- Feb 7, 2018
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- Thread starter Eva Kiss
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- Nov 9, 2018
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- 610
Wait what i didn't know that you get to fight Robert again thanks for mention it going ASAP to play the game again
- Dec 4, 2017
- 1,458
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You might also want to do it with my guide. This chapter has all kinds of interesting routes and events.
- Nov 9, 2018
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Everything will become curropted if you have played GGGB do you remember how Eva started and how she evolved
- Dec 29, 2017
- 448
- 940
thanks alot for your walkthrough BloodyMares, it has been a tremendously help to my ORS run so far.You might also want to do it with my guide. This chapter has all kinds of interesting routes and events.
really, really appreciate your work! good job!
- May 21, 2018
- 64
- 219
I'm getting the "An exception has occured" error at the beginning of the game when Ian returns to his flat. This is off of a brand new game. Anybody have any ideas?
- Dec 15, 2020
- 1,866
- 4,069
- Mar 29, 2018
- 89
- 14
can you please tell me how many paths in the game yet ?
and what are these paths names ?
- Dec 4, 2017
- 1,458
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I would say for now there are only "Romance paths" - meaning which characters you have slept/trying to sleep with, as well as various career-based paths. There is no clear distinction like it was in GGGB, where Ashley could change completely (Good/Sexy, Whore, Thug, Bimbo) based on her Good/Bad points. In ORS, all of your decisions are more dynamic and the difference is in consequences. You aren't locked into any path, and can try to follow all of them. Potentially, each Stat could result in a separate route (Wits - writing, Charisma - modeling, Athletics - dancing/fighting, Lust - porn?).
TL;DR - too early to tell.
BloodyMares Thanks again for making the walkthrough. One question: are you sure you need 4 athletics for Lena's outfit I thought it was 3?
- Dec 4, 2017
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You're right. It was initially 4 (pre-alpha), but I guess Eva decided to make it 3 later, and I failed to track the change. Thanks for letting me know. In v0.8 it'll be fixed, as it's not that critical right now.
Understood, I guess Eva probably changed it because it is harder to get Athletics points then Wits, Charisma or Lust.
- Apr 4, 2019
- 224
- 829
This is not a new MEGA file for the game.
I realize that no one had sent the final MAC version 7.0 here so I went back and picked it up for those who MAC players who wanted it.
I realize that no one had sent the final MAC version 7.0 here so I went back and picked it up for those who MAC players who wanted it.
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- Mar 29, 2018
- 89
- 14
thanks for the explanation
and wow the game is more complicated than i thought / ihope it will be clear soon
and great job with the walkthrough
- Dec 12, 2019
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- Feb 7, 2018
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Behind the scenes art process: Ian and Cindy's scene
I've talked several times about the process behind creating art for my games, and even showed a bit about it. I never considered it too interesting, but lately I've been pushing the quality further and I'm finally happy with the illustrations that are coming out, so I thought it could be interesting sharing the creation process a bit more in-depth.
First of all, I gather reference material, pictures I will use as a template for the drawing. I know it's a bit cheap (although using reference images is fundamental for almost all artists) but it's a necessary technique to keep the production pipeline going. This allows me to have an almost instant layout with correct anatomical proportions in place and saves hundreds of hours of sketching checking proportions, foreshortening, etc. And since I always wanted the art style to be naturalistic, it translates even better. However, you can't always trust the photo, since camera lenses can distort the images, and some knowledge of anatomy is really useful to choose what to trace and how to connect lines, etc, otherwise the result can look really awkward (which sometimes happens to me, especially is I'm in a hurry!).
As you can see in the first picture, I use the picture I have chosen as a base and sketch all the elements that are missing, or that I want to add or change from the reference material. Once I'm happy with the composition, I start the drawing my characters over the picture in a new, transparent layer, like I was using a digital version of a light table (an old-school technique I was taught at school).
Creating the line-work can be tricky and often times tedious. I generally enjoy the process, since I can use half my brain to listen to podcasts or video essays on Youtube while I draw, or just get into a bit of a flow state while listening to music. I use an old Wacom Intuous 3 (the only tablet I've ever had!) and even after 10 years of practice getting nice flowing and controlled lines can be really hard. The hardest part to do is always the hair (and boobs, I always have so much trouble drawing boobs). Sometimes, to get just one good line I have to undo and repeat it 10 time or more! In GGGB I used a 10 pixel round brush, but I decided to go with a 4 pixel brush in ORS. This gives me much finer and elegant lines, but thin lines are much less forgiving, so I try to make them as clean and nice as possible, and I'm pretty happy with some of the latest line-works I've produced.
Once that is done, the coloring process begins. Basically, the process consist of using the poligonal lasso tool and go over all the lines, selecting the different areas (skin, hair, clothes, etc) and filling them with a flat color. In GGGB I gave those areas a simple gradient to make them look more natural and interesting, but that was it, since I didn't have time to do anything else. Blocking in the flat colors is really time consuming, probably takes as long as the line-work itself, and it's much more boring. Thankfully I don't have to do that part anymore! Once I have a scene drawn, I send it to Lenadai, who not only does the flats but adds basic volumes and textures to the drawing. I love her style and it fits my drawings and the vision I had for ORS perfectly.
