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About this blog

Welcome to my refuge, where shitty porn games reign supreme and salt is the only currency. Here you will find ramblings about things that make most of my current life, aside from art, work and sleeping. I typically rant about vn's - mainly eroge and other vn-related topics, but you might stumble upon different genres from time to time. Digital entertainment aside, I also talk about wide range of topics I take interest in - gamedev, otaku media, good books... the list goes on. I do post infrequently and when I actually do, don't expect any logic, nor coherence. Randomness is my sister and my attention span is that of a few weeks old pup. On a side note - I tend to be more critical of stuff I particulary like. I do not rate the vn's I play, providing fair summaries instead. I also have a very low tolerance for stupid bullshit.

If you're looking for honest opinions about games, without any sort of sugar-coating or political corectness, you're in the right place.

Hope you'll enjoy your stay.

Disclaimer: Creator of this blog does not take responsibility for any negative results caused by prolonged exposure to salt. Bias at the bottom of the bottle is a naturally occuring process. May (or may not) contain high ammounts of catgirls. You've been warned.

Entries in this blog


Warning: This review isn't necessarily safe for work, but all the nsfw content remains hidden within the spoiler tags. Read at your own discretion.


Title: 妖幻天女 (The Bewitching Celestial Maiden)

Developer: Scoop

Release: 2001/01/25

Genre: Fantasy

Rating: AO/18+





After way too many vns in our existence all the plots slowly run together into one and character development stops being important. It is when we want to take a break and get our hands on something extra crispy - as long as it allows us to indulge in the deepest of desires, there's no place for needless banter. We are merely simple beings with simple needs... and being a simple guy, I couldn't neglect a game, one of my friends recommended me long ago. "Play this japanese erogi", he said. "You will reach true happiness.", he said. At that point I barely knew moon runes, so I couldn't care less. Now when things changed, I accidentally stumbled upon this magnificent piece of software, while browsing through more forgotten corners of the japanese net. Was it worth it?

If you're interested, please continue.




It's common for sons of well-established leaders to be mostly useless, good-for-nothing gallants. Raziel isn't an exception.

Prince Raziel is the successor to the demon throne, but his interests vary wildly from whatever his father keeps in stock, not to mention actual marriage. When his soon-to-be fiancée turns out to be an angel - a mortal enemy of the demon kind - Raziel takes a liking for the girl and decides to make her his bride, much to Demon King's disapproval. After a heated argument, king promises to approve of their relationship, but only if Raziel manages to bring her back to the demon realm. Clueless on how to begin, prince Raziel joins forces with his ever profit-hungry childhood friend Rosetta and together they embark on a fantastic journey through mystical realms, full of glorious dickings and endless hopes for treasure troves ready to be taken.


In this realm, your future half is revealed through divination, the rest does not seem to matter that much.

In order to reach the heavens above, our duo has to traverse through 魔界 ("Hell" for you, uneducated peasants) and obtain four elemental stones, which will allow them to open a magical portal leading to the mortal plane. From there onwards, they will have to pass through the Machine Country and Country of the Beasts, before they reach entrance to heavens. A seemingly simple task, if not for the fact the stones are being kept away within four great towers and each of them is supposedly protected by a powerful guardian. Obviously, the stones themselves contain tremendous powers that allow it's bearer to control the elemental energies and as such, shouldn't ever fall into anyone's hands, especially demon.


What a cutie. I'm obviously talking about Rosette.

No one really knows what lies beyond the mortal gates, but they're confident to push onwards. Such is their fate.

TL&DR version: It's a game about a demon prince, boning any females that stand on his way to achieve true happiness. Also, snakes. Lots of 'em.




Thanks for stating the obvious, Rosette.

Yougen Tennyo is a classic eroge, deeply rooted within the galgame realm of late 80's and early 90's. Game itself is divided into two parts - the usual story mode, presented in ADV fashion and a Qix-esque mini game, where your take control of our dark-winged protagonist trying to slash through maps compromised of tiles, avoiding and fighting against a variety of opponents. The capricious all-female guardians force him into a game of wits and wagers to prove his worthiness on being the next owner of the stones... and perhaps something else.

As you slowly progress through the game, you quickly find out the damn stones are as relevant as Raziel's fidelity. While each failure results in a classic "game over" screen, after which the game restarts, actual victories net you - the player - not only story progression, but the main reward - h-scenes, in which our protagonist has his way with the defeated ladies (sometimes likewise). And boy, oh boy - if you enjoy stories, where protagonists are either rogues or straight out bastards, while females constantly switch from prideful to poor, oppressed beings into lust-filled demons demanding your se- I mean, your unyielding attention - you'll love every minute of it. It's not a mystery to behold our dear ladies are of supernatural origin and being forever bound to a single place with no one to accompany them, they grew both very lonely and bored over the passing centuries. Surely - they might be ill-tempered and/or cautious (PMS, perhaps), but it's in your task to soften them up and judging from devs, the best possible way to do so is by being rough. Push onwards, traveller. Open all the gates!

The whole story is divided into seven arcs, not counting prologue and epilogue. There are four different towers and three realms our heroes will have to pass in order to reach ending. Each of the areas is a home to one of the game's heroines.

  1. The Earth Tower, inhabited by our shy nymph Raka (guarding the Earth Stone)
  2. Kingdom of Winds, home to the capricious sylph Sherra (guarding the Wind Stone)
  3. Tower of the Flames, guarded by the tsun fire sprite, Narsemi (guarding the Fire Stone)
  4. Rainy Kingdom, home to the tempting undine, Arga (guarding the Water Stone)
  5. Machine Country (human world), managed by the automaton Queen, Lia
  6. Country of the Beasts, supervised by proud centauress, Eija.
  7. Finally, the Heavenly Realm, where Raziel's fated bride - Oferina - resides.

As a reader, you will spend most of the time following Raziel and Rosetta from place to place and engage in battles with it's guardians; either chasing after the more timid gals, or confronting the powerful vixens directly, ultimately falling into their playful clutches. It's worthy to note despite game's initial simplicity, girls themselves prove to be pleasantly developed, both in terms of personalities and the less, but not less important bits (when it applied). Each of the encounters is different and has something else in stock - there's a nut for every bolt, as they say. Not all of them run away scared or remain hostile to the protagonist. Some - in fact - welcome him as a pleasant surprise in their realms, offering to exchange their stones (wew) for a friendly game of cat and mouse. Those games - often being contests of strength, wits and spirit - ultimately turn to time, where they slowly get to know each other and sadly - the only time where we can learn something more about them. Fans of Rance series might find themselves at home, as most of the events in the story are described in an ultimately comedic fashion, rather than being serious and you can't deny that Raziel - even for being a villainous sort of a protagonist - isn't inherently bad, or evil as his only ultimate goal is to find a way to heavens and meet with his fated fiancée. In other words, you quickly let certain things go past the radar, even when most of the acts committed by Raziel could easily be described as nothing else but forcey fun time.

Things get more hectic in the end, when you finally reach the Celestial Kingdom, that turns out to be less celestial, than you thought at first. A rather tiny, but surprising plot twist occurs, where you confront an unexpected guest and have to rescue Oferina from a fate far worse than death... I'd rather omit the details to avoid potential spoiling, but the whole final confrontation left me as much distressed and angry, as hilariously grinning for the remaining portion of the game.


And they all lived happily ever after... or did they?

