Vacation in the Dungeon

The Yellow Flame of the Highlands

Sat, 31 Jan 2026 10:55:00 -0500

You are listening to Vacation in the Dungeon, the podcast with your Muhammad(s) Muhammad Tahir and Charlton Smit, and a special guest, Finlay Maclean.

In this episode of Vacation in the Dungeon the Podcast, we discuss: Gaming and Travel.

Segment 1 Scotland

Muhammad: Welcome back. Today, we're looking at the weirdly thin line between the Scottish Highlands and the Lands Between from Elden Ring. Joining us is Finlay, who just got back from a trip through Scotland.

Muhammad: It’s cool to have you here, bruh. I think everyone who plays open-world games has that moment where they see a photo of Scotland and think "Skyrim" or "Elden Ring," but was it actually like that for real?

Finlay: "It’s funny you say that, because I went in looking for those 'epic gaming shots,' but the reality actually ruins the game for you a little bit.

In a game, a mountain is usually a boundary or a waypoint—it's designed to be looked at. In Scotland, the mountains feel... heavier. When you’re standing in the Quiraing on the Isle of Skye, you realize that a game engine literally couldn't handle the scale. The mist doesn't just sit there looking pretty; it moves at thirty miles an hour, it smells like wet earth, and it makes you lose your direction in seconds.

Charlton: (respond arrodingly )

( possible response)In Scotland, the landscape is entirely indifferent to your presence. You mentioned the scale of the Quiraing; that’s not just 'big,' it’s a massive post-glacial landslip that is still actively shifting. When that mist hits, it’s not a graphical slider being turned down to save your frame rate. It’s a physical change in the atmosphere that can drop the temperature ten degrees in a minute. What’s one thing about the Highlands that you can't capture in a photo?"

Finlay: "It’s exactly what I was saying about the mist. You can take a photo of a cloud, but you can’t capture the way the air actually wraps around you. It’s not just something you see; it’s something you feel on your skin. One minute you’re dry, and the next, the air is so heavy with moisture that your jacket is soaked and the temperature has plummeted. It’s a total shift in the environment that a camera just interprets as 'grey,' but your body interprets as a cold reality."

Muhammad ya, there's just something that a camera just can't capture

Muhammad: But did you find any spots that felt like they had that specific level design? You know, where the terrain forces you into a certain pat,h like Limgrave, with all the hills and the greenery?

Finlay: Glencoe is the obvious one. The mountains there are so steep and vertical that you feel trapped in a corridor, even though you're outside. It felt exactly like those legacy dungeons where you can see where you need to go, but the geography is just saying, "No, not yet." You have to find the intended path.

Charlton: (respond arrodingly )

( possible response)I’m curious about the ruins. Scotland is covered in them, but they aren't all "cool" castles. Some are just old foundations.

Charlton: How did that compare to finding random broken shacks in the game?

Finlay: It’s the storytelling. In the game, you find a ruined shack, and there’s a single item that tells you a depressed merchant lived there. In Scotland, you see these "clearance villages" where people were forced off the land. It’s a different kind of "shattered world" vibe. It’s not magical, it’s just heavy. It makes the world feel like it’s already ended, which is basically the plot of every Elden Ring zone, especially Calid with Milania letting off a nuke of rot when Radahn was letting her re-adjust her arm.

Muhammad:(respond arrodingly )

( possible response) It’s interesting how we use games to process real landscapes now. It’s like we have this new vocabulary for nature.

Finlay: Exactly. I saw a lighthouse on a jagged cliff near Neist Point, and my first thought wasn't "navigation," it was "there is definitely a boss at the top of that." It changes how you interact with the world. You’re not just a tourist; you’re an explorer looking for mechanics.

Charlton: Did it make you want to play more when you got home, or did it make you want to stay outside?

Finlay: It actually made me want to play differently. I used to fast-travel everywhere. After walking those hills for real and feeling how long a mile actually is, I went back to the game and started just walking the roads. You notice so much more when you aren't just teleporting to the next objective.

Segment 2:Cross over

Charlton: Welcome back to Vacation in the Dungeon, the podcast where we bridge the gap between the misty peaks of the Highlands and the Erdtree’s golden glow. I’m your host, Charlton Smit.

Muhammed: And I’m Muhammed "The Briar," your co-host and resident expert on why the Lands Between desperately needs a decent rain jacket.

Charlton: Right you are, Muhammed. Today, we’re asking the big questions: Is Limgrave basically just Aberdeenshire with more dragons?

Muhammed: (Laughs) Honestly, Charlton, the weather is about the same. Gray skies, constant threat of lightning, and if you wander too far into a bog, you’re never coming back. The only difference is that in Scotland, the giant crabs are usually on a dinner plate, not trying to snap you in half

finlay: Och, it’s remarkably similar, Muhammed! Back home, I spend my days looking for a "True and Stalwart Lord." Here, I just go to the local pub on a Tuesday night. Plenty of men who think they’re lords, usually after three pints, though they’ve less "Golden Lineage" and more "badly fitting tweed."

Charlton: We heard you had a bit of a run-in with a local farmer last week?

Guest: A misunderstanding! The man was trespassing on what I deemed to be "sovereign soil." I simply asked him to pledge his service to the Erdtree and help me clear out a few "pests" in the barn. He told me to "get tae," which I assume is a traditional Highland blessing of some sort.

Muhammed: Not exactly, bruh . But let's talk gear. We see you've swapped your gold-trimmed robes for... is that a Barbour jacket over a kilt?

finlay: It is! And I must say, the "pocket" situation is a revelation. I can fit three Flasks of Crimson Tears and a sausage roll in here. It’s the height of practical nobility. Though I will say, the local "Bloodhound Knights"—or "Sheepdogs," as you call them—are far more disciplined than the ones back in Liurnia.

Charlton: Lord Haight, before we let you go, any advice for a Tarnished venturing into the Scottish winter?

Finlay : Aye. If you see a fog door, it’s probably just the haar coming off the North Sea. Don't waste your spirit ashes on it.

Muhammed: He’s a bit much, isn’t he? "Sovereign soil," honestly. He tried to knight my Golden Retriever earlier.

Charlton: (Laughs) To be fair, Muhammad, that dog has more poise than most players I see in the Colosseum.

Muhammed: Fair point. Well, that’s all we have time for today. Next week, we’re looking at the "Caelid-fication" of Glasgow’s city center on a Friday night.

Charlton: It’s more similar than you’d think. Until next time, stay with the frenzied flame or you'll be maidenless

Segment 3: Elden Ring

It’s been a long journey through the Lands Between, hasn’t it? Today, I wanted to take a moment to step back from the chaos of boss fights and rune farming to talk about something that hits close to home for me: the strange, beautiful, and often terrifying parallels between my homeland of Scotland and the fractured world of Elden Ring.

Now, usually I’d have a guest here. But since I’m currently stuck in the Mountaintops of the Giants and the Wi-Fi is patchy at best, I thought I’d do a bit of a "self-interview." A check-in, if you will, between the man I was and the Lord I’m trying to become.

