Короткий ролик, що передає атмосферу гри «Night Record: Thin Walls» — психологічного хорору, заснованого на реальних подіях, дія якого розгортається в пострадянську епоху.
У грі робиться акцент не на раптові лякаючі моменти, а на реалістичні локації, тиху напругу та ледь вловиме відчуття тривоги.
Місце, де спочатку все здається нормальним — доки це не перестає бути так.
Якщо вас зацікавило — не забудьте додати гру до списку бажаного.
We are designing new creatures for our zombies-are-the-good-guys game, and this little baby is one of the first to be revealed in color. What do you think?
We're currently developing a game where you take on the role of an antisocial girl who's just starting her first job as a retail worker. We're really unsure about the background and would really like to hear your feedback.
Which one do you think captures the feeling of anxiety from your first-ever week of employment?
Made this arcade cabinet in Blender and did a short 360° turntable render. Modeled everything from scratch and kept it fairly low‑poly.
For more detals you can check out my comment.
hey y'all, working on my horror roguelike deckbuilder Dead Spin and we’re completely torn on the designs for our opponents.
version A: The Grandma. Looks like she’s been sitting at this exact machine since 1985. Smokes two packs a day, smells like mothballs and impending doom. Will 100% steal your soul if you pull the wrong lever, then ask why you don't visit her more often.
version B: The Bag-head Man. Silent. Breathes like a broken AC unit. You can't see his face, but you know he's deeply disappointed in every life choice that brought you to this machine. Keeps his grocery receipts in a neat little binder at home.
if you had to sit in a dark, cursed room and slots machine for your life... which one of these two would make you say "nope, absolutely not" and walk out? A or B?
Just sharing a key art of meeting the main love interest in the otome I'm illustrating.
What do you think about my book menu animation?
Hello! I'm currently going to Fullsail University for game art, and had a question for anyone who is hiring/ has hired/ recruited game artists
What's something I can do in my portfolio, in school, a skill or any programs I can become proficient in to stand out amongst the rest of the competition for game art?
What are some qualities that you look for in a game artist that not many people may think about?
Thank you for your time and I look forward to seeing what you all have to say
So, I’m working on these little "entities" for my game. They’re basically kids who tried to become witches way too early and ended up like… this.
I want them to feel cheerful and playful (you know, innocent vibes before they accidentally curse you), but I also don't want the age-rating police knocking on my door. So "entities" in costumes it is!
Which direction (A, B, or C) makes you want to give them a high-five and then run for your life? Let me know!
Paste limbs are the lowest-tier prosthetic option available. They're built on a genetically modified yeast strain engineered with chitin-synthase genes and receptors for human growth factors. You buy a skeleton frame, coat it in paste, strap it to your stump, and wait.
Hyphae navigate toward nerve signals using three systems simultaneously - chemical gradients from growth factors, galvanotropism toward the weak electrical fields your damaged nerves still produce, and mechanoreception along tension lines when you try to move the missing limb. Tissue differentiates based on impulse frequency: high-frequency zones grow contractile fibers, constant-tension zones grow dense collagen-reinforced bundles. Your capillaries grow into the chitin matrix. Your nerves follow. A few weeks later, you have a limb.
Three major strains exist on the market:
Big John (street: "the blob" or "the dietitian's hand") - a mass-building strain optimized purely for bulk. Without regular trimming of stray hyphae, it grows chaotically - enormous blisters, tissue packed around joints where it anatomically shouldn't be. Powerful and graceless. A clear sign you couldn't afford better.
Gold Rush (street: "the rash") - a sinew-focused strain. Limbs grow dense with cord-like golden filaments running the full length. Its signature feature: soft fungal nodules develop on high-impact areas - knuckles, fingertip pads - like natural armor that adapts to how you live or fight.
Lasagna Blue (street: "the cabbage") - Layered, dense, blue-green. Exceptional regeneration and damage resistance, poor strength and speed. Nearly unkillable, barely useful. Named for its cross-section, which looks exactly like what it sounds like.
The deeper problem is what happens to your soul.
In this setting, the body runs a contour - a network of nodes that conducts plasma. A lost limb leaves an active node searching for closure. Fungal tissue, threaded with your own nerves, can partially close that circuit, killing phantom pain and giving basic motor control. But the yeast colony carries its own soul - primitive, nonsentient, thin-membraned - and yours becomes entangled with it.
Long-term users report dulled cold sensitivity, an unaccountable pull toward damp spaces, and occasional dissociation. A "vegetative fog" that isn't quite theirs.
Practitioners who work with plasma avoid paste limbs entirely. Any procedure risks hitting the fungal soul instead of the human one - either necrotizing the colony and killing the limb, or amplifying the fungal emanation and temporarily overwriting the user's will with something slow and rootbound.
Street operators who try anyway almost always make it worse.
Socially, paste limbs are a class marker as much as a medical device. The middle class avoids them. The upper class would sooner commission a full body regrowth than let fungus colonize their contour. For most people in this world, that option was never on the table.