We’re going to spotlight some of the talks from this year’s Roguelike Celebration over the coming weeks, which is always crammed full of wonderful talks! The first one I’m directing your hungry gaze towards is Jeremy Rose talking about his strategy guide for Cataclysm: Dark Days Ahead.
There used to be a time on the internet when nearly everyone would understand a Hitchhiker’s Guide to the Galaxy reference.
Strategy guides for classic roguelikes are not like strategy guides for other genres of games. It is technically possible to win at NetHack without perusing spoilers, but it will probably take you a long long time. Fortunately for those with less free time, there exists the NetHack Wiki. And, since the games are randomly generated with each play, you can actually be perfectly spoiled and still find the game challenging. Although, I still think people will find playing these games without spoilers interesting and rewarding-knowing everything there is to know about NetHack makes the game seem much smaller.
I haven’t covered Cataclysm or its updated version Dark Days Ahead on @Play yet, and I really should! An interesting fact about it that comes out in the talk is that DDA may be one of the largest open source projects of all. It has had over 1,700 contributors! The mega-popular programming language Python has had around 2,000!
On Romhack Thursdays, we bring you interesting finds from the world of game modifications.
For a game notorious for its difficulty, Zelda II: The Adventure of Link has a lot of romhacks, most of which up the challenge level still more. Amida’s Curse is more of a difficulty level in keeping with the original, which is nice, and has some interesting ideas in it.
The Zelda II bosses are used mostly without change, although their new environments throw in some wrinkles.
Due to controller issues (PowerA’s cheaper wired version of the Switch Pro Controller has decided to mess up in frustrating ways) I have yet to play through the whole thing, but what I’ve seen has some interesting decisions. Amida’s Curse throws out the wandering monster encounters completely; there is no reason I can see to not wander around the landscape wherever you want. In fact you definitely should try to wander around a fair bit, for the game has bunches of secret areas waiting to be found throughout the landscape, hiding heart and magic containers, experience gems (which are a reskinned version of the original game’s P-bags) and sometimes required things.
Fall off the elevator before descending to the ground and you might have to reset the room to go back up.
Amida’s Curse has a bit more terrain to cover than stock Zelda II. It’s got more towns (which are much smaller, a good change) and dungeons, and is split up more by item gating than before. In the first town you have to find a key, this lets you get the candle out of a cave, this lets you see in a cave leading to the next area, which has a dungeon with a Power Bracelet that lets you break blocks, that allows you to go through the next cave, and so on. It feels a bit like you’re being led by the nose, but that is often the style with these kinds of games, and it’s not like Zelda II itself didn’t have a fair amount of it.
If you find interesting spots in the overworld, it’s worth it to check them out!
The overworld map takes a cue from the Famicom Disk System version of the game and has animated tiles, but instead of just animating the water, most of the tiles in the overworld are animated now. Towns have smoke coming up from them, and grass blows around. The combat scene graphics have been upgraded a little bit too.
The difficulty balancing is pretty good. Romhacks that resist the urge to make you fight through gauntlets of enemies every step of the way should be lauded. It’s not perfect, I would say, there are places like where you have to jump over a skeleton on a collapsing passage, or make a big jump while being harassed by birds. And there are places where the design could use a little more work: it’s easy to get stranded in some rooms by falling off an elevator, requiring you to reset it, or in one notable case purposely die, to get yourself unstuck. And if you’re jumping water or lava that comes right up to the landing platform, make sure you clear it by a fair margin, as the game loves to kill you if your foot even grazes the perilous liquid.
Usefully, extra lives found don’t give you a one-time extra try, but increase the number you start each session with, which is a handy little improvement. I think a non-obsessive player can make it through, or at least from what I’ve managed to see. I look forward to trying to get further into this, when my controller isn’t fighting me every step of the way.
I usually try to take my own screenshots, but this one is borrowed from JRPG Junkie’s article. I figure it should be okay, since I’m using it explicitly to promote said article!
