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4noki-vns · 3 months

Text

The Art of Asset Reduction: VNConf 2024 Write-Up

youtube

This is a write-up for my Visual;Conference 2024 talk on asset reduction: presentation of scenes with reduced art labor.

I will discuss how to reduce production requirements via various methods of asset presentation and staging, walking you through case studies of existing visual novels. This talk will guide you to answer the question: How do I fulfill my project scope without asset bloat?

This is an art talk that assumes you have already scoped down your story and have created a list of scenes that you need. This is not a talk about scoping down your game's story.

You have scenes you need to make. How are you going to make them (and with style)?

Abstraction

Cut-ins

Reduce

Reuse

I. Abstraction

I start off with abstraction as a reminder that visual novels are a combination of visual and novel (amongst other aspects)

Abstraction

Abstraction is a strong tool for bringing focus to the writing, highlighting ambiguity and setting the mood with colors.

Examples I mentioned in my talk include:

Black screen

Solid colored screen

Sky BG

Of Components

The mood-setting power of abstraction also extends to scenes with characters, especially CGs.

As again, abstraction draws focus to what you choose to emphasize: the characters.

(FLOWERS -Le volume sur ete-)

They are gay. Thank you for coming to my VNConf talk.

You can similarly abstract characters.

(Lachesis or Atropos)

Consider representing irrelevant characters (e.g., NPCs) as silhouettes. The reader can fill in the details within the shapes themselves.

Silhouettes are especially great for crowd scenes where you want to draw focus to the main characters.

This will be a recurring theme:

What do you really need to draw?

II. Cut-ins

One common not-quite full screen piece of art you'll see in many visual novels is the cut-in.

The cut-in typically consists of the:

Item/focus

Frame

And is often for topics such as objects or small animals, which may exist in the scene but may not be within the same frame of reference as the background and sprites.

The separate framing informs the players that the item is "separately framed."

(Who is the Red Queen?)

For example, this small bird is not huge and would not be the size of a character's head even had a sprite been on screen.

The Foreground-Backdrop Heuristic

Cut-ins make strong use of what I refer to as the "foreground-backdrop heuristic."

(Shikkoku no Sharnoth)

A general backdrop informs the reader of a broad location or scene (especially if characters are present). Then a more specific foreground (the cut-in) informs the reader of the specifics.

As the foreground cut-in is in a different frame, the pairing of the two helps create a mental model of the space in the reader's mind.

Cut-ins can be used for:

Backgrounds (mix and match foregrounds with a backdrop)

Reduced CGs

Presenting existing assets in a different frame of reference

CG variants

Try tackling your visual presentation in a layered, comic book-esque fashion with cut-ins!

Just be careful about clutter.

Whether you want to go for the layered cut-in style, the 3d stage cinematic style, or a combination of the two, make sure you have a vision before you jump in.

SD CGs

I had to make an obligatory mention of SD "super deformed" CGs in this talk, so here it is in the write up as well.

(Grisaia: Phantom Trigger Vol. 1)

SD, chibi. However you call these, they're great for playful scenes that might require more art than your classic sprite-background combination.

What SD CGs do best is that they:

Fulfill the role of a CG

Are easier to draw than fully rendered non-chibi art

Can be distributed to different artists to reduce artist workloads due to style difference

Just keep in mind that a simplified CG is still a CG and thus may lack reusability.

Consider what scenes really need a CG.

III. Reduce

Now, consider asking yourself: "Does what a player does not see need to exist?" (mostly applicable for games with opaque UI)

Yet, what you need to draw is what you need to draw. How can you reduce the work in what you need to draw?

One option is:

Palette Limitation

You've heard of gray scale games, but don't forget about other ways of limiting your palette to reduce workload.

Dramatic, mood setting color power

Less rendering work

(Sona-Nyl of the Violet Shadows)

A similar idea can be applied to NPCs for a more detailed take on silhouettes.

IV. Reuse

Lastly, please remember to be economical and reuse assets as necessary. One of the great joys of cut-in BGs, for example, is reusability.

I had to give an obligatory mention to CG variants in my talk, such as:

(Fatal Twelve)

However, overall, you never know when you'll want to use various components of your art elsewhere such as intermixing CG and sprite art.

Please keep your working layers if possible.

Other reuse examples:

UI (especially in episodic games)

Gameplay (e.g., Kogado's rhythm game)

Consider asking your programmer to work on a framework to reuse, reducing repeated code work.

