#Aspiring Indie Game Developer

[neotrix-09]

PIRAZZA

The Maddened Beast of Alchemy --------------------------------------

Working on concepts for different games,and I wanted to make more inhuman OCs (People bore me,) so I created Pirazza! I may make more on him later.

Fun fact; He was partially inspired by two songs...

[barrow-belle]

I finished aces character design and here she is

This is her new official look

[14dayswithyou]

Some long-term followers may have noticed this subtle shift already (especially those who are in the 14DWY Discord server or have read this post), but I figured I'd make it official.

I'm no longer associating myself with the yandere VN community.

The TLDR is that the energy here really fuckin SUCKS!! And I don't want to be part of something so hostile and needlessly competitive.

The constant infighting and epicaricacy between communities is deeply upsetting, and it's very disheartening to see aspiring developers cancel their projects because of the unwarranted backlash and harassment they face.

Some entitled folks on here reeeeally need to understand that constantly harassing others for updates, encouraging developers to belittle others to make themselves/their project look better, complaining about a project not meeting the expectations you specifically put in place, attacking other communities because of the parasocial relationship you share with another developer, getting mad that you chose to ignore important PSAs or warnings and faced the repercussions, or even sending in hate messages on anon because you're bored are not things you should be doing — let alone be proud of.

I try to avoid bringing up these topics as it's not the vibe I want to have on this blog (nor do I want to negatively contribute to the Streisand Effect and blow things out of proportion), but I'm genuinely getting tired of being on the receiving end of all this harassment and negativity, seeing it happen to others, and watching other indie developers encourage such vile behaviour. I'm done.

For those wondering what this means for "14 Days With You": for the most part, everything will still continue like usual. I've said this from the very beginning, but 14DWY is just a passion project I pursue whenever I feel like it. It's something I do for fun as a hobby — not because I want to publish a well-known game or turn it into a career. I've been on Tumblr for over thirteen years now, and it's taught me how to grow thick skin, so everything that I'm yapping and yammering about won't stop me from working on 14DWY.

However, this does mean that I won't be as interactive with other developers or their communities anymore; many ill-natured people have ruined this for me.

Because of them, I'm no longer able to voice my opinion on other games without some opinionated rat whispering in my ear about how the developer is "problematic" or that I could get cancelled for simply following them on Twitter. I can't interact with certain games without its parasocial community becoming hostile or gatekeepy towards anyone they don't like. I've seen communities belittle and devalue promising demos because in their eyes, nothing can compare to their favourite game (or their favourite developer). I have been harassed, bullied, and doxxed by other communities and have seen the same thing happen to others as well. I've heard about the developers who weaponise their community's loyalty to attack and drive out their competition. And I've witnessed more than enough developers expressing how badly they want to take a hiatus due to how much unwarranted negativity they receive, but don't want to disappoint their community by doing so.

By saying all of this, you can understand why I dislike being here so much, as well as why I no longer find any enjoyment in interacting with the yandere VN community.

Many people here — fans and developers alike — are so needlessly pushy about their standards and personal opinions being the norm, and if anyone else goes against them, they'll purposefully try to ostracise and bully them out of the community. This place isn't as laid-back or inclusive as it used to be, and I don't want to be associated with a community that acts so hostile and aggressive towards anyone who shares a differing opinion — nor do I want to be part of a space that caters towards developers who'll tear down others in order to have a moment of relevancy.

We're all doing our own thing and making our own games; it shouldn't be a competition. But if you see it as such, then I urge you to take a moment to stop and rethink your actions — or, at the very least, understand how it's affecting you and others around you.

So until there's a reasonable change and people can go back to being less... demanding, hypercritical, and gatekeepy about who interacts with what, I'll be stepping away and continuing to stay in my own bubble, as I have for the past two years now. I've already unfollowed everyone associated with the yandere community many months ago, but I think I'll just unfollow everyone entirely now for my own peace of mind. I will also no longer be interacting with any yandere VN communities (aside from close friends), nor will I be as public with my interests from this moment on. Everything on this blog will be strictly related to 14DWY like usual, and I will continue to block and report any spiteful "anons"/burner accounts sent my way and delete their messages.

Again, this isn't really much of an announcement — it's more so just paragraphs of me bitchin and moanin 🫶 — but I wanted to get this all out there instead of leaving things unsaid and having people come to their own conclusions as to why I've suddenly become less active, less optimistic, and why I've stopped engaging with a majority of the yandere community in the last two years.

So, yeah... ^^; If there's anything I want y'all to take away from this entire post, it's to be kind, open, and understanding towards everyone — developers and communities alike — and to spread support rather than negativity. It's what I want my own community to be known for, so please be mindful of how you treat others online.

And if you find yourself being surrounded by constant toxicity and negativity (be it from friends, mutuals, or even other developers or communities), please don't feel ashamed to step away or cut them off entirely. Put yourself and your mental health first. I also think it'll be good for me to leave all this negative energy behind and continue to kick off 2025 in a better light, so if y'all need to let out any frustrations of your own, feel free to go ham in the replies (obviously, be kind and civil though jghsjg T_T)

[moiraimyths]

Howdy, fateful friends! Are you an artist or illustrator with an interest in visual novels?

