Wednesday, November 25, 2020

Commercial offer

Hi!

Unfortunately, I have some bad news for you.
Several months ago, I got access to the device you are using to browse the internet.
Since that time, I have been monitoring your internet activity.

Being a regular visitor of adult websites, I can confirm that it is you who is responsible for this.
To keep it simple, the websites you visited provided me with access to your data.

I've uploaded a Trojan horse on the driver basis that updates its signature several times per day, to make it impossible for antivirus to detect it. Additionally, it gives me access to your camera and microphone.
Moreover, I have backed-up all the data, including photos, social media, chats and contacts.

Just recently, I came up with an awesome idea to create the video where you cum in one part of the screen, while the video was simultaneously playing on another screen. That was fun!

Rest assured that I can easily send this video to all your contacts with a few clicks, and I assume that you would like to prevent this scenario.

With that in mind, here is my proposal:
Transfer the amount equivalent to 1350 USD to my Bitcoin wallet, and I will forget about the entire thing. I will also delete all data and videos permanently.

In my opinion, this is a somewhat modest price for my work.
You can figure out how to purchase Bitcoins using search engines like Google or Bing, seeing that it's not very difficult.

My Bitcoin wallet (BTC): 14X4HmqJKQWCrNY9gthXVyPRa6KZhEkkmT

You have 48 hours to reply and you should also bear the following in mind:

It makes no sense to reply me - the address has been generated automatically.
It makes no sense to complain either, since the letter along with my Bitcoin wallet cannot be tracked.
Everything has been orchestrated precisely.

If I ever detect that you mentioned anything about this letter to anyone - the video will be immediately shared, and your contacts will be the first to receive it. Following that, the video will be posted on the web!

P.S. The time will start once you open this letter. (This program has a built-in timer).

Good luck and take it easy! It was just bad luck, next time please be careful.

Tuesday, September 22, 2020

(106 MB) Download Hitman 3 Contracts Game Highly Compressed For Pc

Download Hitman 3 Contracts Game Highly Compressed For Pc


Screenshot



System Requirements of Hitman Contracts PC Game

Before you start Hitman Contracts Free Download make sure your PC meets minimum system requirements
  • Operating System: Windows XP/ Windows Vista/ Windows 7/ Windows 8 and 8.1
  • CPU:Pentium 4 1.6 GHz
  • RAM: 256 MB
  • Setup Size: 106 MB





Monday, September 21, 2020

Storium Theory: Get Emotionally Invested

I've finished up my Storium Basics articles, so now, I'd like to take a little time to write about one more thing. This is something that I think is important for anyone playing Storium, or indeed any sort of RPG or storytelling system. Heck, it's important for general writing as well.

You have to let yourself feel.

If you want to tell powerful stories, you have to let yourself feel.

If you want to truly portray your character, you have to let yourself feel.

If you just want to have the best time you can roleplaying, to have an experience you'll remember and look back on fondly, you have to let yourself feel.

Some people can do this really easily. Others, myself included, have a tougher time with it.

I have a tendency to get pretty mechanical when I'm writing, particularly in RPGs, storytelling games, or the like. I find that I distance myself from the events of the story, from the emotional impact of what goes on, in a way that I don't if I'm just watching a movie or reading a book or playing a video game. When I'm not participating in the writing, I can get involved in the emotion of a story easily. But when I'm participating...

When I'm participating, I spend more time thinking about what should happen next, or what I'm going to do, or what cards I'm going to play, or what my strategy should be for the next step, what abilities I want to use, how my tactics will affect my dice rolls...any or all of that, depending on what sort of writing or gaming we're talking about. It's really easy to distance myself from feeling what's happening in the story, and look at things as the basic exercise of writing or gaming rather than the full-fledged emotional experience of a tale.

There's a social aspect, too, though that's less of a concern in a play-by-post sort of game like Storium. But still...I'm not a guy who likes to have his emotions on full display. I'm not that open, really, and so I tend to consciously or unconsciously resist letting myself react to story events emotionally when I'm writing or playing with others.

I've learned that I have to try to break out of that shell.

The best moments I've had in Storium, in tabletop gaming, in online roleplaying, in MUXes, in any kind of collaborative writing experience...those moments have all been when I let my walls drop. Those are the moments I remember most fondly.

The moments when I let the tears come while I read and wrote.

The moments when I felt anger at the deeds of a villain.

The moments when I worried for a hero who had disappeared.

The moments when I dove into my character's mindset and felt the fear he would about the monster lurking in the dark.

It's so very easy to separate ourselves from the tale. Sometimes we do it because we'd be uncomfortable otherwise. In a horror game, for instance, we'll crack jokes or make table talk about the real world, reemphasizing the unreality of the horror. In the midst of a tragedy, we'll have our heroes stand bold and proud, brushing off the sorrow and just going on being heroes. We can't have them break, because someone might think we've broken too.

