Thanks, I’ll take another read of that answer for clarity! And it’s not so much the characters MBTI type that matters–what’s important is that I be able to answer 50-odd questions about each member of the cast in under a minute. If I ever hesitate between choices, it means that I need to re-interview that character in order to understand them better. (Rosy is ISTJ though.)
This could pair really nicely with the current interpersonal response! Lots of potential for me to mule over.
Thanks! I thought the line about no longer playing scrabble together made it pretty clear that she was a long-time friend, but it’s hard to be objective since I obviously already know who everyone is. I’ll take another read to see if I can clear that up somehow.
Keep an open mind, because K may still surprise you.
Strategy stats work a little different in Mind Blind, because I personally hate stat checks (I must have a very inconsistent personality, because I can never create a character that sticks to one type and never achieve good endings if they depend on this). It’s kinda tricky to explain how I’m using stats, so I’ll use one of the more boring ways to finish the first assignment as an example:
If you chose to flirt/converse with Glitch, you learn that they’ve skipped breakfast to come to school early to help out Rosy. (Interrogation gleans different info, and being in Room 1 alone changes other stuff.)
If you’ve had Nick pack you avacado toast, you can try to bribe Glitch into throwing the match. If you don’t have avacado toast, but you have a good relationship with Valero, you can convince her to give you some vegan snacks to bribe Glitch. Finally, if neither of these are true, Buttons with a high Interpersonal score can attempt to persuade Glitch without edible bribery.
Of course, whether Glitch will actually throw the match or just make empty promises depends on how much they like you. If you’ve been rude to Glitch, it’ll be best to try another route.
Likewise, if you enter the room alone with a high Innovative stat and choose to untangle the cords, you can do it quickly enough to have time to change one more thing in the room, which opens up additional possibilities for how Sally can escape.
Maximizing one stat will never completely determine whether you succeed or fail–it will simply present more options of a certain type. I’m hoping it works, because it’s been a fried pickle to develop. But I personally find it more fun than having to deal with every single confrontation in the same way.
So instead of doing my five essays I got sucked into playing this demo and I only mildly regret it! I mean, psychic powers, sweet brothers, inferiority complexes, implied past trauma, flirty upperclassmen, scary instructors, an RO named Grayson (I am WEAK for that name), AND humor as a coping mechanism? [chef kiss]
Molto bene. J’adore. Otra frase (pero en español).
I’ve yet to even begin Rosy’s first assignment, but that’s only because I plan on using the demo as a carrot on a stick type of deal so I actually get stuff done this week. Whenever I do, you can expect a giant block of text in which I go on multiple tangents filled with effusive praise and nonsensical but earnest babbling about THE CHARACTERS and HUMOR and other EXCESSIVELY CAPITALIZED WORDS.
So, because this style fascinates me (in a really positive way, as I also am not generally a fan of straight stat checks), I took a quick glance at the code, and I’m not 100% sure about this, but the way you have it set up now, I don’t think making multiple changes to the room is going to work as you intend? (You might’ve already noticed and changed this, depending on how far you are in the next update. In which case, ignore me!)
From what I can tell, you alter the same variable for each alteration, RoomOne. But there doesn’t seem to be any codified way for these alterations to be combined—for instance, if you enter the room before Glitch, untangling the cords will set RoomOne to 2, and with enough Innovative, you can make another alteration. But if you then upturn one of the file boxes, RoomOne gets set to 4, regardless of whether you untangled the cords or not. Since this change overrides the previous one, and there’s no codified difference based on whether or not the first change happened, there’s no way for the game to actually know that it did.
If you want my unsolicited advice, it seems simpler to me to just have separate boolean variables for each alteration, instead of having one variable with a whole bunch of different states (which is already harder to keep track of), especially if you plan on combining different states together. I also wonder if it might be to your benefit to use more temps? I don’t know how specific you plan to be when bringing this up in future chapters (if at all), but on the surface this seems to me like an ideal place to use them.
Yeah, the being able to change 2 things in Room 1 was a last-minute addition that only got re-coded recently (there’s now *if checks that look to see what else has been done, and changes the variable number accordingly). Booleans would be a lot simpler but I’m trying not to overbloat my startup, and unless I’m misunderstanding something about temps, they end as soon as you program a *goto (which you need after every *if, and I use *ifs a lot for flavor text). Unless I’m completely wrong, which would be amazing because there’s a lot of things I’d otherwise use temps to keep track of.
My coding tends to be pretty clunky since I’m more the “dive headfirst into the deep end and learn as I go” type.
AGREED. (I don’t know why, but it feels attractive to me )
Actually…I’m sorry to say, you are, in fact, completely wrong. Temps last from the moment they’re initialized until the end of the current scene. (Just make sure you don’t accidentally use a *goto to skip past the initialization of a temp you later plan to use. That’s messed me up on numerous occasions.)
Also, you might consider using Implicit Control Flow. It removes the need for a *goto after every choice option or *if command.
It might be the terminology that threw you off? When people use the term “scene” in the context of ChoiceScript code, we’re referring to the game files, e.g. chapter1.txt. It’s not related to the narrative use of the term.
One thing I forgot to mention: I don’t know if you have any plans to use the *goto_scene or *gosub_scene commands (or if you even know what those are ), but if you do, you should be aware that since both involve leaving the scene (or file, if you prefer) that you’re in, all your temps will disappear by the time you come back. (Any *disable_reuse or *hide_reuse options you’ve eliminated will also get reset.)
…Or you can ignore all that if it’s too complex for where you are right now
In any case, glad I could help, and that you’re finding the coding easier now!
I just read through the first chapter and what’s available of the second chapter. And I’ll say this - it’s amazing. I really like the feel of it, and I also enjoy my very smart, not very friendly, I’ll murder for my brother but no way in hell will I cut out my own organs for him MC. Socially awkward, not the nicest person, and confident in his own abilities (and yet harboring suicidal tendencies?)
Looking forward to more updates on this, though stopping it where it was made me want to scream in frustration.
However, on the choices of hair and eye color, and even height, I felt a bit knocked out of the story. I was reading, and then there was just one-word choices instead of more fluid, drawn out choices.
Thank you! The murder-yes-surgery-no line was hands down my favorite of the choices for that part. (And yeah, harboring suicidal tendencies is 100% possible, although the other characters will intervene if it becomes all-consuming.)
I can look at making the player description choices more elaborate, but I think that can easily make the pace really drag at the beginning. I tend to be on the side of “less is more” when picking customization, since the vaguer the description is, the more freely it can be interpreted. (The Nick doesn’t need eyes to see line definitely needs to be tweaked though, since it’s awkward as heck.)
I also always get super annoyed having to reclick options that are never mentioned again and furthermore never describe my hair or eyes the way that I would, but that I nonetheless have to click through to keep reading (I have severe start-again-itis, so it gets repetitive fast). However, I’d be willing to change the way character creation is addressed if it turns out that my opinion is a cranky outlier and a lot of people really want more detail!
. . . Unless you meant something else and I misunderstood your comment.
May I ask which height choice felt abrupt? Height is selected three different ways, so one may not be as smooth as the others. Grayson’s route in particular has iffy implementation that I’m currently tinkering with.
Yeah, let’s blame the terminology. Not my own denseness… (Seriously, though, I can code things so much faster now, it’s amazing. Thank you again.)
I’m really glad that scene had an emotional impact! Since a lot of readers already knew K’s name (but wouldn’t, had they been reading with any background info), I was worried that the “revelation” would be a dud, since Nox’s identity is revealed right away, before K even enters.
Not sure why, but I nearly died laughing at that. I generally pick grey eyes regardless of what the story is, though you didn’t misunderstand me. I think I got a bit distracted by it because the first choices were a bit longer. Like choosing the sheets, for instance.
I would advise adding an extra choice when looking in the mirror. The first two choices make me want to cringe. Perhaps an avoidance or a ‘I don’t give a shit’ vibe before the ‘I want to shoot myself…’ option (which is the one I always choose).
Perhaps when choosing the hair color, you could lengthen the section a bit before giving the option. And if worried about the readability, you could always add in ‘long red hair’ or ‘short brown hair’ for a bit more customization. And different color of options like you did with the eyes - light brown hair looks quite a bit different than dark brown hair, after all.
I don’t like re-clicking options myself, which is what I’m fixing in my own story at the moment. The people in the forum have been super nice about pointing out what things could be fixed so it’s better, and the story is already improving.