If so: Moirai Myths, creators of the visual novel The Good People (Na Daoine Maithe), are in need of guest artists! More specifically, we're looking for up to two artists to help us with the content graphics ("CGs") for Maeve and Shae's upcoming routes. All of the details will be listed on our application form (linked below), but here is the gist:

This is paid work with 20-30 business day deadlines per piece!

Complicated revisions in the post-sketch phase are compensated!

You will be prioritized for future guest artist opportunities!

You will be featured/credited on Moirai Myths' website and in the game itself!

Sound interesting? If so, apply here:

Click under the cut for some F&Q 👇

Who are you? (I'm new here!)

Hi! We're Moirai Myths: a small, newish visual novel company based out of Canada. We're making a game inspired by mostly Irish mythology, which was funded on Kickstarter in 2023! Our game's got fairy politics, a diverse cast, a Gaeilge-to-English translation tool, and routes that can be played either romantically or platonically! Also horses. An ungodly amount of horses, really.

If that odd pitch sounded intriguing, perhaps you'd like to play our demo! It's free on Steam & Itch.io.

Why are you looking for guest artists?

When we originally launched our Kickstarter, the plan was to have our three in-house artists collaborate on the CGs in the same way our header image was. However, we quickly realized that adding CGs, even if they're done collaboratively, onto the existing duties of our artists was a tall order. Add to that the departure of our original sprite artist (who has since been replaced by our graphic designer), and we determined that having our in-house team work on CGs was simply not possible if we still wanted our first release to happen in 2024. So, rather than omitting CGs or adding them in at a later time, we came up with the idea of hiring guest artists. Overall this means our CGs will be a bit more varied in terms of art style, but we like to think of this as a positive! NDM's development will take a number of years to complete in full, so we hope our CGs will allow us to feature a lot of artists either within the VN/indie dev community already, or artists who aspire to work in gaming and are looking for entry positions.

How long will applications remain open for?

This application will be open until Sunday, March 24 at midnight (EST)! If we intend to extend past that deadline, we'll make an announcement about it.

I can't apply right now. Will you look for more CG guest artists in the future?

Definitely! As mentioned, NDM will take a while to develop in full, so this is by no means your only opportunity to apply. That being said, we suspect we're going to end up shortlisting a number of artists over the course of this application period, and we intend to keep a list of all the runners-up. So, even if you won't be able to participate this time, it might be a good idea to apply anyway just to remain in our contacts! Either way, this will not be the last time we have apps.

Will you be looking for guest artists outside of CGs?

Maybe! We already have two guest artists (Nefukurou and Madi Funk) working on sprites and CGs respectively, so it's always possible that we'll have other artistic needs later down the line. Likewise, we may also reach out to past guest artists for future work with us, whether it's on this game or something else!

You say we need to sign an NDA. What does that entail?

The non-disclosure agreement essentially means you will be legally unable to publicly disclose any confidential information you become privy to as a result of working with us. This would include personal information about the developers, as well as spoilers from the game itself. In addition do this, you will be expected to sign over the IP and copyright of any artworks you produce for us.

Can I still use my artworks in portfolios, even if I don't own the copyright?

Yes! We'd only ask, if your portfolio is a website, that you wait to do so until after your art has been made public by us, either on our social media or via the publication of the game. Our first release is anticipated to happen later this year, most likely mid-autumn.

How do you guys feel about AI? Do you intend to use it, or would you ever train an AI off of the artworks whose copyright you own?

No.

Making a game is expensive and time-consuming, but AI is no replacement for human artistry. We fundamentally believe that any advancements in AI should be used for the purpose of giving people more time to make art, not take away opportunities for it. Moirai Myths will never, ever use AI or train an AI off your work.

***

If you've got any more questions for us that we didn't think to include here, feel free to send us an ask!

[fireflysummers]

Heroes, Gods, and the Invisible Narrator

Slay the Princess as a Framework for the Cyclical Reproduction of Colonialist Narratives in Data Science & Technology

An Essay by FireflySummers

All images are captioned.

Content Warnings: Body Horror, Discussion of Racism and Colonialism

Spoilers for Slay the Princess (2023) by @abby-howard and Black Tabby Games.

If you enjoy this article, consider reading my guide to arguing against the use of AI image generators or the academic article it's based on.

Introduction: The Hero and the Princess

You're on a path in the woods, and at the end of that path is a cabin. And in the basement of that cabin is a Princess. You're here to slay her. If you don't, it will be the end of the world.

Slay the Princess is a 2023 indie horror game by Abby Howard and published through Black Tabby Games, with voice talent by Jonathan Sims (yes, that one) and Nichole Goodnight.

The game starts with you dropped without context in the middle of the woods. But that’s alright. The Narrator is here to guide you. You are the hero, you have your weapon, and you have a monster to slay.

From there, it's the player's choice exactly how to proceed--whether that be listening to the voice of the narrator, or attempting to subvert him. You can kill her as instructed, or sit and chat, or even free her from her chains.

It doesn't matter.

Regardless of whether you are successful in your goal, you will inevitably (and often quite violently) die.

And then...

You are once again on a path in the woods.

The cycle repeats itself, the narrator seemingly none the wiser. But the woods are different, and so is the cabin. You're different, and worse... so is she.

Based on your actions in the previous loop, the princess has... changed. Distorted.

Had you attempted a daring rescue, she is now a damsel--sweet and submissive and already fallen in love with you.

