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bigskydreaming · 5 years

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Tbh, my policy on pirating is pretty simple. I honestly dont give a fuck one way or another w/movies, TV shows and even comic books, bc the former two have managed to account for pirating in the way they pad their expenses and tbqh they dont really hurt for it. And with comic books, okay if you pirate indie or creator owned content you kinda suck, not gonna lie, you have NO idea the kind of effort and upfront costs that go into producing comic books without Marvel or DC backing you up, not until you actually try it. Its obscene. Especially if you’re not able to do all the art AND story AND inking/lettering/coloring yourself, and have to either pay other members of your self-assembled creative team upfront or on the backend.

And this includes comic books published by Image (at least the ones without big name creators attached), because contrary to popular belief, Image has nothing to do with assembling the creative teams of most of their creator owned books, and they certainly don’t pay them any kind of wages or salaries. The way Image is set up is creators basically submit a complete first issue, all the art, inking, lettering, coloring, everything already done, to see if they’re interested in publishing.

(Technically, you only have to submit the first eight pages in order to get a response, and theoretically its possible that Image has in the past greenlit books based on the first eight pages of the book, which then allows the creators some leverage in convincing the entirety of their creative team to put in the upfront work to complete the rest of the first issue still without payment, but at least trusting now that their work will see publication, but like, this doesn’t really happen much from anything I’ve ever seen or heard or experienced).

Anyway, point being, Image takes submissions and then greenlights the books they see as potentially profitable, but again....they in no way ever pay creators themselves. Creators only make money via the actual sales of their books, once published and distributed by Image...and only AFTER Image takes their cut, which is a flat fee deducted from the sales of individual issues. Its actually a good thing in some ways, that they only take a flat fee (their cut is for publishing and distribution costs, Image NEVER owns any part of the intellectual property they publish, unless they’re part of their ‘shared Image universe’ which tbh is just like, publisher Erik Larsen’s little sandbox for him and his friends and who even cares, those books suck, Savage Dragon is lame, Erik, and everyone knows Shadowhawk was a blatant rip-off of Darkhawk, and look, I love Darkhawk with all my New Warriors fanboying heart, but of all the characters in the world to rip-off, who the fuck considers Darkhawk worth being derivative of? So weird. BUT I DIGRESS. ANYWAY.)

So in some senses the fact that they only ever take a flat rate is good, because in the rare cases of runaway books that really take off, the way Invincible and The Walking Dead were back when Robert Kirkman was still a no-name indie creator, like...the creator has the potential to make BANK. Which is exactly what Kirkman did, and why he’s now every-fucking-where, ruining all our other faves like who the fuck thought HIM producing a Chronicles of Amber show was a good idea, ewww. He’s gonna dial up the incest to 100, isn’t he? Sigh. UGH WHOOPS ANOTHER DIGRESSION, LOL YOU SEE WHY MY ADHD MEDS ARE ESSENTIAL, I ASSUME.

Ahem.

BUT in most cases, the fact that Image takes a flat fee off the top is like....shitty, because the last I heard - and tbf, this was years ago so its probably not the same anymore, but that means it could be worse - it was something like $2000 per issue. Which means the vast majority of indie creators you’ve never heard of before or after they published a six issue mini or whatever through Image never saw a cent. I’ve never heard of Image putting anyone in debt, like that’s not how they work at least - if your book doesn’t even make up to $2000, its not like you owe them for the remainder, but again, you just....never make a cent off it. So like....the reason a fuckton of Image books never make it past issue #6, if they even make it that far, is that the creators literally just can’t afford to keep producing out of pocket, financing the actual creative production costs of each issue themselves without making any profit on the backend, if they’re not ending up selling more than $2000 worth of issues once on the shelves, physical or digital).

So don’t fucking pirate Image comic books, plz. Just don’t do it. Unless they’re Erik Larsen’s. Pirate away, who gives a fuck, I hate that guy. LOLOLOL I’m such a petty asshole, ugh. Whatever. I blame my childhood.

