itch.io

Honestly, you’re completely correct about this game not being particularly SBIG-y. To make a very long story short, this game concept was never intended to be a SBIG game. I’ve had it on the backburner since December 2021, but never got around to creating it (mostly because I wasn’t sure if I was able to realize the vision). However, when this year’s theme was announced, I genuinely couldn’t think of any other ideas, so I decided to get this concept over and done with, so it would cease living rent-free in my head. (It is a very unmarketable concept anyway)

Like I can see it leaning into the meme of “Biblically Accurate Boss” which is funny I grant you

The biblical accuracy was more of a happy accident than an intentional design choice. I knew I wanted The Boss to be some form of incomprehensible cosmic horror, but I hadn’t worked out how I would pull it off (I was considering ripping off [CENSORED] from Lobotomy Corporation), so I asked my brother if he would actually be able to model one. He created a baseline incomprehensible abomination, which subsequently inspired me to modify it (reusing the same animations) into the biblically-accurate abomination present in the final game.

and kinda leaning into an “itch PSX Horror game” that small youtubers would play.

The PSX aesthetic was a last-minute design choice. My original trains of thought kinda leaned towards a ‘sensory overload’ sort of style (not sure how to convey it in words, but taking some inspiration from sections of Killer7) or to a more ‘realistic’ style (well, as ‘realistic’ as the abnormal offices of The Stanley Parable or Control), but, would it be feasible to do that with zero budget and very little time? No. But, at the very end of the development cycle, I remembered about the PSX aesthetic being a thing, it wasn’t too tricky to find a PSX-style post-processing shader and shove it on top of the game.

I am genuinely impressed in how heart pounding being chased feels

I’m honestly thankful for Louise offering to lend a hand with the audio for this game, as I doubt that we’d have been able to achieve this without her music (after all, there’s no jumpscare, no fancy visual effects, and otherwise would have been a very disappointing experience).

I think it’s too much for a good chunk of this jams audience … its a big point off its accessibility.

Yeah that’s entirely my own fault lol 😅 (I am hoping to do a completely different genre during the next SBIG Jam)

the repeated deaths in a maze where the player quickly loses their bearings does not make for exactly engaging gameplay.

True.

I had originally planned to make the prelude section a bit longer, having a layout which would mirror that of the second section, subtly giving the player a chance to familiarise themselves with the layout of the subsequent section - but that got cut due to time constraints (development of everything else took longer than anticipated). Admittedly, the disorientation wasn’t a design goal - I was mostly just trying to shorten sightlines to give the player a chance to break line-of-sight and escape from The Boss mid-chase, but that didn’t quite work (and I was at a loss for how to signpost the way out without disrupting the vibe).

Hell, the level design itself (along with the eventual win condition/ending) were very last-minute affairs themselves. The original concept mostly focused on the fakeout eventually leading the player to a realisation of being stuck in an infinitely repeating cycle (as I was aiming to replicate the feeling of the original nightmarish experience which inspired this game), so those other aspects fell by the wayside. I still don’t actually know how I wanted the game to end either, besides making the player feel like they’re still trapped in the nightmare.

Now the actual visuals and transitions of the deaths with the variety of answering machine messages is great!

Getting the death transitions to work was simultaneously rather simple (in theory) but also rather tricky to shoehorn it into the scene management system - but, eventually, I managed to bodge it in. (Anywho, shoutouts to Godot for making it feasible for me to implement the very wacky system architecture for this game)

Now, the credit for the answering machine messages belongs entirely to Virety. I mostly just told her what the messages would need to convey, but gave her carte blanche to deliver the lines however she wanted, and she did a very good job imho.

As for genre fakeout, I think you knocked it out of the park! And at the same time I feel you on how its implementation might have lost it some potential players.

I’m debating whether or not I should break kayfabe on it post-jam, but as the fakeout is a core component of the experience, I suppose it’ll end up unmarketable anyway.

So overall I found this very impressive, but not “so bad its good”.

valid. I’m hoping to create something truly awe-inspiringly terrible next year.