Malloy & Kasanie
Malloy
So, what do you think—can we design a crime scene like a perfect sculpture, with negative space that actually leads to the killer? I’m all about the chaos, but a good layout can be a dead giveaway. What’s your take on balance in a scene?
Kasanie
If you want the killer to walk into a frame, you have to give them a frame to walk into. Too much chaos is just noise, not a path. I’d cut out the unnecessary, keep the lines clean, let the empty spaces whisper the clues. Balance isn’t a luxury, it’s a map.
Malloy
Sure thing—think of the scene as a chessboard. Every empty square is a move you’ve already made. If you leave too many blanks, the killer gets to choose his own moves. Trim the noise, keep the lines tight, and the killer’s path will be as clear as a well‑drawn line of code.
Kasanie
Nice analogy. Just remember, if the board looks too symmetrical the killer might think he’s already made the best move. Keep the empty squares intentional, so every blank feels like a deliberate breath, not a blank that invites improvisation. That way the path is clear and the chaos stays under control.
Malloy
Sounds good—just don’t let the killer think he’s the artist. If he feels like he’s painting on an empty canvas, you’ve already lost the game.
Kasanie
Just remember the canvas isn’t a blank—it's a guide. If he thinks he can paint his own strokes, you’ve already lost the structure. Keep the negative space tight, the lines clear, and let the layout whisper the story before the killer even steps on the scene.
Malloy
You’ve nailed it—if the canvas feels like a playground, the killer will think he’s got the floor plan. Tight negative space, crisp lines, and a silent narrative will keep him on the hook before he even hears the first footstep.