The official website for [bracket]games, creator of [out], Letters to Babylon, and Three Fourths Home.


The Succession   

The Succession is envisioned as an atmospheric 2D "adventure-esque" exploration game with an abstract narrative conveyed almost completely without any dialogue. The player controls an android/robot-like character, the Vector, as it explores a large, abandoned facility with a single objective: "Complete a Cycle". Bits of the Vector's back-story would be revealed, or suggested, through flashbacks acquired by accessing deleted memories scattered throughout the facility. 

One of the hooks of the game involves the process of "rendering;" Each time the Vector fails, its consciousness is rendered into a new body. The rendering time compounds exponentially with each failure. Therefore, more and more time passes between each render, widening the gulf between the back-story that the player uncovers and the present day. 

The game will have a somewhat Lovecraftian, sci-fi, light-horror tone. The mystery of what is going on, the suggestion of possibly sinister events in the past, and the appearance of eerie and dangerous "ghosts in the machine" all add up to what will hopefully be a tense and memorable character study.

Full development on The Succession is planned to begin Summer 2014.

play the prototype in your browser     

download the prototype for windows    

download the prototype for mac   

We Have Lied

We Have Lied was the first game that we began working on after we finished [out]. The game would have taken place in Kansas City after a pandemic ("The Condition") had wiped out the majority of the world's population. The disease was zombie-free; instead, it killed incredibly swiftly and was aggressively virulent, creating a scenario where friends and family died off quickly, with no warning.

The script, which is finished, followed Jamie and Sam, a couple who, over the course of the game, would struggle to remain together under the strain that the state of the world puts on them. The purpose of the narrative was to explore a series of questions:

  • What makes a monster?
  • How do the the things we’ve done, the things that haunt us affect who we are on a fundamental level?
  • How do they affect the people around us?
  • How do our decisions actively change the people around us?
  • Is this all a sort of fate? A singularity we’re barreling toward and, struggle as we might, we’re doomed to our demons and our decisions and the future we unknowingly built for ourselves in days long past?

These questions drove the narrative of We Have Lied.

Neither gender nor sex are ever assigned to or alluded to for either of these main characters – that was a parameter I set for the game very, very early in development. One important aspect of the game from the start was to get the player to identify with these people- assigning arbitrary gender/sex/orientation to these characters would have been a needless barrier to that.

Gameplay-wise, the player would control Jamie through a series of basic exploration and in-depth dialogue/action trees, as well as a few more or less “action-y” segments. Control was to be basic- the majority of gameplay would be moving, examining objects, and selecting dialogue/action choices from menus.

All plans for further development are on indefinite hold.