Development Diaries

avery's picture


it feels real good to finally get a game out again

especially considering the citadel took a year to do

its satisfying

Healy's picture

Bedtime Adventure Update

Bedtime screenshot4.png

I've updated my game Bedtime Adventure! Changes include:

-Four more things to do before going to bed!
-Expanded alpaca content!
-A new title screen, drawn by me, that doesn't have the title cut off by the menu! (Because I forgot to draw it, whoops.)
-A couple more things in the room, mostly to help with blocking
-Advertised 5-10 minute playtime now more accurate than generous
-Changed a bit of Larry's speech to more accurately reflect the true meaning of art
-And other miscellaneous tweaks.

Please let me know if there are any issues, or you just hate the new changes, or whatever.

quasiotter's picture

three dimensions

i had a goal of wanting to play every game on g.t. from the beginning of 2018 until i couldn't do it anymore. lol. i started off well, but then kinda faltered.

so i realized that i'm playing all of the 3d games, but not all of the 2d games. !!

one of my favourite things about videogames is being able to experience a place that cannot exist in real life. having a first person perspective is the best way to achieve immersion (imo), so i prefer that.. but also, it's because i just love all of the stuff that comes with 3d: polygons, lighting, shadows, draw distance (i actually like that lol), etc. of course 2d can do that too! this also means, typically, that i prefer 2.5d over 2d.

i don't know why, but representing 3d on a screen is just the coolest thing to me. and it's not always about realism, i just really really really gravitate toward it for reasons i don't understand.

my favourite style is low poly. it's definitely not because of nostalgia. i think more abstract designs with less detail affects me more viscerally than anything realistic. this early castlevania 64 model is what i'm talking about, i still think about how eerie it is once in awhile, ever since the day i saw it in egm or whatever!

what's funny is that most of my art in school was 2d, i couldn't really work well in 3d, i'm not good with my hands. but i'm just really obsessed with 3d, though there's plenty of rad cool 2d stuff out there!


look here's the deal

i haven't made any video games, but i * have * written music for video games: i'm friends with everythingstaken and ihavefivehat.

200 plays on Birthday Simulator!

200 plays award.png

Wow! I can't believe so many people played this game!
Shoutout to everyone on itch, GT, and IFDB for the love and support. I never thought I'd be famous.
Also thanks TheCakeFlavor for making this picture lol.

More garbage is on the way. Not anytime soon. But it is. Be afraid.

ncrecc's picture

ncrecc Plot Inventory

I'm told this is what cool people do. Domination fantasies in red, fantasies of being dominated(???) in blue. Will be updated as I make more games.

Lesson in Trickery: Kidnap blue people with sticky nets.
Sokoban Jr.: Understand the basics of the game.
Trail: Go home.
Jumper Two TutorialKindaThing: Read text blocks.
Xtreme Gardening: Stop on yellow dots while simultaneously gardening at 50mph.
You Have to Put the Machine in the Juni: Be a morally ambiguous surgeon.
Super Kaizo Pling: Get the ball in the X.
NOTPRISON: Get shot.
super security protocol: Turn off devices and kick ass.
Press A to Slow Down Zone: Transition between screens.
Get focus: Destroy a cave and everyone in it by doing absolutely nothing.
YELLOW JOGGE: Get your shoes back.
Kaizo Pling 2: Kaizo Pling: Get the ball in the X, again.
Super Associative Block Pushing to elevator muzak: Have your call transferred.
cat game: Open and close a door.
Jump the City: Get arrested.
Super Kaizo Pling 2: Kaizo Pling 3: Get the ball in the X... at night.
9 Boring Levels: Leave your opinion.
PSYCHO PLING IV: THE CALLING OF THE INSANITY: Get the ball in the X, except this time you're the violent ghost of a murderer.
garden: Explode.
What is google adwords and which is top ppc agencies?: Correctly identify things.
In The Case Of Shifting Tipping Is Imperative Or Not When Hire Packers And Movers Bangalore: Get from one side of a building to another.
000000bestknyttauthor - bestknyttgame: Get TO Doctro Clictchies Lab Or Else The Bomjb Will Go Offwards
PICK UP THE PHONE BOOTH AND AISLE RIPOFF: Do anything imaginable within the constraints of anything I've bothered to imagine.
Wait: Examine signs.
0 Kaizo Pling: The Prelude: Get the ball in the X, except this time it's more all-around embarrassing.
Simple Block Observing Game: Observe blocks.
Nectar: Destroy the world and everyone in it by doing absolutely something or other.

