A few words before I get into this...
As my previous post spells out, I will no longer be doing the VN of the Month column, and this VN was the one that was the straw that broke the camel's back. That said, it isn't like I didn't enjoy what I played of it once I got past the sticking points (date scenes). If anything, this game is a definite increase over the quality seen in Ensemble's works since Gokigen Naname blew me away.
That said, when it comes down to it, this game is SOL all the way. The protagonist is the son of the owner of a small but stylish restaurant cafe and what amounts to the assistant cook. He has a firm grasp on what he wants out of life (to become a fully accredited cook), and he is also very responsible and good-hearted in general.
The common route is basically one typical harem-building element after another, ranging from meeting a girl who constantly gives off 'I'm sickly but trying to hide it poorly' vibes (the protagonist doesn't notice, of course) to a seemingly strong-willed and free-spirited oneesama who shows off her fragile side at odd times. By the time it was over, even though it wasn't really long, I was so happy that I wanted to thank the magic bunnies for releasing me from that cliched hell.
It needs to be said that there are too many heroines in this game, and Ensemble's current art team has such a limited range of facial designs that I honestly found it hard to tell the 'normal heroine' trio (Iori, Sanae, and Misato) apart from visuals at times. This was one of the reasons that my first impression of the game was blandness, despite the characters having dynamically different personalities, for the most part.
Before I go any further, I'll say that the paths I played were the omake Nazuna path and Youko's path. This was because those were the only heroines I became interested in during the common route, which is probably the best reason possible.
Youko's path is surprisingly long (it looks like the short common route is compensated for by longer and more complex heroine routes), and it is pretty emotional. While there were some definite moments where I winced at the predictability of certain events, I did manage to enjoy it to the end... which brings up the ending, which is actually excellent, because it is a 'four years down the road' ending that sees Youko having grown past her hangups and living happily with the protagonist... a definite benefit of an epilogue that goes forward significantly in time.
Nazuna's path is an omake path, but it shouldn't have been. Nazuna is probably the cutest character in the game (other than possibly baby Minamo or a certain character who pops up in Youko's epilogue), and she is a rare yamato nadeshiko type to boot. However, she is cursed with an omake path that is short, feels forced, and ends without an epilogue. The decision not to make Nazuna a central heroine was a horrible one, and it isn't one I'm going to forgive anytime soon, lol.
First, it should be noted that I love the Silverio series, regardless of its flaws. I see those flaws, I recognize them, then I shrug as I realize I don't give a flying fart about how the critical part of myself feels.
First, lets consider the two games that have come out (so far, given that the setting is so insanely detailed that it would be sad if they didn't make more games) in the series separately.
Silverio Vendetta
Silverio Vendetta follows Zephyr Colerain, an unemployed deserter with an inordinate fondness for alcohol accompanied by an inability to handle it. Zephyr, if you take a step back and look at him, is antithetical to every other chuunige protagonist in existence. The cynicism isn't a problem. Roughly half of all chuunige protagonists are cynical on one level or another. The pessimism, while extreme, is nothing unusual. No, what makes him unique is his sheer... baseness. Zephyr, at his core, is a weak man who is perfectly willing to stain his hands with the blood of the innocent and the good to protect what he cares about... in order to protect himself. Zephyr is a coward, he is not only afraid all the time in battle, but his first impulse is to run away whenever a situation gets hard (though that fleeing takes different forms depending on the situation). When he is confronted with someone who sees him an obstacle to their ideals, he wants nothing more than to trample and spit on the glory of the person in front of him. Zephyr is essentially the embodiment of the part of us that is envious and resentful of those more capable than ourselves, with his only saving grace being that he nonetheless can at times drive himself to stand against his own nature.
In other words, in 99% of all the games I've played, he'd essentially be one of those petty minor bosses who got squished like a bug by my level 10 characters. He is also very similar to Rusalka from Dies Irae (if you have played the game, note her Creation spell's essential meaning).
Zephyr is accompanied by Vendetta, an artificially weaponized and resurrected corpse with an unknown purpose who is psychically linked with him, who constantly kicks him in the ass to get him to be a man and be a better person (which is often hilarious in and of itself, since Zephyr has no intention of doing so on his own).
On the other side is Christopher Valzeride, an undoubted hero who gives selflessly of himself, who never gives up, who moves forward with no desire for recompense. In most chuunige VNs, Valzeride would be the protagonist. His intensity of spirit, his iron will, his burning idealism... combined with a realistic understanding of the costs of his path forwar... make him an ideal archetype for a chuunige protagonist in a 'heroic style' chuunige.
However, the fundamental theme that starts out the game and resonates throughout all the paths is 'What is victory?' Zephyr is a man who has been destroyed, carved away, piece by bloody piece, by his own victories, gaining nothing but more pain and the next, even more difficult battle from anything he achieved. He is the picture of a man forced into a role by his talents and utterly unsuited to it by his essential nature. Valzeride is a man who seeks victory above all else and merely accepts the greater tribulations that await him as the price of his path.
