Groovy Greg set out to make robots that could love. He created six nanobots: Hotbot, Brainbot, Tallbot, Audbot, Strongbot, and Chembot. Each was designed with one special ability, enabling them to work together as a team to overcome challenges. There was only one problem: the nanobots hated each other.

Now, with the evil Professor Killfun threatening to give him a failing grade, Groovy Greg has almost given up on his experiment. Little does he know that his beloved bots are about to meet an even bigger challenge than they had been programmed for…

“Nanobots” is a classic-style point and click adventure game that lets you control the six different robots as they race to save themselves from being turned into scrap metal. Can they make use of their surroundings, fashion an escape plan, and avoid coming face-to-fist with Professor Killfun? Only if they give peace a chance.

Go get it!

Man, it’s been a long time since I’ve released anything. That’s the problem with taking on something huge like Resonance, it takes forever!

However, as you may know, I’ve been donating some of my time to helping Erin “The Ivy” Robinson, creator of Spooks with her new game Nanobots. Actually, that game has been sitting at 95% completion for months, but Erin got busy with graduating from college and doing other dumb unimportant stuff. Finally, the production got back into gear, we added a tutorial, an in-game hint system, and some fun stuff on the end, and viola! The game is done!

We’ve been doing one more round of beta testing this week to clean out any lingering bugs, but this game is pretty much in the bag. Erin’s plan is to release it on Friday. Be prepared for some tiny mechanical hijinks laced with that trademark Ivy charm.

One thing that I already knew, but most didn’t, is that Resonance all-star spritesmith Shane Stevens (who previously did the sprites for The Shivah with Dave) is taking over the character duties on Blackwell Convergence. That makes Shane responsible for the character sprites in my two most-eagerly awaited indie adventure games! (I get to count my own game, right?)

Dave was awesome enough to drop my name and website into the vidcast, so the least I could do for him is help spread the good word! So check out the Wadjet Eye Vidcast!

And to make up for the long period between updates, here’s a work-in-progress of Ed who has just seen something surprising. Perhaps a leprechaun!

So… let’s see, what did I do today? I wrote a new dialog tree in the game. One that I had intended to have done yesterday, but since everything takes me twice as long as I estimate, didn’t get implemented until today! Other than that, stupid real work keeps interrupting my fun work. Interesting fact: I have almost twice the number of classes to teach each week than I had during the time that I started planning this game. And is my pay better? No. Hooray!

Previously on RDD:

• Resonance Developer’s Diary #6: Death, rewind, death, rewind

Ah, hello. I didn’t hear you come in.

Have a seat. It’s been a while. What’ve you been up to?

That’s nice.

Talk about Resonance? Sure! I’d love to!

It’s been a couple months since the last diary, so I figured I’d chime in with a brief update and then describe the process that goes into making one complete room, so that you can get an idea of why making an adventure game takes so gosh darn long!

Read on!

So where are we now?

Development continues at a pace appropriate for a game being developed in the spare time of four guys with other jobs, which is to say, slowly. However, the team and I continue to be impressed at the high quality of everything that is coming out of the pipeline.

Since the last diary, I took about six weeks off programming Resonance (but continued directing the team for the creation of art and music assets) while I donated some time to Erin Robinson’s upcoming… eventually… game, Nanobots. The breather from Resonance’s code was quite useful, helping me inflate that motivation balloon that slowly deflates as you pour hour after hour into something. I also stole some code straight from Nanobots, specifically some ingenious code for camera motion and control, and brought that back into Resonance in a highly polished form. So, that was helpful!

After setting Nanobots aside again (at about 95% done!) when Erin got busy with her real life, I dove back into Resonance with renewed enthusiasm and we’ve been moving along at a pretty nice clip for the last couple months.

As far as percentages for Resonance go, it’s tough to estimate, since a ton of programming went into the gameplay systems (multiple inventories, swappable characters, unique dialog system, death/rewind system) before any real gameplay started being produced. I can say that the game is divided into three acts, with act one being, by far, the most complicated, and I can see the completion of act one in the distance, though there’s still a lot to do. Realistically, we’re still at least a year away from seeing a release.

What’s taking so long?

Good question! When you play an adventure game, it’s hard to really appreciate the amount of effort put into every little detail unless you’ve actually tried to make one yourself.