ANYWAY. As I was saying, I don’t really give a shit about pirating from Marvel or DC, which maybe is bad of me because its not like those creators necessarily make bank either, unless they’re one of Marvel/DC’s faves and like, have their pick of titles at any given moment. But the way most of them are paid is Marvel and DC pay their creators actual salaries based on rates per page, and then Marvel/DC keep all the actual royalties themselves. The only exceptions to this are when issues sell more than 50,000 copies - that’s 50,000 individual copies of physical or digital issues, not $50,000 worth of sales like with Image. Once a creative team’s book sells more than 50,000 copies of a single issue however, THEN they start getting a cut of the royalties, as like a bonus incentive type thingie. But tbh, its pretty rare in today’s market for a book to move that many issues monthly, and only the top sellers of both companies end up in that rarefied air....and most of those books’ creative teams are the favored writers/artists anyway, the ones who have a degree of job security and never tend to lack for titles to shift to after ending a run on one book. Sooooo, they’re kinda the reverse of the creators who could actually use a cut of their books’ back end profits, but whatever.

So like I said, fuck Marvel and DC, like...corporately or whatever. Of course there’s no doubt that pirating has some definite correlation to how few books are able to move 50,000 issues monthly, but both companies have always been notoriously shitty to creators, and that’s not pirating’s fault, and less pirating honestly isn’t going to change that b/c the ones to benefit from less pirating first and foremost are still going to be the same ones who aren’t really that hurt by it currently....loooooooong before the lower rung creators start to see an uptick in profits as a result. And let’s be real, if Marvel & DC suddenly started seeing a surge in profits due to a marked reduction in piracy, they’d find some excuse to shift payment structures around again in order to still keep a lion’s share of the new profits while cutting the lower rung creators (read: new/just starting out/niche/lacking leverage creators) out of seeing much additional profits. Because the problem with creators making money off Marvel and DC IPs isn’t really pirating, its Marvel and DC not wanting to share the money made off their IPs, even with the people most responsible for those IPs generating revenue.

That’s the part of the pirating convo that most people miss, IMO....a rising tide just DOESN’T lift all boats, if one or two boats in particular are specially designed to make the most of any tiny uptick in a rising tide while all the other boats are made of the leftover shoddy materials and are undermanned or understaffed or whatever and can’t actually DO anything productive with any of the lift generated by the rising tide.

And if that made no sense, eh, idk, don’t blame me. Its not my metaphor.

ANYWAY. So that’s why I don’t really give a shit about pirated movies or TV shows or Marvel or DC books, though I do still think you suck if you pirate indie content including lesser known Image creators. You guys have srsly no idea how much harder indie comic book creators have to work compared to like, any other medium. It makes me wanna cry. Its ridiculous. It would take too long to explain just WHY its so much more of an ordeal/effort to produce indie comic book content than just about any other form of indie content save like, running an entire webshow with one or two people wearing all the hats while funding everything out of pocket and overseeing everything production wise and also being a key creator involved in creating the actual content.

BUT as I was saying in the last post, pirating novels is an ENTIRELY different thing, and I have vastly more opinions there than I do with other mediums. Because the publishing industry was designed to exploit and capitalize off the intellectual properties of INDIVIDUALS, unlike all those other mediums that are inherently collaborative and thus usually involve the combined efforts of several to dozens of people.

So at the end of the day, individual authors will ALWAYS suffer more from pirating, looooooong before publishing companies ever feel a ding in their profits. Because they designed it that way. Specifically SO that they, the big companies, would be protected. Its set up so that individual creatives, the authors, NEED publishing companies more than publishers need any singular author. Obviously the rise of indie publishing has changed this somewhat, but not as much as you might think.....because the thing is, indie authors are really only successful and profitable by the grace of Amazon. By the fact that Amazon can afford to pay authors 70 percent royalties on any sale as opposed to traditionally published authors who are lucky to get a ten to fifteen percent royalty rate on sales, with them not even seeing a cent of those royalties until AFTER their advance has already been paid back, if they ever even sell enough to make that happen at all.

And so like....its a very dangerous, precarious, and not at all trustworthy situation that allows for indie authors to CURRENTLY be profitable in ways or to degrees that a lot of traditionally published authors can’t be.

