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Play for FREE at itch.io

Dead Plate is a short 2D restaurant tycoon themed rpg horror game with visual novel and point-and-click elements  set in 1960s France following the story of a lively waiter named Rody trying to make as much money as possible in a week at a fancy bistro owned by a charismatic and successful chef, Vince.

🍽️ Development &  Story &  Graphics 🍽️ :: RachelDrawsThis :: @ekrixart

🍷 Composer & Sound Designer 🍷 :: BellKalengar

🥩 Features 🥩 :: Original soundtrack :: 70+ CGs and 8+ maps :: Classic restaurant tycoon styled gameplay :: Character-driven story with 8k+ of dialogue

⏲️ Estimated Play Time ⏲️ :: 1 hour  20 ~ 30 minutes for an ending :: Up to 3 hours in total for completion

🔥  NUMBER OF ENDINGS  🔥 :: 4 (+ Different dialogues and hidden secrets/details)

Reblogs and tips are greatly appreciated!

[hamuchaa108]

Boleslavia Intelligence Secret Service ; H-12 Special Squad

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D-3 Snow's birthday ✨

[hamuchaa108]

"Please, let me go." "I won't let the chance go."

Hmm, I haven't said anything about this here.

On both April and July I posted a pair of small BL visual novels titled firstrain and lastrain for an annual game jam occasion, since it's the 1st anniversary of these characters getting together this year.

The O2A2 game jam came with a highly strict assets and word count limitation, but apparently it works well for telling the tale of beginning and ending of a lover's relationship, and I vaguely designed it so that depending on which one you read first, the interpretation would be different.

[hamuchaa108]

Artfight 2023 wrapped up! ★

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Something like improvement meme... thingy, maybe? but with my main OCs. It's always satisfying to see how far I've come 🥹🫶

Original template is here

[hamuchaa108]

“Wanna try smoking, Archie?”

“You know I don’t smoke, Jude”

[hamuchaa108]

January - June 2022 OC art archive

ーーーーーーーーーー

A collection of my old OC arts from the first half of last year.

• January

2022 New Year art

2022 CNY art

All star OC chibi

Axel (wolf) and Snow (bunny)

• February

2022 Valentine's Day art

2022 猫の日 art

Rein rkgk

• March

Audrey rkgk

2022 White Day art

Red with Rein (wolf form)

• April

Axel's birthday art 2022

Sirius (coloring experiment)

• May

Theo (coloring experiment)

Audrey's birthday art 2022

Red's mood

Rein - Iris 4koma

• June

Snow with @remuri2020 's OC (also named Snow)

Rein's birthday art 2022

[hamuchaa108]

study of hogpot

[hamuchaa108]

gooby woobies

[hamuchaa108]

Flow, with updated colours. The blue just felt like it didn’t fit anymore, and I like this version better. All of my products have also been updated to this version.

[hamuchaa108]

You don’t have to apologize for your story being “corny” or predictable. Are you proud of it? Do you enjoy writing it? That’s what’s important.

(Also while we’re at it: predictable ≠ bad)

[hamuchaa108]

Relationship chart between Tranquil Flame characters. More info about the characters can be read here, minus Edell and Klein.

Edell is Rein's older sister, while Klein is his younger brother. They don't have significant part on TF, hence they are not included as the main casts. They have bigger role on the prologue story.

[hamuchaa108]

⚠️blood, gore⚠️

ALRIGHT SO HERE'S MY MAIN OCS :

Snow ❄️

Moses W. Gray ☕

Hortensia Sharron 🦋

Joen Jacobs 🔨

[hamuchaa108]

Tranquil Flame - Introduction

'Tranquil Flame' is one of my main two OC stories. It follows the story of Red and Rein, on their attempt to reach a place they call 'Utopia'; a place where the end of the rainbow lies, which they believe it's the place where they can have a different and better life from their previous home.

A short summary of Tranquil Flame:

On a certain earth, Human coexists with another race called 'Therian', a humanoid race that can shapeshift into an animal. There has been an ongoing feud between Human and Therian, which makes them unable to live in peace together. However, as the society advances, some people make efforts to establish a harmony between the two races. While it is somewhat successful, some countries still struggle to intergrate the two races into a united society.

Red is a young boy from a small village in Ertose, Ezmunch. Ezmunch is notorious for a country with high racism especially to Therian Wolf, that it even segregates Therian Wolf people within a large forest named Dusk Forest. Despite the racism problem, Red manages to befriend a Therian Wolf boy named Rein in the past. However, they have not seen each other for years after an accident involving Red's brother, Snow. Until one day, Rein shows up in front of Red's house during a Werewolves Siege.

