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Minoh Workshop

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A member registered Sep 04, 2019 · View creator page →

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Ah, yes. I've been aware of those Mesopotamian lyres for a good while now. I think I want to geek out about them, if you'll permit :)

There's a lot more engineering in them than meets the eye, some of which Peter Pringle talked about here and there. The first attempts at recreating those lyres — including trying to get something like the sound said to come out of them — ended quite catastrophically. If memory serves me, there was a lot of debate over how those "pegs" at the top could be used to tune them (which I know for a fact is a solved problem nowadays) but mainly getting the tuning right seemed impossible.


The issue was that the tension on the strings was so high that the crossbar would bend down with each string that was tuned, which in turn made all the previous ones out of tune. Wood alone just couldn't take it! I think the video you posted was recorded back when Pringle was still commenting about this issue, which I believe he later solved as you can see in this beast of a performance below.

I can't quite pull a quote here, but I believe he ended adding a metal bar inside the crossbar to be able to bear the load... And this refinement might have been there in the original specimens of this instrument, I was told. It's really incredible, isn't it? The instrument itself does sound like a cow, and in the video description Peter Pringle explains a lot about his rationale in the recreation.

Now, another very interesting lyre comes from Crete itself, from the Hagia Triada sarcophagus, which I had the pleasure of seeing for myself.


It's also visible in this pottery from around 1200BC:


It's also been recreated by Luthieros, though it naturally comes with a number of creative liberties.

I bring all of this up for a reason, though. Crete was quite the maritime and economical powerhouse back in its time. There are Cretan artifacts spread all over the Mediterranean and North of Africa, and there's been a very healthy cultural mixing between Crete and Egypt. Scarab jewels were found in Crete, and it seems like there was a lot of artists coming back and forth learning techniques in foreign lands.

Mind you, both the Mesopotamian and the Hagia Triada lyres far precede Ancient Greece as we know it! The myth of Hermes tells of his mother, Maia, giving birth to him and his little adventures shortly after, wherein he killed a turtle and some of Apollo's cattle, then used the shell, horns, leather and guts to fashion a lyre. If we think of this as belonging to "Ancient Greece" as a historical period, then look how advanced the Cretans and Mesopotamians that preceded them were! And that's being generous to the Cretans, because I wouldn't be surprised if the Hagia Triada lyre actually originated from Egypt. And Mesopotamia was not too distance from Crete either — don't quote me on this, but I think I saw on the Heraklion Museum some stuff about Cretan artifacts being found in Mesopotamian ruins.

Mind you, nowadays I play the lyre and I've become very immersed on its research and recreation. My interpretation, or perhaps I should call it my hypothesis, is that lyres must have been a very developed and refined category of musical instruments back in 1400BC. The ancients were no less criterious with their songs than we are today, they must have been inventive and ingenuous. I believe the most traditional turtle shell lyres (called chelys lyres) must have been extremely ancient, and by the Neopalatial Period (between 1750 and 1490BC) there must have been a wide variety of them. The consensus among historians and players is that, for example, the kithara (another kind of lyre, which you can see below) seems to have been exclusive to professional players, while the more average people used simpler versions of the instrument.

Now, I'm very eager to talk about all of this because recently I've been doing a lot thinking on this subject. Asterion's lyre will pop up a lot on Chapter 20 and I plan on giving it a new look. Back when the game started we didn't know much about lyres ourselves, so we went with a pretty standard design but now that I've been playing it for a while I have a better feel for what kind of lyre Asterion would want and how it would be preserved across the centuries.

It's probably a bit dorky of me, but I want Asterion's lyre to be reproducible in real life because I've been approached by a handful of people who want to learn it because of Minotaur Hotel. In short, I'd love it to be a design and a sound that Asterion would be satisfied with, and I want it to have the standard of quality I've demanded out of my own lyre. Though I will say that I've realized that Asterion would not want a truly traditional Greek (chelys) lyre because they really are a bit too limiting. Someone like him, with all the time he's had, would want something more, which we will probably see soon. We haven't settled on a design, but for sure it will be one that is possible, good and affordable*

But I should probably confess that I'm not the most traditional of players myself! My lyre is almost 1 meter tall too, which almost every person on Earth would say is too much but I love this beast.

