## Orzo 01

Orzo 01 is a adult visual novel. 

## Setting

A traveling summer festival circuit across rural Japan. The player is a foreign photographer 
hired to document the festivals for a tourism board — lantern festivals, harvest celebrations, fire 
ceremonies. He travels in a small convoy: a van, a truck of equipment, and a handful of performers 
and staff who become his temporary family for eight weeks. The world is taiko drums, paper lanterns, 
summer heat, and roads between villages where the rice fields stretch forever.

## Characters

### Emma (Deredere)

A shamisen player and part-time narrator for the festival's storytelling segments. She's been on the
circuit for three summers. Knows every festival organizer, every shortcut, every local dish. Calls the 
player "kisha-san" (Mr. Photographer) with a smile that makes it impossible not to smile back.

**First encounter**: At a lantern-lighting ceremony, she appears beside him, close enough that their
sleeves touch, and whispers "You're framing it wrong — lower, let the water reflect the light."
She's right.

### Christy (Tsundere)

A fire dancer and acrobat — the festival's showstopper. Grew up in the circuit; her grandmother ran 
the same troupe. She rarely speaks unless it's about performance. When she dances, she's untouchable.
Offstage, she's untouchable too — by choice.

**First encounter**: Behind the equipment truck, stretching alone before a performance. The player's 
camera clicks accidentally. She stops mid-stretch. "Delete it." He does. She doesn't thank him. 

## Characters interplay in this world

- **Emma's route** is a summer romance in the classic sense — fleeting, luminous, aching precisely because 
it has an end date. Every festival is a new backdrop. She teaches him phrases in dialect, drags him 
to food stalls at midnight, falls asleep against his shoulder on the van between towns. Her Deredere
nature means she never holds back — she knows this ends in August and chooses to love fully anyway. 
The question is whether the player can match her courage.

- **Christy's route** is about what's behind the performance. She dances with fire because her grandmother
did, because the circuit is the only home she's ever known, because stillness terrifies her. The 
player earns access in fragments: a shared cigarette behind the stage, a scar on her forearm from a 
childhood accident, the admission that she's never been photographed by someone she trusted. 
When she finally lets him photograph her — not performing, just her, at dawn, tired and real — it's 
more intimate than anything physical.

- **The shared world**: The festival circuit is a living thing — fireworks, rain delays, broken truck
axles, impromptu performances in a village that wasn't on the schedule. Emma and Christy grew up in 
these traditions in different ways. Emma knows the stories behind every festival. Christy knows the 
body behind every performance. Together they complete the circuit. The player photographs both: 
Emma laughing with festival elders, Christy mid-spin with fire blooming around her. Through the lens,
he begins to understand what he's choosing between.

- **Route intersection** — the final festival: The last night. A fire ceremony on a lake. Emma 
narrates the story — an old tale about a spirit who must choose between the sun and the moon.
Christy dances the spirit's role, flames reflected in black water. The player photographs from the 
shore, and the lens captures a moment where both women are looking at him.

# Chapters

## Chapter 1 — *First Light*

Covers the protagonist's first 2–3 days on the circuit: arrival, initiation into the convoy,
and first encounters with both heroines. Establishes world, tone, the 8-week clock, and the
immediate emotional texture of the two routes.

---

### Affinity System

Every character tracks `affinity` on a hidden integer scale (approx. −10 to +10 per chapter).
Choices raise or lower affinity. Affinity gates route availability, scene variants, and the
final festival outcome.

**Notation:**
- `E+ / E−` = Emma affinity change
- `C+ / C−` = Christy affinity change
- `T+ / T−` = Takeda / crew affinity change

---

### Scene 1 — *The Road In*

**Location:** A rural train platform, then the interior of a cramped van driving through
rice-field country under crushing summer humidity.

**Characters:** Protagonist, **Takeda** (grizzled convoy driver & coordinator), unnamed
crew hands.

**What happens:**

The protagonist steps off a local train into the heat — a foreigner with a camera bag and
bad Japanese. Takeda picks him up in a dusty van. On the drive, Takeda explains the rhythm
of the circuit (shows, travel, sleep, repeat), points out landmarks, and gruffly sizes up
the new photographer. Rice fields stretch endlessly past the window. The van smells of
gasoline and old coffee. The protagonist photographs the landscape through the glass — his
first frame of the journey.

**Choice 1 — *"First impressions"***

*Takeda glances at the protagonist's oversized camera bag and says: "You know this isn't
a vacation, right?"*

| Option | Text | Affinity |
|--------|------|----------|
| A | "I'm here to work. You'll see." | T+1 — Takeda respects grit |
| B | "Work and vacation aren't so different through a lens." | Neutral — Takeda shrugs |
| C | "I'll try not to slow you down." | T−1 — Takeda smells weakness |

**Consequences:** Teaches the player that choices exist and have consequences. Low-stakes,
crew-only. The "8 weeks" deadline is seeded in conversation. Takeda becomes the player's
anchor to the practical world of the circuit.

