Yes, I know that "Requiem" was first used in Castlevania: Rondo of Blood during the naming/file selection screen, but since I first heard this song in Castlevania: Circle of the Moon, that was the focus I wanted to go with. From what I can tell, the version of "Requiem" is the same in both games, although interestingly, this was not included in Castlevania: Dracula X, the bastardized version of Rondo of Blood.
Similar to "Prayer" from Symphony of the Night, "Requiem" here uses a single phrase for the entirety of the song, "Kyrie eleison," being Greek for "Lord have mercy." I like the idea of a Belmont, or in the case of CotM, a Morris, receiving a blessing from the church before going into battle against Dracula. Although with "Requiem" being the title, it could just as well be for the death of the protagonist. Either way, this was, and is in my opinion, another great way to kick off a Castlevania game.
P.S. The only thing that bothers me about this song, I have my catholic church going years to thank, because after singing "Kyrie eleison" you would sing "Christe eleison." Both phrases were also used as responses at certain times during the mass, usually after a reading from one of the books in the Bible leading up to one of the gospels being read. It's crazy how that sticks with you, even after 20+ years.
[Disclaimer: I received a review key for Ale & Tale Tavern 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.]
Ale & Tale Tavern Systems: Windows, Linux Release Date: September 5, 2024 Publisher: Grab the Games, Upgrade Point Developer: Scienart Games Time Spent: 2 Hours 24 Minutes
Ale & Tale Tavern is essentially a tavern management sim where you can make your work as complicated and as stressful as you want. Its core mechanic plays similar to a lot of mobile job management games where you are initially limited in what you can create for your patrons and you have to make that item and serve it to them within a certain amount of time or your customers become angry and you presumably lose gold or experience points or you have fewer clients; I'm not actually sure on this but I'm just assuming because I'm that good of a tavernkeeper. As you gain experience, you level up and gain access to additional recipes which expand your menu as well as expand the list of things you need to do in order to make more complicated and thereby higher costing and higher exp items; we'll get more into this later. All to further your goal of developing and expanding your existing tavern, although I'm not honestly sure of the end goal as I haven't progressed that far in the game yet.
We're jumping a bit ahead here, but the beauty about Ale & Tale Tavern is that you are allowed to set your work hours and your menu. You are not constantly inundated with people wanting a pint of barely ale or a bowl of barley porridge. Randomly generated characters will only show up after you flip the sign in front of your tavern to "Open." If you have a recipe book with eight recipes for your patrons to choose from, you can select what your menu is, if you want, you can only decide to serve porridge. This is important because you are required to purchase your mugs, bowls, and a lot of your starting ingredients from a merchant just outside the tavern, so if you're our of barley to make porridge or ale, you can select on the fly to only serve boiled corn instead, and that is all that people will ask for. I feel like this option greatly eliminates the amount of pressure on the player to constantly maintain an inventory of ingredients and takes away the fear that the game will all of a sudden inundate the player with people making complicated requests that might have a high overhead cost and time commitment.
On that note, Ale & Tale Tavern can be played as a single-player or co-op up to four total players, which is what this game really feels how it was meant to be played. You could one person taking orders (you click on a patron), one person prepping the food/drinks and washing dirty dishes, one person serving and bussing, and one person procuring ingredients either from the merchant or from the garden outback; or refilling the bucket with water from the well which is a required ingredient for nearly everything in the game. As a single-player game, it can get a little hectic trying to perform all of the tasks by yourself. Keeping track of your inventory, people's order,s and the water level in the washing tub. At the same time though, I feel that you would also need to be in constant communication with the other players to make sure that anything purchased is what is actually needed, like another sack of barley and two more mugs and not a jukebox; I also don't know if the money earned at the tavern is usable by other players or just the hosting player.
When you need to restock your inventory or just take a break, you're able to close your tavern regardless of the time of day or night. Sometimes you just need to catch your breath, or because maybe you ran out of money and you need a quick spot of gold so you take a delivery order which can be all well and good, except you don't have a map or a handy Skyrim-esque compass. Luckily someone put up the occasional road sign so you can find your way back to the tavern, but make sure to bring a torch if you're going out after dusk because things get dark when the sun goes down. Who knew? The biggest downside to making a delivery is that you end up losing any mugs or bowls you take out there whereas in the tavern, you can just pick up after people leave, wash, and repeat. I think there might be some kind of hidden durability mechanic here because I could have sworn that I had one or two fewer mugs/bowls and one point during my third playthrough. I also read on the Steam discussion pages about people losing their mugs/bowls, likely because they despawn if you let them sit too long, so maybe I just forgot to pick some up after a customer left?