*Affordable in comparison to the usual price good lyres go for, which are easily above the 600-700USD range for even basic ones with only 7 strings, which I consider overpriced (my big beast of a lyre came out cheaper than that, it's better and has 13 strings, so I think I'm in a position to say this). 


Anyway, I hope I've given you some food for thought, Sirius. As you can see I have a lot of opinions about lyres.

nanoff has been traveling and hasn't had the time to fix this bug.

For now it might be worth trying a previous version of the game. I don't think this bug happened then. I just uploaded it to this page here, download version 0.6.2. Please tell me if it works.

Congratulations on the release, whale creature!

We're going to publish a hotfix soon.

There is some lore to the achievement.

You can't unlock him yet. Those are only placeholder assets.

Yes.

That was always a possibility since Build 0.5 came out. If you figured who "he" is then the MC punches him.

It'll be out when it's ready.

Sorry, we don't know. If we find a solution we'll post it here, but you might have some luck searching online for how to backup your saves in Android "ren'py", which is the engine we use.

Try not sending him to the valley. If you never send him then you won't get assigned to the ruthless route.

A thread for your convenience. Do with it as you please.

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The Cemetery. It's the Bloodborne: Old Hunters of the Hinterlands, which in turn is the Bloodborne of Minotaur Hotel, which sadly is not the Dark Souls of furry games because Dawn of Corruption holds the title in virtue of its retrieval and combat mechanics.

For a non-meme answer, it's because The Cemetery varies wildly depending on what you did before it so everyone should come out of it with their own experience.

I had a whole draft of the story in short format written down before we started work on the game. I knew where the story started and where it'd end, and what were the important points we had to touch on the way. Many of the side characters were there, like Luke, Kota and Robert. Some were more or less planned but not yet implemented, like Khenbish (who then we called Zhu). There were even characters we haven't introduced yet (like Kota's brother and the hydra.)

The story was always about Asterion, with the side cast coming in to get the point across about creating a community and to introduce their own plots to break the monotony of what was a rather chill love story. They also provided levity, comic relief, and moments of honesty. The story as a whole would be very depressing without them.

Oscar was there too, though a bit different. In the original draft he showed up on the final stretch, when 95% of Asterion's character arc was completed. He was more like a cherry on top, and he'd arrive already having gone through a lot of the story arc we see in the game. You could say that Oscar arrived having already gone through his jump into full adulthood, while in the game we follow that process through Pedro's eyes.

Now, before I continue... While Oscar was introduced at the end of the first draft, chronologically he's one of the oldest characters I've had floating in my head. Originally Oscar and Pedro were the protagonists of a novel I was meaning to write someday — a detective story about an ex-police officer from the city coming to the hinterlands to investigate a suspicious death of a colonel, where he'd meet a young man who was born with horns.

Now, back to Minotaur Hotel. As the story progressed I decided to bring Oscar over from that idea to the Minotaur Hotel universe because it would be a very strong point in the story. That was a rather late decision, so introducing Oscar at the end made sense for the original draft. While translating it to the game, however, we saw that it was important to tweak with some things and that led to the conclusion that Oscar was too strong a concept to leave to the end of the story.

In choosing to bring Oscar into the story earlier (introduce him at the end of the first act and have him arrive at the end of the second) that gave us the opportunity to tell a story with it. It was actually important that we give him a solid story, and if we played our cards right we could construct it as an interlude to shake things up and keep the tension in the story moving.

We could also not give him that big of a story, of course, but in the end we went with it. This gave the chance to bring in the detective character too, who fit in like a glove once we gave him the backstory of descending from an ex-employee of the hotel.

All of this thinking happened over a few months, things weren't as perfectly structured as I'm making it sound like. However, to be more precise with the timeline of events... Back when we released the very first build of Minotaur Hotel I already had many of those ideas floating in my head, so much so that we were extremely deliberate with the decision of showing on-screen the passports you find before meeting Asterion. One of them is Brazilian, and that was already a way to foreshadow what we could do, maybe, if we felt like it was worth it later down the road.

Now, when it comes to the specifics of the Hinterlands itself like the plotlines and mysteries, that really only came much later. I figured it out as I went, actually. I actually do that a lot, lay a plan to follow but figure out the minor details as I go along, always trying to keep things thematically consistent.

Let's say I was about to start a fresh story that's meant to portray my culture. To do so, I'm going to pull what I can, what was most remarkable, from my experiences of all kinds.