To give you an idea, one of the first rooms implemented in Resonance, will take the player around three minutes to finish. In fact, since it’s a timed challenge, you must finish it in three minutes! But it’s very fair, I assure you, since it’s the section that introduces the rewinding concept to the player, so you can play it over and over again. But this three-minute section of gameplay took around a month and a half to implement. Certainly, not all parts of the game are as complex and difficult to code as that room, but you get the idea.

So, let’s discuss the process that goes into making just one “room” of an adventure.

Design
Everything starts in the design phase, and aside from a few alterations and changes that I make once I start coding or testing, all the design is essentially done. In April of last year, I finished a gigantic document that describes every background, explains all the puzzles and gameplay, and gives an idea of all the characters, animations, and other art assets we’re going to need.

Background art
The real work pipeline for a certain room starts when I request the background art from the wonderful Nauris Krauze. I start a thread in our development message board that contains the description from the gigantic design document of the room and any other comments or instructions I might have for the background. Nauris then begins painting the piece and I’ll focus my energies elsewhere (another room, a gameplay system, Nanobots, etc.).

Nauris will soon post a rough work-in-progress version of the background, which I’ll give feedback and additional instructions about, and then he’ll refine and polish it until we eventually get the final background.

Characters and animation
I’ll also, at this point, begin requesting character animations and additional sprites from Shane Stevens. We have a thread for each major character and one big thread listing every animation needed with some semblance of prioritization. Sometimes animations need to wait until the background is done, since the animation might need to be lined up with certain parts of the background, like a character interacting with a lever on the wall or something.

And I’ve got to give some additional props to Shane here. I’m really demanding a lot from him. I’m really thankful that he’s approaching this game as a showcase of his skills, because he’s producing quantity and quality! Some games use cheap tricks to avoid having to make an animation, like fading out and fading back in, or just making the character make a vague generic gesture in the direction of something he’s interacting with. But here, we’ve got characters reaching out, grabbing objects on the background, sitting, standing, carrying things. It’s really impressive, and the extra effort is obvious.

Initial implementation and additional art
Once I have the background, I’ll lay that into the game engine and make it walkable. That is, I’ll draw little paths on the ground in the game editor to define where characters can and can’t walk in the room. Next, I’ll lay in any objects that will be in the room. These are the things that the player can interact with or sometimes just provide background animation.

Apart from coding and designing, I’m also doing some additional graphics and effects, and I like to get those out of the way first thing before I get too far into the room’s implementation. For example, in one room, you’re walking around the a shady urban street corner. In the background, you can see a train bridge between two buildings. In order to help the room come to life I made an animation of a train zipping across the bridge which now plays at random intervals during gameplay. In other rooms, I’m adding smoke, fire, electrical effects, or whatever the scene calls for that is outside the purview of Nauris, the painter, and Shane, the pixel-master.

Defining the interaction
So, once I’m satisfied that the room is looking good and feeling alive, it’s time to make all the define all the clickable items in the room. To do this, I need to tell the game where and what each item is. So, if I want a sink to be an item in the room, I have to go into the game editor and draw a shape around the sink to tell the game that it’s clickable. Each room has 15 to 20 interactable items.

Next, each interactable item in the game needs an icon. This is for the Short-Term Memory inventory. Remember, any item you see in the game, be it an important item like a safe or a character, or a useless item like a chair or some graffiti, can be placed by the player into the Short-Term Memory. So everything you can click on in the game needs a 20×20 icon. I also have to enter a name for each item so that it will appear in the inventory as well.

Adding a Short-Term Memory to an empty slot

Implementing the actions necessary for completing the scenario
Once I’ve done that, it’s time to add the interactions to those items. The first thing I do is go through and add all the things that solve the puzzles and correctly completes the scenario. Clicking on this accomplishes that. Using inventory object X on room item Y produces result Z. You get the picture. Basically, everything that would appear on a walkthrough of the game is done in this stage. Depending on the complexity of the puzzles, this can take a long time. This is, frankly, the most fun part of programming your game, because you get to quickly see the puzzles and game as a whole taking shape.

Implementing everything else
Unfortunately, it’s followed by the least fun thing: filling in all the things that happen when you do any thing else not required to solve the puzzle. This takes a long time, and a lot of freeware adventures (and some commercial adventures) skip this part all together, which I think is just lazy. How many times have you used an item on something that you thought would give an expected result only for it to return the dreaded “I can’t do that.” and give no further explanation? In the words of Locke (the bald guy on Lost, not the philosopher) “Don’t tell me what I can and cannot do!” Instead tell me why! In this long and boring part of game implementation, I go through and write what happens when you try to do anything other than those things that are required to solve the puzzles and complete the game.

