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When we think of evil as a concept, some words come to mind: disturbance, death, curse, bad luck, anguish. Evil takes on many faces, manifesting in various ways; it is what saddens us, weakens us, and destroys us, whether symbolically or literally. In Her Deliverance, Sister Isabel and Father Charles, characters visited by evil, which infiltrates the gaps in the goodness of those who allow themselves to be foolish, here motivated by religious conviction. It is up to them to intervene to try to restore the player's state of consciousness.

Here, evil is revealed through challenges of varying complexity; sometimes immense, sometimes subtle, it can present itself as a labyrinth, a glimmer hidden in the darkness, an ambiguous decision between improving or worsening the situation. Constantly, the game keeps the player in suspense about how that evil will manifest, with the interpretation of each event depending on how the puzzles are solved—perhaps revealing more about the player than about the game itself.

When we think about the role of faith in both endings, a doubt arises: does it represent salvation or just a vain attempt to resist the inevitable? Her Deliverance explores the perception of right and wrong in the face of the inescapable, highlighting the effort to survive against the evils of the mind. Ultimately, surviving is a matter of transforming doubts into certainties—or vice versa—as needed. Perhaps, in this way, the player finds deliverance; if not literal, at least symbolic, by accepting the natural course of things and understanding that moving forward means embracing this reality and starting anew from it.

Warning: Contains a light hint of Abra.

I'm very happy that you will continue to give love and attention to this game :) I'll be here for future updates.

The existence of artificial intelligence, as we know it in 2024, is a mechanical and structural process based on reasoning that follows the mechanics of writing—texts that are inherently lifeless, as there is no actual thought involved, only a thread of reasoning stretched between two points. Just like in an essay or a written test, it generates a vast amount of "blah-blah-blah," any cliché-filled drivel that, though well-structured, is ultimately the essence of a lifeless text. Consequently, most people, conditioned by an educational system that prioritizes passing tests and assessments over genuine understanding, develop a disinterest in exercising the acquired knowledge afterward, focusing only on memorizing content for that specific test, that one situational environment. This fosters a mechanical concept of learning, one in which knowledge is treated as a functional method meant solely for passing exams, rather than for meaningful reflection.

I'm mentioning this because here, you allowed your ideas to come to life in Her. I truly appreciated the way every highlightable element, whether a stone or a box in the room, had something to say or reflect upon. This is essential, so essential, for a cinematic experience. In Chapter 1, the protagonist finds herself in the boundless forest that brushes against an abyss, forcing her to turn back the way she came. A massive house with its sparse inhabitants, indifference to faces, the dominance of black, the void—all are there to reflect, to connect. In Chapter 2, the future, a new beginning—but once again, the abyss waits at the door when new possibilities arise, when it's time to define her future. She finds herself surrounded by interconnected houses, bound by endless walls with no doors she can enter, and figures without shape, face, identity, desires, or ambitions when she leaves her room through dreams. In Chapter 3 (by the way, the humor here aligns closely with my broken sense of humor—the princess wanting to raise taxes by 15% for those who dislike her "decision" made me genuinely laugh! And it also demonstrates a plurality of narratives and approaches, moving away from the melodramatic), a confined, claustrophobic space, where a catharsis and escape occur, not moving forward this time but descending into the depths of her most intimate values and goals, with no distractions, no pause. And in the end, she returns the way she came, after achieving her objective, once again encountering the abyss and a change of scenery. When she finds some certainty about who she is and what to do, she flees to escape the extraordinary and now, trapped in the mundane, she must climb the difficulties she once descended and return to where she began, only to face the same questions again. Until she has the courage to step into the darkness, to cross the abyss, to break the fantasy that something is holding her back.

In Chapter 4, there's an effort to synthesize ergonomics (a Greek word formed from ergon—work—and nomos—norms—which essentially indicates the greatest result with the least effort, without long-term or repetitive consequences). Two things she lacks, as she wanders aimlessly, fantasizing about what she is not. In truth, she is not ergonomic. She doesn’t know what she works for, nor does she adhere to any logical norm. She is the peak of chaos, the result of inconsequential disorder and repetitive daydreaming. Then, she runs, as she always does, because that's her instinct when she doesn’t know what to do, discarding everything she finds along the way—passive-aggressive compliments and insults—because at that moment, running away was essential. She encounters the abyss once again after opening the door, continuing to run into the darkness, only to stop midway, as always, because she no longer has the strength to continue.