For me, this involves the books I've read, the stories I was told. For another person it might involve the music they heard, the instruments used here, the lyrics, the styles of past musicians. For yet another person it could mean the sceneries, the landscapes, descriptions of what it feels like to be there. For another person it could be something far more specific, like capturing what it was like to grow there, how life was like as a child in this particular environment, what their home was like. Or, while talking about a place, you can also talk about other places and how they compare to it, exploring your experience in only having live in the first one for a limited time.

I believe that creating art about a culture, your culture, is not the kind of thing you can follow a recipe for. I think you should approach it as a bit of an improvisational exercise, using what you have on hand and what is most meaningful to you. In your case, going only from what you told me in your question, I'd suggest you try and remember as much as you can about the time you spent immersed in your culture and write it down as bullet points. Don't worry about not remembering big and important things. Instead, take note of what daily life was life. How food tasted, how people talked, the sounds of your home, what school was like, what friends (or lack of them) were like, what media you were exposed to, whether you felt like you were fitting in or not, your insecurities and your happiest moments, so on.

Take note of all those things which are very particularly yours, which meant something to you, then take a step back. Look at all of it from a distance and then let yourself feel which ones you'd like to explore the most.

To bring a very real comparison, the idea for the flooded town in the hinterlands came from watching a movie when I was 9 or 10 in school. I couldn't even remember what the movie was called, I couldn't find it, but that was a spark that led me to adding that element to the story. The idea of the hinterlands being infested by butterflies came from my father having to drive through many swarms of them when we went there on a trip. Moths bringing good luck is a superstition my mom told me about.

If I had to make a list of the most important things in the real life hinterlands, none of those things would be there. But they were remarkable to me, and I could extract meaning out of them.

You can do the same. Gather your ideas, then select which ones feel the most resonant and dive deeper into them. Do some research on those points in particular. Be emotionally honest with yourself and see how those things, including the brief time you spent in your culture, make you feel. Take note of what insecurities pop up, what makes you uncomfortable, and try to be your own therapist in order to crack what's going on. Gather all of those things, the good, the bad and the personal, and make your collage of your culture.

It doesn't have to be a 1:1 representation of reality. What matters the most is making it meaningful and very intellectually honest. Writers can only do so much to capture a complex reality in writing, and people can rightfully criticize us for not getting things right, but that doesn't matter so much when there's a great deal of honesty there. It speaks louder.

Addendum:

I just want to establish here that, yes, pretty much all of the events of The Feathered Line were things I had thought of before the original Hinterlands came out.

You people will play the expansion and then cower as you realize that all of those things were all cooked into the original all along, even if we couldn't get them in.

And yes, I planned to use this video when the day came. Behold, a Paleblood sky Bloodborne reference a year in the making!

Pretty much all of it was stuff I wanted to do from the start. You can check the Hinterlands Postmortem, in the Cut Content section, and you'll see that three of the five new events we added were explicitly mentioned there. I already had a very solid idea of what should happen in these scenes and how it connected to the larger narrative. I felt very strongly that without them the story of the Hinterlands wasn't as much of a "fair play" detective story as I wanted it to be.

The other two (The Cemetery and The Parade) were already on my mind but not as concretely. Still you can see some of the ideas were already there. The idea that stores close down on the last day (September 7th, the Independence Day holiday) was tied with the idea of letting P and Storm watch the parade going through town, which would give a nice capstone to the bond the two created with each other.


As for the Cemetery... Well, I actually managed to put in a hint about what my idea was for it in T̸̢̳̦̲͕̳̳͛̈́̂̈͒̀̈́͗͆̀̀͝H̸͇̘̭̟͛͂̋̕͝͠Ȩ̸̗̞̗̲͉̤̝̝̒̏̋̌̈́͛͒̾͝ ̴̧̨̛̟̲͓͕̗͈͕̀̍̾̍̓͝ͅÁ̷̟̪͔͖̆́̍͌́̚͘̚͘͝͝N̴̢̡̢̰̍͛͐̄̀̂̀̆͐̇̂͆̀͊̂T̷̛̜͋̓̀̇̔͑̊̉̌̕H̸̪̥͕̯͔̦̖͙̬͇̙̲̫͎̒̾́I̶͇̭͖̥̱͎͇̽̑Ľ̴̞̹̠͂̆̾̽̽̂̓̈́́͠L̸̫̜̙̰̝̫̥̔̋̃̽̀̓ of all places. I already had an idea of what I wanted but, seeing as I didn't have time to put it in, I was a cheeky little shit and slipped it there. Both as a hint and as a reminder for myself about what I thought was a neat idea.

