Steam news

We Were Here Before news & patch notes

Full Steam announcements and update articles for this title.

One Month To Release - And What Is This Game?

Salami Slammersteam_community_announcements

32d ago

With NextFest done, I want to take a few moments to reflect on the data, my beliefs, and why I've even made this thing in the first place.

The first thing to know? WWHB is all about the story. To enjoy it, one has to have a love of reading, enjoying building up in your own head the story you want to shape and live. It lacks deep mechanics. Filler puzzles. In depth recipes and crafting. These have been done far better than I could manage in many other games.

As you can tell, I'm not writing this to sell you on my game. I'd rather you play the demo and see if you are one of the admittedly small demographic of people that really have enjoyed it. The demo? It takes about twenty minutes. Many bounce. But about 15% of you? Played it for over an hour and a half. A small handful played it more than I ever would have if I wasn't making it!

It is a game that has contradictions within the writing. A game about the recursion of time, of a funky place in a frontier of an unamed Empire where things just don't operate quite like they should. It's a game that never really gives clear answers. It's meant to encourage you to come up with your own truth of what it is and why, and I get that isn't for everyone.

But what still needs to be done over the next month is:

trimming some of the stories, especially the obituary. It's about 33% too long right now.
Making some of the more subtle mechanics noticeable.
Registering achievements with steam. They are all in the game, its just about the wiring.
Finishing the last three story arcs.
Reviewing the existing stories for about the 1000th time and surely changing my mind on some details probably were in draft 232. ;)

As for me, and this journey, it's the writing I enjoy. It's the story telling. And don't get me wrong - I love many types of games! Each type is great in its own way. And in the end, I'd rather make something that a few handfuls of people feel passionately about and most just don't care for it, than have something a large variety of people are lukewarm about.

Now to get back to the writing.

A Settlement You Cannot Save

Salami Slammersteam_community_announcements

48d ago

A Settlement You Cannot Save

We Were Here Before is coming to Steam Next Fest — here's what to expect, and what not to. We Were Here Before is a roguelite about a settlement you cannot save. That's not a difficulty warning. It's the premise. Most roguelites ask whether you can survive the run. This one asks a different question: what will remain when we're gone? You are a governor sent to the edge of a strange frontier to build a settlement that will, eventually, be lost. There is no health bar for the settlement. There is no game over. What you produce, choice by choice, is a record — and when it's over, that record is filed, in triplicate, as an obituary by an imperial bureau that does not have the correct form for most of what you did out there. With Next Fest coming up June 15–22, I'd rather be honest about what you're walking into than sell you something this isn't.

What it isn't

I'd genuinely prefer you bounce off the demo for the right reasons than wishlist for the wrong ones. So, plainly: It is not a survival game. You cannot lose the settlement — losing it is the story, not the failure. It is not a combat deckbuilder. There are cards. You will not fight anyone with them. There is no resource panic. No optimization treadmill. No meter ticking quietly toward death. The Horizon — that countdown at the center of the screen — is not a threat. It is a pulse. It is the rhythm the frontier breathes at, and each time it turns over, something happens. There is no correct ending. There are several. None of them are winning. If "the number went up" is the feeling you play for, this will frustrate you — and I'd much rather you discover that in a free demo than after a purchase.

What it is

A narrative-first roguelite where the story is the loop. You build districts by dragging resources together — no recipe menus, no crafting screens, you simply place things and the settlement grows. In between the building, the frontier produces moments: small choices, quiet beats, and longer branching arcs where you decide what kind of governor you're going to be. Not a good one or a bad one. There is no obvious wrong answer anywhere in this game. Every choice is defensible. The cost only becomes visible after you've made it. Each decision nudges three quiet measures of who you're becoming — roughly, how much you contain versus reveal, whether you send others or go yourself, whether you resist the frontier's strangeness or make your peace with it. You never see these as stats. You see them at the very end, in the obituary, in the way a dry institutional voice describes the person you turned out to be. The settlement is gone by then. The record is what's left of it. The tone is melancholic and wry without ever tipping into comedy. Settlers file formal complaints that they are not, in fact, wet. A clerk knows a name she has no way of knowing and cannot say from where. Where there is horror, it is administrative — things behaving correctly for reasons nobody will explain.