Had you previously betrayed her, she has warped into something malicious and sinister, ready to repay your kindness in full.

But once again, it doesn't matter.

Because the no matter what you choose, no matter how the world around you contorts under the weight of repeated loops, it will always be you and the princess.

Why? Because that’s how the story goes.

So says the narrator.

So now that we've got that out of the way, let's talk about data.

Chapter I: Echoes and Shattered Mirrors

The problem with "data" is that we don't really think too much about it anymore. Or, at least, we think about it in the same abstract way we think about "a billion people." It's gotten so big, so seemingly impersonal that it's easy to forget that contemporary concept of "data" in the west is a phenomenon only a couple centuries old [1].

This modern conception of the word describes the ways that we translate the world into words and numbers that can then be categorized and analyzed. As such, data has a lot of practical uses, whether that be putting a rover on mars or tracking the outbreak of a viral contagion. However, this functionality makes it all too easy to overlook the fact that data itself is not neutral. It is gathered by people, sorted into categories designed by people, and interpreted by people. At every step, there are people involved, such that contemporary technology is embedded with systemic injustices, and not always by accident.

The reproduction of systems of oppression are most obvious from the margins. In his 2019 article As If, Ramon Amaro describes the Aspire Mirror (2016): a speculative design project by by Joy Buolamwini that contended with the fact that the standard facial recognition algorithm library had been trained almost exclusively on white faces. The simplest solution was to artificially lighten darker skin-tones for the algorithm to recognize, which Amaro uses to illustrate the way that technology is developed with an assumption of whiteness [2].

This observation applies across other intersections as well, such as trans identity [3], which has been colloquially dubbed "The Misgendering Machine" [4] for its insistence on classifying people into a strict gender binary based only on physical appearance.

This has also popped up in my own research, brought to my attention by the artist @b4kuch1n who has spoken at length with me about the connection between their Vietnamese heritage and the clothing they design in their illustrative work [5]. They call out AI image generators for reinforcing colonialism by stripping art with significant personal and cultural meaning of their context and history, using them to produce a poor facsimile to sell to the highest bidder.

All this describes an iterative cycle which defines normalcy through a white, western lens, with a limited range of acceptable diversity. Within this cycle, AI feeds on data gathered under colonialist ideology, then producing an artifact that reinforces existing systemic bias. When this data is, in turn, once again fed to the machine, that bias becomes all the more severe, and the range of acceptability narrower [2, 6].

Luciana Parisi and Denise Ferreira da Silva touch on a similar point in their article Black Feminist Tools, Critique, and Techno-poethics but on a much broader scale. They call up the Greek myth of Prometheus, who was punished by the gods for his hubris for stealing fire to give to humanity. Parisi and Ferreira da Silva point to how this, and other parts of the “Western Cosmology” map to humanity’s relationship with technology [7].

However, while this story seems to celebrate the technological advancement of humanity, there are darker colonialist undertones. It frames the world in terms of the gods and man, the oppressor and the oppressed; but it provides no other way of being. So instead the story repeats itself, with so-called progress an inextricable part of these two classes of being. This doesn’t bode well for visions of the future, then–because surely, eventually, the oppressed will one day be the machines [7, 8].

It’s… depressing. But it’s only really true, if you assume that that’s the only way the story could go.

“Stories don't care who takes part in them. All that matters is that the story gets told, that the story repeats. Or, if you prefer to think of it like this: stories are a parasitical life form, warping lives in the service only of the story itself.” ― Terry Pratchett, Witches Abroad

Chapter II: The Invisible Narrator

So why does the narrator get to call the shots on how a story might go? Who even are they? What do they want? How much power do they actually have?

With the exception of first person writing, a lot of the time the narrator is invisible. This is different from an unreliable narrator. With an unreliable narrator, at some point the audience becomes aware of their presence in order for the story to function as intended. An invisible narrator is never meant to be seen.

In Slay the Princess, the narrator would very much like to be invisible. Instead, he has been dragged out into the light, because you (and the inner voices you pick up along the way), are starting to argue with him. And he doesn’t like it.

Despite his claims that the princess will lie and cheat in order to escape, as the game progresses it’s clear that the narrator is every bit as manipulative–if not moreso, because he actually knows what’s going on. And, if the player tries to diverge from the path that he’s set before them, the correct path, then it rapidly becomes clear that he, at least to start, has the power to force that correct path.

While this is very much a narrative device, the act of calling attention to the narrator is important beyond that context. 

The Hero’s Journey is the true monomyth, something to which all stories can be reduced. It doesn’t matter that the author, Joseph Campbell, was a raging misogynist whose framework flattened cultures and stories to fit a western lens [9, 10]. It was used in Star Wars, so clearly it’s a universal framework.

The metaverse will soon replace the real world and crypto is the future of currency! Never mind that the organizations pushing it are suspiciously pyramid shaped. Get on board or be left behind.

Generative AI is pushed as the next big thing. The harms it inflicts on creatives and the harmful stereotypes it perpetuates are just bugs in the system. Never mind that the evangelists for this technology speak over the concerns of marginalized people [5]. That’s a skill issue, you gotta keep up.

Computers will eventually, likely soon, advance so far as to replace humans altogether. The robot uprising is on the horizon [8]. 