---

### Scene 2 — *Arrival at Ground*

**Location:** A festival ground in a small town — tents going up, lantern strings being
hung, taiko drums unloaded under afternoon sun.

**Characters:** Protagonist, Takeda, crew members. **Glimpses** of Emma (distant, tuning a
shamisen on a crate, laughing with elderly locals) and Christy (distant, hauling twice her
weight in equipment, face set in concentration).

**What happens:**

The convoy arrives. The protagonist is assigned a corner of the crew tent and told to
"shoot everything — setup, faces, the town." He wanders the grounds, photographing the
controlled chaos. The heat is oppressive. A festival elder offers him cold tea. He feels
the first stirrings of belonging — or at least, of being tolerated.

**Choice 2 — *"First glance"***

*The protagonist surveys the grounds. Two figures stand out. His camera is in his hand.
Where does the lens drift?*

| Option | Text | Affinity |
|--------|------|----------|
| A | Photograph the laughing woman — warmth, connection. | E+1 — she notices later, flattered |
| B | Photograph the solitary woman — strength, isolation. | C−1 — she notices immediately, cold stare |
| C | Photograph neither — shoot the lanterns, the town, the crew. | Neutral — professionalism |

**Consequences:** First affinity nudge toward one heroine or neutrality. Teaches that
photographing Christy without permission has consequences — foreshadows Scene 4. The
player learns the physical geography of a festival ground.

---

### Scene 3 — *The Lanterns* — Emma's First Encounter

**Location:** Riverside at dusk. Paper lanterns being lit and set afloat on black water.

**Characters:** Protagonist, **Emma**.

**What happens:**

The protagonist is at the water's edge, struggling to frame the lantern ceremony — the
light, the reflections, the faces. A voice beside him, close enough that their sleeves
touch: *"You're framing it wrong — lower, let the water reflect the light."* He adjusts.
She's right. He turns. Emma smiles and says *"kisha-san"* (Mr. Photographer) with a warmth
that makes it impossible not to smile back. She introduces herself — shamisen player,
part-time narrator, three summers on the circuit. Brief, easy conversation. She knows
everyone. She offers to show him the best food stalls later. Then she's gone, pulled away
by a festival organizer, throwing a wave over her shoulder.

**Choice 3 — *"The correction"***

*Emma whispers: "You're framing it wrong — lower, let the water reflect the light." The
protagonist adjusts. She's still beside him, sleeve brushing his, waiting to see what he
does next.*

| Option | Text | Affinity |
|--------|------|----------|
| A | "Thank you. I'm [name]. Are you with the festival?" | E+2 — open, warm, matches her energy |
| B | Lower the camera and just watch the lanterns with her. | E+3 — she's surprised; he chose the moment over the shot |
| C | Nod, keep shooting. She'll drift away. | E−1 — missed connection; she's too polite to push |

**Choice 4 — *"The name"***

*She calls him "kisha-san" for the first time, smiling.*

| Option | Text | Affinity |
|--------|------|----------|
| A | Smile back. "And what should I call you?" | E+1 — reciprocity |
| B | "Kisha-san? I've been called worse." | E+1 — playful; she laughs |
| C | "Just [name] is fine." | Neutral — she notes the correction but keeps using kisha-san anyway |

**Consequences:** Emma is established as instantly warm, knowledgeable, effortlessly
charming. The *"kisha-san"* nickname is born — it sticks for the whole story. First
genuine human connection for the protagonist. The player receives a clear invitation toward
Emma's route: open, luminous, no games.

---

### Scene 4 — *The Click* — Christy's First Encounter

**Location:** Behind the equipment truck, just before the evening performance. Dusk, long
shadows, distant taiko drumming.

**Characters:** Protagonist, **Christy**.

**What happens:**

The protagonist, looking for a different backstage angle, rounds the truck and finds
Christy stretching alone — a fire dancer's discipline, all controlled tension. She hasn't
seen him. He raises the camera on instinct. The shutter clicks. She stops mid-stretch,
turns, and her eyes are ice: *"Delete it."* No anger — just a cold, absolute wall. He
shows her the empty screen. She turns away without a word. He leaves, heart thumping, more
unsettled than he expected.

