[New cool pick up line: Hey baby can I help you fill in your CG gallery?
Anyway Fukuda leans over, putting his hand on the side of Aoi's head to tilt it up slightly before planting a kiss on her lips. It's a little clumsy, as all of his actions have been, like he hasn't had a lot of practice. Which is because he hasn't and is just copying things he's seen on tv. It's fine.]
Ah, isn't this out of order? [Realizing, belatedly. Cool things to say after you kiss a girl.]
[ aoi is definitely not a critic. she exists to take pleasure in what she does with people, so everything he's done has seemed just fine to her. she returns the kiss, matching it at what it is without pushing for more or drawing away. ]
... I suppose that makes sense. Sex is an animal act, after all, even if it can bring people together in other ways. [Sometimes you just brain chemicals.]
Some stories just put sex in to sell, when it could just as easily be removed.
Aoi is usually in stories where the sex is a necessary part of the story. It makes characters change, or represents that they already have. But even in that kind of story, if the sex doesn't come until the very end of the story, readers will get impatient.
[As someone who reads a lot of books and watches a lot of tv this is actually pretty interesting to him, the genre construction and conventions of a medium he's not especially familiar with.]
I see. It's a matter of balancing titillation for reader retention, and maintaining some sort of character arc? In a way, that makes it not that different from detective fiction. [Sir?]
[Whether she's interested or not, he's going to talk about it.]
Well, with anything, really, you need to keep the reader interested, I suppose. But with detective fiction, an mysteries in general, you need to give the reader enough information that they can come up with their own theories and thus desire to read further, but not so much that it becomes obvious to them, and they become frustrated with the detective for not having solved the case already. Conversely, if there aren't enough clues, and the detective simply solves the case due to being an incredible genius, or by producing information the reader didn't have, the reader might grow confused or bored, or then irritated at a twist that wasn't properly set up. The detective should be just about one or two steps ahead of the reader at any time, so the reader can follow behind but not catch up to them. [What does this have to do with sex.]
Sometimes flexibility is helpful. But if you're completely at a loss, there might be some appeal in having something with a pre-established structure and convention the way many mysteries do.
No, but there are characters besides that in a detective story. The detective and the culprit are the major ones, but there are other characters that are just as important.
Usually both of Aoi and the player should be able to save and load. That way when the player is on another route and Aoi has to fade into the background, Aoi can reload a different file.
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Anyway Fukuda leans over, putting his hand on the side of Aoi's head to tilt it up slightly before planting a kiss on her lips. It's a little clumsy, as all of his actions have been, like he hasn't had a lot of practice. Which is because he hasn't and is just copying things he's seen on tv. It's fine.]
Ah, isn't this out of order?
[Realizing, belatedly. Cool things to say after you kiss a girl.]
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It's surprisingly common.
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Really? I suppose you would know better than me.
[Being a romance game character.]
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But sex before feelings is common, and using a kiss to represent real love later on happens a lot.
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... I suppose that makes sense. Sex is an animal act, after all, even if it can bring people together in other ways.
[Sometimes you just brain chemicals.]
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Aoi is usually in stories where the sex is a necessary part of the story. It makes characters change, or represents that they already have. But even in that kind of story, if the sex doesn't come until the very end of the story, readers will get impatient.
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I see. It's a matter of balancing titillation for reader retention, and maintaining some sort of character arc? In a way, that makes it not that different from detective fiction.
[Sir?]
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[ and, not that she sounds it, but? she is interested? ]
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Well, with anything, really, you need to keep the reader interested, I suppose. But with detective fiction, an mysteries in general, you need to give the reader enough information that they can come up with their own theories and thus desire to read further, but not so much that it becomes obvious to them, and they become frustrated with the detective for not having solved the case already. Conversely, if there aren't enough clues, and the detective simply solves the case due to being an incredible genius, or by producing information the reader didn't have, the reader might grow confused or bored, or then irritated at a twist that wasn't properly set up. The detective should be just about one or two steps ahead of the reader at any time, so the reader can follow behind but not catch up to them.
[What does this have to do with sex.]
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... Romance is easier. It's a lot more flexible.
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Sometimes flexibility is helpful. But if you're completely at a loss, there might be some appeal in having something with a pre-established structure and convention the way many mysteries do.
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[ ... wait. ]
The victim?
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Aah. I think that's the role Aoi would have.
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Is Aoi going to die?
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No, because this isn't a detective story. There's too many characters for that.
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[This implies she could still be A victim???]
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Except for that Aoi hasn't been able to save the game since coming here.
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How do you do that? Isn't that something for the player to do?
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... I see. [He feels like that's not the way things are supposed to work, but far be it from him to question Aoi.]
Would you be able to tell if the player saved?
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... I suppose we shouldn't stay like this much longer.
[Who knows when Kaz might come in, since I'm arbitrarily deciding they are in Aoi's room.]
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