Everything is 128–256px, point-filtered, packed into a handful of trim sheets and atlases. No surface is clean. Tiling is allowed to show — the repetition reads as an unreal, remembered place.
Five decal types, reused everywhere: water stain (ceiling bloom), blood (low, dragged), scratch (claw triples on doors), mold (corners, damp green-grey), dust (a soft grey wash on every up-facing surface). Placed by hand at scare nodes, scattered by a decal system elsewhere.
This is a horror game first. Blood is a system, not set dressing — it escalates, it spreads, and it remembers. Kept low-res and dim, gore reads as dread rather than splatter.
6741 is built on grief and a death this house never moved past — the bedroom wall counts crossed-out marks up to 6741. We imply, we don’t exhibit: bodies stay in silhouette and shadow, gore stays low-poly and dim. PS1 restraint makes it worse — and better. A wrong friend and a remembered child carry more than splatter ever could.
Mature content. Blood, body horror, implied child-death, paranoia. Ship a content warning on entry and lock the rating question before launch (see Design Review §9).
Seven rooms. Each gets one memorable prop and one colour of light so players build a mental map in the dark. Readability is a horror feature, not a compromise.
What the player sees through every window and at the locked exit: the house does not sit anywhere real. It floats in a starless, sunless night ringed by a treeline that never gets closer.
READABILITY / The exterior is intentionally featureless and dark so windows read as cold blue rectangles and the exit reads as the single brightest break in the treeline. Players orient by the moon’s fixed position — it is the game’s only compass.