While Ale & Tale Tavern is mostly a fun game with a reachable point of zen, there are some elements of the game that I'm not a particular fan of. Already mentioned is the lack of maps or compasses to get you around the the world without feeling lost and the feeling that the single-player game could reach a point where your immediate tasks feel more like a real job and less like an escape. The voice acting, unless it's an AI-generated voice, for the scarecrow is both annoying to listen to and a bit cringy with it being hung up on you growing "magic weed" and your character being offended that this animated anti-crow device would suggest something so illegal. Maybe it'll be explained later? Either way, I personally find the scarecrow annoying. Combat is also something that feels needlessly difficult, especially in a single-player game. Your starting weapon, the axe, only does minimal damage while the zombies (or orcs, boars, or wild dogs) do 15-20 points of damage and with two attacking simultaneously, your health can drop rather quickly. On top of that, respawning costs you 10% of what gold you're carrying, and from what I've read, there are no health/stat boosts and no armor, so you just have to learn how not to die. Yeah, I know. Git gud.
I'm only 2.5 hours on the Steam Deck without any real issues* and my tavern reached level 7, which is anywhere between a third and a fifth of the way through the game, depending on what is seen as the end game. There is a fun game here, possibly a fun co-op multiplayer game that I'll likely never get to play unless I want to play with random people and hope to the spirit of Alexi Laiho that they're actually there to do a job and not dick around like the hired help that they're supposed to be. If you're at all interested in seeing how great I can run a cozy little tavern in the middle of a fantasy setting with the cleanest well this side of the River Isen, I have a playlist with three videos up (likely more coming later) on the YTubes that you're welcome to peruse.
And maybe have a pint or three before you leave, yeah? Just don't abscond with the mugs, they're not cheap.
*P.S. The only problem I experienced was that the L/R shoulder buttons that operated the scroll wheel when selecting items in your scroll wheel inventory (as opposed to your backpack) were flipped, so the L button scrolled to the right, and the R button scrolled to the left. I know I could have changed this in the button customization settings, but it seemed like just a little too much trouble to switch the button mappings around.
"Prayer" from Castlevania: Symphony of the Night on the PlayStation, SEGA Saturn, Xbox 360, PlayStation Portable, PlayStation 4, iOS, & Android (1997 - 2020)
We continue our dive into music from Castlevania with "Prayer" from Symphony of the Night. This music plays during the opening menu and profile creation. Similar to "Epitaph" in that "Prayer" is a much slower and more thoughtful song than a lot of the other songs in the game, something that will carry through the rest of the series as it delves deeper into what is now known as Metroidvania (or Search Action games in Japan).
Something that I'd always wondered was what the lyrics were to this song and if they in fact meant anything or if they were just liturgical in origin. From what I found out, the music is originally composed by Michiru Yamane, although who's to say what influences she took from religious hymns and if there were any specific songs that she drew upon. The words on the other hand seem to have a more battled history as, more often than not, you are likely to come across a completely wrong reading/hearing of what is being said as evidenced in this Reddit thread from three years ago, and only recently and presumably accurately updated only seven months and 12 days ago. I agree with /u/atom_jiro that the lyrics are:
Auri largo (Perfectly Pure)/
Auri Marie largo (Almighty pure Mary)/
Auri largo (Perfectly Pure)/
O'largo auri largo (Almighty perfectly pure)
Now, I'm no scholar in Latin, so again, I'm going to side with /u/atom_jiro with not only their translation but also their interpretation of Latin. I did like that they didn't try to make a direct comparison to how it relates to either Alucard, Richter, or any other of the overarching stories in either Rondo of Blood or Symphony of the Night, and left it up to the player to make their own interpretations.