There are three interactions for each item in the game: ‘Look,’ ‘Interact,’ and ‘Use inventory on.’ All of these need specific and useful results.

‘Look’ is pretty easy, so the first thing I do is to go through each object one by one and add code that makes the character face the item and then describe it. Sometimes these are clever remarks, sometimes they’re just dull descriptions. But here’s the rub! There are four playable characters! That means, I need to write four different descriptions of each item (unless it’s in a room where only some of the characters can access). I try to write four descriptions that are appropriate for each character, but sometimes you just can’t think of any new ways to describe a chair!

Next up is ‘Interact.’ Most items in the game, if you interact with them, nothing useful happens. You’ll get the character saying something like “Why would I do that?” But I don’t want you to just hear that a million times, so I’m not using any default messages for this. Again, each of the four characters will have a unique response to the player trying to interact with each item in the game. Again, it gets tough to think of four reasons why the player doesn’t need to use that toaster right now…

Also, where appropriate, I try to use animations instead of simple messages to show what the character is trying to do. For a real in-game example, in the street scene I mentioned earlier, when you click on the bus stop sign, instead of the character saying, “I don’t know what I’m going to do with a bus stop! Hurr hurr!” he walks up to it, grabs it, tries to pick it up, fails, and thinks to himself, “I’m not really sure what I was expecting there.” It’s a small touch that probably most players wont even see, but it shows that I’m trying to make the game more than just the characters refusing all of the player’s orders except for the ones that are right.

Finally, for ‘Use object on’ I do leave some of it up to default messages rather than writing up messages for each combination of item and inventory object, which would be a staggering number of results. Instead, I try to write results for the combinations that are most likely to be tried, and leave the rest up to default messages. Still, each inventory object has it’s own set of default messages, so it’s at least more descriptive than “I don’t think those two things go together.” So, if you use a rock on a window (something the player may be likely to try), the character will say that he doesn’t want to break the window, but if you use a rock on a bench (something the player is unlikely to try), you’ll get the default message for using a rock on something (”I’m not sure how a rock is going to do anything for me there.” or whatever).

At this point, the room should be mostly complete, but we’re not done with the endless writing of messages, oh no! Next we’ve got to deal with all your inventory items.

Any Long-Term memories, or Inventory items found in that room need some more interactions. Left-clicking on a LTM watches the memory, so I’ve got to make that. Right-clicking on a LTM gives a brief description of the memory, so I’ve got to write that as well. Left-clicking on an Inventory item results in the character ‘using’ the item, which sometimes results in just a message, like “I’m not sure how to use this coin right now” and sometimes has more interesting results for the more interactable inventory items. Right-clicking on an inventory object results in a description of the item.

Examining an inventory item

Ok, that wasn’t so hard. But now we’ve got the STM. Since you can add just about any object you see in any room to your Short-Term Memory, I’d guess we end up with somewhere in the neighborhood of 600 to 800 possible STMs. Each of those needs a description as well.

Character interactions
If you thought we were done, you were wrong! We’ve still got to cover interacting with the various characters that populate the game!

If there’s a character that you can talk to in the scene, then we’ve got to write all the dialog. And as another complication of the three-inventory system, we’ve got a lot to write!

First off there’s the basic dialog with the character. These are the smattering of conversation options that pop up right when you start talking. Just click one and a short conversation about that topic takes place. I try to write several of these for each character, often the conversation branches and loops, so that can make it quite a bit more complicated.

Next, one of the cool parts about Resonance, which I’ve discussed before in a Developer’s Diary, is that you can use inventory items as dialog options, as well. That means that you can talk to almost any character about any item in your Long-Term Memory, Short-Term Memory, and Inventory. The LTM and Inventory are fairly predictable because there are only so many LTM’s and Inventory items that will be obtained throughout the game. It’s still a lot, but it’s manageable. The STM on the other hand, is out of control. Like I said before, with somewhere in the neighborhood of 800 possible STM items, you can really talk about anything in the game! And I’m not going to write that many conversations!

