#the haunted psx

[lunarfinch]

Darling, I've seen worlds in you Who didn't know how to dream

[rahumyk]

Nexpo's recent Petscop videos made me do this. Not sure if I should do more...

[samuraiunicorn]

Another area of the Goliath Basements is close to being completed, so it's time for a little glimpse at how the encounter is shaping up. In case you had any doubts about Goliath's lack of ethics, the dead employees hanging from meat hooks should clear that up.

[bumtown]

Brugmansia or datura... "Angel's blow their trumpets down from heaven while Satan looks up tolling his bell."

[hauntnseek]

"Final Showdown - Haunt N' Seek: Silent Siren VR"

The battle with Larse is a surreal climax, where the eerie, distorted world seems to close in on Dex—the player. With every swing, you feel the weight of the journey, knowing this is the ultimate face-off. But just when you think the nightmare is over, after Larse falls, his wife emerges from the shadows. Her haunting words unravel everything: "None of it is real." A chilling reminder that in this world, not everything is as it seems. Get ready to question reality and face your darkest fears in the final moments of Haunt N' Seek: Silent Siren VR.

[pizza-dev]

Found a cozy spot to watch the sunrise!

[thedestinysunknown]

Spyro 3: Year of the Dragon - Haunted Tomb:

“This is another level that I’m not a fan of. Not only I find it ugly, but I hate most missions. That slide is the worst one of the game, the other mission (3rd gif) is awful, and I don’t even like the main parts at all but hey...at least the Agent 9′s part is decent.”

PS: the gameplay used for this gifset is not mine. The original video belongs to the user: Thabeast721, on Youtube.

[ahopness]

I'm in the zone: Let's all hate eachother - A Far Solita Post-Modern Post-Mortem

This is it, the worst thing about making video-games, the sudden stop: i spent 1 year jumping from project to project and ended up releasing nothing at all - 'i think they call it development hell?!' - and i really hope it is over.

I finished something (!!), it's this really small (about 20min long) first-person game about screaming and wanting to be dead, the game is now available on itch, go play it, but read this first.

Now, let's talk about the development:

Pt. 1 - I'm in the zone

If every game is different, then Game development is about experimentation: i took a diferent aproach on making this one, started out with a .txt file with my ideas then proceeded to gather resources/assets from all over the world-wide-web and modifiyng and creating new ones on photoshop (a pirated version, of course) or audacity or any other required software, then i opened godot and programmed everything, rinse and repeat. I'm skipping some steps here but you can get the idea. This 'Waterfall'-like aproach for a one man army worked and fixed some of the issues i was having by not having all of this standardized, like not finishing anything at all because i got lost in my own ideas.

Pt. 2 - Let's all hate eachother

Don't get me wrong: i was loving to make sopa but i guess i got tired of it after breathing it's air for a year, it's ok to take breaks, the problem is that i still have 2 other projects i want to finish before going back and i have no idea how smooth the development will go for those ones, game development is an unpredictable hell on earth and so much fun all at the same time :/ btw, all of these small projects have gone through my mind during dark times in my life, so expect darker themes overall, personal art is my favorite kind of art and i'll definitely replicate it as much as i can in every project i touch.

In conclusion: Thanks for reading, i hope you liked/will like the game, share it with your friends and foes and subscribe to this account for occasional updates. Until next time!

[flaetsbnortoriginals]

Haunted PSX is excellent, sure. But imagine: Horror Appcore. Sudden, jarring genre shifts. Big fingers giving you direct, poorly written orders. Sparse, hyper-minimalist aesthetic in which the gameplay metaphors aren't clear. "Meet people around town!" the message says. You obey. Your big squiggly 3D stickman walks around the town section and when it bumps into other squiggly 3D stickmen they disappear and your number grows. What have you done to them? What do the numbers mean? Never mind, we're in the woods section now. Gather wood. Gather wood. Build the thing that increases your number. There's something in the woods. The game doesn't aknowledge it. It moves towards you. Ad break

[lowpolynpixelated]

Bloodborne PSX One of the best fanworks on the web

Though the PS4 boasted and still boasts an impressive library of releases, for many (myself included) the system served to be bought for initially one purpose, to be the Bloodborne Machine. Most of the people in my life who had a PS4 during its generation either bought one exclusively to play Fromsoftware’s Nightmare Hunting Adventure or had initially got one solely to play the game and ended up getting more games afterward. It’s a phenomenon the game industry sees time and time again, with previous generations having swathes of fans buying entire consoles for one or two games. As far as games go though, Bloodborne is at the very least worth the price of entry. At the time, it was heralded as Fromsoftware’s most cutting-edge and impressive game to date. A gorgeous gothic world filled with creatures ripped straight out of H.P Lovecraft’s nightmares, a haunting soundtrack showcasing beautifully composed choral scores and a combat system that incentivized aggression and speed to achieve brutal and bloody efficiency. It’s no wonder then why Bloodborne still has such a large following behind it. Fans of Fromsoftware have hoped for a sequel or PC port year after year to largely disappointing results. But where the community shines is in its fanworks. 