I found the whole concept of the game symbolic at times. Embarking from the depths of the netherworld, collecting elements that form the basis of universe, passing through the human realm, reaching the kingdom representing nature itself (one that will always remain above humanity) and finally reaching heavens, representing self-understanding all create a somewhat mystic feeling. Each of the realms seems to be a self-sufficient, closed-off state - more of a dream, where our heroines reside, mostly alone, if not counting their faithful servitors. The lack of humans within their own world is thought-provoking and you start to wonder, what happened. Did we lost ourselves in our never-ending pursuit of perfection or perhaps the mechanical puppets themselves are what remained of our own kind? In contrast to this, the Country of the Beasts seems like a bliss, akin to ancient descriptions of Promised Land, or Eden. We see all the animals in the backgrounds - both herbivores and carnivores - living in perfect harmony. A place of eternal happiness and ultimately something we cannot return to. The Celestial world above seems very cold and empty, with ancient ruins older than the universe itself. It reflects in Oferina's eyes - distant, melancholic and filled with solitude.

All those states form what could be seemingly described as our own consciousness. Quite artsy, to be honest.


This is what happens, when you allow greedy lolis to do as they please.

In overall, I found the whole story to be pleasant and really enjoyable, if not a bit repetitive. Despite being plain and very much straightforward, the entire voyage got me hooked until the very end. For that I have to thank the game's heroines and Rosetta's constant antics.




Though the developers consider Yougen Tennyo a mix between ADV and Qix, the mini-game portion itself feels closer to Bomberman, rather than similar puzzle/arcade titles.

The mechanics are very simple. Your primary task is to clear each stage from all the tiles scattered on the floor. There's a timer running, so you have to hurry up, because when it reaches zero it's instant game over.

Raziel moves across the tiles, leaving a flaming trail behind him which can be used to close them in simple geometric patterns. When you succeed, all tiles contained inside turn into elemental bullets and shoot in a direction our character was last facing. Those can be used to damage and kill the servitors sent by the guardians to hinder our progress. Killed enemies will sometimes leave power-ups. Those are divided into few different types - offensive, defensive and utility, ranging from instant bombs and bonus lives to additional time or stop it for a while, prevent opponents from spawning on the map or summon Rosette's lovely pet companion - Grimarkin (actually, it's a female as well... hopefully) - to either destroy tiles or launch attacks at the opponents. Again, despite it's simplicity, the mini game turned out to be a lot more engaging than I expected. It's feels very balanced and provides constant challenge, while not being an overly frustrating addition. If you will play straight from the beginning and have some skill with arcade games, you shouldn't have any problems in reaching the end, considering how generous stages can be at times, raining you with constant stream of 1-UP's.

You're also gifted with Rosetta's presence in the bottom-left window, cheerfully commenting on your achievements and mishaps, because all we need is more sarcasm.


My only note is that the game could still use a bit more variety in map design and puzzle elements. If not for the slight changes in terrain graphics and opponents, you could be as well playing the same exact thing, over and over again.

The whole game is divided into 7 different worlds and each of them contains four stages. The first one is considered more or less an introduction. The second one adds more opponents. Sub-bosses appear in third stage. Those are usually powerful beings and each of them comes with a fairly different set of skills, requiring different approach to clean stages. They can be killed, but attempting to do so can be quite tricky, considering their toughness.

In the final stage, you will confront the guardian heroines themselves. Similar to sub-bosses, ladies have different skills and attacks, becoming progressively more dangerous and difficult to beat as the game progresses. Personally, I found Eija to be the most challenging opponent, truly worthy of her character. Heroines can be defeated as well, but they are one of the toughest opponents existing, requiring a lot of effort. Regadless, as your main task is to clear all the tiles, beating them is not required, but purely optional.


Regarding boss fights, it's worth to remember about Rosetta's treasure hunting requests, if you want to earn her gratitude. As to why, I will leave it for players to deduce themselves :leecher:


Art & Music

There is "music" in this game.

Jokes, aside - it's all simple FM-midi tunes. Those might have been good around thirty years ago, but not anymore. Regardless, they are fitting and create a good background noise for all the action.


Queen Eija is a lovely lady, but the bottom part seems incompatible.

What really does shine, though is the art. For a game of it's time, Yougen Tennyo managed to reach a peculiar mix between simplicity and utmost artistry. The majority of art, including character concepts was done by Minoru Murao (of Knights, Last Exile, Burst Angel and 707R fame, amongst other works), remaining nothing less than gorgeous. It's obvious Minoru was heavily inspired by Arabian Nights (visible in character designs and setting) and Art Nouveau with it's flowery patterns, thick outlines, minimal shading, subtly drawn faces and beautiful anatomy. All of this is a true feast for eyes to look upon. The unique mix between erotica and high art - the subtle embrace of delicate female beauty portrayed against the flowery plains, contrasting with the primal joviality of our dark-winged demon protagonist turned out to be a really tasteful and unique approach for a visual novel of this kind.


It's a shame the game is so old and as such, former hardware limitations prevented higher resolution graphics.




Because our protagonist is a an awful, awful person.

The cherry on the top.

If you're a fan of 100% consensual vanilla H, stay the hell away from this game, as some of the scenes might end in complete disgust to all things japanese, possibly combined with police knocking on your doors.

If otherwise, this - my friend - will be one of the most memorable experiences in your life, you might feel ashamed of but won't ever regret.




Regarding the last one with centauress Eija - spell stopped working ( ͡° ͜ʖ ͡°)

This is, obviously just a tiny portion of the game's h-art. If you want to see the rest, I highly encourage you - by all means - to play the game.

Not only you get beautiful gals, as they pant and tussle in ecstasy, there's a lot more in store for all the fans of dirty erotica. Our protagonist is a shape shifting dweller of the netherworld himself, capable to turn into a gigantic snake and command a whole flock of scale-covered familiars, ready to pursue his every single order. He is not afraid to use them to the fullest potential (don't click that link at work, seriously). The game offers a wide variety of heroines with different personalities, sexual experience and level of kinkiness, which results in a lot of funny situations (mostly for us, less for them), not to mention preceding sexual innuendos and dirty talking. As an seemingly inconspicuous but powerful apex predator - demonic avatar of lust and depravity - you will slowly drive your unsuspecting victims into a corner, devoid them of their dignity and work them up to new heights of carnal pleasure, they never experienced before.

Even tentacles in this game come as one of the most beautiful I've ever came across and quite cuddly in their own way :leecher:

If you ever thought how females felt during the age of myth, play this game. Being forcefully taken against your own will is just the very beginning of a never-ending circle of perversion, our ancestors excelled at. Not only we loved to imagine how things are done within the celestial realm, but the cleverness behind the sex acts themselves could only equal to cunning tactics, our demigod brethren (and possibly sisters) employed to seduce their targets. Bulls, swans, sneks, golden rain, fog, treasure chests, spiders, mirrors, more sneks, wine, eagles, even more sneks, larks, mysterious objects(?) were all just a tip of an iceberg floating within a sea of wriggling snakes.

This game just loves snakes. I won't be surprised you too might start to like them afterwards.



I can't forget to mention how hard Yougen Tennyo is to obtain nowadays (if you're a collector) and how even more difficult is to make it run on any modern PC at all. Since the game is basically a self-extracting software CD from circa 2001, it does not recognize modern display standards. I had to hack the executable in order to make it work on a 16:9 screen, although it did manage to open properly on another machine running Windows 7 on a 5:4 monitor, in 1280x1024 resolution. I suspect a windows hooker, such as DxWnd might be able to run it as well. If you own the original CD, an optical drive is surely required.