Who perpetuates these stories? What do they have to gain?

Why is the only story for the future replications of unjust systems of power? Why must the hero always slay the monster?

Because so says the narrator. And so long as they are invisible, it is simple to assume that this is simply the way things are.

Chapter III: The End...?

This is the part where Slay the Princess starts feeling like a stretch, but I’ve already killed the horse so I might as well beat it until the end too.

Because what is the end result here?

According to the game… collapse. A recursive story whose biases narrow the scope of each iteration ultimately collapses in on itself. The princess becomes so sharp that she is nothing but blades to eviscerate you. The princess becomes so perfect a damsel that she is a caricature of the trope. The story whittles itself away to nothing. And then the cycle begins anew.

There’s no climactic final battle with the narrator. He created this box, set things in motion, but he is beyond the player’s reach to confront directly. The only way out is to become aware of the box itself, and the agenda of the narrator. It requires acknowledgement of the artificiality of the roles thrust upon you and the Princess, the false dichotomy of hero or villain.

Slay the Princess doesn’t actually provide an answer to what lies outside of the box, merely acknowledges it as a limit that can be overcome. 

With regards to the less fanciful narratives that comprise our day-to-day lives, it’s difficult to see the boxes and dichotomies we’ve been forced into, let alone what might be beyond them. But if the limit placed is that there are no stories that can exist outside of capitalism, outside of colonialism, outside of rigid hierarchies and oppressive structures, then that limit can be broken [12].

Denouement: Doomed by the Narrative

Video games are an interesting artistic medium, due to their inherent interactivity. The commonly accepted mechanics of the medium, such as flavor text that provides in-game information and commentary, are an excellent example of an invisible narrator. Branching dialogue trees and multiple endings can help obscure this further, giving the player a sense of genuine agency… which provides an interesting opportunity to drag an invisible narrator into the light.

There are a number of games that have explored the power differential between the narrator and the player (The Stanley Parable, Little Misfortune, Undertale, Buddy.io, OneShot, etc…)

However, Slay the Princess works well here because it not only emphasizes the artificial limitations that the narrator sets on a story, but the way that these stories recursively loop in on themselves, reinforcing the fears and biases of previous iterations. 

Critical data theory probably had nothing to do with the game’s development (Abby Howard if you're reading this, lmk). However, it works as a surprisingly cohesive framework for illustrating the ways that we can become ensnared by a narrative, and the importance of knowing who, exactly, is narrating the story. Although it is difficult or impossible to conceptualize what might exist beyond the artificial limits placed by even a well-intentioned narrator, calling attention to them and the box they’ve constructed is the first step in breaking out of this cycle.

“You can't go around building a better world for people. Only people can build a better world for people. Otherwise it's just a cage.” ― Terry Pratchett, Witches Abroad

Epilogue

If you've read this far, thank you for your time! This was an adaptation of my final presentation for a Critical Data Studies course. Truthfully, this course posed quite a challenge--I found the readings of philosophers such as Kant, Adorno, Foucault, etc... difficult to parse. More contemporary scholars were significantly more accessible. My only hope is that I haven't gravely misinterpreted the scholars and researchers whose work inspired this piece.

I honestly feel like this might have worked best as a video essay, but I don't know how to do those, and don't have the time to learn or the money to outsource.

Slay the Princess is available for purchase now on Steam.

Screencaps from ManBadassHero Let's Plays: [Part 1] [Part 2] [Part 3] [Part 4] [Part 5] [Part 6]

Post Dividers by @cafekitsune

Citations:

Rosenberg, D. (2018). Data as word. Historical Studies in the Natural Sciences, 48(5), 557-567.

Amaro, Ramon. (2019). As If. e-flux Architecture. Becoming Digital. https://www.e-flux.com/architecture/becoming-digital/248073/as-if/

What Ethical AI Really Means by PhilosophyTube

Keyes, O. (2018). The misgendering machines: Trans/HCI implications of automatic gender recognition. Proceedings of the ACM on human-computer interaction, 2(CSCW), 1-22.

Allred, A.M., Aragon, C. (2023). Art in the Machine: Value Misalignment and AI “Art”. In: Luo, Y. (eds) Cooperative Design, Visualization, and Engineering. CDVE 2023. Lecture Notes in Computer Science, vol 14166. Springer, Cham. https://doi.org/10.1007/978-3-031-43815-8_4

Amaro, R. (2019). Artificial Intelligence: warped, colorful forms and their unclear geometries.

Parisisi, L., Ferreira da Silva, D. Black Feminist Tools, Critique, and Techno-poethics. e-flux. Issue #123. https://www.e-flux.com/journal/123/436929/black-feminist-tools-critique-and-techno-poethics/

AI - Our Shiny New Robot King | Sophie from Mars by Sophie From Mars

Joseph Campbell and the Myth of the Monomyth | Part 1 by Maggie Mae Fish

Joseph Campbell and the N@zis | Part 2 by Maggie Mae Fish

How Barbie Cis-ified the Matrix by Jessie Gender

[radiation]

