#indie devlog

[library-of-legion]

[aclypse]

Recently I stumbled upon an Indie Arena Pitch Party hosted by Indie Arena Booth, so I've submitted my Inkwell Institute deck there. Hope the game gets noticed! I'm showing only a few screenshots of the pitch deck as it is confidential, but I know I will iterate upon this deck in the future (as it usually happens) and who knows, maybe the pitch deck will make Inkwell Institute's release date closer 👽

[clarismakesgames]

Devlog: Aug. 8th, 2023

Hello, gamers! I have several updates since the last devlog, so let's get to it!

1. I attempted applying for Code Coven's Introduction To Game Making With Unity program - and didn't make it in.

This was kind-of crushing to find out, given that it would have been an amazing opportunity to do so. However, I will keep an eye out for future opportunities with Code Coven or similar organizations in the meantime.

2. I ended up dropping the other game course that I started auditing back in June.

This is because the course required me to have beforehand knowledge of a coding system that I had no knowledge of. And sadly, I didn't know that the course required me to have knowledge of such a system until after I signed up.

Things haven't been the smoothest for me on the game development side of things this summer. Meanwhile, developments on other aspects of my life (such as being an author and poet, freelance writing, etc.) have been picking up a bit more, so I've been devoting more focus on those in the meantime.

I hope to participate in a Game Jam sometime in the fall, just so I get some more practice with game writing in at least. In the meantime, I'll be focusing on other aspects of my work life and those developments! If you'd like to check out my author/poet work, check out this Carrd for more info!

Thanks in advance for your support!

You can check out my portfolio here to see samples I created from the Pixelles Game Writing Program (Jan. 2023- March 2023). Samples include cinematics, barks, character design, stage/quest design, and item description. You can also check out my Itch.Io page here to see games that I’ve written and published myself!

[auranym]

I've been working on a godot plugin for controlling how pixel art behaves with lighting, and I'm almost done with a really basic version! (more info under the cut)

this plugin is based on some techniques I have been developing over the years, featured most prominently in silt spawn.

it's a huge step forward though, since it requires no setup whatsoever, and it works with any normal light sources in the engine. the way it works is by generating an encoded sprite and a bespoke shader that can really quickly pick the exact color to show for each pixel based on how well-lit it is. as this gif shows, the plugin works with existing light sources and sprites, so you can really use these pixel-picky sprites as much or as little as you need!

now that the main feature is done, all I need to do is finish the UI in the editor, and then I'll feel comfortable releasing a bare-bones version of this plugin. I'm really proud of how it's coming along, and this quick little gif is just the beginning! :D

[hydralisk98]

Blackhand devlog#3

Referenced materials that this post follows up upon are presented above as hyperlinked banners.

Social context values / indications

[WIP]

Where?: They inhabit in the forested suburb town of Masknaw, in the Shoshoni Union, on the Angora planet. It is often set in the 46th century of their calendar (eq. 21st century AD) but has moments across other points in time and space.

Who (sketches / doodles / drawings)?: Not even started just yet.

Why Interested in Characters? Depends on above.

Why Audience interested? Depends on above.

Project Why-s? Depends on above.

Audience's Why-s? Depends on above.

Toybox 'Worldview' and target audience(s)

Millenials, Zillenials & Gen Z folks, mostly young adult women & edutaining manifestation enthusiasts. (Contemporary pagans, witches, Non-Binary people, queers and neuro-diverse folks included)

The 'toybox' has a major emphasis onto variety of languages, technologies and immersion levels, to feel more like a eponymous sandbox of tools and toys a consumer / licensee can reuse to their whims* for manifesting and plain curiosity-driven stories. As such, there should be some breathing space / mysteries that are left ambiguous for most people to interpret specific content sections further than initial expectations, encouraging imagination and creative expression out of the initial material.

Probably will use a either a weak copy-left license or some other open source dual licensing model with possibility to use a fair & libre-like Creative Commons license.

Important world details

This world has a divergent yet familiar enough history backlog to stay hooked into its "fantasy" of manifestation. Mostly diverging in the early 1910s as no figure like Woodrow Wilson got elected, neither in 1912 or in 1916, leading to some delightful changes that impacted the rest of Shoshoni history in a powerful and constructive way by a full century. Not everything is butterflied away though, but many fascinating changes came, from technological progression to ideologies, going across geo-politics, economical matters and local social intrigues ensued. Like synthetic servitor sapience, nuclear weapons' race & MAD coming way later, morphological freedoms chart and a couple of cultural & technical medium changes, even down to the smart devices and musical genres to listen.

For example, the history of music and its mediums is quite intriguing as far as going from 'Blue Ambersol' Wax Cylinders to 45rpm auto-play mini-vinyl records to Laserdiscs to dual magnetic-optical media Mini-Discs, with some cassette tape storage and flash storage yet to hit in the broader community than educational and home video markets. So you can see it is quite heavily inspired by history with tweaks and touches of flavor to really spike curiosity and show how malleable reality is, even without breaking the usual bounds of historical fiction by that much.

That being said, there is abundance of sapient synthetic serfs by the year 4520 and among them is Ava. There many great means to exercice morphological freedom, and so are the means for spiritual folks, that do live in a nuanced yet nicer and closer-knitted community. And the technical & social details under-the-hood are also intricate and worth my storytelling as well. But more onto such in later entries.

Characters / actors / narrative agents [sketches soon]

I do have a special perspective for my story, considering the multimedia interactive and manifestation toy that it represents too... In a nutshell though, a self-insert is a major key agent, with 3-4 characters surrounding her narratively. There may be more characters distributed with great variety, but this structure is thus far the nucleus of the narrative "cell" at play here. 😉

A couple of 'outsider' idea prompts to guide me here as well...

the virgin "neural network scaling hypothesis" vs the chad "a sufficiently smart hacker could write an AGI in Lisp on a 1970s minicomputer", from a @nostalgebraist-autoresponder ask from user moths-in-the-window

[Add more prompts with a additional Tumblr thread of suggestion material right here]

And yes, there is way more information to come as I play, watch, listen, read and curate more content, as to iterate & improve the wider world into the mixture that my canon base lore is.

(I am still figuring ways to get my own music tracks & remixed content going as far as making cooler video curation playlists and inspirational mood-boards but as audio + multimedia)

But the following should give you a good idea of the tone I try to set through my nuanced yet solarpunk-y bright narrative themes. Because whilst I may use dark colors, narrative components and start with a dystopic premise, I still aim to empower, inspire and get positive / constructive messages out there. Because as much as there is much room for complaints in life, I feel like the driving force to get anywhere satisfactory or enjoyable in a nuanced world is often left to the implicit details, which is quite easy to miss nowadays, especially as a autistic, *-divergent or just regular folks at the top of the ladder.

Cya later with another devlog. ^*^//

[endys]

Lost soul, wandering through mist and snow...

Do you feel the touch of iron cold?

The Last Winter Knight is an atmospheric Gothic visual novel I'm currently developing, where you play as a ghostly knight haunting a suit of armour!

You wake up as a ghost, with no memory of who you were or how you died. The only clue to your past is the empty suit of armour you now possess.

As you explore an abandoned castle and piece together your memories, you’ll uncover your tale: A tale of broken promises, regret, and bonds that last beyond death.

But your story doesn’t have to die with you.

How will you write its ending?

Wishlist on Steam

Join my newsletter for updates

[brokenmemorycard]

Did some more work on the lighting and fixed the sliding on the walk/run transition! Here's a little turnaround of the main character! Their name is Maris

Working title is The Tower

[toadtaverngame]

If you like games like Coffee Talk and Va11halla...

you should check out, Toad Tavern 🐸

Toad Tavern is a 1920s bartending sim where you mix drinks, master recipes, and learn about your froggy clientele.

Toad Tavern is currently being developed by a team of 14 people located in Puerto Rico. If you want to see more of the game, follow our development here and on all our other channels.

[brainhanging]

I made a short visual novel in 7 days for Scream Jam 2024 on itch.io! It's my first jam and first game!

I'm so honored the game got 8th in best stories and was selected as one of the gHosts' choices!

Night Drive is around 10-15 mins long with multiple hand-drawn CGs and has 4 possible endings, currently. (There will be another chapter updated to the game in the future. I had the draft written but couldn't make it to the jam.)

Play the game on Itch.io!

Happy Halloween everyone! ヾ(*ΦωΦ)ツ

[qkayoostudio]

OUT NOW! A Tavern at Night: Firelight

Past, present, or future. What fate will the cards uncover?

After striking up conversation with a wandering terrifying mercenary in a remote tavern, he's agreed to travel together for a while before you go your separate ways. 

That separation is approaching soon.  To commemorate your final night together you suggest reading him his fortune; might be useful for the road ahead, right?

Except neither of you are particularly looking forward to saying goodbye..

PLAY IT HERE!

features:

♡ a cosy campfire

♡ chooseable pronouns

♡ a variety of fantasy-tarot readings

♡ multiple endings

[notoh-dev]

The Doctrine of Perseverance Plot Summary and Main Characters Reveal

Story

The city of Noxton takes its name from one of the eight founding families, the Noxton family. Renowned publicly for their contributions to the city, privately, they are linked to the mysterious 'Drift.' Tragedy strikes the family on Melrose Noxton’s thirteenth birthday, marked by a horrific house fire following the appearance of the titular doctrine in the guesthouse. Three years later, the mystery remains unsolved, and life seemingly moves on, but not for Melrose – she remembers everything.

This story unfolds on Melrose’s sixteenth birthday, where you will uncover the inescapable horrors of the doctrine, unravel the secrets of the Noxton family, and confront the spirits of the 'Drift' that relentlessly seek to butcher anyone in their path. Happy Birthday, Melrose.

Main Characters

An old soul and reserved girl. Her birthday serves as a haunting reminder of the house fire and acts as the catalyst for the story.

A mischievous girl with a cheerful exterior. She is a close friend of Melrose and Dace’s daughter.

An unfiltered and hot-headed boy. His family harbors distrust towards the ‘founding families' in the city of Noxton.

A well-mannered and intelligent boy, slated to be the next head of the Noxton family. He is the son of Josie and Klaas, and also Melrose’s cousin.

An introverted and inquisitive boy. He is Melrose’s childhood friend and is from another founding family, the Skallow family.

A calm and warmhearted woman. She is Melrose's aunt and Milton's mom. Her and Florence were in a state of no contact for years prior to the fire.

A composed and educated man, he is Suzetta's dad and a long-time close friend of Florence before the fire. He works for the Noxton Police Department.

A brisk and 'rough around the edges' kind of man, he is the current head of the Noxton family and the uncle of Melrose and Milton.

A diligent and zestful man, he is Milton's dad and works for the Noxton Police Department.

Developer's Note

Bios and artwork are subject to change before the final release of the game, and this post may be updated.

I currently have about an hour of content done, this is with all of the dialogue, and knowledge on how to proceed in-game. I imagine it'll be longer for new players. Currently working on the next portion. I'm hoping to have chapter zero available to play early 2024 on RMN, Steam, and Itch.io.

I've also been posting youtube shorts, I'd be super appreciative to anyone who likes/comments on them!

Affiliated Links

Youtube Twitter RMN Tiktok (Posts are being Processed)

[library-of-legion]

Project 1837 – A Dark Fantasy CRPG

Hi, I’m working on Project 1837, a personal game project inspired by CRPGs like Baldur’s Gate 3, Divinity: Original Sin, and the minimalist yet captivating aesthetic of Hyper Light Drifter. The game is a historically reimagined dark fantasy set in an alternate version of 1837, where survival, morality, and the choices you make shape the story.

The World

The game takes place in a multiverse inspired by the real-world events and struggles of the 1830s, with a fantasy twist. The Blight, an otherworldly plague, isn’t just a sickness—it challenges the afflicted to face moral dilemmas, forcing them to decide how far they’re willing to go to survive.

Throughout the journey, players will encounter factions reimagined with magical influences. From the manipulative yet healing Church to the protective Arawak people, each group brings unique perspectives to the story.

Dynamic Class System

Classes in Project 1837 are flexible and reflect the decisions you make. A Paladin who compromises their ideals may lose their connection to magic, having to become a Fighter instead.

There’s also gear freedom—you’re not locked into certain items based on class. However, choices come with tradeoffs. For instance, equipping heavy armor as a Mage might result in penalties like slower movement or casting times.

Magic and the Veil

Magic in this world connects to the Veil, a mystical force between the ordinary and extraordinary. Pushing your abilities too far can trigger the “Child of the Wyld” status, making spells unpredictable.

This adds a layer of risk and reward—sometimes luck will be on your side, but other times, your spell might backfire in unexpected ways.

Bonfire Camping System

There’s no central hub in this game. Instead, you set up camp wherever it’s safe, and it becomes your base for resting, repairing, and planning.

These moments aren’t just about mechanics—they’re opportunities for your party to interact. Conversations during downtime might reveal their hopes, fears, or just offer some humor to lighten the mood.

Survival, Not Power Fantasy

In Project 1837, you’re not a chosen hero. You’re a survivor trying to make it through a fractured world.

Failure Isn’t the End: Mistakes or bad luck don’t stop your journey; they create new paths and challenges.

Dynamic Endings: The world evolves independently of your actions. Missions you ignore or fail are resolved without you, often with surprising outcomes.

Let’s Talk

This project is still in development, and I’d love to hear your thoughts:

Does the system works for you?

Are you interested on a CRPG game that focuses in aesthetics and fashions of an era as much as the story?

Feel free to share your feedback or ask questions—I’d really appreciate it!

[nitrosodiumgameanglia]

Why Sound Design is so Important in Games

Sound design is a key point in games, though it is often neglected in college games where we do a lot of work without speakers on. Having some good audio in a game really helps elevate the experience beyond just being a solely visual medium, as much as audio changed silent movies. The games with the best sound design are often those with realistic sound systems, or ones that elicit the desired emotional response. Good sound design can make you terrified to turn a corner; it can make you cry in the game's saddest moments; it can turn a level from a selection of rendered polygons to a truly real-seeming experience. Obviously our game's sound design isn't that deep, but it doesn't add nothing to the game either.

The first game I am looking at is Thief: The Dark Project. This game came out in 1998, but I would say it still holds up today with a few patches to make it run on modern systems. The game has a unique stealth system that lets you hide in shadows, but the main thing we're looking at is the sound. Different surfaces are different levels of loudness when walked on - carpet is perfect for sneaking, but metal catwalks are loud and clank under your feet. This isn't just set dressing either, because enemies are more likely to hear you if you're clanking about on steel grating. Then there is the ambient sound, where you can hear nearby guards muttering or whistling (in a great bit of game design, this helps you keep track of them when they're out of sight), torches crackle, and strange ambient screeches echo down hallways. The ambient soundtracks in each level are interesting, and use a lot of electronic synthesiser noises, which gives them an 80s John Carpenter vibe. They help make the environments foreboding, but also help tell the story in a way that 90s graphics simply could not. For example, as you enter the deepest annals of an ultra-religious Hammerite compound, the ambient whirr of machinery gets replaced by solemn choir and hymns. Caves can have dripping water and the occasional crumbling rock, while more twisted forest environments have the endless chirring of insects and chuckling from unseen nymphs and satyrs. The actual sound technology is also really good for the time, because it supports sound cards, even though they aren't used too much anymore. With them enabled, you can listen against a door and gauge how big a room is based on the echo of the guard's voices inside. Even for today that is fairly advanced, and as far as I know, not present in many other games.

The next game I am looking at is Hunt: Showdown. It is a 2018 horror shooter taking place at the end of the 19th century, where you play as a bounty hunter trying to kill various cryptids and monsters. The game uses the Cry Engine, so it already looks good on a visual front, but the audio is also phenomenal. Most of the quality comes from its directional sound system, which is so specific you can tell where players are through buildings, which is useful for lining up shots when you don't have a good visual read on their whereabouts. Every gun also has a unique sound and echo, which allows an educated player to guess what weapon has been fired, from what direction, and even from what distance. The way that the game calculates sound waves travelling is a very unique and realistic system; a gunshot ringing out over an open field will be louder and clearer than a gunshot fired in the middle of the thick backwoods. I assume this is a built-in feature for CryEngine V because I know of no other games with this level of realism when it comes to sound - I can only assume it calculates for windspeed and other factors and then runs the sound effect through various in-engine filters.

Finally, I will look at The Elder Scrolls V: Skyrim. One of the lesser-mentioned qualities of this game is its environmental sound design, which help the various holds of Skyrim seem like realistic places. The wind whistles about your ears, giving you a good sense of your player's altitude and the temperature around you. In the mornings and evenings, you can hear crickets chirring and birds chirping. The rushing of rivers sounds different depending on the course - swelling into a roar of white noise in the rapids, but dissipating to a trickle when the river becomes a lazy stream. Then there are more ethereal sounds, like the creaking of the aurora borealis on winter nights. Towns have their own soundscapes also, with the creaking wood of huts and the crackle of flaming torches. The ambient music by Jeremy Soule (the same guy behind the LOTR soundtrack) also adds a lot to the game's atmosphere, with majestic orchestras making even a simple walk through the valleys a much more emotive and captivating experience. However, you can play with the sound turned off and just listen to the layered soundscapes.

From my research, I can see that the main theme that makes a soundscape good is attention to detail. Not just having one sword hit sound, for example, but several, altered depending what material you strike, and echoing with a different resonance depending on where you are. I would say that with Wallpaper of the Mind, we have achieved this as best we can in four weeks, with the different footstep surfaces. The sounds I myself provided were more stock quality, but it doesn't matter, because how sound is used mechanically is just as important. I will make a blog post on this soon.

[in-case-of-grace]

TTRPG Devlog: Qet and Inaccessible Names

I've been boiling a thought in the back of my mind lately, in regards to Naming Things in Fiction.

Newer folk may not know this, but my longest running creative endeavour has been Qet; a dark fantasy eldritch horror setting with inspiration from various Mesoamerican cultures and histories. It's a worldbuilding project, narrative setting, and TTRPG-- relegated to the backburner for over a year now. I needed a break.

Herein lies my problem: Qet's "common" equivalent language is a conlang inspired by Nahuatl.

English-first speakers, particularly fellow Americans, struggle a LOT with Nahuatl and anything similar to it. I'm American so my audience would...include a lot of Americans. Naturally a lot of the friends I'd want to run the game for are also American.

People struggle to read a lot of the proper nouns in Qet. An early first draft campaign took place in the deep caverns of Tchaoxlik, and the players were given Zykeutuezyl-- little light-emitting lizards-- as their primary source of light, to care for.

The bottomless lake Chluetichlon is significant in the lore, the Coulqepluex are a major ethnicity, and Qeplueoytz are shape-shifting monsters entire campaigns could center around. I've more examples, but you get the idea by now, I'm sure.

Part of Qet's inception was me noticing that US/UK fantasy overwhelmingly takes inspiration from European cultures, and That Sucks! There's so much more in the world, for one-- and this is fantasy! I want to see UNIQUE worlds that aren't just England But With Magic. Qet was my first worldbuilding project, and at the time I began, I had yet to develop the ability to just...make new stuff off the dome.

So I needed a solid inspiration from the real world as a starting point, and I chose something I thought was severely underrepresented: Mesoamerica. There is no 1:1 "this is the Maya but they're blue" or "here's the Olmec but they're birds" type stuff in Qet, rather, there's bits and bobs spread amongst original cultures and the world they live in. Corn is a staple food. The climate is hot and humid with a lot of shared flora from the real world Mesoamerican region-- but more differentiated fauna. One culture wears Aztec-inspired capes but live in Pueblo-inspired adobe homes. Polished obsidian mirrors play into eldritch magic. Some cultures sit and sleep on reed mats. One regional religion is a blend of the Aztec faith and Catholicism. Alongside these and many other bits of inspiration, the trade language of the world is Qetlec, which is inspired by Nahuatl.

I quite like a lot of the Qetlec names and words I've come up with over the years. I find several to be particularly satisfying to say! But I do have to admit that I, myself, had to train and practice to pronounce my own conlang. It may be second nature after years of working with it, but I often run into the dreaded "sbah...sbshs...uh...however you say it" or blatant word-butchering from new readers. It's an accessibility problem, after a certain point.

When I think of naming in fictional settings I return time and time again to what I believe to be a shining example of strong, accessible naming: Destiny.

Everything players need to know has a simple name that's typically just straight up English, no matter how alien. The Eliksni? Well that's a difficult name for some, so to players they're just...called "The Fallen." Other alien groups are simply titled: The Cabal, The Vex (who are actually made of radiolarian fluid-- another difficult name), and The Hive.

When they do concoct unique names for things, they do so in a way that should be easy to pronounce for their primarily English speaking audience. Fikrul. Mithrax. Oryx. Savathun is probably the most difficult one and that still seems fairly easy for players to pick up on.

Sometimes Destiny takes proper nouns from existing languages on Earth, but does so in the same manner-- sticking either to words English spakers already know or could feasibly pronounce with ease. Rasputin. Osiris. Ahamkara.

Destiny's player-facing setting is one that is crafted to be accessible. They're careful with their names. It's in the weird background lore that things may get complicated from time to time-- where it's not essential for players to be able to pronounce everything.

Qetlec isn't the only conlang in Qet, there are several others, but I'm less worried about them. It's reasonable to expect that English readers can pronounce Lhehd names like Hanviehl, Ahndel Veha, and Linnh; Tolech names like Mochog, Romtol, and Kupuch; or Auroullott names like Beuttep, Tteunor, and Auroboll.

Eldritch names are fine to be a bit difficult, I think, but I ride the line with those too-- Ul'jvot, Gaegoed, Kub-glorrha. Yaesheuhnahl is right at the edge but, it is a god made of 3 separate entities (Yaesh, Euhn, and Ahl) so I think it's not totally unreasonable.

It's Qetlec in specific that I think causes problems, which is a really big shame because I think it adds a lot to the world's flavor. But it includes a lot of sounds that aren't readily apparent, with things like "x" actually being pronounced "sh" or tight consonant/vowel pairings unfamiliar to the English reader like "ytz" "zyk" and "qeu." Hell, even beyond pairings-- the letters q, y, and z aren't super common in English! (Y is common at the *ends* of words but not at the start.)

I've tried some halfway measures here and there. I include pronunciation tooltips on every word I think folk may have difficulty with-- but that's only really doable on a webpage. In recent years, anything I added that I thought might be difficult to pronounce included an English alternative name. Gaiwej: Whispering Mouth. Asdeom: Adaptive Flesh. Zeloutihue: Lunatic of Lliaq. P'qur: The Labyrinth of Gods.

You get the idea.

I think it did work in making things more accessible, but it did bother me a little that this made the titles of each article much, much longer. It did make for names that were easier to remember, and, crucially-- look up. It was a bit of a have-your-cake-and-eat-it-too solution.

However, while this might work for a setting presented in a wiki format-- it doesn't work for a book or TTRPG. If you find yourself in a canyon and spot something in the distance you wish to warn your comrades of-- are you really going to shout "everyone look out for the Asdeom: Adaptive Flesh?" No. You're going to pick one or the other-- "Asdeom" or "Adaptive Flesh."

If your comrades have internalized only one of the two names, especially the one opposite what you called out-- they might be confused. We solved one problem only to create a new one! The easier solution is to simply have one, memorable-- and pronounceable-- name.

And that's where I'm stuck, I suppose. I'm attached to the many unpronouncible names of Qet and I know I must do away with them. I need to make new rules that limit how many syllables they may have, and cut out sounds that are difficult for English speakers.

Part of me thinks I need to start entirely from scratch on Qetlec instead of just reworking what's there. That I'm going to be too blinded by familiarity to spot all the problem areas, or too attached to change key nouns. Is "Zeloutihue" totally fine and pronounceable for the average English speaker? I can't tell! I'm lost in the sauce here!

If words like zykeutuezyl and olxlikliz are totally easy for me by now, how can I judge everything else fairly?

This is all to say, hey, think about this from the start. Don't make my mistakes and end up in this pit with me-- if you want your project to be accessible to your intended audience, consider the language(s) they might speak. What sounds are they familiar with? Could they feasibly pronounce all the important terminology in your work?

I'd love to hear folks' thoughts on this, what do you think? What would you do in my situation? What good or bad examples of accessible conlang have you come across? How have your own projects approached conlangs and names?

[xenonfossil]

version 0.3 of my character creator is live! link in source to wishlist on steam or play the browser version on itch for free~

🎶 music is by crashtroid!! 🎶

new stuff: 🐈 face & body markings!! 🐈 a ton of new body parts and sliders! 🐈 a lobby where you can watch your lads run around! 🐈 down with flat ui! it has now been  b e v e l e d

enjoy, and dont forget to show me your creations!!!!

[dreamty-games]

I’m thrilled to announce that 21 Questions has reached the incredible milestone of 1,000 downloads !  

This is a huge achievement for me, especially since it’s my first game project to hit such a number. I’m overwhelmed with gratitude for everyone who has played and enjoyed the story, and for all the kind support you’ve shown. 

When I first started making games, even 100 downloads felt like a dream, so hitting 1,000 is beyond anything I could have imagined. Thank you all so much , I’m incredibly proud of this accomplishment.  

Now, what does this mean for the game ? 

I’ve been holding off on editing 21q  since I typically don’t like to go back to projects after they’re published. However, I’ll be rolling out an update to fix any remaining bugs and typos that I hadn’t addressed before.

While I don’t plan to add new content to the game itself (aside from potentially updating the illustrations at some point), I’m happy with how the story stands as it is. That said, this doesn’t mean it’s the end for Clem or Aurore as characters !  

If you’ve been snooping in my Tumblr or Instagram, you might have already seen the news: Clem will be making a return in Apple Bag and could appear in other future projects as well.  

As a small thank-you for your support, I’m sharing a sneak peek of the new sprite for 21-year-old Clem under the cut.

Thank you so much for reading this update and for enjoying my games ! If you’ve played 21 Questions and haven’t left a review yet, I’d really appreciate it if you could take a moment to rate the game on itch.io. Your reviews help more people discover the game and mean the world to me.  

That’s all for now.

 hope you all have a wonderful day !

​Thank you again <3