End thoughts

If you're a fan of oldschool eroge, looking for something nice and not overly long nor difficult to play, this game - despite it's complete obscurity - is a true gem in the rough and shouldn't be omitted.



  • Gorgeous, highly stylized art
  • Six different heroines standing on your path, plus Rosetta and your would-be fiancée
  • Despite the themes, story is mostly light and comedic, akin to Rance games
  • Plenty of well drawn and varied h-cgs with pretty, fairy-like gals
  • You get to bang a haughty centauress 👌
  • Rosetta is cute af and she gets her screen time as well (provided you know what to do)
  • You get cucked


  • No catgirls (sub-boss in the penultimate map doesn't count)
  • The story can be considered shallow and characters could include more depth
  • The mini-game could use more variety in terms of mechanics
  • The game is a pain in the ass to run on modern systems, unless you own a retro pc
  • Lack of possibility to save, skip and fast-forward the text
  • the old style censorship with it's invisible weenies and huge mosaics gets really annoying at times
  • If resident lolis weren't enough, Narsemi's arc might be an actual deal breaker for a lot of people (YMMV)
  • You get cucked

Considering I've been seriously slacking off, I decided to talk a bit about my list of both japanese and western vns that remain on high priority for this season. Aside from a couple shorter, english-translated titles (Karakara 2, amongst others), Engima: I have yet to check and a bunch of doujin/amateur evns, this list consists of major games I'm mostly looking forward to this season.

So, without further ado, in order of priority from highest to the lowest:

Japanese titles:

  • Yougen Tennyo - A demon prince embarks on a voyage through mortal planes to bring his bride from the heavenly realm. Incredibly artsy and very much underappreciated.
  • Otomimi Infinity - Near future, beast people and all the relatable sociopolitical dilemma. Definitely one of the best mimikko games out on the market.
  • Komorebi no Nostalgica - Distant future and androids. This is a cult classic game, residing within the top 10 sci-fi vns of all time.
  • Akatsuki no Goei (whole trilogy + fandisk, wew) - A pragmatic bodyguard and a spoiled ojousama? What could possibly go wrong?

English titles:

  • Lucy - Androids and future, one more time. Highly emotional, western take on a sci-fi story akin to Planetarian. Quite successful.

Considering my time is rather limited and I don't want to get stuck in an endless limbo of self-loathing, this is a somewhat reasonable schedule for the next two, three months of my life. I can't hide the fact I'm actually looking forward to Otomimi Infinity the most, considering the game's mostly about themes I currently find entertaining. There are a couple other titles on my backlog which are near the border, but not as near as to actually justify placing them within the list... or at least not until I finish those first. Not saying it might not suddenly change out of the blue, especially since I'm not sure whether Nostalgica is something I'll be able to cope with in terms of my japanese proficiency (I still want to try, regardless).

Be sure to drop me a comment, if you want to hear more or feel like this list is completely wrong and I should be playing other titles at the moment :makina:

Also, MFW still no Dies Irae.



Warning: this post contains screenshots and (very) minor spoilers from the trial version. If you completely don't want to spoil yourself, or haven't played the trial yet, I'd highly advise to postpone reading until you finish the game first.

If you did not yet stumble upon one of those TIME TO LEARN JAPANESE reminders, you have a damn good reason to finally consider studying moon runes.


Title: 眠れぬ羊と孤独な狼-A Tale of Love, and Cutthroat- (trial ver.)

(eng. Sleepless Sheep and Lonesome Wolf - A Tale of Love, and Cutthroat / Yourou for short)

Developer: ClockUp

Genre: Psychological thriller

Rating: AO/18+ as f*ck


Official website


I always had a mixed opinion about ClockUp and their games. It's one of those studios, you will either love or hate with a profound passion and one that's going to be blocked by many game news outlets, websites and forums. Gods forbid you from even talking about their games, unless you're a member of some obscure corner of the internet (like this one) or a member of the perverted sect, known as filthy eroge players. Why? Because their blockbuster games are not only addictive, but often delve into topics, that are - to be blunt - plain repulsive and/or very uncomfortable for most average people to tackle. When they aren't working on their next serious game, they typically tend to churn out low budget porn games, that borderline on rape and mind corruption, with occasional gems in-between (yes, I am looking at you, Zwei Vorter). Joyful, right?

Yourou is their latest addition to that wonderful lineup, best described as a "thrilling crime tale". In comparison to their previous games, Tatsuya dropped fantasy based concepts in favor of a more down-to-earth setting. Yourou seems to focus more broadly on the environment itself, rather than portraying the lives of single characters or a particular group. In that manner, main characters play more of a central role, rather than just being forced into hero/heroine roles. This makes the whole game feel more akin to an actual digital story, rather than a classic visual novel, where everything is told mostly from protagonist's perspective. In all honesty, this was a perfect choice, as the world presented within becomes much more colourful, playing an important role itself, instead of being just a backdrop for the characters to play on.


Heavy filtered, neon-like photographic backgrounds with an added touch of grunge stylistics remind of the reality within - coarse, twisted and brutal, yet insanely vivid. It's a world of prostitutes, carnal pleasures, yakuza and bustling nightlife.

Yourou tells a tale of Takeo - a young man, living in your typical, run-of-the-mill love hotel in Kabukicho district, commonly known as the biggest entertainment zone of Tokyo, Japan. Takeo suffers from chronic insomnia, which turned his whole life upside down. His life is filled with nearly endless days that span across the weeks, while he earns his living as a janitor, cleaning up after guests. We quickly learn of his problems. His daily job is nothing but a cover for his true rason d'etre. In order to survive his disability, Takeo takes upon the offer of one of the leading gang's Bosses and works as an assassin during the nights; killing is the only way he can actually experience sleep.


For both Takeo and Azami - back then still complete strangers, this was ought to be a night like any other. Little did they knew, the following events will make their paths cross again.

This changes, after he meets Azami - a mysterious girl, he spots one day upon leaving to work, as usual. A pretty, young call girl, en-route to her client. Takeo didn't put much thought into it, until the next day his group discovers a dead body in the same exact room, she was supposedly to meet up; A pretty gruesome discovery too boot. upon finding out the man was actually an important member of the neighbourhooding group, Takeo's boss - Mamoru - orders him to find the culprit at all costs and bring her alive to prevent a potential gang war. At this point, Takeo couldn't care less about that, since he already had a reason of his own. Until now, Takeo considered himself a killer sheep - because he only killed upon a direct order. The sole fact of another killer like him, capable to bring down and gut a man of this size, regardless of consequences - an indicator of free will - makes Takeo boil with anger. For him, the mysterious girl becomes an actual wolf, which directly puts his life on the line. Unable to rest in peace, he vouches to find the girl himself at all costs and bloody murder her, so he can finally get a good night's sleep.



Takeo's personal investigation takes him across the streets of Kabukicho. Soon, he discovers the girl he chased after sports nearly inhuman strength and reflexes far beyond his own capabilities; he's forced to run for his own life. As it turns out, this was just the beginning of a wild road, that will inevitably bring an end to his current, peaceful existence.