But I've learned that when I allow myself to feel, when I allow that fear or horror or sadness or pain or joy or hope or dream or love to affect me, and then allow it to affect my writing, I get an experience I can remember, and an experience others can remember as well.

I've learned that I can best write a character who has gone through struggles and pain when I let myself feel the sadness, just as I would if I weren't participating in the writing. I've learned to force myself to treat roleplaying and collaborative storytelling just like watching a movie or reading a book or playing a video game with a great tale - I've learned to drop my guard and let things hit me.

Because when I let things hit me, I let them hit my character, and when I let them hit my character, my character's reactions are more honest, more powerful, more raw and pure. It makes the character feel like a full-fledged person, with hopes and dreams and fears and pain, who is affected by the tale, driven by the tale, pushed to react and to experience emotion and to be changed by those experiences.

For me, it's hard. It's honestly hard. It's so easy to slip back into just thinking, "Well, what should happen next?" or "What card should I use here?" or "What tactic seems best?" or "What would be a cool thing to do?" or "What's my next one-liner?" And look - all of those questions can be, frequently are good things to ask. But not if they separate you from actually feeling. And for me, they can, unless I force myself to into the right mindset. For me, they can, unless I specifically connect myself with the heart of the tale.

This isn't something I can tell you how to do. Everybody's different. Everybody reacts to a story differently. For some of you, this isn't even something you'll have to think about. Some of you are reading this article and thinking, "Wow, I mean, I just get in my character's head and I feel this stuff anyway." And that's great! There are people who can just do that, who can just feel like a character, get in their head, think like they do, and feel like they do. It's something you hear about from great actors all the time, and it's something I've heard from great roleplayers as well.

But if you're like me, and you find yourself thinking clinically about stories, thinking about plot designs, thinking about cards or dice or what-have-you, thinking about character motivations from a distance...I can't tell you how to do it, but I encourage you to try to break that. Think like a reader, think like someone who is experiencing the tale. Don't think what your character should do, feel what your character will do.

If you're like me, that isn't going to be easy, and you aren't going to succeed all the time. But those moments where you do succeed? Those are going to be the moments you remember, the moments you deeply treasure, the moments you look back on years from now and relive in your mind.

When that happens...you see the true treasure that roleplaying, that collaborative storytelling, that writing in general can be. You leave a part of yourself in that story. You become a part of it, and it becomes a part of you. It is a beautiful, wonderful experience.

So...let yourself feel. Open yourself to that experience. Let the story in.




This will be the final weekly article of Storium Theory. I'm not going to say that I'm solidly done, that there will never be another article, but I've said just about everything I can think of to say at present. I've written one hundred and thirty-three articles about Storium, counting this one, and I've written about it since November 2015. That's...probably more than I've written about anything else in my life, ever. And that's not counting my participation in Storium Arc, where I've spent many hours talking about this great system and community as well.

It's amazing to me the level of depth that a system like Storium has turned out to have...the fact that I could find so much to write about it, the fact that I could write for such a long time on it and it alone...that honestly surprised me. When I started this out, I didn't initially set it up on my blog. I was just going to have four or five little articles on a webpage somewhere, just a quick little guide of sorts for new Storium players or narrators.

But Storium was deeper than that. Storium was more than that. Exploring Storium took longer, took more thought, became more interesting to me. I found myself exploring the ways the system could be used, the ways you could use challenges to do interesting things, and that got me thinking about how things could work in my own games or with my own characters, and those fed back into articles here.

Now...again, I can't say I'm done. I'm still playing Storium, and topics will still likely arise. But for now, this is the end of weekly articles, of regularly scheduled articles.

I hope that those of you who have read these have found them useful. I hope that I've helped you get more comfortable with the Storium system, and to learn to use it in creative ways, ways that can enhance your stories and lead to memorable and fun games. I hope that I've helped you get into your characters and explore them more deeply.

But now, as ever, I want to emphasize something: My way to play Storium is not the only way to play Storium. My way to write is not the only way to write. As I close up this post, and with it, the regular Storium Theory articles, I want to encourage you to look not just here, but to the community in general, to other Storium games, to other resources. If you need help, ask for it - the community is willing. If you need examples, look for them among the other games out there. See how things have worked. Explore. And come up with your own methods, your own interesting ways to use the system, your own house rules.

Storium is a simple system in concept, but a deep one at heart. Take the time to get to know it and it will reward you.

May the future bring you friendship, great stories, and treasured memories.