The stuff that really emerged during production were some of the loot drops you can find in the expansion. For a few of them I was already 100% sure what I wanted them to be, but for the most part I developed what they were about quite late in development, sort of as a cherry on top.

Another thing that came up during development was me writing down the history and some of the rites of the Latin tradition. I didn't put that into the game, it would have been very unnecessary and bloated, but that was a late thing that helped with figuring out what I wanted out of the loot drops.

I'd have to check with nanoff to see exactly how the variables work, but from what I remember from when we were designing it we did take this into account. It's still very possible to recruit P into the hotel even if you don't go for the "romance route". Particularly if you don't solve Argos' puzzles, but even if you do it should still be possible to get P because if their "scores" are too close you'll get to pick which one stays.

For now it may look like that the romance route is the best one but just wait. Particularly with Chapter 20 the familial route will have a lot going on, and I'm quite sure there'll be remarkable moments where that route will feel stronger than the romance one.

Whichever route you go, I'm trying to make the experience feel very right regardless.

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You'll get a bit more Brazilian folklore with this update, but I won't give any details at this moment. You'll have to find it out for yourself :) As for the children's plotline, I'll just tell you to play the update as a detective.

And for a fun question: if Minotaur Hotel got picked up for an adaptation episodic series (singles season adaptation from beginning to end) on a streaming service, what kind of medium would you all like to see it in, animation or live action?

Oof, that's a tough one. I like practical costumes but it'd require a special kind of horny gremlin to translate the characters and their sex appeal to them, and finding that sort of talent would be maybe too difficult.  Animation would probably be the best option, I imagine there are plenty of animators who can get it. As for style, I'd like something that sticks to an aesthetic that's attractive to the gay crowd, while still having some cartoonish-ness to keep things a bit lighthearted.

The human characters like Greta should at times be portrayed in unsettling, photo-realistic ways and with a very ominous, almost Eldritch aura :) Of course, the MC shouldn't get that treatment.

I'm glad we got someone to read Anne Carson, she's such a joy. Hopefully reading Autobiography of Red added something to reading Minotaur Hotel, too.

It was Kangarube! He's part of the team as both a writer and editor. You have him to thank for the prose being polished like it is and for the builds not taking even longer to come out. Nowadays pretty much every main story scene is written by him and I together.

One of the first locations we wrote for the original Hinterlands was "The Truck Stop". I wrote it mainly to get a feel for how P's first person narration should go, but halfway through I had an idea of injecting a funny thing I saw a few times when I visited the real life hinterlands and it became a really special event in my mind.

However, in the end we decided not to put it in because we didn't want to bloat the map any further. In the expansion you'll see that this concern was still hanging over us, because most of the new events we added actually happen by visiting already-established location under specific circumstances, and those that don't only become available in the map after the player visits some places.

We could have tried implementing as some kind of event that would trigger on the way to another place but we decided against that too. It didn't add enough to justify it.

Knowing that it will never get implemented, I suppose there's no harm in posting it here.




Once you finish MinoH, do you guys have plans for something else in the world of the game? 

I actually have a few side projects I haven't announced yet. It's safe to say I'll be staying, but I highly doubt I'll do a project as big as Minotaur Hotel again. This size worked for the story we had in mind but it's way too intensive to keep going forever. Some of them will be NSFW, others will be SFW, but you can expect that they won't be very usual and typical as far as VNs go.

nanoff has some ideas for a few projects of his own, too, but I'll leave it up to him how much he wants to share.

Proudly so.

I think we added 3 or 4, not sure.
There's an achievement that tells you that you did the main things, but it's not a 100% thing strictly speaking. You'll be able to track how close you're to 100%'ing the expansion by different means, though. There's a set of loot drops you unlock, which will surely get added to the wiki, and when you get them all you can be sure you did everything there is to do.

When they're done.

It will continue Asterion's story. We're about two thirds of the way through, there's still some stuff to cover. You can think of it as the beginning of the final stretch of the game.

No, but they are the next after this one. Chapters 19 and 20 will come out together.