As both have turned into teenagers, Red initially doesn't recognize Rein. Rein reminds him of their childhood promise of going on an adventure together. Pondering on his current family situation where his father has fallen so low with his gambling addiction and Red wishes to get a better life for Snow's sake, Red agrees to leave with Rein. However, as they run away on a whim, Red and Rein don't have a specific place to go at first. When they find out the world outside Ezmunch, they become determined to just collect as much money as possible, then live together on a place where Human and Therian can peacefully coexist; and when that day comes, Red wants to take Snow from their old house and makes him live together on their 'Utopia'.

This story is BL, focusing on Red and Rein's relationship as their feeling blooms into something stronger. They also meet new friends as they get into different places. More info about the characters is below the cut.

• Red

Species: Human

DoB: January 5

Height: 165 cm (beginning); 168 cm (ending)

Age: 16 (beginning); 17 (second arc); 18 (third arc); 21 (ending)

Fav. food: Corn, lemon tea

Least fav. food: Oatmeal

Family: Father, younger brother, grandmother

Red is the main character of the story. As he had lost his mother at the age of 7 after she gave birth to his brother, Red was forced to mature too early. Red was the one who took care of house chores and the mother role in their house, even to the point that he became the mother figure for his brother. As a result, Red didn't have time to properly socialize with children of his age. Shouldered by the responsibilities he was not supposed to handle, Red became cold and rigid to the point that he couldn't even smile. He takes everything seriously and doesn't tolerate fooling around, or even entertain the idea of having fun. Red is also stubborn and not easily swayed, so he always goes through with his mind. Taking care of his brother for his whole childhood also caused Red to develop a protective streak to people he considers close. Red doesn't talk a lot, but is surprisingly quick to anger. Despite being rather quiet, Red is very sharp-tongued and is not afraid to voice his opinion, no matter how harsh it is. After staying with Rein and meeting a lot of new people, Red has learned to loosen up and let his emotions show more.

• Rein

Species: Therian Wolf

DoB: June 21

Height: 177 cm (beginning); 181 cm (ending)

Age: 15 (beginning); 16 (second arc); 17 (third arc); 20 (ending)

Fav. food: Barbecue, any grilled food

Least fav. food: Nothing in particular

Family: Father, mother, brothers and sister

Rein is one of the sons of the esteemed Olbrich Family, whose father was the current village chief on the beginning of the story. Growing up with a strange yet not fully understood power which makes him insanely strong (physically), Rein was forced to keep his emotions in check because his parents were afraid if Rein got sufficiently angry he could wreak havoc to his surroundings. As a result, Rein became passive and obedient yet eager to please others. Rein is not quite intelligent, and combined with his placid nature he was often bullied during his childhood. Rein never fought back because he was forbidden to raise his fist. Due to this, other children thought he was a wimp for never fighting back.

At some point, he met Red when the two accidentally bumped on each other in Dusk Forest. The two eventually became friends, although they separated ways before reuniting in their teenage years. Wishing for a world where he can have a peaceful life and accepted by others, Rein risked himself to get out of Dusk Forest and lived among humans. Rein is very patient and loves to meet new people, although due to his upbringing Rein never really talks about himself and what's on his mind. Despite living while hiding his real identity as a Therian is tough, Rein believes he can get through everything as long as he is together with Red.

• Kiriko

Species: Human

DoB: May 25

Height: 164 cm

Age: 15 (first arc)

Fav. food: Miso soup

Least fav. food: Wasabi

Family: Father

Kiriko is a human girl whom Red and Rein met when they arrived at Karmost, Ezmunch's neighboring country. Because she has been living her whole life as a sheltered daughter of a rich and famous scientist, Kiriko was excited to meet new friends and offered them a job on her house. Kiriko was a child genius who had helped with her father's inventions since she was little, and she is an expert in creating robots. However as she grew up, her father started to take more unethical experiments and forced Kiriko to be his accomplice. He put Kiriko under constant fear to make her obedient. Kiriko is not allowed to go outside without her father permission. As a result, she spends a lot of time indoor and working with her machines or computer programs. Even though Kiriko likes to tinker with machines, she really concerns about her looks. On the rare time when her father allows her to step outside, Kiriko likes to go shopping, trying new clothes, and going to beauty salon. Kiriko maintains a cheerful face and optimistic views on life despite she has her life under absolute control of her father and being constantly pressured. Kiriko admires Red and Rein for being able to run away from their place, and wants to follow their path. She believes someday, she can eventually get her freedom and lives on her own accord without needing to obey other people. That's why she endures everything and resolves to never give up.