But that’s only because Amazon is taking a loss on most of the books they publish, due to this payment model. Because Amazon CAN. They can afford it. They make enough from all their other departments and revenue streams to buttress those losses. And Amazon has been using this, and using indie authors, to leverage traditional publishers into giving up more and more of THEIR profits from THEIR books, by giving Amazon even steeper discounts on the books they distribute to them, to be sold to consumers by Amazon.

And again, like I said before, its the individual creators, the bottom rung authors, who take the hits here first and in the biggest ways, because it remains true that the publishers have designed their payment structures so as to use the profits of individual authors to compensate for their own dip in profits.

And Amazon isn’t doing any of this for the little guy’s benefit. They don’t care about giving indie authors a leg up, an alternative to tradition publishers. They only care about CURRENTLY making indie authors need traditional publishers less than trad publishers need them, for a change.....but ONLY so that Amazon can rake in the increase in profits first and foremost.

Because here’s the kicker. The thing I worry too many indie authors and readers don’t account for.

INDIE AUTHORS STILL NEED AMAZON MORE THAN AMAZON NEEDS THEM.

Amazon is VOLUNTARILY taking losses on their book sales, and have been almost from the start. Because they don’t NEED that department in particular to be profitable for them NOW. They’ve been angling for a long time to get as close to an actual monopoly on the book market as is possible under current free market laws. So the thing is....unlike traditional publishers....Amazon doesn’t need ANY indie authors OR sales. Like, AT ALL. They could shut down their entire indie book model tomorrow, and not really be any worse off for it.

And the second Amazon doesn’t need indie authors even as LEVERAGE to pry more profits out of traditional publishers....you better believe that 70 percent royalty rate is going to vanish literally overnight. Because there’s absolutely nothing in Amazon’s business model or legal obligations to indie authors that requires they maintain it, or protects indie authors from having it suddenly dropped to a five percent royalty rate at Amazon’s whim.

So the second the scales tip far enough that Amazon decides they really don’t need or want to milk anything else out of traditional publishers, they’ve gotten as much of a price cut or a monopoly as they’re going to get or want to get without forcing publishers (and by extension their own ready made product that Amazon then distributes) out of business.....Amazon is going to quite happily STOP taking a loss on the sales of all these indie titles, and say well, we don’t need you as much now, so we’re gonna just give you ten percent royalties, take it or leave it. Its not like you have any better options at this point.

So whether traditionally published or indie published, pirating books hurts individual creators in very real, tangible ways that creators in other mediums aren’t affected, or are supplemented or buttressed against.

I say all this not to guilt anyone, but simply to provide information. Because there’s always so much discourse going back and forth around legality of pirating and ethics of pirating and so much stuff that’s not even consequential or relevant if people don’t even understand the MECHANICS of how pirating affects various mediums. So they can then make INFORMED choices on how they feel about pirating certain content versus other content.

As I was saying at the start of all of this....I have my own personal stance on pirating, and I don’t expect it or need it to be anyone else’s personal model. Like I said, I don’t really care about other mediums, and when it comes to novels, I’m against it as much as possible, but with caveats. Lots of people, including authors, describe novels as luxury items, and as such say that nobody’s justified in taking one for their own personal entertainment just because they WANT it. I differ from that POV because I honestly don’t consider books a luxury. I consider them to be absofuckinglutely as essential to the survival and THRIVING of the human condition as food or rest. Far more so than TV or movies, which not everyone has access to, or finds as easily accessible. Bottom line.....I fall in the category of arguing that its not enough just to survive. People have to have reason to survive, to live. Things to look forward to. Things to enjoy. Feeding the human spirit, as cheesy or whatthefuckever as that sounds, is every bit as essential as feeding the body. I would not have survived my childhood without books. I would not have survived my twenties without books. Hell, I would not have survived this YEAR without books.

So, even as an author myself, and yes, I have written stuff that’s been pirated (I made a fairly decent living for a couple years as a self-published indie author of m/m erotica and m/m erotic romance short stories, novellas and novels, and those particular genres/markets get the SHIT pirated out of them. So trust me, I am VERY much putting my money where my mouth is on this subject).