Essentially, the two men are polar extremes of human potential that encompass both the best and worst of the two extremes. Zephyr, while capable of kindness and gentleness, is cruel in his cowardice and malicious toward those who corner him with their valor and vivid idealism. Valzeride loves human virtue but is utterly incapable of kindness or personal empathy, as his own nature rejects anything ambiguous and weak. He honestly can't empathize with the suffering others draw from their tribulations, and this is why he serves as a great antagonist, despite essentially being a truly virtuous man in addition to being a hero.
Silverio Trinity
Silverio Trinity focuses a lot more intensely on the nature of the 'Light', as embodied by Valzeride in the previous game. It portrays those who take after him as 'Zombies of Light', men and women who simply move forward because they are incapable of conceiving of any other course of action. As is said repeatedly in both games in various fashions, 'A hero of light continues forward, running over the hapless individuals who get in their way, unable to compromise, unable to consider the suffering of others except as the price for the brilliant shining future they seek to bring about.'
Ashe, the protagonist, is by nature a good and caring young man. He can be driven to anger for the sake of others, and he has a deep well of compassion that is honest in its depth... and contrasts starkly with the other characters aspected of Light, such as Gilbert, Helios, and even Dainsleif. Ashe recognizes and empathizes with the weakness of others, and his understanding of them is more than just the intellectual recognition you see out of individuals like Valzeride and Gilbert. In this fashion, Trinity is more of a contrasting of common humanity with the two extremes of human nature (darkness and light as represented by the protagonists and antagonists of Vendetta). Its narrative, while having a different locale and characters, is a direct continuation of the conversation with the reader begun with Vendetta, and its conclusion is interesting, to say the least (Edit: Though it can be said to be a typical conclusion for such 'conversation' in a Japanese VN).
Due to work and other stuff, I hadn't had time to really get into this until recently, and with friday signaling the release of October's list of VNs, at least one of which (Deep One) will play immediately, I felt that it would be fitting to go ahead and give you my initial impression of the game.
My first impression, after playing through the prologue, was that, while this game is pretty old, it is also very... familiar in an odd way. At first, I couldn't figure out where that impression was coming from... but then it struck me!
I finally figured out where Favorite stole its basic style. It always bugged the hell out of me that Favorite was able to produce such decent to great games despite essentially being a company full of lolicons and the writer basically being an unknown who produced two mediocre games before Irotoridori. The atmosphere of Meguri, Hitohira is almost identical to Irotoridori and AstralAir... which made the game feel pretty familiar as I delved into it.
However, this familiarity wasn't a bad thing, because I always liked the atmosphere of those games, even if I felt nothing but contempt for the loliconism. Say what you want about Favorite, but the atmosphere of their games is usually worth buying them for.
That said, this is a Shumon Yuu work... and Shumon Yuu is easily the best non-genre-specific writer in VNs. I was crying inside the prologue, empathizing deeply with the protagonist, his predicament, and his hangups, despite knowing that similar protagonists in other VNs have pissed me off in the past (understand, it takes a master's hand to make the suffering and self-hatred of a sensitive young man as sweet as honey, and when it goes wrong, it generally feels like I was eating aspartame in powder form afterwards). The fact that the game is very, very dated didn't hurt the presentation nearly as much as it does with some other old games (Ikusa Megami comes to mind, as does Tsukihime, despite my love for it).
Since I haven't hit an ending, I don't have a conclusion for you... but even if this game were to flop on its face later (an impossibility, given the writer) it would still be worth playing. You probably won't see my final impressions for a while, because, even though this game is engrossing and emotional, it takes actual courage get into it, since I know Shumon Yuu's habits well enough to figure out in a vague sense where he plans to go with the story (Hint: Most of Shumon Yuu's games almost border on utsuge at times, with the exception of Tenshi no Hane o Fumanaide).
First, I should mention that this VN, despite having a different writer, is in a style that is very similar to that of Oni Uta, a VN made by 130cm using the same artist back in 2009. I say 'the same style', because the character dynamics are eerily similar. First, there is the ponkotsu oneechan who is open about her desire to reverse-rape the protagonist (though she prefers it the other way around). Second, there is the stalker osananajimi, who casually steals his underwear, toothbrushes, and chopsticks. Third, there is the little oni-goddess who appears and serves as the game's true heroine.
Now, first I should say that this artist has a style that is greatly differentiated from the current industry standard... mainly because he has nothing against chubby faces, heroines who make unattractive expressions, and old art cliches like heart-mark eyes, lol.