And, if you look

Some players will find exactly what I just described: a quiet roguelite with unusually careful writing and strange events at the edge of the map. That's a complete experience, and a real one. Some will start to notice that the strangeness rhymes. That certain things have happened before. That the title might not be a mood — it might be a statement of fact. That's also the complete experience. The second one is just the reward for paying attention. I won't say more than that here.

The demo

The Next Fest build is one short run — a single trade settlement, from the founding charter to the final filing, somewhere around fifteen to twenty minutes. It's a true slice, not a tutorial on rails: real arcs, real choices, a real ending, and a real obituary at the end of it. The full game opens out from there — science and explorer frontiers, many more arcs, endings that only surface once the frontier starts to remember you, and runs that quietly change because you have been here before. If you play it, here's what I'd love to know: does that first run make sense without me sitting beside you explaining it? Does it land — or does it just read as slow? Tell me honestly. The thumbs are data. The comments are better data. This is exactly the moment in a solo project where that feedback changes the game.

Next Fest

We Were Here Before will be free to play during Steam Next Fest, June 15–22. If the premise does something for you, a wishlist is the single most useful thing you can do for a solo developer — it's the difference between a settlement that gets found and one that doesn't. Thank you for reading this far. Per BFSAP protocol, first contact designates you a Bureaucrat of the project. Non-transferable. Probably. — Craig, Inkdrift Filed in triplicate.

Language Design as a Discrete Discipline

Salami Slammersteam_community_announcements

110d ago

BUREAU OF FRONTIER SETTLEMENT ADMINISTRATION Inkdrift Development Notes — Filed: April 2026

Language Design as a Discrete Discipline

On writing a game where the prose is the mechanic When you make a game that is almost entirely text — no combat, no platforming, no puzzle that can be solved without reading — the writing stops being content and becomes architecture. Every sentence load-bears. Every word choice is a design decision. The prose is not describing the game. The prose is the game. We Were Here Before is a bureaucratic cosmic horror narrative card game. You govern a doomed frontier settlement. The settlement will inevitably be lost. What remains is a personalized obituary filed by a bemused imperial bureau — a bureaucratic record of who you became as a governor. Every run ends in a different document. The document is the point. Making it required developing what I now think of as language design — a discrete discipline sitting between writing and game design that has its own rules, its own failure modes, and its own craft. This is an attempt to document some of what I learned.

I. The Weight of Sentences

The most important decision in WWHB was the staccato structure. Short sentences. Almost uniformly. The Bureau does not explain itself. This was not initially intentional — it emerged from the game's aesthetic — but once it was established, it became a load-bearing rule. Short sentences carry weight individually. Longer sentences distribute it. In a text-heavy game where every word must justify its presence, the short sentence is the default unit because it forces each thought to stand alone. Consider this passage from The Prior Record, one of the game's story arcs: The Administrator has stopped working. She stands in the archive room holding a register. The register is ours. The dates inside are not. Someone has been keeping records here for twenty years. We arrived three months ago. Each of those sentences would work differently in a longer construction. "We arrived three months ago" lands differently as its own sentence than embedded in a clause. The paragraph structure is part of the horror. The silence between lines is doing work. The rule I arrived at: when a sentence in WWHB runs long, something is wrong. Either the thought needs to be broken apart, or the longer sentence is earning its length through contrast — a departure from the rhythm that signals something has changed. A longer sentence is an event.

II. The Pronoun is the Character

WWHB uses two pronouns with deliberate intent: We and I. Every sentence in the game is assigned to one of them. This is not stylistic — it is mechanical. We is the Bureau. The collective. The institutional voice. It governs at the settlement level, files reports, manages populations. We is the voice of procedure. It does not feel things. It notes them. I is the governor. The individual. The private record. When a sentence switches from We to I, something has broken through the administrative surface. A personal opinion has been filed. The governor has let the mask slip. The governor recognizes that there is an element of personal accountability, something that will stick with them personally. Here are both voices in the same arc — The Dreaming Sickness, where workers begin sleeping and refuse to wake: We — the Bureau's voice: We have double-checked the register. The dates are real. There are no contradictions we can find. There are only dates that should not be there. The Administrator has not moved. We should check the archives. Cross-reference. Copy everything in triplicate. Oh. She is already doing it. I — the governor's voice: The bells worked. Attendance is up. Shifts are full. I have brought her tea twice. She has not looked up. The settlement runs correctly. I know this because I check. I lie awake and I listen to the settlement not dreaming. It is a specific sound. The reader learns to feel this distinction without being told it. We signals safety — this is documented, processed, filed. I signals danger — this has escaped the record. When We and I appear in the same passage, something is breaking down. The governor is losing professional distance. "I lie awake and I listen to the settlement not dreaming. It is a specific sound. I did not know silence had varieties until this." That passage is entirely in I. It could not be in We. The Bureau does not lie awake. The governor does. The pronoun is doing character work that would otherwise require paragraphs of exposition.