But yes, even as an author myself, I have zero problem with people pirating stuff because they honestly, truly legit can not afford it otherwise. Its not a lost sale. If you don’t have the money, you don’t have the money. It doesn’t mean you still don’t need, let alone deserve, to have something to take your mind off your poverty, your stresses, your issues. And even if you technically have the money to afford a book, I’m well aware that doesn’t always mean you ACTUALLY have the money to afford it in any meaningful way. If you have five bucks to spend for the day, and a choice between a book and a bagel, or like, an actual sandwich and drink, that’s not a fucking choice that ANYONE should have to make. Use that five dollars to buy yourself a fucking sandwich and just pirate the book, I say. You can pay it forward when you get the chance. You find yourself with more money at a later point, by all means, go back and buy a legit copy of that book, your money’s still good then, and having had that book to enjoy at an earlier, more stressful time in your life might very well have contributed in even the tiniest of ways to you getting to a place where you had better finances and more spending money.

Yes, obviously, I am a big fan and proponent of libraries, and I think you should always go there first, if possible, to get your free literary content. Libraries are great, and they have a LOT more content, and more of a range of content, then a lot of people realize.

I am however aware that libraries are not necessarily practical for everyone. Sometimes you just plain can’t get to one, you have transportation or mobility issues or live in a household where your reading habits or interests are frowned upon or even penalized, because sometimes, parents are awful. Sometimes libraries just don’t have the content you’re looking for. Content is subjective, depends on staff, geography, community. LGBTQ+ kids shouldn’t have to risk being seen looking through the LGBTQ+ section of the library or checking out a book, if they’re not out at home or school or in their community. By all means, I would much rather a kid in that situation pirate the fuck out of their comforting, soul-sustaining LGBTQ+ themed books than risk upsetting a currently safe and secure status quo. Again, just pay it forward when and if you can, at a later date. And so on and so forward.

BUT, again, there’s caveats there, because with books, I consider it a case by case basis, and the case in question is the individual consumer. The above scenarios IMO are based entirely on the genuine, sincere situation of not being able to afford a book in any practical way, and not having a library as a valid option for getting that or any book.

This is an entirely different situation from HAVING the spending money, and being perfectly capable of dropping five bucks on a book versus five bucks on one of those much-talked-about-in-pirating-convos Starbucks’ lattes that you don’t NEED any more than anyone supposedly NEEDS to read a particular book.

If you CAN afford to pay full price for a book without dipping into funds intended for other practical necessities or hurting or even inconveniencing you in any meaningful way, if you CHOOSE to pirate a book you can access or download through legal channels with just as much ease as you can pirate it...(again, I’m aware that due to bullshit territory laws, not all content is legally available in all areas at all times, and this isn’t what I’m talking about).

I’m talking about if you’re NOT in a bad - not just slightly uncomfortable - but BAD, financially tight, thrifty, constantly stressed situation where its honestly a Sophie’s fucking Choice trying to decide if you’re gonna shell out your money for the sequel you’ve been waiting on pins and needles for for a fucking year and its been the only thing getting you through some days....or if you’re gonna like, eat today....

THAT’S when I have no patience for your piracy, specifically. Not when it comes to novels and the bottom lines of individual, hard-working authors, most of whom have to spend their lunch hours or come home after work to soak their blood, sweat and tears into the manuscript that becomes the book you just pirated. I know what I said about indie comic book creators having it so much more fucking tough than anyone else knows or realizes, but that doesn’t mean that midlist and lower than that authors don’t work DAMN fucking hard on their product, even after working forty hour weeks at some minimum wage job that’s every bit as soul-crushing as the worst job you’ve ever held.

And you’re not a fucking rebel or revolutionary if you’re taking money out of THEIR pocket, when you don’t need it yourself, just because you can. You’re not sticking it to the man, or teaching greedy capitalist publishing pigs the error of their ways. They don’t care, and you’re just being a dick.