Conclusions

All in all, you can make your game.

And it doesn't need to be hellish on your budget or timeline.

If you take anything away from this talk, let it be to:

Prioritize reusable assets

Maintain aesthetic; avoid clutter

Display important scenes

Do not scope up; aim for a set goal

A scene can be presented in many stylish ways, some of which will suit your workflow better than others.

So, go on. Make your game!

Interested in my works? Find me on itch:

And check out my newsletter:

VNConf 2023 Talk Write-up:

#reblog: self

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4noki-vns · 3 months

Text

The Art of Asset Reduction: VNConf 2024 Write-Up

youtube

This is a write-up for my Visual;Conference 2024 talk on asset reduction: presentation of scenes with reduced art labor.

This is an art talk that assumes you have already scoped down your story and have created a list of scenes that you need. This is not a talk about scoping down your game's story.

You have scenes you need to make. How are you going to make them (and with style)?

Abstraction

Cut-ins

Reduce

Reuse

I. Abstraction

I start off with abstraction as a reminder that visual novels are a combination of visual and novel (amongst other aspects)

Abstraction

Abstraction is a strong tool for bringing focus to the writing, highlighting ambiguity and setting the mood with colors.

Examples I mentioned in my talk include:

Black screen

Solid colored screen

Sky BG

Of Components

The mood-setting power of abstraction also extends to scenes with characters, especially CGs.

As again, abstraction draws focus to what you choose to emphasize: the characters.

(FLOWERS -Le volume sur ete-)

They are gay. Thank you for coming to my VNConf talk.

You can similarly abstract characters.

(Lachesis or Atropos)

Consider representing irrelevant characters (e.g., NPCs) as silhouettes. The reader can fill in the details within the shapes themselves.

Silhouettes are especially great for crowd scenes where you want to draw focus to the main characters.

This will be a recurring theme:

What do you really need to draw?

II. Cut-ins

One common not-quite full screen piece of art you'll see in many visual novels is the cut-in.

The cut-in typically consists of the:

Item/focus

Frame

And is often for topics such as objects or small animals, which may exist in the scene but may not be within the same frame of reference as the background and sprites.

The separate framing informs the players that the item is "separately framed."

(Who is the Red Queen?)

For example, this small bird is not huge and would not be the size of a character's head even had a sprite been on screen.

The Foreground-Backdrop Heuristic

Cut-ins make strong use of what I refer to as the "foreground-backdrop heuristic."

(Shikkoku no Sharnoth)

A general backdrop informs the reader of a broad location or scene (especially if characters are present). Then a more specific foreground (the cut-in) informs the reader of the specifics.

As the foreground cut-in is in a different frame, the pairing of the two helps create a mental model of the space in the reader's mind.

Cut-ins can be used for:

Backgrounds (mix and match foregrounds with a backdrop)

Reduced CGs

Presenting existing assets in a different frame of reference

CG variants

Try tackling your visual presentation in a layered, comic book-esque fashion with cut-ins!

Just be careful about clutter.

Whether you want to go for the layered cut-in style, the 3d stage cinematic style, or a combination of the two, make sure you have a vision before you jump in.

SD CGs

I had to make an obligatory mention of SD "super deformed" CGs in this talk, so here it is in the write up as well.

(Grisaia: Phantom Trigger Vol. 1)

SD, chibi. However you call these, they're great for playful scenes that might require more art than your classic sprite-background combination.

What SD CGs do best is that they:

Fulfill the role of a CG

Are easier to draw than fully rendered non-chibi art

Can be distributed to different artists to reduce artist workloads due to style difference

Just keep in mind that a simplified CG is still a CG and thus may lack reusability.

Consider what scenes really need a CG.

III. Reduce

Now, consider asking yourself: "Does what a player does not see need to exist?" (mostly applicable for games with opaque UI)

Yet, what you need to draw is what you need to draw. How can you reduce the work in what you need to draw?

One option is:

Palette Limitation

You've heard of gray scale games, but don't forget about other ways of limiting your palette to reduce workload.

Dramatic, mood setting color power

Less rendering work

(Sona-Nyl of the Violet Shadows)

A similar idea can be applied to NPCs for a more detailed take on silhouettes.

IV. Reuse

Lastly, please remember to be economical and reuse assets as necessary. One of the great joys of cut-in BGs, for example, is reusability.