For me, and this is more a personal preference, but the quick, one-word options draw away from the story – especially when the section leading to the choice is a sentence-long itself.
For the height, things worked well. Though for the short option, on the metro, you could offer a few choices - lean against the rail, take a seat, brace your hand against the wall, ect…
And now my brain is running a hundred miles a minute - typical, really. Combine Autism with ADD and ‘oh look, shiny’ and you get me. A mind that’s thinking is a mind that isn’t sleeping.
I did read the background info and theoretically knew about K’s powers, but I wasn’t sure about the extent of the empath ability! If it was actual thoughts, or just general ability to read moods like Jasper seemed to have in Twilight (lmao Twihard exposed). Also for some reason, since the profile all seemed to describe K as relying more on their physical abilities, I just figured that they wouldn’t really use their empath powers and keep them turned “off” like Nick can sort of do LOOOL. BUT RIPPP clearly I, like MC, was mistaken!!! Relateable af.
So I absolutely think the “revelation” still has power!! Definitely got ME feeling some type of way hehe
The reveal that K could hear all of Buttons thoughts hit me pretty hard, to the point where I played through again just to see what was possibly revealed to them about Button’s life. It also got me, in character, motivated to win through whatever means necessary. The premise of this game is so interesting where you have to assume that, essentially, any ment nearby is reading the same text about button that you are.
ah. i can see that
also, i think the “hacking unity server to get ase answers” shouldnt it have more or less same answer as “stealing nick’s fingerprint”? bc they cheated by looking at the answers? i mean this part But answering every question perfectly still isn’t enough to earn a 280 on the ASE. Evaluators look for unorthodox approaches to problem solving. Which was why you handed back your completed answer sheet after only five minutes, bluntly informed the proctors that you had cheated, and challenged them to figure out how you’d done it without sending a Ment Agent to read your mind
tbh i always choose the metro choice so im a bit surprised by the walking and dog choice. the branching is really ambitious!
meeting gray was…what a cutie. hm. u could have some of nick’s time. as a treat.
for K route, my mc really hates when they realized K been reading their thoughts and swear they gonna beat K (even tho they like glitch enough!). but still blame themselves for letting themselves be vulnerable (yeah they agree with Rosy). probably gonna avoid K for the rest of their life cus distrust tho. for that mc i think im…gonna cheat a bit and look at the code… they must win…
Little did you realize, but you were playing as Noh all along.
. . . Not really, but that would’ve been a wicked reveal.
The successful hacking part is part of the test itself. It’s only briefly mentioned in the ASE’s description, but the exam has a hands-on portion where testees are challenged to hack into Unity’s main server. As for the portion of right answers not being enough, it only really applies to heist-commiting Button. Unity would’ve probably figured out they’d cheated (especially if Button worded the essay portion similar to the test key). By coping to cheating and issuing their challenge, Button covers their butt by betting that their value as someone who can outsmart Aeon’s other non-Ments outweighs the fact that they didn’t follow the rules.
I’m sensing a high “expedient” over “ethical” stat in your future.
Thanks for the feedback! I’ll reexamine customization. (If anyone else thinks it feels abrupt as well, please let me know!)
For me, it come down to whether it’s best to have one-word answers that are all different or near identical sentences (which make it easier to accidentally click the wrong answers in my experience). I’m not sure which one most people prefer–the eyes choice is only a full sentence bc I wanted to make it clear that Nick shares your eye color (thus the sentence starting with “Our”).
Bedsheets and finger-gun motivation reflect the MC’s personality, but imbuing physical trait selection with flavor text is trickier, since having green eyes or black hair doesn’t say anything about MC’s personality.
I’m baking a strawberry cheesecake to take to my family’s 4th of July celebration, and I kept thinking about Nick while working. (Also, I’m jealous of the described kitchen!! I have so little counter space and it’s maddening.)
Does he have specific things he likes to cook/bake most? Like, does he prefer to make cookies, or that’s just what keeps people happy so he keeps doing it?
i see! it seems i missed that. also im just reading about the ment that followed button on the grocery store and just. got creeps reminded of own experience
and um, you mix meter and inch, perhaps choose one? i know this is set in chicago but i hope u use the metric system
whats with wedding in bali??? why bali specifically