From fanart, comics, music, animations, and even fan-made video game spinoffs, the game has been shown a monumental amount of love since its debut in 2015. One of these fanworks was released back in 2022 and has since become one of the most famous pieces of fan-made content surrounding the game, this of course, being BloodbornePSX by LWMedia. An incredibly impressive feat of coding and art direction, the game serves as a “Demake” of Bloodborne’s first Yharnam segment, made to look like and play as if it were made on the very first PlayStation console. With some custom-made areas and an entirely unique boss to boot the perfectly paced experience is both a treat to fans who have been orbiting the game since its earliest days and new fans looking for the best and brightest fanworks to interact with. 

The game has since gone on to be covered by a variety of news outlets all over the web, along with its creator receiving much-deserved attention for her efforts. One Lilith Walther (AKA b0tster on social media) holds the title of developer for the project. A long-time video game enthusiast and FromSoftware fan herself, she’s had quite an impact on the community I’m sure she’s very proud to be a part of. Later in the article, we’ve got an interview with Lilith herself about both Bloodborne PSX and her current project, “Bloodborne Kart”, but first, let’s talk a bit more in-depth about BBPSX.

(Official launch trailer for Bloodborne PSX, uploaded January 31, 2022 by LWMedia on Youtube)

Bloodborne PSX:

So, what exactly is Bloodborne PSX? To start, let’s answer what precisely a “Demake” is first. Demakes often have the goal of remaking the likeness of a game either stylistically, mechanically, or both, as if it was developed on retro/outdated hardware. Famous examples of Demakes include “The Mummy Demastered” developed by Wayforward as a sort of tie-in to the 2017 film “The Mummy” in the stylings of a 16-bit run and gun adventure against armies of the undead, and “Pixel Force Halo” by Eric Ruth games which take the prolific XBOX franchise and shrinks it down to a Mega Man-esque platformer reminiscent of the NES’ 8-bit days. Demakes are intensely attractive looking, not only into the past of video games and their developments but just how creative developers can be with games that they love and appreciate. Bloodborne PSX hits as hard as a Demake can in my opinion, blending masterfully recreated graphics with perfectly clunky early PSX gameplay quirks that go above and beyond to make the game not only LOOK like it belongs on the nearly 30-year-old console but feel right at home on it as well.

(A screenshot depicting the player character “The Hunter” facing off against two fearsome Werewolf enemies. Screenshot sourced from the Bloodborne PSX Official itch.io page)

Gameplay:

Starting off with the masterfully recreated clunk in the gameplay, Bloodborne PSX “shows its age” by hearkening back to a time when being seamless just wasn’t an option. Much like adventure action games of the past (and much UNLIKE its modern inspiration), you’ll be cycling through your inventory delightfully more than you’d expect. Equipping keys, checking items, and even the trademark weapon transformations are all done through the wonderfully nostalgic menu and inventory screens. Taking one of the foundational parts of Bloodborne’s combat system and making it such a more encumbering mechanic is nothing short of sheer genius when it comes to ways to really make you feel like it’s 1994 again. On top of this, the Hunter’s movement itself has been made reminiscent of classic action titles. Somehow, both stiff enough to feel dated and fluid enough to make combat that same rush of bestial fun found in the original, it goes a long way towards the total immersion into that retro vibe the game sets out to give the player. Anyone who grew up with Fromsoftware’s earlier titles like Armored Core and the King’s Field series will be very familiar with this unique brand of “well-tuned clunk”.

(A delightfully dated looking diagram showing off the controller layout for Bloodborne PSX’s controls. Image sourced from the Bloodborne PSX Official itch.io page)

Graphics:

Speaking of old Fromsoftware games, though, let’s talk about the absolutely bit-crushingly beautiful graphical work on display. As I’m sure you’ve seen from the videos and screenshots included in the article, BBPSX’s art style and direction are nothing short of perfect for what it aims to be. While playing, I couldn’t help but notice every little detail (or lack thereof) in the environments meant to emulate the experience of a game made on 30-year-old hardware. Low render distances, chunky textures, blocky polygonal models, just the right amount of texture warp, it all blends together to create an atmosphere that I can 100% picture being shown off on the back of a jewel CD case with a T for Teen rating slapped into the lower corner. While playing, something rather specific that called out to me was the new way enemy names and health bars were displayed in the bottom right corner of the screen while fighting. As a big fan of the King’s Field games, this small detail went (probably too much of) a long way toward my love of how everything’s meant to feel older. Other games trying to match the more specific feel of King’s Field, like “Lunacid” created by KIRA LLC, also include this delightful little detail, a personal favorite for sure. 

(A screenshot depicting the second phase of Father Gascoigne’s boss fight, showing off the game’s perfectly retro art style. Image sourced from the Bloodborne PSX Official itch.io page)

Sound design/Soundtrack:

But where would a game be without its sound and score? No need to fear, however, because Bloodborne PSX comes complete with a chunky soundscape that will make you want to check and see if your TV is set to channel 3. A haunting set of tracks played by fittingly digital-sounding MIDIs ran through filters to sound just as crackly as you remember backs up crunchy sounds of spilling blood with low-poly weaponry. Original sounds from Bloodborne have been used for an authentic sounding experience, but have also been given the CRT speaker treatment and sound like something you remember playing on Halloween 20 years ago. If you watched the launch trailer featured above then you know exactly what I’m talking about. The Cleric Beast’s trademark screech and Gascoine’s signature howl after his beastly transformation have never sounded so beautifully dated, and I’m here for every bit of it. Even the horrific boss themes we know and love from the original Bloodborne have been brought through this portal to the past. One of my favourite tracks, the Cleric Beast boss theme, might just sound even better when played on a 16-bit sound chip. It really cannot be understated just how much weight the sound design of the game is pulling. In my opinion, the only thing missing is that sweet sweet PSX startup sound before the game starts crackling through the speakers of a TV in the computer room.

