Examining the skulls gives me the following result: "You see 6 crystal skulls set in the wall. TypeError: Re.keys().map is not a function. (In 'Re.keys().map((e=>be.$.persist[e]?1:0))', 'Re.keys().map' is undefined)"
The only baffling pronunciation in this one was the A DROUGHT one, which perhaps works if you imagine someone speaking in a Scottish accent, but while it he second word appeared reasonable to me, the first one came only after experimenting with three letter words that would fit.
Very good. Though I felt someone would be more likely to just send a form email saying something like “Your email is very important to us, but unfortunately misdirected.” than take on all that work—but then the horror of being buried under all that work as your coworkers vanish would not be as apparent, so it works. :P
Is development time for Le Petit Mort required to be continuous (as it would have been—by necessity—for Speed IF) or is it allowed to be non-continuous and have arbitrary length breaks in-between so long as actual development time never exceeds four hours?
Watched your video of you going through the Shufflecomp entries, and that's prompted me to point out that "From the Stars II" was one of the songs off my playlist.
Rather good environment from what I managed to play of it, but the arbitrariness of the sort-of world model stumped me (e.g. given that the PC isn't forced to drop the rope by going through the purple tapestry, why can't the PC drop the rope down the hole behind the door?)
What I played of it was good, but unfortunately it errored out after I got to the "Closer Still" link
The exact error is: In Passage.render() using _.template(): SyntaxError: Unexpected identifier 'tel'. Expected either a closing ']' or a ',' following an array element.
The concepts of an interactive whiteout is interesting. The effect it creates is one of constant reduction—everything seems to be propelled towards to a small, collapsed point.
Yeah, it probably could do with more cohesion and being more fleshed out—there's a smattering of a bit more details on the board and the defaced designs in the prologue, but otherwise there's not much decorative details on objects, for example.
something that's just occurred to me is, when you say "(I did use Gargoyle and it looks like the first screen didn't render right, but the rest of it worked fine)", do you mean that Gargoyle mangled the first epigraph but not the others, or that it mangled the first one and didn't display the rest?
Thanks! I'd originally intended for Sequence I to be a bit less linear—the VR conversation was originally supposed to be an actual NPC conversation instead of just a cut scene, the airlock door was supposed to be actually openable instead of a prop, the door opening was supposed to be puzzle with a computer connector and grease necessary to get the capability to unlock it, the terminal was supposed to have news reports represented as menus, the door opening and hacking was supposed to be done by menus as well—but I decided to simplify aggressively in order to get something finished for the jam. That, and I had multiple sequences planned out too—some of the stuff in the prologue is a hint at what one of those would have contained. The epilogue was supposed to be linear, as that was the feeling I got from the song. Every sequence was supposed to have the final item mentioned in the ending show up in the first puzzle of the next one; this is probably less clear when there's only three.
But enough about how I wanted it turn out, and more about how it actually did. I guess it could've benefitted from being link-based, but I didn't want the headache of having to essentially build my own world model. The disjointedness was sort of deliberate? I was going for a sort of "reading a short story anthology from cover to cover" type feel than a singular cohesive narrative.
ETA: Linearity was probably also influenced by my decision to use ActorState objects to model where the PC is in the narrative.