III. Half-Named Characters

No character in WWHB has a proper name. Every recurring figure carries a title only — a role the player names themselves in the UI. This was not a technical constraint. It was a language design decision. The Administrator — Settlement's institutional conscience. She noticed before the governor did. She is already doing it before she is asked. The Bookkeeper — Ledger and records. Numbers are always right. That is sometimes the problem. Her face gives nothing away. The Scout — They always debrief. Everything, in order, without editorializing. Pay attention to when they stay seated. The Cartographer — She holds the maps and the long memory. She has already done the arithmetic. She does not knock. A title gives you half a character. The player's imagination gives the other half. The Bookkeeper is more specific than any invented name — it tells you exactly what she does and leaves everything else to the imagination. Her competence is implied by the title. Her humanity has to be earned by the writing. The recurring character notes I write for each figure are intentionally spare. She does not bring things until she has checked twice. When the debrief ends, she gets up and leaves. Pay attention to when she stays seated. This is all the reader needs. The rest they construct themselves, and the version they construct is always more personal than any version I could write for them.

IV. Horror Through Administrative Language

The most important discovery in making WWHB was that bureaucratic language is inherently uncanny. The form that exists to flatten emotion — the report, the ledger, the filing — reveals horror precisely through its refusal to acknowledge it. From The Dreaming Sickness, after the governor orders the workers roused with bells: A worker came to City Hall last week. She stood in the doorway a long time before speaking. She said she wanted to report something. She said no one in the settlement dreams anymore. Not the workers. Not the administrators. Not the children. She asked if that was supposed to happen. We thanked her for the report. We filed it under expected outcomes. We filed it under expected outcomes. That line requires no monster. No jump scare. No explanation. The horror is in the filing category chosen. Something that should be alarming has been categorized into normalcy. The bureaucracy has processed the impossible and found a drawer for it. This is what administrative language makes possible: the thing that cannot be said can be filed. The form that has no field for it generates a new field. The Bureau does not scream. It cross-references. The Debt arc takes this further — the Empire literally bills settlements for words. One hundred and seven Reserved Word Units, payable in full: The Bookkeeper opened the second letter. It contained a list. One hundred and seven words. She read it once and set it down. She said: I know these. Not — I recognize these. I know these. I read the list. She was right. I knew them too. We could not have said why. Only that they were the ones we reached for when we needed exactly the right word. The ones that felt, somehow, like ours. The cosmic horror of language being owned and traded is made more disturbing, not less, by the bureaucratic frame around it. An invoice. A list. A courier who does not sign anything.

V. Repetition as Recursion

WWHB uses deliberate verbal repetition — phrases that recur across arcs, characters, and contexts. This is not laziness. It is mechanical. The Bookkeeper is described across multiple arcs with the same line: "She is very good at her job. Her face gives nothing away." The Administrator: "She is already doing it before she is asked." The Scout: "They always debrief. Everything, in order, without editorializing." These repeated phrases work like musical motifs. When a player encounters them for the third or fourth time, they carry accumulated weight. The phrase "That is either reassuring or it isn't. We have not decided." appears first as a small uncertainty. By the third time — in a different arc, a different context — it has become something closer to dread. The Bureau still hasn't decided. Something has been unresolved across multiple runs, multiple settlements, the entire history of the frontier. The repetition is also thematically loaded: the frontier is recursive. The same things happen to every settlement. The Bureau processes them each time with the same language because the same things keep needing to be filed. The verbal repetition is the form matching the content.