Story-wise, this game moves back and forth between emotional scenes and old-fashioned cat-fight filled slice-of-life (the osananajimi and the oneechan are constantly at each other's throats), and the protagonist is about as dense as they get (though part of that is that he is simply numb to anything more subtle than Haruko's blatant attempts to get him into bed with her). Though the game's title proclaims that this game is about his sister's disease, the reality is that, once it goes onto the heroine paths, it generally ends up being about his personal hangups when it comes to matters of affection and family. This isn't necessarily a bad thing. His parents rank up with the ten worst monster parents I've encountered in a VN (currently the twin tops are the father of Kaito from Akatsuki no Goei and the father of Suu Sasamaru from Kitto, Sumiwataru Asairo Yori mo ), and his past experiences definitely explain why he and Haruko are so interdependent (it is actually as bad as the twins from Yosuga no Sora that way... almost worse, really).
Kohime's path is the exception to the rule... by her very nature, Kohime is a free spirit, and she easily overcomes his relationship limitations... but in exchange, the conflict in her path is definitely a tear-jerker. Of course, it is also a familiar one to those who have played numerous VNs with Shinto kami heroines. Koihime's path falls into one of the classic tropes of such heroines, but it is executed pretty much perfectly. I honestly spent the last hour crying almost constantly... which is a good thing, because that is what I wanted.
Overall, this VN was highly emotionally satisfying, even if some aspects (such as Haruko's apathy toward anyone and everyone outside her small circle of people she met through Haruto and her insane jealousy... not to mention Haruto's denseness) were annoying as hell. At times, this game feels really 'old' to someone who has played most of the good VNs made in the last ten years (because it uses tropes like the constant catfights), but it was generally an enjoyable read.
First, I should say this VN isn't like Purple Soft's last few works. The common route is straight comedy and heart-warming antics combined with some minor drama and with a bit of personal growth for the protagonist on the side. It is good comedy and the personal growth is actually quite nice, since the protagonist as he started out would have driven me insane inside two hours. It is also relatively short, as are the heroine routes so far. I managed to finish the common route and one heroine route in around seven and a half hours...
Makoto
Makoto is a very straightforward girl, the daughter of a local yakuza group who has been ordered to live as a normal girl by her family. The funny thing is, she isn't one of those template heroines who dislikes her criminal family, but rather respects and loves them. This results in a rather hilarious personality that comes out a great deal in her route. This VN's route structure is really unusual, in that there is literally no H in the routes themselves, though there are a few nude scenes. As a result, this route passes by with relatively little ichaicha and most of its focus on the drama, which is one of the reasons why it is so short... there is no time wasted whatsoever.
Michiru
Aaah... Michiru is probably the most blatant example of the 'adoring little sister' I've seen recently... and combined with her being a total yamato nadeshiko and blind, this makes her the standout amongst the four heroines available at the beginning of the VN. One of her most hilarious aspects is how she sounds like a 'niisama-cultist' when talking to others, and how aggressive she is in her pursuit of her older brother... so naturally you'd expect a 'oh, I'm not sure if I can cross the line!' kind of route, right? Fortunately, my expectations were betrayed quite nicely on this, and the route itself is highly emotional, following a track I can guarantee you won't guess without spoilers. That said, it is mostly heart-warming and tear-jerking stuff, and that is one of its biggest draws.
Because of the policy they are using for this VN - no H in the actual routes - it is really easy to focus on the plot flow, and there is none of that sense of 'you interrupted the story for a pink-colored scene?!' that comes so frequently with many VNs of the type. To be honest, I'm really surprised that no one has done this before, as having the choice as to whether to pursue the H in the extras section rather than go through it in the main game makes it a lot easier to enjoy the character interactions and story in general.
Edit: Adding Misaki
Misaki
Ummm... I'll be frank, I was disappointed with Misaki's route... but that's because I went for the two most unique heroines - and least annoying - amongst the four starter heroines first. It isn't that it is a bad route. Indeed, if you go by the standards of your average VN (cutting the low and high ends off the curve) I'd say that it was in the upper ranks as individual heroine routes go... but after Michiru it just lacked impact. Misaki is one of those heroines who is a lot better as comic relief than as a heroine... or at least, that is how it felt to me. A big issue is that they reused Alice's face and voice (from Hapymaher) for her, and I was always a bit frustrated that Alice was the true/main for that one (I liked her the least, though I still liked her). Cutting out those emotions, her struggles are actually interesting, if a bit overly familiar for those who have seen (this really is a spoiler, though indirectly)
That said, the theme for this particular one has been touched on so often in VNs lately that it seems overly dull...
That said, if you weren't me, you'd probably be able to enjoy this route just fine - actually, you'd probably enjoy it a great deal - as long as you made sure to play it first or second (I'm not really interested in the annoying foreign girl heroine, since her speech patterns make me want to punch her).
Recently, @Dreamysyu liked one of my older posts, and I felt it was worth revisiting three years later, simply because it has become an even more valid post in light of current events.