Video games talk dont even mind me

Bro video games as a whole are so far behind movies in terms of storytelling and pacing that it’s kind of baffling. Which of course is obvious and makes sense for plenty of reasons but like, just think about it — watching movies a lot can’t help but train a certain muscle that gives you a strong instinct for structure. I find that people who watch movies very casually, without too much artistic consideration, and don’t really know the language associated with it are still very often irked by specific issues with a movie’s pacing, dialogue, etc and are relatively capable of putting it into words. Likewise, for many movies out there, regardless of your opinions on any specific directorial choices, you do feel as if the movie is essentially cohesive and creatives involved reasonably knew what they were doing and were acting very intentionally, and there weren’t any major oversights. This includes independent films as well. Meanwhile I think both players and developers much more commonly lack the instinct for narrative cohesion when it comes to video games. Definitely a fair amount of exceptions to this, but in general I find it’s difficult to find video games that are very narrative heavy & aspire to great artistic heights that don’t suffer from inherent structural problems, pedantic dialogue, tons of dead air, etc in a way that wouldn’t slide as easily in a movie. A lot these flaws certainly have to be due to the presence of gameplay elements and having to balance that with story when the two are almost always, at least in some small respect, inherently at odds. As for the inability for devs and players to pick up on / fix these flaws…is it because gameplay can distract from it and make up for it? With longer games that have runtimes closer to the experience of a television series, is there a similar reaction where if it’s long enough you will sit thru smaller, momentary issues because you enjoy the bigger picture? Yet games are a lot more engaging than a show as a audio, visual, and tactile experience, you can’t multitask and tune the information out as easily as with a boring episode of a show, so you’d think people would be more picky? But maybe because it’s so attention-demanding people are more immersed, and believe in the experience enough to more easily accept the story? Books demand the same kind of active attention to experience though, and the bar for story in books is a lot higher, so what gives? Well a lot of these have kind of obvious answers but still Interesting questions to ask that lead to Damn , That Is Still Crazy How Much This Shit Is In Its Infancy like sometimes I feel like I’m going crazy with how many writing issues are present in games, particularly in indie games that are Trying To Be Good At Writing that feel excessively obvious and yet I often struggle to find my sentiment mirrored by others. IDK. And back to movies the thing is I feel like if the same people trying to write these kind of games had pursued movies instead then they would’ve ended up making well structured movies that avoided all of these pitfalls. WHAT IS IT WITH GAMES? Well we know what it is with games and we could spend all day discussing a million more reasons this is the way it is but no matter what I think we should just be super conscientious of these pitfalls when making narrative focused games and aspire to a greater level of intentionality that is absolutely possible . Build that muscle by really understanding the quality of storytelling long-present in other mediums.Well the other issue with indie devs is that everyone believes they are totally breaking new ground story wise that they don’t take a step back, humble themselves a bit, and cross-reference what they’re doing with the tons of other stories that have already achieved similar things But thats a conversation for another day .

[neptunecookies]

Hiya! I'm looking for indie programmers, artists, and more for my video game!

Introduction & Summary

We're developing "My Life: The Video Game," a narrative-driven, first-person simulation-visual novel game centered around a 16-year-old teenager named Taylor, who returns to high school after years of homeschooling. Our game emphasizes mental health and healing, featuring engaging stories, relatable characters, and gameplay mechanics that highlight the importance of empathy and self-care. This is a chance to contribute to a game with the potential to resonate deeply with players, encouraging empathy and self-awareness.

Available Positions and Job Descriptions

As a solo aspiring indie developer, I'm seeking skilled individuals to join me in bringing this project to life. Remote, freelance/contract-based positions are available in the following roles:

Unity Developer (C# Programmer): Proficient in C# and Unity, responsible for implementing gameplay features, collaborating with me, and ensuring the game runs smoothly.

2D Artist: Create 2D artwork and assets that align with the game's modern-day city setting and high school environment, including character designs, environments, and props. The art style is a unique mix of abstract (think “Journey”) and hand-drawn (think “Ori and the Blind Forest”), aiming for an atmospheric, emotional tone.

2D Animator: Bring characters and environments to life through fluid animations, working closely with the artist to maintain a consistent visual style.

UI/UX Designer: Design intuitive and visually appealing user interfaces that enhance the player experience and align with the game's themes.

All positions are remote, with the possibility of extending into long-term roles. Candidates with multiple skill sets are welcome to apply for multiple positions if desired. These are unpaid/rev-share positions, ideal for individuals passionate about storytelling and mental health awareness. When the project finds success, team members will be the first considered for compensated work.

What We Are Looking For

Ideal candidates are passionate about storytelling and creating meaningful gaming experiences. Strong communication skills, the ability to work independently, and relevant experience in game development are essential.

The Project and Our Mission

As the creator and solo developer, I'm an aspiring game designer passionate about creating meaningful stories and immersive experiences. I believe in the power of games to promote understanding and empathy around important topics like mental health. "My Life: The Video Game" is my way of contributing to this mission, raising awareness, and fostering a sense of connection and support among players.

The game follows the story of Taylor, a teenager who faces challenges as they return to high school after years of homeschooling. It tackles themes such as anxiety, self-discovery, and the importance of friendship and understanding. By crafting an engaging narrative and relatable characters, I aim to create a powerful gaming experience that resonates with players and encourages conversations about mental well-being.

Progress

For interested candidates who want to learn more about the project before joining, please visit the following link for a document with information on the game's project timeline, additional information for those interested, gameplay mechanics, and more: Game Design Document. For those that are chosen, a comprehensive document will be provided. 

