Update to chapter 11

No picture today—I’m keeping what I’m working on under wraps for now—but I wanted to share some insights with you. I’m still working on the battle between the Brotherhood and the High Order, and I’ve been experimenting with some new approaches to keep things dynamic and engaging.

Usually, I like to use a technique called "center framing," which comes from cinematography. This involves placing the main action in the center of the screen, making it easier to follow even during fast cuts or scene changes. It reduces cognitive strain, making the experience subconsciously more enjoyable to watch. A great example of center framing is Mad Max: Fury Road, which uses this technique masterfully.

Another technique I enjoy is creating scenes where as much as possible happens within a single angle or cut—my version of a "long take" in a visual novel. This approach adds a sense of realism because the viewer can track every movement and clearly understand the cause-and-effect relationships unfolding on screen.

For the battle I’m working on now, I’ve decided to take a different approach. I’m moving away from center framing and focusing entirely on long takes. This might make the scene a bit more intense or overwhelming at first, but on a second (or third) viewing, you’ll start to notice new details. There’s action happening everywhere—while the Brotherhood and the High Order engage in a sword fight in the foreground, covering fire erupts in the background. It’s a more chaotic, layered presentation. Why did I choose this approach? I believe battlefields should feel a bit chaotic and disorienting—after all, real fights aren’t neatly organized. But at the same time, it shouldn’t come at the cost of player enjoyment. What’s the point of crafting epic battles if no one can follow them? With my limited resources, I’ve done my best to strike that balance, and I hope it pays off.

Anyway, enough talk—I’m heading back to work!