(The Bloodborne PSX rendition of the Cleric Beast’s boss theme. Created by and uploaded to Youtube by The Noble Demon on March 20, 2021)

Interview with the developer:

Before writing this article, I had the absolute pleasure and privilege of talking with Lilith Walther about some developmental notes and personal feelings about inspirations and challenges that can come with the daunting task of being a developer. Below are the nine (initially ten, but unfortunately, a bit of the interview was lost due to my recording software bugging out) questions I posed to Miss Lilith, along with her answers transcribed directly from the interview. 

I’d like to start this section of the article by saying Lilith was an absolute joy to talk to. During the interview, I really felt like she and I shared some common ground on some topics regarding how media can have an impact on you and what sorts of things come with video games as an art form. After some minor technical difficulties (and by that, I mean my video drivers crashed), I started off with something simple. The first question posited was: “What got you into video games initially?” Lilith’s response was as follows: “When I was a kid, the family member of a friend had a SNES lying around. I turned it on and didn’t really understand. I was a guy on top of a pyramid, I walked down the pyramid, and some big ogre killed me. Later I learned that was A Link to the past.” and after a brief laugh continued, “A couple years later my parents got a Nintendo 64 with Mario64 and Ocarina of Time and that was it. Never put the controller down since then.” 

She then went on to describe what precisely about Nintendo’s first foray into 3D Zelda had hooked her. “I’ve heard this story so many times. It’s like you’re not even playing the game. You’re just in the world hanging out in Kokiri forest collecting rupees to get the Deku shield, and the game expects you to! It was just, ‘run around this world and explore,’ and that really hooked me.” I couldn’t agree more with her statement about her experience. Not just with a game as prolific as Ocarina of Time but many experiences from older console generations that could be considered “the first of their kind”, or at the very least some of the earliest. Lilith also described her first experience with a PlayStation console, stating: “Later on I got a PS2 which played PS1 games. I didn’t end up getting a PS1 until around the PS3 era, so I guess I’m a poser. I remember my sister bringing home Final Fantasy 9 when it was a relatively new game. If it wasn’t my first PS1 game it was definitely my first Final Fantasy game. Of course I went back and played 8 and 7 afterwards.” A solid answer to a simple question. 

The second question I asked was one starting to move toward the topic of Bloodborne PSX and its namesake/inspiration. Or at least the family of systems it was released on: “What PlayStation console was your favorite and why?” Lilith’s answer surprised me a bit. Not because I disagreed, quite the opposite, actually. But with such a big inspiration for her work being games from the PSX-PS2 generations, what followed was a pleasant bit of insight into one of her favourite eras of gaming, to quote: “I can give you two answers here.” To which I assured her she was more than welcome to, but she was set on having something definitive. “No no I’m only going to give you one answer. I can give you the correct answer that I don’t want to admit, but it was the PlayStation 3. It’s so embarrassing but I genuinely was hooked into the marketing of the whole ‘The cell processor is the smartest thing in the world’ and all that. It really seemed like the future of gaming and I was all about it. I think I owned an XBOX360 before but I did eventually get it and really enjoyed it. It took a couple years for some of the best games to come out but I really did.” A few examples she cited as being some of her most memorable experiences on the console were Uncharted 2, Journey, Call of Duty 4: Modern Warfare, and Warhawk. All games I’ve seen on several top 5 and top 10 lists throughout my life within the gaming space. A delightful show of affection for a generation personally very dear to me as well, in which she ended the segment by declaring “Hell yeag”, a bit of a catchphrase she’s coined online.

Getting into the topic proper, my third question was one about her personal relationship with Bloodborne: “How did Bloodborne impact/appeal to your interests?” A question that received perhaps my favourite answer of the whole interview. From her response: ”Oh that’s a big one. Going to the opposite end of the poser spectrum, I was a Fromsoftware fan before it was cool. One of the games I played religiously on my PS2 was Armored Core.” A statement which made more sense than perhaps anything else said during my time with her. “Then later in the PS3 era everyone was talking about Dark Souls, this was when I was in college. I finally caved and got it and saw the Fromsoftware logo and thought ‘Oh it’s the Armored Core people!’ I played and beat it, really enjoyed my time with it. I skipped Dark Souls 2 because everyone told me to hate it, I still need to go back to that one.” 

