Monday, May 12, 2025

Book Review: The Backrooms

 


Author: Morgan Solis
Publisher: Self-Published
Date Published: July 9, 2021

I'll jump to the quick on this one.  

I enjoyed some aspects of The Backrooms by Morgan Solis, but there was a lot that I didn't like about it.  

I want this article to focus on this novel, and it's surprisingly difficult not to go down the rabbit hole of the history of the concept of "The Backrooms" as well as popular and influential interpretations of what the backrooms are since their inception as the barest of ideas from 2019.  But that's kind of the brilliance, that a single image can invoke an entire pseudo-folklore about something that was just the day before, nonexistent.  There's a pretty good distilled history of the backrooms on CreepyPasta that you're welcome to read rather than have me regurgitate it back here.

The first thing I didn't like about the book was not that it was written in the present tense, but the writing itself.  I'm obviously not claiming to be a literary critic or someone who could actually sit down and write something that wouldn't be panned for being poorly written.  To me, I felt that the writing just wasn't good.  Maybe it does have something to do with the present tense as it does take a while to get used to, but I've read several books in present tense, American Psycho, The Hate U Give, One Flew Over the Cuckcoo's Nest, and sections of Jane Eyre so it's not an entirely foreign concept for me.  I feel like the text comes across as amateurish, as if I'm not an amateur myself.

"Monday rolls around and the weather resembles a scene straight out of a dark film.  Gray skies and swirly dark clouds roll into town, creating the perfect setting for a cozy ambiance." (pg 11)

~

"The friends start compiling paperwork and resume editing, cracking jokes throughout the night about work and co-workers, exes, and their favorite TV shows.

Nancy tries on various potential work outfits and the apartment soon becomes a cheesy montage scene from a romantic comedy, minus the romance." (pg 12)

~

"They meet at the park that is located near Nancy's upcoming interview, she brings Leroy along." (pg 16)

~

"She notices that there are no windows in the entire lobby, yet the room is spacious enough to help one not feel confined.  The room also appears to be remarkably well-lit for having no windows or natural lighting." (pg 22)

~

"She shoots Nina another text venting a bit, it lags sending, but eventually sends." (pg 47)


Something I realized while pulling these lines of text was that most of my critique about the writing is from the first third of the book, mostly before Nancy makes her way to the office building for her interview, and only the last two quotes are from when she is starting to become lost and disoriented when her interviewer doesn't show up.  While Nancy's story about getting lost in the backrooms differs from the formula of no-clipping through walls, I actually prefer Moran Solis' approach here because I find the concept of "no-clipping" to be too video gamey for it to be believable in a psychological-horror story taking place in the real world.  If it's handled as a matter of perspective, as in Labyrinth, compared to a literal wall that you can walk through, like in the Harry Potter series, then I'll be happy.  Nancy being walked through a confusing series of turns through seemingly identical hallways and getting turned around is what I would imagine the transition to the backrooms to actually be like.

That being said, I was disappointed when, after waiting longer than she felt comfortable in an interview room, when no interviewer showed up, she effortlessly found her way back to the lobby where she started.

Nancy follows Fera down a long hall with office rooms on both sides, each marked with numbers but no names or titles... 

She leads Nancy down a long stuffy hallway, appearing to be much more dated than the sleek lobby.  Every door is identical, which Nancy notices is peculiar.

Fera takes Nancy down the hall, then to the left, then another left, then right, then another left.  Soon, Nancy loses track of how many turns they have taken.  She wonders how all those other office spaces could be busy at the moment...

After walking for several more minutes and taking countless left and right turns, Fera comes to a slow and unsure stop. (pg 34)

~

Finally, she gathers up her belongings and heads back toward the lobby, she trips while leaving the room, stubbing her toe rather violently.

Cursing under her breath and slightly flustered, she limps back to the lobby.

She walks for about a minute, then pauses. "Am I, lost?"

She then hears the music coming from the lobby, she speeds up her pace.

Fera's name tag is no longer on the front desk... (pg 35)

 

 I realize that this is still early on in the story, and having Nancy lost in the backrooms after only 35 pages wouldn't leave a lot of room for the story to develop in the real world.  However, events like the one above happen several more times in the story.  Nancy leaves the lobby to look for the interview room, finds it, then finds her way back to the lobby, and even eventually back downstairs to the front entrance, but the entrance is locked, and as she later finds out, people outside cannot see her inside the building.  Granted, finding yourself locked inside a large building as people walk by unbeknownst to your predicament would be terrifying, but it doesn't always come across that way through Morgan's writing.