At the time I wrote this post, I was pretty angry. Why? I'd had the misfortune to see several fellow otakus who happened to be female being subtly (and not so subtly) denigrated by other male otakus at a small gathering at a local gaming event. The girls were obviously enjoying their cosplay (it was a cosplay-allowed private event for jrpg-lovers of various ages without about fifty people), and they were discussing their favorite games as heatedly as you would expect from the obsessed types that show up at such events (I'm just as bad, obviously). Unfortunately, about halfway through, several male members of the conversation turned the discussion to eroge, and sexual innuendos started flying at the girls mixed in with various poorly-used Japanese phrases that would have made me wince even if I hadn't hated the content of their statements.
This was disgusting in and of itself, but it was obvious that the males in question were losing their grasp on the line between reality and eroge (exactly how is that possible, really?). They started fantasizing openly about what would happen to the character versions of the girls' cosplay if they were put in an eroge... and things just got out of hand from there.
Now, this is just one event that I attended on a whim (under my real name) because I got an invite from an old friend. However, I had to wonder afterwards... how many of us fail to understand just how warped the sexual viewpoints in VNs are? I've always been well-aware of it, but I got the impression that those males (listed as 'kids' in my mind, due to my extreme old age of 34 at the time) had no understanding of just how warped those viewpoints are.
I've always understood that most of the Japanese VNs I've read are fundamentally sexist on some level (some weren't, but most were), but I felt like I was listening to someone born in a different universe at that moment. Perhaps it is because I really don't see rl women as subjects of sexual attraction anymore, but I honestly couldn't comprehend on a gut level falling into that kind of pattern of behavior with someone I was conversing with in a congenial manner only moments before. It bothered me then and it bothers me now that others could.
Let's be clear... I have no reason to try to be fair to charage anymore. This might sound like a terrible statement to make, but the fact is, I've been a lot nicer than I wanted to be for years when it came to charage. I went out of my way to look for positive aspects, and when I found one, I deliberately put it in as positive a light I could without overdoing it. This was because the sensation I got coming out of most charage was fatigue. SOL, in small doses, is enjoyable and even relaxing... in the kind of doses I experienced over the last five years, it is downright toxic.
Now, down to the game... CharaBration is what is termed a 'thematic charage'. This is a type of VN with a preset theme that all the heroines and possibly the protagonist all adhere to to one degree or another. In this case, it is the duality of the heroines/protagonist's character types. Each of the characters presents one face to the world and another in private... and in the case of this game, the gap between them is massive.
The heroine who starts as the initial focus is Hai, the protagonist's cousin whom he thought was a sickly ojousama that he had to take care of... and is really the kind of tomboy who dominates all the males around her, with a coarse manner and foul language. Yukia, who is pretending to be her sister Mirei, presents herself normally as an arrogant leader who always dominates the room, but in private, she is shy and has trouble talking at all. Himeme is normally acts in a false male role, but she really prefers to act like the girl she really is. All the heroines are like this to one degree or another, and Rikka (the protagonist) ends up splitting his life between pretending to be a maid and attending school in his male form.
Now... this is a game with a lot of potentially fun elements, and it would have been great if the 'hidden' character traits for Hai, who was presented as the main heroine at first, weren't so grating. Starting out with a positive hatred for Hai that never really faded even after I got into the heroine routes (her ojousama act just made me more irritated, due to that fake cough) was a huge drag on the experience for me, and it is the reason why I took so long to finish even the paths I did. Hai is annoying, to be straight about it. While her presence is necessary to create the situation going in, her persona (both of them) drove me up the wall.
The fact that I actually liked the other heroines only made it worse, because whenever she came onto the scene, I just wanted to delete her character. I'm sure some will love her (there is someone for everyone, supposedly), but she isn't for me.
Common Route
Tbh, the common route spent so much time on Hai and stuff related to her that I'm tempted to erase it from my brain. However, it needs to be said that it does a good job of introducing the heroines and creating their relationships with Yuki/Rikka. Rikka is a standard 'I protest dressing up like a girl but I subconsciously am coming to love it' trap protagonist, and that creates a few moderately amusing scenes... However, I can't really said this did a good job of anything but introducing the heroines and creating those basic relationships. It is a pretty short common route, and the heroine routes afterward aren't long either, so it feels like more time and effort could have been spent deepening the relationships before they headed off into the romantic wilds.
Yukia
Yukia is easy to like, at least for me. Her helpful, kind nature is prevalent throughout much of the VN, and her other persona is mostly amusing (some of the ways she strings together lines to hold a conversation together make me laugh). Her relationship with her sister, Mirei, which comes out in her path, is amusing on several levels, and I like the way she grows as a character during the course of her path. That said, her ending is somewhat disappointing, as I would have liked to see what she and Rikka were like after graduation.
Corona
I chose Corona as the second heroine mostly because she is Yukia's opposite in so many ways... and because I rolled a pair of dice to decide which would be the second and final heroine I would play (I can't bring myself to play all the heroines in this type of game anymore). Umm... I really like her character, if only because it makes me laugh (an easily-embarrassed prime personality and a secondary personality that strips without a hint of hesitation and is obsessed with other women's breasts... definitely worth a laugh). In fact, this path is nicely weird, especially because of how those twin personalities interact with the romance. If Yukia's path was par for the course (predictable and staid as trap protagonist and ojousama heroines go), Corona's went pretty far out there. The epilogue and after story was also too close to the ending in chronology though, *sighs*.