In Chapter 5, it’s a grand return, reflecting life stages, abandoned dreams, people left behind, bitter memories, until she once again faces the abyss. Not with answers, but with the realization that she is nothing, that she can do nothing, that she exists for no particular purpose, that she is a mere object of an external, unrelated will—devoid of malice, merely cause and effect. She is freed when she finds an identity, a purpose, a path that doesn’t inhabit darkness but rather the light brought by truth and self-knowledge.

I reviewed the five chapters, and when the title screen reappears, is the game interesting or well-written? Not really; it is tedious and drawn-out, suffering from a lack of rhythm, tackling classic themes without fluidity, with bursts of humor and a fixation on the mundane without gameplay elements that openly define it as a game. Mechanically, that is how a text with a soul is interpreted—something bad. Because the soul has no purpose, no destination, no sequence, no structure, nowhere to arrive; it embodies a will, is the bearer of a construction, a desire residing in the creator and extending to their creation, where, through experience, it connects with people and stories, not because it is beautiful, but because it is alive. The construction here, established in Her, is a profound search for free will, for learning how to let go but also loving those who choose to return.

Whenever I like a game, and I feel that the author has something to say with a specific project, I leave a song. Her reminded me of this song:

Retrieval shows a remarkable evolution both in art and concept compared to The Purge: Desperation. Movements and music are more refined, collisions have improved, and the cinematic scenes evoke an introspective atmosphere that enhances the intended dark tone. The development of Hank as a macabre figure—who, once broken, embraces the occult in a search for answers—is profound and makes an excellent starting point for the sequel.

The dialogue-heavy introduction, wich i belive its reminiscent of Eastern works like Yakuza, poses some pacing issues for me, but the deeper themes—such as error, remorse, and redemption—highlight the necessity of playing the first game to truly grasp these nuances. Retrieval delves into the penumbra of classic horror and existential drama, weaving in elements from Kabbalah and what I interpret as a subtle nod to tarot with the number 15. It’s clear that Doma is highly skilled at embedding meaningful symbols without making them a distraction or resorting to arbitrary references. Much of this painful cycle is not just justifiable but understandable, and in my view, this is due to someone deeply passionate about their craft, adding touches of humor and balancing the visceral elements without losing the humanity that resonates with our existence.

Usually, when I stop to comment on a game here on Itch.io, that I feel has a message, i leave a song in the end. For Retrieval and The Purge: Desperation, i remembered this song: 

I "played" in story mode, so I don't know how much you can consider this really valid, but thinking about the journey to the plot twist, which explains, but does not justify, the first impressions one has of the father's belligerent figure and behavior, I remembered this song. Since I didn't play it, I don't know if there are any secrets or possibilities beyond, but for me, it was a good read and mystery.

I enjoyed the premise and the idea you’re building here. The design is cute, and the music fits well, but I feel like some ideas might look better on paper than they play out in practice. Here are a few points:

1. Collecting the potions feels inconvenient. It’s not engaging or practical—it’s just cumbersome. I get that the goal might be to combine the strategic aspect with some reflex-based motor skill, “speeding up” the player, since enemy troops have predictable attack and action intervals. But this could use some rethinking. One idea is to have the mini-game for collecting potions pop up every X amount of time or after defeating a set number of enemies, each stage havind a pre set points to first wave of defense. This way, you’d have dedicated moments for the mini-game and moments for defending, instead of having to juggle both, which isn’t as enjoyable. Finding a way to make this fun would be ideal.
2. Positioning on the grid: Since it’s possible to place units anywhere—even on the enemy portal—it might be worth considering using square grids with “broken” or asymmetric rows, where you place a troop on G3 but they’ll attack on H1 or B1, perhaps indicated by arrows or lines. This could add some variation by making precise positioning less crucial.
3. Color swap: If you’re sticking with a single enemy/aly model, adding an automatic color swap for variation would be a good touch. Honestly, having them all look alike actually has a certain appeal, giving that “pawn army” vibe. Using just one model with different color swaps could help create distinct groups without necessarily designing entirely new units.
4. Portal feedback: The portal mechanic could use some additional visual or audio cues to convey damage status. Whether it’s a changing sound effect, a sprite that cracks the ground or wears down as it loses health, or something similar, having a way to tell if it’s getting close to critical (or if it’s relatively safe) as the phase progresses would be really helpful for gauging which areas to prioritize.