It’s something I would recommend anyone who hasn’t played Dark Souls 2 to go and do. “Then Bloodborne came out and I thought ‘Alright this is the new one, gotta play this one’ and I was a huge fan of all the gothic stuff in the aesthetic. And how do I explain this, I do really like Bloodborne. I like the design, and the mechanical suite of gameplay, as a video-gamey video game it’s very good.” The tone shifted here to something a bit more personal. “But as well, I was playing it at a specific time in my life. I came out in 2019, I know Bloodborne came out in 2015 but I was obviously just playing it non-stop. It was just one of my ‘coming out games’, you know?” For those who maybe don’t understand the statement there, “coming out” is a very common term used within the Queer community to describe the experience of revealing your identity to those around you. Whether it be to family, friends, or co-workers, almost every queer person has some sort of coming out story to tell. Lilith is speaking in reference to her coming out as a trans woman. She elaborated: “Obviously I can only speak for myself, but I just feel like when you make a decision like that, that part of my life just ended up seared into my brain, you know? Bloodborne was there, so now it’s just a part of me. And it definitely influenced some things about me. It was there because I was working on Bloodborne PSX at the time, but it had an impact on something I’ve heard a lot of other Trans people describe.” She went on to describe the concept of “Coming out a second time” as sort of “finding yourself more within your identity” and becoming more affirmed in it. She described both Bloodborne and her development on Bloodborne PSX influencing large parts of her life, a good example being how she dresses and presents. As a trans woman myself, this answer delighted me to no end. I, for one, can absolutely 100% relate to the notion of media you experience during such a radical turning point in your life sticking with you. There are plenty of games, shows, music, and books that I still hold very near and dear to me because, as Lilith stated, they were there. All the right things at the right time.

Halfway through our questions, we’ve finally arrived at one pertaining specifically to the development of Bloodborne PSX: “What are some unique challenges you’ve faced developing a game meant to look/play like something made on retro hardware?”

Lilith answers: “So there’s two things, two big things. One is rolling back all of the quality of life improvements we’ve gotten over the years in gaming. Not automatically using keys is always my go-to example.” Something as well I mentioned in my short talk about the game’s gloriously dated feeling gameplay above. “That was definitely very very intentional. Because it’s not just the graphics, right? It was the design sensibilities of the 90s. Bringing that to the surface was very challenging but very fun. Another big part was, since it was one of the first 3D consoles, I wanted to recreate the hype around the fact that ‘ITS IN 3D NOW!’ So if you go into your inventory you’ll see all the objects rendered in beautiful 3D while they slowly spin as you scroll through them.” This is a feature I very much miss seeing in modern video games. 

She continued, “I think the biggest one was the weapon changes. Bloodborne’s whole thing was the weapon transformations. Like, you could seamlessly change your weapons and work them into your combo and do a bunch of crazy stuff, and I kind of said ‘that needs to go immediately.’ So now you have to pause and go to your weapon and press L1 to transform it, that was extremely intentional. So once I had those three big things down it all just sort of fell into place. Like the clunky UI and the janky controls. You need jank and clunk, and I think that’s why Fromsoft games scale down so nicely, because they are jank and clunk.” 

A point I couldn’t agree with more. Despite all the modern streamlining and improvements to gameplay, Fromsoft’s ever-growing catalog of impressive experiences still contains some of that old-school video game stiffness we’ve (hopefully) come to appreciate. She went on to make a point I was very excited to share here in the article, “It was just a lot of trying to nail the feel of the games and not just the look, right? Like I’m not trying to recreate a screenshot; I’m trying to recreate the feeling of playing this weird game that’s barely holding together because the devs didn’t know what they were doing.” In my humble opinion, something she did an excellent job with. 

Fifth on the list was a question relating to her current project, Bloodborne Kart, a concept initially drawn from a popular meme shared around social media sites like Tumblr when the buzz of a Bloodborne sequel was keeping the talking spaces around Fromsoft alight: “Anything to say about the development of Bloodborne Kart or its inspiration?”

Lilith answers: “So first off Bloodborne Kart is less trying to be a simulation of a PS1 game and more just an indie game. It’s not trying to be a PS1 game, I just want it to be a fun kart racer first. Starting off of course is Mario Kart 64, that’s the one I played back in the day. But I looked at other games like Crash Team Racing and Diddy Kong Racing, but also stuff like Twisted Metal of course. I always used those as a template to sort of look at for design stuff like ‘how did they handle what happens to racers after player 1 crosses the finish line.” The next portion of her answer was initially a bit confusing but comes across better when you consider certain elements present in BBK’s battle mode. “And also Halo, like for the battle mode. I had to do a battle mode and it kind of just bubbled to the surface. Split Screen with my sister was such a big part of my childhood. Thinking about Halo multiplayer while I was making the battle mode stuff.” 

Her answer to the previous question began to dip into the topic of our sixth question: “Are there any unique challenges or enjoyable creative points that go into making something like Bloodborne Kart?”

As she continued from her previous answer: “One of the biggest quirks of the battle mode I had to figure out was how to tell what team you were on at a glance, and that came back to Halo again. I started thinking about how you could tell in that game and it hit me that the arms of your suit change to the color of whatever team you’re on. It was just something I never even thought of because it’s so seamless. So that gave me the idea to change the kart colours, and that’s the most recent example of me pulling directly from Halo. It’s wild how a small change like that can turn your game from something unplayable to something fun.” I would agree. Tons of small details and things you don’t think about go into making seamless multiplayer experiences. Some of which we take for granted nowadays. She then made a point about one of the most challenging aspects of BBK’s development, “The most challenging thing was definitely the Kart AI. AI is just my worst skill when it comes to game development among the massive array of skills you need to make a game. It’s really hard to find examples of people coding kart driving AI, You know? You need to make a biped walk around you can find a million tutorials online but if you need to make something drive a kart, not really. I was really on my own there. A lot of the examples out there are very simulation oriented. Like cars using suspension and whatnot, but I’m making a kart racer. So I started simple, I put a navpoint down and if it needs to turn left, turn left, if it needs to turn right, turn right. And I just kept adding features from there.”

