Calling that scene blackmail is what I took as the weird conclusion. Someone doing something they're not 100% onboard with doing because of the want of money ain't it. Even with the magic perfume, to paint Edwin as a victim in that scene at all is questionable.
While the reader can't, Edwin could refuse Kathleen.
You say that, but I will argue that it wasn't conveyed in a proper sense within the scene. The entire scene had the MC being indecisive and very uncomfortable, not wanting to have anything to do with the situation. This is atleast what information is given to us through MC's internal narration.
She then tells him that she's going to do something, which he didn't like the sound of, she tells him to whip his cock out, to which he was in disbelief but again the internal narration noted that "how else could I respond, by doing what she asked? Yeah right". If your intent was to outline MC as equally willing to participate in this scene, this feels
very counterintuitive because it just isn't what the game is telling us, the player, through the internal monologue and narration.
After that you can try to refuse, the MC simply saying "I don't want to" to which she replies, "You do remember your arrangement with Charles, yes?".
After that he notes "I have to do this if I want to get paid". The player isn't given any choice at that point and the MC, again from what the narration and internal monologue is saying, isn't into it either.
I.. I have to ask at this point, are we looking at the same scene or are you perhaps misremembering it? I am genuinely curious because what you're telling me isn't what I'm looking at right now. I redownloaded everything to double check and it's as I remember it, and last I checked, "I don't want to" isn't a yes. Unless you're Brock Turner.
Again, I am genuinely curious if we're talking about the same scene here, because I'm having difficulties seeing what you're telling me and I do want to find out where that confusion is coming from.
TD1900 said:
There's an important distinction there, and it's why the player character is smack dab in the situation in the first place.
Regardless, splitting hairs is pointless. You don't like what you don't like, and a question of semantics between coomers won't change that.
Sorry you wasted your time, but to answer your original point of even posting, I just don't see the need for a disclaimer. The scenario itself and everything within the prologue should give the player an adequate heads up of what the story is about. I mean the game opens with the main character watching his mom gets gangbanged while navel gazing about being a good boy and, honestly, you're like the first person in four and a half years to raise a need for one.
The game is adequately tagged. Playing something that seems appealing and finding a specific shade of something that turns you off (be it shit writing, poorly executed scenes, or not exactly your fetish) is just the risk of any story.
I was never talking about tags, only disclaimers, but fair enough if you don't feel the need to, it's not my place to tell you what to do or not to do with your game or how you develop things. As with any critique or questioning, it's up to you to decide what to do with it at all.
What I will say though is that even if we're given an adequate heads up of what the story is about (which I do agree with, the game does set the tone fairly quickly), the information as to where the MC fits into all of that is a lot more sparse, again by design for narrative drive and whatnot, but I just figured I'd point that out as there is a bit of difference between having set the tone of the game and setting the tone of where the MC actually fits into things.
I also didn't waste much time at all, as stated previously, you did put this fairly early into the game which does save a lot of time and potential frustration compared to if this scene were to happen a fair bit into the game.
I kind of enjoy poking and prodding at devs so while I do apologize for likely flooding you with posts, I do enjoy discussing the potential disconnect between someones experience and what was the intended experience (or message) to be conveyed.