English isn’t my first language, and I’m sharing this because I really appreciate what you’re doing here. If any part of my message sounds blunt, that’s not my intent; I genuinely want to help, sharing both what I see as issues and my thoughts on possible solutions if you find them useful.

P.S. See you soon!

Primeiramente, parabéns! Ter um compatriota brasileiro por aqui é surpreendente e muito bom. O jogo está lindo, o design da Adriana é bem-vindo, a musica orna com toda a atmosfera e os diálogos fluem muito bem, seria um clássico instantâneo no click jogos/miniclip na internet 1.0. Porém, tenho quatro observações:

1. É importante ter uma representação numérica. Eu, por exemplo, jogo contando para "sentir" a diferença entre um valor e outro. A barra é um conceito legal e poderia estar ativada por padrão, mas é importante ter uma comparação numérica para quem joga contando — o que, no caso de jogos táticos, é uma boa parte dos jogadores. Dar 8/80/800 de dano é muito mais necessário do que uma unha/um grão/um palmo de dano nesse contexto.
2. O vermelho do ataque, para o meu gosto, não se encaixa bem com o aspecto espectral do terreno. Talvez seria interessante explorar o lilás? Seria bom experimentar outras cores e paletas. A movimentação, por exemplo, com uma tonalidade mais opaca, me agradou muito.
3. Quando os pontos de ação se esgotam, seria ótimo ter auto swap para o próximo personagem com o menor PA disponível. Quando meus pontos de ação zeram, ainda assim preciso clicar no próximo personagem a cada nova rodada. Nenhum problema, mas poderia ser melhor.
4. Talvez inspirado em X-Com, "mirar" poderia ter uma chance de contra-ataque naquela direção, dando uma jogabilidade mais passivo-agressiva para quem precisa sustentar dano. Ezequiel, por exemplo, mesmo sendo suporte, ainda poderia servir como "obstáculo" para quem não ajusta o jogo por classe/tipo, permitindo que jogadores que exploram parcialmente as mecânicas ainda possam dar um uso estratégico para quem não vai ou simplesmente não quer usar personagem x ou y.

I liked the movement, the protagonist has a certain charisma and the sword below, like a saber, made me curious if there were any adjustments to the weapon. I found the color palette very interesting, I imagine you will still work more on the sensation of impacts, but the effects converge in a nice way, like the aerial enemy launches the projectile, the blue does not swallow the green, it gives a good contrast. I don't know where you intend to go, but in the future, I would need to change the controls. MKE is very inorganic, maybe ZXC or space-shift-control, but this combination would have to be reviewed. As always, I look at the settings, I saw that it is like this, but I doubt anyone would guess that the initial interaction is like this. I wish you the best of luck in your endeavor!  .·͙*̩̩͙˚̩̥̩̥*̩̩̥͙　✩　*̩̩̥͙˚̩̥̩̥*̩̩͙‧͙ . 

In no way does having a designated artist and honoring them diminish what you've done. Technology, as a whole, is a significant process of assembly and reassembly. You curated what you wanted, worked with the acquired sets until they took shape, and delivered them in a way that expressed your vision at that moment. No painter invented colors, but they all use them to reach what they desire, a vision of something. If your "fix for the shortcomings" weren't productive, I wouldn't think it's good, nor would I have commented on it. So it's not a "fix"; it’s a path—one I’ll closely observe to see where it leads.