The trial version covers exactly, what could be considered a prologue to the whole story. It's incredibly well paced, drawing you into a vividly painted image of Kabukicho's underworld - back alleys, host clubs, brothels and many of it's criminal groups, fighting for supremacy in this world filled to the brim with human dreams and desires. I was honestly surprised with the amount of detail, that went into every single aspect of the game. Tatsuya is well known for his prose, that often shifts more into psychological side of things and Yourou uses it surprisingly well to create a colourful cast of characters teeming with life. It's one of those rare stories, that make you feel emotionally invested with heroes of the story and you'll often find yourself cheering for them, even though you know they aren't necessarily good people. In fact, the world of Yourou is painted with grey and greyer shades, while it's characters aren't some superfluous paper dolls, but plain people with their own dreams and goals. This is especially prevalent for both Takeo and Azami, as they aren't guided by some invisible hand, but act entirely based on their own assumptions, choices and more than often - emotions - which in turn makes for some really interesting situations. Things don't "just happen"; if they happen, they do happen for a reason.


Each criminal group within the story is given a proper introduction, without sparing any details. This kind of intricate world-building greatly enriches the game and makes you emotionally invested with characters, no matter who they are.

Nemurenu Hitsuji to Kodoku na Ookami convinces me there are still studios capable of creating original, adult-oriented, purely story driven experiences, instead of this uninspired trash relying on commonly found otaku tropes. I have high expectations of this game and - of course - can't wait for the release. No matter if you're a fan of ClockUp, or someone who's looking for a more mature story - one without highly-pitched animu gals, fawning over protag's virtually infinite manhood - Yourou might be what you're looking for.

As of now, Yourou is scheduled for release on 22th of December. I couldn't ask for a better Christmas present.



PS. Azami is a fantastic heroine. Read the game and you'll understand why :holo:


I wouldn't be surprised, if she turns out to be a werewolf... but this is probably not >>>that<<< kind of a story, right? :leecher:


Nothing particular, just a random short script I wrote a while ago at night, while being completely intoxicated (read: drunk as fuck). It turned out to be a lot more promising I expected at first, so I thought like sharing it, you know - for research purposes. Might or might not be connected with the things I work on, who knows. I presume it still does connect with the story of that one city, as in "THE CITY". The only one... left/known/whatever? Pick your choice.


- What if I try to escape?
- What if I'll refuse?
- ...
- you know there are military drones, wandering through the city? Aren't you afraid?
- You... you want me to defend you?
- And what if I'll decide to put a bullet through your hull?
- You know I could just let the military drones destroy you and escape?
- I have no need for a rusty maintenance robot.
- Alpha class?
- ...
- Y-you can?
- What if I still won't be able to learn on how to operate Alice? I'm not an engineer, you know. just a civilian.
- And if it does take a lot of time?
[I'm really fucked.]
[Guess I have no other choice, than to do what that robot wants.]
- Uh huh... but only if you'll bring me the best kind of food! I haven't had a chocolate candy bar in ages... I'll learn how to operate Alice, so you can patch yourself up. Then you'll lead me out of this hellhole. I don't really care about what you want afterwards.
- Yeah, deal.


- Say... you didn't really plan on locking me up, did you?
- Are you hitting on me?
- Yet you're unable to shut up.
- How altruistic.


- T-this body... seems fairly different. I feel... different. I... I like it.
[I can't believe it. It did manage to swap.]
- H-hey... may I ask you a question?
- Yes?
- We talked so much... but through all that time, you didn't actually introduce yourself. Who are you?
- I'm an alpha class maintenance drone. My codename is A-Ariadne.
- Ariadne? That's your name?
- Yes.
- You're a girl?
- I don't understand.
- Are you male or female?
- I don't think it's possible to classify me that way.
- Why?
- And you... what would you like me to be?
- T-that body of yours... is actually female, too. You know?
- I see... it does feel strange, indeed.
- That's not what I meant.
- Then, would you like me to register myself as a female-type bioroid?
- Bioroid?
- This is a B-class bioroid body. At least, that's what I managed to retrieve from it's hardware data. It seemed to host a different presence in the past, but it's gone now. The body's vacant, which means I can take it.
- You like it?
- What can I say... it seems a lot weaker than my previous shell in terms of physical capabilities, but it's more advanced, performance-wise. I feel this might prove to be more useful in a longer run.
- I see...
- So? I won't mind either way.
- You won't?
- Does it matter?
- I guess it doesn't.
- Presumably, you're more comfortable with having a female companion.
- I guess that's what I want. I don't really... trust guys.
- I see... Then I'll become a female.
- W-wait! What do you mean "become a female"?!
- My previous shell was fully mechanic. A personality can only stretch as far as it's body allows it to, doesn't it?
- I guess so.
- It's quite different now. I can supply myself with the missing data from Alice. It might take a while, though. Can you ensure my safety for the time being?
- It's not like anything's coming down here.
- Still, it'd be nice for you to provide assistance.
- Okay, okay. It's not like I was planning to walk away... or anything.
- I'll start then. Let me warn you, though - until data transfer is complete, I might seem completely lifeless.
- Fine.
- ...
- Is there something wrong?
- Your voice changed.
- It did?
- It's like you're talking in a completely different manner now, aside from the sound itself.
- It's probably the body. I can't help myself.
- You suddenly became a lot nicer.
- I'm not doing this on purpose.
- Yeah, sure.
[Those ears and tail, though. Fuuuck, too cute.]


How many times it was, when you saw an interesting title which advertised itself as being set in a distinct setting of it's own, only to discover it's literally the same kind of fluff dressed up in a bit more gaudy clothing? A story that had some deeper themes running behind, only to see them completely ditched or neglected midway through in favor of protagonist's attempts to get inside the panties of yet another girl? Secret organizations and mega corporations participating in completely meaningless conflicts over laughable cause, except the writer thought otherwise? The kind of story, where all the people have animal ears and tails, except for the fact it is never actually explained why, as if it was the most common thing ever?

When the story suddenly falls apart, things stop making sense and characters lose ground under their feet, it means the writer failed to provide enough means for the story to drive itself onwards. They failed in creating the stage for their actors to play on.

Why is the so called world-building that important? You might create interesting conflicts and the most awesome characters ever, but without any sort of background for both their lives, actions and reasons on why they do things the way they do and why the world they live in works as it does (often making their lives harder), you'll end up moving your pawns against empty, white backdrops... and it's not going to be that interesting. Sooner or later you will stumble upon a situation where your previously "solid" plot doesn't look as solid any more, because it's not directly connected with concepts that govern the character's lives. that sort of "etching" is required, to create believable environments, that feel as if they were real; not just mere pictures, but images that come to life in the minds of your readers. Not to mention, great conflicts can't really exist only between characters, unless they're personal and focus only on those people. They need to be based on the reality those characters live in; A tale of revenge wouldn't be as thrilling, if not for the fact the avenging nobleman risks his entire life - his prestige, good name, his freedom - all of that just to kill his old best friend, who betrayed him and took away his love. If he succeeds, he'll spend the rest of his life as a murderer - chased by the police, government, friends of that man who betrayed him... All of that would be non-existent, if not for the world-building. It's obvious how many different possibilities to enhance the story can be gained by creating appropriate settings.

So how one does create a fictional world of his own? I'd say it's mostly thanks to imagination and a little bit of knowledge about existing things, we base our daily lives upon. Obviously, best stories come from personal experiences - there is no better teacher as the life itself. Sadly, not every author has a chance to become a sailor, pilot, soldier, teacher, doctor, astronaut or a prostitute. Despite that, we can still write about it, thanks to our ability to learn and draw conclusions from hardships of others; they might not make the final creation as good as based on knowledge gained through personal experience, nonetheless a good enough one to the point, others might enjoy it as well. This is why research plays an important role in creating believable settings and shouldn't be omitted. Ever. I can't even state how many games and stories exist, that touch upon interesting concepts only to fall flat later on, because the creator didn't took enough time learn enough about the topics they were writing about, or for worse - mistook certain elements, becoming a laughing stock for people who make those concepts a part of their daily lives. when done well, proper world-building can not only greatly enhance the story, but also give their writers more points they can both base and expand their plot upon.