Saturday, September 12, 2020

Fairy Tail Review (PS4)

Written by Anthony L. Cuaycong


Title: Fairy Tail
Developer: KOEI TECMO America
Publisher: KOEI TECMO America
Genre: Action, Adventure, RPG
Price: $59.99
Also Available On: Steam, Switch



It's no accident that Fairy Tail's release had to be delayed a full quarter. The significant following of the manga and anime franchise necessitated its improvement prior to being deemed worthy of hitting retail shelves. The good news is that the wait has not been for naught. It's a Japanese role-playing game that doesn't redefine the genre, but delivers exactly what fans expect: loads of development and interactions of familiar protagonists. In fact, developer Gust went the other extreme; it assumes the popularity of the source material and wastes no time on preambles. It starts off the game smack dab in the middle of events of the Weekly Shonen Magazine series and assumes gamers can immediately follow the narrative.




To be fair, newcomers to the intellectual property won't stay uninformed for long. The beloved story of wizards, dragon slayers, and demons in Earth-land is easy enough to pick up despite the hefty backstories brought up left and right, with gamers tasked to rebuild the Fairy Tail guild to its former glory through quests, the fulfillment of specific missions, the forging and fortifying of relationships, turn-based combat after turn-based combat, and, needless to say, heroic feats that ultimately save the world. In short, it's nothing new and nothing JRPG veterans haven't seen before.




Fortunately, the familiar JRPG beats are donned in resplendent Fairy Tail garb. The three-dimensional models and backgrounds are luscious and meticulously detailed for the most part, backstopping a resplendent sound mix that celebrates the its fun, if sometimes, frivolous take on genre staples. Indeed, there are character development and specific story arcs, but not to the point of eating up precious time. And while grinding is a given, its not required to excess. There's likewise a good amount of fan service, but far from overbearing to the point of embarrassment.




All told, Fairy Tail earns its keep by hitting the right notes to satisfy followers of the manga craving for a worthy crossover title. Its ultra-smooth interface and deep but not complicated battle mechanics ensure hours upon hours of enjoyment. And, unlike plenty of JRPG offerings, it's designed to be completed in a reasonable time frame. Highly recommended.



THE GOOD
  • Faithful representation of the source material
  • Complex but not complicated battle systems
  • Doesn't take itself too seriously

THE BAD
  • No preambles
  • While not to excess, grinding still a requirement
  • Cutscenes and animations better appreciated by those steeped in the series
  • Avoidable fan service


RATING: 8/10

People Behind The Meeples - Episode 243: Anthony Hore

Welcome to People Behind the Meeples, a series of interviews with indie game designers.  Here you'll find out more than you ever wanted to know about the people who make the best games that you may or may not have heard of before.  If you'd like to be featured, head over to http://gjjgames.blogspot.com/p/game-designer-interview-questionnaire.html and fill out the questionnaire! You can find all the interviews here: People Behind the Meeples. Support me on Patreon!


Name:Anthony Hore
Email:anthonyhore@gmail.com
Location:Vancouver, BC, Canada
Day Job:Graphic Designer & Art Director
Designing:Two to five years.
BGG:The Pet Cemetery
Facebook:The Pet Cemetery
Twitter:@Ahore
Instagram:@anthonyhore
Other:The Pet Cemetery on Kickstarter
Find my games at:On Kickstarter
Today's Interview is with:

Anthony Hore
Interviewed on: 7/20/2020

This week's interview is with Anthony Hore, the designer behind The Pet Cemetery on Kickstarter right now! The Pet Cemetery is his first game to be published and it's already funded in its Kickstarter campaign! Read on to learn more about Anthony and his other projects.

Some Basics
Tell me a bit about yourself.

How long have you been designing tabletop games?
Two to five years.

Why did you start designing tabletop games?
I've always been a really creative person and I felt that I should try and combine that with my passion for boardgames. This is my first time creating a game so I wanted to make something that was fun, easy to learn and play, and something that had plenty of variety and replayability.

What game or games are you currently working on?
The Pet Cemetery

Have you designed any games that have been published?
No, I'm a first time game designer.

What is your day job?
Graphic Designer & Art Director

Your Gaming Tastes
My readers would like to know more about you as a gamer.

Where do you prefer to play games?
At my good friend Ben's house, they have a really great outdoor patio with a large table so we can enjoy being outside in the summer while also playing games.

Who do you normally game with?
I have a great group of 10 friends who we play with regularly. From larger campaigns with 3-4 people to fun Friday night games nights with the whole crew.

If you were to invite a few friends together for game night tonight, what games would you play?
Currently I'm addicted to 'The Lord of the Rings: Journeys in Middle Earth' as a campaign game with 3 of my closest friends.

And what snacks would you eat?
Pizza and red wine.

