Katawa Shoujo Forums

Mirage_GSM wrote:

Ah, I see. Thank you for the answer. I'm now wondering which route 22 was the writer for then...

A22 wrote Shizune's route.

Now that comment about experimentation makes a lot more sense.

Were any of the side characters designed with the intention of being anything other than supporting roles? For instance, having their own routes despite not being on the original RAITA sketch?

Thanatos02 wrote:Were any of the side characters designed with the intention of being anything other than supporting roles? For instance, having their own routes despite not being on the original RAITA sketch?

Not really. Misha came closest to having a path of her own, but whoops, turns out she's gay.

More accurate reply: any specific details of Misha or any other character didn't matter at all. What mattered the most were 1) RAITA's sketch and especially 2) the game was already going to be huge and we barely had the resources to get that done. Any attempts at suggesting to expand KS's scope beyond certain limit were promptly buried under an avalanche of "no way in hell".

The five-route scope was very fundamental to the design of KS, actually pre-dating 4LS itself. More than one or two developers for sure mused about stuff like "wouldn't it be cool if we had route X, or thing Y", but when you got to the bottom of it, the answer always was "yeah maybe, but that's not what we're about". This is by the way also why whenever someone asks me for advice on making a visual novel, one of the first things I say is to really know what you want to do and what your thing is about. Even if we did a ton of stuff totally ass-backwards, this is like the one thing that we did right from the get-go (probably by accident).

Aura wrote:More accurate reply: any specific details of Misha or any other character didn't matter at all. What mattered the most were 1) RAITA's sketch and especially 2) the game was already going to be huge and we barely had the resources to get that done. Any attempts at suggesting to expand KS's scope beyond certain limit were promptly buried under an avalanche of "no way in hell".

The five-route scope was very fundamental to the design of KS, actually pre-dating 4LS itself. More than one or two developers for sure mused about stuff like "wouldn't it be cool if we had route X, or thing Y", but when you got to the bottom of it, the answer always was "yeah maybe, but that's not what we're about". This is by the way also why whenever someone asks me for advice on making a visual novel, one of the first things I say is to really know what you want to do and what your thing is about. Even if we did a ton of stuff totally ass-backwards, this is like the one thing that we did right from the get-go (probably by accident).

Oh sure, if you want a REAL answer instead of a flippant one, this is it.

I'm a tad curious on the VN dev process, but mostly editing as the other jobs seem self-evident when compared to writing or film making. Whether in terms of FLS's experience or in general VN production (as far as you guys are aware), is editorship any different from other media, specifically its closest counterpart, literature? In other words: are more qualifications or different skills altogether required of a VN editor? Is the editing process any different --- are editors expected to edit code or just prose as-usual?

I am the main target of your question, but I have to admit that I have no particular experience or formal training in editing outside of KS ; therefore, take anything I say with the usual grain of salt.

Most of the work I did fell under "standard" editorship: that is, I proofread, fixed grammar and spelling mistakes, rearranged or reworked sections of writing to make them flow better, cut text ranging from single words to whole scenes, pointed out plot, characterization and consistency issues to the writers, helped in planning, ghostwrote a little bit, and sometimes provided "this doesn't work, rethink it" feedback.

That said, the differences in media make for some different challenges. I'm sure no book editor had to worry about textbox overflow or choice of background music, for example.

Altering text sometimes meant altering direction - usually by doing no more than moving a sprite or background change line up or down a little, but that was not always the case. Any changes any developer made went up on our database and were available for review by everyone, and when I made alterations which I felt could step on someone else's toes, I specifically pointed them out. Most of the time this resulted in delta saying "you're doing it wrong" and overhauling things.

So to sum things up yes, there was some overlap between coding and editing. I did no "hardcore" stuff and wouldn't have been able to even if asked, but a modicum of knowledge of the game engine was required.

Silentcook wrote: That said, the differences in media make for some different challenges. I'm sure no book editor had to worry about textbox overflow or choice of background music, for example.

That made me wonder. I liked the music that was composed, as i'm sure many others do as well. But the true strenght in those tracks was in the combination with those specific scenes. So who matched/allocated the songs? Or were the composers asked to produce something that would 'fit' a certain scene?

Merloficus wrote:

Silentcook wrote: That said, the differences in media make for some different challenges. I'm sure no book editor had to worry about textbox overflow or choice of background music, for example.

That made me wonder. I liked the music that was composed, as i'm sure many others do as well. But the true strenght in those tracks was in the combination with those specific scenes. So who matched/allocated the songs? Or were the composers asked to produce something that would 'fit' a certain scene?

The directors did the music cueing based on a bunch of pre-determined guidelines. For some reason the music direction was considered a very mechanical, even boring task. It certainly required less finesse and had less opportunities for flair than visuals direction, but it wasn't all mindless grunt work.

Most of the tracks were composed with a general type of scene or mood in mind, some with no clear target, and a couple for specific individual scenes (such as the track that plays in the scene after the opening movie).

Silentcook wrote:

So cut and pasting code up and down is for the most part just like sentences and paragraphs? That makes sense. Grain of salt or not, it's a basic yet comprehensive answer that clears up the one staff job that I was perplexed about as well as the most relevant to me personally. Thank you very much.

Not sure if this is the right place, if it isn't, sorry.

What is the difference between Shizune's bad and good ending? Because from what I know she never discovers that you f*cked Misha. In the bad ending she suddenly wants to break up with you. And I'm even more confused because you got to cheer Misha up with the scene Parfait even in the bad ending.

EDIT: Also, Shizune's route takes place much further than Lilly's, but near the end of her bad route, you talk to Lilly. Does that mean that she didn't go to Scotland at all?

thankz plz.

Lilly's appearance later in Shizune's route has been confirmed to be a continuity error.
No official word on the other question so far.

What is Hisao's birthday. It's something that's been weirdly bugging me.

Mirage_GSM wrote:Lilly's appearance later in Shizune's route has been confirmed to be a continuity error.
No official word on the other question so far.

I wouldn't really say it's continuity error so much as it's to avoid spoilers for Lilly's route.

Dreamcastin wrote:What is Hisao's birthday. It's something that's been weirdly bugging me.

Agreed. Why not go full nine-yards though and ask for the birthdays of the other characters who's dates aren't given?

Dreamcastin wrote:What is Hisao's birthday. It's something that's been weirdly bugging me.

He says in Lilly's or Hanako's route that his birthday was when he was still in the hospital.