Jesus H. Christ, where do I start? Do I start with the dogs? Do I start with the cats? Do I start with the absolute shit storm going down in [insert part of the world that is missilling anyone else]? Do I dive into the cesspool of ultra-conservative bullshittery conspiracy theories? Do I continue with the anti-Semitic bullshit that's even surrounding Hurricane Helene? I just don't know where to start? So instead, let's briefly hard 180 to something else, like video games because I just can't with people's shit right now/ever.
Yeah, yeah, I know. We've been mentioning Keymailer so much over the last couple of months you'd think that this is a paid ad on a podcast. The truth is that I haven't been buying/leasing many games so this has been a source of acquiring games to play, share, and talk about. There have only been a few games that have been offered outright as opposed to me being the one who requested them, but I don't make the habit of requesting games I'm not already interested in. Sure, there've been some duds, but there've also been some bangers too, just like purchasing/owning games that you've never played, it can sometimes be a crapshoot. Something that I'm surprised about is that my YouTube channel has grown a bit with walkthrough/playthrough videos, but that's also because I've been making public my MIDI Week Single videos linked in each article; there are a few exceptions like when I already link from a composer's own YT video so that I don't redirect traffic away from their own video/music. Don't worry, I'm not going the route of a VTuber because that's just not me at all.
But speaking of YouTube videos, I've recently had a spat of hiccups with Steam's now built-in video recording functionality. Be it videos not being able to be exported for one reason or another, or videos not being able to be uploaded after being successfully exported, things are not great on that front. They're alright, and it's forcing me to find workarounds that I've kind of taken for granted these last couple of months. But right now, for instance, I have part 3 of a 50ish minute session with Ale & Tale Tavern uploaded to my laptop, and part 1 is being uploaded to YouTube because it won't upload to my Google Drive; so then I'll have to download it from YT and splice it together with parts 3 and 2 (assuming I can even get part 2 uploaded somewhere. And then in other issues, I'm just straight up unable to export a video file and Steam just tells me to "Try Again (2)" without any further explanation as to what I could possibly do differently or any hint as to what (2) means in terms of "Error #2?" maybe?
All the things I do in an attempt to further the growth of our site and YouTube channel, all in the name of looking attractive to publishers in the hopes that whoever is in charge of dishing out review keys, "Yeah, we like that site's chutzpah." But that is about where it stops. I do feel the pull of the masses when a video for one of our MIDI Week Singles gets a few thousand views in a month whereas another video might get fewer than 20. When I look at the analytics for articles and the site in general, I'll feel the pull to do something specifically for the clicks or the likes or the views, but I always come back to doing articles that I want to write and to share music that I want to share, and not another track from Skyrim; don't get me wrong though, I do love that soundtrack.
And speaking of Skyrim, I recently got back into The Elder Scrolls Online as it recently became closer to Steam Deck verified than it had been in the past. Something about the separate game loader having hiccups with the Steam OS had recently been ironed out so I thought it high time to revisit Tamriel in the second era. I had tried to get back into it by playing on my laptop back in March 2022 when I used my in-game Crowns currency (back from when I was paying month-to-month back in 2014) and purchased the Morrowind expansion. Only to have Morrowind become free less than a month later. Ah well.
That's just the way the kwarma egg cracks I guess.
Castlevania III: Dracula's Curse (originally released as "Akumajō Densetsu" in Japan) was the first game in the series to offer the player the option to name their name, which doesn't make a whole lot of sense since the game uses a password, although the name you chose is used during the end credits, crediting you as playing Trevor Belmont. The point is, that there had never before been a need for a screen to enter the player's name in a Castlevania game, and "Epitaph" was the first song used for this purpose.
I chose the music from the original Japanese release of the game mainly because the song has a much fuller sound created from the custom Konami sound chip that added two additional square sound waves. The melody is the same between the two versions, but I prefer the Japanese version's sound quality. Admittedly, this is also the version that I am most familiar with outside of the game since the soundtrack I bought at a Star Trek convention* in the mid-90s had this version and at the time I didn't notice the difference.
The one question I have about this song, is what the "whaw-whaw-whaw" sound that happens at 0:13, 0:35, and 0:56 is supposed to be? Is it just a random sound effect? Is it supposed to be a creature noise? Is it an engine trying to start? I genuinely have no idea as I don't recall that sound effect happening in the game, but I very well could be wrong. Just my thoughts and questions as we enter a month-long celebration of music from the Castlevania series.