Once Lenadai is done with the colors, she sends the files back to me. You can see what I receive in the third above picture. The basics are there, but I need to work some magic into the illustration to make it really pop and come alive. Aside from adding the background, I go over the colors, tweaking them as necessary, adding details and extra shadows to the figures. Finally, I add some ambient light to tie it all together and give the image a more cinematographic look.
For some special scenes such as this one I also add rim lights to the figures, making them pop even more, increasing the overall eye candy. Cindy and Ian's scene was one that everyone had been expecting for a long time, and I knew I couldn't disappoint, so this is probably the set of illustrations I've put the most amount of work thus far (and also Holly's scene). I took several extra days to make sure the line-work was spot on and the backgrounds, ambient light and rim-lights enhanced the drawings making them enticing and cool to look at. Sadly, I can't give this treatment to all scenes, but I'm putting that extra work in more and more scenes each time, trying to push the overall visual quality up!
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- Dec 12, 2019
- 387
- 473
Thank you.Love loveYou must be registered to see the links
Behind the scenes art process: Ian and Cindy's scene
I've talked several times about the process behind creating art for my games, and even showed a bit about it. I never considered it too interesting, but lately I've been pushing the quality further and I'm finally happy with the illustrations that are coming out, so I thought it could be interesting sharing the creation process a bit more in-depth.
First of all, I gather reference material, pictures I will use as a template for the drawing. I know it's a bit cheap (although using reference images is fundamental for almost all artists) but it's a necessary technique to keep the production pipeline going. This allows me to have an almost instant layout with correct anatomical proportions in place and saves hundreds of hours of sketching checking proportions, foreshortening, etc. And since I always wanted the art style to be naturalistic, it translates even better. However, you can't always trust the photo, since camera lenses can distort the images, and some knowledge of anatomy is really useful to choose what to trace and how to connect lines, etc, otherwise the result can look really awkward (which sometimes happens to me, especially is I'm in a hurry!).
As you can see in the first picture, I use the picture I have chosen as a base and sketch all the elements that are missing, or that I want to add or change from the reference material. Once I'm happy with the composition, I start the drawing my characters over the picture in a new, transparent layer, like I was using a digital version of a light table (an old-school technique I was taught at school).
Creating the line-work can be tricky and often times tedious. I generally enjoy the process, since I can use half my brain to listen to podcasts or video essays on Youtube while I draw, or just get into a bit of a flow state while listening to music. I use an old Wacom Intuous 3 (the only tablet I've ever had!) and even after 10 years of practice getting nice flowing and controlled lines can be really hard. The hardest part to do is always the hair (and boobs, I always have so much trouble drawing boobs). Sometimes, to get just one good line I have to undo and repeat it 10 time or more! In GGGB I used a 10 pixel round brush, but I decided to go with a 4 pixel brush in ORS. This gives me much finer and elegant lines, but thin lines are much less forgiving, so I try to make them as clean and nice as possible, and I'm pretty happy with some of the latest line-works I've produced.
Once that is done, the coloring process begins. Basically, the process consist of using the poligonal lasso tool and go over all the lines, selecting the different areas (skin, hair, clothes, etc) and filling them with a flat color. In GGGB I gave those areas a simple gradient to make them look more natural and interesting, but that was it, since I didn't have time to do anything else. Blocking in the flat colors is really time consuming, probably takes as long as the line-work itself, and it's much more boring. Thankfully I don't have to do that part anymore! Once I have a scene drawn, I send it to Lenadai, who not only does the flats but adds basic volumes and textures to the drawing. I love her style and it fits my drawings and the vision I had for ORS perfectly.
Once Lenadai is done with the colors, she sends the files back to me. You can see what I receive in the third above picture. The basics are there, but I need to work some magic into the illustration to make it really pop and come alive. Aside from adding the background, I go over the colors, tweaking them as necessary, adding details and extra shadows to the figures. Finally, I add some ambient light to tie it all together and give the image a more cinematographic look.
For some special scenes such as this one I also add rim lights to the figures, making them pop even more, increasing the overall eye candy. Cindy and Ian's scene was one that everyone had been expecting for a long time, and I knew I couldn't disappoint, so this is probably the set of illustrations I've put the most amount of work thus far (and also Holly's scene). I took several extra days to make sure the line-work was spot on and the backgrounds, ambient light and rim-lights enhanced the drawings making them enticing and cool to look at. Sadly, I can't give this treatment to all scenes, but I'm putting that extra work in more and more scenes each time, trying to push the overall visual quality up!
What do you think? Do you have any questions about the process or are you curious about something I haven't addressed? Let me know in the comments and I'll talk about it in the next showcases. Next is Ivy's game scene, followed by Holly and Ian and finally Lena and Ian's scene.You don't have permission to view the spoiler content. Log in or register now.
- Dec 29, 2017
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Nancy Ace aka Nancy A
funny that i prefer Cindy over the original model... guess that shows how good EvaKiss is at her job.
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