**Choice 5 — *"Delete it"***

*The shutter clicks. Christy stops mid-stretch. Her eyes find him. "Delete it."*

| Option | Text | Affinity |
|--------|------|----------|
| A | Delete it immediately. Show her the empty screen. Say nothing. | C+1 — she expected a fight; silence surprises her |
| B | Delete it. "I'm sorry. I should have asked." | C+2 — she didn't expect an apology; stores it |
| C | Delete it, but hesitate. "I wasn't trying to—" | C−1 — she doesn't want explanations |
| D | "Why? It was just a stretch." | C−3 — walls go up; she walks away visibly colder |

**Choice 6 — *"The exit"***

*She turns away. The protagonist is still standing there.*

| Option | Text | Affinity |
|--------|------|----------|
| A | Leave quietly. | C+1 — she notices the absence of further intrusion |
| B | "Good luck tonight." | Neutral — she doesn't respond, but files it |
| C | Raise the camera again — just in case. | C−3 — she catches the movement in her peripheral; dangerous |

**Consequences:** Christy is established as guarded, formidable, unwilling to be seen
outside her performance. The protagonist's relationship with his camera gains ethical
weight — *taking* vs. *being given.* The player understands Christy's route will not come
easily. Option B in Choice 5 is the highest gain because it acknowledges her autonomy.
Option D is a significant setback — recoverable, but it closes early trust.

---

### Scene 5 — *Fire and Strings* — First Performance

**Location:** Main festival stage at night — paper lanterns, bonfire light, a crowd of
villagers and travelers.

**Characters:** Protagonist, **Emma**, **Christy**, Takeda, crew, festival crowd.

**What happens:**

The first full performance. Emma takes the stage with her shamisen, narrating a folk tale
with a voice that carries across the crowd — playful, dramatic, beloved by the locals.
Then Christy enters. Fire poi bloom in the dark. She moves and the crowd goes silent.
Through the viewfinder, the protagonist captures Christy mid-spin, fire trailing like a
second body, her face unreadable. He turns and catches Emma laughing with a festival elder
at the edge of the stage, shamisen resting on her lap. Two frames. Two women. He doesn't
know it yet, but the choice has already begun to form.

**Choice 7 — *"The lens"***

*The protagonist has one camera, one angle, one moment that will define his coverage. The
shamisen rises. The fire blooms.*

| Option | Text | Affinity |
|--------|------|----------|
| A | Frame Emma — the storyteller, face lit by lanterns, voice carrying the tale. | E+2 — she spots him in the crowd; her smile flickers |
| B | Frame Christy — fire trails, the dancer's body in motion, untouchable. | C+1 — she doesn't know, but the photo becomes important later |
| C | Wide shot — both in frame, the stage, the crowd, the whole moment. | Neutral — professional; captures the festival, not the person |

**Consequences:** A soft route signal. The player tells the game who they're watching.
Christy's gain is smaller because she doesn't know — but the *photo* persists and can be
shown to her in a later chapter. Both heroines are shown in their element. The circuit's
magic is fully established.

---

### Scene 6 — *Midnight Stalls*

**Location:** Late-night food stalls at the festival's edge — strings of bare bulbs,
sizzling grills, laughter. Then the van interior, driving through darkness to the next
town.

**Characters:** Protagonist, **Emma**, Takeda, crew members.

**What happens:**

After the show, the crew descends on the food stalls. Emma finds the protagonist and drags
him by the sleeve to try *imagawayaki* and *yakisoba* from a specific stall — "the best in
three prefectures, I've done the research." She teaches him a local dialect phrase and
laughs when he butchers it. Takeda tells a story about a festival where the floats caught
fire. The crew are a family tonight — tired, happy, temporary. On the van ride to the next
town, Emma falls asleep against the protagonist's shoulder. The rice fields slide past in
the dark.

**Choice 8 — *"The dragging"***

*Emma grabs the protagonist's sleeve. "Come on, kisha-san — there's a stall three blocks
in that has imagawayaki that will ruin you for all other food."*

| Option | Text | Affinity |
|--------|------|----------|
| A | "Lead the way." Let her pull you into the crowd. | E+2 — she beams; she loves showing people things |
| B | "I should finish uploading photos first." | E−1 — her smile falters, just slightly; she recovers fast |
| C | "Only if you're paying." | E+1 — she laughs and calls him cheap; it becomes a running joke |

**Choice 9 — *"The dialect"***

*Emma teaches him a phrase in the local dialect — something untranslatable about the smell
of summer rain on rice fields.*

| Option | Text | Affinity |
|--------|------|----------|
| A | Try earnestly, even if you butcher it. | E+2 — she's delighted by the effort |
| B | "That's never coming out of my mouth correctly." | E+1 — she teases him about it for the rest of the night |
| C | "Teach me something useful instead." | E−1 — a small wound; she was sharing something real |