"So, Charlton, how are you finding the transition from the Highlands to the Lands Between?"

"Well, the scenery is familiar, but the inhabitants are a bit more... aggressive. Back home, if you meet a giant on a hill, it’s usually just a very large sheep or a hiker in a bright yellow jacket. Here, it’s a troll with a sword the size of a bus. But honestly? The wind feels the same. Cold, biting, and indifferent to your existence. It makes me feel right at home."

"And what about the Elden Ring itself? Is it worth the struggle?"

"Is it ever worth it? It’s like trying to climb Ben Nevis in the middle of January. You’re shivering, your legs are screaming, and you’re wondering why you didn't just stay in the pub with a warm pie. But then you reach the top. You see that golden glow over the horizon, and for a second, everything makes sense. The struggle is the point. The 'grind' isn't just about levels; it's about proving you can survive the storm."

That’s the heart of it, I think. Whether you’re a Tarnished or just someone trying to get through a rainy Tuesday in Glasgow, we’re all just looking for a bit of Grace to guide us home.

I’m going to huddle a bit closer to this fire now. If you're out there, wandering the fog, just remember: keep your shield up, keep your spirits high, and for the love of everything holy, don't pet the dogs in Caelid.

I've been Charlton. This has been Vacation in the Dungeon. May you find your path, even if it's covered in mist.

Music Credits:

Circuit Rush by The Mini Vandals

Connect with us on Social Media

@theHVSPN

The Unkindled Desert

Fri, 09 Jan 2026 09:59:00 -0500

Hopewell Valley Student Podcasting Network

Show Name: Vacation in the Dungeon

Episode Title: The Unkindled Desert

You are listening to vacation in the dungeon the podcast with your host(s) Muhammad Tahir and Charlton Smit.

In this episode of Vacation in the Dungeon the Podcast we discuss: Travel and gaming.

Segment 1:Dubai

"If you stand at the base of the Burj Khalifa at the first light of dawn, watching its jagged, metallic spire pierce through a heavy shroud of desert fog, you aren’t just a visitor in the United Arab Emirates. In that moment of silence, you are the Unkindled standing before the High Wall of Lothric. You’re looking up at a structure so massive it feels like it wasn't built by modern engineering. Dubai functions as a modern mirror to the Dark Souls universe through its sheer architectural magnificence. It serves as a monument to human will, constructed in a harsh, sun-scorched environment where—by all laws of nature—nothing was originally meant to flourish. It feels like the defiant cathedrals of Lothric that cling to the very edges of reality, fighting against a world that threatens to fade into the dust of history.

Ur traveling into the Dubai Desert Conservation Reserve just as the sun begins to bleed over the crimson dunes, turning the sand into a sea of fire. When you look back at the distant, shimmering skyline through the haze of the rising heat, the city appears like the ancient, hidden heights of Archdragon Peak. It sits there, silent and expectant, like a legendary confrontation waiting for you to ring the bell. The desert itself becomes the 'Great Swamp'—a vast, unforgiving expanse that makes the sight of the city feel like a hard-won sanctuary. In the game, we call those sanctuaries bonfires. In Dubai, that bonfire might be a hidden rooftop garden or a quiet lounge on the 100th floor, but the feeling of total relief when you step back into that 'safe zone' is exactly the same.

But wait until the sun sets and the 'First Flame' of the day flickers out. When night falls, the metropolitan center transforms into a labyrinth of cool blue LEDs, silver glass, and deep, obsidian shadows. It captures that haunting majesty of Irithyll of the Boreal Valley. It’s a place that feels like a beautiful illusion sustained by sheer power—a moonlit dreamscape where every corner holds a secret. Walking through the Downtown district at 2:00 AM, with the fountains dancing in silence and the lights reflecting off the steel, you get that same sense of lonely wonder. You’re a small character in a world built for giants, navigating a landscape that feels like it was designed by a creator with a flair for the dramatic and the impossible.

So one time I was playing Dark Souls three, I had fought through the muddy, decaying swamp surrounding Farron Keep and made my way next through the Catacombs of Carthus, an area plagued by rot, smoldering demons, and decaying skeleton warriors. I touched a goblet, which released abyssal gas, flooding the room with darkness. In front of me was the mother (or should I say, father) of all skeletons, the giant High Lord Wolnir. All in all, a pretty easy boss, but a somewhat depressing one. After I defeated him and sent him crawling back into the Abyss, I opened the doors to reveal the hauntingly beautiful and mystifying view of the Irythillian skyline, like a darker, twisted version of Disney World.

Dubai is a city defined by its high walls, its converging cultures, and its 'bonfire' sanctuaries of luxury tucked within a formidable, ancient landscape. It is the definitive real-world map for anyone looking to experience the staggering scale and solitary atmosphere of a Dark Souls journey. It reminds us that even in the face of a vast, empty desert, humanity will always find a way to build a throne., Next time you travel, don't just look for a vacation. Look for a quest. Prepare to explore, praise the sun, and engage in jolly cooperation!

Segment 2: Crossover

Muhammad: You ever have that moment where you’re staring at the character creator screen in Dark Souls 3, and just dont know what to pick by the choice? You’re looking at the Knight, the Mercenary, the Deprived... and you know that one click is going to dictate how you suffer for the next eighty hours.

Charlton: Oh, every time. It’s that internal debate—do I want to be the guy with the massive Fume Ultra Greatsword who just trades hits and lives on Vigor, or do I want to be the Glass Cannon Sorcerer who can one-shot a boss but dies if a hollow sneezes on them?

Muhammad: Exactly. And honestly, looking at a place like Dubai, it feels like the city itself is a maxed-out Strength build. It’s all raw power, massive physical presence, WIth every one driving around in aston martins and the Mclarens. But when you actually get on the ground there, you realize the "meta" for navigating it is totally different. You see people trying to play it like a Luck build—just wandering around, hoping to find a hidden treasure or a shortcut—but the environment is too punishing for that. The sun there is like the lava in Smouldering Lake; if you aren't prepared with the right "gear" or resistances, your just melt.

Charlton: It’s wild because everyone focuses on the shiny exterior of those buildings, but to me, they’re just environmental puzzles. It’s like the Grand Archives. You see the outside and it looks glorious, but once you’re inside, it’s a labyrinth. You’re looking for the elevator that links back to the bonfire because you’re out of Estus and the "enemies"—which in Dubai are usually just the crowds and the sheer distance between landmarks—are wearing you down.

Muhamad: Right? If you go to the Marina at night, it’s pure Irithyll of the Boreal Valley energy—that cool, moonlit blue vibe. If you’re a Sorcery main, that’s your spot. But if you’re a Pyromancer, you belong out in the dunes, where the "First Flame" feels like it’s actually touching the earth. The city isn't just one thing; it’s a map that rewards you for knowing your stats and picking your lane. Personally, I like the class that you get the sellswords twinblades. They can carry you through the game. Right now, I'm stuck on the Abys watchers. I just need to look at the second phase moves better first, as I have memorized them by now.