• Marie

Species: Human

DoB: July 7

Height: 173 cm

Age: 18 (second arc)

Fav. food: Gratin

Least fav. food: Pineapple

Family: None

Marie is a quirky girl with strange powers inside her, which make her a bit unstable although she is mostly fine when Red and Rein know her. She lost her family when she was 2 years old due to an unknown accident, and subsequently taken under her aunt's care. However, Marie turned out to be a creepy child who had a terrifying obsession to dismember animals and harmed other children, so her aunt locked her in the attic. During her isolation, Marie went almost insane due to the lack of social interaction and the voices inside her head, made by the 'entities' that give her power. One day, her aunt's son, Oz, suddenly opened the attic door despite being forbidden to do so. Oz wasn't afraid of Marie and was willing to be her friend. Touched with Oz's kindness, Marie is willing to devote her whole life for Oz even though she hates the whole world for making her suffer.

After having a falling out with her aunt, Marie left her aunt's house with Oz following her. Marie kept her distance from other people because Oz told her so. As a result, both of them became outcasts. Marie worked on a slaughterhouse sometime after because she felt that it can 'sate' her sadistic urge to dismember and harm others. While working there, at some point she got to know Red and Rein. Despite her best efforts to avoid them, she eventually became their friend. Marie has a huge influence on Red's sense of humor and tendencies to prank others, because Marie herself is a prankster. When she has her sound mind, Marie is quite perceptive to her surroundings. Marie doesn't like to be ordered by other people and has a very high sense of individuality, so she always acts on her own. She is very hard to read and be understood.

• Oz

Species: Half-Therian

DoB: September 6

Height: 175 cm

Age: 17 (second arc)

Fav. food: Potato

Least fav. food: Pineapple

Family: Father, mother, younger sister

Oz is Marie's cousin. Lived with overbearing, perfectionist mother who is also a devout religious, Oz never grew a spine to stand for himself. The first time Oz went against his mother was when he unlocked the attic door and found Marie, and decided to be her friend. Despite his mother's objection, she eventually relented because Marie never harmed him. Because Oz hung out with Marie too much, he also became friendless. Oz really likes Marie and wants to stay by her side no matter what, to the point that he even decided to follow Marie when she left his house. He also befriends Red and Rein first before they become Marie's friends. Oz is cautious, diligent, and likes to plan things thoroughly. Oz is easily intimidated and sort of a doormat due to his upbringing, however he is aware about this shortcoming. As a result, he likes to write his personal opinions on his journal. Often, his writings sound very harsh and judgmental. Being raised in an overly religious environment also makes Oz hard to accept views outside of what he believes, although he sometimes tries to compromise if it's concerning his friends. Like Marie, Oz is also quite perceptive, although he never voices out his opinions.

• Iris

Species: Human

DoB: September 28

Height: 158 cm

Age: 15 (third arc); 18 (ending)

Fav. food: Stir-fried noodle

Least fav. food: Tomato

Family: Father, Mother

Iris is the daughter of a famous baker in Glessa, Bredynn. She became acquainted with Red and Rein after her father hired them to work on his bakery. While normally sweet and demure, Iris is also kinda selfish and wants things to go her way, and sometimes is prone to impulsive anger when she is upset about something. Despite having such a bad attitude, Iris actually lives quite normally and not an outcast or loner like other characters mentioned before. She is also diligent and is willing to improve on skills she is lacking. While Iris has a good relationship with Red and considers him like her brother, Iris hates Rein because she is jealous that he is popular and well-liked by people. Rein being her partner with delivery jobs doesn't help her case, and as a result Iris is very mean to him. Iris also vents her anger and frustration to Rein, unaware that her action has bad consequences. Deep down, Iris suffers from inferiority-superiority complex and believes she is inadequate to inherit her family's bakery because she can't bake well. Iris also has survivor guilt because she outlives her siblings who died after a werewolf attack. As a result, Iris is very racist to werewolf and really hates them. Ironically, Iris doesn't know that Rein is a werewolf, although she is still not amicable to him for a whole different reason.

[hamuchaa108]

From Neill Cameron’s Twitter:

I was working recently with a bunch of kids who kept tearing up their own drawings in frustration, so I did something I’ve not done before.

I talked honestly to a classroom full of children about how much I hate my own drawing.

Okay, not the full extent. These kids ain’t ready to hear that. But that I do.