Do you like to have music playing while you play games? If so, what kind?
We always have on The Lord of the Rings playlist on Spotify.

What's your favorite FLGS?
Rain City Games at International Village, Vancouver, Canada.

What is your current favorite game? Least favorite that you still enjoy? Worst game you ever played?
Favourite: Mansions of Madness Least Favourite: Fireball Island Worst: Don't Wake Daddy (from my childhood - the premise and story behind this game is just horrible)

What is your favorite game mechanic? How about your least favorite?
Dice throwing for both - it can be so amazing to throw successes but when you're on a bad streak, you're on a bad streak.

What's your favorite game that you just can't ever seem to get to the table?
Tainted Grail - It's an amazing King Arthur inspired campaign game that I've only had a few hours to play but the rest of the crew are hung up on our other campaigns.

What styles of games do you play?
I like to play Board Games, Card Games, Miniatures Games, RPG Games, Video Games

Do you design different styles of games than what you play?
I like to design Board Games, Card Games

OK, here's a pretty polarizing game. Do you like and play Cards Against Humanity?
Yes

You as a Designer
OK, now the bit that sets you apart from the typical gamer. Let's find out about you as a game designer.

When you design games, do you come up with a theme first and build the mechanics around that? Or do you come up with mechanics and then add a theme? Or something else?
Mechanics are the most important to me when designing the game. I like to figure out the game play, the rubber banding for characters, how the cards or die influence character decisions and motivations. Then I love to test play the crap out of the prototype mechanics to get it right. Once that feels good then I come up with a great theme that I think works for the target audience of gamers.

Have you ever entered or won a game design competition?
No - I wish!

Do you have a current favorite game designer or idol?
I have favourite game illustrators at the moment because I have been so focused on getting the artwork for my game complete in the last few months - I'm most enamoured with Sam Yang who is a digital artist based out of Toronto - check him out on instagram @samdoesarts

Where or when or how do you get your inspiration or come up with your best ideas?
For the game mechanics my best ideas or inspiration come from playing games and getting frustrated with how somethings don't work, or how the game has broken usability. I have always wanted to play games that feel seamless and clear, where the rules and gameplay match up well and make for a fair experience for all. When I find an issue I think about upgrading the mechanic and creating my own version of a game around it.

How do you go about playtesting your games?
I first start with my core group of friends. We will playtest over and over again. Then I reach out to my local game store to get others playtesting and reviewing the game mechanics and art. Finally it's off to google and facebook to find some people who are a good fit for the mechanics or theme of the game to get some unbiased playtesting done.

Do you like to work alone or as part of a team? Co-designers, artists, etc.?
I love working as part of a small team. For my first game 'The Pet Cemetery' I worked primarily with my partner on all the details and mechanics. I find that having a few other voices and minds in the mix help to really elevate and change the game play. However if it's more the 3 or 4 people then it just becomes a big mess and it's hard to stay focused.

What do you feel is your biggest challenge as a game designer?
The biggest challenge is knowing when to take on feedback and when to let it go. I went through so many versions of the game while playtesting that I honestly can't quite remember how the game was first constructed. A lot of the feedback in terms of play and mechanics really helped to elevate and adjust the game however there were some pieces of feedback I knew I just had to let be as they were to help appease a specific person with a specific idea in mind.

If you could design a game within any IP, what would it be?
I already have an idea for a Harry Potter dungeon crawler campaign game - but good luck getting JK Rowling to sign off on the IP, am I right!?!

What do you wish someone had told you a long time ago about designing games?
That it's going to take so much time and effort. It's taken me nearly 2 years to get the game ready for Kickstarter and I don't know how I could have done it faster unless I focused full time on it.

What advice would you like to share about designing games?
That you have to be brave and put it out there for people to review, playtest, and comment on. Sometimes it's hard because the game design can feel like your baby and hearing people pull it apart or give negative critiques breaks your heart. But at the end of the day it will make for a much more compelling game.

Would you like to tell my readers what games you're working on and how far along they are?
Published games, I have: None yet, my Kickstarter just went live September 1st.
This is what I have currently crowdfunding: The Pet Cemetery
Games I feel are in the final development and tweaking stage are: RuPauls Drag Race: Cards for the Crown
And games that are still in the very early idea phase are: A Harry Potter dungeon crawler campaign game and an interesting Battle Mage competitive game where you try to dominate the board.

Are you a member of any Facebook or other design groups? (Game Maker's Lab, Card and Board Game Developers Guild, etc.)
Boardgame Spotlight, Board Game Developers Guild

And the oddly personal, but harmless stuff…
OK, enough of the game stuff, let's find out what really makes you tick! These are the questions that I'm sure are on everyone's minds!