Charlton: I guess that’s the real takeaway. Whether you’re in Lothric or downtown Dubai, you can’t just "Vordt" your way through everything by swinging wildly. You have to respect the layout, manage your resources, and most importantly, make sure your wings actually work before you try to fly off the High Wall.

Segment 3: Dark Souls 3

Dark Souls 3 takes place in a collapsing world. The age of fire, which once brought light and life, is slowly dying out.

Visually, everything feels like it’s on the edge of ending: twisted castles, broken bridges, ash-covered landscapes, and a sun that looks like it’s burning out.

What makes this world interesting isn’t just that it’s dark; it’s that it feels like a memory of something greater. The ruins suggest that once, there was order and glory—but now you walk through the leftovers.

The atmosphere is a mix of loneliness and mystery. You see broken statues, empty thrones, abandoned cathedrals, and you keep asking:

What happened here?

The game never gives you a big explanation. You have to piece it together from item descriptions, short conversations, and the way each area looks. That’s one of the reasons the lore is so fun to talk about—it feels like you’re solving a huge puzzle. At the center of this fading world is you—the Ashen One.

Instead of being a glorious chosen hero, you are literally someone who has failed before. You’re an “Unkindled” being: not even a proper undead, but left over from people who tried and failed to link the fire in the past.

In other words, you start the story as a kind of reject. Not the first choice. Not the most powerful. Just… what’s left.

Your goal? To bring back powerful beings called the Lords of Cinder, who once linked the fire themselves. One of the main places connected to this is the kingdom of Lothric.

Lothric is a great example of how the world tells a story through design.

It’s full of grand architecture—tall towers, huge bridges, banners—but everything is cracked and decaying.
Dragons cling to the walls, almost fossilized in place.
Knights stand guard, but the kingdom they protect is basically dead.

The royal family of Lothric was supposed to continue the duty of linking the fire. But the prince, instead of sacrificing himself, refused.

This refusal is a huge deal. It’s like someone saying:

“Why should we keep feeding ourselves to the fire just to keep a dying age alive?”

So now the world is stuck in this weird loop: the fire won’t properly die, but it also won’t fully burn bright again. Everything is dragged together in one place, a mash-up of different times and places near the end of everything.

Music Credits:

Circuit Rush by The Mini Vandals

Connect with us on Social Media

@theHVSPN

The Black Snow Of Canada

Fri, 12 Dec 2025 09:31:00 -0500

Hopewell Valley Student Podcasting Network

Show Name: Vacation in the Dungeon

Episode Title: The Black Snow of Canada

You are listening to Vacation in the Dungeon the podcast with your host(s) Muhammad Tahir and Charlton Smit.

In this episode of Vacation in the dungeon the Podcast, we discuss: Bendy and the Ink Machine and Canada.

Segment 1: Canada

Every time i imagine Canada I think of one of the biggest countries in the world, and it feels like a mix of modern cities and endless wilderness. When you land in places like Toronto, Vancouver, or Montreal, you get huge skylines, different cultures, and busy streets. but sometimes you also can get buried i the mountains of snow. But once you drive outside the cities, everything opens up into forests, lakes, mountains, and long snowy roads that look like scenes straight out of a car game. Canada is also known for its freezing winters, maple syrup, hockey, and friendly locals. And by the way, guys, if you like our show, consider subscribing to us on either Spotify or Apple Music.

If you travel to Canada, there are a couple of places that you should really check out. Banff National Park in Alberta looks like something straight out of an anime with its blue lakes and giant mountains that feel like they belong in a fantasy RPG. Vancouver is a city where you can see tall buildings on one side and the ocean and forests on the other, and it’s also home to big gaming companies like EA and Ubisoft Studios. They are the people who created Moterfest and FIFA. Toronto is the biggest city: full of lights, food, and cultures from all over the world. Quebec City is one of the oldest places in the country and feels almost like you’re walking through an Assassin’s Creed map with stone streets and huge castle walls.

Canada also has a strong connection to video games. A ton of famous games are made there, especially in Montreal and Vancouver. Ubisoft Montreal created most of the Assassin’s Creed series, even though the games take place in places like Greece, England, and Egypt. EA Vancouver works on sports games like FIFA and NHL every year. One of the best Canada-based games is The Long Dark, which actually takes place in the freezing Canadian wilderness, where you try to survive snowstorms, wolves, and the harsh environment. Even games like Watch Dogs and Far Cry have Canadian studios behind them.

Segment 2: crossover

muhammad: “Yeah, it might seem like a strange combo at first, Canada and a horror cartoon game, but hear yall gotta hear me out first. The game’s old-school animation style and dark, twisty story make it feel like exploring an abandoned studio… kind of like wandering into some freaky forgotten corner of some old Canadian town..”

Charlton: “litterally ! And speaking of history, Canada’s rich artistic and cultural backdrop really glues into the game’s aesthetic, making it flow like a creamy pudding. The game’s tones and 1920s-30s vibe remind me of vintage Canadian comics and animation, as those early Ned and Al or Tintin-inspired works.”

muhammad: “And don’t forget the landscapes. Even though Bendy’s studio is fictional, the idea of exploring terrifying hallways, secret rooms, and hidden dangers, there’s something very Canadian about that too. Think about forests, foggy mornings, and abandoned places. Canada’s real-life settings could almost inspire a level in the game.”

Charlton: “I love that! And for listeners who are gamers, we’ve got a challenge: imagine a Canadian version of Bendy. What would it look like? Maybe a haunted animation studio in Montreal, or a small-town Ontario theater where the cartoons come alive.”

Muhammad: “Yeah, the lore could get crazy! Canadian myths, old folklore, even indigenous stories could blend into the game’s horror vibe. Suddenly, Bendy’s not just some bumkin that is from is a cartoon demon bumkin, he’s a figure emerging from Canadian stories, giving the game a whole layer of depth.”

Charlton: “And that’s what makes this crossover so fun. We get to enjoy Canada’s culture, history, and spooky legends all through the lens of a game that already thrives on mystery and imagination.”

Muhammad: “Exactly. It’s the perfect mix of travel, culture, and gaming giving fans of both Canada and Bendy something fresh to enjoy.”

Segment 3: Bendy and the Ink Machine

Now we’re wandering into a place where stories don’t die, they just drip. This is Bendy and the Ink Machine, spanning both trilogies of ink-soaked nightmares. Let’s go. But don’t fall behind. Things move on their own down here.

The First Trilogy Henry Stein returns to Joey Drew Studios expecting memories. What he finds is ink that breathes, walls that shift when you blink, and a smiling demon waiting around every corner. The first trilogy is a descent into a factory that makes monsters. Not cartoons. Not dreams. Monsters. Every chapter tightens the loop, Henry runs, hides, survives… only to wake back at the start, like the studio itself is chewing on his soul. The Ink Demon wants him. And in that world, what it wants… it gets.