JRPG Junkie looks at the Super Robot Wars series, the mostly-Japan-only giant fighting robots game series with over 70 entries and that crosses over everything (in various games) from Gundam to Full Metal Panic to Cowboy Bebop to Captain Harlock to Gunbuster to Giant Gorg to Evangelion to The Big O. The article, which is far far more knowledgeable about it than I am, is an excellent place to start with this extremely prolific series.
Some of the Switch versions of these games have English translations built-in, and because you can log onto any region’s store on the Switch, those particular versions can be enjoyed by English-speaking players the world over. But there are tons of these games, and many have fan translations, if you’re willing to jump through those particular mechanized, articulated hoops.
Some years ago there was Glitch, an innovative MMORPG whose client ran in the web browser, and offered non-violent and whimsical play. The land of Ur in that game was overseen by eleven sleeping Giants, and players could create customized characters to roam around, explore, collect things, complete quests, earn achievements, and generally have fun. While there were still dangers (in the form of The Rook, a horde of malicious crows that occasionally attacked) it was mostly pretty chill. It was essentially a platforming world, but there were fun twists on the formula.
Glitch had some beautiful locations to find and explore
They hired on Keita Takahashi, the creator of Katamari Damacy, Noby Noby Boy, and later on Wattam, and although they closed before many of his ideas could be implemented they did manage to release the area Shim Shiri, which was kind of a shortcut hub for the game’s world. Scattered throughout the world were the mouths of gigantic creatures, you see, which you could dive into, zip down their digestive systems, and be pooped out the other end in Shim Shiri. Then you could go to another creature’s butt, jump right up it, and emerge elsewhere! His ideas were recorded on the Glitchipedia on the Glitch game’s website, which is still up.
BEHOLD THE MAJESTY
Glitch was never very popular, but it gathered a passionate fanbase. I started playing Glitch, as often happens with me, right after it was announced that it was closing permanently. I could see, even in the limited time that I was there, that it was special.
Glitch was run by Tiny Speck and created by Stewart Butterfield, who founded Flickr, and afterward went on to create Slack. It’s rumored that Slack’s humble beginnings were in Glitch’s communications code.
All of these locations are still listed, pictured, and mapped-out on the Glitch website, just as if the original game were still operational
If you get the feeling that you missed out on something cool, well, you did. But not forever! Metafilter user fiercecupcake recently informed us of a couple of Glitch revival projects. Tiny Speck thoughtfully contributed all of Glitch’s assets to the public domain soon after they shut the game down to aid in others who wish to revive the game. One of these, Odd Giants, is currently in alpha and playable! It’s implemented as a Unity stand-alone application instead of running in a web browser, and it is a fairly substantial download at around 1.3 GB, so keep that in mind. It is available for Windows, Mac and Linux.
It tends only to have a small number of people online at any given time, but perhaps there lies the seeds of something great? Well, likely not, it is a fan recreation of a dead MMORPG, but perhaps, just perhaps….
When last we left Blaseball, that crazy simulated baseball league with horror elements, deadly weather, necromancy, an evil peanut god, etc., the concept of money had been destroyed and a black hole had consumed the universe. Well that’s certainly a turn-up!
It’s been nearly a year since the rather apocalyptic outcome of the previous era. Now, according to an interview with IGN, producers The Game Band are about ready to restart the game once more. Recognizing that it had become rather impenetrable to people who hadn’t followed it for a while, they’re trying to reinvent Blaseball to follow more of a monster-of-the-week format, which seems as appropriate for a Halloween-season post as anything.
They’re also hoping to make it more sustainable by not relying on corporate sponsors as much, instead offering paid accounts to players, offering cosmetic modifications in the game’s social space. Wait, Blaseball had a social space? Is that new?
Blaseball is hilarious and unique and bizarre, and we wish it the best, provided that wish isn’t somehow corrupted by its fell gods and revisited upon our world, which happens like all the time nowadays. We wish it provisional well, how about that?
If you’re unfamiliar with Blaseball, somehow: it’s a fake baseball league. A bunch of fake teams filled with fake players with weird stats play a game that is 90% Baseball in a computer simulation run on the game’s servers.