Another thing that bothered me was the battery life on Nancy's phone.  We're told early on in Chapter 6 (page 43), after returning to the interview room, and sometime after noon, that Nancy is confused upon finding out that "...her battery is already depleted" when she opens her flip phone to play some games.  My reading of that line was that her battery level was probably around 100% when she left for her interview, and now, several hours later, is below 25%, maybe less.  I know from personal experience with a flip phone that if you had your WiFi on, but in a location where you couldn't get either a WiFi or phone signal, your battery would drain faster as the phone was actively looking for a WiFi signal.  I don't know if that was supposed to be the case here.  In Chapter 8, we're told that Nancy "...realizes the battery is shockingly low."  For me, this would be at or below 10% battery life.  In Chapter 9, "...her phone is near the end of its battery life..."  Less than 5%, maybe even as low as 2%?  Four pages later, Nancy closes her phone after checking the battery life so that she can "preserve energy."  Six chapters, 39 pages, and over 12 hours later, "Its battery is nearly dead, she turns its volume and brightness down to preserve energy."  At this point, I just couldn't with Nancy's phone anymore.  Maybe the battery level isn't really as low as Nancy thinks it is, but there didn't seem to be any indication that this was a hallucination; otherwise, the battery level might've been fluctuating and not just decreasing.

Luckily for my sanity, in Chapter 16, Nancy comes across a drawer full of phones seemingly from different eras, including ones that sound like smartphones with a touch display, which seem like they hadn't been invented yet.  This revelation I really liked as it places Morgan's backrooms outside of normal time and space.  That maybe Nancy is from 2003 and is questioning a phone from 2023 in a drawer along with phones from 1993 and 1973.  But because of dehydration, not having eaten for hours, fatigue, stress, and blood loss, Nancy's mental state begins fracturing as she cycles between being scared, angry, upset, frightened, annoyed, and complacent.  Her frequently changing states of being don't come across as poor writing, but more as someone who is unable to adequately cope with their situation.  And during a lot of these scenes, Nancy was not always lost in what we think of as the backrooms, those monotonous yellow walls and damp brown carpets with blinking overhead fluorescent lighting.

It feels kind of wrong to say that I thought that Morgan's writing fit better when Nancy wasn't doing well.  When Nancy begins questioning her own reality about why she was even in the building in the first place, and how the music from the lobby of the 14th floor metamorphoses from being just, "...an old dreamy song that Nancy guessed is from the 1940s era" (pg 32) to "...the only sound she hears...is a familiar tune, not quite familiar enough to sing along, but familiar enough to wonder" (pg174). 

I was satisfied with the end of the story as it felt appropriate.  The image of a woman having gone through the ordeal that Nancy went through, wondering if she should call to reschedule her interview as she walks down a hallway, fits well with the concept and execution of the backrooms.  Sure, if she had escaped and reported her events to any kind of authority, her sanity would be questioned, but it's not like the building and the business weren't already confirmed by her friend Nina, who walked with her when they scoped out the building at the beginning of the book.  And honestly, I would probably read a sequel about Nina becoming lost in the backrooms as she searches for her lost friend*.


~JWfW/JDub/The Faceplantman/Jaconian
When the Darkness Gets In


*This made me think of the first Resident Evil movie.  I was pretty disappointed with a lot of the decisions that Paul W.S. Anderson made, especially coming off the brilliant Event HorizonThen Resident Evil ends with Alice draped in lab coat, armed with a shotgun taken from an abandoned cop car as the camera pulls back revealing an empty city in the midst of a massive zombie outbreak, and then there's a pair of bloody hand smears outside of a window 5+ stories up, and I want to know more about that particular incident.  What happened to that person that they thought climbing up and out of their window was the best option? What did they think was going to happen?  What happened to them?  And with that one shot, I knew that I wanted to see whatever the sequel was going to be.  With The Backrooms by Morgan Solis, Nina is those bloody handprints on the side of the building.