Moving onto our last three questions, we started to get a little more personal. Question seven being: “What’s your favorite part of Bloodborne Kart so far?”

Her answer was concise in what she was excited about most, quote: “The boss fights.” Short and sweet but she did elaborate. “Translating a big part of Bloodborne is the boss fights. So I made a short linear campaign which is basically AI battles and races strung together. Some of those stages are just boss fights which are unique to the rest of the game. When you make a video game you sit down and you make all your different modes of interactions, and then you make a multi-hour experience mixing and matching all those different modes in more complicated ways. I think the most interesting part is when that style tends to fall away and it ends up building something entirely unique to that experience.” An example she gave was the infamous “Eventide Island” in Breath of the wild, it being a unique experience where the game’s usual modes of interaction are stripped or limited, forcing you into a more structured experience that ends up being a majorly positive one. “That’s what the boss fights are in Bloodborne Kart. They do multiple game mechanics like a chase that ends in a battle mode. Like Father Gascoine’s fight where he chases you, and after you blow up his kart he turns into a beast and picks up a minigun.” That sounds absolutely incredible. It’s very easy to see why she’d pick the boss fights as her favorite element when they’re clearly intended to be such unique and memorable experiences. 

Our last two questions veer away from the topics of development proper and focus more on our dear dev’s personal thoughts on the matter. Question eight posits: “What’s your personal favorite part of being a game developer?”

After some thought, she gave a very impassioned talk about something she considers to be the best part of the experience: “When people who aren’t game developers think about game development they think of things like ‘oh well you just get to play video games all day and have fun’ but it’s not! Except for the 2% that is, and it’s near the end of development. When all the pieces fall into place and you start actually ‘making the game.’ Game development, especially solo, you’re so zoomed in on specific parts. Because you’re not making a game you’re programming software that’s what making a game is. You spend months working on different systems and then you actually sit down and make a level, and you hit play and it you go ‘Oh my god, I just made a game’. That part is what sustains me. It’s magical. That’s the best part when it comes to true appreciation of the craft aside from the reception.” An answer that I don’t think I could’ve put better if I tried. 

My last question is one that I consider to be the question when it comes to interviewing anyone who works on video games. Perhaps a bit basic, but heartfelt nonetheless: “Anything to say to anyone aspiring to be a game developer?”

Lilith’s answer: “Yes. Just do it. For real. This is what I did and it always felt wrong until I looked at more established devs echoing the sentiment. You cannot plan a game before you’ve started making one. The example I always bring up is the team behind Deus Ex wrote a 500 page design document for the game and almost immediately threw it out when they started development. Just start! You’re going to have unanswered questions and I think that trips people up. Don’t start with your magnum opus idea, start with something simple and achievable. I feel like a lot of people set out with the goal of making a triple-A game, and that’s good! But it can’t be your first game. Game development is creating art, just like any other form of art, and it’s like saying ‘my first drawing is going to be the Mona Lisa’ and it just doesn’t work like that. You need practice and development, and it’s difficult to see that because games take so long and so much, so it’s definitely seen as a bigger undertaking. But it’s still art. You’re still making mistakes and learning from them for your first project. Your next game will be better. View your career as a game developer as a series of games you want to make, and not just one big game.” A perfect response to an otherwise unassuming question. 

Lilith’s passion and love for video games were reflected very clearly in every response she gave during my time with her. Her dedication and appreciation for the art form can be seen in every pixel of Bloodborne PSX, as well as the development logs and test builds of Bloodborne Kart. I really do think that the way she answered my final question speaks volumes to the type of attitude someone should take up when endeavoring to make art as intensive as a video game. Whether it’s fanwork of a game that’s important to you or an entirely new concept, do it. 

(developer of Bloodborne PSX Lilith Walther, image provided by Lilith Walther via Twitter)

Closing:

If you’d like to check out the positively phenomenal experience that is Bloodborne PSX  I’ve included a link to the official itch.io page below the article, as well as a link to the official LWMedia Youtube page where you can check out Lilith’s dev logs, test videos, and animations about her work and other art. Thank you so much for reading, and another very special thank you to Lilith for setting aside some of her time to talk to me about this article. Now get out there and cleanse those foul streets!

Links:

Bloodborne PSX official itch.io page: https://b0tster.itch.io/bbpsx

LWMedia Official Youtube page: https://www.youtube.com/@b0tster

Lilith Walther Twitter page: https://twitter.com/b0tster

[kalpasoft]

Hi, I love your 3D models for TSFTA!! How did you make them look so. crunchy ? Ik they're low poly but I'm talking about the texture and the really pixel-y rendering

Thank you so much!

It's late for me and I'm tired so this might not make a whole lot of sense but

I think it's a combination of how I do my texture work as well as the rendering pipeline I use.

I think it's the combination of the low poly models and a small textures.

I do almost all of my textures at 256x256 Keeping textures low helps with the chunky look.

most of my models are anywhere from 700to 3k tris, so i'm kind of "pushing it" depending on interpret low poly. You can get away with a lot with lower resolution textures and the 'closest' setting in blender!

Closest vs the default 'Linear' setting in Blender.

Closest really helps sell the chunky look.

If you want the chunky look it's also vital that there isn't any kind of filtering on the textures when you bring them into a game engine as well. Some engines like to re-add the filtering.

