An FPS with a unique visual style, where all 3D graphic assets are composed of text and words, has arrived at BIC 2026. The title in question is 'Torizon Telecom,' currently under development by SkagoGames.

FPS games have been at the cutting edge of graphical technology since the days of 'Doom,' so it is rare to call one's visuals 'unique.' Yet, the reason is simple here: every graphical element is rendered solely through ASCII art and text typography. From the walls and floors that form the environment to the guns in your hands, the projectiles flying toward you, and the shapes of your enemies, everything in the game is made of 'characters.'

The distinct graphics were a bit confusing at first, but I quickly found I could intuitively identify objects and items just by looking at the text. The experimental touch of changing the language settings to completely swap the character system forming the in-game world was also eye-catching. While I wondered how they implemented this, the developer's explanation of the know-how involved was far too technical for a casual observer. Seeing other indie developers shake their heads in disbelief when asked about the secret, I suspect it is a technique not easily replicated.

While graphics and art are important, gameplay polish is the true litmus test. In this regard, Torizon Telecom is perfectly in sync with its visual style. The raw, text-based graphics immediately brought to mind 'Doom' or 'Quake,' and the game perfectly captures the essence of those classic hyper-shooters. It embraces a run-and-gun style that strips away the fluff, focusing entirely on moving through areas and blasting away at enemies swarming from all sides. The map design is extremely simple and tight, allowing players to push through after a few attempts. While hazards like landmines and suicide bombers are scattered about, ready to end your run in one hit, there is no penalty for death, making the thrill of retrying and finally clearing a section immediate and satisfying.

The demo version featured four weapons: an assault rifle, a shotgun, a sniper rifle, and an SMG. Given the sheer number of enemies, the sniper rifle—with its extremely limited ammo—and the shotgun—which loses significant power at range—felt a bit underwhelming. Conversely, the assault rifle and SMG, with their low spread and reliable spray, perfectly captured the feel of firing a Gatling gun in a classic hyper-shooter. The sensation of jumping around while keeping your aim locked on targets felt, perhaps with a bit of exaggeration, like the intense skirmishes in the space maps of 'Quake 3.' Of course, the experience of accidentally falling to your death because you didn't see the floor while jumping around was just as authentic.

The world-building and narrative background also carry the eerie atmosphere of another 90s classic, 'System Shock.' As you play further, you begin to notice bizarre sights that recall the Citadel space station under SHODAN's control. The cold, mechanical way the administrator issues commands and controls the environment, along with the messages that appear when the protagonist dies, all align with that chilling tone. Furthermore, the demo's ending is deeply significant, hinting that the protagonist—who was deployed on a mission while having their emotions and ego suppressed within 'Telecom,' an infinite text world where everything is strictly controlled—is beginning to experience anomalies and set out to uncover the truth of the world and the reality of their own 'ego.' It feels like a resurgence of themes frequently explored in late 90s works like 'Serial Experiments Lain.'

'Torizon Telecom' is a masterpiece that manages to combine a bold, avant-garde text-based visual style with the solid fundamentals of a classic shooter, intense impact, and a mysterious mood. Although it is slated for release this year, it was only available offline at BIC; if you are at BIC 2026, I highly recommend checking it out. It is rare to find a game that simultaneously delivers such unique art, classic shoot-'em-up/run-and-gun gameplay, and such a strange, compelling thematic depth.