The simulation is entirely textual. There are no visible players running around. The simulation is run in discrete units, as a series of pitches and plays. Baseball is uniquely suited to be run in this kind of simulation because of its almost turn-based nature. Other than stealing bases, everything happens in brief bursts of activity, and game states can be represented pretty cleanly: which bases are occupied, which players are in which positions, how many outs, strikes, and balls are there, and, where in which inning are we.
Real sports are essentially drama generators, something without real meaning that people can follow along and support as if it did, and Blaseball, which calls itself a splort, takes that one floor deeper into the rabbit hole.
Because it’s entirely fake, it can do weird things. Like, host random kinds of weather during which players can be incinerated or affect the game in other ways. Or have magic baseball-related items that players can be granted.
The real participants in Blaseball are fans, who during social distancing latched onto it and idolized particular players, like Jaylen Hotdogfingers, who was brought back from the dead through a bit of database-related trickery by fans. Fans can also vote on rule changes, advantages for their favorite teams, and other things. Fans can bet, using fake money, on the outcome of the fake games, and that fake money can be used to buy more votes.
If sports are a drama generator, then Blaseball’s is exceptionally dramatic. Enough so that new fans were finding it increasingly difficult to understand. Blaseball’s previous era ended in an intentional exercise in excess, with the evil (fictional) entity that was running the league adding in feature after feature.
Now it looks like Blaseball will be pared back again. It remains to be seen if this will allow new players to join in easily, or if old fans will return, but it’ll be entertaining to watch at least.
‘@Play‘ is a frequently-appearing column which discusses the history, present, and future of the roguelike dungeon exploring genre.
I’ve been lagging behind a bit with @Play, which I apologize for. There are a lot of Angband variants, and even just covering important ones, there’s a lot to go over, and I’ve suffered from many distractions lately. So I figured I’d just take a more leisurely pace for a bit, which works out because many variants have quite a bit to say about them. So let’s start out with what’s probably the most important Angband variant of them all:
Zangband
Lineage: PC Angband 1.3 > Angband– > Zangband
First released in 1994. Last update 4/2003
We could consider Zangband to be the first major Angband variant. It forked directly off of frogknows, but contains modifications to Angband dating after that. Its list of maintainers includes Angband maintainers Ben Harrison, and Robert Rühlmann, who took over as lead maintainer Zangband from Topi Ylinen. Of note is that he stopped being the maintainer of Angband at around the same time that Zangband entered stasis, and previous Angband fansite Thangorodrim went dark. Maybe Morgoth finally got him.
The standard Angband starting town can be shapes other than rectangular, have a wilderness outside its walls, and if you go far enough you can find other towns, with other kinds of shops.
It’s a tradition to name Angband variants with some variation upon its name. The Z in Zangband stands for Roger Zelazny, the author of the Chronicles of Amber series, and contains monsters and items from that series. Cribbing from fantasy literature has long been a way that roguelike authors have paid homage to their favorite stories.
An interesting aspect of Zangband is its version of the Angband character auto-roller. Instead of going until it hits minimum stats that you specify, asks you to “weight” various stats on a scale of 1-100, and then rolls 500 characters and picks the best one rolled as judged by those weights. This means you can’t just set your character to roll dice indefinitely until you get the perfect character–or at least, you can’t do that automatically. Nothing stops you from killing the process if you don’t get a character with stats you like and trying again, as many times as you like. Statistical cheese has, after all, long been part of the flavor of rolling up character stats, dating back to all those D&D house rules groups used to make characters more powerful/interesting than typically produced by the old roll-3D6-six-times-then-assign system.
Standard dungeon levels look like classic Angband for the most part.
In addition to adding a lot of new character classes and monsters based on the Amber books, and other sources as well because why not, Zangband opens up the world outside the starter town. You can step past the walls of Angband’s town and see the outside world! That world works rather like a horizontal dungeon: instead of diving down into the earth, you can explore outward in all directions through the wilderness, which is filled with varied terrain kind of in the style of Minecraft. A new character can die very quickly that way, however; unexpectedly, the first levels of the main dungeon are rather easier to survive than just outside the town’s gates. If you have a means of defeating strong monsters, though, it’s possible to gain levels very rapidly without traveling too far from the starting town.
