https://lounge.onstove.com/view/14486914

The September Stove event summary post has been updated!

Please check it out via the post above!

+

It seems that Stove's recent policy is to focus on operating around the Lounge,

so I will also follow suit and write my posts primarily in the Lounge.

Of course, for those who only use the Indie Community, I will continue to leave simple event update posts here as well.

Thank you for your interest!

18:35~19:50 Live Info Show
19:45~20:40 Extreme Jobs
21:00~22:40 Whenever Possible
21:55~22:50 Architectural Exploration - House
22:50~23:45 EBS Docuprime
00:40~00:50 Knowledge Channel e
21:50~00:00 Han Moon-chul's Dashcam Review
22:00~22:50 Current Affairs Planning Window

The plot of Chaos always feels like, 'In order to reach the desired plot point, the characters are forced to act stupidly and do inexplicable things.'

Unnatural dialogue and illogical flow are common occurrences; as long as it's a Chaos plot, these problems appear almost every time.

But because the performance of the first chapter this time was unexpectedly still within the passing line (the dialogue logic was basically still acceptable...), it made the plot of the second chapter this time truly painful everywhere.

Arabella's character personality is clearly intended to be written as profound and unfathomable in the plot, but the things she says in the plot are often just circular, trivial chatter.

It often appears like the kind of 'chuunibyou' lines that a middle schooler would say to make themselves sound smart, but because they lack experience and perspective, after racking their brains, they can only come up with a few lines that make people roll their eyes. It's like the screenwriter took a poster of Arabella, wrote 'Arabella is profound and unfathomable' on it, and then pinned me to the ground and shoved the poster into my mouth, forcefully trying to make me accept this setting.

After watching the current plot, the only thing I feel is impressive about Arabella is that she can obtain information that is hard to get elsewhere. But this part is like magic; as long as the screenwriter says 'she just has it,' then she can have it, so it's hard for me to feel that Arabella is an unfathomable person because of this. Besides that, her behavior and lines in the plot all make me feel like a woman suffering from a severe case of chuunibyou, and I want to add a question mark after every 'profound and unfathomable' moment. If Arabella goes to the infirmary due to despair, during treatment, you might even feel that this woman suddenly starts talking normally; she stops using those roundabout words and can communicate properly like a human being.

Every line of dialogue in the plot makes me think, 'Can you please just speak plainly and talk like a human?' The plot not only fails to add points to the character of Arabella, but it is actually deducting points bit by bit.

There is also a scene in the plot where they suddenly and abruptly start playing air chess, but the purpose seems to be just to bring up 'this is a strategy to defeat the London system' and Hilde's worries in the dialogue.

What is this? If you want to add air chess, at least mention it properly beforehand so the readers know that you have the memory of playing air chess before writing these things!

This looks so abrupt, like a group of people halfway through climbing a mountain, and two people in the team suddenly start sumo wrestling. Then one of the people in the same team tells you, 'Oh, this is a technique that appeared in the Japan Championship back in the day.'

Can you all just climb the mountain properly! What kind of place is Chaos, can you take it seriously!

Plots like this, where characters are forced to suddenly do strange things just to bring about the results the screenwriter wants, happen way too often in Chaos Dream. Every time, it's every single time. In every plot, there is a place that makes people subconsciously roll their eyes, and then go on to seriously think about what kind of brain circuit could write such counter-intuitive dialogue or development.

For example, in the third season, the Captain is clearly rational and knows he has no combat ability, but it's like his brain suddenly received a command from the screenwriter, and even though it's obviously a suicidal act, he just rushes up to block a wave of Chaos with the Mayor.

Every plot has these moments where characters suddenly act as if their brains have received some radio command from the far reaches of the universe, suddenly doing things that jump out of logical thinking, and then forcing the results on the audience without explaining anything. Every time, I suspect if I accidentally skipped a chapter of the main plot.

Can you please let the characters use their own personalities and behavioral logic to do what they would want to do, and let them finish the plot properly? Is it really that hard? Is the writer the kind of child who always wants to interfere with the movement path of ants?Want to guide the plot directionYou can put food to guide them!Don't keep interfering with the ants' movement routeLet them walk by themselves!

Although the first chapter of the fourth season this time still has many small flaws, the logic is all there, the dialogue looks natural and not boring; the explanation is not much but at least it is enough. I was thinking, finally! Finally, the event plot is watchable after the main story remake! Although it can still be improved, it is already watchable!

How did the second chapter repeat the same mistakes again? Every time I think that even a high school student with writing experience could probably write better than this, and I even doubt whether this was written by a human.

If it were a human, they would feel confused while writing, right?

And that method of using one's own life as a bargaining chip was used directly three times in the second chapter, twice by Arabella and once by Leona, for a total of three times.

It works every time, and it succeeds every time. It makes me hold my forehead and wonder what on earth I just watched.

Especially the part where the honey cocktail allows the VIP to add the dosage themselves; I thought I missed something, which made me go back and check if there was anywhere written about whether the toxic body fluid of the cocktail was left there for people to add as much as they wanted.

Using one's own life as a threat, I really don't know how the theoretical Vice-Captain Leona, other than the Captain who can make her lose her mind, would think of such an emotional genius idea at this time.

Licinia actually accepted this threat method and provided information to them.

Oh my god! You are the Vice-Commander! The Commander entrusted you with so much information gathering, don't you know the value of information! Or did Arabella actually instruct Licinia to find an opportunity to provide the information to us naturally? This near-logical destruction of the plot development is like throwing the player's brain on the floor and stepping on it.

I really don't know what kind of stray cats and dogs you hired to write this shit, but if you write the plot properly and completely, this game could be greatly improved...

I just ask you to properly maintain the characters' behavioral logic, properly support the structure of the dialogue, and properly and naturally bring out the plot.

If you want to take The Three Little Pigs or Snow White and write it directly as a plot, I think it would be much better than the current content where the logic always suddenly flies into the universe. Please, I really beg you to write the plot well, and throw an excellent plot in my face so I can apologize!!