I think Eva Kiss does great work, and this is just feedback. I think the art here is real step up from GGGB, everyone looks great, the ui is great. The cast of characters are all likeable, are all people you want to see in different sex situations, and it all really does feel like a modern soap opera. The game is ambitious in its structure, and it pulls it off.
One area I would think about more is how to get the two main characters into more conflict, into more difficult decisions. I know there is a vast web of branching going on and that makes the writing difficult, but the game starts out with a lot of anticipation with how these characters' stories are going to intertwine, and then proceeds with a really interesting way to introduce their lives, but they do start to feel more passive as the game goes on.
Part of this is because there is some tension between the character-driven realism that the story is going for and the need to get characters into semi-kinky sex situations. The characters are well written and fleshed out, but player agency isn't so much about roleplaying as much as moving pieces around to see what fits together. This leads to some dissonant moments or moments that are less dramatic and more just functional.
Without spoiling anything, I want to say that, for example, both Lena and Ian have work plotlines that are kind of telegraphed up front. But because those paths are so early and are concurrent with so much other story, when going down those paths their personalities have to stay the same, which makes their actions in those situations feel out of character.
This might be something I just didn't notice in GGGB because in fifty or however many play throughs I did of that game, it always felt like an issue of more or less. That game was a tour de force, it was downhill momentum all the way, you just steered to make it more or less rocky (slutty).
Here, there's time and space for conversations with parents, for innocent first dates, hangouts with friends. And within those things you can feel how decisions do matter. The game feels big. But there's not enough room within the characters themselves to pull those things together with the other choices in the game.
I know there is a way to play this game where these things don't matter so much, where the characters stay more consistent, but that really takes a lot of play out of the game. You want to be able to explore the boundaries of the system without breaking it.
This is why I suggest having more points of conflict for the characters. Events that are big enough to push them so that the player can see their personality change more or will at least be disrupting enough that out-of-character choices would make more sense. I think just a few things here and there can really tie everything together, so to speak.
But, of course, as always, mad respect to Eva Kiss for putting a lot of thought into this genre, and really making a difficult story structure work.
One area I would think about more is how to get the two main characters into more conflict, into more difficult decisions. I know there is a vast web of branching going on and that makes the writing difficult, but the game starts out with a lot of anticipation with how these characters' stories are going to intertwine, and then proceeds with a really interesting way to introduce their lives, but they do start to feel more passive as the game goes on.
Part of this is because there is some tension between the character-driven realism that the story is going for and the need to get characters into semi-kinky sex situations. The characters are well written and fleshed out, but player agency isn't so much about roleplaying as much as moving pieces around to see what fits together. This leads to some dissonant moments or moments that are less dramatic and more just functional.
Without spoiling anything, I want to say that, for example, both Lena and Ian have work plotlines that are kind of telegraphed up front. But because those paths are so early and are concurrent with so much other story, when going down those paths their personalities have to stay the same, which makes their actions in those situations feel out of character.
This might be something I just didn't notice in GGGB because in fifty or however many play throughs I did of that game, it always felt like an issue of more or less. That game was a tour de force, it was downhill momentum all the way, you just steered to make it more or less rocky (slutty).
Here, there's time and space for conversations with parents, for innocent first dates, hangouts with friends. And within those things you can feel how decisions do matter. The game feels big. But there's not enough room within the characters themselves to pull those things together with the other choices in the game.
I know there is a way to play this game where these things don't matter so much, where the characters stay more consistent, but that really takes a lot of play out of the game. You want to be able to explore the boundaries of the system without breaking it.
This is why I suggest having more points of conflict for the characters. Events that are big enough to push them so that the player can see their personality change more or will at least be disrupting enough that out-of-character choices would make more sense. I think just a few things here and there can really tie everything together, so to speak.
But, of course, as always, mad respect to Eva Kiss for putting a lot of thought into this genre, and really making a difficult story structure work.