Turnip Sensei

Persona 3

Acquired some more Japanese books!

Titles, some explanations & better pictures:
 

Gahkthun of the Golden Lightning and SeaBed are some of my favourites.

Gahkthun of the Golden Lightning and SeaBed are some of my favourites.

I started studying Japanese mostly for playing untranslated JRPGs (and killing time in high school), plus I generally liked Japanese media. I only found about VNs later.
  I think I tried after a year which went pretty awfully. I had gone through a language textbook + some Kanji by that point. The first VN I actually feel I got something out was somewhere after two years. 
  Hard, and really slow. But I've always been really good at putting unnecessary amount of effort in the things I happen like in the moment, so I it didn't really feel as "hard" or exhausting as it probably should have. Sona-Nyl was definitely not a good starting VN, but it helped me to love the language even more, and find my favorite writer.
  None. I used at the start, but I learned pretty fast that it really hampers your actually ability to actually read and recognise Kanji, and kinda makes you dependent some kind of assistance even outside VNs.
     What actually taught me to read Japanese properly were Japanese books. Real physical books. It's much harder to use any assisting tools with them, so that forced me to actually learn how to read properly, use context, etc. It was even more agonisingly slow at first, but now I'm pretty confident in my ability to read general Japanese fiction. In fact, they kind of took over and I've been more or less been reading books over VNs for the last few years or so.

Playing 果てしなく青い、この空の下で (vndb). I got interested when I saw it on a 2ch top 100 VN's list (youtube).
It starts out with the MC living in a small countryside village in the recent past (1990's perhaps). The MC and mere 5 other students of the village school find out that this year will be their last. Hints of modernization are present, urged on by a tycoon scoundrel Doujima who seeks to take over the village. But as the MC spends time and gets to know some of his female schoolmates a bit better, he can't help but think they have a connection to the supernatural occurrences he starts experiencing.
Art direction is more realistic, sort of like Kara no Shoujo. All the heroines have black hair(!). There's lots of little sfx, and periods without music. The CG feels a bit underwhelming because of the art style having few details. But it doesn't feel like the developers cut any corners. The sprite variations are expressive and the background CG blends well. Voice acting is fitting for the characters, is quite good.
If I have to say, the story is not really moe. There is some moe appeal in there, but the heriones are quite... hard to approach. They have their own way of thinking, and often defy or baffle the protagonist. That and the VN can be a bit heavy. Not a relaxing or happy VN, instead a bit contemplative and unsettling.
I would say it is similar but in many ways better than Kizuato (vndb), and compared to Higurashi it is much more subdued (no comedy, less edgyness). Would recommend if you want some interesting older work with decent plot.
PS: speaking of no comedy, it reminds me of Sakura no Mori Dreamers which I played a while back. Full length action/horror with no comedy to lighten the mood. It was so stifling I dropped it.

My favorite ones that I've played this year are 
 
1. Flowers Vol.2 
It was a sequel that managed to be better than it's predecessor in every way, thanks in part than having one of the best and most interesting protags I've seen.
I really felt a deep connection with Erika and she stole the show, just like I thought she would. I should probably write a review for it just so I can gush on it some more. 
2. Fatal 12
It is pretty rare that a vn comes along that really surprises me and Fatal 12 really accomplished that and it did so consistently. I loved how varied and intriguing the characters were, I loved how wonderful the protag was. I also just really loved the story.
3. Sekien no Inganock -What a Beautiful People-
Few visual novels try and even attempt to do any world building at all. It's just one forsaken high school after another until the end of time. Inganock pulls this off splendidly and that's it's greatest strength. It also has a splendid cast including Atti, who's just the best.
4. Aioshiro
Despite having some drawbacks, which includes a few extremely long discussions about food and long tirades about Japanese folklore, it still manages to be very enjoyable thanks in part to it's unique and varied cast and it's great protagonist. Shouko is one of the best I've seen and she is steadfast and strong without being overpowered. 
5. Shadows of Pygmalion
I really enjoyed this vn thanks to the intriguing plot and solid characters. I especially liked the last route and how strong it turned out to be. The protag was also really enjoyable and I enjoyed the explanation behind her character. More proof that yuri's produce some of the best protags around.
 