I had to give an obligatory mention to CG variants in my talk, such as:

(Fatal Twelve)

However, overall, you never know when you'll want to use various components of your art elsewhere such as intermixing CG and sprite art.

Please keep your working layers if possible.

Other reuse examples:

UI (especially in episodic games)

Gameplay (e.g., Kogado's rhythm game)

Consider asking your programmer to work on a framework to reuse, reducing repeated code work.

Conclusions

All in all, you can make your game.

And it doesn't need to be hellish on your budget or timeline.

If you take anything away from this talk, let it be to:

Prioritize reusable assets

Maintain aesthetic; avoid clutter

Display important scenes

Do not scope up; aim for a set goal

A scene can be presented in many stylish ways, some of which will suit your workflow better than others.

So, go on. Make your game!

Interested in my works? Find me on itch:

And check out my newsletter:

VNConf 2023 Talk Write-up:

#visual novel development #vnconf #visual novel #vn #vndev #development guide #devlog #game development #talk write-up #gamedev #indiedev #this talk is also a yuri visual novel recommendation (kind of)#lachesis or atropos #shiei no sona-nyl #fatal twelve #grisaia phantom trigger #shikkoku no sharnoth #flowers visual novel #who is the red queen?

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4noki-vns · 4 months

Text

Happy New Year 2024

It’s hard to imagine that 2024 is already upon us. Thank you for all the support! I’ve had the chance to work with lots of amazing people again this year.

Let’s take a look back on 2023.

2023 Recap

In January, I gave a talk at Visual;Conference: Polishing your Release: the Little Features that Could.

youtube

In June, I released a short demo of a story I’ve been wanting to write for a while. While Consummation isn’t quite next up on my list of games to make, I hope you enjoyed a sneak peek at its characters and world!

In July, we released an updated version of our horror-mystery visual novel Lachesis or Atropos on Steam with the help of folks at Quill Yuri. Thank you for the hard work, everyone!

youtube

Check it out at

At the end of September, we released our survival-horror visual novel, The Final Prize is Soup, for Spooktober VN Jam. Amazingly, it won second place!

Jajajan!

A fulfilling year! (*¯︶¯*)

Upcoming

As for what’s upcoming in January…

I’ll be speaking again at Visual;Conference this year! The topic will be: The Art of Asset Reduction: Make More With Less

I will discuss how to reduce production requirements via the use of asset staging, recycled frameworks, and online resources, walking you through case studies of existing visual novels. This talk will guide you to answer the question: How do I fulfill my project scope without asset bloat?

Find out more at https://vnconf.com/

Happy New Year!

shino

Interested in getting updates straight to your email inbox? Subscribe to my newsletter!

#vndev #newsletter #happy new year #indie dev #gamedev #vn #visual novel #visual novel development #vnconf #visual conference #vn development #Youtube

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4noki-vns · 6 months

Text

Happy Halloween! Did you know? Three Lilies and Their Ghost Stories reached 1,000 downloads today!

Want to check it out and over 100 other Halloweeny projects? Check out the Queer Halloween Stories Bundle!

#reblog: other devs

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4noki-vns · 6 months

Text

[Short Story] Well, Not Teatime (WITRQ)

Happy Halloween! As voted on, I’ve written a short side story for Who is the Red Queen?

If you haven’t played our horror-fantasy yuri visual novel yet, do check it out for free! [Steam] [itchio]

Alice, Alice, the Red Queen is missing. The queen has been dismembered and Alice must find all her pieces.

Alice falls down the rabbit hole into a Wonderland not quite right. Meeting an eclectic collection of people, animals, and some things in between, she sets out on an adventure in this odd new place to find the missing Red Queen. Or, more specifically, to find the pieces of the dismembered queen whose body has been strewn across the land.

Please note that this short story takes place after the Red Queen ending and may be considered non-canon. As it takes place after a major ending, it will contain spoilers.

SPOILERS FOR WHO IS THE RED QUEEN? AFTER THIS POINT

Well, Not Teatime

This world was a wonderful world; someone once said.

A land more wonderful than the past, a wonderland formed of dreams, that person said; that person promised. That person wished for this world and left before she could see it.

Yet to its inhabitants, nothing seemed to have changed at all.

Sleepy days, fantastical days, the same days continued forever onward and onward. Although time passed as time was wont to do, today as well, the denizens of the realm stirred and spoke and supped and slept.