Star Trek or Star Wars? Coke or Pepsi? VHS or Betamax?
Star Wars, Coke and Betamax all the way!

What hobbies do you have besides tabletop games?
Reading, writing, illustration, plants, video games, and baking.

What is something you learned in the last week?
That the little line on the bottom of a mug is to help water escape when it's in the dishwasher - weird I know, but I just found out about this today!

Favorite type of music? Books? Movies?
Music: Anything I can sing along to, primarily from the 80's and 90's. Books: Fantasy fiction for the win, if there's magic then I'm in. Movies: I'm a sucker for animated pieces, anything from Studio Ghibli and Hayo Miyazaki.

What was the last book you read?
I'm currently re-reading The Name of the Wind series in prep for the final book release.

Do you play any musical instruments?
No I wish! My parents focused my abilities into arts and the creative fields from an early age.

Tell us something about yourself that you think might surprise people.
I'm originally from New Zealand but have taken up residency in Canada.

Tell us about something crazy that you once did.
I jumped out of an airplane for my 22nd birthday.

Biggest accident that turned out awesome?
I applied for a green card to the USA 3 times but never got in, so I figured I would give Canada a try. It was the best decision of my life and I love living here.

Who is your idol?
Melisa Koby is a prolific and beautiful artist who inspires me daily.

What would you do if you had a time machine?
Ohh, big question! Shift the political landscape of the world, introduce 'Green thinking' to earlier generations, or maybe just buy apple stocks.

Are you an extrovert or introvert?
I'm an introvert masquerading as an extrovert.

If you could be any superhero, which one would you be?
Storm! She's a powerful queen who can throw lighting and fly!

Have any pets?
I wish, we live in a condo that doesn't allow pets.

When the next asteroid hits Earth, causing the Yellowstone caldera to explode, California to fall into the ocean, the sea levels to rise, and the next ice age to set in, what current games or other pastimes do you think (or hope) will survive into the next era of human civilization? What do you hope is underneath that asteroid to be wiped out of the human consciousness forever?
I'm hoping that a simple deck of cards survive - I have spent thousands of hours playing different card games with different rules and levels of complexity with all sorts of people. As for what should be forgotten forever, let's not get political. :)

If you'd like to send a shout out to anyone, anyone at all, here's your chance (I can't guarantee they'll read this though):
Thanks to George Takei for being an amazing ambassador to LGBTQ rights since the 70s. He has opened doors, hearts, and minds for the community.


Thanks for answering all my crazy questions!




Thank you for reading this People Behind the Meeples indie game designer interview! You can find all the interviews here: People Behind the Meeples and if you'd like to be featured yourself, you can fill out the questionnaire here: http://gjjgames.blogspot.com/p/game-designer-interview-questionnaire.html

Did you like this interview?  Please show your support: Support me on Patreon! Or click the heart at Board Game Links , like GJJ Games on Facebook , or follow on Twitter .  And be sure to check out my games on  Tabletop Generation.

Thursday, September 3, 2020

Game 377: Wizardry: Suffering Of The Queen (1991)

Titles online often include Gaiden after Wizardry or include "Episode 1." Neither is present on the title screen. I believe even the original Japanese title screen was in English.
         
Wizardry: Suffering of the Queen
Japan
ASCII (developer and publisher)
Released 1991 for Game Boy
Date Started: 18 August 2020
Date Ended: 21 August 2020
Total Hours: 9
Difficulty: Moderate-Hard (3.5/5)
Final Rating: (to come later)
Ranking at time of posting: (to come later)
     
The eight games in the Wizardry series are well known to western CRPG players. It is arguably the most influential series of all time (although it was itself heavily influenced by the early PLATO titles), spawning The Bard's Tale, Might and Magic, and Dungeon Master lines, and even influencing Exodus: Ultima III. I still find the original Wizardry (1981) remarkable for its combat tactics and the exquisite tension that it builds as you explore each level and cope with the specter of permadeath.
            
Combat in this game is identical to the western Wizardry titles.
         
What most western players probably don't realize is that the series has a life in Japan that, at least quantitatively, exceeds its legacy in the United States. In addition to the influential translations of the original games, Japan saw more than ten original titles and remakes for the Game Boy, PlayStation, NES, SNES, PlayStation 2, and PlayStation 3 between 1991 and 2013, plus a 2013 MMORPG called Wizardry Online (2013). These games weren't just unauthorized knockoffs seeking to capitalize on the Wizardry name. As we'll soon see, you're more likely to untangle Jarndyce v. Jarndyce than figure out who actually owns the rights to the series, but the earliest Japanese titles, at least, were developed under license from Sir-Tech, and they take thematic elements from the western games.
          