Then comes the new cycle. Audrey is dragged into the ink world, not as prey, but as something in-between. Half human, half creation… all hunted. The Dark Revival opens the second trilogy with a world that isn’t dying, it’s evolving. The ink mutates. It remembers faces. It mimics voices that shouldn’t exist anymore. And somewhere in those halls… the Ink Demon waits. Starving. Smiling. Henry tried to escape. Audrey tries to survive. Both learn the same truth: The Ink Machine doesn’t just make characters. It keeps them. Forever. Every scream becomes part of the next cycle. Every shadow is something that used to be human. And every time the reel rewinds… someone new gets pulled in. If your lights start flickering tonight, don’t look up. If you hear something… cartoony… laughing in the dark? Run. Ink is faster than you think.

Music Credits:

Circuit Rush by The Mini Vandals

The Tale of Yharnam

Wed, 03 Dec 2025 07:47:00 -0500

You are listening to Vacation in the dungeon the podcast with your host(s) Muhammad Tahir and Charlton smit.

In this episode of Vacation in the dungeon the Podcast we discuss: Bloodborne and England.

Segment 1:England

So today we’re diving into England and not just the usual London tourist spots. I’m talking foggy streets, gothic cathedrals, and all those narrow alleyways that feel like they could be hiding a monster around every corner. Honestly, if you’ve ever played Bloodborne, you’ve basically walked through a version of Victorian London in your mind. The game’s Yharnam city draws so much from England’s architecture and atmosphere; the spires, the cobblestones, even the gas lamps give you that feeling like you’re walking through a dark, mysterious version of the 1800s.

And speaking of streets and alleys, did you know some of the oldest pubs in London date back to the 1500s? Walking through them, you kind of get why Gothic horror loves England's history is literally lurking in every corner. It’s almost like if Bloodborne had a real-world level, this is exactly where it would be set. You’d half expect a werewolf to jump out at you while you’re ordering your pint.

Also, England isn’t just about gloomy streets and castles. There’s the countryside too. Imagine taking a trip to the Yorkshire Moors or Whitby Abbey. Those rolling foggy hills and crumbling ruins? Totally something straight out of a Bloodborne lore cutscene. Honestly, it makes you want to plan a trip just to feel that mix of history, mystery, and a little bit of danger minus the actual monsters, of course.

Segment 2: crossover

Muhammad. If you guys have ever played the DLC, then you know how hard it is personally. I enjoyed it, and it was crazy, but the part that was the hardest was Orphan of Co,s bro is bashing you with his hammer, and his back story brings tears to your eyes. Personally, Fighting Ludwing was the coolest. His area is so cool, and his sword is in every Souls game, but I think Bloodborne did the Moonlight Sword the best. A little flex before I go is that I got platinum, and bro that final trophy grind had me losing my mind. Between the chalice dungeons, farming materials, and dealing with those broken enemies, getting that last ending on NG+3 was so hard it wasn't even like that, i was on the same character, so it will be easier, no, oh it got a lot harder, and I barely even levelled up for all this. My stats are pretty mid. I felt like I ascended to the great ones.

Today we’re blending the gothic nightmare of Bloodborne with the foggy charm of England. Imagine Yharnam dropped right in the middle of London—yeah, chaos.

Picture this: you step off the Tube at midnight and the sky has that eerie Yharnam glow, the moon hanging way too low over Big Ben. The streets of Soho? Empty. The pubs? Boarded up. And somewhere out by the Thames, you hear something howling that is definitely not a fox. Suddenly, every corner of England takes on that Bloodborne energy: Victorian architecture, narrow streets, mist rolling in like it’s hiding something—and honestly, it probably is.

Even the landmarks get a makeover. The Tower of London becomes a boss arena. Buckingham Palace is crawling with hunters who’ve “ascended” a little too far. And don’t even get me started on what the London Underground turns into. If Yharnam had a subway system, it would feel exactly like that after midnight.

But the best part? The vibe fits weirdly perfectly. Foggy mornings, old brick buildings, whispers of old legends… England already has that gothic seed in its soil. Bloodborne just brings it to life—literally, sometimes too literally. So next time you’re wandering London and you feel a chill… just remember: if the moon looks a little too big tonight, you might want to keep your Saw Cleaver close.

Segment 3: Bloodborne

Today we’re heading into Yharnam, the sleepless, blood-soaked city of nightmares that FromSoftware unleashed on the world. Yeah… we’re talking Bloodborne.

There’s something special about this game. Something that gets under your skin—like the infection the Healing Church definitely told us not to worry about. From the moment you wake up in that clinic, stumbling out onto those cobblestone streets with nothing but a trick weapon and a hope you won’t die again in the next sixty seconds—you feel the atmosphere. It’s gothic horror cranked to eleven.

What makes Bloodborne unique isn’t just the difficulty; it’s the tone. Every corner is a story. Every grotesque enemy feels like the result of some experiment gone wrong—or maybe right, depending on how twisted the Choir was feeling that day. You walk through Central Yharnam and you can practically taste the fear in the air. The mobs don’t feel like mindless enemies—they feel like desperate, terrified villagers clinging to whatever humanity they have left while the Beast Plague eats them alive.

But it’s not all hopelessness. There’s this weird, indescribable beauty to the decay. The moon hanging low over the Great Bridge. The abandoned churches illuminated by flickering lanterns. The haunting, lonely tune of “Lullaby for Mergo.” Bloodborne has this way of making horror… gorgeous. You find yourself admiring things even as they try to rip your face off.

And speaking of that atmosphere—here’s a little tangent that always gets me. Bloodborne is one of the only games where sound feels like an enemy. Not the monsters, not the bosses—just the echoes. The way your footsteps bounce off empty hallways, or how a distant scream somehow sounds both miles away and right behind you. There’s this constant paranoia that the world is listening to you, judging your every move. Even the crows sound like they’re mocking you for dying again. It’s like Yharnam itself is another boss fight—an invisible one—always whispering, “Go on, Hunter… step a little deeper. See what’s waiting.”

And let’s talk gameplay—fast, aggressive, unapologetic. Bloodborne doesn’t want you hiding behind a shield. It wants you diving in, trading blows with a twelve-foot werewolf because fear isn’t allowed. It makes every fight feel like a desperate dance where you’re always one mistake away from waking up back at the lamp and questioning your life choices.

Then there’s the lore. Oh boy—the lore. Cosmic gods, old blood, ascension, rebirth, nightmares that bleed into reality. You start off thinking you’re playing a Victorian monster-hunting game and before you know it, you’re knee-deep in Lovecraftian horror, asking yourself why the sky suddenly looks… wrong. Bloodborne rewards curiosity, rewarding players who piece together item descriptions, NPC dialogue, and environmental details. It’s like unraveling a mystery with no guarantee you’ll like the answer.

But maybe that’s why we can’t stop thinking about it.

