Katawa Shoujo Forums

It is in my understanding, and I think I remember Aura saying this, that a KS anime isn't some kind of a dream come true for you guys.
I've thought about it, and I can definitely see why you would say that:

1. It would probably require all of you to get involved in it again, and even taking the back seat in things as a 'consultant' of sorts for a storyline would eat up a lot of time (not to mention, again, the logistics of it all, you all being scattered throughout the world).
2. It would mean handing the reigns over to a studio, and endangering the finished, perfectly rounded up stories by giving creative control to a third party. How can anyone be sure it won't suck, as some adaptations do?
3. The whole headache with making a transition from one medium into another, massive problem.
4. The matter of financing the project: how would it be done? How would the result be distributed? The team has decided to make the game free, but the costs associated with producing a full-blown anime should be quite astronomical, comparatively. The larger the amount of money is involved, the higher are the various risks.

These are the reasons that I can name off the top of my head. I'm sure you've discussed this amongst yourselves, do you think you could add something?

Is there an ideal scenario under which you would agree to go through with the idea? A studio that you think would handle the source material well?

SteelSatsuma wrote:It is in my understanding, and I think I remember Aura saying this, that a KS anime isn't some kind of a dream come true for you guys.
I've thought about it, and I can definitely see why you would say that:

1. It would probably require all of you to get involved in it again, and even taking the back seat in things as a 'consultant' of sorts for a storyline would eat up a lot of time (not to mention, again, the logistics of it all, you all being scattered throughout the world).
2. It would mean handing the reigns over to a studio, and endangering the finished, perfectly rounded up stories by giving creative control to a third party. How can anyone be sure it won't suck, as some adaptations do?
3. The whole headache with making a transition from one medium into another, massive problem.
4. The matter of financing the project: how would it be done? How would the result be distributed? The team has decided to make the game free, but the costs associated with producing a full-blown anime should be quite astronomical, comparatively. The larger the amount of money is involved, the higher are the various risks.

These are the reasons that I can name off the top of my head. I'm sure you've discussed this amongst yourselves, do you think you could add something?

Is there an ideal scenario under which you would agree to go through with the idea? A studio that you think would handle the source material well?

All of those reasons are secondary or even irrelevant. The thing is, there's not really much inherent worth in an anime adaptation for us. If some director who we think is cool and figure actually could take KS to the next level through animation wanted to make an adaptation, sure we might agree to that.

axlryder wrote:I just wanted to thank Aura for creating the character of Rin. While the character interaction in that section of the game was frustrating for me, I found the character herself to be a wonderfully crafted one. It ultimately helped me to get back in touch with some of my own creativity and emotional energy. So thanks n' stuff.

As to a question (and sorry if this was answered), when writing for Hisao in the Rin sections, did you craft his behavior specifically to counter Rin's own idiosyncratic nature, or was it based mostly on a previously designed template for Hisao's personality? Did you perhaps create Rin specifically as someone who you felt Hisao would have a hard time understanding in order to go with the general theme of understanding, or was that aspect more of a coincidence? Something else entirely?

The Hisao in Rin's story has some aspects (that are not as strong in the other stories) that emphasize Rin's personality. The characters are not tailored to the story, nor vice versa, nor is it a coincidence. It's more a kind of a symbiosis that was developed as a one single whole. The characters lend themselves well to a certain kind of story, and the story necessitates certain things of the characters.

TheTrueCole wrote:About the intimate scene with Hanako and Hisao; what's up with the condom? To be more specific, was Hisao prepared for something like this to happen (which is the last think I would've expected him to be thinking about at that time) or did he just keep one there, just in case? It's not a burning question, but it did make me raise an eyebrow pretty high.

Man, the amount of attention that condom has brought...

I'm not sure about y'all, but we had access to condoms at our school (for seniors, obviously). It was kind of the "done thing" to carry one around "just in case." We also have vending machines in a lot of toilets in Aus. I've seen similar vending machines in Germany as well, so it's not just an Australian thing.

Sure, many of them went unused (or ended up as balloons) but the principle is sound.

Once you start getting to the age where you might be putting your wee-wee into a girl's wee-wee, then it's not such a bad idea to carry one around.

Have kids when you want to have kids. Take this as a lesson from Hisao (and from Lilly too, I guess). Stick a rubber in your wallet today!

cpl_crud wrote:girl's wee-wee

Does wee-wee mean something different in Australia than it does here in Murrika, or was that a joke?