The party explores the dungeon. The interface elements go away until you call for them.
         
Commenter Alex has written a guest entry on the Japanese Wizardry series, which I'll publish soon, but to put it in context, I wanted to take a look at the first of the series, Suffering of the Queen, after having first familiarized myself with the Game Boy by playing its first RPG offering. Suffering is the first of a pair of Game Boy titles published by ASCII; the second, Curse of the Ancient Emperor, would follow in 1992. Suffering is something of a sequel to Wizardry II and III in that it takes place in Llylgamyn and references the Staff of Gnlida. I'm playing a fan translation from about 2013.
         
Credits for the translation.
          
I was surprised to see that aside from some minor graphical and mechanical differences, Suffering plays almost exactly like an early-1980s Wizardry scenario. You create a party of six characters from the same races and classes; you have a menu town on top of a multi-leveled dungeon. The shop names are the same; combat works the same; spells are not only the same but have the same nonsense names (mercifully "translated" in the English patch). The navigational obstacles that you face, traps, item identification, and character leveling systems all work the same. So much is the same that a veteran Wizardry player would only have to be told about a few minor differences. The authors were clearly trying to bring the Wizardry I-III console experience directly to a handled device.
  
As Suffering opens, the player is dropped without comment into the menu town of Llylgamyn, presented graphically instead of textually. Icons correspond to the major service locations: Boltac's (shop), Gilgamesh's Tavern, the temple, the inn, the guild, and the dungeon entrance.
           
Llylgamyn is a graphical menu town.
          
One difference from the earlier series is that the castle is a visitable location, and it's here that you get rare updates to the game's plot. When you visit the first time, you learn: "The traitor Taros is pursuing forbidden research in the dungeon. Disaster struck insistently in the past year. The power protecting Llylgamyn weakens. Now the people are murmuring about Princess Sorx. She vanished mysteriously at midnight." External sites clarify that Sorx is the queen's sister, but they give her name as Sokusu and the villain's name as, amusingly, Thailand Rossum. I don't know if the shorter versions are just a way to abbreviate them for the screen or if they're choices made by the English translators.
        
The titular queen doesn't show up until the endgame.
        
Characters are created from humans, elves, dwarves, gnomes, and hobbits and good, neutral, and evil alignments. Then a pool of "bonus" points is distributed among strength, intelligence, piety, vitality, speed, and luck, with the base values having been determined by race. The attribute allocation determines what classes are available: fighter, mage, thief, priest, samurai, lord, bishop, and ninja. As in the original game, the bonus pool is usually 7-10 points but then occasionally rockets up to 18-20.  You need such luck to start as any of the prestige classes; even then, some of the classes are out of the reach of a starting character. You cannot mix good and evil characters in the same party.
           
Creating a new character.
           
After character creation, I was thrown when I found that Boltac's shop was "SOLD OUT" of most of the basic starter equipment, but it turns out in this version, characters start with a basic set of weapons and armor in their possession. As you find better stuff in the dungeon, it's not "+1" or "+2," but rather an escalating set of synonyms for the base weapon. For instance, swords progress along the line of sword, rapier, epee, katana, and cutlass. Ultra high-level items are given special names like "Saber of Evil" and "Mjollnir." The same weird "invoke" system is present where you can sacrifice some pieces of equipment for permanent attribute changes.
      
The dungeon beneath the castle is six or twelve (see below) levels of 16 x 16, slightly smaller than the original games, likely to make the automap fit on the smaller screen. The game has a competent automap, called by the DUMAPIC spell (in the original, it just gave coordinates and facing direction), but I mapped the first six levels myself just so I'd have something to do. (Later, the "Teleport" spell, MALOR, also makes use of the automap.) Also, the multiple interconnected stairways, chutes, and teleporters are hard to understand unless you experience and annotate them yourself.
         
My maps of the first six levels. Darkened squares are literally dark squares (no light works), not indications that you can't go there.
       
The features of the first three games are all here: random and fixed encounters, messages, traps, chutes, teleporters, spinners, dark squares, locked doors, hidden doors, one-way doors. There's even an elevator. The major changes that I see are:
      
  • None of the levels wrap east-west or north-south.
         
The automap works extremely well in this game, but it doesn't annotate teleporters.
        
  • The bestiary is a mix of enemies from the early Wizardry games and some invented for this game. As far as I can tell, the artwork is original even when a creature's name is re-used from an earlier Wizardry.
         
"Nocorns" were in Wizardry II or III, but this is a new graphic.
         
  • You select spell and trap names from a list instead of typing them. In the case of spells, the English patch translators put the spell effects in the list rather than the original names (e.g., MAHALITO, MOLTO), which is a big bonus.
         