Then I import my model into unity and the wonderful Haunted PSx Render Pipeline does a lot of the post-processing heavy lifting of keeping my model's chunkier look

hope this answers your question.

[misarem]

yapping about Kill the Past under the cut cuz im now free from the 25th ward finally

THE SILVER CASE

-it feels cliche to say the first game was my favorite but uhhh haha. knowing suda, The Silver Case probably didn't fully accomplish what it set out to do but to me, it's so self-contained and demonstrates such ownership of a style that mostly came out of necessity that i can't not admire it, and i'm also so fond of my playthrough of it which was so fresh and curious, compared to the other two games which were fun but I was thinking too much abt how it connects to TSC

--also just the way i played this game is so special, i was very committed to the darker aesthetic to the point where I only played past like 10pm for a while, which is funny cuz the opening of the game is straight up paranormal but by the 2nd chapter transmitter loses that edge until debatably lifecut. tokio is also haunted and paranormally but by that point i just started playing normally. it sorta reminds me of paranormasight which starts out so spooky and the curses are very present but a few hours in it sorta reverts to being a pretty normal feeling but still very good detective mystery. at one point a character does an escape room ala zero escape and its funny. but TSC doesn't stray from its initial vibe as much as paranormasight at all.

-i also played the parallel stories of TSC separate from each other rather than alternating, which made placebo such a slog but i almost feel like I appreciated both stories more that way, even though i would have loved to experience how placebo compliments transmitter

--despite not clicking with placebo at first, tokio is like one of my favorite characters this year hes such a fucking Guy. and you experience him so intimately in placebo in a way i can't even describe but is effective by the end.

---theres a bizarre and esoteric mental link in my brain between tokio, ange from umineko and fucking flynn moore from the furry visual novel Echo because of them being like surprise deurotagonists (sp?) that get fucked up from having to search for the truth about the past and how theyre all chained by it. do you think they would put happy colors in my padded cell or would it just be all white.

-I also feel like I came out of TSC a lot clearer than I did FSR or 25W, I'm sure I missed several details at first but the shelter kids stuff and kamui as more of a role and a criminal influence than as a person wasn't that hard to wrap my head around even though I thought the silver eye stuff was so whatever. i kind of wonder if part of the reason i clicked with it faster was because I'm such an mgs2head, and the whole kamui thing is sorta like what the solid snake simulation appears to be at first

-also the mackerel phones video about Kusabi is so good and feels like a must watch for how well researched it is and how accurately it nails the feeling and message of transmitter.

-TSC also uses film window a lot better than 25W and it might be worth researching how the latter being a phone game affects things but i just got off that game

-also would kinda love a translated version of the PSX version someday just to feel how different it is. idk if certain ppl hate the official translation so much maybe they should do it themselves ooooh

-i havent read 4.5 and i meant to do so before 25W to have that context about sumio and sakura and i kindaaa didnt so lol i have to do that eventually.

FLOWER, SUN AND RAIN

-"flower, sun and rain" is like a speech tick to me in the way of like, rupaul on the weakest link immediately defaulting to chaka khan when he doesnt know the answer to a question

-i wish i felt flower, sun and rain the way I felt TSC. i had a decent time with it and even had a good sense of humor about the more obviously tedious parts and the OST, and I get how mundane it's supposed to be, what it's saying about living in peace and the lie of paradise, but it didn't click with me as much. maybe a pitfall was being so attached to TSC when i played, i was probably looking for something i shouldn't have instead of just enjoying the game for what it was altho i didn't hate it or anything.

--ideally this also gets a translation on its original console cuz I like some parts of the PS2 soundtrack and id love to experience all the art assets and music in PS2 quality.

---sorta tangent. i love the opening tracks for all of these games but Anata no Tameni might be my favorite, beyond just being amazing its so dramatic and unlike the rest of the series and it really stands out. the ds opening in comparison might actually be my least favorite because of that lol

-i think that the mondo/kodai revelation is so funny just because it's an idea you'd either keep in the back of your mind or just wave off because of how dumb it seemed but regardless it's constantly staring you in the face. assuming you even played TSC before this

--sumio was never super proper or anything, i don't think, but his personality here compared to TSC is so funny, he can spend 20 years with bottled up rage and fake his way into an incompetent police force without slipping thaaat much but here he has enough small inconveniences to hit a kid over it. kind of an interesting play on like the salient thing about personality and the self being buried and it feels like an early version of like a shiroyabu situation. not the last time i will compare sumio and shiro.

--i also think its funny that the model of sumio mondo looks pretty similar to kodai compared to the key art of mondo and we should explore that one day

-i wanted more out of toriko kusabi, she was a fun diversion and i didn't expect her to be a tokioesque second protag or anything but idk. she was fun when she went against sundance and at the end and her being like a subliminal kinda suggestion to sumio's buried memories of her father i think is cool. in a less meta sense it's also cute that shes working for her dad i wonder if tetsu has to like try not to step on christine everytime he comes home from the bathhouse at like 2am. actually i dont remember what their family situation even is

-speaking of kusabi i think him like being the guardian/ferryman for sumio's journey is so so beautiful and true and i like that he gets to pull him back from the depths the way sumio sorta inadvertently did in parade/kamuidrome.