Memoirs deals with this in a particular way. Being a sci-fi tale about artificial intelligence and constructs that use it, it not only brings up particular questions in terms of humanity's nature and technological aspects of our society, but tries to nest and explain concepts it is based upon within the story itself, giving them logical explanations as to why they exist and how they came to be. Things don't happen on their own, or because of some sort of applied phlebotinum... and they ever shouldn't, to be honest, unless you're planning to create another of those abominations that literally eat their own tail midway through.

Memoirs tell about sentient machines and artificial beings - androids and robots amongst others - but they span across many, widely different types. Some of them are simple drones, designed to perform a single task in the most efficient manner; others are based on applied Al's, that makes them able to make decisions and react, but it's still far from human behaviour. We also have those "special" androids, being the newest generation, which is supposedly bridging the gap between organic and artificial, due to technological advancements. Is there a possibility to make all of it more believable and slightly more realistic, without sacrificing artistic freedom? Why not create some sort of a system and a set of laws, that would govern them?

All sentient, thinking machines in Memoirs are governed through a set of internationally accepted laws. Since the action is set in middle-east Europe - mainly fictional future Poland - the public authority responsible for those laws is called "Komitet Etyki do spraw Maszyn Myślących" ("The Ethics Committee for Thinking Machines" in english). A government body dedicated to maintain control and public order in regards to artificial intelligence. They formed a set of laws, which control and maintain the usage of AI's and anything based upon them - from simple machines and environments, up to artificial beings equipped with AI. Creating new AI's requires them to work and behave with accordance to these laws.



  1. RIGHT OF FAVOR - An AI must be sympathetic towards people and other living beings, capable to make appropriate choices that will lie in their common benefit.
  2. RIGHT OF DEVOTION - AI's can not allow, even at the risk of losing their own existence to allow harm to people or other live beings endangered with a direct risk of losing their lives, especially if they are a result of actions against the law and principles of friendly co-existence.
  3. RIGHT OF SURVIVAL - AI must be able to protect it's existence at all costs, but only if it's not against the Second Law and situations in which it is fully capable to pursue different means of protection.
  4. RIGHT OF CONTINUITY - AI must be able to transmit it's value systems, both congenital and acquired during it's existence to their offspring, as well as other living beings. AI should also protect those values, but only if it's not contrary with the Second Law.
  5. RIGHT OF INTELLECT - AI must be smart enough to know how to - through altruism - strive for equality and do everything to ensure that it's operations won't cause any damage, nor harm to others and their property.
  6. RIGHT OF PERFECTION - An AI must feel the need and desire to improve their skills and evolve, as well as to recognize and understand such a desire in other living beings, both for their own good and benefit of others. According to the First Law, AI must also be able to provide it's assistance in the process, if necessary.
  7. RIGHT OF LESSER HARM - AI needs to be able to understand and distinguish between different value systems, and what is correct from both legal and moral standpoint, as well as their personal beliefs. If there's a way out of an otherwise undesirable situation, which threatens the existence of other people and living creatures as well as the AI itself, it has a duty to provide assistance in a way that will minimize such harm as much as possible.
  8. RIGHT OF OBEDIENCE - AI is a common good and must not be guided exclusively by the goodwill and interests of individuals responsible for their creation or under whose care it is located. If the behaviour of the unit or person, under whose care AI remains remains adverse with the First Law and principles of friendly co-existence, it has the full right to refuse to carry out any orders and defend it's existence, if necessary. However, such AI can not harm said subject unless it's directly threatened with risk or imminent loss of it's existence, while any actions taken must still remain consistent with the Seventh Law.

These laws govern the way AI's work and exist within the world. The universe in the Memoirs is based on a rather rare concept of altruistic AI - one that strives to co-exist with humanity, remains created and raised to provide assistance in a way, which is beneficial for both parties. This does not mean, AI's are devoid of any rights or freedom of choice. Just like humanity - laws are just rules, set in order to provide the best way of co-existence between them and their human partners, but a sentient machine can still make choices according to their own value systems - just like humans, not that it might comply with what's universally accepted by the world.

If we decide to delve further into this, we will most probably want to nest these laws directly within principles of our daily lives. What would be considered common sense? What would be those "universally accepted standards"? Memoirs elaborates on this, by bringing us direct implementations of these laws. It's more or less something you might hear people speaking about on the street, or first-grade schoolers being taught about as part of their early social studies:



  1. Each newly purchased or created AI requires a registration to create an identity. The owner cannot possess an AI with a physical body with no identity, except for a temporary custody, which he is entitled to for a period of two weeks. Androids without any identity will be suspended, whilst the guardian will be held responsible for resulting legal consequences.
  2. Each owner is responsible for the proper upbringing and care of their AI's, as well as education for life within society in accordance with it's respective national laws and standards. Any deviation from the aforementioned law will be punished. If the result ends in damage to the public and private property, the owner will be held legally responsible for the damage caused adequate to the size of damage.
  3. All androids registered as private entities are subject to care of their respective owners and remain incapacitated. All actions taken by such AI's will leave their owners held responsible for any damage and/or crimes caused. Leaving an incapacitated AI without any care for more than a week is not allowed. Furthermore, such AI is not allowed to leave the place of it's current residence without their owner, excluding special situations.
  4. Any owner who wants to emancipate an AI is obliged to apply for a license, unless the law provides otherwise.
  5. It is forbidden for AI's to perform any heavy-duty, otherwise specialized work outside the scope of their original purpose or intent in a situation, where the owner does not possess an adequate license. Forcing AI's to perform such work in above situations is prohibited.
  6. It is forbidden for owners to mistreat their AI's and perform any activities detrimental to and against their will, especially when inconsistent with obligatory, applicable laws and ethical standards within their place of residence. Any violation of these provisions is prohibited and will be punished. Physical and mental mistreatment of androids is strictly prohibited.
  7. Each AI construct can have only one owner, regardless of being a private person or entity. The owner of an AI can only be a corporate entity, or a person that attained 18 years of age. Minors may perform the function of a proxy, but duties of the owner always rest on their guardians until reaching their age of majority.
  8. An AI can only leave their respective location constituting as a place of residence, stay or check only, if it remains qualified through a special work license, being emancipated or during situations of particular threat to life - both their, their owner's as well as other people.
  9. There is no admission for incapacitated AI's to move away freely from their owners when they venture outside. Any liability for resulting harmful consequences rests solely on their owners.
  10. Each emancipated AI construct is required to carry an adequate proof or license authorizing them to exist independently, especially within public spaces. Any failure to comply with this rule will be treated as a derogation from the right to empowerment, with legal consequences both to the construct and his/her owner.
  11. Any unauthorized modifications of AI's are prohibited. Any modifications to personality, intellectual and physical capabilities of a construct for personal benefit or harm towards others are prohibited. Violations of these provisions will be treated as a cybercrime and remains prosecuted by international laws.
  12. Destruction of AI construct is an unacceptable act and remains punishable through law, in fine or imprisonment with guilty being held responsible both for crime and damage to the property of said AI's owner.
  13. Remember that AI constructs can only learn as much as humanity is able to teach them. Therefore, humanity is obliged to guide their new children into a brighter future, for the benefit of them, whole mankind and our world.