The mage's available spells for each slot appear as a list.
           
  • The thief character is a lot more successful in disarming traps than in my experiences with the DOS versions of Wizardry I-III.
  • Spellcasters have to rest to restore spell slots; they don't replenish automatically upon leaving the dungeon.
  • Instead of encountering "friendly" monsters occasionally, you oddly get the option to "hunt" some monsters if you want to be evil or leave them alone if you want to be good.
          
The only way to show virtue in the game.
         
  • You can't just walk through walls to find secret doors; you have to "Search" for them. Once found, the door remains visible for the rest of the game.
       
This difference is explained in a message square.
       
  • The early game is notably easier than in the originals. Full-party death is rare.
  • You can manually save the game while in the middle of a dungeon and restore from that point.
       
I'm sure there are other differences--it's been a long time since I've played any of the early Wizardry titles--but most of the ones I listed are positive. (And for all I know, some or all of them were present in the Japanese console ports of the original games.) Everything else, the authors imported faithfully, even the stuff that didn't make a lot of sense, such as the bishop getting struck with fear while trying to identify equipment or characters sometimes losing attributes when leveling up. Murphy's Ghost even appears as a repeating fixed encounter on Level 2, although he's not worth quite as much experience.
         
My thief's inventory late in the game.
          
Suffering even mimics the first games' approach to saving and permadeath. Everything that happens in the town gets automatically saved, and you can manually save in dungeons for later play. But character deaths and full-party deaths get immediately written to the file, so you can't reload to cheat them. (You can still sort-of cheat by "taking out the batteries" the moment it's clear death is imminent.) If the full party dies, you can have another party find their bodies and bring them back to town for resurrection. In general, character state is independent from, and more important than, game state, as most places that are gated are gated by inventory. Still, I'm not entirely sure how the game determines that a particular character (especially if he's assembled into a new party) has already unlocked a particular door or seen a particular message.
          
Gideon levels up and gains intelligence.
         
Combat is easier, but there's sill a lot of variability, and you have to make your decision carefully about when you're ready to descend to the next level. You also have to be careful about saving spell slots for the return journey and keeping an eye on exactly how you'll get back home. I love the tension--the palpable fear--that the first game manages as you constantly decide whether to push forward or play it safe. Some of the most delicious moments are those when you get teleported, or sent down a chute, and you don't know how to get home.
         
The party surprises an enemy party.
         
I also always enjoy the early Wizardry attention to combat tactics, with its magic system exquisitely balanced so you never have quite enough spell slots to feel comfortable. Do I blast this enemy party with a LAHALITO and a BARIKO just to be sure, or do I spread out the damage to two parties and hope that the dice go my way? Do I spend this Level 5 cleric slot on a DIALMA (healing) for my main character, or do I save it for a BADI (death) against my next high-level foe? My opinion is that the original authors got the spell system exactly right back in 1981, and every attempt to change it has ruined the balance. Suffering doesn't really change it.
         
My bishop casts a mass-damage spell.
       
Most of the game is fighting combats, leveling the characters, and exploring the next square. Eventually, you do hit some plot developments. A fixed combat on Level 3 leads to a teleporter that takes you to a hidden area on Level 2, where a woman gives you a silver key and a message to pass on to the queen: "Nemesis is drawing near. Doom will devour Llylgamyn." If you go back to the castle after this encounter, you meet with some "wise men" who give you a little more information about the main plot, including the fact that the missing Sorx is the queen's sister. The key, meanwhile, opens the way to an elevator on Level 1, making visits to the first five levels much faster.
           
Hence, the title.

           


On Level 5, you have to assemble a time bomb out of a clock and a chest of explosives (purchased from an "old man" in a separate encounter) to blast the way down to the sixth level.

            
If it weren't for this sign, we probably wouldn't have even thought of it.
         
The sixth level has numerous teleporters connecting its various sections and lots of squares that automatically warp the party back to the town. Eventually, you find your way to the ultimate encounter with Taros, who attacks with a high-level fighter named "Flack." Flack is capable of poisoning and stoning with his weapon, and Taros can cast the TILTOWAIT ("nuke") spell, so this is the time to unleash everything you have. I stupidly played with a mage, a cleric, and a bishop in my back three (I always fall for the idea that the bishop will be useful) instead of two mages or two clerics, so it took me a few tries to beat Taros.
        
My cleric damages Taros in the big battle.
        
You get an orb when you beat him--it wouldn't be a Japanese game without an orb--and a teleporter in the chamber beyond warps you back to the town. If you visit the castle at this point, you see the queen herself and get a series of screens that together seem like an endgame message:
     
The queen sits on the throne. A tinge of grief is on her face. "Llylgamyn and I applaud you for your courage and wisdom." You are awarded a title. "I will go on fighting for my people alone." The queen smiles faintly. "Thank you. Now go and rest." However, everyone knows it's just the beginning. Peace is finally restored to Llylgamyn. However, secrets still lurk elsewhere . . .
      