Bloodborne doesn’t just give you a story—it gives you a feeling. A lingering uneasiness that sticks with you after you put the controller down. It’s a world where eldritch truth is just barely out of reach, where every victory feels earned, and where every death teaches you something—aside from the fact that yes, the Cleric Beast can in fact one-shot you if you’re half asleep.

Even years later, people still talk about this game like it came out yesterday. The bosses, the weapons, the lore, the atmosphere… it made a mark no other game has quite replicated. And maybe, deep down, we like that it broke us a little. In a weird way, Yharnam starts to feel like home.

That’s the magic of Bloodborne. It scares you, frustrates you, fascinates you—sometimes all at once. And yet we keep coming back, lamp after lamp, boss after boss, secret after secret. Because in the end, we’re all hunters. And the hunt? Well… the hunt never ends.

Music Credits:

Circuit Rush by The Mini Vandals

Rage of the God of War

Wed, 03 Dec 2025 07:42:00 -0500

You are listening to Vacation in the dungeon. The podcast with your host(s) Muhammad Tahir and Charlton Smit.

In this episode of Vacation in the dungeon the Podcast we discuss: gaming and vacation. Sit back relax and lets get the adventure started

Segment 1: Norway

Alright, let’s talk about Norway. Snow covered mountains, dense forests. It all screams Scandinavia. The landscapes in God of War are stunning, and it really feels like you could step right into those frozen forests and jagged mountains. You can almost hear the crunch of snow underfoot, feel the icy wind cutting through your jacket, and sense the weight of the wilderness pressing in on you. The cold is brutal, and it’s easy to imagine how unforgiving a real Norwegian winter would be. Kratos and Atreus aren’t just battling monsters here they’re constantly fighting the elements themselves, and that struggle makes every step feel alive and tense.

The mythology is incredible. There are nods to the Völsung Saga and other Norse legends, but what really stands out is how much the game evokes the same harsh, relentless world you see in Vinland Saga. Just like in the anime, the Norse world is unforgiving, full of brutal battles, survival, and hard choices. You get the sense of humans being small in a massive, dangerous world, and every victory feels earned.

The realms, from the Lake of Nine to Jötunheim, feel monumental. The forests hide secrets, icy lakes reflect a world that’s beautiful yet deadly, and towering mountains rise like ancient guardians. It’s cold, harsh, but breathtakingly beautiful, giving the game a sense of majesty and danger all at once. It makes you want to bundle up, maybe grab a scarf, and definitely an axe, because you never know what kind of mythological threat might appear next. Norway in God of War feels alive and legendary, a place where the myths, the struggles, and the epic landscapes all come together in a way that sticks with you long after the game ends.

Segment 2: Crossover

Muhammmad -Norway almost doesn’t feel like real quiet towns leading into massive mountains, icy waters, and ever-changing landscapes that make you feel tiny in the best way. The air is crisp, the weather unpredictable, and nature clearly in charge, while even Oslo blends life into its surroundings. Norwegians match that energy: chill, confident, and low-key, with simple but high-quality food like fresh salmon or brunost. That’s why God of War works so well here: Kratos trekking through snowy forests and rugged terrain feels completely natural, like the country itself is already epic enough to be part of a myth. So picture this: you’re standing at the edge of a towering fjord, water dark as obsidian, mountains rising like the ribs of the world itself. The air is sharp, cold enough to bite, but clean in that way that makes you inhale deeper. And if you’ve played God of War (2018), it’s impossible not to feel like somewhere—maybe just over that ridge—Kratos and Atreus are trekking through the snow, talking about the nature of gods and giants with that heavy father-son tension.

Charlton :Norway is a character all on its own. The forests? Exactly the kind of place where a draugr might stumble out from behind a pine tree. The waterfalls? Pure myth—half beauty, half danger. And the mountains? Those massive slopes practically echo with the same silent power as the World Serpent. Heck, you can stand on the rocks in Vøringsfossen and almost feel that rumble as if Jörmungandr is sliding beneath the fjord. But here’s where the crossover really hits: Santa Monica Studio didn’t just borrow from Norse mythology… they borrowed from Norway’s atmosphere. The grey skies, the biting winds, the quiet, haunting stillness of the north—you see it in every step Kratos takes. When he trudges through deep snow? That’s Norway’s winters. When the camera pulls back to reveal endless mountains layered in fog? That’s basically Western Norway on an ordinary Tuesday. And if Kratos lived among us today? You know Norway is where he’d end up. Some tiny cabin far above a village, wood-smoke drifting into the cold morning air, Leviathan Axe leaning against the doorframe like a very intimidating hat rack. Atreus would be hiking the hills, maybe annoying a few local trolls—real ones, not the in-game ones… though honestly, in Norway, who knows?

Segment 3: God of War

Today, we’re heading straight into the snow-crunched wilderness of Midgard to talk about God of War — a franchise that somehow evolved from pure, unfiltered rage into one of the most emotionally rich stories in modern gaming.

Let’s start with the roots. Back in the Greek era, Kratos was the definition of angry button-mashing energy. This man was tearing through gods like they were appetizers. Zeus? Gone. Poseidon? Gone. Any poor mythological creature that blinked twice at him? Vaporized. And the wild part is, we loved it. The old games were over-the-top, cinematic power trips that made you feel unstoppable. But they were also tragedies wrapped in chaos, showing a broken warrior who could destroy anything except his own guilt.

And then came the shift God of War (2018). The moment that E3 trailer dropped and Kratos stepped out of the shadows with a beard you could probably store a battle axe in, we knew we were witnessing something different. Suddenly, this man who once screamed his way through Olympus was teaching. Guiding. Trying to be better, not just stronger. And that’s where the magic of this reboot or “reimagining,” if you want to get fancy, really starts.

Because at its heart, God of War isn’t just a story about gods or monsters; it’s a story about a father and a son learning how to survive together. Kratos doesn’t just face enemies, he faces himself. Every lesson he gives Atreus is something he's still trying to learn. Every quiet moment where they sit by a fire, or travel the Lake of Nine, or argue about the smallest thing… it hits harder than any boss fight. It’s the kind of writing that makes you realize that growth can be louder than war.

And then there’s the world the Norse realms feel alive in a way few games pull off. Midgard isn’t just a setting; it’s a character. The forests breathe. The mountains whisper. And every time you open a portal and step into another realm, you feel like you’re crossing into a completely different culture, different rules, different dangers. Alfheim? Glowing and beautiful, but also atmospheric and unsettling. Helheim? Ice-cold misery. Jötunheim? Emotional payoff in every direction. The level of detail is insane.

We also have to talk about the combat, because Santa Monica Studio really nailed the feeling of weight and impact. The first time you throw the Leviathan Axe and hear that thunk as it hits a draugr, you know you’ve got something special in your hands. And when you call it back? Pure dopamine. It’s one of those mechanics that never gets old, even after hours and hours of playtime. Add in the shield bashes, the runic attacks, the Blades of Chaos making their grand (and emotional) return, it's the perfect blend of strategy, brutality, and style.