So, again, I’m going to use a lot of default messages. I will write full responses for likely conversations, like talking to someone about a picture sitting on their desk, but if you try to talk to the chief of police about the microwave in your character’s apartment, you’re probably going to get this:

“Hey, I’ve got this microwave in my apartment that-”
“Is this important?”
“Err… no.”
“Then don’t bother me with it. I’m a busy man.”

So really, I just need to write that first line for each of the STMs and then one generic “Stop talking to me about useless stuff” bit for each character that you can talk to.

Testing
Once I’ve got all this stuff added in, I get to test the whole room over and over again until I’m satisfied that it’s working, and then it’s on to the final phase, music and sound!

Audio
During the whole time that I’ve been implementing all this stuff, I’ve been releasing incremental alphas to the team. Nikolas Sideris plays and brainstorms up what the room is going to sound like. He then provides me with sound effects for all the actions that need it, ambient noises if necessary, and finally, the music.

Often this needs to be done after the room is already complete, since he may want to perfectly time the music with certain events in the room and needs to wait until that timing is locked down.

Once the music and sounds are all implemented, the room is finally, finally, finally almostdone!

Final testing
Next, I release a final alpha of the room to the team, and maybe show it to a few trusted eyeballs outside the team for testing. Based on their feedback, the room will be tweaked and iteratively improved until it’s perfect. There’s a lot of love going into every pixel of this game!

And we’re done!
All in all, I’ve just walked you through what takes me, on average, two weeks of my spare time to do, not counting the art asset creation which is usually being done as I work on other parts of the game. Wasn’t that quite the roller coaster ride? We had ups, we had downs, we laughed, we cried, we pulled my hair out at the roots! I hope you now have a better understanding of why developing a game like Resonance takes a long time. I also hope you have a deeper appreciation for all those fantastic freeware and independent adventure makers out there!

Remember, if they’re making freeware, the only payment they get back is your feedback, so send your favorite freeware author an email today thanking them for their hard work! Or at least comment below!

Oh, and before you go, I’ve got a special media treat for everyone coming up later this week, so check back soon! Update! Here it is!

I also did quite a bit of work on Erin’s Nanobots over the last few months, which is going to be a real treat for adventure gamers. So, if you’re wondering what the deal is with that, we got to… oh… I’d say 95% and then Erin got all buried in the end of her education. I suppose if she thinks that graduating college is more important than finishing a freeware adventure game that is going to increase her internet-fame, then so be it. Personally, I think she needs to get her priorities straight, but whatevs. As soon as she’s back in working condition, we’re going to finish up the ending animations and tack on a tutorial and send it out for public consumption.

Finally, I was just going to, at long last, remove the link to Independent Adventuring from the long untended list of links in the sidebar when I noticed that after a year of nothing, he’s just posted up three new reviews in the last week! That’s right. Jozef is back! So if you like reading really insightful reviews of indie adventures, Yesterday’s Salad has got some new (or old, depending on how you look at it) competition!

And, I’d be remiss if I didn’t mention that one of those reviews was a very positive review of Linus! Check it out!

Click on to the interview. And leave a comment on their page saying you want more indie developer interviews!

Able Morgan is missing twenty very important years of his life, the years during which he transformed from an idealistic young law school grad into an immoral, dishonest defense attorney, the years during which he was accused of murder, the years during which he was arrested and thrown in jail. Now, with the help of a psychiatrist, Able must dive into his own memories to uncover the events of the last twenty years. It may be the only thing that saves him from a life of imprisonment.

Full pitch below!

The History

Four years ago, when I first discovered AGS and decided to turn my game making aspirations into amateur reality, I started writing what would be my first game. And, like most wide eyed kids who set out to make their first game, I let my first design spiral out of control into a ridiculously ambitious and out-of-my-reach game design. I wound up smartly setting it aside in favor of doable projects. But the idea (and my notes) have stayed with me all this time.

Last March, when I decided that I was going to go commercial with my next game, I initially set to work on this idea, which I had tentatively dubbed “Sketchy Memories.” I know, cheesy title. Just a working title, I assure you.

I began writing and making formal design documents, but soon decided, again, that this idea was just too ambitious for me to make a go at it for my maiden commercial voyage. So I set it aside yet again for the other idea that was sitting in the back of my mind, which would eventually grow into Resonance.

In the interest of freeing up the corner of my brain where this game resides to make more room for Resonance, I’m going to pour it out into this post.

The story begins with a cliché. This is intentional. When I hear someone say “No one should ever make a game about X because it’s sooo cliché” I take that as a challenge. So I’ve started with a familiar story and taken it to places new and exciting. So, don’t hold the common beginning against me too much!

The Story

27 year old up-and-coming criminal defense lawyer Able Morgan kisses his girlfriend goodbye and heads off to work. He’s scheduled to take a deposition from the main suspect in the murder of the mayor’s daughter. But before he steps out the door, the world freezes, turns inside out upside down and backwards and he finds himself handcuffed to a chair in a room with a chair and a wall-mirror. He recognizes the room instantly as an interrogation room.

A woman enters and begins asking questions, but Morgan, ever the lawyer, has plenty of questions of his own. The woman refuses to answer any of Morgan’s questions until he states his name and age. Finally, Morgan relents.

“My name is Able Morgan! I’m twenty-seven, and I like long walks on the beach! Now would you kindly tell me what the fuck is going on?”

“Mr. Morgan, it’s 2028, you are forty seven years old and on trial for murder. Now I suggest you start being more cooperative.”

A stunned Morgan looks in the wall-mirror, and the young ambitious man that was there a minute ago is gone, replaced by the much older, chubbier, worry-worn face of a man in an orange prison jumpsuit.

The woman, Joy Fredrickson explains that in the last twenty years laws have been passed “thanks to defense attorneys like you,” stating that if a defendant would like to keep the insanity plea option on the table, he must be examined by a psychiatrist before meeting with a lawyer. The examination must be completed within seven days. This is day one.

With the help of this Ms. Fredrickson, his appointed psychiatrist, Able will attempt to recover his memories of the past twenty years, including the events leading up to the murder of which he is accused. Using a memory regression technique she calls “image transmission,” she places Able into a hypnotic state. Giving him a pen and paper, he begins to draw his memories as his mind recovers them. Through this method, Able is able to relive his memories and create a record of them via drawings. Able is allowed no contact with the outside world and given no information about the crime he is accused of in order to verify the veracity of his memories.

Together with Ms. Fredrickson, Able must, over the course of seven days, unwind his memories of the last twenty years, including two seemingly connected cases; his first major case surrounding the murder of the mayor’s daughter twenty years ago, and his last, the death of the lawyer who prosecuted that first major case — two cases separated by twenty years. At the conclusion of that last case, someone was killed, and Able is the only suspect. What is the connection between these cases? Why did he lose his memory of everything in between? And who committed the crime in question?

Along the way, Able must witness his own downward spiral from a wide-eyed idealistic rookie attorney to a power-hungry, dishonest, immoral lawyer who will do anything to win, and watch as the relationships with the people he cares about go along for the ride.

Gameplay structure

At the beginning of the game, Ms. Fredrickson helps Able to create a mind map during hypnosis to find the important memories which must be recovered to unlock the memories they’re after. This creates nine “anchors memories” An anchor is a recovered memory which Able can jump into to begin uncovering more memories. Each anchor is represented by a small icon on it’s own piece of paper.

For example, one paper would have a small icon of his girlfriend’s face on it. Jumping into this memory will continue from his last memory: kissing his girlfriend goodbye.

Another paper will have a small icon of a watch reading 11:00. Jumping into this memory, Able will find himself staring at his watch, standing outside the county prison one hour before he supposedly commits murder.

While playing from each of these nine anchor memories, he will slowly fill in the mind map page with more memories. The memories will each be represented iconically on the respective page of the mind map. So the mind map page that started with his girlfriend’s face will eventually have an icon representing the taxi he rode to work in, the cell where he met the murder suspect he would be defending, a key word that the cryptic suspect spoke to him that he intends to find the meaning of, and a phone icon representing the urgent call he received from his boss at the end of the memory.

These nine mind map pages become important in three ways:

1) They provide a visible representation of the player’s progress through the game. When each page is filled with iconic representations of the memories they stand for, his memory will be fully recovered and the game is complete.

2) The pages allow the player to decide in which order to uncover the story. Before being hypnotized, Ms. Fredrickson will ask Able to choose which anchor he’d like to jump in to. The player may choose to work on memories chronologically (if and when the player determines the order of the pages) or jump around as he discovers new clues related to other memories.

Some of these new icons on the page would also become anchor memories, allowing the player to restart the memory from that point, rather than having to start each page from the beginning each time. In this way, they function like a checkpoint and help to avoid needless backtracking.