Today as well, in a corner of the forest, three sat around a table for afternoon tea.

The Hatter and the March Hare were having tea at a long table covered with tea things, and the Dormouse slumbered between them, her snout dipping in and out of a cup of tea before her. As it was no longer tea time, the Hatter simply stirred a small spoon in her cup and glanced upward at the morning sunlight filtering through the foliage.

"What day of the month is it?" asked she to the two.

As the Dormouse's head dipped once more, a splash of tea fell upon her eyelids. Letting out a yawn, she mumbled out a response, "Thursday the 40th? Waiting for a guest?"

The Hatter shook her head. "Surely you jest. A guest?"

No, there was no guest. Yet she found herself seeking someone, perhaps a flash of blonde or a flash of red.

"We've not the space for another!" The March Hare's voice interrupted her thoughts.

Then, the Hatter shook her head again, squinting her mismatched eyes toward the red, red armchair unclaimed across the table. "No, I'm only forgetting something, not a guest."

Or perhaps it was someone. The Hatter could not remember, for that was what it meant to forget.

At that moment, the table that they had crowded around one small corner of seemed terribly large. They had always been three, no more no less. Certainly three should have been enough, but she couldn't help but feel that one more wouldn't have hurt.

"The breadcrumbs on the butter knife?" continued the March Hare, "Or maybe the butter in Dormouse's tea. Oh, no, no, no, having tea without butter! Dormouse, Dormouse, taste the tea?"

"Dormouse is asleep again." The Hatter remarked.

The Dormouse stirred. "...And awake I am again. Must I have butter in my tea, March?"

"I prefer it without as well, truth be told," said the Hatter in addition.

The March Hare could not help but exclaim, "Yet you haven't touched your tea today!"

"Well, it's not teatime," said the Hatter.

The Dormouse responded, "Then where you should be is not here."

"You've best find the thing you forgot so we can have tea again." said the March Hare in agreement. "If it's in that great treacle-well of Dormouse's, then bring some back for us as well."

"...But I'm happy here with you," said the Hatter to the two, a flicker of sadness across her two colored eyes.

Now it was the Dormouse's turn to shake her head. "But you mustn't forget what you forgot."

The March Hare prodded the Hatter to her feet, following the Dormouse's cue. "Off you go."

"Will you be here when I return?" asked the Hatter.

"Of course!" said the March Hare.

"Of course we will, but this seems to be rather important so don't be in too much of a rush... I'll sleep and breathe and wait for you to return with what you forgot..." said the Dormouse.

"Don't return till you've found your butter!"

Thus, the Hatter set off on her search.

She could not return till she finished her task, not that she quite knew who or what she was searching for.

Oh, what terrible friends.

Walking, walking, she walked for a very long time.

The Hatter searched and discovered a ladder into the sky. She found such a sight certainly strange so began to ascend its rungs. Up and up she went, but the ladder seemed to have no end. Up and up she went, all the way above the clouds.

Then she lost her grip on the ladder and began to fall. Falling, falling, the Hatter fell for not a very long time.

She closed her eyes and braced herself for pain but instead hit the ground soft like a feather.

When she opened her eyes and tilted her head to see where she laid, she met a field of white. Patting the white, she found it neither cold nor hot, neither wet nor dry.

The Hatter stumbled to her feet and reached a hand to her head.

Her hat was gone.

She looked above her head. She looked to the sides, to the front and back, and finally below. Yet her hat was nowhere to be seen.

Pulling her jacket lapels closer to herself, the Hatter lamented. She lost her hat. Would she next lose her head? Already she had lost her memories.

How could the Hatter be a hatter without the hat to hat?

What she had lost, she could no longer see. However, of course, she knew that she had lost her hat. What she had forgotten, she could no longer remember. However, of course, she knew that she had forgotten something very important.

The unforgettable feeling of forgetting tugged at her heart and made the little cuts on her hands beneath her gloves ache.

She wanted to ask what such an important thing could be.

Alas, she did not even know if the thing was so important.

It had killed the mood for tea.

She loved it; she hated it. She yearned for it—and if it would go well with afternoon teatime, then she would be happy enough.

Thus the Hatter continued on her unmerry way.

White gave way to white till she reached a white gazebo in the middle of a faded garden. Within the gazebo sat a white woman with pale hair and gentle eyes.

Perhaps once upon a time, the woman had a name, but the Hatter no longer knew her name. The Hatter only knew that this woman was not whom she sought.