They were kind of appalled, and horrified and fascinated, but anyway, they stopped tearing up their drawings.

As I attempted to explain it — and many of you reading this will know already — when you make a drawing, there are two versions of it.

There’s the version that exists in your head, and then there’s the version that ends up on paper.

And because you can see both versions, you can’t help but compare them, and feel frustrated by the difference.

But here’s the thing, and I think it’s easy to forget this: no-one else can see that first version.

They can’t judge against it. They can only see, and judge, the version that exists on paper.

And you know what, this sounds crazy, but they might actually like it for what it is. They might think it’s cool that you made it.

I mean, holy god, if you guys could see the version of Mega Robo Bros that exists in my head.

Your eyeballs would melt and your heart be burned away by sheer divine fire of amazingness.

But the differences between that version and what’s on the page are only visible to me, and shouldn’t — can’t — matter to anyone else.

If a draing goes a bit wrong, ah well. Look at it, learn, try and make the next one better.

Or, possibly even better: abandon false objective notions of quality altogether and just enjoy the process, the activity, of making a thing.

Not quite how I phrased it to the Year5s, but hopefully you get the idea.

IN SUMMARY: be kinder to your drawings, and yourselves. I know, it’s hard. But try.

(Though this was written by a visual artist, the advice is applicable across creative disciplines – be kind to yourselves and to your stories!)

[hamuchaa108]

hey there! thanks for answering all our questions on this blog + how possible would it for someone to crack ribs with a solid kick? there's a character i have in mind that's escaping captivity, but they're also young, so i'm not quite sure how easily they'd be able to hurt the (adult) antagonist in such a manner, especially lacking any fighting experience to begin with?

Well, you can break someone’s ribs with a kick. That’s the entire purpose of the roundhouse, especially the version where you strike with the ball of the foot rather than the top of the foot. (And… aren’t like me when I was seven or eight, when I was new to sparring and totally stubbed my toe in another kid’s side at a tournament after my brain/body got confused between the two. I didn’t break my toe, but I could’ve.)

That story above is important, by the way. If you’ve got a character who doesn’t know how to fight then they’re not even going to get that far. If you don’t know how to kick then that’s a great way to get your leg caught by someone who knows what they’re doing. They catch the foot by the ankle, and then drag you wherever they want. That’s assuming the character can get their leg up and out without falling over. Even if they do manage that, say because they’ve watched a lot of martial arts flicks, they won’t know how to generate power and will be very slow. A, B, and C occur anyway. Your protagonist is going to end up back wherever they were being kept, this time in a much less comfortable position.

Even for an experienced martial artist, kicks require fairly constant bodily upkeep in order to be able to do them cold (much less perform them at all). That’s not a combat scenario, that’s just in general. You’ve got a great chance of pulling all the leg muscles you need to get away, including ones you didn’t realize you had and that’s if you don’t break your toes. Board breaks with the roundhouse kick are the most terrifying of them all because you’ve got to remember to curl your toes just right in order to carry your foot through the board.

Kicks are off the table.

More importantly, this is an exact rendition of the “Feel Good Violence” trope: My Instincts Performed A Wheel Kick.

The protagonist is suddenly and randomly enough good at fighting to not only fight, but win when making their first attempt at a violent altercation. They use techniques which require a fairly high level of dedication and aptitude out of “natural ability” and “instinct”.

Unless you’ve got an ironclad reason for invoking the trope (past lives/ immortality/memory loss/the matrix) it will undercut your narrative credibility in ways the story cannot recover from.

When you’ve cracked your foundation, you’re done.

“The only difference between reality and fiction is that fiction needs to be credible,” - Mark Twain

Narrative integrity is based on the rules or limitations we’ve set for ourselves, those limitations are the ironclad rules by which the narrative functions. They exist on two levels: in behavior and actions of characters within the world, and on a secondary level the setting’s behavior around them. Everything in your story must be working to uphold the fiction. When it doesn’t the audience’s “suspension of disbelief” starts to crack. You are beholden to the rules and limitations set down by your setting. Without them, you have no story.

When you’re setting out to create a character, there are four questions you should ask yourself:

1) What can the character do?

2) What can’t the character do?

3) What is the character willing to do but can’t?

4) What can the character do, but is unwilling to?

Within these four circles you have your character, their ethics/morals, and their limitations. That is the box you’ve created for yourself. It is important to own it and abide by it. When dealing with a protagonist, those limitations are not just the foundations of a character but the entire narrative.