I’m glad to hear that Siege of Amal made a good impression. To give you a point of comparison, my "fix for my shortcomings" are rooted in historical/theological knowledge that enriched the universe with facts and processes, to reduce the impact of me not being able to implement all the gameplay elements. However, if you strip that "fix" away, it significantly reduces the content because my "fix" was to create based on extrapolating from history, science and geography. Certainly, when you played, you may not have perceived this because this is my path. ;) I hope the journey of Siham was interesting for you in some way.

Wall/10. I will move forward again.

I really enjoyed the atmosphere; your writing flows like a gentle stream. The navigation is intuitive, and I could always get to where I wanted with ease. The attention to detail—both big and small—is impressive, like the light that creates a contrast with the time of day without needing explicit exposition, and the age conveyed through intuitive sensations. Thank you very much for sharing; it was a great experience.

P.S. Interacting with Ben several times throughout the day until he dont responds anymore making the mc say "how rude!" was magical—it has that same playful energy.

Although this isn't what you specifically asked for in your post, sometimes people play without much to say, which is why they don’t comment. I'm one of those cases. I played your game and voted, influenced by the tone of Silent Hill 1 right from the start. I appreciated the well-constructed meta language and the strategic placement of enemies throughout the map. However, I found the camera a bit problematic; it felt dizzying, like of how Galerians sometimes obscured items by positioning the camera in ways that hid them in blind spots or delays interactios if you accidentally pressed up-left. Your game has a similar delay that you need to refine gradually to reach your desired point, preserving the retro look but with modern adjustments in controls and design.

Following that old design logic often leads to frustrations like feeling “stuck” because the cryptic exploration of that time aimed to extend gameplay rather than focus on conciseness. This was more a mix of market trends and technological limitations than artistic philosophy. Games that didn’t adopt this approach were primarily arcade titles, designed for endless replay and centered on challenging difficulty rather than cryptic elements. Last Call Swamp and your game are two excellent retro examples from this jam. I thought the “based on real events” plot with that one on a certain feed (don’t spoil it to avoid ruining the well-crafted twist!) was clever; I enjoyed the references and gameplay. I didn't comment before, and I plan to keep it that way because my thoughts were more about the project’s nature rather than specific critiques or praises for the game, as you can see. If you tweak these elements, it would stop being retro in no time.

I apologize for somewhat disrupting your post without directly contributing to what you asked for. However, since you have three games and this one seems to be on a larger scale, I decided to comment to ease any concerns you might have. If you compare the number of downloads and see it doesn’t reflect in the comments, votes, or followers, that’s natural. You did a good job. It’s like enjoying a great hamburger and thinking, “this is very good!” but not feeling compelled to comment further, unlike if it were cold or tasteless. It doesn’t mean there’s a problem; it’s just an experience that happens on its own, like your MC journey. Wishing you a great day or night! ⋆｡°✩

I really liked this concept and would like to know if it's an interactive book (like Twine,  Ink, ChoiceScript, Dendry), fits the general idea for this jam. That's because I have not one, not two, but *three* games on this theme that I'm polishing and I'm, at this very moment, refining one about Formula 1. If it fits within the premise of the jam, I'd love to participate!

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! -͟͟͞☆

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. ͙͘͡★

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.

This is my third 5/5 game among those I chose to play this Sunday, which is my day for gaming and general fun. What a cool experience to wrap things up! I found the gameplay super fluid, the music excellent and well-paced, and the dream stages really well-constructed. (And since I’m not just a casual, but a pro idiot, I obviously laughed at the noise in the silly stage.) The idea of using the mouse as a switch was so unique! It’s almost like a Ghost Trick meta vibe from the DS—a really clever, well-made mechanic that meshes perfectly with the game’s concept. I hope you're proud because I think this is a very complete game.

If you added stages between dreams, it would work; if you added more move sets, that would work too. Establishing a damage logic that isn’t punishing with one-hit kills was a great call. The respawn and chase mechanics are convincing. It’s a very cool, well-rounded game that left me with that great “I want more” feeling.

P.S: If you ever make updates, I hope you bring the Madeline again.  The melody created had a sensitivity that harmonized *VERY* well with what you needed.