Nonetheless, the Hatter approached.

"Hello there," said the Hatter.

"...Hello, Mad Hatter. Please, have a seat. You must have many questions. I didn't think that you would come here so soon," said the woman. "Would you like some tea?"

"No, it's not tea time." The Hatter shook her head as she took a seat, peering at the woman's face that she could not remember. "You are—"

"A person who no longer exists, for my other half is long gone."

"And I seem to be searching for mine. Or something? My hat? It's a bit confusing, having forgotten what I'm searching for. It seems to be something red and something yellow, not treacle nor butter. Do you happen to know?"

"...It is already reflected in your eyes."

The Hatter's eyes contorted, red and gold, as she let out a laugh. "Ahaha, not you, I don't suppose?"

"No, the one you seek is a person who both of us held dear."

"She must not be very dear if I can't remember."

"Yet you can't forget. She chose you, and you chose her."

Still, the Hatter could not remember her red and yellow, pursing her lips into the slightest frown.

"...An annoying person," said the Hatter.

"...Yes. Hehe, she can be, but she is so very alone," said the woman in response.

"Do you know where she is?"

"Yes and no."

"How so?"

"She is... in a place that I can no longer reach, a place further than here. She will be where you search for her as long as you seek. Continue walking with her in your heart, and you will find her," said the woman who seemed content to finish there, but the Hatter waited for her to continue, so she concluded, "That is all I can say."

The Hatter thus rose from her seat. "Then I might as well be off."

"Yes."

"Auf Wiedersehen."

"I don't believe we will meet again." The woman paused before speaking terribly softly, "...But tell her goodbye for me."

"Well," said the Hatter. "You should do that yourself, don't you think?"

With that, the Hatter left the woman without a name.

She walked a bit. Then she gazed back over her shoulder, but the white woman and her garden had already disappeared, so without another choice, the Hatter continued onward.

Knowing not how long she had walked, a yawn escaped her lips.

These days she slept restlessly; she slept better, having forgotten why she might struggle to sleep. In that sense, to forget seemed to be all well.

However, it was not well. She wanted to remember and to know why a sudden hole in her heart had appeared without her realizing.

Walking, walking, she walked till she reached the edge of the white world

This was a place with no one, so she turned to leave.

Then a sudden soft darkness covered the top half of her vision. It was her hat, placed upon her head over her eyes by another whose face was blocked. The Hatter could not see well, but before she could move her hat up, she stopped.

Red redder than madder red filled her lower field of view.

She stopped.

Hands shaking as they reached for the brim of the hat, the Hatter's breath hitched and her heart seemed to pause, almost afraid that this mirage would disappear. She was afraid even though she did not know why. She was afraid, not for fear.

Perhaps, this was what others called love.

"Hello," said a voice, a girl's voice.

The Hatter knew the voice, which brought a surge of memories through her body.

At that moment, she remembered everything: a painful hate, a painful love, bitter and sweet. She wondered if this was the girl she had tea with, the girl she danced with, the girl who had at some point claimed that old red armchair, accompanying her many days and many nights.

She hated and loved that woman, that girl.

And certainly, she was not just a little annoyed.

But so be it.

The Hatter had, without knowing, already decided that she would drag the girl back for tea as promised to her two friends. It felt like teatime now, the Hatter's throat a tad parched.

The Hatter shifted the hat to see the girl's face for she needed to know.

So asked the Hatter, "Are you Alice?"

Like this sort of content? Sign up to my newsletter to get it straight to your inbox!

Also, heads up, Who is the Red Queen? now has some cute keychain merch thanks to our publishers over at Bellhouse. Do check them out! (I know you want it...)

#newsletter #who is the red queen?#short story #visual novel #yuri #yuri game #writing #sapphic #lgbt #lesbian #wlw #gxg #vndev #vn #yuri vn #happy halloween #witrq #hatter x alice

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4noki-vns · 6 months

Text

in case you missed it, Games For Gaza is an ongoing itch.io bundle providing support for Medical Aid for Palestinians.

it's running for the next 9 days with projects from 140 creators for only $10 (though you can donate more if you'd like). they've currently raised over $200k after just a couple of days.

#reblog: other devs

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4noki-vns · 6 months

Text

our latest queer romance visual novel releases tomorrow!