Entitlement isn’t always a bad thing, I believe, because we ARE all entitled to certain things. A broke, disabled person with transportation issues and disability benefits that aren’t even enough to cover their actual living expenses is IMO every bit as ENTITLED as anyone else to a nice, stress-free, enjoyable read they picked out because it was precisely what they were looking for and not because it was the only thing out of ten available options that looked halfway decent. I will never ever judge or condemn or disparage someone for pirating in a scenario even REMOTELY close to that.

But that doesn’t mean that gratuitous entitlement doesn’t always exist, and isn’t obnoxious as fuuuuuuuuuuck. You’re not entitled to whatever you want, whenever you want, for as little as you feel like paying for it, just because you WANT it. And just because you can GET it, consequence free. If THAT’S the defining motivation or influence behind pirating the debut novel of a single mom working sixty hours a week to support her kids PLUS hanging onto her dreams and pounding out her novel over the course of a year and a half on her lunch hour.....then yeah, you fucking suck, and you know it, you whiny little shit who identifies with this paragraph and goes "who me? YOU DONT KNOW MY LIFE!” Yeah, I do. We all know someone like you. You’re not special.

Just like I know that author profile I just described there was not grabbed out of my ass, but describes someone very real and not at all embellished, and she’s not even the author I know in the most stressful scenario-whilst-writing. She certainly wouldn’t even consider herself in the Top Ten. And her publisher passed on the option for her sophomore novel, because her much-pirated book never made back the $25,000 advance she was paid over the course of three installments, which meant after taxes, she got an extra $10,000 bucks spread out among three eight month intervals, or just under two years.

So yeah. That’s where I fall. Soundly in the same camp I fall in most things: Actions have consequences, and you should always make an effort to be informed on what those consequences are before deciding whether or not you take action.

Let’s be real, no one’s effectively policing whether or not every individual consumer on the web pirates casually, extensively, or religiously, if at all. Its not likely EVER going to be an issue for you. That someone can actually keep you from pirating because you’re genuinely afraid of legal consequences.

But you shouldn’t need the threat of legal consequences, the question of can I get away with this or not, to police your own actions.

And at the risk of giving anyone whiplash, I for sure don’t give a fuck about the legality of taking away from the bottom line of massive, multi-million dollar corporate interests if I can get away with it. I’m just as entitled to keeping my five bucks that I worked DAMN FUCKING HARD FOR, as the people most likely to see that money even though they didn’t log a single actual hour on producing the content they’re charging five bucks for, IMO. I’m perfectly aware there’s a shit ton of people who’d call that rationale self-serving bullshit and hypocritical, but bite my lily-white Irish ass, I don’t give a fuck. I’m comfortable with my own morality.

But part of the reason I’m comfortable with my own morality, is that it tells me that even though there are times when I think I’m entitled to certain things I can’t necessarily afford, there are also times when I know I’m NOT entitled to things I may just not WANT to afford. Any time you’re able to justify ALWAYS having things your way without it ever costing you any kind of concession, I think that’s usually a good sign it might be time to stop and take a second look at yourself. Nobody gets to have everything their own way, to their best liking, all of the time.

But the flip side of that coin IMO, is that nobody should be penalized to NEVER having anything their own way, to their liking, ANY of the time. And if that’s the situation you’re in at some point in your life, and pirating’s the only available option to giving yourself a break from your regular monotony or currently-shitty-reality? Like, who the fuck am I to tell you not to pirate that feel good book or movie that has the chance to let you go to bed later with an actual smile on your face for a change? Who the fuck is anybody to tell you that?

*Shrugs*

There’s my two cents: The Ten Volume and Unnecessarily Long Saga.

