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joshua_lux

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  1. Dude, that sounds quality! Reminds me of Forbidden Siren in terms of mechanics.
  2. Hmm, if you want the game to be more 'open' then perhaps the idea of going up the tower is a little limiting. But if the areas are going to be quite open then the tower makes a great visual motif: wherever you are in the landscape you can see it, and it's an ominous shadow on everything you do. Someone has already suggested the enemies reacting to the sound of the tower. If the tower is always visible on the horizon it adds some agency to the sound it makes: the tower is 'controlling' what goes on in the game, it's always at the centre of what happens. It would make an effective 'hub' as well (i.e. you start levels there and always find your way back to it). I think that the more present the tower is, how well and often you can see it etc, the more effective the atmosphere. I really like the concept of being an old man too. Games that are truly frightening always find a way to add vulnerability to the player. Playing an old man is quite a novel concept, and it makes you slow, old, fragile etc. Stuff is scarier when you can't just run away from it.
  3. "Time is fluid here. I waited for days for someone to let me out. I cried and hollered until my throat was raw, until I spat blood. I should be hungry. I should be dead from thirst. I'm not thirsty. I might be dead. There are words written on my arms in marker. On my left arm it says: Try to stay awake. On the right it says: David. I think David might be my name. The sound of the bell has kept me down here till now. When it comes I can't help but cower, hide in the shadows. It hurts. It hurts everything. But there's no-one coming. This door won't open. The only way out is up."
  4. @stormynature I really like the idea of locations representing previous decisions, even memories. Puzzles and clues in the locations could be direct representations of repressed or uncomfortable memories, similar to the dream analysis of Jung and Freud. It's been done before in Silent Hill and elsewhere, but there are always interesting ways of getting the locations to 'fit' with the memories. What would be more interesting is if you could add an element of further repression within the game itself. For example, finishing a locations '100%' i.e. solving the puzzle correctly, collecting all necessary items, defeating all enemies etc, leads to the protagonist remembering the past event correctly, objectively, truthfully, then dealing with it. Not doing so (or perhaps choosing not to do so) means that the memory is imperfectly recalled or the protagonist flat-out refuses to address the issue. The memories you confront could be interlinked, so that the way you deal with them informs your path through (or up) the tower. Very Silent Hill, but involving the mind and memory gives you the opportunity for some complex storytelling.