A solid setup for what you wanted to develop, working with themes like trust and identity. I’m not sure if you researched this or not, but there’s a phenomenon that specifically explores the idea of scars and how the resulting trauma affects experience assimilation. It’s called flashbulb memory and is a really interesting concept that you chose.

+P.S.: English isn’t my native language, and I was a bit distracted when Unknown’s message came through on the computer. In the moment Lila is called a “Little Bitch” in a heated exchange, I read it as “Little Beach” and thought, “Oh, how cute! I’m the beach, like a ray of sunshine for you?” Only later, rereading, did I get it. :| My first impression was very different because of this.

A game that could be summed up as a wild horse charging straight at you just to farting in your dog's face, kicking a tree and then running off. Say what you will, but it’s definitely unique!

I really think there should be a shortcut for the Weld. Most people aren’t familiar with RPG Maker, and unfortunately, it’s not intuitive to open the menu to activate a skill-based equipment. Nowadays, logic is different, and patience for navigating through menus is minimal with so many other options out there. 

I put together a short walkthrough in case anyone unfamiliar with RPGs needs it:

1. Move using WASD and space/enter to interact. Check the comms map (giant green holographic panel on the left), and grab the Cryostatic Core next to the bed.
2. Descend through the pod, which looks like an “egg.”
3. Initial hub: go up for HP restoration (here called PSI), the crafting table (central terminal), the gold farm (called scrap, left of the terminal—exchange fragments for X amount). Scraps aren’t essential items, so recycle freely; it’s your main currency. The terminal on the right (the globe) analyzes materials, letting you progress in the game and gain information. The storage box below lets you carry only 8 items at a time, just ignore it.
4. Head right and press space over the small scrap piles. Large piles don’t yield resources. In one of these, you’ll find a “Welding Torch,” which we’ll use to open the door below. Press "Esc," go to Equipment > Change > Weapon > Welding Torch. Press Enter to select and Esc to return to the game.
5. With the Welding Torch equipped, face the sealed door below, press Esc, then right [Skills], Enter, then down to [Equipment] > Weld. Open Sesame! Now you’ve unlocked the first sector. Grab all items and scraps here without exception. There are two entry points with items in lockers: above with the white keycard, and below with the energy replica to make the keycard for the upper door. An enemy patrols nearby; sync your moves to avoid combat and wasting scrap. Go in and loot; eventually, you’ll find a grenade. Keep it.  Seriously, you're going to need it. 
6.  If you want get into combat, the system is pretty interesting. You need to stun with the grenade and then attack with the Weld. It’s not a numbers game here—use the right logic, and you’ll win.
7. Return to the central hub, recycle scraps (you should have at least 10 now). In the upper door, you can refill HP. Go in, but don’t use the pod to regenerate PSI (this part will end soon). Use the 10 scraps to start the first HP refill upgrade.
8. Head right again, go up this time, and grab scraps and cryo energy from the locker ahead.
9. Return to the central hub. Analyze the material, and craft the cryo core using the energy core collected.
10. Access the pod that returns you to the game start, far right, below the recycling machine.
11. Insert the energy core in the machine next to the bed.
12. Return to the cryogenics chamber.
13. Again, open the comms map and retrieve the cryo core, then head back down to the central hub and analyze the cryo core once more.
14. Go up to the door above the HP refill, perform the second upgrade, and then head down.
15. Finally, proceed to the door on the right, which was previously blocked. Enjoy the ending!

I found the idea of creating a gravity-free game very good and original! The sense of impact is excellent, fluid moviment and I enjoyed the enemies and our protagonist; everything is colorful and fun. The only thing I’d say was a bit off was using green blocks for something that deals damage. Typically, green suggests something you can touch or pass through, while red usually means danger. Other than that, I think it’s an experience that builds a solid foundation for whatever you want to create in the future. Thanks so much for sharing!

It's a great tribute to Defender! The ship maneuvers well, the game feels fluid, and the impact sensation is satisfying. It’s fast—very fast—just as arcade games should be and super fun. I had about 20 minutes of great entertainment! Thanks so much for sharing.

I really enjoyed the experience! The sequence in the dreams was fantastic, and I felt the game wraps up the story in a complete, well-rounded way, delivering its message, saying what it needs to say, and still leaving that taste of “I want more.” Very well done! I do have two observations: 

1) The music after hitting the boss feels a bit counterintuitive, as does the music in the chase scene. The track should evoke that sense of urgency, that feeling of “What the hell did I just do?!” but it doesn’t quite get there. I felt the music didn’t align with what I was supposed to feel. Maybe drier sound effects could help highlight some of the environmental details. 

2) The tiger contrasts a lot while moving through the forest and “floats” over the sprites. It might be more effective to show only feline eyes, making it clear there’s a predator lurking but without fully revealing it

If someone told me this was a leaked Game Boy game and handed it to me to play, I would believe it! Haha! It's very well made and captures the retro atmosphere perfectly; I imagine you must be very proud of what you've accomplished! :) However, I have two bug reports:

1. During the first battle, if you press any button other than Z or X while the zombie is close to the counter, no buttons will respond anymore. Even though the functionality of (A) and (B) has been preserved, it might be wise to replace them with Z and X for better functionality, or assign movement to the directional arrows and keep A and B as their respective buttons.
2. If you get hit while attacking with Z from near the counter, the enemies respawn two blocks away from the counter, making it completely defenseless against attacks. What I did to avoid this was to always attack the zombies on the bottom line, accept the damage, and then face the next wave up, dowm and down, always avoiding the middle line, which is the buggiest.

Overall, it was a great short experience. Thanks for sharing!

Like someone who had the Master System and Action Fighter as my very first cartridge on the console, this game evokes my childhood instincts of frantically pressing button 1 to shoot faster! Haha! I truly believe that if the environments are refined, there’s a better sequence of transitions screens established, smoother animation effects to prevent the character from sliding too much, and a UI that fits the premise—embracing vibrant colors without taking on a sterile modern look while combating the heavy atmosphere that calls for monochrome—then you’ve got a hidden gem in your hands. Especially because it has that "just five more minutes" factor. I'll be around if you ever update the game.

Alright... let me take a seat and reflect a bit. I even made myself a cup of fennel tea with cinnamon because your little adventure got me thinking, in more ways than one, a bit beyond the biomes and the ominouss atmosfere by Sergi Pavkin, which really set the experience well, dictating Max's past and destiny in the face of Milla's fatalism.

Even though I entered this game jam universe this year, I really appreciate how independent proposals bring fragmented reflections that commercial projects simply cannot. From a commercial standpoint, Max being so slow, without a laser rifler and lacking a catchphrase followed by a last shout of "die motherfucker die!" is a big problem because, as a game, it asks for something like that to be "fun." Aside from that, I enjoyed the playful approach here, especially since I no longer have the same time window for long gaming sessions without severe consequences; therefore, the ability to synthesize is something I really value. By the way, I found just one grammatical error: in the Yan/Central Hub stage, Max says "Maybe something is doing it's Workq" instead of "Work" at the end of the sentence in the terminal.

Kelly's analogy about the cosmic garden and Albert's optimistic view as something more than humanity stumbling through the test of time coincidentally echoes what I did within the experience of my project, like nature itself, which is a declaration about life. Fungi, algae, bacteria, energetic interactions—nature constantly establishing itself as the floor and ceiling of everything that has come and will come.

The issue is that the universe, the cosmos, represents the final purpose, where experiences repeat in an infinite wave, but with eternal variations because it is immutable. It was present before we were born and will perpetuate for long generations after we cease to exist, because change lies in continuous adaptation. The universe we understood in childhood, in its entirety, remains, but our rational and moral comprehension of how this universe communicates, what it wants, what we can do, and what we can extract changes. The perception of this totality falls into a strange conceptual limbo because the cosmos is a journey back to the beginning: seeking food, water, a means of subsistence, mastering the law of the jungle, shifting from predator to prey, and dominating instead of being dominated. Every trip to the cosmos is a return to the past, in our most intimate fragility, because it’s about going back to the point where we had no certainties, inhabiting that intersection where social guarantees cease to exist. There is no collaborative social contract, but an environment where this exists and serves as a starting point to do differently, to be different, to seek different solutions for the same old problems.

Max could be a firefighter, a doctor, a police officer, or a teacher, and the challenge imposed by his sister would be the same because it’s the contrast between absence with competence and presence where there’s nothing left to do but accept how things are: stagnant, unsatisfactory, ungrateful, yet the only path forward to, in the next situation/state, be better, do differently, be present where your name represented absence for those who cling to your legacy/significance/value. This was really cool; I had a great time with this experience. I’ll keep a close eye on your future projects, Alex and Iris. I’m very glad to have met you both.

I appreciated the loop and the attention to detail in making each interval distinct, both in small and large ways. It starts by exploring the mundane daily life of the city, conveying a mirrored message about social parasitism. Thank you very much for sharing! +P.S When the game ended, I remembered this song.

Very cool atmosphere! The fact that it is somewhat partial, I think it should be mentioned, but I think the work of the action system gave you a good foundation for doing something different! :) I found the enemies impressive, the atmosphere catches on quickly and the protagonist's aesthetic is very pleasant. In my opinion, it would be an excellent 1 hour and 5 stage game, focused on speed running. In the future, I will return to test the game, if you decide to continue.

I really enjoyed the game, to the point where I'm eager to follow the creator's future work; there's a unique vision here on how to shape an experience. The protagonist is very charismatic, with a Coraline-like touch that makes everything feel like a dollhouse theater but lively enough to give that "something's off, but I can't quite tell what" feeling. Although I enjoyed the experience (and thinking that a few years back, this game would have been a treasure in the Flash era on sites like Newgrounds or Armor Games), I have three observations:

Crafting System - It could benefit from a more gradual progression. The system is so robust that it’s intimidating at first, even though it’s more about combining elements by minigames. For some, it might seem overwhelming, while others may appreciate the challenge and dive right in. I understand there are time and technical limitations (I didn’t find any bugs, which is impressive given the complexity!), but a smoother balance in future updates might make the experience more accessible without losing its personality. Three starting zones—a brief buying/selling area inicial potions, an exploration area to showcase the forest’s verticality and gather ingredients no clients, and a potion-making area with intuitive outlines for one potion with ingredients colected previous—would provide a gentler learning curve without taking away from the game’s initial impact. I think the story could develop further with a daily coin goal, telling a bit more of the story and elements in the store, in that dating sim logic of x days to a goal, with intervals for upgrades between x day and the next y day. Simple, but very functional.

Speed and Navigation - The protagonist feels a bit slow in the forest; having a navigation shortcut, like pressing Enter to return a screen or just touch to collect ingredients, would help. I began to feel fatigue while retracing long paths just to make potions. Adding a side-access tab to jump back and forth between the store and forest, accessible as an upgrade, might smooth out the pace for better navigation + give a purpose to extra coins.

Order Labels - Having a label on each order pointing to its matching entry in the grimoire and ingredients to make the order would be helpful as a starting point without breaking immersion. I get that this might go against the alchemist theme, but even a short note field (up to 50 characters) could help organize orders without forcing the player to constantly cross-check details, encouraging synthesis and aiding in note-taking without interrupting immersion.

Thank you for sharing the game; it was a fulfiling experience!

I played while watching a soccer game yesterday and thought the exact same thing: "When was the last time we explored underwater houses?" I remembered of Dave the Diver and Tomb Raider, though those games don’t exactly focus on that. This really is something unique; considering the maneuverability needed to grab collectibles without triggering the "presence," the way the water flows, and how sound respects the silence—it’s very clever. This was my first 5/5 game here, and I found it to be a very complete experience.

The worm was also my favorite! :D Every time I saw him with that little mouth open drooling, I automatically remembered the nom, nom, nom, nom! So adorable! Hahaha

A good experience. Silence draws you instinctively into the abyss, the only vast and imposing presence in the environment, standing out immediately upon arrival. Meanwhile, music, as a universal language awakened by the subtle details you must actively search for to understand if it ignites something, awakens the monster, for this is the nature that permeates the MC's heart. Upon reaching an extreme, he realizes that, in this heightened present, music no longer serves as the expression of something but rather as the shackles of a past that has lost its meaning. It becomes a tedious obligation, carrying the essence of what could have been rather than what truly is: a futile attempt at relevance, at letting go of the desire for approval amid the profound anguish of never being understood. The greatest struggle exists amidst this mess, this clutter, and so many distractions in what should be a space for creation. Yet, this desire still persists, as once more the melody emerges, and the experience of being alive transforms into the manifestation of a monotonous will, as essential as breathing itself. Thanks for sharing, a really good game.