Friday, May 9, 2025

Game EXP: ELISE (VSD)

[Disclaimer:  I received a review key for Elise through Keymailer, a third-party website/company that connects publishers and developers with content creators.  The game was given without promise or expectation of a positive review, only that the game be played and content be created through the playing of the game and the experience.  Unless otherwise noted, all content in the following article is from my own playthrough of this game.] 

ELISE
Systems: Windows, Steam OS
Release Date: December 12, 2024
Publisher: Stuart White
Developer: Stuart White
Time Spent: 2 Hours 54 Minutes
First Play Playlist on YouTube

When I first saw ELISE on Keymailer, I recognized that I was getting into a third-person survival-horror shooter with an obvious gameplay homage to the Resident Evil series, complete with visual and design references to Claire Redfield.  In ELISE, you play as the titular character (or is your friend Elise? That's not 100% clear based on the game description and the in-game text) as she awakens in a maze of basement-style tunnels and hallways filled with slow-moving and persistent zombies.  Armed with a handgun, a lead pipe, and disposable single-use daggers, it is Elise's purpose to escape the basement and find out why she was captured in the first place.  And maybe also discover the source of the zombie outbreak?  I didn't finish the game, which we'll get to down the line.

It took me several attempts before I was able to make any significant progress in ELISE, as I first tried playing on the Steam Deck, then on my laptop, and then back on the Steam Deck.  My first attempt led to a horrible failure on the part of the game; I could possibly blame myself, but that hardly seems likely.  Maybe?  I had initially thought about changing the resolution, but then decided that I'd stick with 1280x780, being the closest to the Steam Deck's native 1280x800.  I did change the game from Windowed Full Screen to just Full Screen, but that apparently did something to the overall resolution and messed up the screen resolution overall, and put a black bar through the middle of the screen.  I wasn't able to make any other changes in the settings after that, so I had to uninstall and reinstall the game, all the while hoping that my settings wouldn't be saved, which thankfully they weren't.

Once I got the game running, I noticed that on the "High" graphics settings, the game was only running around 14-18 fps while in the basement and still looked pretty grainy and pixelated.  I lowered the settings down to medium, and the game was able to run between 20-32 fps and seemed to smooth out the visuals, so I left it there.  But there ended up being a whole host of other technical issues that cropped up during my playthrough, both on the Steam Deck and on my laptop (which I already knew wasn't going to run the game very well, if at all).  The most obvious problem was that the game would freeze during loading screens or become unstuck during loading screens by bringing up the menu, but then the menu would be stuck, and I couldn't exit out of the menu and was forced to force-quit entirely.

Game design-wise, there were choices that I didn't enjoy.  I understand wanting to draw inspiration from Resident Evil by having an in-game explanation for having limited saves, so while Resident Evil used typewriter ribbons and typewriters, ELISE uses quarters and arcade machines, which, for some reason, are in a zombie-infested basement bunker complex.  During my entire time playing, I was only able to find one arcade machine and after saving for the last time, using up my last quarter, I realized I was going to stop playing altogether because when I came back to the game, I found that all of the enemies had respawned.  What annoyed the hell out of me, was that I had spent close to an hour exploring the basement, found it connected to a vast complex of interconnected hallways in a connected high-tech laboratory setting without finding another arcade cabinet (to save at), and ran all the way back to the near the beginning.  The thought of having to fight my way back to where I was after having used up so much ammunition and healing kits was the antithesis of fun.  This is why the last video from this playlist series only lasted just over four minutes and at 02:25, as I look through my inventory to make sure that I have keys and healing kits that I picked up during my last game, I feel that you can see me contemplating having to go through everything that I did in Part 3 all over again; mostly anyway.

So I decided to stop playing.  There were some fun moments and I didn't overly mind the less than crisp graphics or having to frequently shoot zombies again after felling them once so that they wouldn't surprise me by popping back up all over again.  I didn't mind the absurd ragdoll physics of the zombies after they died and their bodies turned into fleshy pretzels.  I didn't mind that the knife was a single-use defensive item.  I didn't mind the narrative of finding a massive laboratory system connected to a brick and mortar basement or how long both Elise and Hank must've been out to be taken this deep into such a large complex only be be placed in a dank cell.  I didn't even mind how frequently I was killing a zombie with the same face/body/clothes/skin, and I get it, that unique assets can be expensive when you're kill count numbers in the hundreds.  But what I couldn't get behind was the design choices that ultimately led me to stop playing altogether.  There's some potential here that would need a lot more work, but for me, it was the end of the line.