Contact

To apply, send a DM on Discord to @NeptuneCookies with your experience and a brief introduction.

Include the following information in your Discord DM:

Name and contact details

Role(s) you're applying for

Experience and qualifications

Brief introduction and your interest in the project

Additional materials, like portfolios or resumes, may be requested depending on the role. Selected candidates will be invited to a dedicated Discord server for collaboration.

[dyswarpia]

MalRev Demo is out!!

₊‧.°.⋆✮⋆.°.‧₊ ⁺‧₊˚ ཐི⋆♱⋆ཋྀ ˚₊‧⁺⋆˚☆˖°⋆｡° ✮˖ ࣪ ⊹⋆.˚

Welcome to my blog! I'm dyswarpia, an aspiring indie game developer. I just released my first game on itch.io and would really appreciate if you checked it out :D

It's a visual novel dating simulator about investigating a mysterious family who are rumoured to be vampires. There's 8 unique love interests and the demo features multiple endings depending on which character likes you the most!

₊‧.°.⋆✮⋆.°.‧₊ ⁺‧₊˚ ཐི⋆♱⋆ཋྀ ˚₊‧⁺⋆˚☆˖°⋆｡° ✮˖ ࣪ ⊹⋆.˚

Click below to check out the game!

[beekeeperspicnic]

Hi! How's your day going? Are there any games that you would like to recommend? Except yours of course as It's already on my wishlist ❤️

My day is going goooood although I'm really tired! I was speaking at a conference for my day job. I'm a weirdo who loves public speaking, but it's still tiring.

So with my "supporting the indie game development community" hat on I will recommend checking out the demo for An English Haunting

I've been thinking of it as being Beekeeper's Picnic's much more professional and competent big brother - it's created in the same game engine, and the gorgeous pixel art is so aspirational for me.

And Arthur Conan Doyle is in it!

With my "what I'm actually spending a lot of time playing at the moment" hat on, I finally bought Red Dead Redemption a few weeks ago.

YEE-HAW

I'm putting so much effort into growing period appropriate facial hair

[takeeachdayonebookatatime]

I’m Alina Capella, an indie author based in the UK who mostly writes romance and urban fantasy. There is not enough arospec/acespec representation in fiction, and I’m hoping to fix that problem by writing it myself

Laura

Is there a special reason behind the title of your book/series?

Alina

 Actually, there are quite a few. The title of my recently published book, Night Of The Blue Moon, comes from the fact that the main character, Ariel, gets her powers from Phoebe, the titaness of the moon, and her magical girl name is Blue Moon. Also most of the fight scenes are set at night, primarily because I didn’t want Blue Moon and her partner, Red Sun, to be public figures. They fight in the dark, and very few people know that they exist.

Laura

Will there be any more books in your series? 

Alina

Yes, Night Of The Blue Moon will be a two-part series, possibly three parts if I come up with another adventure for Blue Moon and Red Sun to go on. The working title of the second book in the series is Night Of The Justified Deaths. I can’t tell you anything about the plot without spoiling the entirety of Night Of The Blue Moon, however. 

Laura

How many books have you written? 

Alina

I have two published books available now. My debut book was The Tengu And The Angel, a contemporary romance about Kunio, a teenage artist who runs away from his abusive alcoholic mother, and Nathaniel, a fashion designer who takes him in. I published Night Of The Blue Moon, which is an urban fantasy/romance, on the 27th of January. It is the first of a two-part series about Ariel, a shut-in indie game developer by day, and a magical girl named Blue Moon, by night. Blue Moon’s mission is to retrieve Hades’s bracelet, and stop Orpheus from bringing his son, Brooklyn, back from the dead. Ariel knows better than anyone that Brooklyn doesn’t deserve a second chance at life—Three years ago, he raped her at a party and crushed her dreams of becoming a police officer.

Laura

What can readers expect from your next book? 

Alina 

My next book will be Blood On A Yellow Rose, which is going to be about Pamela, a former rock star who had her career ruined after she took ecstasy laced with fentanyl, forcing one of her roadies to turn her into a vampire to save her life. Pamela never thought that she would get back into the music industry—Until she met Zinnia, a former aspiring rock star dying of lung cancer. Zinnia promises that she can help Pamela get her career back, if she promises to bite her and save her life by turning her into a vampire…

Laura

What made you want to become a writer?

Alina 

I’m a dreamer by nature, and I started writing in the hopes of doing something productive with my many daydreams. There are a million and one ideas in my head, and I would lose it if I didn’t empty them out

Laura

What is your favorite part of your book/series?

Alina

 Oh, boy, I can’t tell you much about my favourite part of Night Of The Blue Moon without spoiling a major plot element, but I can tell you that it involves a kiss under the moonlight in the ruins of Winchester Cathedral. It’s very romantic 💕 

Laura

Do you prefer paperbacks or ebooks?

Alina

 I love paperbacks! I wish I could own more of them, but I don’t have enough space in my apartment to store the amount of paperbacks that I read. I love new book smell…But I love ebooks too. I like being able to read wherever and whenever I want! 

Laura

If your book got turned into a movie, who would you want to star in it? 

Alina

First of all, it would have to be an animated movie, and second, I would want Natasia Demetriou to voice Ariel, and probably Cindy Robinson to voice Ariel’s love interest and sidekick, Red Sun. And Keston John voicing Hades would be pretty cool as well, and maybe Reshma Shetty for Phoebe…

Laura

What book meant the most to you?