Some of the overworld terrain elements can also appear in dungeons. These green marsh plants do damage if you wade through them.
Out in the wilderness there are other towns to find, some of them with their own entrances into the dungeon (which work just as if you had entered it from the main town). As you progress out further from what we might call Point Zero, the monsters found in the wilderness get more dangerous. Some towns have special kinds of shops that are not to be found in the starting shop. The game’s bosses, which have been changed to the Amber-flavored Oberon on Level 99 and the Serpent of Chaos on level 100, are only found down in the dungeon.
In addition to various kinds of room template designs, sometimes you find a whole themed level, like this huge swamp area.
While it did pick up some of Angband’s later advancements, it still halted development nearly two decades ago. Angband has changed a fair bit in the time since Zangband became frozen, so to speak, in Amber. Playing it requires getting used to the many little things that Angband has abandoned in more recent years, like having to actively search for secret doors and traps. If you’re playing a magic-using class, it’s possible for your starting spellbooks to get incinerated by a fire attack, then for you to head back to town and find that it’s not for sale. Once you’re alert to the danger of this, you’ll know to buy extras when you can and keep them in your house. It’s the kind of affliction that affects most players exactly once, which is a common enough experience in the world of classic roguelikes.
We’re back to classic Angband rules here, so selling things you find in the dungeon is an important source of money.
Zangband is notable for itself inspiring a bunch of variants, in fact a lot of Angband variants get those genes through Zangband as an intermediate parent. Its inclusionist philosophy of adding a whole bunch of monsters and things, and its inclusion of a persistent overworld (which it originally borrowed from Kangband) might explain the attraction.
While Zangband hasn’t been updated in nearly twenty years, its website persisted doggedly until just earlier this year, at zangband.org. Sadly, it has finally succumbed to linkrot, and now can only be found through the graces of the Internet Archive. Its Sourceforge repository still exists however, meaning you can still obtain the game through a living site, at: https://sourceforge.net/projects/zangband
EA Sports says you must accept this. EA Sports says this is your god. Your malformed football god.
Jon Bois has been an internet favorite ever since Breaking Madden, his series where he strained mightily to upturn all of the assumptions that the Madden football games make to present reasonable game experiences, and in so doing revealed those games are made out of cardboard and paste.
Modern EA has long been on the outs with me, but discovering that this company that has locked up the exclusive rights to make official games for multiple sports, for decades now, makes terribly buggy, broken product, has caused me to see them as a force for evil in the world. If you want to play with NFL teams, it’s either the Football Fetus (see above), or nothing. I know, capitalism sucks, but this is a particularly egregious example. But that’s beside the point.
(The only reason I’m not linking to an explanation for what the above thing is, is I’m saving it to post later. Keeping up a daily gaming blog is a marathon, not a sprint, and there is no reason to wind myself.)
Jon Bois and sitemate Kofie Yeboah now hold their game breaking adventures over at Youtube channel Secret Base, which also has a homepage. They mostly work in the medium of video now, which I can kind of understand? Youtube ads probably pay more than web page banners. I still miss their text output though. But that’s also beside the point.
What is the point? They have a new video where they tried to adjust the stats on an AI team in NHL 2022 with the sole purpose to get them to the end-game shootout, which apparently happens in the NHL in the primary season if overtime ends with a tie score, as often as possible. In the process they incidentally cause and win an epic number of fights and eventually take the Stanley Cup. And in the process, in typical EA Sports fashion, game bugs cause players to slowly skate with the full speed animation and sometimes put a spurious extra player on the ice in overtime for no discernible reason. Here it is:
Watching these videos and reading their old articles almost make me want to forget about my long-standing disdain for both EA Sports and pro sports games in general and get one just run crazy experiments like this. But only almost.