First and foremost, the Nintendo Switch port of The Outer Worlds is not a pretty game. The colors feel like they are muted and muddied, often with elements that are supposed to be integrated to some extent, like hair on a head, and feel like completely separate elements. It's not a great-looking game and if you're someone who will only play games at higher than low graphical settings and are in the market for the PS5 Pro, then you'll probably want to look elsewhere both in terms of video game ports and at a different article altogether. For the most part, the game ran at a steady I don't know how many frames per second, probably around the high twenties and maxing out at 30 and there might be a couple dips down to the high-mid 10s although there were never any sub-10 drops.
That aside, I loved The Outer Worlds for what it felt like to me. A Fallout-typegame on a wide variety of science fiction worlds with an amazing set of characters as your crew, some with amazingly fleshed-out and endearing backstories and character side quests. This makes sense since it was Obsidian Entertainment that developed Fallout: New Vegas, so there's plenty of character-building, world-building, humor, and severed body parts all over this game. They very easily could have gone down the Firefly cookie-cutterroute and at times it does feel similar with characters fulfilling certain archetypes like Parvati/Kaylee being the down-home mechanic from a backwater town, Vicar Max/Shepherd Book being the former preacher, Nyoka/Jayne being the muscle, Ellie/Simon is the ship's medic, and a couple of others who are all worth mentioning, but we'll do so later. The point is, while some of the characters have similar foundations to those in Firefly, there don't seem to be any copycats and are each their own person. There are specific quests for each crew member and if you have two with you out on missions, they will have conversations amongst themselves revealing both personal background and information about your current mission. And it's not just generic banter either, but specifically directed at the other crew member. It makes the game and world feel lived in and more real than random phrases from them only when you do specific actions; but there are those too, like when you trigger a crew member to perform a special attack.
Now that we're halfway through the article, The Outer Worlds is a first-person story-driven looter-shooter RPG with zero romanceable characters (because apparently, that's a big sticking point for a contingent of the gaming public). You play as a person rescued out of a cryogenic pod tucked away on a spaceship previously thought lost 70 years after it set out from Earth to help colonize a new star system. Your character is revived wherein you build them in typical TTRPG fashion by placing points into various stats (Strength, Dexterity, Intelligence, Perception, etc) while also choosing a profession in your former life that can give minor stat bonuses (I was a "Cashier, Sub-Grade, Non-Supervisory" which bestowed upon me a +1 to Perception). It was the closest I could find to "Accountant" or "Bookkeeper." The whole process felt very tongue-in-cheek and I never felt that I needed to research everything in order to min/max my character build.
Without getting too into the weeds about the story, because there's a lot in terms of the main quest, the side quests, the crew quests, and the corporatization of the world-building that I wouldn't be able to cover very well, I'll just say that it's very much a right place at the right time while taking out The Man kind of story. After you create your character, you're instructed to meet a contact on a planet, only to have your escape pod crush your contact on impact and then you take over his identity (which becomes an optional running gag throughout the game) and his ship named The Unreliable. You talk in cities, kill bandits and wild animals outside of cities, then go back to cities to pawn all of your crap. Rinse, repeat. All while engaging in various quests. It's that kind of game and I loved it because a lot of the writing, both in terms of character dialogue and item descriptions felt both genuine and hilarious.
I was nervous about this being a first-person shooter on the Switch since my experience with the finer movements in the 2016 DOOM felt less than optimized for controller controls, and my first couple of combat encounters seemed to lean into that fear, but by the time I left that first planet, I was very comfortable with how the game operated. I took a sniper rifle approach to most situations as I would usually carry three ranged weapons and a melee weapon, so I could also have a close-quarter shotgun, a specialized handgun, or a machine gun, to go with a giant two-handed hammer. There was a fair amount of customization as well for each of your weapons as well as your armor and helmet. There was a hint of having a selection of different outfitted weapons depending on the situation and what you were fighting, but by halfway through the game, most of the time I would use the weapon that dealt the highest amount of damage.