Conclusions
Despite some high points, this game is pretty average as charage go. Like a lot of thematic charage, it makes the mistake of assuming that the theme is all-powerful, and, as a result, it falls short on a lot of minor points. I was particularly irritated at the way they handled the endings/epilogues, and I felt that the writer didn't really do Corona or Yukia justice, when it came down to it. Given more detail and time spent deepening character relationships in a believable fashion, it would have been much easier to engross myself in the setting. Unfortunately, that never happened here (the good parts of Yukia's and Corona's paths stand out so much precisely because they are the best parts of the VN by far). It felt like the writer wrote his favorite scenes first then sort of created a bare-bones framework to support it using the theme.
This is a list of next month's releases that I'm not playing (that aren't nukige) and my thoughts on each, based on the Getchu and official pages, as well as my experience with the writers and companies involved.
Raspberry Cube
This is from the makers of Wagamama High Spec, one of the most average charage in existence *Clephas sticks out his tongue defiantly at the inevitable protestors, accidentally allowing several demons he was eating to escape* First, the good signs... this game's initial presentation is that of a comedy charage. The heroine character profiles are wacky, the initial description is also goofy, and the CGs presented are not 100% h-scene material. On the negative side, however, they rather blatantly avoid any real description of the protagonist beyond his position as a 'former delinquent'. It is generally not a good sign that the heroines have about the equivalent of three paragraphs of detailed info and the protagonist has one short one. In addition, there is a general sense I get from the official site that they are trying to impress you with their moe-moe atmosphere... but they did that with Wagamama High Spec and their other games as well. As such, my initial impression of this game goes in is a 'probable 6, maybe 6.5'.
Hime to Otome no Yakimochi Love
I'm going to be blunt, the company and its obsession with princess/ojousama-themed games doesn't really do much for me. Oh, I do have a fondness for ojousama-ge, but this company never hits the right notes and it tends to go for the 'standard' themes with its paths for the rich girls involved, regardless of the writer. The writer, in this case, is the same person who wrote Primal Hearts and Primal Hearts 2, so there is hope for the comedy aspect. However, he is also very inconsistent as a writer, sometimes showing flashes of sheer genius, at others stumbling over his own feet in attempts to make poorly-chosen tropes work. The heroine descriptions are all a standard templates for various princess and ojousama heroine types, so it is hard to get up much of an interest in them, at least for me. The protagonist in this one is described well and seems like he might be a strong presence... at first glance. Unfortunately, it is rather evident just from the material available that he is probably going to spend much of the game being as dense as the lead used to shield nuclear reactors and stumble at all the right moments to make him seem like an idiot despite being supposedly a highly intelligent jock. I'd probably predict a similar rating to the game above, if for different reasons.
Another thought about the two above
It is never a good sign when two charage come out in one month using the same writer.
Sono Hana ga Saitara, Mata Boku wa Kimi ni Deau
This is the latest game in Campus's now-massive series of kinetic novels based in its two-faced school of normals and hidden magical beings. I'm going to be a bit blunt... if you played Hatsukoi Syndrome, you will figure out from just the character description of the heroine exactly what is going on. Magicians/sorcerers in this setting have one serious peculiarity that plays a role in their love lives (curses them, pretty much), and it is pretty clear what is going to happen based on that fact. While Campus has yet to make a bad game in this setting, it is something of a buzzkill (at least to me), that they went out of their way to pick a mage heroine and immediately gave you big rotting fish of a hint before you even play the game as to the central conflict.
This is the newest game by Sweet & Tea, the makers of the near-kamige (kamige in my heart) Karenai Sekai to Owaru Hana. This has a different set of writers, with Ban'ya of Kuroinu and Mugen Renkan handling the sweaty H-scenes and NYAON, the writer of Moshimo Ashita ga Harenaraba (and a few charage and nakige besides that) as the main writer.
Now, this is a kinetic 3P lovey-dovey nakige about a girl named Iroha who, after spending ten years trapped in a divine realm by accident with a wolf god, is returned to that realm... with wolf-ears! (lol) I say it is about Iroha mostly because of my fetish, but it is really about her, the protagonist Shuuji, his girlfriend Kana, and the people around them.
Now, a few things to get out of the way before I put down my own feelings and impressions... for those who don't like cheater protagonists, I'm going to come out with it straight up. He cheats on Kana with Iroha. The fact that this is mostly a comedic element is because of Iroha's animalistic/innocent manner (she's actually just aggressive about what she wants and more knowledgeable than her speech patterns indicate), and the fact that Kana has pretty much been the seducer/brainwasher side of the relationship with Shuuji, who tends to be the type to give in to the girls he cares about in just about everything.