There is no single definition of what makes one "incompatible." Different people thought differently about it and, looking back, there is much controversy about it all. Things can get ugly.

:)

Will what happens in the Hinterlands greatly affect the future story?

It will affect a few things, which should be very remarkable if you enjoyed the Hinterlands but ultimately won't play a very impactful role in the larger narrative of Minotaur Hotel. It will be one of the many variables players dealt with during the game.

However, the Hinterlands expansion won't really change much of what comes next. You can still get all the outcomes from just playing the base version of it. At most there'll be a few flavor differences in a specific moment down the road, but again nothing that makes a serious difference.

However, the Hinterlands is all about following your moral compass and what you think is right. Don't think too much about what is objectively right, focus instead on what you think is right and why.

And there's a spoiler-free guide to the Hinterlands on the Wiki, I believe. We will also give a spoiler-free guide on how to access the expansion.

It only expands the Hinterlands, it doesn't add content to the main story. HOWEVER, the next update will be main story related.

It's compatible with old saves, yes.

Thank you for your kind words. I hope you'll enjoy what we have in store.

Sadly, that would require more work than it it seems. The Hinterlands as a game is tied together by the limitation of there only being seven days and some scenes really would break down if you came into them with "impossible variables." To put it concretely, we structured and wrote many scenes with the assurance that some things are impossible to happen in the game, so we didn't have to account for these possibilities and the game could bug out if they happened.

Though as someone who's had to play the Hinterlands more than anyone else, after your first and second playthrough you can breeze through the content you already saw by using the text skip function. Playing through it like that usually only takes a few minutes.

However, I did take notice of how many players would prefer it if they didn't have to restart the whole thing to see more of it. It's too late to apply that to the Hinterlands but if I revisit this mechanic someday in a different game I'll be taking that into account.

Will the expansion feature a new mystery or a new "quest"? Does it gives more hints towards the puzzles that were already present?

It takes the mysteries that were already there to the conclusion we envisioned, which does involve showing off things we couldn't before. In practice it should feel like it adds a good handful of mysteries that are connected to the ones you already looked into. And yes, it does add a quest that has its own puzzles. Yes, plural. The puzzles that were already there should feel more fleshed out now, too.

Is the conclusion towards the secret shed going to be added on a later update still? If so, does that means we will still revisit the hinterlands after ch 18? Perhaps involving the other guests to the hotel?

The conclusion to the shed will come in a later update and I'm very excited to show that off. I've been joking for a while now that we'll have "Pedro's Return to the Hinterlands" someday. However, the content we're adding in this update is a "thematic continuation" of the shed, and in fact accessing it is one of the pre-requisites (more specifically, unlocking an achievement tied to it that we're implementing with the update) for the expansion scenes to pop up.

On some aspects The Feathered Line is a follow-up to the shed and many of its scenes assume you read and thought about it. The more you were fascinated by the shed, the more the expansion will interest you.

I've realized later that Pedro's feathers have displayed more magical powers than most of the cast, being able to remotely monitor and pass down memories. Beyond physical attributes, we only got hints of Asterion/Storm affinity to water and Khembish's bad luck. How capable at magic are each of the characters? and are there other powers that have been shown already, even if subtetly, beyond the ones i mentioned?

Magic in this universe is unfair and not everyone has a strong affinity to it, or they don't have innate talents that are useful. Some have it better, others have it worse. And when someone has magical properties to them, it isn't always visible, or they might affect people differently depending on gender. To name a few:

Luke is nearly indestructible, to such an extent he could take a grenade blast to the face and shrug it off like it was nothing. Kota is a small river deity and he used to enjoy all the powers you'd expect out of a kami from Shinto tradition, though he's lost much of it, and he's learned some rites over the years. Khenbish is cursed with bad luck and has no powers, but his sisters enjoy incredible fertility and aren't affected by the curse. And Robert can see souls.

There are more discreet powers/magical properties in the story, but noticing they are there is part of the experience, so I won't you help with that.

Speaking of rites in particular, though, they are a dying art. Few people learn them nowadays because they just aren't that useful compared to the time it takes to get good at them. Not only that, different traditions require different things out of their ritemasters so you might have been born in a culture whose rites require something you don't have. In this sense Pedro is lucky because his feathers are sacrifices of the highest quality for the Latin tradition.

