Crazy that you have released something with this depth after only two weeks. Congratulations!
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Siege of Amal's itch.io pageResults
Criteria | Rank | Score* | Raw Score |
Originality | #16 | 4.143 | 4.143 |
Overall | #47 | 3.286 | 3.286 |
Fun Factor | #56 | 2.857 | 2.857 |
Audio | #97 | 2.286 | 2.286 |
Visuals | #109 | 2.429 | 2.429 |
Ranked from 7 ratings. Score is adjusted from raw score by the median number of ratings per game in the jam.
Is your game a video game or a physical game?
Video Game/Interactive Book
Was your game made solo or in a team?
Solo
Did you use any third party assets, if yes what assets did you use?
No
Did you choose from one (or more) of the optional secondary themes?
Yes, 4 Themes - Missing Link, Death is Only the Beginning, Submerged, and Mysticism
Does your game contain 18+ content (Nudity, Gore, Language)?
Yes. Deep body horror with viscerality that includes aesthetics and the morality of the nude and the extension of the body.
Comments
I'm glad you think so! ‧₊˚✩彡 It’s clear that everyone was deeply invested in making their projects functional. Referring directly to my three favorites from this jam as points of comparison—though I didn’t play all the entries, I believe I played around 40.
Lost Signal by Alex and Iris is absolutely fantastic. It was my personal favorite of the jam, and I’d be thrilled if it “won (have the highest score among the games in the jam),” even if it’s not the most conventional game in terms of gameplay. For me, though, it stands out because I see beyond its intent to deliver a complete experience. It feels much more like an interactive short film than a game. It resonates deeply with elements i like. The biomes, Max’s movement, the way the animation flows as if everything is alive—it’s seriously impressive.
Dream Walker is highly immersive. Madeline’s music nails the emotional tone, and with its fast-paced gameplay—wall-jumping, sliding, mouse mechanics as a meta feature, and a dreamy storyline with hints of Impressionism in the transitions—it pulls you into this shadowy flow where you’re unsure of the story's direction. That background sound is haunting, like something creeping along the walls, but you can’t quite place it. Man, it’s awesome. If Lost Signal doesn’t "win", I’d love to see Dream Walker "win".
Depthwish is well-rounded in its design as a video game. It’s got action, collectibles, an immersive atmosphere, smooth navigation, a monster, and an upgrade system. Imagine if OzMaister and JeyhJeyh leaned into a screen transition script with a vibe like Moby Dick or The Lighthouse; it would really bring the monster’s presence into the concept, kind of like Return of the Obra Dinn. For a traditional horror game, that’s what I envision. As for 2D horror, The Spherizoa by Geomont offers variety and a level of detail that couldn’t be thrown together at the last minute. They Watch a visual novel that nails everything it sets out to achieve with a very convincing premise, and The Dollhouse, which brings a heavy, oppressive atmosphere in a cryptic enough way so as not to be completely abstract. Requiem is a great throwback for anyone nostalgic about the PS1 era (think Parasite Eve, Silent Hill, Overblood, Galerians) and that block-style exploration, which was a technical limitation back then but has a fascinating charm in retrospect.
I sat in my rocking chair to eat my homemade blackberry ice cream, put on B.B. King on the TV to listen to and started thinking about games i played in the jam. It was really cool. If you consider that these people are going to go back and write rather than expressing it in an explicitly graphic way, it would be as big as what I proposed, if not bigger, because the presentation of those that I played and understood can expand to multiple places, which you can't do in a game, but in a book it would be the natural course. Many I didn't understand or couldn't play, like Arcana which simply doesn't work either by downloading or in the web version.
I had several ideas for gameplay of what I could have done but order to deliver it, and I delivered it at the last minute at the final 50 second mark like a very low budget and low poly 007 copycat, I gave up many mechanics, so much so that I ended up with "Too much book" and not enough game from my interactive book, but I'm glad that you believe it's deep, make me genuinely happy.
Thank you very much for playing, I hope Siham's journey was interesting for you! -͟͟͞☆
Excellent job on this. The world building was incredible. It was descriptive and engaging. The work and effort put into this is impressive. The achievements were a nice addition too. English isn't your first language, and you created this is crazy. Lastly, nice submission time. I don't think I've even been that close.