Alina

 The Tengu And The Angel will always have a special place in my heart, as it was my debut book, but honestly, Night Of The Blue Moon is the book that means the most to me, purely because it’s something I’ve been wanting to write for years. I firmly believe that fantasy books for adults shouldn’t be limited to grimdark high fantasy settings—Adults deserve stories that inspire wonder and hope too, and that’s what I hope to give readers with Night Of The Blue Moon. 

Laura

Where do you write your books/stories? 

Alina 

Usually cross-legged on the floor surrounded by empty instant ramen cups. I’m not the glamorous type hehe

Laura

Should books be banned? 

Alina

Is that a serious question? No book should be banned, ever. I don’t care what it’s about or who wrote it, no one should have the right to stop anyone from reading a book if they want to. 

Laura

Current book you’re reading?

Alina

 Up The Entropic Hill by Mattie Bukowski. As an indie author myself, I like to read books by other indie authors, and so far I’m enjoying it.

Here are the Goodreads links to my books, where you can read more reviews before you buy them! https://www.goodreads.com/book/show/224014443-night-of-the-blue-moon

https://www.goodreads.com/book/show/203749773-the-tengu-and-the-angel

Ps... Laura, here I do not support the banning of books it is wrong.

[barrow-belle]

Ok I have something big to announce. me and a big team of people are going to try and make a game!!!!!!!! It's called inter dimension tension or IDT for short currently working on the set in stone designs for all of the characters so far we have concept art for ace decoi Kirsten luner and the first boss named Bella!!!! Here are all the early concepts of them as they will all be heavily charged these are just bases

I'm excited to keep you all updated on how it's going!!!!

[macva-2004]

Hi! MAC here!

Hi, the name is MAC, and I'm an English Voice Actor!

I am also aspiring game developer. Recently, I've been making a game called Blood Quest, and I wanted to share it with all of you!

Follow my socials!

Youtube:

Tiktok:

And to follow news about Blood Quest that I haven't posted here:

Blood Quest Website:

And to those interested in the game releases directly, here's my itch.io page!

Kickstarter here:

Demo Reel 2025 here:

[thegiftofgabes]

The Gift of Dice - Intro Post

I am Gabriel Caetano (they/them), and I am a queer, Latine parent, TRPG creator, audio producer, and game facilitator (aka GM) from Brazil.

Roleplaying Games

I make tabletop Roleplaying Games, as well as TTRPG-adjacent experiences.

I like fantasy, science fantasy, and weird fantasy the most and I have been more and more invested in looking at games as enablers of social experimentation and questioning.

I like to say that every game I make is a product of excellent taste and developing skill.

You can find my games at https://thegiftofdice.itch.io/

Indie Games Facilitator for Hire

I run and facilitate (aka GM) roleplaying games as a gig.

I have over 100 session under my belt, and growing, and a large catalogue of indie, alternative games to facilitate for players anywhere out there in the world, including Masks, Thirsty Sword Lesbians, Nibiru, Apocalypse Keys, Noctis Labyrinth, Troika!, Blades in the Dark, CBR+PNK, and many more.

You can browse through the dates I setup, or make a custom request.

Politics and Ethics

All TTRPG content has a price tag, except when I think it shouldn't, and all of them should have alternate methods of access for anyone who does not enjoy the privilege of earning dollars, euros, pounds, and other hegemon currencies.

Yet, non-white people, non-het, and non cis-male people anywhere who cannot afford to buy anything I make without putting their safety and well-being financially are welcome to get my stuff for free, one way or another.

I also offer seats for free or at a greatly reduced fee to people in the Global South, where the dollar exchange would make access to my game sessions absolutely crushing.

None of the content I create is compatible with Hasbro or Paizo products, or products by any company or individual that shares their ethics and predatory approach to industrializing an art form, on principle.

Additionally I do not use or rely on artificially generated content to create my games or run my sessions.

Game Design Principles

I've come across this game design manifesto and I've decided to adopt it for my own game design as best as I can and let it evolve as I grow as a game designer and writer.

against coercion: a game design manifesto by JPLeBreton

let players wonder about things and trust them to find answers;

connect players with patterns they find intrinsically fulfilling;

never treat a number going up as an inherently positive or meaningful even;

teach respect for the autonomy and boundaries of all things;

posit alternatives to fantasies of accumulation and extraction;

do not think of emotional responses as something you extract from players;

produce and distribute ethically;

aspire to more than escape.

Whether I'll succeed or fail at following these principles, or even how they will evolve over time, all I can say is let's play to find out.

Kindly, Gabriel Caetano

[pixelpeakgames]

In this video, I dive deep into my Indie Game Dev journey and share the highs and lows of overcoming rejection to create a unique Tower Defense game. Whether you’re an aspiring independent game developer or a seasoned dev looking for insights into game development challenges, this devlog has something for you!

[wobblyprinny]

Thoughts On An Indie Game I've been playing....

So, for anyone who likes indie games, lewd games, and lewd indie games... I present to you, 'Evalia: The Lust Kingdom'.

It's a genuine sandbox style game made using the Ren'Py game making software. Y'know, the one optimized and spec'd out for making visual novels and adventure games.