3) Each icon on the page effectively becomes an inventory item for use in conversations. Similar to the LTM/STM system in Resonance, when talking to a character, Able can use the mind map pages as an inventory, clicking on one of the icons to initiate conversation about the event that icon represents. So, if you want to talk to someone about your girlfriend, you’d start a conversation, open the mind map, and choose the icon of her face from the first mind map page as the topic. This could obviously figure into puzzles, requiring the player to have recovered a certain memory to use in conversation in another memory before proceeding.

The mind map pages wouldn’t just be a mess of icons, though. They would arrange themselves on the mind map pages into an attractive collage. The form they would take would represent the path that the player took through the memory, sweeping across the page.

Puzzles

Aside from the ability to jump between memories and experience the story out of chronological order, the game would largely play like a standard adventure with dialog and inventory puzzles. However, the twist with the memories would add some interesting new spins to this traditional gameplay.

Occasionally, while playing through a memory, you’ll come across a place where you won’t have what you need to progress any further. The player will then have to exit the memory and continue to work through another memory. This other memory might have the information that you need to continue on the previous memory, at which point, you can go back to the first memory and proceed past the previous road block.

For example, in one memory, you find yourself breaking into an apartment for unknown reasons. During his search of the apartment, Able comes across a safe hidden in a wall. But the player does not know the combination, and neither does Able, because the memory containing that combination has not been unlocked yet. Exiting the memory and starting an earlier memory, you’ll find Able interrogating a man that he will be defending in court. The man asks Able if he can be trusted, and then asks him to go into his safe and remove something incriminating. He then whispers the numbers 56-17-21 into your ear. These numbers are added as an icon on the mind map. The player can go back to the memory of breaking in to the apartment, and refer to his mind map to remind himself of the combination.

Sometimes, there may be more than one way to get the information. In a later memory, the police have discovered the hidden safe in the defendant’s apartment and are demanding the combination so they can execute their search warrant. As the man’s lawyer, you advise him to give them the combination. The defendant smiles at you knowingly and gives the combo to the police insisting that he has nothing to hide. (Since he knows that you’ve already removed the offending item!) After he tells the combo to the police, you can go back to the previous memory and open the safe yourself.

Keeping the memories interconnected like this allows me to ensure that some big revelations in the memories are reached in a certain order (preserving the narrative) while allowing the player freedom to explore the game in his own way.

In addition, some segments of the game take place in the present (future?) in the jail cell where Able is being held while he undergoes Ms. Fredrick’s psychiatric evaluation. Since Able is being held in the same jail where he frequently visited clients as a lawyer, Able has learned certain things about the prison and it’s security system. After uncovering some memories about, for example, hearing the story of how an inmate managed to pick the lock on the interrogation room door, he might be able to do it himself.

Presentation

Since Able’s recovered memories are transmitted onto paper, the player acts out the memories inside the pencil sketch. This allows for a visually-striking contrast between the real world inside the prison — hand drawn or 3D characters in full color — and the memories on the page — moving hand-drawn sketches or 3D with specialized sketch-filters in grayscale. Hence “Sketchy Memories”… heheh… get it? Bah… Get a better title, I know…

The sketchy nature of the memory scenes, which make up the majority of the game, will allow for fast development while maintaining a high level of style.

In addition, certain adventure genre clichés could be toyed with. For example, instead of the genre’s usual protagonist who talks to himself and describes the objects around him out loud for no reason, Able could be talking to Ms. Fredrickson. So, when the player right-clicks on an object to examine it, you would hear the disembodied voice of Ms. Fredrickson saying “Tell me what you see.” To which Able would reply, “I see a table. There are newspapers scattered around it, and a few envelopes sitting on one edge.” This makes the main character seem less like a rambling schizophrenic!

In conclusion

I still like this game idea, and maybe one day I’ll get around to it. I decided that it would be a bit too ambitious for my first commercial outlet, but maybe for my second. At least now that the pitch is down in digital form, I can stop unconsciously brainstorming puzzles for it in the shower. More time for Resonance brainstorming!

If you like this idea, let’s talk!

One of the things I’d like to do with these pitches (and yes there will likely be a few more over the coming months) is to get a chance to do some small collaboration with some talented artists. The concept image for this pitch was drawn by Auriond, who is working on her own freeware game, The Marionette, a very promising looking first-person adventure. Check out the demo. Thanks Auriond!