My blog


My name is Jon Prime. That's not my Real Name, but that's my Internet Name.

I like games and writing.

Message me if you want.

avery's picture


for the heck of it, i went ahead and added some retrospective "extra notes" to the descriptions of all my games because i felt like looking back on them. some of those things are real good! others are not. but you can go look at those, if you want, and then go "wow avery why dont you just convert those last three to tgf1 format now, theres no reason to" and then ill go "yes there is, im lazy and i cant be bothered bc theyre all mediocre."

fun times. anyway, i'm still slowly doing video game stuff. both knp game collab projects are in limbo right now, i need to add stuff to them both. im currently making a twine game that stars the owl from holiday runner, which is slowly coming along. considering making a spinoff to rogue shaving pimps set in the same universe bc it fascinated me. twine is nice, by the way. dunno if you know that or not.

if you fancy following my daily escapades of not being productive im over on mastodon, . otherwise im gonna keep laid back here pretending im some kind of legend around here because my ego just wont go away.

Sounds of dystopia (part. ½)

Crossposted from

The current visuals of Reagan Years are not satisfactory enough to be shared. I am not exactly sure what will be the visual feeling of the game. However I think I’ve made some progress as to identify the kind of soundscape I will use.

Here I would like to present the main directive principles I am using when designing the audio environment of Reagan Years. First of all let’s have a look at how it’s done in some other games.

Videogame tries hard to be the Total Art

From my experience, most videogame designers tend to flesh-out the user experience by establishing an atmospheric coherence between the visuals, the sounds, and the content they are trying to deliver.

An outstanding example of this is Beeswing where the imperfection of acoustic music and hand-drawn visuals really help the game to carry its message on the nature of memories : precious, volatile, fragile, powerful, intimate, etc.

Videogame is a medium that nourishes fantasies about finally achieving the ambition of total art, and it seems this constant research of atmospheric coherence between visuals, sounds and contents is part of this. I am sure it would be worth exploring the limits of this tradition, but given the other ambitions I have for Reagan Years and my doubts on whether I can achieve them, I think I will try not to walk too much on the path of formal experimentation here.

Cold War is a period that quickly bring atmospheric tropes to the mind. Let’s discuss some of them and see why I don’t want to use them in my game.

Looking for my Cold War Feel

The reality my game aims at depicting is bleak, because it is the reality of geopolitical decisions, coming with their load of cynicism, and contributing to the perpetuation of dynamics of brutal dominations both between countries, and within countries. And somewhat I also want the player to establish connections between the state of the world in the 80′s and the state of the world today.

Nostalgia for a golden age

I certainly do not want to give in James-Bond like nostalgic clichés of men wearing elegant suits, driving nice cars, women sitting at the typewriter, and everybody living the last authentic adventures against a clearly identified evil enemy, in a world threatened by cold modernity.

Well, anyway, Reagan Years takes place in the 80′s, so it would definitively be out of place.

The bleak, the gray, and the rusty

Then you have the exact opposite : dystopian universes made of out-dated machinery, rusty buttons, hollow sounds of cringing metal, black-and-white propaganda films, and tense music annoucing the imminent nuclear apocalypse. A depressed-looking, grey-wearing spy walks away from a crime scene.

Look at this (promising but abandoned) East VS West, it looks obscure as hell and even the names of the countries are typewrited on the map. How depressing.