Doesn't this seem like a winning screen?
         
I thought that was a pretty definitive endgame message, if a bit enigmatic in translation and obviously setting up a sequel, so imagine my surprise when I was visiting some web sites post-game and found that there are actually six more levels! There's another teleporter in the room beyond Taros that takes you to a new dungeon of six more levels. Apparently, the big boss in the second half is Sorx, although none of the walkthroughs I consulted really explained how she turned into a villain.
         
I thought I'd won, but the game offers to take me to even more adventures.
        
The game apparently wraps up on five levels of the second dungeon, but there's a sixth level that features even tougher monsters in case you want to continue building your party. According to the sites I consulted, if you could find one of every item in the game and sell it to Boltac, you'll be rewarded with The Book of Nature, a special item containing the passwords necessary to transfer your characters into other Wizardry games.
     
I started playing the second half, even getting my characters to a high enough level that my mage could cast the MALOR spell, but I ran out of steam. As much as I was enjoying this return to basic Wizardry, it was taking time away from my main list, and I don't think I was really discovering anything new. In fact, the fun drops significantly for me once the characters are capable of casting every spell in the game; there's much less to look forward to with each level-up (which occur at more distant intervals anyway). I don't know if I "won" the game or not. The messages I got suggested that I completed the main quest and that the rest of the game is a kind of bonus challenge, much like the "second round" of The Legend of Zelda or the "Phase 2" of Dragon Slayer.
       
The box made use of the traditional Wizardry font and logo.
         
Suffering was directed by Hiroshi Mita, who had directed the Japanese NES conversions of the first three Wizardry titles between 1987 and 1990, so it makes sense that this adaptation hewed so closely to their formula. He would later go on to direct the conversion of Wizardry V in 1992 and Bane of the Cosmic Forge in 1995. Although he wasn't involved, ASCII's follow-up, Curse of the Ancient Emperor (1992), seems to use the same engine, although telling a more original and expansive story. A third handheld Wizardry, Summoner, was published in 2001 by Media Rings for the Game Boy Advance, but even it uses the traditional mechanics (with significant graphical upgrades).
     
I was surprised to find a game that followed the original Wizardry template so closely, and thus had a better time than expected. It is markedly different than The Final Fantasy Legend in tone, but I suspect its strengths and weaknesses would balance, and it would score on the GIMLET somewhat close to Adventure's 38 (which would make sense, since I put the original Wizardry at 37). For the second time, I'm surprised to find a far more tactically-oriented game than I would have expected for a handheld device.
  

Sunday, August 30, 2020

JoomlaScan - Tool To Find The Components Installed In Joomla CMS, Built Out Of The Ashes Of Joomscan


A free and open source software to find the components installed in Joomla CMS, built out of the ashes of Joomscan.

Features
  • Scanning the Joomla CMS sites in search of components/extensions (database of more than 600 components);
  • Locate the browsable folders of component (Index of ...);
  • Locate the components disabled or protected
  • Locate each file useful to identify the version of a components (Readme, Manifest, License, Changelog)
  • Locate the robots.txt file or error_log file
  • Supports HTTP or HTTPS connections
  • Connection timeout

Next Features
  • Locate the version of Joomla CMS
  • Find Module
  • Customized User Agent and Random Agent
  • The user can change the connection timeout
  • A database of vulnerable components

Usage
usage: python joomlascan.py [-h] [-u URL] [-t THREADS] [-v]
optional arguments:
-h, --help              show this help message and exit

-u URL, --url URL The Joomla URL/domain to scan.
-t THREADS, --threads THREADS
The number of threads to use when multi-threading
requests (default: 10).
-v, --version show program's version number and exit

Requirements
  • Python
  • beautifulsoup4 (To install this library from terminal type: $ sudo easy_install beautifulsoup4 or $ sudo pip install beautifulsoup4)

Changelog
  • 2016.12.12 0.5beta > Implementation of the Multi Thread, Updated database from 656 to 686 components, Fix Cosmetics and Minor Fix.
  • 2016.05.20 0.4beta > Find README.md, Find Manifes.xml, Find Index file of Components (Only if descriptive), User Agent and TimeOut on Python Request, Updated database from 587 to 656 components, Fix Cosmetics and Minor Fix.
  • 2016.03.18 0.3beta > Find index file on components directory
  • 2016.03.14 0.2beta > Find administrator components and file Readme, Changelog, License.
  • 2016.02.12 0.1beta > Initial release




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