The tedium of this game exhausted me but I understood that the walking-pauses were allowing for contemplation of each point.
My favorite part was when the original stage comes back into frame, contextualizing the information that was just received.

I like the art and the little guy that follows you around.

I managed to find a way out of the intended play-area and I enjoyed looking around at the facades/areas-in-progress.

I enjoyed this. As is typical in romance sims, I find myself trying to jive the personality traits and attractions of the player-character with my own and it can cause some awkwardness. I don't think that is solvable, but it was a layer I noticed throughout the game.
The characters felt distinct from each other and the player-character felt distinct themself. I would have probably ended up hanging out with Marian, but the player-character seemed to get along with Bree even though they had differences (which is a great sign for chemistry!). The one thing I really wanted this game to have was an option to talk to Marian about her tattoo. It seemed like a great opportunity to talk about Democratic Socialism and instead we ended up talking about dream-homes.

I like the stiffness of the entire thing. The way the character walks, the way the battle-screen has the same orientation regardless of which direction the enemy is on during the encounter, the battle-music, and the dialogue all feel rote and impersonal in their presentation. This makes it feel like some sort of ancient space-myth being acted out by young initiates every solar rotation without any understanding of the original epic event that they are honoring.

I like the visual aesthetic a lot. To be honest, I'm much more interested in exploring this world than I am in fighting things in it.

The amount of effort that was put into this is startling. I haven't played a 3d platformer in the style of the the PS1 era in a long time and it made me realize that wall-running wasn't common in those games.

I wouldn't have been able to get as far as I did without a controller. Immediately after obtaining the yo-yo I jumped into a pizza box and I no longer had my yo-yo which I think was a necessary tool in order to grab a bar though I could have just been performing poorly.

[Edit: I went back in and discovered that the yo-yo is situational and I was able to use it in the place I was having difficulty. BTW bending the stop-signs is a nice touch.]

The visual filter that desaturates everything a little-bit made me wonder if PS1 games have that visual quality or not. It seems like an aesthetic that Bushido Blade and Tenchu had (but Crash Bandicoot did not have) was bumped up 4x. It's reminiscent of playing on a 7-11 arcade machine that has been sun-drenched for years.

I like that y'all have given the Noid a surreal dystopian world to make right.

I like how the character's broadcast ramblings have a unified tone of a person who has fully executed a plan of preparation without questioning the premise of their choice of action thoroughly. It feels like a whimsical blend of internet-celebrity dreams and you-can't-eat-money fables.

My favorite expression of the character is when they describe two different rooms as the room "where the magic happens". It felt so special when they said it the first time, but then I got the idea that I would tire of this person's company as soon as I discover their well-used phrases and metaphors. The humorous tone helps to make the end of the game feel more like a relief than the futility of a desperate attempt to live past your time.

I enjoy the character creator, the framework that Erin presents, and the individual board-game concepts.

This was a lot like my real-life experience with board games where I enjoy the art, themes, and figurines and artifacts of ritualism, but I completely zone out while the rules are being explained and I just want to be like "I'm ok with losing the first match, let's just play."

I enjoy digital board-games where you get a sense of the characters you are playing with while playing. Poker Night at the Inventory would be a good example.

I also enjoy learning board-game systems through digital platforms when the art and themes interest me a lot. Gremlins Inc. is one I enjoyed figuring out through hours of play and losing.

this is a good idea. The Suggestion-box is closed.

no. You can see 6 (?) other booths from your station and I'm planning on putting asunder products there, I'm leaning towards silly useless ones. 

Only one booth is in range of the bidet (directly across the aisle) and we are trying to figure out what could go there that your spraying could affect. Something that gets bigger when it gets wet or umbrellas or rain-chains or something. Suggestions are welcome.

I can easily imagine what a bidet-salesperson might say (because my recently purchased bidet is awesome) so it seems like a good fit for me to make!

I started wanting to make the environment be more conference-like so I watched a few long-winded videos on how to bake lights and put some textures in. Baking lights takes a good amount of cpu time so it's slow figuring it out, but I like the dinginess. After I did that I finalized how the booth geometry is gonna be and I haven't re-baked yet so there are artifacts currently. I'm going to try to increase the area-light intensity from 3-10 and rebake to see if that looks good. Here is what it looks like currently with no directional lights.

I started putting a player finger in for pushing buttons. It almost works. I need to fix that and then start working on scripting the system where an audio-dialogue starts when the ai collides with you and make the dialogue stop once you give them a brochure. I've also decided to limit  player-movement so they can't leave the booth. That was the easiest way to make the scope of the game much smaller.

I also need to put some ambient audio in.

We are making a game where you are a vendor for a bidet company and your first day is demonstrating the product at a convention. You (as the player) have to figure out a way to get the attention of show attendees in order to get buyers lined up.

gif

I'm using Unity and I just started importing some standard assets and wrote two short scripts. Here they are in their current form:

using System.Collections;
using System.Collections.Generic;
using UnityEngine;
public class Squirt : MonoBehaviour {
    public Rigidbody droplet;
    public GameObject nozzle;
    public float waterForce=1f;
    void Update () {
        if (Input.GetButton ("Fire1") == true) {
            Rigidbody drop;
            drop=Instantiate(droplet, nozzle.transform.position, Quaternion.identity)as Rigidbody;
            drop.velocity=nozzle.transform.TransformDirection(nozzle.transform.forward*waterForce);
        }
    }
}

and a teleporter for the  ai Target once they reach it.