This is something that a few of you may have seen before, but if there’s anything we’ve learned from bumbling around the internet for… geez, it’s been nearly 30 years now, it’s that most things could always stand to have a few more eyes looking at it. So it is with Cab Ride.
Cab Ride is a free itch.io project that uses the Pico 8 engine. It gives you a first-person view from the engine car of a train as it travels between procedurally generated stations, and plays jaunty chiptune music. It’s a game only in the barest sense. It does rate you on how well you stop at each station. There’s no penalty for doing badly, and no conclusion. From the title screen you can activate Very Chilled Mode, which disables what little scoring it has.
The down arrow key (a little unintuitively) increases the throttle and increases acceleration, while the up arrow decreases. To play normally, you want to stop when you’re close the platform (when the number in the upper-left is as close to 0 as you can get it), then open the doors with Z. If you’re playing with a controller, that button may be different. Press X (when playing on keyboard) honk the horn, which is not required for anything. You can hold the left arrow key to announce the last station, which is the only in-game way to conclude a session, or right arrow to active “Express Mode,” which basically runs itself (but won’t stop to pick up or drop off anyone).
Roguelike Celebration 2022, the yearly conference about this peculiar genre, begins tomorrow! This year it is again being held virtually. Its schedule is here, and you can get your ticket here. As I write this tickets cost $30, but if you can’t afford that there is an option for free admission at that link. If you can pay though then please consider it? I presented there last year, although in my 30 minute timeslot I didn’t even get to cover like even 10% of what I had planned.
It generally has much of interest both to players and developers, and covers more than strictly-defined roguelikes but also a variety of games and topics related to procedural content generation.Here’s a selection of talks that I personally think may be interesting, although there are many more than this planned:
Persistence and Resistence: How narrative in roguelikes is currently underutilized, by Sherveen Uduwana
Remembering Moria – a roguelike before the roguelikes, by Santiago Zapata
How hard can it be to create a non-violent rogue-lite dungeon crawler?, by Tabea Iseli
Smoothing the Sharp Edges of RNG, by Evan Debenham
A Million Little Players: Monte Carlo Simulations for Game Design, by Phenry Ewing
Tips and Tricks in Procedural Generation, by Pierre Vigier
According to the people at Rice Digital, many of Namco’s games set in the future, including Galaxian, Galaga, Gaplus, Bosconian, Baraduke, Burning Force, and many more, are all part of a common timeline! Namco calls it the UGSF History. Due to the inclusion of Kissy from Baraduke, which was named to be Susumu “Mr. Driller” Hori’s mother, it also drags in the Mr. Driller games, and even Dig Dug! You can read about it on their site here. Namco’s own site concerning it is here.
Hiromi Tengenji of burning force (image from ricedigital.co.uk)
According to their timeline, the earliest game chronologically is Ace Combat 3 (which is not an arcade game), and the latest is Galaga ’88!
Forever late to the party, I splurged a bit and got the Zelda Game & Watch Nintendo made last year, and you can still find on sale in some places. It doesn’t seem to have been as popular as the Super Mario Bros. version, despite being a somewhat better value for the money. It’s hackable, but it requires opening it up and doing some soldering, and has so little storage that to really make use of it you have to replace its Flash memory chip too.
But even if you don’t hack it, it’s a nice thing just to have? It’s got a great screen for one thing. And as reports were on release, there is a light-up LED Triforce that shows up through the back case when it’s on that’s just a nice touch. The games are largely as they were on their original release, although with flashing effects toned down to avoid triggering seizures in photo-sensitive sufferers of epilepsy.
This is such an unnecessary addition, but I love it. Nintendo is really calling out to Zelda fans here.
Of new features though, the standout is the clock mode, which I’ve not seen a lot of people talking about! It self-plays a kind of weird version of The Legend of Zelda via AI. Monsters are generated, the AI destroys them, then more monsters are generated. They drop items, but rupees don’t seem to matter. Every two minutes, Link moves to a new screen. Every 30 minutes or so he changes location between the overworld or a dungeon. He finds items, he beats bosses, he gets heart containers, he slowly collects Triforce pieces, and at noon and midnight he defeats Gannon and starts all over again. There are even secret staircases to find, although the AI seems to know where they are.