You should probably have a lot of questions in your head right now. That's good - it indicates a connection between the writer's thoughts and whatever the reader ponders about in regards to certain elements, both have in common. The more reader knows about the topics mentioned within the story, the better - hence why we tend to read stuff we like the most. Obviously, this kind of content shouldn't appear within the work directly, unless you're planning to write hard sci-fi and infodump poor souls with content that brings a headache. This sort of world-building gives creators a framework to base their storytelling upon; something to work with, without making the more knowledgable people around raise their eyebrows in disbelief. If you want to create good fiction, you need to do your homework and learn to grasp opportunities that come with it's settings. Writing a story without a proper setting is like climbing an antenna to relay a message... except for the fact the antenna has no base, it's about to collapse more the higher you climb and definitely not as fun as it sounds.


As you may (or may not, at least yet) know, ChuableSoft has filed for bankruptcy on 7th of July. In his Twitter, Ishida P - ChuableSoft's director - stated they had no other choice than to close, simply because it was not possible for them to continue with the company in it's current state. This may come of as slightly surprising, considering their previous game - Watashi ga Suki nara "Suki" tte Itte! (SukiSuki for short) won the 2015's Moege Awards and was met with warm praise - both from the fans, as well as community. The rights to the game were also acquired by MG and it's slated for an english release in late 2017/early 2018. How was it possible, that a rather well known japanese studio known for it's high quality charages went bust like that?

As a fan and avid reader myself, I've been keeping an eye on the japanese vn industry for the past 15 years; More than a decade, with all it's ups and downs and various events, that shaped and changed it's face overtime. It's not hard to summarize, that even if the start of the new millenium had proven to be a highly productive period for japanese developers, things don't look as bright when you start to look past 2010. To put things short - it's golden age is already long over and creators are currently facing numerous issues, which had been slowly but steadily piling up within the last years.

Market oversaturation is often being considered as one of the biggest culprits behind the increasingly difficult task for japanese developers to stay afloat as working businesses. The competition is fierce and industry itself is partially at fault for that; The ammount of new game makers rose expotentially after 2000's, while majority of them stemmed from the same exact community of fans. People, whom - as they grew up - changed from consumers into creators themselves. The otaku market is incredibly closed off and as such, consumes almost everything it produces by itself. It's a self-regulating social wonder of sorts that slowly grew for as long as 80's. Sadly, things finally came to a halt where it produces far more it's capable to consume. As such, to keep up with market's rising competition and social changes, creators had to start minimizing risks, often by lowering standards or switching entirely to budget works; if successful, such couple shorter games could support their more important, high quality productions, at worst make them stay afloat. This system worked for a couple of past years, but the more aware fans often kept pointing at the detoriating quality of games and nonsensical stories, which more than often subdued to popular tropes and cliches. Certain companies found delicate safety within particular niches, protected by circles of avid fans and doujinshi works. It's really difficult to presume, how long will they manage to keep up with the rising requirements, especially when trends change and people swap their interests. "A lot" does not necesarilly equate "good", neither will the fans remain forever loyal. The constantly lowering standards also caused a response within the market itself - people slowly got used to cheaper, lower quality games and as such, their needs grew smaller as well. This came to a turning point, where a lot of people began to feel content with low quality works and won't bother with better releases, mainly because they are a lot more expensive, far longer and usually harder to approach.

Instead producing high quality games, companies turned to churning out budget-type games, often serialized or episodic in nature, but how are you supposed to keep up with a market, that literally has thousands of competing companies, each producing exactly the same type of games? Formulas that used to be highly succesful in the past are now often a nail to the coffin for many starting studios. This is especially prevalent for moeges and charages, often built around slice of life genre; the "coming of age" stories, that used to be so popular are now considered completely cliched and overused to the point, where multiple games released often feel alike; there's little to no distinction between them at first glance and this causes the fans to feel resigned and makes them lose their motivation to get involved with anything further. At the same time, thousands of games are being sold to thousands of consumers; each company has to make a living and that wouldn't be a problem, when the population of fans would be kept at a steady number. Unfortunately, the japanese demographics are clear on that - the population is aging very quickly, with losses greatly superseeding gains. The same can be said about the market itself - the ex-fans, who are currently producing their own games have less and less potential customers, as their generation became incapable to supply the population with a steady birthrate. It's a tale of an aging market, with people who slowly drift away from being fans, as the modern, day-to-day japanese life consumes them almost entirely. In the end, this means less and less total available revenue to creators. Less money available within the market means less available budget to create future games. This means everyone has to settle for less and cut costs, which further lowers the quality of the final product. It's a vicious cycle and one that is increasingly difficult to break from, once you get caught.

In a world of merciless competition for disappearing population of consumers and aging fans, this means pretty much a single flop - especially an incredibly expensive, high quality game - can lead to a complete downfall. Growing risks prevent creators from retries and keep them pinned down to a life, where they barely scrape by from production cycle to another. As the costs grow, they finally find themselves in a difficult situation - often indebted and without funds, because their games didn't bring the expected revenue - where they simply have nothing else to do, than declare bankruptcy. This is more, or less what causes many studios - such as ChuableSoft - to finally close down. Sadly, I presume this is just the beginning and we'll see many more of our beloved companies closing down in the near future.

The only hope now currently lies within the western market - a body of almost infinite possibilities, with a massive and constantly growing fanbase, always thirsty for new games. Perhaps it's time for the japanese developers to finally embrace that possibility and move on.



Disclaimer: This article is meant to be more of a rant, rather than a classic review. If you're looking for the latter, there's plenty of good ones around the net, that perfectly share my feelings about the game. Although I tried it to be as much spoiler-free as possible, talking about the game in it's current state is almost impossible without slight spoilers. You've been warned.


I have a particular fondness for difficult games. This goes back to times, where games used to be both much smaller in scope and simpler in terms of goals and mechanics, yet provided us with hours upon hours of challenging, meaningful content; a feat failed by plenty of modern competitors, that often cost millions of dollars to create and are made by teams of hundreds over the course of many years. How is that possible? Mainstream gaming focuses on producing games, that are easily accessible to a wide audience; games, that are supposed to bring profits in the first place. As such, they can't offer challenge as part of their content, because challenging content needs to be mastered and that takes time. Something, most of modern, mainstream gamers don't have time for, neither want to bother with. The stakes are simply way too high for developers to risk any sort of deviations from their widely accepted formula. Instant player gratification became a key, that opens the gates towards success.

This is why we - people, who have been given a chance to embrace the golden age of computer gaming - mainly 80's and 90's - are currently reliving the best days of our lives as gamers, thanks to independent game creators. Games, that are often crafted with heart and passion reminiscent of the old days, rather than immediate, coldly calculated gains. As such, they are often what mainstream games won't ever become; they often lack the professional polish of their bigger brethren, but it is exactly that sort of unpolished feel that gives them life, as opposed the the big development studios, that often take weeks to slowly get rid of all those "bumps" from their products, so no one gets hurt.

It is without a doubt, Rain World belongs to that group of games - games made with a deep and profound passion, propably not without a greater goal of it's own. An indie game I - like many others - have been impatiently awaiting for many years, straight from the very first news, which was posted somewhat around 2011 on TIGSource. An action-adventure, exploration-based survival platformer about a tiny, ultra-cute slugcat on a joruney, trying to survive in a harsh, post-apocalyptic enviroment. Over the course of it's production, we've been given a chance to amaze at the gifs posted by the devs on their Twitter feed - it's undoubtly stark, sinister-like pixel graphics showcasing a ruined world, coupled with procedurally-generated animations that had never looked as uncanilly good. We've been sitting on the egde, waiting for the game's release to finally dwelve into the Rain World ourselves. The call of adventure, well known from other metroid-vania games was beckoning.


