To be honest, though, I don't really understand your point about fantasy and PDAs.....possibly because I'm not familiar with OneOneOne? What do you mean exactly? He used technology when he shouldn't have? Sorry.... I don't really get it.
I'll try and explain it a bit better. Note, was just an example of an issue I see a lot, particularly in H-Games (or amture games / stories in which the writer doesn't spend a lot of time developing the setting in favor of progressing plot / story elements / charactization).
The game by OneOne1 (I miss-wrote their name, as OneOneOne forgetting the last 'one' is supposed to be a numral, not spelt), or Kagura Games called "Meritocracy of the Oni Blade". While the game, overall, is a fine, fairly standard but well developed H-Game with a normal multi-ending, pretty stock standard RPGMaker combat without too much innovation or development or difficulty. It suffers from not really wanting to pick a style of setting.
It sorta warbles between a modern setting with fantasy elements. Centered on a boarding school which is / becomes a brutal Meritocracy in which the strong are allowed to dominate and margialize weaker students, which grows worse and worse over the course of the game, in part depending on player 'choices'). But like it doesn't really talk about if this school is in some way a national entity (some endings the manager of the school, revealed to be some deity power level demon), or like has some clear goverment ties to make the threat more 'real', but without talking about important details (who's where, who's who, what tools do they have, etc).
It obviously has fantasy elements (demons, monsters, magic, etc), but fails to really use a lot of them in their world, only coming up as the plot needs a monster / threat / solution. For example, there are orc / goblin enemies, but the world really doesn't deal with who they are, if they are some minor, or new threat like a pack of wolves might harrass a farmer, or if they have a culture, etc.
The exact example I used is your character has a mobile personal computer (I used the word PDA, Personal Data Assistant, perhaps too old of a term to be clear). But a Smartphone for all practical use. They send you texts to track quest objectives, and at times you'll get calls or texts that serve to move the plot forward, while denying you the chance to fight the big boss then and there, to force gameplay (which is fine). But you get into situations where calling a friend to update plans in a big fight, or communicate big reveals to protect intelligence agents that they've been found out, etc NEVER happens. Instead the game makes you rush forward to fight through to talk to them in person. But it's been established every character has to have one of these things, and these things make phone calls.
Cases like this (just generally caused by weak writers) REALLY bug me personally and take me out (admittedly, it's the thing I like most in books, movies, etc, is a settings internal logic). And judging by that particular games popularity, most people didn't care / didn't notice much about it. The game has other major problems to me of course, but not relevent to your thread in particular so I won't try and derail a thread, but I'm always happy to spitball concepts or talk shop if you want to PM me.
But the core idea is to have at least a concept of what is in the setting, and make sure all characters react and use that settings tools to their fullest (or at least attempt to, failing or exempting actions, explaining why this logical choice isn't an option for whatever reason. Like a horror movie set in the post 2000's of "Why did they not call the police?" -MUST- be addressed. Either make the police not believe them because of supernatural elements (or are in on it), their phones are broken during an initial encounter or the good ol' standby (that is tired, but at least useful) no signal because 'out in the woods'.
You can look at the common LotR version of this "Why didn't Gandulf not use the Rocs to fly into Morder and just fucking huck the ring into Mt. Doom" (which is addressed in the books, but not the movie, where the writer / director was mostly hoping no one would apply a reverse logic to the rescue. My annoyance in this isn't that scene by the 'close ranks' order during Two Towers after a general sees elephants sweeping through ranks of horses effortlessly, assuring the death of every soldier (when he SHOULD have ordered them to fan out to reduce the impact of said sweeping elephants, or the order should have been shown as a terrible error on the generals part, but was a 1 second shout in a massive battle scene and didn't really ruin the movie, but I can't help but nit-pick).
Hopefully that helps? I'm not great at being short on things I can talk a ton about. Mostly just apply logic and do two or three passes over what you right and make sure it has some logic there, and makes sense from the characters perspective as much as you can. While writing something interesting rather than just more banal 'let's fuck' stories that don't really have intrisic meaning (We've got sooo much of that). And honestly, a Surrealist Thriller, but with porn sounds pretty sweet, though not sure how you'd mix it in without being heavy handed. And having even a hobbist background of writing should help a ton, the sad (Well perhaps not sad, but oft true) is that many porn games are written by artists, or 3D modelers, rather than writers. Which might get good art into a game, but they of course generally are worse writers.