I had a stopwatch on my phone and even joked with some jam buddies, which was a heart attack speed run! I needed until the last second to have something up and running from start to finish, and in two days. I managed to make the biggest spelling correction and bug fixes in 2 days, I would need a third day look to get the idiomatic expressions to flow. But these are grammatical details, not conceptual ones (For example, changing the term "spotlight" because I thought it was anachronistic in the context, even though it is an understandable figure of speech.) Now it's in a stable version.
I'm very happy that this time my English is improving and it wasn't a problem. I enrolled in an online English course that's free, I feel like it's helping me have a better etymological understanding because my use of English, as it's self-taught, is pure association. I know what a word means in my native language and I can connect the meaning in English, and disassemble the words to "create" words, through the logic of joining and a lot of research on prosaic verbs so that I can keep the transitive coherent.
But I'm really bad :P Every grammar test I take in English, I get 3/10 or, if I'm very lucky, 4/10, but I try not to get discouraged, especially because I keep getting the pronouns mixed up, because in my head it would have to be he-his-him and she-shis-shim. kkkkkkkkkk In fact, there were some parts in act 2 at launch where I accidentally committed this atrocity without having time to check the spelling kkkkkk
Thank you very much for playing, I hope Siham's journey has been interesting in some way. ͙͘͡★
Insane level of worldbuilding here, it is really interesting to pair the backdrop of war with Cosmic Horror, the choices add a lot more depth to your project. I was wondering what part of the world the story takes place in, or if there was a certain culture you meant to reference?
Tikvah (or Ximi/Batbayar, depending on how deep you’ve delved) presents a fusion of the Iberian Peninsula and Anatolia, highlighting specific regions in each act. The epilogue unfolds in another era, portraying a more primitive view. Dag is a Babylonian-inspired with Egyptian elements, adopting a broader perspective, while Anker reflects clear Ancient Greek influences with its councils and assemblies, focusing heavily on popular participation. The nomadic or semi-nomadic tribal culture draws heavily from Mongolian heritage, especially evident in the epilogue and the initial encounter with the Bo tribe at the end of Act 1. Here, elements are deeply mixed and extrapolated to provoke cultural clashes, detaching many elements from their sources, like the Riva clergy, creating a web of influence and military orders detached from religion. This evolution of mercenaries into a permanent military force reflects a late-stage rise of national armies fueled by global prosperity, where the structural costs and upkeep are not concerns for the power centers due to sustained stability and political cohesion among mercenaries. Tikvah and Amal, however, face crisis, while the rest of the world remains stable. It’s only when Siham approaches Amal and makes contact with Solveig that the gravity of the situation becomes evident. Until then, the world appears relatively safe.
The idea behind this cultural clash is to explore power dynamics. For example, the Romans categorized entire civilizations under Barbarian label (e.g., Vandals, Franks, Huns, and Germans) because they viewed themselves as the next cultural stage, a human progress incarnate. On the other hand, ‘barbarians,’ contrasting with Roman urbanization, leaned towards autonomy linked to a deep sense of community maintained by traditions and a more warlike disposition. Dag explores what such a culture might look like if there were no foreign resistance betweens "barbarians", wholeheartedly embracing modernity. Dag blend the ingenuity of arts and engineering with nature, with a freedom that could even be seen as vulgar at times. This playful tension is mirrored in how the imperials refer to all republicans as 'rebels,' both for abandoning their roots and for considering that all rebellions are for the same reasons, yet Anker's magisterium is distinct from Amal’s—different peoples with distinct cultures and reasons for being opposition. But within the conflict, it’s up to the player to discern these differences from Bomani’s leadership and how Theron governs his army during the siege, offering contrasts through their alliances.
Thanks for joining the experience. I hope it’s been enriching at some point. Wishing you a prosperous day! ˗ˏˋ ★ ˎˊ˗
P.S: Since you introduced me to Gloomy Sunday, which I didn't know about, I'll introduce you to something that you probably don't know about but carries a symbolism that I believe you might like.
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