~JWfW/JDub/The Faceplantman/Jaconian
When the Stars Lose Their Life

Wednesday, May 7, 2025

MIDI Week Singles: "Song C" - Gauntlet (NES)

 


"Song C" from Gauntlet on the Nintendo Entertainment System (1988)
Composer: Hal Canon
Album: No Official Release
Publisher: Tengen
Developer: Tengen


Memory and the passage of time are a fickle thing.  I could have sworn that I wrote the MIDI Week Single article for "Treasure Room" a year or two back, thinking that I didn't need to feature another song from Gauntlet so close to the previous article.  But that article was from five years ago.  Surely the previous article for "Song A" was more recent than no, that was 11 god damn years ago!  So maybe we're doing Gauntlet music every five-ish years at this point?  

Maybe it's also some kind of commentary on the music itself, and at this point, I don't need to go into my personal history with Gauntlet.  Something that did surprise me while researching this article was that it appears that the music in the game is random, as a couple of the longplays I watched had different songs play for different levels.  In my mind, this is the music that I would hear in Room 2.  Maybe it's something about the layout of the room or the color palette, but something about this music harkens back to that, and I can't fully figure out why if the music is indeed random.  Maybe my memory is faulty as it has been over 30 years since I last played Gauntlet on the NES, but I'll be damned that this game had some great music.


~JWfW/JDub/The Faceplantman/Jaconian
When I Get Too Drunk To Sing

Friday, May 2, 2025

Monthly Update: May, 2025

 


What have I been doing these last 30 days?  Huh.  Stuff, I guess.

I've been plodding through Fallout 4 and at times wonder how and why I don' just b-line through the main quest and finish the damn thing so I can move onto another 170+ hour game that isn't The Elder Scrolls Online.  Then I finish a quest adjacent to the main storyline, having to do with the Minutemen, and I get an achievement.  Sure, there's the little serotonin boost when that bleep-bloop sound effect pops up and that's nice and all, but it really sinks in after I've turned the game off and look at the Steam Global Achievements page and see that only 29.8% of players of Fallout 4 have gotten the "Old Guns" achievement by creating artillery placements at Fort Independence.  Or that only 14.8% of Steam players have completed the "Far From Home" questline that is the Far Harbor DLC.  Don't get me wrong, it's not the rarity of the achievement that is driving me to play more, but more having to do with that, based on this one number for this one quest, 70.2% of the 15,200,000 who have purchased and started Fallout 4 have ever completed this far into the Minutemen quests; maybe they are that universally hated?  To me, that's wild.  Sure, some of it could be chalked up to people playing offline and the achievement not being recorded/counted, or some other function of the game not working, and that information not being recorded/collected by Steam.  But yeah, wild.

I feel like I'm nearing the end of the main quest in the Morrowind DLC in The Elder Scrolls Online, and I wouldn't be surprised if I take a little break after that happens.  Being able to explore Vvardenfell in a higher resolution than the original 22-year-old classic was one of the primary drivers behind starting that DLC in the first place.  Maybe I'll also start the Elseweyr DLC, too, since that's a region that's never been explored in the mainline series outside of Arena.  The same could be said for the Black Marsh DLC and the Aldmeri Dominion quest line, and it delves into both the Summerset Isles (not counting the Summerset DLC) and Valenwood.  Shit y'all, I think I'm stuck doing another 300+ hours in this game.

As of this writing, no, I didn't snag a Switch 2 pre-order.  I did briefly try when Best Buy went live on the 24th, but I seemed to have been sitting in a queue long enough that my phone timed out, and I got kicked back to the store page.  I wasn't bummed since I really couldn't afford it at the time.  I think if I do order one within the year, it'll likely be once Nintendo sends out their order form for people who signed up to register for pre-orders (although now it looks like they'll just be regular orders at this point), but I guess we'll find out by May 8th when order forms may or may not go out.  I mean, I didn't buy the Switch until it had already been out for four months, so it's not like I've ever felt like I needed to buy a console at launch.  I think it's more likely that I buy a new laptop since this one I'm using I bought back in 2020, although the only major thing wrong with it is that the sound driver is crap; always has been too.