Maybe I should have stressed the Slice of Life elements of SeaBed more when I recommended it...
 

For me SeaBed is very special because how mundane and noncommittal it is. Slice of Life to it's logical extreme. It's sometimes boring and nothing happens, because life is like that. There's lots of random flashbacks to old vacations and other events, because remembering fun times of past helps to forget the what ails you at the moment. Many of the conversations are pointless, because that's what conversations usually are and people still like to talk to each other. And like I've said before, there is hardly any explicit drama, because no-one wants to make a huge show of themselves. It's easier to suffer inside, downplay own problems, smile and assure to people around you that you are fine. Isn't that what most people do in their lives?

But I can understand that for many people this might feel like a betrayal, or why they would find it hopelessly uninteresting. Even the narration is passive, dry, and lacks emotion, and while that can be attributed to Sachiko's mental state, it doesn't make it very exiting. SeaBed challenges many of the traditional rules storytelling and writing, so it's no wonder that everyone doesn't like. But criticising it for not fitting with your expectations or usual norms, is kind of besides the point. SeaBed wants portray the lives of the characters in all their mundaneness (what else would life be?), and I think it does that effectively and well, even if it's not what is normally expected. Not that this is going to make the story any less boring for someone who already finds it so, but I think it is important to understand. 
I feel it's really encouraging to have a touching story about loss and living with your problems to be so mundane. Why does every story have to be exciting? Are you not allowed to grieve without being dramatic about it? Even something like character development is questioned. No-one is going to stay exactly the same, but the changes are often subtle, ambiguous. Traumatic event doesn't mean you have to change as person. It's okay to be you.
"Mystery being not the point", is maybe too strongly worded, but SeaBed isn't interested in taking delight in plot-twist or grand conclusions, like mysteries usually are. For the most the characters aren't even really interested in solving or chasing it either. The mystery is more like a basic framework for the story to function. There's still interesting revelations, subtle hints and foreshadowing if look closely enough (I'm pretty sure I missed some), but on a grand scale of things the mystery is not what matters.
But that doesn't mean the story of Sachiko's silent anguish, Takako struggling with losing her memories, and Narasaki's tragic burden is less meaningful. On the contrary, I think SeaBed is effective and important because of it's life-likeness, for better or worse.
 
Anyways, that's just how I feel. If you have questions about unanswered mysteries, I can try to help.

Maybe I should have stressed the Slice of Life elements of SeaBed more when I recommended it...
 

For me SeaBed is very special because how mundane and noncommittal it is. Slice of Life to it's logical extreme. It's sometimes boring and nothing happens, because life is like that. There's lots of random flashbacks to old vacations and other events, because remembering fun times of past helps to forget the what ails you at the moment. Many of the conversations are pointless, because that's what conversations usually are and people still like to talk to each other. And like I've said before, there is hardly any explicit drama, because no-one wants to make a huge show of themselves. It's easier to suffer inside, downplay own problems, smile and assure to people around you that you are fine. Isn't that what most people do in their lives?

But I can understand that for many people this might feel like a betrayal, or why they would find it hopelessly uninteresting. Even the narration is passive, dry, and lacks emotion, and while that can be attributed to Sachiko's mental state, it doesn't make it very exiting. SeaBed challenges many of the traditional rules storytelling and writing, so it's no wonder that everyone doesn't like. But criticising it for not fitting with your expectations or usual norms, is kind of besides the point. SeaBed wants portray the lives of the characters in all their mundaneness (what else would life be?), and I think it does that effectively and well, even if it's not what is normally expected. Not that this is going to make the story any less boring for someone who already finds it so, but I think it is important to understand. 
I feel it's really encouraging to have a touching story about loss and living with your problems to be so mundane. Why does every story have to be exciting? Are you not allowed to grieve without being dramatic about it? Even something like character development is questioned. No-one is going to stay exactly the same, but the changes are often subtle, ambiguous. Traumatic event doesn't mean you have to change as person. It's okay to be you.
"Mystery being not the point", is maybe too strongly worded, but SeaBed isn't interested in taking delight in plot-twist or grand conclusions, like mysteries usually are. For the most the characters aren't even really interested in solving or chasing it either. The mystery is more like a basic framework for the story to function. There's still interesting revelations, subtle hints and foreshadowing if look closely enough (I'm pretty sure I missed some), but on a grand scale of things the mystery is not what matters.
But that doesn't mean the story of Sachiko's silent anguish, Takako struggling with losing her memories, and Narasaki's tragic burden is less meaningful. On the contrary, I think SeaBed is effective and important because of it's life-likeness, for better or worse.
 
Anyways, that's just how I feel. If you have questions about unanswered mysteries, I can try to help.

Maybe I should have stressed the Slice of Life elements of SeaBed more when I recommended it...
 

For me SeaBed is very special because how mundane and noncommittal it is. Slice of Life to it's logical extreme. It's sometimes boring and nothing happens, because life is like that. There's lots of random flashbacks to old vacations and other events, because remembering fun times of past helps to forget the what ails you at the moment. Many of the conversations are pointless, because that's what conversations usually are and people still like to talk to each other. And like I've said before, there is hardly any explicit drama, because no-one wants to make a huge show of themselves. It's easier to suffer inside, downplay own problems, smile and assure to people around you that you are fine. Isn't that what most people do in their lives?

But I can understand that for many people this might feel like a betrayal, or why they would find it hopelessly uninteresting. Even the narration is passive, dry, and lacks emotion, and while that can be attributed to Sachiko's mental state, it doesn't make it very exiting. SeaBed challenges many of the traditional rules storytelling and writing, so it's no wonder that everyone doesn't like. But criticising it for not fitting with your expectations or usual norms, is kind of besides the point. SeaBed wants portray the lives of the characters in all their mundaneness (what else would life be?), and I think it does that effectively and well, even if it's not what is normally expected. Not that this is going to make the story any less boring for someone who already finds it so, but I think it is important to understand. 
I feel it's really encouraging to have a touching story about loss and living with your problems to be so mundane. Why does every story have to be exciting? Are you not allowed to grieve without being dramatic about it? Even something like character development is questioned. No-one is going to stay exactly the same, but the changes are often subtle, ambiguous. Traumatic event doesn't mean you have to change as person. It's okay to be you.
"Mystery being not the point", is maybe too strongly worded, but SeaBed isn't interested in taking delight in plot-twist or grand conclusions, like mysteries usually are. For the most the characters aren't even really interested in solving or chasing it either. The mystery is more like a basic framework for the story to function. There's still interesting revelations, subtle hints and foreshadowing if look closely enough (I'm pretty sure I missed some), but on a grand scale of things the mystery is not what matters.
But that doesn't mean the story of Sachiko's silent anguish, Takako struggling with losing her memories, and Narasaki's tragic burden is less meaningful. On the contrary, I think SeaBed is effective and important because of it's life-likeness, for better or worse.
 
Anyways, that's just how I feel. If you have questions about unanswered mysteries, I can try to help.

Maybe I should have stressed the Slice of Life elements of SeaBed more when I recommended it...
 

For me SeaBed is very special because how mundane and noncommittal it is. Slice of Life to it's logical extreme. It's sometimes boring and nothing happens, because life is like that. There's lots of random flashbacks to old vacations and other events, because remembering fun times of past helps to forget the what ails you at the moment. Many of the conversations are pointless, because that's what conversations usually are and people still like to talk to each other. And like I've said before, there is hardly any explicit drama, because no-one wants to make a huge show of themselves. It's easier to suffer inside, downplay own problems, smile and assure to people around you that you are fine. Isn't that what most people do in their lives?

But I can understand that for many people this might feel like a betrayal, or why they would find it hopelessly uninteresting. Even the narration is passive, dry, and lacks emotion, and while that can be attributed to Sachiko's mental state, it doesn't make it very exiting. SeaBed challenges many of the traditional rules storytelling and writing, so it's no wonder that everyone doesn't like. But criticising it for not fitting with your expectations or usual norms, is kind of besides the point. SeaBed wants portray the lives of the characters in all their mundaneness (what else would life be?), and I think it does that effectively and well, even if it's not what is normally expected. Not that this is going to make the story any less boring for someone who already finds it so, but I think it is important to understand. 
I feel it's really encouraging to have a touching story about loss and living with your problems to be so mundane. Why does every story have to be exciting? Are you not allowed to grieve without being dramatic about it? Even something like character development is questioned. No-one is going to stay exactly the same, but the changes are often subtle, ambiguous. Traumatic event doesn't mean you have to change as person. It's okay to be you.
"Mystery being not the point", is maybe too strongly worded, but SeaBed isn't interested in taking delight in plot-twist or grand conclusions, like mysteries usually are. For the most the characters aren't even really interested in solving or chasing it either. The mystery is more like a basic framework for the story to function. There's still interesting revelations, subtle hints and foreshadowing if look closely enough (I'm pretty sure I missed some), but on a grand scale of things the mystery is not what matters.
But that doesn't mean the story of Sachiko's silent anguish, Takako struggling with losing her memories, and Narasaki's tragic burden is less meaningful. On the contrary, I think SeaBed is effective and important because of it's life-likeness, for better or worse.
 
Anyways, that's just how I feel. If you have questions about unanswered mysteries, I can try to help.

Maybe I should have stressed the Slice of Life elements of SeaBed more when I recommended it...
 

For me SeaBed is very special because how mundane and noncommittal it is. Slice of Life to it's logical extreme. It's sometimes boring and nothing happens, because life is like that. There's lots of random flashbacks to old vacations and other events, because remembering fun times of past helps to forget the what ails you at the moment. Many of the conversations are pointless, because that's what conversations usually are and people still like to talk to each other. And like I've said before, there is hardly any explicit drama, because no-one wants to make a huge show of themselves. It's easier to suffer inside, downplay own problems, smile and assure to people around you that you are fine. Isn't that what most people do in their lives?

But I can understand that for many people this might feel like a betrayal, or why they would find it hopelessly uninteresting. Even the narration is passive, dry, and lacks emotion, and while that can be attributed to Sachiko's mental state, it doesn't make it very exiting. SeaBed challenges many of the traditional rules storytelling and writing, so it's no wonder that everyone doesn't like. But criticising it for not fitting with your expectations or usual norms, is kind of besides the point. SeaBed wants portray the lives of the characters in all their mundaneness (what else would life be?), and I think it does that effectively and well, even if it's not what is normally expected. Not that this is going to make the story any less boring for someone who already finds it so, but I think it is important to understand. 
I feel it's really encouraging to have a touching story about loss and living with your problems to be so mundane. Why does every story have to be exciting? Are you not allowed to grieve without being dramatic about it? Even something like character development is questioned. No-one is going to stay exactly the same, but the changes are often subtle, ambiguous. Traumatic event doesn't mean you have to change as person. It's okay to be you.
"Mystery being not the point", is maybe too strongly worded, but SeaBed isn't interested in taking delight in plot-twist or grand conclusions, like mysteries usually are. For the most the characters aren't even really interested in solving or chasing it either. The mystery is more like a basic framework for the story to function. There's still interesting revelations, subtle hints and foreshadowing if look closely enough (I'm pretty sure I missed some), but on a grand scale of things the mystery is not what matters.
But that doesn't mean the story of Sachiko's silent anguish, Takako struggling with losing her memories, and Narasaki's tragic burden is less meaningful. On the contrary, I think SeaBed is effective and important because of it's life-likeness, for better or worse.
 
Anyways, that's just how I feel. If you have questions about unanswered mysteries, I can try to help.

Maybe I should have stressed the Slice of Life elements of SeaBed more when I recommended it...
 

For me SeaBed is very special because how mundane and noncommittal it is. Slice of Life to it's logical extreme. It's sometimes boring and nothing happens, because life is like that. There's lots of random flashbacks to old vacations and other events, because remembering fun times of past helps to forget the what ails you at the moment. Many of the conversations are pointless, because that's what conversations usually are and people still like to talk to each other. And like I've said before, there is hardly any explicit drama, because no-one wants to make a huge show of themselves. It's easier to suffer inside, downplay own problems, smile and assure to people around you that you are fine. Isn't that what most people do in their lives?

But I can understand that for many people this might feel like a betrayal, or why they would find it hopelessly uninteresting. Even the narration is passive, dry, and lacks emotion, and while that can be attributed to Sachiko's mental state, it doesn't make it very exiting. SeaBed challenges many of the traditional rules storytelling and writing, so it's no wonder that everyone doesn't like. But criticising it for not fitting with your expectations or usual norms, is kind of besides the point. SeaBed wants portray the lives of the characters in all their mundaneness (what else would life be?), and I think it does that effectively and well, even if it's not what is normally expected. Not that this is going to make the story any less boring for someone who already finds it so, but I think it is important to understand. 
I feel it's really encouraging to have a touching story about loss and living with your problems to be so mundane. Why does every story have to be exciting? Are you not allowed to grieve without being dramatic about it? Even something like character development is questioned. No-one is going to stay exactly the same, but the changes are often subtle, ambiguous. Traumatic event doesn't mean you have to change as person. It's okay to be you.
"Mystery being not the point", is maybe too strongly worded, but SeaBed isn't interested in taking delight in plot-twist or grand conclusions, like mysteries usually are. For the most the characters aren't even really interested in solving or chasing it either. The mystery is more like a basic framework for the story to function. There's still interesting revelations, subtle hints and foreshadowing if look closely enough (I'm pretty sure I missed some), but on a grand scale of things the mystery is not what matters.
But that doesn't mean the story of Sachiko's silent anguish, Takako struggling with losing her memories, and Narasaki's tragic burden is less meaningful. On the contrary, I think SeaBed is effective and important because of it's life-likeness, for better or worse.
 
Anyways, that's just how I feel. If you have questions about unanswered mysteries, I can try to help.

In most cases the main point of Yuri is to portray a relationship between girls (and it doesn't even have to be strictly romantic or sexual), so having a traditionally really involved plot is not that essential, and would sometimes even be a detriment. Works with heavier focus on plot do exist to some extent, but are definitely rarer and even more so if only looking at (translated) VNs.
Plus like any genre Yuri has it own tropes, customs and aesthetics, and SoL-like low-key and mundane character interactions is definitely one of them. I personally believe that this is one of the best ways to actually develop/present characters, but each to their own. Subtle ambiguity in the relationships is also one of the charming characteristic of Yuri, so if you are looking for strong conclusions Yuri might not be for you.   
 
SeaBed doesn't have explicit "drama" because all of the characters refuse to needlessly dramatise their situations. Throwing a fit, wallowing in sadness or confronting someone wouldn't help anything. That doesn't mean there isn't any drama, the character obviously grieve and feel lost inside, it's just not presented as explicitly as you would normally expect. SeaBed is purposefully very passive and low-key. Same with the mystery. There are definitely answers, but once again they are not just thrown in the face of the reader, and solving the mystery isn't really the point of the story. 

In most cases the main point of Yuri is to portray a relationship between girls (and it doesn't even have to be strictly romantic or sexual), so having a traditionally really involved plot is not that essential, and would sometimes even be a detriment. Works with heavier focus on plot do exist to some extent, but are definitely rarer and even more so if only looking at (translated) VNs.
Plus like any genre Yuri has it own tropes, customs and aesthetics, and SoL-like low-key and mundane character interactions is definitely one of them. I personally believe that this is one of the best ways to actually develop/present characters, but each to their own. Subtle ambiguity in the relationships is also one of the charming characteristic of Yuri, so if you are looking for strong conclusions Yuri might not be for you.   
 
SeaBed doesn't have explicit "drama" because all of the characters refuse to needlessly dramatise their situations. Throwing a fit, wallowing in sadness or confronting someone wouldn't help anything. That doesn't mean there isn't any drama, the character obviously grieve and feel lost inside, it's just not presented as explicitly as you would normally expect. SeaBed is purposefully very passive and low-key. Same with the mystery. There are definitely answers, but once again they are not just thrown in the face of the reader, and solving the mystery isn't really the point of the story. 

One is psychological drama/mystery and the other lighthearted romance. They could only be further apart if Seabed was a guro horror TBH, but both are excellent games in their own right. 
EDIT: BTW, I'm a bit lost on what you're exactly looking for... If you want a strictly plot-driven yuri VN, where romance is not really the focus but is somewhat decently developed I guess Fatal Twelve and Aoishiro are your best bets. If you want to see the romance blooming throughout the game, Kindred Spirits, Highway Blossoms and Lonely Yuri are good choices, although they don't include any intense drama or drastic character development.
Flowers is maybe the yuri series most concentrated on character development, but it's also super melodramatic and not really that concerned with plot progression...? 
And if you're looking for "Subahibi but full yuri", I don't think that exists or will ever happen.

Acquired some more Japanese books!

Titles, some explanations & better pictures:
 

Congrats! I appreciate the EVN posts. It's important that EVNs get fair representation as well.
Also anyone who likes Yuri and understands good Slice-of-Life is a good person in my book!
 

Congrats! I appreciate the EVN posts. It's important that EVNs get fair representation as well.
Also anyone who likes Yuri and understands good Slice-of-Life is a good person in my book!
 

...the Era of Obnoxious Shilling for EVNs!
It's been exactly a year since I wrote my first post around here and God damn it, it's hard to believe it has only been that long. This site seriously rearranged the way I'm spending my free time and provided me with tons of fun and a satisfying outlet to channel my questionable writing. I won't be doing shoutouts this time, because there are just too many people to list and I would most likely miss someone that deserves being mentioned, so I just want to thank all of you for putting up with me, and simply being awesome in this awesome little community. :3
My only regret is that in all this time I didn't find a way to contribute to the main site and help with the permanent crisis there... But, hell, I'm not going anywhere, so there's a good chance opportunities will still show themselves eventually. One can dream, at least...
And, however things go, I hope I'll be able to do a few more of these Fuwanniversaries in the future.

I would recommend:
Kindred Spirits on the Roof Flowers-series (first two volumes, Spring & Summer are translated) SeaBed Not only are they great Yuri, but pretty fantastic VNs overall as well. 
Also do note that the full-voice version of Kindred Spirits should be coming out soon, so you might want to wait for that. 
 

I would recommend:
Kindred Spirits on the Roof Flowers-series (first two volumes, Spring & Summer are translated) SeaBed Not only are they great Yuri, but pretty fantastic VNs overall as well. 
Also do note that the full-voice version of Kindred Spirits should be coming out soon, so you might want to wait for that. 
 

I forgot to mention that I play to replay Kindred spirits on the roof as soon as the full voiced version is available

Steins;Gate felt pretty different rereading it. Not as amazing as when first read it, but I still really enjoyed it nonetheless. The plot twists and shocking moments didn't felt as impactful, of course, but some of the more emotional scenes still felt really effective, having better understanding of character motivations and such.
I also came to appreciate the first half of Steins;Gate more than before. People often complain it's boring and pointless, but I feel like it's really on point with humor and how it characterises everyone, something which went unnoticed and was overshadowed by the rest of the story the first time through. Conversely the latter half, especially the chapters focusing on the side-characters, felt almost pointless at times reading them again. 

I'd actually like to read everything I happened to really enjoy twice, if I had enough time. The second time I tend to focus on and appreciate different aspects of the story better, like atmosphere and thematic elements, since the bit overwhelming desire to see what happens next in the plot is gone. Plus reading a story I already know I like is good stress-free and guaranteed enjoyment, something which is very important at times.
VNs I've read twice: Kara no Shoujo 2, Gahkthun of the Golden Lightning (actually thrice), Steins;Gate, Fate/stay night (Fate-route), SeaBed, Va-11 HALL-A.