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jobsystem-blog · 5 years

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possibilities for pc agency in choice of games romances

long post under the cut about my feelings about romance in games, particularly choice of games (along with stuff like genderflipping characters based on the pc’s gender and sexuality), basically just wanna vent + organize my thoughts on this! [cw for sex mentions + a single assault mention]

i’ve been playing and thinking about a lot of choice of games recently. i’ve always been drawn to them because nearly every one features lgbt characters and romances, but as much fun as i’ve had with the format, as well as the individual settings and characters, that romance aspect that had me so drawn always fell just a little bit flat. a lack of individuality and character in romantic options. they generally weren’t defined, and were customizable to the point of being boring. even now, even when they have their own personalities to some degree, none of the intimate moments between your characters ever feel real or special, because they are either the same across different romance options (choice of the deathless is a sore spot for me lol), or the moments aren’t integrated into the plot and don’t have any sort of emotional basis (i.e. they’re just tacked on)

i remember my first cog that wasn’t just the basic choice of dragons, romance, etc., heroes rise. you only got one love interest, who looked just like a specific celebrity you chose at the beginning of the game. in the next game, you literally choose another love interest’s name for them. of course, genderflipped chars tend to have this issue worse than characters with established genders, not because of that inherently, but because the lack of characterization and high customizability shows even more blatantly. that being said, even non-genderflipped characters can feel cookie cutter and boring after the first playthrough (again....choice of the deathless*)

over the course of the heroes rise series, you do actually get the chance to have romances with established characters, which really intrigued me. i never actually finished those romances (particularly not jury, which REQUIRED you to nonconsensually kiss him to begin the romance, but that’s a whole nother thing), but i remember being really excited realizing you actually could have a relationship with jenny, jury, and prodigal. especially since they felt like they each had their own sexualities, rather than just being bi for convenience, or straight/gay based on your sexuality**

there was something about those romances that felt, to me, much more integrated in the plot. like i was actually having a real romantic subplot in some superhero movie, instead of it just being tacked on and empty the way some of the romances felt***

over time, choice of games have definitely focused more on character development than their predecessors, with a much higher volume of characters with set genders and sexualities. the problem is....it hasn’t been nearly enough

i get that not every game is going to have romance be a big deal. my issue with this is that if you’re going to include romance, it should feel like it’s part of the story, not just some random aside. if writers aren’t going to give as much attention to romance as other parts of their story, why even bother including it? i think cog authors need to start understanding that there doesn’t need to be romance in their games for people to enjoy them, and boring romances don’t do anything for the quality of their stories

i’ve been quietly frustrated about this for a while now, but after playing heart of the house, with its relatively well-developed romances (and surprisingly detailed sex scenes lmao), my issues with how choice of games typically handle romance have become clearer in my head. i’m realizing now that the level with which heart of the house incorporated romance into the story should be the bare minimum that a game that markets itself as having a romance element should. even the one genderflipped character had a fleshed out personality, and good romantic/intimate scenes.

that being said

heart of the house still falls into some of the same traps that virtually all other choice of games do:

1. “pick this one specific flirty option to begin the romance”

this isn’t specific to choice of games, pretty much any game with romance that’s not a dating sim does this. it’s frustrating, because it only really works with certain pc’s personalities. i wanted to romance bastian in heart of the house with a weird occult nerd who doesn’t quite understand social conventions, but finds himself falling for bastian over time. i eventually had to break character if i wanted anything to happen, because apparently in the world of choice of games, characters can only understand love/flirting if it’s in the form of a saucy pickup line, which again, works for some characters (like the one i romanced dev with in another playthrough), but not for others.

the solution: give players multiple ways of starting a romance that can suit a variety of personality types. allow multiple ways to flirt, allow ways to subtly indicate your interest to your prospective love interest for people who wanna make shy, passive characters, and give multiple points at which a romance can start throughout the story so that people can experience their characters gradually falling in love instead of having to miss out on their chance to romance a character because they didn’t imply they wanted to fuck within the first five minutes of meeting them

2. linear romance

despite giving you a bunch of other personality stats and traits for every other part of the game, romances generally tend to play out in the same linear ways across playthroughs. somehow all these things affect every other part of the story....except for romantic + intimate scenes. it really breaks me out any immersion, especially when my character has to act out of character to even access any romances in the first place.

the solution: give players more agency during romantic + intimate scenes. let them take the lead, or allow the love interest to. let them direct the flow of the scene, just like any other non-romantic scene in the game.