The rupees serving as the colon in the time can be collected!
At any time during this show, you can press A and B at the same time to take control of Link yourself. He controls exactly like he does in the NES version, with enough nuance (like, the edges of the screen are a safe zone like in the console version) that I wonder if this isn’t a hugely hacked-up version of the game’s rom that’s providing the show. The sound is just ticking by default, but if you hold the A button down for five seconds it enables the sound from the game too.
If you choose to control Link, you can’t access the subscreen, but you can switch items using the Select button. If you run out of hearts Link respawns almost immediately. Also you can’t move to a new screen yourself, instead the game advances to a new area after two minutes regardless of how well either you or the AI player does. If you leave the controls alone for a couple of seconds the AI will take back over for you.
I don’t know if the world map that Link travels through is mappable. I’d be very interested to know if it’s a hack, and if it is, if someone could break it out of the software. If it isn’t, maybe the game world could be recreated in a hack of the original Zelda rom?
The Zelda II timer game is rather fun in small doses
There is also a special version of Zelda II. When you activate the Timer function, the version of Link from that game will automatically fight enemies, and you can take over from its AI too. This version is more explicitly game-like: it tracks high scores earned (by either human or AI) in each of its ten time limits and on each of three enemy sets, plus one more, a special mode where it records the time a human player can defeat a number of enemies. (Hold A for five seconds from the timer set screen to activate it.) And there’s a version of the old Game & Watch title Vermin included, with Link instead of its generic character that was later christened Mr. Game & Watch.
A note about the combat implementation of Zelda II in the timer game. Ironknuckles show up here, but the trick familiar to people who have played a lot of the NES game, of jumping before an Ironknuckle and stabbing as you’re coming down, as of slashing through the top of the enemy’s head, which always gets past the shield, does not work in it. Instead, to get past an Ironknuckle’s defenses, you must rely on the fact (in this game) that they can’t movie their shield while they’re attacking with their own sword.
Oh, it’s got three emulated Zelda games too, although I’ve played them so much before that the new stuff is much more interesting to me
So, it’s time to make an embarrassing admission. This is at least the seventh time I have legally owned the original Legend of Zelda. I had its NES cartridge, the Virtual Console rereleases for Wii, Wii-U and 3DS, the GBA rerelease, and the one on the Gamecube bonus disk for pre-ordering Wind Waker. I’ve probably forgotten at least one other version along the way-I had Gamecube Animal Crossing, which has the rom of The Legend of Zelda on its disk too, although it was never made available without hacking, and I subscribe to Nintendo Switch Online, meaning I can also play it there if I were to be of that mind. Now, I own a yet another device that can play The Legend of Zelda. Most of that time I could have played it for free via emulation, yet I keep buying it.
Yes, on the day I got it, I did a deathless run of Legend of Zelda on it. It was mandatory.
My response to people who are somehow in favor of Nintendo’s draconian legal response to pirates is, why do I keep doing that, continually giving them money for a game I’ve bought many times, when if I had the mind I could probably have gotten a hundred copies off the internet? Am I just stupid, or is there some other motive at work here? I am open to either possibility.
I hesitate to offer that link because everything on Orisinal is programmed in Flash, and not in way that works great with secure Flash emulator Ruffle, but the site survives today, even if it’s difficult to play anything on it. The games to the bottom of the list are more likely to work well with Ruffle.
Orisinal is a collection of very simple games with a laid-back vibe. Nothing too demanding or upsetting. Just a lot of clean and fun amusements for passing a few minutes in a pleasant way.
In internet terms, Orisinal is ancient, and the internet is not forever. Quite the opposite in fact. The oldest games on it date to around 2000. That it’s still up, even if it hasn’t seen much new content in over a decade, is a miracle. I keep harping on this I feel like, but things vanish from the internet every day, and the Wayback Machine can’t catch all of them (and itself isn’t guaranteed to not disappear someday). Enjoy it while you can.