Thanks for listening, Safe travel and safe gaming.

Music Credits: Circuit Rush by The Mini Vandals

Hell on Earth

Fri, 14 Nov 2025 10:35:00 -0500

You are listening to Vacation in the Dungeon the podcast with your host(s) Charlton smit and Muhammed Tahir.

In this episode of Vacation in the Dungeon the Podcast we discuss: Doom Eternal and Texas. Sit back relax and lets get the adventure started

Segment 1: Texas

the crazy Texas sun across endless highways open skies, and a quiet suburb just north of Dallas, where a group of developers at ID Software was quietly working on one of the most unique and interesting games in modern history, Doom Eternal. Texas isn’t just barbecue rodeos and cowboy hats, it’s a state with big energy, a bold personality, and a sense of scale that somehow gets baked into everything created there including video games. Doom Eternal doesn’t hold back, and in a lot of ways, that’s very Texan fast, chaotic, unapologetic, and larger-than-life. Texas has this fascinating mix of tech, creativity, and ambition, a place where creativity meets tradition and where people are encouraged to push boundaries and dream big. There’s a certain vibe you can feel if you walk through the area: studios humming with energy, conventions full of people sharing ideas, and a community that thrives on creating something unforgettable. It’s no wonder that a game like Doom Eternal, with its massive scale, ruthless combat, and pounding soundtrack, could be born here. A place so calm and ordinary on the surface giving rise to a game so intense and explosive. So, next time you’re going through armies of demons, tearing across alien landscapes, or just listening to the soundtrack and feeling your heart race, remember that it all started in Texas, a state that doesn’t do anything halfway, where imagination meets grit, and where bold ideas don’t just survive, they thrive.

Segment 2: Crossover

DOOM is one of the most intense, loud, adrenaline-fueled shooters ever made. It throws you into a nonstop battle where demons flood every corridor and your only answer is overwhelming firepower and pure aggression. The gameplay moves like a rhythm you’re constantly dashing, jumping, chainsawing, glory killing, and flame-belching to keep your health, ammo, and armor flowing. The Doom Slayer doesn’t speak, doesn’t hesitate, and doesn’t negotiate. He walks into every arena like something the demons should have stayed away from. DOOM doesn’t just want you to win it wants you to dominate. And between the iconic weapons, the fast-paced combat, and the heavy metal soundtrack that practically screams in your chest, it turns every encounter into its own heart-pounding, chaotic highlight reel.

Despite its hellish landscapes and apocalyptic energy, DOOM was actually created in a very real and very normal place: Mesquite, Texas. id Software, the studio behind DOOM, worked out of a regular office building in a quiet suburb just outside Dallas. No flaming pits, no demon portals, just Texas heat, pickup trucks, and good barbecue down the street. It’s funny to think that a game known for ripping demons in half was born in an environment where someone could look out the window and see a calm parking lot shimmering in 100-degree sunlight. But maybe that heat was all the inspiration they needed. Texas summers alone could convince anyone that Hell is real. Mesquite became the unexpected birthplace of one of gaming’s loudest revolutions, proving you don’t need fire and brimstone outside your window to create it on a screen.

Segment 3: doom eternal

Today we’re jumping straight into the loud, brutal, heavy-metal madness that is DOOM Eternal. If you’ve never played it, imagine being thrown into the most aggressive rock concert of your life while every single person there is a demon, and the only instrument you have is a Super Shotgun with a built-in meat hook. DOOM Eternal isn’t just about shooting things it’s like a rhythm game made of pure violence. You never stop moving. The game refuses to let you sit still you have to dash, jump, flame belch, chainsaw, glory kill, reload, and repeat, all while the soundtrack blasts like it’s trying to escape your headphones. The Doom Slayer, the main character, says absolutely nothing the entire time, but somehow has the most powerful energy in the room. Demons scream about consuming your soul, and he just responds by ripping their spine out like he’s opening a soda can. The levels are basically demon-filled skateparks that force you to fly around, swing on bars, and make split-second decisions just to stay alive. And the soundtrack? The soundtrack doesn’t just play—it possesses you. Mick Gordon really made music that can raise your blood pressure faster than coffee ever could. Sure, there’s stuff involving ancient warriors, hell, heaven, and cosmic conflicts, but at the end of the day, DOOM Eternal’s entire story can be summed up as: demons caused problems, and the Slayer solved those problems with extreme prejudice. It’s intense, it’s fast, it’s loud, and it gives you full permission to embrace chaos for a couple hours. So if you haven’t tried it yet, grab a controller, warn your neighbors about the noise, turn the volume up, and prepare to rip and tear until it is done. Thats all for this episode everybody, have a safe travel and safe gaming.

Music Credits: List the artist and song name

Circuit rush by the Mini vandals

Next Horizon

Fri, 14 Nov 2025 10:20:00 -0500

You are listening to Vacation in the Dungeon the podcast with your host(s) Muhammd Tahir and Charlton Smit.

In this episode of Vacation in the Dungeon the Podcast we discuss: Forza Horizon 4 and The United Kingdom.

Segment 1:United Kingdom

Video games that give you a sense of real world travel? Forza Horizon 4 is a perfect example. And here’s an interesting twist: this game wasn’t made in Japan, China, or the U.S. It was developed right in the United Kingdom by Playground Games, based in Leamington Spa. The UK setting lets players explore a virtual version of Britain that feels alive and incredibly detailed.

What sets Forza Horizon 4 apart is its driving and dynamic seasons. The game revs through spring, summer, autumn, and winter, and each season completely changes the way the world looks and drives one week you’re tearing down golden autumn roads lined with colorful leaves, modded-out cars pushing to the max, alive and incredibly detailed , the next drifting across snow-covered streets in the middle of winter, or cruising under bright spring skies with blooming countryside all around. The changing seasons don’t just look beautiful they change the way you race, adding variety and challenge, just like real-world travel can surprise you with new experiences depending on when you visit.

The landscapes themselves are breathtaking. From the rolling hills of the Cotswolds to Scotland’s rugged highlands, the game captures the diversity of Britain’s terrain. You’ll race past historic landmarks, like Edinburgh Castle or charming coastal towns, and explore winding country lanes that feel like a road trip straight out of a travel magazine. Every corner has something new to discover, whether it’s a hidden trail, a festival event, or a scenic lookout.

But it’s not just about scenery. Forza Horizon 4 also gives players a taste of British culture. The villages, festivals, and even local wildlife make the environment feel lived-in and authentic. Driving through these towns, you get a sense of what life feels like in different parts of the UK from bustling city streets to quiet rural roads. It’s an adventure that mixes speed and exploration, letting you feel like both a traveler and a racer.

For travel and gaming enthusiasts alike, this game is a perfect bridge between the two worlds. It shows how video games can take you to new countries, immerse you in local culture, and let you experience the thrill of the adventure all without leaving your home. Forza Horizon 4 isn’t just about racing, it's a virtual road trip across the UK, offering discovery, freedom, and fun at every turn.

