M3.2 Down in the Bonehoard Dark Project Ambient

[@jaidev777]

This game was/is an incredibly understated work of art, though honestly I wonder how much of that was a happy accident. Something about the sum of its parts made its overall charm seem _emergent,_ as opposed to manufactured cues. Yes, I think that's the magic in it. No scripted camera cutscenes, no audio cues, no funneled jumpscares (in part probably because frankly it might have been difficult to make it work with the engine). When you lockpicked, it didn't snap you to some separate interface. Time didn't pause. You're still standing wherever you decided to when you approached the door, watching the handle move while you worked on it. When you listened in on conversations, you didn't press an "eavesdrop" button and turn the experience into a cutscene where you lose your character perspective and control of him -- _you_ had to listen for yourself, wherever you chose to be, whatever you chose to do during the exchange. Limited assets, low-poly, audio consisting of low-quality sound files of which only few can be playing at the same time, low-res textures and limited lighting... but with _great_ writing that leveraged them. The right choices turned them into advantages: the player would be Garrett going on long slogs by night as self-profiting thief trying to survive, in an oppressed city where rumors of corruption, vices, intrigue and superstitions float among hushed servants and bored guards. The emergent experience was one that was lonely, introspective, immersive, suspenseful, mysterious and often eerie.

[@Dishol]

The Horn of Quintus, love it

[@Torgo1969]

Tombs with piped-in music...how classy! I'll have to play this in the other room as I fall asleep, maybe it will soothe me like it does to the burricks.

[@Heisenberk.]

Man, this game is really something else.

[@IrrationalDelusion]

Winter night. Gradual descend into the catacombs

[@JustNikoo]

Just here because of the horn.

[@muhhandletaken]

I wanna get buried there