--its also really funny to me kusabi just disguises as a chubby white guy. it was probably a fatsuit but i feel like kusabi could be like 50lb away from being a bear anyways. its like the grocery store deli scene in bobs burgers.

---i also appreciated parade from transmitter way more playing this and thinking about sumio. when i played parade the first time i loved connecting the dots on everything but then it kinda got buried by kamuidrome and lifecut. and now im such a shooter for sumio kodai. look at me talking about the previous game wooo.

-i think the character designs in this are funny for how little of them you can actually see. everyone loves yayoi and yayoi is such a serve but my other fav is ken. all the punk details are completely lost in the actual game. the models also super undersell stephen carbione's look, cuz in-game he sorta looks like tokio but then you see his key art and its like yea he would look like that.

-tokio was in this game

-i think edo macallister should be a bellhop in every video game with a hotel ever. im going to the other side of the country soon and if the guy behind the desk at the hotel isn't edo i will be severely disappointed.

-i love that its hyenas. i think there should be like tokio morishima as an anthro hyena and he still has his domesticated turtle or at least like hyena sundance or yotaro or something. i think ppl would be quick to anthropomorphize tokio as a literal turtle guy.

-the eleven children stuff is whatever, i do like that theres a bunch of sumios running around but idc for all the other implications and like step and remy and koshimizu and whoever else. is sumio mondo still deaf and mostly relying on lip reading? cuz i dont think that gets brought up again. i mean he wakes up to a phone ringing every morning but i guess those are the clones. if the hearing is referenced early in fsr and i just missed it then that would be very cool. maybe thats why the voices for the characters are abstract and illegible. maybe flower sun and rain is the best game ever.

THE 25TH WARD

-what if we were all protagonists.

-i dont think this game uses film window as well as TSC but i do like the art and how much of it there is in correctness and matchmaker, also the different styles.

-i love yotaro osato sadly hes so funny and fluffy. hes osato in my notes and in normal convo but i want to call him yotaro affectionately. i do love tsuki too hes such a sufferer.

--i think theyre a teeeeny bit like like p4 adachi and dojima if they were both murderous.

-i feel bad for the lady that gets murked immediately in correctness i had a funny voice for her in my head

-shiro and kuro god bless them are funny and parallel sumio and tetsu to me. both sumio and shiro grapple with their criminal power, although sumio goes against the hc unit while shiro attempts to but finds himself back with them at the end, and while kusabi over time softens quite a bit and learns from sumio in a more overt way than kuro being literally the "japanese dirty harry" and not having as much of an arc, they both are compelled enough by their partner to rein them back in. just the surface level so i dont have to write a whole essay in a stream of consciousness type of post

--what even happens to them bc as far as i can tell, shiro just continues to be a tool of the state and kuro maybe? shoots her superior and then the 25th ward blows up.. with them on it? like okay at least tsuki got outta there.

--on the shiroverse timeline. theres conflicting sources on if his immortality is a kamui thing or a sumio mondo thing or something else and thats funny. the sources all being fan wikis and tvtropes because fuck this game that zero people played and negative people have documented.

-i need to like hold myself back from analysing meru as trans because its so clearly done for shock value but it somehow aged really hilariously now with how prevalent trans egirls are. liek theres a strange almost unearned truth to how meru exists online versus irl.

--kind of all of the gay/trans mentions in these games are like this although kusabi you can at least take in sorta good faith?

-i need to think abt what i thought abt tokio here. its increasingly funny how online he is for being a normal dude in the late 90's early 2000s.

--his portrait in yumi is kind of a hear me out but all the cgs of older tokio look crazy. tokio in general looks a mess in this game and its funny. look at him try to be masc

-i mentioned mgs2 above and the 05 chapters of these games are so reminiscent of the s3 plan and the patriots with the frontier etc using the city to collect data and the protags having to figure out where they fit into it. during TSC, i was paying a lot of attention to the story as it related to the advent of technology. it felt really relevant to kamuidrome and all of placebo but mostly ended up as background/context to the story. it was used a lot more here and i really liked it. chat logs are a great framing device in all the routes since they add so much flavor and emphasize the loneliness of life in the 25th ward (semi-related: in both TSC and 25W, the environments are devoid of people in film window, and i think this works way better for 25W than it did for TSC). placebo is yet again a good example of this with tokio only really interfacing with the world through his computer most of the time

--in terms of twists, i might actually like "the city is just a means of data collection ready to be wiped at any moment/it resembles a computer more than an actual city and life there is so impermanent that its hard to tell how real it all is" better than the end point of tsc which was "they were trying to mass process children to find a means of immortality" which i was so whatever on even though the game is trying to be crazy and also say something about like life and aging in society, but in tsc i like "they were mass grooming perfect civilians and inadvertently making them susceptible to crime" as a conclusion a bit more. but i mean 25W also poses so many more questions than it does give answers so.