3. genderflipping and perspective

genderflipping is controversial among the cog player base, with the majority of people relaying a single criticism of it: accusing the author of writing a character as a specific gender (male or female), and then just switching pronouns. another related complaint, is that of authors writing love interests for specific genders of pc (for instance, the way the sex scene with dev is written makes me think it was primarily written for a female pc, particularly with the way your male pc’s sexual preferences are basically decided for him). it’s true that many games do give off this vibe. however, many of the complaints strike me as strangely essentialist, as if a character should have a completely different personality if they’re male than if they were female, it’s true, gender has a huge impact on people, but this essentialism denies the reality that we are all human, we are all suggestible and influenced by our environments (which imo, largely account for gender differences in personality trends), and there is no one personality trait that every woman has that every man does not, and vice versa. i think we can criticize heteronormativity, homophobia, and misogyny without reifying the concept that men and women are intrinsically different on an emotional and personal level. imo, this very essentialism, where characters whose genders are variable across playthroughs (both love interests and the pc) are written from a specific gendered perspective, is what causes people to be alienated during romances, one way or another

the solution: again, this is where player agency comes in. allowing players to define their own narrative based on their own idea of their character will help players feel connected to their character. additionally, having a strong idea of what a character is like is key. rather than defaulting to heteronormative assumptions of how romance and sex must play out for male love interests vs. female love interests, take a minute to actually think through the personality of your character and what their preferences would be like. this is what i loved about bastian in heart of the house, because though he was a genderflipped character, what he was doing in the sex scene felt very in line with who he was, regardless of gender. meanwhile, dev’s sex scene was...well-written, but didn’t really speak much to dev’s character, in my opinion. in some ways, it almost felt out of character, and it was certainly very ooc for my pc, who was an outgoing flirt who liked to take charge. if you have a strong handle on what kind of person your characters are, they’ll seem genuine regardless of anything else.

4. integrating romance with the story

oftentimes, you can tell right away when a romance scene is going to be happening in a cog. the story suddenly gets diverted from w/e you’ve been focusing on until now, onto either some circumstance that has very little plot relevance, but is contrived to bring you and another character together, or a circumstance that does have plot relevance, usually with a brief diversion focusing on your chosen romance, followed up by the consummation of your relationship shortly after. even when you’re romancing a major character, during plot-important scenes, their dialogue with you often does not change, regardless of the level of relationship they have with you (enemies, friends, lovers, etc., it’s often all the same). the fact that you’re in a relationship with any given person generally doesn’t affect the overarching plot (except for choice of romance, ofc), and romances often feel tacked on for extra flavor. i don’t think i’ve seen a game that combines all these issues in one (except like....choice of the dragon but i dont think that counts lol), but most games have at least one element of this. in heart of the house, the first and only intimate/sex scene you have with your love interest always happens during the ball, and at no other time. in dinoknights, you may as well not have had a romance at all, except during a few brief asides.

the solution: this one is more complicated than the others, but even if you don’t want the player’s relationships to directly affect the main story, romantic + intimate scenes often feel much more integrated when they aren’t mainly segregated to defined “romance portions” of the game. a better way of approaching it is letting the story happen as it will, making sure love interests are interesting, well-defined, and relevant to the story, and considering how a romance might affect events as they play out. in my own game concept, there is a choice you can make that determines whether a certain character lives or dies. if that character lives, the aftermath of the danger that threatened them results in a vulnerable moment for them, and is the first point at which you can start a romance with them. this event would happen in the story regardless, but the way it proceeds would change based on your relationship with and reaction to them and the event, making a pivotal part of the story a similarly pivotal part of the development of your relationship.

i don’t know if this is all i want to say on the subject, but i wanted to get my thoughts out and down, for reference and also to help me think through the subject

congrats if you managed to read and stay interested in all of this lol

*ironically, the genderflipped character in deathless was the most interesting romance, iirc **i don’t actually think this is inherently a bad thing, but having characters with a variety of sexualities makes every other character’s sexuality feel more fleshed out, imo ***that being said.....i really did love lucky when the hero project first came out djshkjhs ****i’m referring to bastian with he pronouns, because that’s what he was in my playthroughs, and i don’t actually know what the female version of his character is named

#💌#🌱

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