You are thrust into the role the fully (insofar as the options will allow at least) customizable and recently, seemingly randomly handpicked, monarch of the floating island city-state of Evalia. A very, VERY sex positive kingdom.

You are free to interact with any NPC you like, engage in the day to day politicking of court sessions to build rep with the various factions that make up Evalia, build relationships with whomever you take a fancy too, work to solve the many secrets eValia has hidden underneath the surface(though, admittedly, the narrative has taken a backseat after the initial polt hooks get laid down for the sake of building up a solid feature rich gameplay loopfoundation), explore the various areas of your kingdom, and shape jsut what kind of place you want it to be.

Not only is it your PC and relationships you have control over to customize, but the very makeup of the kingdom's populace too!

Ever dreamed of having a whole harem of women to yourself? Well, now you can!

Want an island full of doods instead? Sure thing!

Futas? Why the hell not?

Mix and match? All good!

It's your kingdom after all, so go nuts.

As for myself, well... I'm very much into roleplaying, so I just filled it with women and futas bc, well... isolated island floating in the sky... so, the odd foreign traffic aside, them babies and population replacement rate gotta come from somewhere, right?

Point is, it's up to you.

Gay, straight, bi, non-binary, futa... it's all good

It's a game that has... a LOT of potential and has come a long way fro a game that's being developed by just one person... Everything from the coding to the art assets!. All just one guy in their free time!

I respect that so much and I use devs like them inspiration and a goal to strive for in my own creative aspirations.

I even subbed to show my support.

Gives me early access and voting rights, so yeah... worth it.

The dev is pretty responsive on the sites they're on but don't yet have a discord... which kinda sucks but, y'know... life.

Potential aside, it's a very ambitious project that will take a long time before it's done... Like, for example, 'The Last Sovereign' by Sierra Lee? That masterpiece of an indie game has been in the works for over a decade! So worth it though! A damn fine game in its own right!

...but I digress.

As for suggestions I've made, which the dev has confirmed an interest in adding at some point include, but are likely not limited too, magic to change genders of yourself and other characters, including other important NPCs, of which is gender balanced for plot purposes, which is fine... but I WANT MY HAREM DAMMIT!

more complex factional politicking both at home and with other nations, more interactive sex, combat, and exploration mechanics, and kinds... oh the kinks!

...Given my own preferences, you can bet your ass I asked if incest/inbreeding would be a viable suggestion... and y'know what? They were totally okay with adding such kinds in and even said that was already in the cards, just a matter of 'when, not if' kinda thing.

Made me pretty happy.

Now, to those who may not be as big into the indie lewd games or mod community... incest is both surprisingly popular and prevalent.

Naturally, degrees vary on how much that content has importance in the plot or is just a kink.

I'm personally fine with either bc, well, all publicity is good publicity in cases like this. Getting ppl to be comfortable with the idea as 'normal' or at least acceptable, is kinda the point here.... regardless of how much it actually exists already despite the 'common sense' of the present day.

Look up them stats. They will surprise you with how not uncommon it actually is. Remember, 8 billion ppl and all that.

But, in the land of fiction and entertainment, it's a good place to really explore those sides of yourself without all the stigma... unless, y'know, you gotta deal with judgmental pricks. I mean, we do, tbf, but fiction is fiction, so getting offended by fiction is just stupid... and honestly makes you look weirder than the ppl who like that fiction in my book.

Anyway, it's a game I recommend trying and keeping an eye on.

Another game I find myself liking is Lust n Farm.

It's more of a focused narrative sandbox/farming sim lite/harem builder, but it is very much an incest romance that, to the dev's credit and shameless lewding aside, is attempting to build a compelling narrative around.

It's got plenty of flaws and is buggy as hell, but it's another one that has a LOT of potential, isn't afraid to explore taboos, and has a decent foundation to work with.

Honestly, I'm a sucker for isolated city settings and interconnected harem building stories, so win-win.

Maybe I'll talk more about that game since I really do think it's good for what it is and who it's aimed at.

And yes, as an incest romance that at least is attempting to take itself seriously for the world it's set in, pregnancies are actual kinda plot integral here.

Made me actually rethink my view on one of the heroines/older sisters.

....Anyway, lewd game ranting and my lowkey kink shilling aside, that's all I guess...

[rae-raewrites]

Btas riddler with a s/o who is an aspiring video game developer?

Awww just awww

BTAS riddler with a s/o who is an aspiring game developer

His days at Competitron remain happy memories despite his eventual firing. So many nights spent coding and redesigning the original design for riddle of the minotaur.

So when you ask “hey Eddie how’d you develop riddle of the minotaur?” He’s throughly intrigued

Any particular reason you’re asking dear? You know you can tell him anything

When you do blurt it out he’s absolutely stunned!

You want to get into game development!?! And your only just telling him now?!?

He absolutely starts imparting his hard earned knowledge to you

Sure he hasn’t worked on a full game in a bit but that doesn’t mean he forgot how to give players an engaging experience

“It’s about keeping players on there toes! If they can just walk all over your perfectly crafted design then then what’s the point?”

You two probably spend nights just planning everything out. Basically the project becomes your kid

He’s seen corporations take advantage of the little guys do he’d like it if you stayed indie,just so you don’t end up with coming into work one day to find your fired.