One interesting mechanic was the ability to slow down time for a short period, referred to as Tactical Time Dilation. This was explained in-game, "Due to complications stemming from being revived after an extended hibernation, your brain processes time differently." This ability would slowly recharge over time so you couldn't just spam it during gun fights, although there were perks that would allow it to recharge faster and/or give you a small percentage chance to refill your TTD meter after a kill. Healing was an interesting mechanic and one that I didn't fully grasp until late in the game. Here you had an inhaler that you could mix different compounds to not only heal but also offer buffs depending on the combination of items used. I pretty much just used whatever items I had on hand and relied on the game to pick for me if I ran out of one item or another. The last mechanic that ended up being optional and that I never used was conditional on how you played the game. If you receive too much electrical damage, you might develop an electrical weakness that makes you more susceptible to electrical damage, but you do get to choose any perk from your list that you haven't already taken. The first one I got was from taking damage too often after jumping from heights that were too high. I can understand why this mechanic exists, but the fact that it's optional kind of makes this potential character-building mechanic make the execution of this seem rather futile. Maybe it existed in a forced form that you couldn't opt-out from early on in development but as more and more flaws were introduced, maybe it became such a hindrance that your character could be one-shotted by anything? I also felt that a generic "1 Perk" didn't feel like a great reward for having my movement speed permanently lowered by 30%.
The Outer Worldswas a wonderful game. It was an ugly game. It was a hilarious game. It was a beautiful game. It was a game that made me want to have companions with me (it helped that they couldn't die but were only incapacitated until after all of the enemies in a combat encounter were killed). When I found out that the DLC was only playable before you go into the final mission, I was a little sad because I did not feel like starting up a brand new character just to play through a couple of extra missions. But I do have the game through the Epic Game Store so I might revisit this world again either on my laptop (or a future one, let's be real) or on the Steam Deck. I was very excited when I heard that a sequel is still currently in development* and I hope that it involves all new characters as the main characters, maybe with a cameo here and there. I could live with that.
[Disclaimer: I received a review key for Light - Die to Surive 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.]
Light - Die to Survive Systems: Windows, Linux Release Date: July 31, 2024 Publisher: NoteBuddy, Inc. Developer: NoteBuddy, Inc. Time Spent: 73 Minutes
Now that we've covered the basics and generalities in Light - Die to Survive back in Monday's article, I will go over three of my four attempts at playing and trying to pass the first chapter. I technically have all four of the videos I recorded all of the playing I did in Light, but for some unknown reason, the second video ends up corrupted every time I try to export it from Steam on the Steam Deck. I can watch the video on the Steam Deck, so I know it's a thing, but every time I try to export that one file, it saves as 1.4KB, so I'm not sure what's going on in the exporting process for this one file because all of the other video files come up as their actual video. Not that there was anything overly revolutionary in that second video other than showing some progression in figuring out a couple of the solutions in what you're supposed to do for certain phenomena as you walk/run down the long road.
Playthrough #1: The First
I genuinely like the slightly messiness in this video. It's not flashy or showy or really professional-looking. It's just me starting up the game, technically for the second time but the first time was only for two minutes and to get screenshots of the title screen. It shows the process of trying to figure out how to best get the game to run well enough to be playable and presentable on a system that the game was both not designed or optimized for and one that doesn't have a large enough player base to help guide new players.
So the medium settings were somewhat playable, but I honestly didn't feel that there was a significant difference on the Steam Deck between the Low and Medium settings, so I just left them on low for the slightly better frame rate; I'd rather have a stable 30, especially for YouTube videos.
As you can tell from this first video, I figured out how to make it past the mannequin, but was flummoxed by the phone which will be covered below. But, the main purpose was to just start up the game and see how best to run it on the Steam Deck.
Playthrough #3: The Second
I'm a bit miffed by the fact that I seem to be unable to export my second video although there wasn't a lot of progression so maybe that's not a bad thing? I'm just annoyed mainly from a completionist view in that there's a gap in my experience playing the game that I can't share, even if that experience wasn't productive.
Instead of doing a long-winded commentary, I'm going to bullet point the highlights from the video without hyperlinking any of the timestamps because I cannot afford a personal assistant to do it for me. And there was a lot of progression that happened in this video.
01:42 - First viewing of the dumpster creature.
01:48 - Dead
02:55 - Thought I could try to sneak by, even with the flashlight lit.
