![]() ![]() Ability to play through the game as a virgin more easily - Who wants to do this anyway, its supposed to be fun and full of sex.‘Fuck Flavor’ now takes into account gender of the hookup.Hookups now take into account sexuality.Ability to play through the game as a bisexual or lesbian more easily.Casting Couch Scene extended and made easier to access - Who doesn’t love a cum stained black leather couch, amirite?. ![]() Backpacker Gap Year Arc - Too cool for school here ya go.Workout College Arc - Gotta burn that freshman 15.Towel ‘Outfit’ - At first was thin but now covers all the bits.Workout Outfit - Mmmm bring on those yoga pants and stretches.And with 0.5 there will be scenario arcs with the open-world system which will operate like mini-adventures or missions for Claire to ply her fledgling spycraft.Ġ.4 Sneak peek - A little taste for you before a big release. There could be other arcs as well – a new arc for a Clique in HS, experience in College or Gap Year. There are many ways to add your ideas and writing to the game: there are the vignettes that already exist and could be easily added to HS, College, Gap Year. If you’re interested in being a content contributor, I’d love to have you. If you’re curious about specific portions of the current story, or any of the process above, I’d love to hear your questions and answer them! A little insight to how the story is being made, sausage and all. With notes and framework complete, I look to the next passage and continue the process.This is most efficiently done with variables that I can check in the future, but every single one of those that exists means it needs to be used sometime in the future, preferably more often than not and that makes future writing more complicated. Once the writing is done, I make notes about how the different paths might affect where Claire is going or how she’s entering the next passage.While I do try and be efficacious and if I *can* simplify, I will – if a couple choices go the same route, I’m not going to make things harder for myself – but I usually want to give some flavor or color to each, even if that means slight stat changes. In some areas, this can be – essentially – four or five (or more) passage length compositions. This is where things get pretty complicated because now I write versions based on those choices or variations.Usually all the writing is done in the code (thanks Fict and Mira for fixing my errors here! It’s a bear) since it’s easier for me to understand where the continuity breaks will be because of checks or decisions. It’s usually pretty free-form with some revisions and rewrites if I find a better way of saying things, but ultimately comes from a core ‘idea’ that needs to get conveyed. There are a couple exceptions to this, but those are the railroad sections that are designed to build background, give context, or other information that is uniform and necessary across all playthroughs (think the Prologue re: Mom or Act I with Nate). If neither are there any choices or variations, it shouldn’t be written. Two criteria that are integral to the writing are these: what choices are being made and what traits or skills cause content variations. Once I dig into the writing, I approach the passages that interest me most, or that are most necessary – these are usually the intro or outro since I like knowing exactly where I’m coming from or where I’m heading. ![]() Sometimes these get little ‘ooh, reference X here’ or ‘Traitcheck Y’. ![]() This usually includes a basic structure of passages and a note about what they might contain.
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