VI. What the Language Cannot Do

The hardest lesson: there are things literary prose cannot do that game writing needs to do. WWHB has to communicate mechanical choices — three branches, each with consequences — using the same prose voice it uses for its horror. The branch text is a choice card. It has to be both beautiful and legible under decision-making pressure. The solution was to make the branch text the governor's internal monologue at the moment of choosing. Not a description of what will happen — the governor doesn't know. A description of what the governor is thinking as they decide. This keeps the prose in the right register while communicating the emotional stakes of the choice. Crucially, the pronoun the governor reaches for in that moment is itself a character signal. A governor choosing institutional resolve reaches for We — sheltering a personal decision inside collective language. A governor whose feelings have broken through reaches for I. HIBERNATE is written almost entirely in We — "We have made a decision," "We are not certain this is wise" — because the governor is using the institutional voice to protect themselves from the weight of what they are choosing. The most human thing the settlement has done is phrased in We. That is either reassuring or it isn't. From The Dreaming Sickness — the HIBERNATE branch, where you allow the sleeping workers to continue rather than waking them: Five workers have not woken in three days. We have made a decision. Rather than rouse them, we will give them what they seem to need. Proper beds. Water when we can get it in. Someone to sit with them. We will let them dream it through to the end. Whatever the end looks like. We are not certain this is wise. It is the most human thing we have done in some time. That is a choice card. The player is clicking it to select this path. But it reads as lived experience. The game is simultaneously asking the player to make a decision and showing them who they are for making it. That double register — decision and revelation — is what language design in a text-heavy game has to solve. The prose cannot just be beautiful. It has to carry the player through a choice while telling them something true about themselves for making it. Getting that right took most of the game's development time. I am still not certain I always get it right. The Bureau is still filing. We Were Here Before is a bureaucratic cosmic horror narrative card game. Every run ends in a personalized obituary. Free demo available now on Steam. Steam page: https://store.steampowered.com/app/4513390 Demo: https://store.steampowered.com/app/4561810

Devlog #3 - WWHB Demo

Salami Slammersteam_community_announcements

119d ago

Hello Bureaucrats,

Today, I finally pushed the release button on a demo version of WWHB. For a narrative, your choices matter game, finding words to describe what you can expect has been hard. But then, I've spent twenty years in IT, four years as an artisan salami maker. Those created a whole lot of knowledge about the horror of bureaucracy! But not so much on marketing.

The demo presents 8 stories for you to discover with roughly 47 potential story endings. You'll discover two of those through each play through.

The full game will have 24 of those story arcs, with four presented each run through. It will also have achievements, different outpost types that create a whole different type of story category. Choices you make between runs will be remembered, and during quiet moments or echoes you'll be reminded of them.

The full game will also present more varied choices for how your settlement ends, based on your progression and choices.

What I'm hopeful for is to see how people engage. What they enjoy. What they want to see more of, and use this as directional guidance in further polishing not just the full game but the demo before Next Fest.

As always, the Bureau appreciates your filings, and looks forward to seeing your discoveries.

Devlog #2

Salami Slammersteam_community_announcements

125d ago

BUREAU OF FRONTIER SETTLEMENT ASSESSMENT & PROPOSAL DIVISION

Office of Governor Briefing & Orientation Form 2-A — Procedural Briefing, Story Arc System

Hello Bureaucrats,

The Bureau has taken the time to formally put down the encounters one might expect when overseeing your frontier settlement. This overview is not complete, yet it is what The Bureau current has deemed as useful to prospective governors.

Hard Decisions

The Bureau has noted that there are many difficult encounters on the frontier. Governor's can expect during the process of tending to their settlement four major issues to arise. The Bureau notes that there are twenty four issues that have been recorded, meaning each time you are bound to discover something new.

In addition to this, there are quiet moments of reflection. Small things that the governor will note about their settlement. So too will there be echoes of choices: small decisions that will have a smaller but hopefully lasting impact on the shape of your settlement.

Truths And Answers

When a major decision appears, it has been documented that the governor has a series of decisions to be made. The first of these leads to A Truth. Note: the Bureau has filed this under, 'one of many', as every governor report has always noted it as A Truth, not The Truth.

Governor's then have a decision around how to respond to That Truth. Some governor's have cracked under pressure. Others have put themselves first. More still sacrifice a bit of their own self for the betterment of the settlement. The cost of these choices is still with the Bureau of Metaphysical and Philosophical Research. We have inquired if they have determined the precise cost of these choices. They have not. It has been eight months.

An Answer to A Choice. The Bureau neither approves nor condones of these choices. We only document and file.

The Governor is then met with An Answer. The Answer will create a lasting mark in the form of a district on their settlement. It should be noted that various Major Challenges have resulted in five or six different potential outcomes. It creates a staggering array of documentation to create for the final disposition: The Bureau estimates this is 160k words of filing, at this point.

The lasting mark of a choice this governor made.