Your character cannot fight your antagonist in a one on one and come away with any victory because you have established they don’t know how to. That is a limitation you set for yourself. That the audience knows and understands, so they will expect this character to act in accordance with it. They may want to walk up to the antagonist and kick them in the ribs so hard those ribs break, but they can’t. That desire could be a driving force behind them learning to fight later. As of now, though, their powerlessness in active violent conflict serves to reinforce the antagonist’s position. Reinforcing the antagonist’s position is for the narrative good.

They should be making choices based on the Venn diagram’s center: when what they can do meets what they are willing to do.

If what they can’t do conflicts with what they’re willing to do and they go with it anyway then the result is a failed escape attempt. A captive’s survival is based on their value. If they’re valuable enough for the antagonist to go through the trouble of capturing them in the first place, then they’re probably not going to be killed. At least, not until their value runs through. They lose and wind up back in captivity under more scrutiny, more security, and with fewer exit options. This reminds us why they were captured in the first place, and reinforces our villain’s position.

A protagonist can fail and retain their legitimacy many more times than an antagonist can. While this is a perfectly legitimate narrative outcome, I don’t think its the one you’re looking for.

This is the second issue with your question:

A narrative’s antagonist is its backbone.

Your antagonist is one of the most important pieces of your story, if not the most. They are the lingering threat, the shadow hovering over the story, and the knife at your protagonist’s throat. They are seventy percent threat, and the last thirty relies on their ability to make good on it.

One of the biggest mistakes an author can make is assuming their antagonist’s position in their narrative and the threat they provide are impervious to harm.

Unlike your protagonist, your antagonist is always in a precarious position. They must constantly re-affirm themselves and the threat they represent through their actions. That threat is all consuming and when challenged, it must either be defeated or confirmed.

If defeated, then the threat is gone.

If confirmed, then the threat level is heightened because now we imagine what they might do next.

An antagonist can re-affirm themselves after a defeat, but they’ve got to double down on their effort and create a new threat rather than relying on their old one. You as the author must work harder to make up for what you lost, and even then you’ll never have the initial fear ever again.

The first rule of the antagonist is: your capital is limited, so spend it wisely.

When you undercut an antagonist in favor of the protagonist before its necessary, you damage the antagonist’s credibility and, subsequently, their position in the story. When you lose your antagonist, you lose most of your narrative tension.

A character who doesn’t know how to do something is applying a limitation to the character. You are applying a restriction to what they can and can’t do. If you’re character doesn’t know how to fight, then fighting will be off the table. More importantly, having your character succeed at a skill set they have no experience in doesn’t make them “awesome” or “cool”, it means instead that the other characters who put time and effort into honing these skills suck.

When those characters are your antagonists… that hurts.

If you’ve got a protagonist with no hacking experience who manages to overcome a supposedly great hacker on their first or second go round with no time spent learning how to hack, then who looks bad? The second hacker. They’re the ones who are supposed to be good at hacking. If the narrative hinges on them being a major antagonist, then the author just shot their narrative in the foot.

Combat skills are the same way. They’re a skill set, not an instinct. They don’t come naturally, and take a great deal of time and effort to hone.

If your goal is to show your dangerous antagonist is a bumbling moron when an untrained teenager gets a lucky shot so miraculous they manage to lay them up for the rest of the story, then that’s a job well done.

If your goal is for the antagonist to maintain their credibility within the narrative? Don’t use them for a punching bag.

Violent confrontation is based just as much on threat of force as it is on the follow through. The threat is usually more frightening than what follows, and your protagonist is already challenging the fear by trying to escape. From a narrative perspective, if they get over their fear enough to challenge their antagonist directly then it’s game over. You spent your all capital either at the beginning or midway through the story, and you’re not getting it back.

Remember, your antagonist has to do just as much work to earn their street cred as your protagonist. Their position is a delicate balance of power management and threat of force. They rely on show over tell. They need to live up to whatever it is you’ve been saying about them. They need to be as dangerous as they’ve been puffed up to be, unless their reputation itself is the real antagonist. Never forget, your antagonist (whoever they are/whatever it is) is the backbone of your story. They are often the driving force of action, the reason why the protagonist is struggling, and the focal point. In some ways, they are more important than your protagonist because without them the protagonist’s got a whole lot of nothing.

When you undercut your antagonist, you also hurt your protagonist’s development. You cheat them of their chance for growth, and deny them their ability to show off whatever it is that they’re actually good at i.e. using their bravery, intelligence, and cleverness to sneak out.

If your protagonist beats down their Goliath at the beginning of (or even the middle) of the story then there’s no reason for them to go to the mountain master and learn to throw rocks.

-Michi

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