I know I said last month that I wasn't really excited about the release schedule for this second season of Andor, but I would like to say that I've changed my mind on the three episodes dropped every Tuesday for four weeks.  Granted, Conklederp and I aren't binge watching all three episodes at once, instead, we're spacing them out over three nights.  So by the time this article goes to the proverbial printers, we'll have finished episode five (early night on Wednesday so we only watched the fifth episode on Thursday night).  I do really like that each three-episode arc encapsulates a series of events that happen during a year, or at least that's how it's currently established.

Oh, and I just picked up the Watch Along edition of Godzilla Minus One because it contains both the -0 (or minus color) edition and a new commentary specific to the minus color edition.  I figure that if I'm ever going to buy a Godzilla movie, it's going to be the one that nearly brought me to tears while I was donating platelets last year; not because it's not masculine to cry during a Godzilla movie, but because it would've been inconvenient to have one of the phelbologists constantly wiping away my tears while hooked up to the platelet machine.

Let's call it there for now.  I'm sure I could think of more things that have and will happen, but there's plenty of time to mill that over for the next 31 days.



~JWfW/JDub/The Faceplantman/Jaconian
Riding the Grid, Riding the Word

Wednesday, April 30, 2025

MIDI Week Singles: "Mitsurin" - Dragon Spirit (TG16)

 


"Mitsurin" from Dragon Spirit on the TurboGrafx-16 (1988)
Composer: Shinji Hosoe
Album: No Official Release for Turbo Grafx-16 Music
Publisher: Namco Ltd, NEC Home Electronics
Developer: Namco Ltd.



I promise you I didn't intentionally choose the same song from Dragon Spirit that I chose from Dragon Spirit: The New Legend almost six years ago.  I was listening to this song and thought pretty much the same thing as I thought then, that this song screams 1980s from beginning to end.  The biggest difference between this song and the one from the NES version is that "Mitsurin" is a little more subdued and just a little less flamboyant and exciting.  It makes sense that the sound chip in the TurboGrafx-16 has smoother sound quality compared to the NES, as it was running a more powerful system and was afforded more audio channels.  It also doesn't completely loop at 0:40 like the NES version and develops a bit more by throwing even more instrumentation in.  I am a bit sad that every version of this song from the TurboGrafx-16 game cuts off right at 1:09, and I couldn't find an extended version, but that's what the replay button is for.

This is still a hella fun song though, so we're using it again.



~JWfW/JDub/The Faceplantman/Jaconian

Monday, April 28, 2025

First Impressions: ROBMEMBOR (MQ2)

[Disclaimer:  I received a review key for ROBMEMBOR through Keymailer, a third-party website/company that connects publishers and developers with content creators.  The game was given without promise or expectation of a positive review, only that the game be played and content be created through the playing of the game and the experience.  Unless otherwise noted, all content in the following article is from my own playthrough of this game.] 

ROBMEMBOR
Systems: Meta Quest 2/3/Pro
Release Date: September 29, 2023
Publisher: Palindrome VR
Developer: Palindrome VR
Time Spent: 39 Minutes 41 Seconds
First Play Playlist on YouTube

I feel like I should have enjoyed ROBMEMBOR more than I did, and I'm disappointed to say that I didn't enjoy it for several reasons.  Although, let's start off with how the game advertises itself.

Navigate the labyrinthine corridors of an elderly woman's mind, whose memories have been broken by Alzheimer's. As the chosen mind-repairer, you will solve puzzles, guided by a witty robot, to piece together the tapestry of her life. Merge technology with empathy to revive beautiful memories from oblivion.

That there sounds like a great experience.  A moderately chill VR video game tackling the topic of Alzheimer's in video game form in a way that doesn't seem to make light of this condition.  The game's title is a portmanteau of the words Robot and Remembor, as you help a robot fit back together the memories of a woman with Alzheimer's disease.  The in-game narration even describes the process and mechanics as similar to an escape room.  On top of that, I have about six years of experience working with people with dementia, Alzheimer's, and in memory care units.  I should have liked this game.  What ended up turning me off from ROBMEMBOR wasn't anything to do with the content, but the execution of the game itself.