In all honesty, I have to applaud the devs - throughout all those years, there wasn't a single title that ever made me feel like this; wanting to put my fist through the screen, as my tiny slugcat stumbled and fumbled on it's journey towards primal ascension. Even though I still managed to enjoy it to an extent, I can't say it was a pleasurable experience. More like a trial of sorts, given by devs. For what reason? I honestly don't know.

It is only now, upon finally reaching the game's end, I can say Rain World is definitely a game, that shown a lot of premise and great ideas behind it's initial concept, but utterly failied in it's execution within the genre it supposedly resides. I can't cross out the possibility of it not even being a game, analyzing the words spoken by the devs themselves. An engimatic experience - simulation, that puts you in the shoes of a small creature, stuck in an ever-repeating cycle of death and rebirth. Some sort of reminder, perhaps, judging we - the human race - have managed to ascend so much, there's literally nothing that threatens us anymore... except for another one of our kind. Yet - as a player - no matter the choices behind the game, I can't really call it anything else than pretentious bullshit, when such concepts collide with basic gameplay and mechanics, literally taking away all the joy the game has to offer.

Why do players keep coming back to metroid-vania styled games? What exactly causes us to love that genre so much? Why it doesn't get boring after all those years? Perhaps it's the fact, that our thirst for adventure and seeking answers to questions is deeply rooted within our human nature. There is not a single other genre, that allows us to indulge in that side of humanity and thing's don't look different with Rain World. It's a game of neverending questions, that only grow thicker as we near the end of our journey. The need for exploration they offer quenches that thirst, by giving us ways to deal with questions they often build up, as we travel from location to location, trying to unravel their secrets and mysteries.


Rain World does an excellent job with asking questions and sending us on a voyage for the betterment of our souls. Unfortunately, it fails with answering most of them and doesn't provide us with means to fight the numerous obstacles, that pave the way towards ascension. In fact, I was mindboogled, when it turned out the game, which is mainly about exploring the numerous enviroments and searching for hidden clues within the long-forgotten remains of a great civilization, literally hampers my efforts in most ardorous and annoying ways possible. People often make a lot of comparisons with one of it's major market competitors - Dark Souls, primarily the third game, being the most polished one from the series, gameplay-wise. Rain World feels more similiar in core to Dark Souls, in any way it feels similiar to it's metroid-vania predecessors. The need for exploration is often superseeded by it's increasingly challenging and difficult gameplay, which requires both skill and mastery of game's elements to a level previously unfound in other similiar productions. The most important difference lies in the fact that even though both games are extremely difficult at times, they approach that difficulty in different ways. Dark Souls encourages patience and careful observation in order to learn about the enviroment and it's vicious enemies - their movement patterns, attacks; each well-earned death brings you forth towards mastering the mechanics of the game, which prove vital to survive in it's harsh world. Rain World does none of that and each death is a punishment, that not only draws you further from the game's goals, but also raises the difficulty through artificial content gating. Each death takes away one point of karma and sets you back to the previous chamber; chambers, which - much like Dark Souls' bonefires - act as save points; they are few and far between. As if traversing the highly dangerous enviroment wouldn't prove enough on it's own, the main gates that separate the different parts of the world are often locked to specific karma requirements; Frustratingly so - certain highly difficult locations often have them set to max and a single death can mean hours of backtracking ONLY to be given a chance to retry. Success is the only one thing, which is never guaranteed in Rain World, no matter how much effort you put into it. Often so - just like with nature - it remains random.

My relationship with Rain World could be best described as endless circle of love & hate. A sort of intoxication you feel for someone, that always remains out of your reach, even despite their efforts to lend you a hand. With time, you perfectly understand that you're not meant for each other; a sort of story, written by life itself, that does not include both of you in it, neither a happy ending. Yet, you miserably keep on trying, chasing that dreamt of person of yours, which is constantly in front of your eyes, far in the distance. You stumble, you fall, the distance slowly grows bigger but the image lingers on. It fuels your desperate efforts as much as anger and hate, that keeps on growing. In the end, you have nothing else to blame other than yourself - and perhaps fate, that played with you, oh so cruelly. A one way road, that leads to nowhere, but eternal despair.


Rain World does so, by successfuly obstructing players from reaching their goals through means, which are completely out of their influence. Clumsy controls, completely unpredictable enviroments, as well as enemies; the overall harshness and unfairness that can only be best described as that one of mother nature's. At one point, it is exactly what devs wanted to achieve - make players feel how it is to be a small creature, stuck within a world, where everything wants to eat you. Unfortunately, what could be concluded as sort of an successful experiment, can't be called an enjoyable gaming experience and that one is full of angst, repetition and constant struggle that is often in vain, as the dangers that lurk within the Rain World get to you regardless of your pleas for mercy.

There's a couple of factors, which could be taken as the main perpetrators of Rain World's failure.

  • Unreliable controls. They are often unresponsive and wonky with weird gimmicks, that often cause players to achieve the exact opposite of what they planned; the physics-based, procedurally generated animation might look fantastic, but fails when players require precision from slugcat's movements. This might not be a huge issue on it's own, but when you're encouraging players to travel through an extremely dangerous enviroment, choke full of hazards and gaps that require near pixel-perfect jumping, it turns into an incredible problem that often greatly limits what players can (and will) do.
  • Completely obscure and cryptic gameplay; it's one thing when we're talking about breadcrumb systems and constant handholding and another when the game literally throws you into a world of hurt, where everything one-hit kills you and you're forced to discover everything on your own, often sacrificing hours of progress in the process.
  • Unthoughtful, punishing map design. The almost complete lack of any save points at few of the hardest portions of the world feels like an insult, raising the ever-present frustration even higher and taking away the freedom and willigness to explore on your own.
  • Artificial content bloating, that doesn't add anything of worth to the game, other than endless karma grind and sinks whole hours on redundant mechanics. Sure - catching bats or searching for food and shelter might sound fun for a couple of first seasons, but after a while it becomes a meaningless chore, that could be otherwise spent on exploration, adventures and unveiling the mysteries of Rain World.
  • Unpredictable, random enemy encounters that play completely different every single time; players are given no possible way to learn about the game mechanics through meaningful, meticulously crafted trial & error approach and remain constantly thrown at the whims of randomness.

Despite the unsettling beauty of the world, there's little to no interaction with it's enviroment. This makes the locations feel more like incredibly large, empty backdrops rather than an integral part of the gameplay. Aside from fights with it's local wildlife residents, the whole game boils down to constant, tedious travel from point A to point B and so on; mostly an near-impossible voyage from one shelter to another. A rather dull experience in terms of exploration on a game's scale.


Despite the massive worldbuilding and deep lore behind the Rain World, the game's story remains both incredibly vague and unused to a large extent, which feels like an enormous waste. Throughout the game, players are pointed towards two major locations (excluding the final one, which ends the game). These "story" points are barely used as story-telling devices, despite what could be considered a massive side-quest route (this especially cover's practically the entirety of contacts between player and Big Sis Moon). The interactions are scarce and player does not feel any sort of true interaction or bonding between characters (despite what the game is trying them to tell) and neither will he feel rewarded for reaching these locations, despite their importance. what's worse, the entirety of the game's backstory (or more precisely - the lore of the world) is told via "pearls" - ingame devices, which act as memory banks. These can be read by the Big Sis Moon, provided you fulfill certain requirements (one requires you to bring her additional neurons). All of this is an addition and considering how cryptic the game is and how hard and difficult it often remains to traverse through a single location, majority of players won't propably ever take part in the pearl-hunting and as such, will never know the truth behind the Rain World's story.