Follow Olive, a college student struggling to get through their classes and on the brink of failing when they're given one last chance—take a filler course and pass it. Through this they find themself in the middle of a feud between two former friends which has swept up their clubs and the people around them.

Twofold is a story about romance, relationships, and most of all—family.

it features...

a nonbinary protagonist and queer cast

2 female routes to follow with a bonus for completing both routes

several side characters to develop friendships with

a large original soundtrack and lots of CGs

150k+ words over both routes

full English voice acting

play the demo on...

steam ♥ itch.io

#reblog: other devs

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4noki-vns · 6 months

Text

Thank you for selecting The Final Prize is Soup as 2nd place in this year's Spooktober Visual Novel Jam!!

Our awesome teammate Pauline Reinacher drew this!

May every day be yuri in everyone's hearts (ﾉ´ヮ`)ﾉ*: ･ﾟ

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4noki-vns · 6 months

Text

The Final Prize is Soup 2nd Place!!?

The Final Prize is Soup won second place for this year's Spooktober VN Jam!!! Thank you so much to everyone on the team for your hard work!!!

(ﾉ´ヮ`)ﾉ*: ･ﾟ

If you haven't play our survival horror yuri visual novel yet, please do check it out! (^^

#the final prize is soup #yuri #visual novel #vn #vndev #spooktober #horror game #yuri game #yuri vn #lesbian #wlw #sapphic #im die thank you forever #omg??????#shooketh shino

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4noki-vns · 7 months

Text

The Final Prize is Soup: Character Design (2)

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Our Spooktober entry, The Final Prize is Soup, released recently at the start of October.

You who are unqualified to drink Meng Po's soup, you have been chosen for the game of life. Three worlds, three rounds. Win all three and you may avert your fated death. Lose any and your bones are forfeit for tomorrow's lunch broth. Good luck. Our ghosts have prepared their takeout containers, all plastic, non-microwaveable. —A survival-horror yuri visual novel.

Let’s talk a bit more about character designs!

Meet Cheng Yanxu (程燕栩), also known as Mimi (咪咪), one of two heroines in our newest visual novel.

A woman in her mid-20s. Our protagonist’s ex-girlfriend, a gloomy and introverted pretty girl who seems very attached to her cellphone.

visual design

Throughout the game, she wears a black cat hoodie over a pink dress—a semi-pastel goth attire. Frills and jirai-kei fashion would suit her!

For her day job, she would wear a more plain outfit, but these are her casual clothes.

The key points about Yanxu’s design:

extra color in her hair! (self-explanatory)

girlish quietness! (a slightly gloomy vibe but she is doing her best)

kitty cellphone case! (a cat motif, like her nickname)

From the oldest sketches of Yanxu’s design (pen on paper the oldest), you can see that much of her design was set quite early on: hairstyle, jacket, dress, cat phone!

Initially, I contemplated giving her dyed strands of hair in her bangs, but for ease of drawing, the dyed hair was moved to the back.

You might’ve noticed the messy note “maybe no jacket” in the old pen on paper sketch, but I decided to keep the hoodie for a bit more of a cozy look. (Though it’s never quite mentioned in game, the story takes place in autumn!)

Although the neck area of the dress was modified from a collar to a turtleneck look, her dress kept a relatively simple look for ease of drawing given that this was a jam game! I hope I still conveyed her cute-femme and slightly gloomy vibes. (I want to see her in a frilly outfit too…!)

And the kitty phone case is a kitty phone case all the way through! (Although she got a phone strap to attach to it once I iterated on the case a bit)

What about colors?

Unless particularly plot necessary, I don’t usually think too much about colors when drawing my initial sketches. Thus, I had quite an adventure deciding the palette while making her character sheet.

In another world, she would have a yellow/orange palette with light brown hair!

The main limitations for the cast’s colors were:

There can’t be too much overlap between their main colors.

Their hair colors must be natural or reasonably obtainable (for the human cast).

Even the pink highlight in the back of her hair wasn’t decided until lots of trial and error later. Initially, I tried light blue streaks in her bangs before quickly transitioning to indigo-blue dyed hair in the back.

After lots of experimentation with the colors for her outfit, I ultimately went back up and added the pink.

Color, what a thing!

My daughter is doing her best…!

It seems that she’s more expressive around our protagonist Hailu…

How did Yanxu die? Why is she also in this strange and cruel series of death games?

If you haven’t played The Final Prize is Soup yet, please do check it out! (o´▽`o)

shino