One of my biggest problems with the game was that the in-game menu and any dialogue text boxes were physically (virtually?) attached to the head of your robot guide.  This wouldn't necessarily be a problem if the robot didn't move around in the playable area and wobble its head so damn much.  Trying to read the menu screen or text while I was standing still with the screen bobbing about was starting to make me motion sick, something I was not expecting from this game at all.  Even the second time I played, for the short amount of time the menu was visible, I felt my stomach churning.  Thankfully, you're able to minimize the menu screen, and the dialogue disappears after a short while so it's not visible the entire time, but during the tutorial, as you become accustomed to the controls and what you're supposed to do, it seemed somewhat important.

My next issue was with the controls themselves.  In the game, you're basically playing as two floating hands that serve multiple functions.  First, you can pick up and manipulate objects.  By pressing the X/A buttons on their respective controller, you can turn on a transparent/duplicate mode where your hand can pass through objects and duplicate any object you pick up in the process, just by picking it up, leaving the original object in its place.  The third function is that your hand becomes just an outline, and you can swap colors, in the most rudimentary sense, with the object you're touching.  You can also raise both your hands to your head, which will reset the colors of the objects you've altered to their original color.

Now, I'll be the first to admit that in my first time playing, I missed part of the text from the robot about using its head, which I realized while thinking about the game between my first and second time playing.  I can't explain, though, is why the game didn't seem to want to accept my solution the first time (in Part 2), but after exiting and redoing the puzzle (again), it did seem to work.  I also don't know why the game wouldn't let me place the head back on the pedestal after thinking that one head wasn't where it was supposed to be.  That led me to think that there was some kind of glitch, and I needed to either reset the puzzle or just exit out completely.  

That was when I decided to give the freeplay/playground mode a try, but that ended up with its own issues.  To me, there was just too much free rein and not enough direction, but I guess that's kind of the point of a playground.  It really just felt like I could spawn any of the objects from the catalogue and then change their color if I wanted.  I did find out that I could change the environment, but that seemed to have an unintended consequence on the other objects in the room, like the table and the robot, not taking into account the rocky terrain of the moon/tree landscape.  So I went back to the tutorial level.

This time around, I again couldn't tell you what I did differently from the previous attempt, but whatever it was was an acceptable solution, and so I was (finally) taken to the first chapter in the story mode.  I admit that I probably didn't give this first chapter a fair shake in terms of really exploring the room and trying to actually figure out how to solve whatever the puzzle(s) were.  I genuinely thought that the layout of the room was odd and not initially clear on what it was that needed to be done.  Likely something to do with the figurines and the pedestals.  And I probably could have tried to connect the dots.  And done something with the weights and the scale.  By this point, though, my left hand seemed like it had glitched beyond repair, as I wasn't able to cycle through the different functions, and eventually the same happened to my right hand.  I was also starting to feel more and more nauseous from moving around the environment and the robot's bobbing text box.  So I gave up.

I know.  That's bad journalism to stop playing a game after fewer than 60 minutes and only just past the tutorial stage, but I felt like I was playing a game that was buggy and making me physically ill due to a design choice.  I also wasn't having fun due to the aforementioned issues, something that I felt that I should've been experiencing by this point, especially in a VR game that wasn't in the horror genre.  I love the concept of approaching memory loss and Alzheimer's in a video game, and VR does offer the unique experience of the medium, but I just wish that ROBMEMBOR had been a better game than the one I experienced.


~JWfW/JDub/The Faceplantman/Jaconian
In Four Moons the Antlered One Will Go To Rest

Wednesday, April 23, 2025

MIDI Week Singles: "Sand Fabrics" - Racing Battle: C1 Grand Prix (PS2)

 


"Sand Fabrics" from Racing Battle: C1 Grand Prix on the PlayStation 2 (2005)
Composer: Akihiko Hirama
Album: Racing Battle C1 Grand Prix Original Soundtrack
Label: TEAM Entertainment
Publisher: Genki
Developer: Genki


I don't really have much to say about "Sand Fabrics" apart from that I really dig it.  I haven't played Racing Battle: C1 Grand Prix, so I don't know if the title is related to anything in-game or if it's just a title that Akihiko Hirama came up with on his own.  "Sand Frabrics" is just a fun, high-energy (trance?) song from a game that I'll likely never play, although a new English translation was released last year.


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental