While every game offers sex scenes, you don’t stick with every single one; you couldn't, there are just too many.
But then there are those games—the ones that grab hold of us, and maybe you're not quite sure why. What sets these games apart?
Maybe it's that one character, or maybe it's something left unfinished.
While reading this, you may be thinking about the games you're most excited about in the next update. One thing is certain: that particular game wasn't boring—it kept you engaged.
Delivering a game isn't an easy task. Knowing how to start, or at least being organized with it, can help things along.
For now, let's focus on your story and how to engage your audience. That will dictate mostly everything: who your characters are, where they are, how things will evolve, and most importantly, how things will end.
We're going to focus on one particular screenwriter, Glenn Gers, and study what he has to say.
And I'll add my opinion and thoughts on how we can translate this into sex games.
With that said, let’s begin:
›› Storytelling is about conveying experiences, emotions, and ideas, and sex can be a part of that, but for storytelling, it's not essential. Some argue that relying too heavily on sex can detract from other aspects of a story, while others believe it can enhance storytelling if used thoughtfully and in context, so…
Sex in a story should serve a purpose and be handled with care to maintain immersion and respect the story's themes and characters.
So think about where the story should go, instead of when you should put your next sex scene.
For us to exercise those ideas, I'll choose a tag and one theme to work on. Let's see how we can craft something based on these questions. For this, I've chosen to go with Incest and Action
Thinking about your scenes is a process of asking questions, writing is a process of answering them, and for that, Glenn Gers is the author of 6 Questions that we can use to ease things out.
So what about sex? Well, it seems to me that you do have room to work around
You have the story, you know where to go, now you can fill in the in-betweens with sex.
If you want to follow every single one and give depth to every character, you can ask those 6 questions again for every character, it always works.
That was a short summary, and here is mostly what I learned from playing games, reading reviews of a lot of games, and paying attention to what would be one major complaint for readers.
Sources:
--
--
But then there are those games—the ones that grab hold of us, and maybe you're not quite sure why. What sets these games apart?
Maybe it's that one character, or maybe it's something left unfinished.
While reading this, you may be thinking about the games you're most excited about in the next update. One thing is certain: that particular game wasn't boring—it kept you engaged.
Delivering a game isn't an easy task. Knowing how to start, or at least being organized with it, can help things along.
For now, let's focus on your story and how to engage your audience. That will dictate mostly everything: who your characters are, where they are, how things will evolve, and most importantly, how things will end.
We're going to focus on one particular screenwriter, Glenn Gers, and study what he has to say.
And I'll add my opinion and thoughts on how we can translate this into sex games.
With that said, let’s begin:
›› My personal thoughts on are gonnna appear that way
“(…)” Author Quotes are gonna start like this
“(…)” Author Quotes are gonna start like this
›› Storytelling is about conveying experiences, emotions, and ideas, and sex can be a part of that, but for storytelling, it's not essential. Some argue that relying too heavily on sex can detract from other aspects of a story, while others believe it can enhance storytelling if used thoughtfully and in context, so…
Sex in a story should serve a purpose and be handled with care to maintain immersion and respect the story's themes and characters.
So think about where the story should go, instead of when you should put your next sex scene.
For us to exercise those ideas, I'll choose a tag and one theme to work on. Let's see how we can craft something based on these questions. For this, I've chosen to go with Incest and Action
Thinking about your scenes is a process of asking questions, writing is a process of answering them, and for that, Glenn Gers is the author of 6 Questions that we can use to ease things out.
"(...) Human Beings turn everything into stories about people, we just do, if you're gonna talk about an event, or an idea, or a feeling, we still are gonna look for the people"
A young man, around 22-26, needs to have some experience but not much though. Age here It’s an important fact, he has to be innocent as the opposite of mature, somehow oblivious, and desperate enough to commit mistakes and this would lead to an interesting story. He was kidnapped when he was very young.
›› That was easy, the next one won't be. What he does and the way he acts weigh more than what happens to him. I need someone active, so I should at least know what he would do in a very simple manner, and also I know I shouldn't overcomplicate things very early on
A young man, around 22-26, needs to have some experience but not much though. Age here It’s an important fact, he has to be innocent as the opposite of mature, somehow oblivious, and desperate enough to commit mistakes and this would lead to an interesting story. He was kidnapped when he was very young.
›› That was easy, the next one won't be. What he does and the way he acts weigh more than what happens to him. I need someone active, so I should at least know what he would do in a very simple manner, and also I know I shouldn't overcomplicate things very early on
“(…) If we know, what the character wants, we get involved, we don’t have to like them, we don’t have to like what they want, they can like something obscure to us, or stupid or something that we think it’s evil”
›› The author said that it can be pretty much anything —an object, an accomplishment, an event, an experience, or even information.
“(…) We have to know exactly what it is, so we can know when they get it”
For some reason, he's back in his old town
He’s looking for his family, Initially, he hopes to say "Hi" to a person that now would be a stranger to him, and him a stranger to her and, check if everything is all right.
But he’s recognized, and a hug changes everything
Now what he wants is to reconnect with his family and sisters
›› If you want to know "how?", I won't explain. I shouldn't bore you with a long explanation. I have a short time to convince you that what you’re reading has the potential to be good, If you do want to know, it seems like you'll have to stick around for chapter 2.
BUUT... It's my job to not compromise something that I would like to change in Chapter 1 while releasing Chapter 2
›› The author said that it can be pretty much anything —an object, an accomplishment, an event, an experience, or even information.
“(…) We have to know exactly what it is, so we can know when they get it”
For some reason, he's back in his old town
He’s looking for his family, Initially, he hopes to say "Hi" to a person that now would be a stranger to him, and him a stranger to her and, check if everything is all right.
But he’s recognized, and a hug changes everything
Now what he wants is to reconnect with his family and sisters
›› If you want to know "how?", I won't explain. I shouldn't bore you with a long explanation. I have a short time to convince you that what you’re reading has the potential to be good, If you do want to know, it seems like you'll have to stick around for chapter 2.
BUUT... It's my job to not compromise something that I would like to change in Chapter 1 while releasing Chapter 2
“(…) I believe that any story is about how a character trying to accomplish something, runs into other people who will either help or harm their intention“
“(…) Ok, so we have to care about someone, and we care because we know what they want, so we have to know what that is, and it can’t be easy”
›› If someone goes out to buy some bread and comes back, that's not a very compelling story. But if he has to fight hellhounds on the way, now I want to know more about it. Obstacles are the key, it requires that the main character take action
Over time, he did what was necessary to survive. This led to him acquiring skills, forming alliances, and seeking favors, so what was supposed to be his past life, would come back for him.
“You owe some favors.”, “You’re never actually out of the company.”, “We need you again to do something for us.” and so on
›› Right now, he's going to start to realize that the peaceful life he seeks is compromised.
“(…) Ok, so we have to care about someone, and we care because we know what they want, so we have to know what that is, and it can’t be easy”
›› If someone goes out to buy some bread and comes back, that's not a very compelling story. But if he has to fight hellhounds on the way, now I want to know more about it. Obstacles are the key, it requires that the main character take action
Over time, he did what was necessary to survive. This led to him acquiring skills, forming alliances, and seeking favors, so what was supposed to be his past life, would come back for him.
“You owe some favors.”, “You’re never actually out of the company.”, “We need you again to do something for us.” and so on
›› Right now, he's going to start to realize that the peaceful life he seeks is compromised.
“(…) The action that they take, makes up most of the story, and the actions they take define their character.”
›› Here, you can think about how you're going to balance things out between what he has to do to live within his newfound family and to avoid the past.
At first, he'll try to fight against it. Maybe he has to ditch those people, maybe he does what is asked to in the belief that he's not going to be bothered anymore, or maybe that’s not who he wants to be anymore
›› How is he’s gonna solve the problem? He seeks help from the inside? he’s gonna hide everything from the family? Does he kill people? He swears never kills again?
›› Here, you can think about how you're going to balance things out between what he has to do to live within his newfound family and to avoid the past.
At first, he'll try to fight against it. Maybe he has to ditch those people, maybe he does what is asked to in the belief that he's not going to be bothered anymore, or maybe that’s not who he wants to be anymore
›› How is he’s gonna solve the problem? He seeks help from the inside? he’s gonna hide everything from the family? Does he kill people? He swears never kills again?
“(…) It’s when what they do doesn’t work, that they learn things, or have to face things that they need to change in themselves or the world, because them, eventually after they’ve tried all the easy and familiar stuff, they’re gonna have to do the things that they don’t wanna do…”
Whatever the place he was, he sort of became a great tool, so he can’t leave, the problem is that now he recently found that he has something to lose, and the people who's against him now, knows this
Whatever the place he was, he sort of became a great tool, so he can’t leave, the problem is that now he recently found that he has something to lose, and the people who's against him now, knows this
›› I’m gonna let this for you to decide, but remember:
“(…) The end of the story makes a statement, whether you want it or not, it reflects a meaning to your story, so the end of a story, is a meaning of a story”
“(…) The end of the story makes a statement, whether you want it or not, it reflects a meaning to your story, so the end of a story, is a meaning of a story”
So what about sex? Well, it seems to me that you do have room to work around
"Mother who's been alone, dedicated herself to her daughter after her only son disappeared."
"Hiding in the closet from criminals."
"Sister who finds everything and tries to help because she wants to get closer to him."
"Mother who would do everything for her son."
"Hot girl criminal who helps him from his past life."
"Hot criminals that you don't care if they live or die."
I think you got it...
"Hiding in the closet from criminals."
"Sister who finds everything and tries to help because she wants to get closer to him."
"Mother who would do everything for her son."
"Hot girl criminal who helps him from his past life."
"Hot criminals that you don't care if they live or die."
I think you got it...
You have the story, you know where to go, now you can fill in the in-betweens with sex.
If you want to follow every single one and give depth to every character, you can ask those 6 questions again for every character, it always works.
That was a short summary, and here is mostly what I learned from playing games, reading reviews of a lot of games, and paying attention to what would be one major complaint for readers.
Sources:
--
You must be registered to see links
--
You must be registered to see links
