Either this is some hella outlandish branch of "eight bucks is five bucks" consumer psychology, or Copilot told them to do it.

Mystified as to why a quality game isn't being seen by the wider world? Help us get to 500 reviews on Steam to get the algorithm fired up for LOVE ETERNAL! We're averaging ~2 reviews a day, which ain't nothing but it'll be about 4 months to go before we hit 500...
store.steampowered.com/app/3010610/

Yes! Easier to see if you zoom in:

LOVE ETERNAL on Steam Wander a castle built of bitter memories in LOVE ETERNAL, a psychological horror platformer with devious trials and an unsettling, experimental narrative. Find a way out - or live in Shelter forever m...

So, I finally beat LOVE ETERNAL. I never play platformers. Never even want to. But pulling up on LOVE ETERNAL for the art has made me grateful for my stubbornness. Few things I've ever played come together so cohesively; its core mechanics have a synergy in their feel and sound.. (1/)

Dreams on a Pillow on Steam From an award winning game designer, Dreams on a Pillow is a folk tale based on the true events of the 1948 Nakba. Play as Khadra, a young woman fleeing a massacre in this stealth-puzzle adventure gam...

The Dreams on a Pillow store page is live! If you want an emotional piece of Palestinian history, then please check it out! The team have been working really hard and are crowdfunding soon to raise more money to develop the game. Please wishlist 🖤

store.steampowered.com/app/4438850/...

My friend, my tomodachi

The only two Blizzard games I ever loved were Rock N' Roll Racing, and Blackthorne. And all the hours I ever put on Blackthorne were played on KrisWorld.

Pixel art of big statue of scary lady surrounded by dog statue, overcast sky

Pixel art of empty classroom filled with dog statues

Pixel art of big rainy castle, giant dog statues in the background

Big misty ruined castle, covered with nets

Hello friends of #portfolioday.. here are some pixel art backgrounds I drew for the LOVE ETERNAL animated trailer

I'm reversing the portions of the sentence before and after the comma

The only reason they said yes to making a Bloodborne movie is because movies also don't exceed 24 fps

In concept, wearing a Shinki horsehide leather jacket draped on your shoulders, with your arms folded, will work perfectly fine. It's a heavy chunk of leather armour.

In practice, the kind of shit Renard pulls off in battle/cutscenes is a surefire way to make the jacket fall off.

A screeenshot from the automotive website Jalopnik that displays a photo of Aston Martin's latest supercar known as Valhalla. The headline reads "Aston Martin Valhalla Could Do 87 MPH In Reverse, So Engineers Put A Lame-Ass Speed Limiter On It". The sub-header reads: "Because of woke, the reverse top speed of the Valhalla is a cuck-certified 18.6 mph. I can walk faster than that."

Valhalla was affected by woke and is cuck-certified? Yeah maybe if you read the fucking Steam store page-- (yanked off stage by a Very Big Hook)

A scene from Cyberpunk 2077 rendered in a style of PC-98 visual novels. Anime-looking Meredith Stout is talking to V after the Flathead mission. The image is limited to 16 colours and features a large, old-fashioned UI framing the illustration.

CYBERPUNK-98

Hope I got the palette limitations right!

When *I* delay building relationships, I get yelled at for being a terrible person who will be cold and alone on my deathbed. Tanat, on the other hand, is only doing smart things here that will be good for the game!!

I dropped a full playhtrough of LOVE ETERNAL on my VOD channel. It's an extremely weird surreal horror precision platformer. My proof is that this is ab UNALTERED SCREENSHOT from the game.
youtu.be/jnbuHgPbfzY

Please please PLEASE show support to all of the Iranians in your life right now. Here’s a starter pack of all of the amazing Iranian artists and creatives I know!!

bsky.app/starter-pack...