Aura wrote:

axlryder wrote:I just wanted to thank Aura for creating the character of Rin. While the character interaction in that section of the game was frustrating for me, I found the character herself to be a wonderfully crafted one. It ultimately helped me to get back in touch with some of my own creativity and emotional energy. So thanks n' stuff.

As to a question (and sorry if this was answered), when writing for Hisao in the Rin sections, did you craft his behavior specifically to counter Rin's own idiosyncratic nature, or was it based mostly on a previously designed template for Hisao's personality? Did you perhaps create Rin specifically as someone who you felt Hisao would have a hard time understanding in order to go with the general theme of understanding, or was that aspect more of a coincidence? Something else entirely?

The Hisao in Rin's story has some aspects (that are not as strong in the other stories) that emphasize Rin's personality. The characters are not tailored to the story, nor vice versa, nor is it a coincidence. It's more a kind of a symbiosis that was developed as a one single whole. The characters lend themselves well to a certain kind of story, and the story necessitates certain things of the characters.

So based off of what you're saying, I'm under the impression that you and the others intentionally crafted the characters to have inherent elements that are drawn out by one another and their environmental pressures based on the different situations they're placed in, thus allowing the characters and story to be mutually complimentary. I'm guessing that the writers all worked pretty closely with one another then.

One last question if it wasn't already answered. Did you find yourself getting emotionally attached to any of the characters, or did you pretty much keep them at arms length throughout the writing process? If the latter is true, did it come naturally, or did you have to force yourself to remain objective?

Yet another question out of me: When writing the various paths, how did you keep the characters' voices consistent throughout the whole work? How did you ensure each character used their personal vocabulary, grammar, etc. not only in their own path, but any time they appeared in other paths as well? I apologize if this question has been answered before.

Best Regards,

Paladin

Paladin wrote:Yet another question out of me: When writing the various paths, how did you keep the characters' voices consistent throughout the whole work? How did you ensure each character used their personal vocabulary, grammar, etc. not only in their own path, but any time they appeared in other paths as well? I apologize if this question has been answered before.

Best Regards,

Paladin

Every writer read every path as it was being done. Also, lots and lots of communication whenever writers were using each other's characters in their scenes.

A22 and I especially often swapped scenes between us, editing bits and bobs of them, to get them just right.

Also after skimming down this thread some more I simply have to ask:

Aura, after eating your takoyaki and whatnot - was the actual writing more like doing the dishes or drinking tea?
Crud, is there any other reason than... your timeline that you still prefer fogyatékosság lányok to, say, 片轮少女?

Anyway you two should definitely get married and bring up lots of kids!

Most likely dev to survive out in the wild?

Question, how do you feel about having inspired many other people to start work on visual novels of their own?

Which artists actually are professionals in their area? I think that at least the music was made by people who use music to live.

It feels like the paths of the game are in an appropriate order, with the Emi-path Hisao feeling kind of entitled to his chosen partner's affections, the Hanako-and-Lilly-path Hisao putting a huge amount of responsibility for his happiness in the hands of each girl (climaxing in Lilly's path with the poor guy nearly killing himself over her), the Rin-path Hisao having to acknowledge that fully understanding another person is impossible, and the Shizune-path Hisao finally being okay with the fact that he probably won't be with Shizune forever, but that he cherishes her all the same and it's okay if she is her own person.

This feeling in me is strengthened by the fact that the Hisao in each path has progressively stronger ideas about being a science teacher. In Emi's path,the idea is pretty much handed to him by his teacher, and during the Hanako and Lilly paths he comes to the conclusion on his own but has only vague ideas about how satisfying it is, but by the end of the Shizune path not only is he sure he wants to teach, but he is sure that it is because he wants to help out students like himself who are reeling from the changes to their lives.

Is there a kind of meta-plot about exploring all possible Hisaos? Was there coordination happening on this level? Or am I off my meds (again)?

Guest wrote:Also after skimming down this thread some more I simply have to ask:

Aura, after eating your takoyaki and whatnot - was the actual writing more like doing the dishes or drinking tea?
Crud, is there any other reason than... your timeline that you still prefer fogyatékosság lányok to, say, 片轮少女?

Anyway you two should definitely get married and bring up lots of kids!

It's more like throwing up.

McBaggin wrote:Most likely dev to survive out in the wild?

Weee. She's the only one who doesn't go catatonic without access to hard liquor or pudding.