If you follow this trend, you end up with the universe of Paper, please : a bleak gray soviet universe where it seems that color is now illegal. Even the voices of humans have a metallic quality, and the music is of course, a military march.

In games like these, the world already looks regressive and devastated. It’s like you live in the universe of Fallout even without the bomb actually exploding.

Clinical neatness, deadly decisions

Then you have the approach of DEFCON, which favors neatness over decay. It gives you some distance from the horrors of the game you are playing. The interface has a high-tech clinical reality to it. It looks like you are sitting in a heavily equipped (and protected) futuristic secret bunker, where you take decisions causing millions of death (these figures appear as minor info in the game’s UI). This is a nice approach to represent the disconnection of the political power from the consequences of its own actions on the populations of the world. I guess it’s influenced by movies such as Wargames.

In DEFCON, sounds are clinical, muffled, informative. The music is minimalist and menacing.

The music is minimalist and menacing.

Another example of this is Neocolonialism (obvisously influenced by Defcon and making use of the same kind of aesthetics, this time not to depict nuclear war, but economical warfare). Neocolonialism does not only make use of robotic sounds, you can also hear more fleshed-out string melodies, but the dissonances they play with heavily contribute to the depiction of a world where “something is wrong”.

My choices for Reagan Years are influenced, yet different, from those described above. But this is something I need to describe in another article.

Why is "The Reagan Years" about the Reagan Years?

Some notes about how I decided to restrict (for the moment) the scope of my game to the point of view of USA in the 1980′s.

Historical data VS historical process

In his book about Balance of Power, Chris Crawford states that “data is not the main element in realism - process is. […] The actual amount of GNP of Ghana is less important, for the purposes of a game on geopolitics, than the manner in which GNP changes with time”. Crawford’s game is all about depicting the global mechanics of superpower competition in the cold war era. He mainly intends to make a point about the dangers of warmongering, taking a pacifist stance that he feels is needed in the context of the 80′s.

The opposition drawn by Crawford between data (historical facts at time T) and processes (dynamics applied to this data) is problematic when we come to terms with its practical applications in game design. Since he is not aware of the imminence of the USSR collapse, Crawford sets up a game running from 1985 (the then-present time) to 1997. He makes the statement that “the principles [of geopolitical interaction] have not changed fundamentally since the introduction of the nuclear-tipped ICBM”. This also leads him to claim that his game system could relevantly depict former periods of the cold war, for example the 60′s. According to him, to do this, only the data would need to be adapted, while the game’s processes would stay relevant.

Cautiously restricting my game’s historical scope

When I started developing Reagan Years, I intended to create a modern version of Balance of Power, introducing only minor changes in the game’s data and in the user interface. I immediately realized that the historical scope of the game would need to be redefined. It would be odd for a modern game to depict a USA-vs-USSR competition running till 1997. I therefore started to consider other relevant periods of the cold war. However, going through this preliminary process of selection has led me to question Crawford’s assumptions on the permanence of geopolitical principles through the entire 1945-1990 period.

Here are some of the questions I ask myself at this stage: isn’t Balance Of Power a reflection on the USA international policies during the 80′s, rather than a depiction of global dynamics for a near-50 years period ? Is it historically relevant to consider that USA and USSR geopolitical points of view were symetrically opposed, like those of two chess players? Had this game been designed in USSR during the 80′s, what kind of global dynamics would it have depicted? And if today’s mainstream depictions of this era are all about USSR-USA competition, is it because the accuracy of such a model, or merely because history is written by powerful dominant powers?

It will take a lot of research and thinking before I finally adopt a satisfying stance on these questions and find a way to reflect this stance in my game’s design. Meanwhile, it seems safer to restrict the scope on which the historical principles of my game apply. Therefore, I have decided that the game will only depict the years of Ronald Reagan presidency (1981-1989), and that it will only depict the point of view of the USA. This will apply until I have the safe feeling that my game’s dynamics can relevantly apply to other countries and eras.

Syndicate content