Segment 2: Cross Over

Today we’re talking about one of the coolest gaming crossovers ever—Forza Horizon 4 and the United Kingdom. This game isn’t just about cars and racing; it’s basically a giant love letter to Britain. You’ve got everything from the rolling green hills of the countryside to the narrow cobblestone streets of Edinburgh, and it all feels alive. The seasons are a total game-changer too—you might be flying down a sunny road one week, then sliding across frozen lakes the next. It’s unpredictable, chaotic, and honestly, pretty much how British weather works in real life. What I love most, though, is the personality packed into it. The cheeky humor from the festival hosts, the classic British rides like the Aston Martin and Mini Cooper, even the GPS voice with that perfect polite-but-sassy tone—it all just fits. It’s like someone mashed up Top Gear with a massive outdoor festival and said, “Yeah, that’s Horizon.” The UK setting gives it this charm and personality that no other Horizon game quite matches. Whether you’re ripping through the Scottish Highlands or doing donuts near Edinburgh Castle, it really feels like a celebration of what makes Britain, well… Britain. Forza Horizon 4 isn’t just a racing game` it’s a vibe.

Segment 3: Forza Horizon 4

When this game dropped, I didn’t expect the UK to be… this exciting. Rolling hills, rainy countryside roads, tiny stone bridges and then bam! A McLaren Senna roaring past a tractor. It’s hilarious and beautiful all at once. Playground Games really nailed that blend of realism and fun. You can tell the world was built to drive through, not just look at.

And the seasons man, the seasons changed everything. Summer is all about open-road cruising, autumn gives you those satisfying drifts through leaves, winter turns half the map into an ice-skating rink, and spring? Mud. Just… mud everywhere. There’s something kind of magical about having over 700 cars to collect. You’ve got everything from old-school classics like the ’65 Mini Cooper to absolute beasts like the Bugatti Chiron. And if you’re like me, you probably spent way too long customizing license plates or painting your car neon green for reasons.

But what I really love is how Forza Horizon 4 doesn’t punish you for goofing around. You can take a supercar off-road, or drift through a sheep field, and the game just goes, “Yeah, sure, that’s fine.” It rewards chaos and that’s what keeps it fun. The online side of Horizon 4 is a wild ride. One minute you’re peacefully doing speed traps, the next you’re suddenly in a random player’s convoy doing ridiculous stunts. There’s something wholesome about that everyone just kind of exists together, messing around, racing, and doing backflips off danger signs.

And those live events? Pure energy. You’ll see thirty cars flying through the air, half of them spinning out, and someone in the back doing donuts for no reason. It’s chaos, but it’s the best kind. Even with Horizon 5 out now, Horizon 4 still has this cozy charm. There’s just something about that British countryside — the balance of fast-paced racing and peaceful exploring. I still find myself booting it up just to drive around for fun. No races, no goals. Just me, the road, and that calming Forza soundtrack.

And if you’ve ever played while it’s raining in-game and outside your window at the same time… you know that feeling. It’s oddly therapeutic. So yeah, Forza Horizon 4 isn’t just another racing game. It’s a sandbox of speed, beauty, and a little bit of madness. It’s where you can be competitive or completely ridiculous and both are equally fun.

If you haven’t played it in a while, give it another spin. Try that one car you never upgraded, drive across the map in first-person view, or just mess around with your friends again. Because that’s what Horizon is about freedom on four wheels.

Music Credits: circuit rush by The mini vandales.

Spirit of Tsushima: Japan’s Samurai Legacy

Wed, 29 Oct 2025 08:56:00 -0500

You are listening to Vacation in the Dungeon the podcast with your host(s) Charlton Smit and Muhammed Tahir .

In this episode of Vacation in the Dungeon the Podcast where we discuss travel and gaming.

Segment 1 Japan

Japan is a dream destination for travelers and gamers , imagine you're walking in japan with neon streets Akihabara in Tokyo. The King for gaming and anime culture You can visit shops filled with the latest consoles, rare collectible figures, and arcades where games you’ve only played online come to life. It’s an entire world built around your favorite games and characters. Japan isn't just about gaming and anime. Just a short train ride away, you can explore unreal temples in Kyoto or stroll through the bamboo forests or soak in some hot springs while you're surrounded by beautiful views. The mix of modernized cities and ancient culture and it is a unique experience. You might be playing a game one moment then the next you're standing in ancient temples the next, it feels like you're traveling back in time between worlds. Many games are inspired by landscapes and traditions. Traveling to japan gives you a real feel of the world that inspires the awesomeness of the most popular games. You can see shrines, gardens, streets that look like scenes out of a video game.And it’s not just scenery. Japan celebrates gaming culture everywhere from themed cafes where you can sip coffee surrounded by your favorite characters, to arcades with classic and modern games, to festivals where cosplay brings characters to life. Experiencing this culture in person is so much more than just sightseeing; it’s stepping into the heart of the games themselves. So even if you're a traveler searching the world for its beauties or if you're a hardcore gamer, japan is the place for you it offers both worlds in one and it doesn't even seem like it. It all blends in together

Segment 2: cross over

Muhammad: Now that we have explored real world magics of Japan from its temples to its neon lit cities, it's now time to cross over into its virtual side of that same world. Few games capture Japan's beauty, history and spirit better than the ghost of Tsushima.

Set during the Mongol invasion of the 13th century, Ghost of Tsushima feels like stepping into a living painting of feudal Japan. The island of Tsushima is brought to life with stunning detailed fields of golden grass, misty bamboo forests, mountain shrines, and quiet villages that reflect the balance between nature and civilization

that Japan is known for. Every frame feels cinematic, almost like a tribute to the samurai films that shaped Japan’s storytelling tradition.

Charlton: But what makes it even more special is how the game connects to real Japanese culture. The way Jin Sakai, the main character, struggles between the samurai code of honor and the need to protect his people mirrors the real moral conflicts that defined Japan’s warrior history. Even the smallest details like composing haiku, paying respects at shrines, or following a guiding fox are drawn straight from Japanese customs. As we shift from travel to gaming, we’re not really leaving Japan behind, we're just seeing it through another view. Ghost of Tsushima lets you experience the country’s spirit in motion: the discipline of the samurai, the beauty of its landscapes, and the quiet strength of its people. It’s not just a game; it’s an artistic love letter to Japan’s past.

Segment 3: Ghost of Tsushima

You know when a game doesn’t just entertain you it makes you think about who you’d be if you were in that world? That’s Ghost of Tsushima. It’s not just a samurai action game; it’s a story about loyalty, sacrifice, and what it means to hold onto your humanity when the world forces you to change.

You play as Jin Sakai, a samurai who’s been trained his entire life to fight with honor. When the Mongols invade his home, he does what he’s been taught he faces them head-on. But the problem is, honor gets you killed. The enemy doesn’t play by the same rules, and soon Jin realizes that if he keeps following tradition, everyone he loves will die.