**Choice 10 — *"The shoulder"*** ⭐

*In the van, late night. Emma has fallen asleep against the protagonist's shoulder. The
road hums. The next town is two hours away.*

| Option | Text | Affinity |
|--------|------|----------|
| A | Don't move. Let her sleep. | E+3 — she wakes briefly, murmurs something, doesn't pull away |
| B | Gently adjust so she's more comfortable. | E+2 — she doesn't wake, but her body relaxes |
| C | Shift away. It feels too familiar. | E−2 — she wakes, pretends she didn't, moves to the window |
| D | Take a photo of her sleeping. | E−3 — she wakes, sees the camera, warmth evaporates: *"kisha-san... don't."* |

**Consequences:** Emma's route deepens — physical closeness, vulnerability, the ache of
impermanence. The "temporary family" dynamic is fully realized. Option D is devastating
because it echoes the Christy scene — using the camera as a barrier instead of a bridge.
Teaches that *both* heroines require consent. The dialect phrases become a recurring
motif on Emma's route.

---

### Scene 7 — *Before Dawn* — Christy's Echo

**Location:** The next morning, a quiet edge of the new festival ground. Mist over rice
fields. Before sunrise.

**Characters:** Protagonist, **Christy**.

**What happens:**

The protagonist wakes before the convoy, restless. He walks out with his camera, meaning
to photograph the sunrise. He finds Christy already there — practicing alone, no fire,
just pure movement flowing through forms her grandmother taught her. Absorbed, unguarded.
She hasn't seen him. His camera is in his hand.

**Choice 11 — *"The morning"*** ⭐ *Key turning point of Chapter 1*

*The protagonist finds Christy practicing alone in the mist. No fire — just movement, her
body flowing through forms. She hasn't seen him. His camera is in his hand.*

| Option | Text | Affinity |
|--------|------|----------|
| A | Photograph her. This is what he's here to do. | C−3 — she senses it, stops, turns: *"You again."* Cold fury |
| B | Don't photograph. Watch in silence, then leave before she notices. | C+2 — she never knows; but the *player* grows |
| C | Don't photograph. Stay. Let her see you watching — no camera raised. | C+3 — she stops, meets his eyes, doesn't speak, doesn't send him away — the first crack |
| D | Call out. "Morning." Try to talk. | C−2 — she freezes, grabs her things, leaves without a word; he invaded her time |

**Consequences:** The signature choice of Chapter 1. Defines the protagonist's
understanding of Christy. Option C is the highest affinity gain possible with her in this
chapter — it communicates *I see you, and I'm not taking anything.* Option A is a severe
setback and closes early soft moments on her route. The chapter ends on Christy alone in
the mist — and the protagonist understanding, for the first time, that some things cannot
be photographed. They have to be earned.

---

## Chapter 1 — Affinity Summary

| Character | Max gain (all best choices) | Max loss (all worst choices) | Spread |
|-----------|-----------------------------|------------------------------|--------|
| Emma | +12 | −7 | 19 points |
| Christy | +7 | −10 | 17 points |
| Takeda / Crew | +1 | −1 | 2 points |

### Chapter-End Affinity Thresholds

At chapter end, affinity levels gate small narrative variants in the transition to
Chapter 2:

| Threshold | Effect |
|-----------|--------|
| **Emma ≥ +6** | She saves him a seat in the van unprompted. A note appears in his camera bag: a local sweet wrapped in paper with *"for kisha-san"* in her handwriting. |
| **Emma ≤ −2** | She's still friendly, but *"kisha-san"* carries polite distance now. No midnight stalls invitation on her own. |
| **Christy ≥ +4** | In the van, she glances at him once. Just once. It's nothing — and everything. |
| **Christy ≤ −5** | She refuses to be in the same frame as him. If he enters a space, she leaves it. This persists into Chapter 2. |

---

## Design Principles

1. **The camera as moral choice.** Half the affinity shifts are about whether the
protagonist raises the lens. Photography is either theft or gift, and the player decides
which.
2. **Emma rewards presence; Christy rewards restraint.** Emma's gains come from saying
*yes* — to food stalls, to dialect lessons, to closeness. Christy's gains come from saying
*no* — to the camera, to intrusion, to forcing conversation.
3. **No neutral choices that matter.** Every choice moves a needle. There is no "safe"
path — only attention and its consequences.
4. **The two routes are not symmetrical.** Emma is easier to gain affinity with (summer
romance is generous). Christy is harder (trust is slow). The player who wants Christy's
route must *work* for it.
5. **Affinity is invisible.** Players never see the numbers. They feel the consequences
through character behavior, dialogue shifts, and scene availability — never through HUD
bars or stats screens.