How did you came about deciding Pedro's species as a peacock? I understand the correlation that it would have with his true identity revealed later on. Still, i'm curious about how the process went down.

First and foremost was the association between peacocks and the mythological Argos, which led to the magical feathers and all the ways we used them in the story (the ones in the bedrock, for starters). The feathers really were a great plot device, and you'll see more of them in The Feathered Line. We also liked that peacocks are birds, as it adds some diversity to the cast both in species and in body type (P is shorter, thinner, almost twink-ish, and only really muscular on his chest.)

But, on top of that, the peacock has always been something I associate with the real life hinterlands. When I was a kid I visited my family there and they had peacocks in their farm. Their colors evidently match Brazil's flag, too. But perhaps the most important thing is that I associated the hinterlands with a story my father used to tell me, a little folklore short story called "The Romance of the Mysterious Peacock".

It was a storm of perfect elements, all leading up to the peacock becoming to me the most appropriate symbol of what I wanted to portray. Usually I like it when we can wrap multiple things like that in a single design choice.

The previous side updates all had some naughty content included. Will this one too?

In true Latin American magical realism fashion, sex will be mentioned but it won't involve the Pedro or Oscar and it isn't titillating. It's part of plot things.

Considering how the original hinterlands would change certain aspects to the places you visited depending on what you found out before, will this principle apply to the new locations?

Yes, and we took it a few steps further. In fact we took it as far as it was mathematically possible to. It was very funny when we had to cut some variations because their pre-requisites were impossible to achieve in the time the player has.

If you want to see ALL of the lines in the expansion that will require a few playthroughs, there's a lot of unique text. But we don't expect people to do it all on their own, this is why we have this forum.

Is ThE aNt HiLl based of a real thing?

Maybe the real anthill was the roadside pee breaks  the friends we made along the way.

You know the drill! Send us your questions and we'll answer them. They can be about the game, production, funny things but overall it'd be neat if the questions tend towards the Hinterlands Expansion.

Have fun!


"Mythicals" is the term used for supernatural beings who are not fully human but have human intelligence and are socially compatible with humanity.

A supernatural cryptid that's only as smart as a goldfish is not a mythical because they don't have human intelligence. Similarly, something like a Lovecraftian outer god wouldn't be a mythical, because their intelligence is still not very human-like.

Some mythicals, in truth, originate from humans that were given supernatural characteristics. P's species, for example, fits that bill. They were regular humans who became what they are because of a goddess. Others, like Khenbish, descend from animals that were given a more human intelligence and shape. And others, like Themba, were created like that from the very start, with human intelligence and all. Some mythicals are like Kota, in the sense that they are minor nature spirits. And so on.

Being deemed a "mythical" has a specific societal meaning. Though very few regular humans are aware mythicals even exist in the first place, being deemed a mythical carries the very important implication that you can enjoy, well, human rights. You can vote, go to school, have a job, all that stuff. You are more or less welcomed into human society.

Some supernatural beings with human intelligence, however, are not technically given the status of "mythical" because their existence might be incompatible with humanity. You could fit some malevolent entities here, assuming they truly are dangerous and it's not just lies spread about them. If this happens to you, it basically means you don't have rights. You're no more than an animal in the eyes of society. Which might be just perfect if a supernatural entity just wants to live in the woods unbothered by grubby humans, but it can end in many other ways too.

We'll keep adding achievements as we add content to the game. We try to avoid putting in too many achievements, as that can get really excessive if we're not careful, but yeah we always like putting a few more when it feels right.

More often than not Asterion and the MC have fallen asleep together on the couch, so it's no like the MC has been enjoying the master's quarters often haha.

For the record, though, this will be addressed in chapters 19 and 20.

That's what I get for trying to make it fancy and good looking.

In that case just click here

https://minoh.itch.io/minotaur-hotel-archive

A chapter select is not really viable for Minotaur Hotel, sadly. The number of choices is just too big so there's no reasonable way we could gather that from the player. If we created a kind of "standard" save file it'd also make the experience poorer, as there's a whole lot of fun in having the story tailored to you via your choices.

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Hi! Sorry for taking so long, I got distracted with other stuff but tonight I went and did it. Now all the old builds (excluding SFW Mode ones) are on an Itch page.

We haven't fully published it, you can't find it on Itch's browsing section, but you can check it by clicking this widget below. It requires a password, it's minotaur