That’s the heart of the game: Jin’s transformation. He’s torn between two sides of himself, the noble samurai who wants to protect his people the right way, and the desperate survivor who’ll do whatever it takes. The deeper you get, the more you feel that conflict. Every time you sneak behind someone or use poison, it’s not just a gameplay choice it’s Jin giving up another piece of who he used to be.

And that’s what makes it powerful. You start to feel the cost of survival. You see it in how his allies look at him, in how his uncle, Lord Shimura reacts to what he’s becoming. The story doesn’t glorify it. It hurts to watch, because you understand both sides. Jin is saving lives, but he’s also becoming something his ancestors would never recognize.

What I love is that Ghost of Tsushima never needs to lecture you about any of this. The storytelling is quiet but heavy. The looks characters give, the silences between words, the moments where you stand over fallen soldiers it all tells the story without needing a cutscene to spell it out. It’s restraint done right.

The combat reflects that same duality. When you fight as a samurai out in the open, blades drawn it feels clean and disciplined. It’s all about reading your opponent, timing your strikes, staying composed. But the moment you start using stealth, the tone changes. You move differently. The kills feel colder. You can sense Jin’s guilt, even if he never says it. The game builds that feeling not through dialogue, but through sound design, animation, and how the world reacts to you.

Walking With The Monkey King

Fri, 17 Oct 2025 07:55:00 -0500

Hopewell Valley Student Podcasting Network

Show Name: Vacation in the Dungeon

You are listening to Vacation in the Dungeon the podcast with your host(s) Charlton Smit and Muhammed Tahir.

In this episode of Vacation in the Dungeon the Podcast we discuss: Videogames and Traveling.

Segment 1: China

Welcome to The first Episode in vacation in the dungeon. We are going to be traveling to China. A place of ancient legends, misty mounds, and culture. From huge peaks like the Huangshan mountains to the unreal temples in the bamboo, China has places that almost feel unreal. And it's not just about the landscapes. It the culture and the stories that have inspired art and even video games. Later we will talk about Black Myth: Wukong, but for now let's talk about real world china.

China’s scenery is incredibly diverse, offering travelers a chance to experience just about every kind of landscape imaginable. In the south, you’ll find the breathtaking karst mountains of Guilin and Yangshuo, where emerald-green peaks rise sharply from the ground and rivers wind between them like ribbons. A simple boat ride along the Li River feels almost magical, as mist rolls off the mountains in the morning and fishermen still use traditional bamboo rafts with lanterns to guide their way. It’s one of those places where you feel transported to another time.

Head west, and the scenery changes completely. In Tibet and the surrounding Himalayan region, snow-capped peaks stretch into the sky, some of the tallest mountains on Earth. Here, travelers can hike trails at the roof of the world, pass through colorful monasteries, and see prayer flags fluttering in the wind. The air is thinner, but the landscapes are unlike anything else raw, powerful, and deeply spiritual.

Further north, the grasslands of Inner Mongolia offer a totally different experience. Vast, open spaces stretch endlessly in all directions, where herders still raise horses and sheep as they have for centuries. Visitors can stay in traditional yurts, ride on horseback, and experience nomadic hospitality under an incredible blanket of stars at night. It’s a reminder that travel isn’t always about big cities. Sometimes the most memorable moments come from the stillness of nature.

Segment 2: Crossover

(Charlton) What I really like about Black Myth: Wukong is how it mixes real myths with the game world. When you fight something like the Nine-Tailed Fox, it’s not just some random monster, it's based on the Huli Jing from Chinese folklore. People have been telling stories about it for hundreds of years, through operas, paintings, even carvings at temples. And if you travel around China today, you can still see it in festivals and performances.

(Muhammed) The scenery is the same way. Those foggy mountains you climb in the game. They look just like the Huangshan mountains or the stone pillars in Zhangjiajie. Both are actual places you can hike, and honestly, standing there feels just as crazy as it does in the game. So playing Black Myth: Wukong almost feels like walking straight into China’s old legends. The stories are old, but the culture keeps them alive, and this game is such a cool way to experience that.

Segment 3: Black Myth:Wukong

Today we’re diving into Black Myth: Wukong, a game that has completely taken over my brain these past few weeks. And I don’t just mean because it looks beautiful or because the combat is fun—though both of those things are true. What really makes this game stand out is how it brings old Chinese folklore into a modern action game. And the more I play it, the more I realize this isn’t just another flashy RPG—it’s something with real roots, something that feels alive.

So let’s start with one of the big highlights: the enemies. If you’ve seen even a trailer, you’ve probably noticed they’re not your average video game monsters. They’re pulled straight from Chinese mythology. Take the Nine-Tailed Fox. At first glance, it looks like a fantasy boss, something you’d see in any RPG. But then you realize—it’s actually based on the Huli Jing, a fox spirit from centuries of folklore. And knowing that changes the way the fight feels. You’re not just hitting a big health bar—you’re stepping into a story people have been telling for generations. That weight, that history, makes every encounter a little more powerful.

And it’s not just the Nine-Tailed Fox. Almost every major enemy has roots in myth. You’ve got demons, spirits, and creatures that feel otherworldly but grounded at the same time. They’re not random. They all belong in this world. It reminds me of what God of War did with Norse mythology, or what Sekiro did with Japanese folklore—but Black Myth: Wukong has its own flavor, its own rhythm. And honestly, it feels fresh because we don’t usually get this much exposure to Chinese myths in big, mainstream games.

Now let’s talk about the world itself. The environments are stunning, sure, but what I love is how they set the mood. You’ll walk into a misty forest or an abandoned temple, and it just feels like a place where spirits or demons could be lurking. The art design is dripping with atmosphere. It’s not just a backdrop—it’s part of the storytelling. Even the way the game uses light and shadow, or the way music swells before a boss fight—it all ties back to this sense of mystery and legend.

The combat deserves its own spotlight too. It’s not easy—you can’t just button mash your way through. The fights are deliberate. They make you think. Each boss has its own style, its own rhythm, and you have to learn how to adapt. And again, because these bosses are tied to folklore, the battles feel like you’re re-enacting some old story. It’s tough, it’s frustrating sometimes, but when you finally land that last blow? It’s so satisfying.

Music Credits: List the artist and song name

Brunch Club by Tyler Wombly

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The Beginning of Vacation in the Dungeon

Tue, 14 Oct 2025 09:54:00 -0500

Welcome to vacation in the dungeon! Vacation bookings for the winter are coming up! And games are going to get popular. Can’t decide where you want to go and what games you want to play? I’m your host, Muhammad Tahir, and I'm your co-host Charlton Smit. We will be talking about gaming and traveling in ONE podcast. I Muhammad will help you out by talking to you about different locations around the world for your next big vacation. I’m going to cover everything from the history to the culture of each attraction and then help you find the best places to stay while you’re out on your next dream vacation. You might even discover hidden gems you’ve never heard of before. And me, Charlton, will be talking about gaming and helping you discover new games you might not have heard of and help you find a new favorite game.