---despite everything i think it was an interesting idea for suda and masahiro yuki and masahi ooka to create the 25th ward almost as a sandbox to explore more of the ideas of the first game like how the internet affects human connection, communication, sharing of information, and how people are affected by criminal power/kamui. it was a cool idea in the original but i love actually getting to see shiroyabu steadily become more unhinged (death filing), kurumizawas pervasiveness, tsuki and osato coming to grips with their own (esp osato's immense) criminal power, etc. in spite of all of the loose ends and craziness, sometimes you really need a space to work out your ideas and express yourself and i commend grasshopper for doing that so i could have played this on a nokia in 2005. in japan

overall these were video games. very excited to forget everything about them when i fixate on something else. tsc might actually be one of my fav things i played this year. would love more analysis of the 25th ward, theres some essays/interpretations floating around and ghenryperez will get to his video on it eventually. maybe i need to be the change i wish to see but also boo putting effort into writing and analysis sux.

i started sudas works with nmh, then 2 before stopping until i played killer7 a year ago and really liked its style and sense of humor. i think this happens to a lot of people, and then a year after that i started tsc. i wasnt originally that interested in nmh tsa but now that i know theres hello 25th ward characters in it i might have to try. and then nmh3 after that. and then i also wanna play twilight syndrome/moonlight syndrome when that gets a translation because of lunatics. and i also got killer is dead when it was on sale for like 2 bucks. we can enter the greater sudaverse.. together

[2-d-rogue]

Finished Clock Tower: Rewind! (Mini-review under the cut. Will have some spoilers.)

Still holds up as being one of the best horror games I've ever played. The ambiance, the beautifully made sprites/graphics, the atmosphere, the subtly disturbing story, and the mansion design... All of it comes together so perfectly to make it one of the most, if not THE most, high-tension filled experiences I've ever had in a horror game.

This game comes with two versions: the original Famicom release, and a version based on a romhack that took the extra content from First Fear, the PSX version, and stitched it into the original, along with new things; this is the Rewind version.

I did the first playthrough on the OG version, getting the B ending. After, I did the rest of my playthroughs on the Rewind version. I'm one of the few that doesn't mind the slow movement of the OG, but the QoL improvements were a welcome addition, as well as changing how Bobby, the Scissorman, works.

I avoided spoilers before getting my physical copy, so I had no idea how they changed him from the OG. Instead of having just triggered appearances, he now can appear at random, and has many new ways to be triggered as well. This new addition caught me by surprise and had me more paranoid than before. There was a part where I was playing that I had Jennifer standing idly in the garage while I was talking to @philian-arkhiv about something, thinking it was completely safe, when suddenly the chase music started up, catching me completely off-guard, because I knew for a fact Bobby couldn't just waltz into a room unprovoked; at least not in the OG. And yet, here he was on his way, throwing my mind (and calm resolve) into a complete frenzy.

That was a terrible surprise, but a good one, even if I would be haunted by it for days to come.

I don't know what it is about Bobby that gets to me so much, but these new mechanics amplified him as a terrifying horror villain for me. Thankfully, Jennifer was given more ways to defend herself as well. Definitely appreciate that. ^^;;

That said, there were some slight issues I had with this version. For one, there is some jank. There are times when I'd click in one direction, but Jennifer would go in the opposite. There also may be an event missing from Rewind? In the areas that consist of only a door and a window, you can sometimes see eyes looking in, or the window would suddenly burst open from the wind. It happens in the OG, but for as long as I stayed there, it never seems to happen in Rewind. Perhaps it's a bug or it simply didn't happen on my playthrough. Either way, I just hope it wasn't cut from this version.

The other issue I have is more a personal preference, but I don't really care for the anime art. It's not terrible, but I feel it doesn't really suit Clock Tower. The realistic artstyle worked much better in my honest opinion. But fortunately, it's not used in the main game at all, so it doesn't bother me that much.

For the record, I do enjoy the new track "Sharp Laughter" sung by Mary-Elizabeth McGlynn, even if it is a little extravagant. The end credits theme by Emi Evans, however, is a little too "Nier" for this game. Nonetheless, I don't hate it. It's nice hearing more from these two icons.

That all said, it's such a treat to finally have this game be officially available worldwide. It really is a classic, and I'd encourage anyone who loves niche horror to give this game a try.

Silent Hill is my favorite horror series, but Clock Tower has always been a close second, and I still stand by that stance.

So, I rate this game 8.7/10

Great to have you back, Clock Tower! I hope there will be more to come in the future! Please bring in more remasters and/or remakes, WayForward! I'll happily buy them! 'Cept CT3.

By the way, here's a funny little aside: there was a part where I walked into the mannequin room by accident, turned to leave, and ran into Bobby outside. I had nowhere to go, so I ran back in and prepared to confront him. When I successfully managed to best him with the panic button, no joke, the mannequin in the back suddenly laughed, as if it were amused by Bobby getting knocked over by Jennifer. Had me and @philian-arkhiv laughing a fair bit at that. XP

[kuueater]

heyo Kuu, just finished watching your vod of the first Condemned game from back in May last year, and you used a spooky ass song at the end that i cant for the life of me identify, but it jams and im wondering if maybe you still know it? Sounded like something that'd be on one of those Haunted PSX collections, hope 2024 is going well for ya so far

that was dark reality from the kings field IV OST

[bumtown]

PREPARE TO MEET GOD

[magicalgirlmindcrank]

Christ I've had an old PSX game haunting my brain since I tried Cassette Beasts cuz the washing up on shore scene reminded me of it and I FOUND IT and I'm pretty sure it's what got me obsessed with clockworks and dolls and shit XD

It is Alundra 2. Theres like gears that turn u into a clockwork critter if they get stuck in ur back and this happens to a whale in the beginning (that becomes a late game level) and also a few other things throughout the story.