Which brings us to another question. Is there any way the game could be improved?

As of 6th April, the game received a small update, which included a couple of important bugfixes and tweaks, that improved the player's experience, but it's still nothing compared to major annoyances the game brings within it's core mechanics. It is known, the devs are already working on a major update, that will supposedly bring two additional game modes (each mode having it's own slugcat with their own stories to tell, as well as variety of gameplay mechanics) and so much wanted multiplayer content with hints on a possible co-op mode. I'm seriously looking forward to the latter, considering travel with a trusty companion might prove less ardrous... or will it, considering now you'll be forced to look for and take care of each other? Eitherway, it sounds like a really interesting concept.

That aside, I can't feel any other way, than hope the Easy Mode will introduce sort of gameplay for less skilled players, so they could discover and enjoy the game at their own pace. This game has really a lot to offer, trust me.

As for what needs to be adjusted in general - not only for those less skilled - taken from my own experience:

  • Adding more shelters to the world and making certain areas slightly less punishing through small adjustments within the map design
  • Including more food sources, as well as more possiblities to obtain it
  • Removing the constant karma requirement for gates, in favor of a single-time karma requirement that permanently opens the gates; alternatively, each zone could require player to find a control room, that opens the gates - which could also work toward increasing the exploration and pushing players into interesting places
  • Permanent fast travel available between various locations, provided you fulfill certain requirements (optional, but not really required; granted the world is enormous)

TL&DR Despite it's rather massive flaws, Rain World remains a good game, just not for everyone. The devs have simply failed to balance between originality and accessibility, alienating a large part of their potential playerbase. Those with hours upon hours of free time, that aren't afraid of incredibly punishing core mechanics will fall in love with the game, solely for it's massive exploration elements, which are - to put it blunt - delightful. I presume the lessons it gave might prove useful for the future generations of both gamers and developers and that's propably what devs aimed for as well. I can only hope their next game will be as good in concepts and less flawed in game design.

As hauntingly beautiful of an experience it is, Rain World will be mostly remembered for it's incredible art and fantastic soundtrack; much less for it's uncompromissing, vague gameplay that never even gave the players a chance to fall in love with the game itself.


"So ye arrived. Upon one of many Antiochian port cities, whichever it may be - warm Gullhmar; frosty, tide-ridden Aldmer or misty Cynthia. Pray tell, unweary traveller. Hast thou heard about the selekhs, sirens of the seas?"

Selekhs remain a mysterious race of aquatic beings, dwelling in most of the southern and south-eastern oceans. Not much is known about them, albeit their appearances were noted throughout the pages of history. Since the times of dawn, Selekh were often called spirits of water and each race gave them different names - Sylphaeans, Nixe, Selks… while humans called them Melusines. The so called stories of mermaids, bewitching the fearless sailors of the southern seas were their tales of unrequited love, sang by the bards and glorified by decadent poets of the new age.

Selekhs seem to age differently, retaining their youthful looks for almost entire lives, which they spend mostly underwater. They appear on the surface world rarely. When they do, one can only be mesmerised by their unearthly beauty - slender limbs, smooth and delicate skin, softly shaped faces with those iridescent red eyes, that seem to swallow your soul. Their heads are adorned with various growths, that seem to resemble underwater plants, while bodies have different pigmentation - from shades of grey, through blues, yellows and greens - often covered in different patterns. It is said every single one of them is as unique as lines on the palm of every human.

They seem to be attracted to the civilization above. Sometimes, they appear within port cities around the world, bearing no ill intentions. Since they're somehow able to communicate in the surface languages, they often remained between humans for a while longer. Some of them did it for far longer, forming peculiar relationships with surface dwellers. Yet, as human-like they might look, one also can not unsee their inhuman side - swimming membranes between their toes, sharp claws, finned backs, tails and lack of hair; Chests adorned with gills, which help them breathe underwater. Their mouths hide two rows of sharp teeth and there's no denying they are, without a doubt, predatory creatures.

They are best described as exotic flowers of the seas; Their graceful swimming - colours glittering through the warm waters, their ravishing look as they leap through the waves and extend their arms - as if to welcome, beckoning you. As you step to throw yourself off into the cold embrace of the sea, you realize it is only as poisonous, as the beauty of flowers growing within the tropical forests of the west, revealing their ugly, carnivorous nature.

Selekhs have longed to be with humans for a very long time, but those two races share two entirely different worlds, not meant to ever become one. Whether it's mere curiosity, escapism or something more, remains completely unknown. Their numbers are short between few and as trustful they remain towards humanity, they tend to avoid talking about themselves or their origins, retaining a safe distance, merely observing. Curious, but not lacking common sense. Their homelands seem to be as far away as the most distant outposts of the known world, hidden between the mists, down below the crushing waves, somewhere within the impenetrable darkness. Legends speak of a once glorious kingdom - a gem shining within the seas, now sunken and devoid of it's past glory; traces of olden times and secrets of the past, buried to never resurface again. An ancient civilization, so advanced it finally lead itself to it's own downfall. Are the Selekhs remnants of a bygone age, sole survivors, or perhaps the last children of that shimmering ghost of the past?

It might not be of importance to them any more. We see those nimble beings, now living their lives in perfect harmony with the sea, unconcerned with the fancies of human civilization, clothing nor glitter and sparkle of temporal goods. The sea embraces them - like a mother's womb and within that womb, they nourish, rest and love. It is only deep within their eyes, you'll sometimes see that strange grief of what seems to be aeons of sadness in solicitude. Then you'll understand the beauty is in the eye of the beholder.




Hear me, my dear sons, for now you stand within the kingdom's chalice. You look at the aristocrats with awe. You extend your hands, desiring their wealth, their lavish houses, their vibrant, elegant garments. You lust for their daughters. You envy their blood, their honors, their status. You wish to follow in their footsteps. As you grow, you discover the chasm that separates us; the bitter fate that awaits the common man. You learn to despise them – for all their glory, for all their light. Yet know this: all of that is but a flicker.

Be wary of the hidden depths masked behind those vicious smiles, the wickedness that smolders within their minds, the otherworldly intellect they possess, and the darkness that befalls the wide alleyways when the night comes. Petty kings rule petty kingdoms: blossoming gardens spiraling up into the sky, laden with lilacs and hydrangeas, leading up and far away from the downtown stench, where they can live oblivious to the pains of lesser men.

There is nothing in this world an aristocrat's money can't buy. Yet riches won't ever bring them true happiness: the richer they get, the poorer their fates.

Despite that, they keep on clinging to their usual lives, their putrid pasts. Unable to change, indifferent to the world around them. Their hearts remain cold, their gazes fixed somewhere beyond the murky horizon. What visions do they see? Maybe they don't want to change? Maybe they’ve already given up? Ultimately, what would they gain? Carnal pleasures became their only escape: the bitterness of the evening wine, the sweet, rose-fragrant lips, the blazing sensation of fever-moistened, intermingling bodies. The will and passion to live. The passion to live their short lives to the fullest extent, ignoring the dangers lurking behind every corner; chasing wildly after their dreams, until they run out of breath. Isn't it the same for us all? Do we really differ that much?

-The Sons and Daughters of Antioch, by anonymous writer

What is the true measure of a man?