Me at every single PAX, GDC and E3 in the past

I have lived in many countries and every single one is "just like us." The food, clothes, and traditions might be different, but every country is full of people who just want to live ordinary, peaceful lives and pursue their passions. And every single one has issues with terrible people in power.

fucked up and evil that love eternal will probably be one of those games that gets played by like a total of 10 people on the internet because its genuinely one of the funniest and most creative experiences i've had with an indie hame recently

Word of mouth is huge for indie devs, plus you get to force your niche obsession onto your friends!

Love Eternal é o melhor jogo que joguei em 2026. Ainda estou pensando nele. Melhor narrativa de horror desde Signalis. E pode ser jogado em inglês, francês, espanhol, português, coreano, chinês, alemão e russo.

I finished Love Eternal tonight. What an eerie, hilarious, disturbing, beautiful and very challenging game. Strongly recommend it if you can handle precision platforming. It has such a wild and well-written story.

I've been very slowly making my way through love eternal, and this game is so cool

i knew love eternal was something special when i started it but last night i hit the FUNNY parts and it skyrocketed into one of my all time faves. holy shit.

Why The Dream Logic of Love Eternal Doesn't Need to Explain Itself _In 2017, professor Ian Bogost_ _proudly declared in_ The Atlantic _that games don't need stories. "That’s a problem to be ignored rather than solved. Games’ obsession with story obscures more ambitious goals anyway," he wrote. Bogost's general point was that stories are what you build on top of a medium's true material foundations, and games are actually best at disassembling ordinary objects and systems and reassembling them in surprising new ways._ _"There was a really big trend in the 2000s to have your story expressed explicitly through the mechanics," LA-based game designer Toby Alden says. 'The joke I always make is a platformer where it’s like, “I’m_ grappling _with the loss of my wife."_ _Right around the same time Bogost penned his broadside, brothers Toby and Ben Alden began updating a pet project called_ Love _, a hyper-difficult "masocore" game that almost no one finished and, to Bogost's point, was devoid of any narrative. But even for a physics-minded designer like Alden, the allure of telling some kind of story, even if the game itself doesn't demand it, was simply too great. But rather than deliver the story through the player's actions themselves,_Love Eternal, _the newly-released game simply leans into the abstraction._ _You are a Maya, a girl who's family has disappeared during dinner, and you're dropped into a perlious world in clear disrepair. You father has become some kind of wraith and a childhood friend has become something else entirely. It's all eerie but also deliberately indecipherable. In this conversation, Toby and I talk about the influence of ambient music like Aphex Twin, the perils of working with your brother, and how to make games that feel like playing music._ ## How Do You Design a Level That Feels Like Playing a Theremin? **JAMIN WARREN:**_I first found out about your work from Jenna Caravello, who recommended we connect. I’d reached out to her because I was interested in what was happening with animators in Los Angeles given their relationship to games. How did you make your way into game-making?_ **TOBY:** Almost as long as I can remember, it’s been something I’ve wanted to do. Around high school, I played _Cave Story_ for the first time and became aware that making a game was something one person could do. As soon as that was on my radar, I began taking stabs at it—making mods for _Cave Story_ , trying to make Flash games. I started a lot of projects and didn’t finish any until a little after college. But the desire was there from a young age. **WARREN:**_You’ve mentioned making music and wanting sound to fill the room. Tell me about the relationship between your music practice and your games._ **TOBY:** I’ve made music for a long time—it developed parallel to game making, with a similar trajectory of false starts until around college. A little after that, I started DJing, which I’ve done for almost a decade. Those three form the brunt of my artistic output: DJing, making music, making games. Music and games are very complementary—obviously because games contain music. But there’s almost a parallel between playing a game and playing an instrument, where it produces sound that fills a room. I think a lot about what one of my games would be like if you were in the room but weren’t the one playing—you just heard it. Would it be abrasive? Or would it be more soothing, ambient background noise? Which is what I usually lean towards. **WARREN:**_What kind of music were you DJing? Were there particular artists that pulled you into music early on?