What Governors Should Understand

The Bureau notes that this process is less about the moment to moment. Each moment is additive. Each choice, even small, matters. It is the mark you leave at the end that is your story, that you will remember (Auditor Note: Hopefully. Some Governor's report frequent memory loss.). With so much to discover, one images it would take many, many attempts at settling the frontier to see it all.

The Bureau notes that this is, in its way, the point.

— Bureau of Frontier Settlement Assessment & Proposal Division Form 2-A, Governor Briefing, Second Issuance All copies retained. All copies have always been retained.

PERSONNEL ONBOARDING, FIRST ISSUANCE

Salami Slammersteam_community_announcements

128d ago

It's a pleasure to meet all of you potential new bureaucrats, and welcome to We Were Here Before. It's a game that has rattled around in my head for sometime, though as a solo developer it felt like it took forever to finally crystallize into what you see today.

At it's heart, WWHB is a narrative settlement building game in rouglite, where over the course of 25-35 minutes you'll make hard choices that have a real effect on your settlement. This is all told through a whole lot of writing where you'll see the weight of your choices, how it affects the people... and how the frontier affects you back.

Ah, yes, the frontier. See, this isn't any settlement. It's on the edge of the known boundary of the Empire, where weird things happen. But... I'll let the Bureau explain some of that to you.

One last thing, for those who enjoy hard numbers. The game will have 110+ unique potential final settlement disposition endings. In a run, you'll generate 4 of these. It'd take over 25 runs to see them all. The rough word count of lore/narrative is 150k+ words. With that out of the way....

BUREAU OF FRONTIER SETTLEMENT ASSESSMENT & PROPOSAL DIVISION

Office of Personnel Intake & Orientation Form 1-A — New Bureaucrat Onboarding Packet, First Issuance

WELCOME TO YOUR POSTING

Congratulations on your appointment to the Bureau of Frontier Settlement Assessment & Proposal Division.

You have been assigned to the Office of Personnel Intake & Orientation as Interested Party (Provisional). This role carries no authority, no obligations, and no remuneration. It does carry a designation. You are now designated. Please proceed.

This packet contains everything you need to understand your posting. If you have questions after reading this packet, please refer to this packet. If your questions persist, please note them in the margin and submit them to the Office of Unanswered Questions. The Office of Unanswered Questions does not respond to submissions. The frontier generates more questions than the Bureau is currently staffed to address. We appreciate your understanding.

ORIENTATION MATERIALS

The BFSAP oversees the assessment, dispatch, and documentation of frontier settlements — their establishment, operation, and inevitable conclusion. When a settlement concludes, the BFSAP files a Form 7-C: Settlement Obituary. The Form 7-C captures what the settlement built, what its governor decided, and what remained at the end.

A sample filing is included below for your review.

You will note that this settlement existed for approximately thirty minutes. You will note the districts listed. You will note what the Bureau was and was not able to classify. You will note that the final line reads as it does.

This is standard. This is the frontier. Please take a moment and then continue.

REGARDING YOUR RESPONSIBILITIES

As Interested Party (Provisional), your responsibilities are as follows.

You are asked to observe. Future filings will document the settlement system in greater detail — the arc structure, the branching of choices, the memory fragment system by which previous governors surface in the margins of new runs like something the frontier is trying to remember.

You are asked to note. The Horizon effect is unyielding. BM&PR has not yet defined why. Proper paperwork and procedures will help us understand. But over time, memories will fade, people will leave, things will feel 'off' as reported by previous governors. The BFSAP notes this without judgment.

You are asked to remain. The settlement will end. What gets filed is the point.

REGARDING THE FRONTIER

The frontier is not fully classified. The Bureau of Metaphysical & Philosophical Research is working on this.

The BM&PR has been working on this for some time.

NEXT STEPS

Personnel wishing to be notified of future filings may register their interest using the button below. Doing so constitutes acknowledgment that you have read and understood this onboarding packet. The BFSAP acknowledges that you may not have fully understood this onboarding packet. This is also acceptable. Most postings begin in uncertainty.

You will settle in.

— Bureau of Frontier Settlement Assessment & Proposal Division Form 1-A, Personnel Onboarding, First Issuance All copies retained. All copies have always been retained.

We Were Here Before is in development for Steam. Add to your wishlist.

About

Steam news for We Were Here Before

This page aggregates Steam news feeds, patch notes, and developer announcements for We Were Here Before, sourced from official Steam community posts.