Hello friend! How are you? :) I was playing it earlier today and came to rate it in Comic Horror Jam. Since I saw your comment, I'll share a screenshot. Keep in mind that my notebook isn't exactly the shiniest item on the shelf, maybe an automatic adjustment will make things look better for you. See ya!

At least for my part, it's just a matter of more time, not skill. Another person even commented here about the personality of the rooms, how the place is telling a story.  I don't know exactly what your plans would be, but I believe it would be a good game in the 25 to 40 minute range.  There is a concept that I really like and I don't really know how it is in English, maybe dont exist; "Three steps from heaven in the devil's lap" This means that your soul can be in one place and your body in another. Some types of personality dissociation present this, where the person sees themselves in third person, has it (consciousness) and the body of the person who is out there doing things, without caring about the thoughts and desires of the conscience. That was my interpretation at first and the fact that Emma is simply at her own pace but the world around her is falling apart, but there is enough distance to the player understand that there is a problem and, perhaps, even want to solve it, like deliberately filling the refrigerator and forcing her to do other activities outside the computer, but we can't, because this is Emma's body and not only does she not want to, she does not even understand the reason for doing it, and the lack of reason brings the conviction of comfort like hoarders who collect boxes of medicine for illnesses they do not have but one day may have. When the virginal figure with blood was introduced, which involves purification and renewal, I became thoughtful about the purpose and very curious about where it was going. Interpretation is always interpretation, it's like the case of the banana stuck to the wall of the museum. If you want, within a context, people will say whatever they want because the environment allows it. I believe that Emma has this charm, the volatility of the person looking and trying to fit the pieces together by themselves and arriving at different points, not out of ambition or symbolic presumption, but because of the ambiguous nature in the game. I can't speak for anyone else obviously, but I allow myself to digress because there was a lot of love and care in what was done here, and if in the future there are sweet fruits of something born like this, I want be at the table to taste its flavor.  Thanks for sharing your game! 

A strange game, in a good way. Even though I understood the maintenance aspect of the loop, I wish there were nuances in the loop, more things to play with within the sectors because the environment is rich, the music is good and Emma being dysfunctional has already been introduced. I would love to hear more about the concept of Emma if possible, I confess I don't get the symbolism but I would like to understand.

I agree with you. The game has this psychedelic and acidic atmosphere but with an oddly cute vibe that’s so characteristic of that time :) The reading flows smoothly, and the ideas that need to be implied are well separated from those stated directly. Overall, it reminds me of Kafka, especially in how it dwells on the condemnation of free souls: once the character becomes free to "see" the unseen and feel what’s beyond words, he’s overwhelmed by the confusion of not knowing who he truly is. At a certain point, the real strangeness is in the player, who, by taking on others' responsibilities, loses their own purpose and, in doing so, never really experiences full freedom. The only thing holding him there is the realization that there might be nothing truly worthwhile out there. It’s a fascinating game! Hope its get a full game too. 

It was a really nice experience, it reminded me of the Kemco games, and it even made me want to play around with creating something with RPG Maker later too! :) Thank you very much for sharing, I think Derek is a good protagonist for a JRPG. +Gregory is a threat, not only did he give the first blood, but he also calls for the next one! The only thing missing was an "I know where you live!" The man is a caged beast shaking with hate and drooling blood haha Gregory MVP.

The navigation is very intuitive and you can feel the influence of classics like Tex Murphy in the way things are presented. It was a very curious experience that surfs the VHS wave well. +P.S; A 100% irrelevant detail. As the game progresses, the black tone of the mc nail becomes more matte when using items from the inventory, but in Jumala's first hit, it is a shiny black. Every time an item was used, I kept noticing if the nail would be shiny black or matte black lol