Now, this game never goes really dark. It has some bad moments for the characters emotionally (the protagonist has his own issues and ten years is a LONG time), but that is all properly resolved in a cathartic way, as is the way with nakige. Unlike Karenai Hana, there is no aura of terrible suffering and despair, and the protagonist is mostly about compassion and love rather than self-sacrificing love and guilt.
While this game is pretty short (think about four hours for me, six to seven hours for the average reader), it doesn't feel unsatisfying for what it is. I did want a more extensive epilogue, but the one I got was hilariously H, so I came out of this feeling mostly satisfied.
Perhaps my sole real reservation is the fact that this didn't become a 4P with Chihiro, who is obviously interested in Shuuji (even moreso by the end). I'm thinking that they will eventually make a followup, sequel, or fandisc to advance the whole story more. However, with the immediate issues all resolved, the game doesn't feel as truncated as I usually feel with games setting up for sequels or fandiscs from the beginning.
First, apologies to those who actually want to read about some of August's releases. I went on vacation (vacation being a word open to interpretation when it comes to sleeping in unfamiliar beds and helping with my brother's kids), and when I got back, I found I had absolutely no urge whatsoever to pick up a VN. I guess that taking a true break from VNs for the first time in almost a decade (no VNs for five days straight) was enough to free me from the spell of my obsession.
That said, Jinkou Bato was pretty amusing, so I had every intention of getting back to it, eventually.
This game is based fifty years in the future, fifteen years after a disaster caused by technology (deliberately) gone wrong wiped out the global internet and reduced people to using wires and letters to communicate. This disaster was caused by artificial lifeforms based on the pigeon that originally served as self-replicating flying antennas. The maker of these 'artificial pigeons' made them begin to 'eat' radio and electromagnetic waves, literally stopping all signals not passed through a wire. This resulted in innumerable deaths, and it was such a huge economic and technological blow that the characters of the story are quite aware of how they live in a much-reduced world.
Sora, the protagonist, is an orphan who hates the artificial pigeons more than anyone, as he lost his parents the day of the disaster. Living with this adopted family, he succeeds in building a set of radios that can communicate with one another without being stopped by the pigeons, and from there the story begins.
Mmm... I'm going to be straight about my feelings on this game. First, I like the character dynamics. There is a lot to laugh about early on, and the intensity of Sora and friends when they make a certain discovery is pleasing to me, as I'm a bit tired of characters living without a sense of purpose in my VNs, lol. That Sora and the others are college students at a vocational university rather than high schoolers is nice as well... and an adult heroine who is bisexual is also nice, hahaha.
That said, both Mizuki's and Akina's paths are weaker than the Tsubaki and Kaguya paths due to the fact that only Tsubaki's and Kaguya's paths actually confront the central issues head on. Mizuki's and Akina's paths both stink of escapism, and while that is fine on its own... it left me feeling a sense of distaste for the characters involved (yes, I want my characters to be better or stronger people than me).
Tsubaki and Kaguya's paths are the true path. No, I'm not saying that they are separately the true path... rather, together they form a single path, in a really weird (if familiar from other otaku media) way. The path is... extremely emotional, and I honestly felt that Sora, from beginning to end, fulfilled his potential as a character... something that is pretty unusual for VN protagonists in general.
Lets be clear, this isn't a kamige or even VN of the Year material. This is a nakige with a great main path and two so-so side paths. I say 'great', but the game's pace is really fast after the initial, lighter stages of the story. That said, there is no sense of choppiness to the pacing, and it feels like the events actually occur in the time you see them happen in the game (less than two months), as there are no excess SOL scenes whatsoever.
If you want a relatively quick nakige with some amusement early on, this is a good choice. I honestly can't recommend it for someone who wants a grand and sweeping opera, though.
Well, essentially the above poll came down to a tie vote between Random Chuunige and Meguri, Hitohira.
I'll give you a quick run down on the two choices that is a bit more detailed than the post above.
Meguri, Hitohira
Essentially, the protagonist of this story is a loner with the ability to see non-humans and other mystical beings. He has lived much of his adult life in despair, blaming himself for the death of his little sister, who was the only person who understood him and accepted his ability... and whom he believes died as a result. The protagonist is an artist, and when he goes to a small town with a run-down Shinto Shrine (no human dwellers), he encounters a loli goddess, who subsequently grants his wish... to meet his little sister again.
I played the prologue of this game a while back to see whether it was something I'd want to sit down and play at length later, and my first impression is that the game is set up to be a mix of 'hohoemashii' warm-heartedness, catharsis, and a generally somber atmosphere.
Random Chuunige
The current candidates for this are Kaziklu Bey, Bullet Butlers, ExE, Master Re:Master, Muramasa, Jingai Makyou, Ayakashibito, and Tokyo Necro. Due to a number of requests, I've also added: Soranica Ele, Paradise Lost, Abyss Homicide Club, and an Ayakashibito>Bullet Butlers>Chrono Belt marathon.
The most requested was Paradise Lost, and I had four separate people request that I do the marathon of the three related Propeller games. Since they all fit the bill, I decided to shrug and just add them in as options... in fact, I think I'll cut out the individual options for Ayakashibito and Bullet Butlers, just to make it fair when it comes to the random choice.
Ok, I know some of you are going to wonder why I bothered with this game. As the remake of Iinchou wa Shounin-sezu, this game exists as a reboot of a game that wasn't interesting in the first place. So, why did I decide to play this, despite having stopped VN of the Month? Pure perversity and contrariness, probably.
The big problem with this game, saying it outright from the first, is that it uses a style that has more or less vanished due to its massive unpopularity with the target audience. Generally speaking, a comedy game that isn't really funny and a charage that spends a ridiculously low amount of time getting to know the heroines is going to be considered a failure, don't you think? Moreover, it kept the 'brief scene swaps' technique of yesteryear, where choices leading to heroine paths only switch out the scenes related to the heroine and the ending.
There are six heroines in this game, and some of them actually get close to being interesting. Unfortunately, the heroines never step past their initial impressions as characters, and they all have the same clingy side once they get close to the protagonist. While I like clingy heroines, there are ones where that particular personality trait didn't make that much sense, and the actual process of turning from 'acquaintance' to 'lover' is so abrupt that it feels unnatural. This is especially true since character development in the common route is almost nonexistent and there is relatively little in the paths themselves.
In other words, this game is pure amateur hour, from a writer who rarely does anything but nukige.
First, I should say that the last part of this game was actually worthy of Eushully in terms of dramatic flair. For those who probably think I was bashing this game out of hand, let me also say that there were lots of hints of what is best about Eushully. There are great characters/companions, some truly excellent character interactions, and even a few really stand-out scenes scattered throughout the first three fourths of the game... but the problem is that they are spaced out with a ridiculous amount of map-grinding for very small gain and a definite feeling that you are screwed by hitting maps too early (since you want to grab as many companions as you can before you hit the extra/optional ones, in most cases).
I can't help but praise the way they do their best to immerse you in the previously only hinted at animalistic demi-human races and hints of their culture, and there are also plenty of references to the ongoing themes of this particular world (such as the unending conflict between the Living Gods of Light and Darkness and the results of it amongst the mortals and not-so-mortal denizens of the world). At the same time, there is so much more that could have been done with this. Rather than wasting all those maps as story-free, they should have made an effort to add side-events specifically for those maps, filling in the gaps of why we should care about this region and what happens to it, rather than assuming that we do. This speaks to a laziness that is characteristic of many of their games outside the main IM series, in that they have a tendency to only really go into depth in games like Zero, Genrin, and Verita. I absolutely loathe place-holders for when a company just wants to milk the setting rather than really going through the effort to birth a new saga in the same world. The sheer lack of ambition that is represented by this game is a bit ridiculous, considering the amount of development cash that had to have gone into that battle system. Another three months with this, adding in more story events and expanding the cultural and religious elements, would have gone a long way to making this game feel like a worthy companion to the IM series.
Needless to say, I found this game to be a disappointment, especially considering this was put out in place of the IM2 remake I was hoping for this year. So much wasted potential in a single game... it reminds me of what I felt about Kamidori after playing Zero.
I probably won't go through a second playthrough of this anytime soon. That is primarily because of overplay-related exhaustion, though there is also a definite feeling that I'd be wasting my time if I bothered to continue, at this point.
Hopefully, this poll will work out better than Minikui Mojika did (sadly, my opinion on it has only gotten worse in hindsight), but I thought I'd give you all a chance to pick out which Random VN I will play after my current one.
First, the VN I'm currently playing... Honoguraki Toki no Hate yori. I just started this one, and I probably won't finish it until I've played whatever I choose to from August's releases (there aren't enough releases for a poll this time around, lol). My interest in this one was resparked by Dergonu asking about it and recalling that it has a link setting-wise to Sakura no Mori Dreamers. Where Sakura no Mori only touches on the Cthulhu stuff in a very indirect way (it is never actually said outright and the only serious hint is in the sequel/FD), Honoguraki gives you hints almost from the beginning that something is a bit screwed up (I could feel my SAN points being shaved away after the first creepy scene, lol).
Now... this is a list of VNs that I will either replay at some point or that have been floating around in my backlog for some time.
Meguri, Hitohira- One of Shumon Yuu's 'classic' games, it is so old that it still uses the NVL system 100%, rather than the ADV system. Anything Shumon Yuu writes has the flavor of greatness... the only question is whether it is a greatness you can appreciate fully or not.
Racial Merge- Random AXL game I pulled out of my hat because I remember liking how it dealt with certain social issues. It is one of AXL's sword fantasy series of games.