Major updates, balance changes, and seasonal events often correlate with player-count spikes — cross-reference announcements here with the live charts on the main We Were Here Before statistics page.

Articles link back to Steam for full changelogs. SteamScope refreshes news entries as new posts are published to the game's Steam hub.

Back to game page

Steam news

We Were Here Before news & patch notes

Full Steam announcements and update articles for this title.

One Month To Release - And What Is This Game?

Salami Slammersteam_community_announcements

32d ago

With NextFest done, I want to take a few moments to reflect on the data, my beliefs, and why I've even made this thing in the first place.

But what still needs to be done over the next month is:

trimming some of the stories, especially the obituary. It's about 33% too long right now.
Making some of the more subtle mechanics noticeable.
Registering achievements with steam. They are all in the game, its just about the wiring.
Finishing the last three story arcs.
Reviewing the existing stories for about the 1000th time and surely changing my mind on some details probably were in draft 232. ;)

Now to get back to the writing.

A Settlement You Cannot Save

Salami Slammersteam_community_announcements

48d ago

A Settlement You Cannot Save

What it isn't

What it is

And, if you look

The demo

Next Fest

Language Design as a Discrete Discipline

Salami Slammersteam_community_announcements

110d ago

BUREAU OF FRONTIER SETTLEMENT ADMINISTRATION Inkdrift Development Notes — Filed: April 2026

Language Design as a Discrete Discipline

I. The Weight of Sentences

II. The Pronoun is the Character

III. Half-Named Characters

IV. Horror Through Administrative Language

V. Repetition as Recursion

VI. What the Language Cannot Do

Devlog #3 - WWHB Demo

Salami Slammersteam_community_announcements

119d ago

Hello Bureaucrats,

The demo presents 8 stories for you to discover with roughly 47 potential story endings. You'll discover two of those through each play through.

The full game will also present more varied choices for how your settlement ends, based on your progression and choices.

As always, the Bureau appreciates your filings, and looks forward to seeing your discoveries.

Devlog #2

Salami Slammersteam_community_announcements

125d ago

BUREAU OF FRONTIER SETTLEMENT ASSESSMENT & PROPOSAL DIVISION

Office of Governor Briefing & Orientation Form 2-A — Procedural Briefing, Story Arc System

Hello Bureaucrats,

Hard Decisions

Truths And Answers

An Answer to A Choice. The Bureau neither approves nor condones of these choices. We only document and file.

The lasting mark of a choice this governor made.

What Governors Should Understand

The Bureau notes that this is, in its way, the point.

— Bureau of Frontier Settlement Assessment & Proposal Division Form 2-A, Governor Briefing, Second Issuance All copies retained. All copies have always been retained.

PERSONNEL ONBOARDING, FIRST ISSUANCE

Salami Slammersteam_community_announcements

128d ago

Ah, yes, the frontier. See, this isn't any settlement. It's on the edge of the known boundary of the Empire, where weird things happen. But... I'll let the Bureau explain some of that to you.

BUREAU OF FRONTIER SETTLEMENT ASSESSMENT & PROPOSAL DIVISION

Office of Personnel Intake & Orientation Form 1-A — New Bureaucrat Onboarding Packet, First Issuance

WELCOME TO YOUR POSTING

Congratulations on your appointment to the Bureau of Frontier Settlement Assessment & Proposal Division.

ORIENTATION MATERIALS

A sample filing is included below for your review.

This is standard. This is the frontier. Please take a moment and then continue.

REGARDING YOUR RESPONSIBILITIES

As Interested Party (Provisional), your responsibilities are as follows.

You are asked to remain. The settlement will end. What gets filed is the point.

REGARDING THE FRONTIER

The frontier is not fully classified. The Bureau of Metaphysical & Philosophical Research is working on this.

The BM&PR has been working on this for some time.

NEXT STEPS

You will settle in.

— Bureau of Frontier Settlement Assessment & Proposal Division Form 1-A, Personnel Onboarding, First Issuance All copies retained. All copies have always been retained.

We Were Here Before is in development for Steam. Add to your wishlist.

About

Steam news for We Were Here Before

This page aggregates Steam news feeds, patch notes, and developer announcements for We Were Here Before, sourced from official Steam community posts.

Articles link back to Steam for full changelogs. SteamScope refreshes news entries as new posts are published to the game's Steam hub.

Back to game page