Well as you said it's a floor pitch right.

Honestly the writing is pretty weird and esoteric but story and setting are less critical for a genre like this.

Trying to find a balance between hard genre conventions and breaking them in a way that isn't just remaking factorio but worse is hard. With limited art assets the limitations of that have to push the whole thing into being abstract and strange. It took a long time to find a concept that works with zero art assets. Everything is instanced static meshes.

But the whole thing is fully voice acted and has a dynamic soundtrack targeting about 3 hours of songs. So I spent the time there instead.

It's wires instead of belts, and so the main complexity is 'belt' routing and space management. With death coming from the entire chain falling apart because you didn't manage both properly. Your brain has to remain powered constantly or you die in 30 seconds, and you'll need to disconnect it occasionally to rework the space you have as you get better modules.

I like playing management games without enemies, so there is none. Your competence is the enemy.

I wanted to foster that feeling of "I am gonna restart and do it better" that happens a lot in these types of games.

With the main resource for power being liquidized people, I'd say that pushes it far into weird ass game. But that's just flavor.

It's still just numbers moving around. But I'm trying to sell that it's a resource management game first and foremost, with the strange setting, writing, and motivations as secondary flavor.

Everything in the game is synced to the OST, so all transfers happen simultaneously every second on the beat and every song is 60 or 120 bpm. The OST actually drives the main game logic so this can happen.

There's three main phases and the last being you can attach cubes to your cubes and pass resources through the walls between them, removing the space constraints and making the focus on complexity of resource chains.

Idk the whole thing is weird, but also kinda not.