using System.Collections;
using System.Collections.Generic;
using UnityEngine;
public class TeleportAiTarget : MonoBehaviour {
    //I'm limiting the area that the Ai characters will want to walk towards.
    public float xRange=8f;
    public float zRange=8f;
    float y;
    Vector3 newPos;
    public GameObject ai;
    void Teleport(){
        float x = Random.Range (-xRange, xRange);
        float z = Random.Range (-zRange, zRange);
        newPos = new Vector3 (x, y, z);
        this.transform.position = newPos;
    }
    //When the Ai reaches the  point I want them to wait for a moment before their target teleports to a new spot.
    public float waitMax=5f;
    float waitActual;
    void OnTriggerEnter(Collider other){
        if (other.gameObject == ai) {
            waitActual = Random.Range (0f, waitMax);
            cycle = waitActual;
            waitingToTeleport = true;
        }
    }
        
    // Use this for initialization
    void Start () {
        y = ai.transform.position.y;
    }
    //Just a timer
    float timer;
    float cycle;
    bool waitingToTeleport;
    void Update(){
        if (waitingToTeleport == true) {
            timer = timer + Time.deltaTime;
            if (cycle < timer) {
                Teleport ();
                timer = 0f;
                waitingToTeleport = false;
            }
        }
    }
}

If the coding aspect becomes too much to deal with, check out Tyrano Builder. You can do a lot with its visual scripting system and I find it faster to use.

The thoughtfulness and sentimentality of the author really comes
through. I enjoy attempts to endow a place with the stories that occur
there. I recently saw an art exhibit where a student painted a few items
of their dorm-room white and then covered them in writing with sharpie
in order to record the thoughts that occurred near the object. They
ranged from K-pop lyrics to immediate frustrations with friends who were
late (or whatever). Then a full room-setting of these was placed
together and it was a pretty great attempt to express some sort of ghost
of place (even though it was in a gallery rather than in their
dorm-room).
I got a similar sense from this. I feel nostalgic about
places like this and my experiences in them. Commercial-spaces
especially tend to be dismissed as pure utility, but they can't help but
capacitate this type of romance if the right person comes across it.
And it's nice that they had the will to express it!

I enjoyed lowering down onto pieces to gobble them up.

I did a Let's play of Devil's Snuff Box.

https://www.youtube.com/watch?v=rKpI5KBDzEw&feature=youtu.be

I get errors when trying to extract either of the two windows zip-files. When I tell it to skip the things it has problems with, there is no Unity executable in the file.

Thanks for the feedback DINOSAURSSSSSSSS, detailed impressions like this are going increase my skills in achieving what I intend with visual-novels.

I got fairly high. I like how the meatballs become more of a scarce resource as you climb higher. The scarcity isn't in a measured way, it's more of a messy happenstance which fits with the theme (I think).

I love how the blood-splatters leave a history of the match.

There is something deeply spooOooOoky about automation going through its routine after the subject of its purpose is no longer there.

I can't believe this game didn't come from Glorious Trainwrecks.

Who has these?

The sheep is my favorite animal in the game. I'm not sure why.

I enjoy the rhetoric. I reminds me of meditation techniques that instruct you to concentrate on inhaling and exhaling rather than the arbitrary thoughts that come into mind.

awesome.

So does The Button only improve an individual aspect of my real life once? What if I click on The Button more times than I have different aspects of my real life? Will it all get another subtle improvement?

The mixture of satanism, directly addressing an undefined player-character, and random rolls evocative of divination, triggers the traumatic fear of Hell that Presbyterianism established in me as a child. Eternal damnation is not something I can easily use rationality to destroy. Its lack of dependence on rationality makes even fictionally motivated demonstrations of divination such as this have a strong hallucinatory severity to it.

It's not the camera-movement when momentum starts, it's the lerp back into position once character-movement has stopped. I can reproducibly make myself slightly nauseous just by moving to the right just a bit, letting the camera slowly center, move to the left just a bit, allow the camera to slowly center, (repeat 10 times).

Locking the camera to the character would certainly solve it, but I wonder if there is also a way to implement the lerp back to resting-position that would take care of the problem. I don't know.

I'm still making slow progress. I unlocked a new term tonight. I like how I don't have to worry about saving my progress if I can just remember the last term I discovered. Spellrazor implies that it can be psuedo-hacked and I keep trying things out that don't actually work, but there is something to be said about a game that evokes imaginary game-mechanics.

What have you seen of it so far?

There's some interesting stuff in the narrative that I'm trying to figure out how to apply to the game-portion. But I keep on dying. If you manage to make some progress, I'd love to hear about it.

I just played Orchids to Dusk by Pol Clarissou. This was a wonderful piece about life/death. The message isn't anything original, but I was impressed by how it still feels sincere while being succinct. Originality is overrated imo.

The game's fiction talks about players getting nausea and headaches. To find the reference, type "secrets" in the console and read the entry for "April-3".

I typically have a hard time getting into faux computer-interfaces, but the unwieldiness of the letter-based spell-system lured me in. I found myself staying in rooms and testing out spells, and it was during one of these times I started noticing the messages. Before I knew it, I had exhausted a good amount of fiction and looked forward to testing potential links with the game-game. I'm really enjoying this. One thing that I dislike is the camera movement, I can see why everyone was getting headaches.

The saturated colors, arcadey sounds, and diptych of grids created a nice space to explore the logic of. I was interested in identifying the items I could unlock. Limiting those discoveries with dexterity and attention-bandwidth gave the knowledge some esoterism. I played five or so games just to see what I could understand about the unlock-grid and what those icons meant. I think it was an odd choice to not show the upcoming unlockables. Keeping the results a surprise makes sense when you reach the obstacle-column, but the sense of risk/reward would benefit from allowing the player to see the upcoming boons.

This felt like I was playing a children's book. The chunky silhouettes, heavy pastels, and platitudes worked well together to recreate my experience of browsing through a Caldecott-winner while waiting in the lobby at the dentist-office.