to generally point this out, Nintendo suffers from needing to up the stakes. It’s what lead to Mario Galaxy being such a grand adventure, then Odyssey going even bigger than that. Now we have Kart World because … gotta get bigger than 8 Deluxe somehow I guess.
I don’t know what any of this means or where it’s going, I just wanted to try and call out some of these observations. Turbulent times ahead, I don’t know that anyone really knows what the next 2-3 years will look like.
You’re not wrong. You didn’t even stick around for the pole dancing boss! https://youtu.be/m4f4z6fZh1I?t=651
Yes! The original Code Vein is one of my guilty pleasures. It’s very rough in spots and a lot of the levels feel like they’re just hallways to connect arenas, but there’s still a lot of fun to be had if it looks like it might be your kind of thing.
The character had a ton of options and the character builds in game let you unlock skills from classes for permanent equip so you could start to blend the classes together to your liking, creating some really cool builds if you put some thought into it.
It’s a silly game, but one I recommend if you’re just looking for a bit of fun and not expecting an overly engaging experience.
…
It’s been a few years, actually reinstalls
YES! Thank you, finally someone else who sees it!
In my opinion, Deathloop is a spiritual successor to the OG System Shock as well. System Shock 2 and Prey (2017) both adopt RPG elements which is all well and fine, I adore both those games, but OG doesn’t have them and leans more on the interplay of immersive systems, really giving credence to the immersive simulation labeling that feels a bit more obtuse these days.
In OG System Shock, I really do feel you’re supposed to play with the Mission difficulty maxed so you have a time limit. It’s fine if you don’t, I’ve still never beaten it with the time limit on either Enhanced or Remake, but hear me out. System Shock (especially the REAL OG release) was an older game where you were meant to invest more time into it. You were supposed to do new game runs where you start from scratch, learn the world, learn the systems, and push further every time. It becomes more menacing when SHODAN is a real opponent that you can literally “lose” the game to.
Modern gamers don’t really tolerate that kind of stuff because losing a good run to an 8 (or 10) hour time limit feels like a waste of your time, and I can sympathize with that. That’s why Deathloop pulls the idea of runs into a metacontext where you’re reliving the same day over and over again, learning the layout of the different areas at different times of day, making use of the tools available to you until you’re ready for THE DAY when you do THE RUN and basically speedrun the game.
Part of me wonders what a Deathloop without Wenjie’s preservation mechanic (I forget what it’s called at the moment) would look like where you’re forced to re-gather your favorite weapons from their specific locations each run would look like, too. But I get why it was included and I’m not ready to say it would 100% be a better game without.
Oh and Julianna obviously acts as the SHODAN antagonist stand-in even though I know their personalities and motivations are very different. You get how having an ever present, somewhat omniscient foe hunt you is kinda the same.
There’s more but I won’t ramble any further. I know they’re very different games, but you see the outline, right?
EDIT: Of course there’s copious amounts of Thief and Dishonoured DNA in there, but I’ve actually never played those so I have less to say about it. I promise, I’ll get on it someday, I swear!
I think a lot of it is timing, too. Remember, the first Torchlight was 2009, we’re talking pre-indie craze. There’s been no Super Meat Boy or Fez yet, I think. ARPGs hadn’t absolutely flooded the market yet and seeing a very competent and stylized, if simplistic Diablo-like back then could generate some interest. That carried on to the 2nd, which had a lot of improvements.
There’s a bunch wrong with 3 and Infinite, but they were also competing in a saturated market and, you’re right, the Torchlight “brand” didn’t really have enough luster on its own to carry a series.
EDIT: Diablo II was 2000 and Diablo III would be 2012. We were fucking starving back then.
I absolutely recommend it! Slope’s Game Room has an excellent, 2 hour retrospective you can put on while you work if you want a pretty good deep dive. Other than that, I recommend getting yourself set with some emulators so you can kind of dig through the series. A lot of the early games are difficult and I think it’s perfectly fine to kind of just pick through them a bit, get a taste, move on, return to the ones you like, etc.
You can absolutely feel the arc of design elements through the early series up to the pinnacle, Rondo of Blood. That’s because it was all being done by Konami teams, often who knew eachother or were handing the projects off. Rondo hits this sweet spot where you can feel the inspiration of old vampire novels combined with dramatic stage plays (the stages have dynamic names like Feast of Flames instead of just area descriptors), told with 80’s anime cutscenes, wrapped into a videogame package. It’s truly a work of art that both wears its influences on its sleeve and also that couldn’t really exist the way that it does in any other medium. So where do you even go from there? Symphony of the Night! It takes everything that works about Rondo and kicks it to 11 while flipping the franchise on its head with an absolutely rocking soundtrack and sprawling castle. You can enjoy these games in a vacuum, sure. But playing the series up to that point gives you a real appreciation for what they were going for and how they accomplished it. I don’t even think you really need to play them in order because going back and returning to previous entries almost feels like fitting in missing pieces of a puzzle.
The series flounders a bit when it hits 3D, but it will always have a special place in my heart. Koji Igarashi takes the Symphony of the Night formula and basically owns the handheld world, especially from Aria of Sorrow into the DS trilogy, A++. Ultimately I think he developed that formula enough on his own that breaking it off into the Bloodstained series feels right and good, I think he’s better off this way not weighed down by Konami and the Castlevania franchise, but in this way, we still feel that arc of development. Bloodstained: Ritual of the Night actually took a bit to grow on me, but once it did, I saw it as the most Igavania game that ever existed, he has refined the formula.
All this to say that we just don’t get experiences like this anymore, where series have the proper time to cook and develop. Instead we get Concord where they pour millions into something and try and ram it down your throat, “You WILL enjoy this new franchise. You WILL pick one of these characters as your favorite to get invested in, even though we’ve given you no reason. You WILL make this your ONE game you play because … reasons?” Ditto Marathon. Ditto MindsEye (likely). Ditto all the other rubbish they keep pushing out.
EDIT: OH MY GOD! And the Castlevania DLC for Vampire Survivors, how could I even forget. It’s been a Castlevania wasteland for years and that DLC is some of the best I ever played. Completely the Richter scenario and getting to the end of it legit made me cry, it was such a love letter to fans and felt like a huge emotional, respectful sendoff for the series that Konami will never give us 😭 It’s so good, if you’re a Castlevania fan you should absolutely play it and if not, save it til the end because it’s incredible and bittersweet.
As to boycotts, your individual purchases always matter; not just with what you don’t buy but also what you do buy.
Agreed. I’m having a bit of a hard time articulating my ideas properly.
I think my overall point is just that it’s really hard to organize purposeful and effective boycotts these days, especially since no matter what the issue, there’s usually a counter movement dampening it. Whatever market forces are causing these companies to register the lack of interest and disdain the consumer market has, I’d like to identify it and capitalize on it because when the market adapts, it most likely won’t be to the consumer’s benefit.
You could live quite happily off indies these days, but it’s hard to ignore the thrashing leviathans. I’m not sure how much I really care about them anymore, but they do take up a lot of the oxygen in the room. And they seem to control a lot of platforms/storefronts as well …
Anyone familiar with this, would you recommend the original here or the DS one? It’s been sitting on my list for awhile now, too …