Skip to main content

On Sale: GamesAssetsToolsTabletopComics
Indie game storeFree gamesFun gamesHorror games
Game developmentAssetsComics
SalesBundles
Jobs
TagsGame Engines

Thanks so much for your kind words! There are elements here that I think I would like to continue, I like the beginnings of a bunch of the wider thoughts being explored. I wrote a bit about them in my post mortem posts, after visiting the Garrison monument and thinking. 

For your notes (which thank you so much for taking the time!)

I went back and forth on 10 minutes, particularly as it was the first amount of time I chose, and got various amounts of feedback on it. It's how the very broken going back to Don via Clarence came about, so you didn't need to wait it out if you chose to skip. The countdown is artificial either way, and multiple folks who played it spent the whole 10 minutes so I chose to leave it that way. It's meant mostly to put pressure on the idea that you have to fix this as quickly as possible. But healing doesn't work that way, it takes as much time as it will and no outside and arbitrary pressure can change that.

Poor Taddle, my broken child LOLOLOL. I think if I do something like this again (beyond carrying the knowledge forward) I would set up seperate bools for each loop; my folly was my lack of planning on how many there would be and trying to sneak in tiny conversations here and there at the end to pull it tighter together. I learned about half way through about Yarn Commands, which is how the animations are called (and is the most common cause of that issue). The final ending sequence was broken up until the last half hour due to my badly managed code! Makes me sad 'cause Taddle's story is all about being forgotten and unheard, so I feel I did them a disservice in not taking as much care as I should've debugging them.

I am very much on the fence about interfacing more information. Part of the issue is balancing games literacy; when I've handed the project to folks who don't play games and they ask what WASD means, it's always a challenge to think about how much info to provide. Would knowing the secret value for the breaking of the cycle help them? Or would it be more confusing? I fully admit it was put together in a 'good enough' sense, so I'd be delighted to know if you had anymore specific thoughts on what you would've found helpful or guiding while playing!

If you're comfortable, I'd love to hear about what you felt the game was telling you! I've mulled over it's meaning to me over the past week, or what I was even trying to say, and come to more conclusions that I think I thought of going in. It's something I love so much about making a project like this, so if you're up for sharing, I'd love to listen.

Hey, happy to reply to this!

When it comes to thoughts about interfacing, I think it would come down to a lot of iteration, to be fair. At the moment, I would say that maybe adding more and more information after each loop (so in loop 1 we have zero information, in loop 2 we see what items we are carrying, on loop 3 we see how "good" they are...) might be an interesting compromise. But again, it might not work at all!

As for the deeper analysis, I have to say that there was a sense of beautiful lyricism. The main theme I was getting was environmentalism. There was a clear correlation between the words of the characters and the idea of guman-driven climate change. The fact that the characters felt like spirits and their design brought to mind a lot of Japanese media about post-industrialization, and that was the reason I was very happy to find out through the GDD that they were based on actual rivers and creeks. I felt the "base" story being told was one of recovering by caring, both for yourself and others, with a metaphor where that applies to the world around us, not only to other people.

Hope that makes sense and works for you!

(+1)

It does! Thanks for taking the time to write it out. The only feedback that is currently in for the items is the flames change colour based off their 'value'. I think exploring being able to look at them would be a really interesting way of exploring their relevance to the characters. For Ashbridge in particular, the change of context for the letter I think would be nice.

I hadn't really thought about the connection until speaking with a friend, but there's definitely the falling in the sky of Spirited Away conversation with Kohaku and remembering who he is aspect to the characters. Since I made the designs before I decided they were rivers or really any stories, it was fascinating how well their designs ended up lining up. Garrison is violent and sharp, but chooses to be calm and comforting and so is a place that others can feel safe and protected. Ashbridge is an amalgamation of others, and so carried the ghosts of others inside them. Taddle is forgotten and unknown, wearing a mask to hide their vulnerabilities. 

It was a super healing project in so many ways! It makes me happy to hear that the intended reading of the story came though, that's super cool :D

(+1)

So I return to this comment because you said something here I found fascinating and it put me on a trajectory all throughout the week: lyricism. So much so that I ended up buying a book as soon as I saw, which was Game Poems by Jordan Magnuson, which describes game design as lyrical practice. I've just started it and so far feel like I have had multiple game design epiphanies around the conversations I was attempting to touch on in this prototype, largely around the value of lusory attitude and openness within players to experience new concepts through play! It honestly feels like something in the back of my mind I've been gnawing on for the past decade clicked into place.

I highly suggest it! It's available for free online as a pdf as well. Thank you so much for describing the project that way, it has been a wonderful week of thinking about game design again :D