02:55 - Dead
03:41 - I thought this time I would try approaching the dumpster but with the flashlight off.
03:46 - Dead
04:30 - The first time I saw a mannequin up on the hill and thought I should treat it like the first mannequin and keep it illuminated and hope that it would disappear.
04:37 - Success!!
04:55 - I thought this time I would completely ignore the dumpster with the light off.
05:06 - Now there's a portapotty and thought I should stop to have a look around.
05:44 - Blinking Road Closed Sign
06:13 - Dead
07:35 - I thought I would investigate the portapotty this time around.
07:37 - Dead
09:31 - First time noticing the object in the road. I didn't recognize it as a hand at first. After the screen glitch, I looked around for a mannequin and when I didn't see one, I thought it was safe to proceed.
10:23 - Dead
11:26 - I stopped here at the portapotty because of where I died last time. I thought this was similar to the phone mannequin, that I needed to solve a puzzle to not die in the next area.
12:26 - First spotting of the ditch mannequin.
12:34 - Dead
I think I died here because I went too far down the "Road Closed" dirt road.
14:19 - I got the mannequin to disappear using the same, "shine the light on it and walk away from it" technique.
14:29 - First sighting of the water tower
14:34 - A figure, similar to the dumpster creature, I briefly spotted hanging from the water tower but it disappeared too quickly to get a good look. I turned the light off in the belief, this time around, that I should only illuminate things when I specifically needed to and not at all times.
14:50 - Road cone and road sign
15:16 - Dead
16:35 - I have no explanation as to why it took several passes for the mannequin to disappear, but this started happening more and more frequently.
19:02 - Unlit lamp post
19:05 - Dead
Playthrough #4: The Third
I'm going to keep a similar format to the previous video just to maintain some level of consistency.
02:26 - I walk towards the ditch thinking that the mannequin will be there.
02:38 - The mannequin is located in a very different location, which I appreciate, but again, I wish that the game did this after every time you respawn to make each run/attempt slightly more interesting.
03:02 - Still a bit confused by the water tank at this point.
03:25 - At the road cone and sign, I actually take the sign into account and determine that you're supposed to walk around the cone (counterclockwise, yes?) before continuing.
03:36 - There's the sound of a mannequin appearing/disappearing I think, but I couldn't find anything. The sound does crop up again in the same general area, but I never did figure out what it's associated with.
03:49 - An unlit lamp post. I probably should have noticed that it being off was likely a hint as to what to do with my flashlight.
04:12 - The bus stop!
04:17 - A red arrow on the back right of the bus stop.
04:19 - Screen glitch
04:21 - Almost simultaneously after the glitch, there's an animal/creature sound along with a similar dust-up of animation on the right side of the road quickly followed by one on the left side of the road.
04:49 - Dead
06:43 - I thought that maybe with the mannequin now on the hillside, that maybe I was supposed to try something different, even if it meant going past the Road Closed sign.
06:45 - Dead
07:30 - Don't know why the mannequin didn't disappear here.
08:46 - I thought I kept the light on the hillside mannequin for as long as necessary since it had never disappeared before.
08:47 - Dead
10:09 - Apologies, I was trying out all of the buttons to see if anything happened that hadn't happened before and I accidentally hit the controller/hint screen, which doesn't really give you any hints.
12:33 - Dead
15:10 - I briefly considered maybe I should go down the hillside since the direction of the dust-ups went from right to left and happened around the area that the red arrow was pointing, but the drop down the hill looked too steep to be a thing.
15:38 - I did briefly think about heading up the hillside, but again, that didn't seem right either, mainly because the title of the chapter is "The Long Road."
15:47 - Dead
So this is where my current playthrough of Light - Die to Survive has languished, right after the bus stop with no idea as to what I'm supposed to do with the bus stop itself, the red arrow, the creature sounds or the dust-up on both sides of the road. I only just saw that Kiki Cakes posted an annotated walkthrough, so I'll likely return to the game to see how far I can get with only the occasional handholding and see how much I can figure out on my own. Maybe only to see what the other two environments are like.
But I still stand by my original conclusion from Monday's article, that I like the concept, but any sense of fear or dread drops off dramatically after having to repeat the same sections time and time and time and time again while trying to figure out the next piece of the puzzle.
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