_ **TOBY:** A lot of what I was inspired by early on was sample-based music—DJ Shadow, Burial, IDM like Aphex Twin, and Kettel. A lot of rap production, like _36 Chambers_. Sample-based stuff especially had a big influence because it fit the way I thought about sounds—through experimenting, sampling, and re-sampling. And ambient music. I’ve always listened to a lot of it, and that’s a big part of what I DJ now—stuff that leans toward ambient, dub, ambient techno, down-tempo. **WARREN:**_You didn’t do the music for Love Eternal yourself (Emily Glass did.) Even if you’re not the person making the music, the decision to contract somebody who fits a particular vision speaks to taste. How did you connect with Emily? Did you start with a score in mind?_ **TOBY:** She was my first choice because she was the most talented person I knew who made music, and she had the emotional depth and richness of sound I thought would fit really well. Being in the position of directing a project requires this balance of egotism and humility—the things you know you can do well, you want to be confident in. But you really need to know what you’re not good at and then trust the people you assign those roles to. There wasn’t a lot of back and forth—small adjustments to fit technical specifications, but for the most part, I could let them do what I knew they were good at. I wanted the music to be ambient in the classical Brian Eno sense—where if you pay attention, a lot of nuance comes out, but if you don’t, it recedes into the background. I said something along those lines in my original pitch to Emily, and the first thing I got back I was like, “Yep. That’s exactly it.” ## Do Games Need to Explain Their Own Mechanics? **WARREN:**_For the story—you’ve said it wasn’t planned in a particular way. I typically don’t think of platformers as games where story isn’t really important anyway. Were there moments where what the game required mechanically was at odds with what you wanted to express narratively?_ **TOBY:** No, there wasn’t. There was a really big trend in the 2000s where it was very chic to have your story expressed explicitly through the mechanics—or have the mechanics cleverly comment on your story. The joke I always make is a platformer where it’s like, “I’m grappling with the loss of my wife.” But I think one of the strengths of video games is that people are willing to accept a level of abstraction. They don’t actually find it jarring to do a bunch of arbitrary platforming and then have a story beat. The gravity mechanic—where you can flip gravity—it’s never explained. There’s no in-game reason why you can do that. But I’ve never had anyone ask me why she can do that. I think video games are allowed to operate with this dream-like logic, and you give up some storytelling power if you ignore that. It was very freeing to write the story in a more abstract way that didn’t explain everything. There’s no moment in the game where Maya looks to the camera and says, “What’s going on? Why am I in this castle?” **WARREN:**_The way the game functions is at this subconscious state of working through individual levels. When I would think about things too much, it made it difficult. It felt more like playing a theremin than playing a piano—like playing a fretless bass rather than a harp. Can you tell me about what the feel of the levels should be like?_ **TOBY:** A lot of it comes down to intuition and experimentation. There’s a lot of just opening the level editor, smearing some spikes and geometry around, hopping into the game, seeing what it feels like. And then maybe you have one particular moment where it’s like, “Oh, that was really satisfying.” Maybe I can do that a second time in a slightly different way, or structure the whole level around it. That happens more often than sitting down with a fully formed idea. Despite what YouTube essays would have you believe, there aren’t really rules I follow to produce a brilliant level. It’s a lot more experimenting, playing, and seeing what feels fun or interesting.

Toby Alden traces a line from to ambient DJing to Love Eternal, a gravity-flipping platformer where dream logic and intuition guide every level.

Happy Fishbowl day, @imissmyfriends.bsky.social!

Enne finished LOVE ETERNAL last night and I am still thinking about it! Do I understand everything? Absolutely not. Does it matter? Nope. I will continue to turn it over in my mind for a while, I'm sure. Definitely recommended if you want something weird and challenging and unsettling.

🏳️‍⚧️🏳️‍🌈I dream of the day when the world can become a place where transgender people can live proudly and freely as themselves, and where they can love freely

As a mascot, I see human love as beautiful and wonderful.
I love you all today as well♡

This #TransDayOfVisibility I'd like to wish a nice, safe and joyful day (and preferably a whole year++ of that!) to all my trans pals and colleagues. May y'all also have a very Get/Stay Employed and Bills/Rent Paid for the road ahead, while we're at it.