Houkago no Futekikakusha- Hard utsuge that I can't really talk about without spoiling. This game has some serious issues that stop it short of being a kamige (primarily setting-related), but emotionally it is like getting smashed repeatedly in the gut with a bat wrapped with barbed wire. If I were to post on this, I would be doing so primarily for those who have already played it or been spoiled for it (since I've already blogged on it once before), so I don't expect this to win.
Full Uso plus the original Uso series- This is a bit iffier... a marathon run of the Uso games followed by the after stories and extra stories provided in the fan/append disc. The Uso series follows a protagonist who can detect lies at a school with a hidden magical side through four different potential romances (all of them twisted or strange on some level).
Draculius- This is actually a request that came up from someone after I mentioned it as my favorite harem story (despite the fact that I have outright reviewed this on two occasions). If you want to know where all the ideas in Libra came from, and where they were actually executed properly (without the protagonist being a worthless dip and the heroines being mostly boring), this is where.
Random Chuunige- Yes, this is actually what it sounds like. If this option is picked, I will toss a sticky dart at a paper with squares of names of several chuunige I have not played within the last eighteen months (basic requirement in order to do a VN replay in most cases is eighteen months to two years) or have not played before, and I then play the one that it sticks to. Either that or I will roll dice, lol. Currently, the list includes Ayakashibito (Japanese version), Bullet Butlers, ExE, Master Re:Master, Muramasa, Jingai Makyou, Tokyo Necro, or Dies Irae Interview with Kaziklu Bey.
Bloody Rondo is 3rdEye's first and arguably their worst game. By chuunige standards it is very much 'yesteryear' even by the standards of the year it came out, being a 'half-gakuen' type where the protagonist splits his life between school during the day and other stuff at night. What it comes down to in the end is that this game was, from the very beginning, apologetically derivative and something of a failure primarily due to an attempt to draw on the relative success of Draculius several years before.
First, I'll explain why I say the game attempts to draw on Draculius. Draculius is probably the best vampire fantasy chuunige/slice-of-life hybrid in existence. I say this because it doesn't in any way nerf vampiric nature or power, and it also has a rather unique atmosphere that draws on the fantasy familial aspects of the non-undead type of vampire (a vampire that is a lifeform, as opposed to being a dead being forcibly kept alive by magic or evil forces, lol). The combination of intimacy and hedonistic behavior that you see in that game, as well as the veiled potential for violence and moral ambiguity are subtly presented to the reader interspersed between humorous slice of life and often brutal action scenes.
Bloody Rondo (and Libra) attempt something similar... but fail dramatically in that sense. Luna, the canon heroine of the game, is a clumsy true vampire (as in trips over her own feet clumsy) with a nonexistent work ethic but a deep capacity for love combined with an incredibly dependent personality. This in itself wouldn't be a negative and it indeed bears some similarities to Draculius's approach to the cast of characters, but the biggest issue is the utter failure to shift from the humorous elements to the more serious ones properly. Luna generally only maintains something like dignity for a few minutes at a time before stumbling, and her attempts to maintain it are... spectacularly bad, often lightening the atmosphere at the worst time for the story.
The path that actually succeeds in reminding the reader of what is best about Draculius is Lynette's path, where the somewhat twisted relationship between her, Luna, and Shinkurou is the focus of things. Lynette is modeled on Zeno from Draculius in a blatantly obvious fashion (werewolf turned into a hybrid vampire with incredible physical abilities and absolute devotion), and she also serves as an excellent catalyst to turn the three into something resembling a family in her own path. The unfortunate aspect of this is that it waves the flaws in the 'canon' path in front of the reader so blatantly that you have to wonder why a short path that completely ignores the background story and Shinkurou's own issues works out so much better.
I will not say this is a bad game... but it stumbles because it never quite manages anything like individuality, despite a good cast of characters and a decent setting. Anyone who plays this after Sorcery Jokers will instantly get how the writer used his failures with Bloody Rondo to grow and build up the setting he eventually used. In that sense, this game provides an excellent study in 'before and after' for someone interested in the history of VN writers.
Shinkurou is actually a great protagonist, but he is damned by a weakness of motivation and a general lack of emotional filling in of the blanks by the writer. He is skilled, he is intelligent, and he is pragmatic... but the writer fails to capitalize on his personality the way he did with Senri's personality in Sorcery Jokers. Going back to play this, it is blatantly obvious that Egami Shinkurou is the prototype for Senri... a rough bare-bones character archetype to Senri's full-fleshed individuality.
Needless to say, this is one of those rare times where I went back and actually felt the game failed in comparison to my distant, years-ago impressions. Most of the chuunige I go back and play years later have new discoveries waiting for me... but this game is an exception, unfortunately. Lynette's path is still great, but the weakness of Luna and her failure as a canon/true heroine is painful to read.
Right now, in order to 'clean my palate' before playing Mojika, I'm replaying Bloody Rondo, 3rdEye's first (and arguably worst) VN. A thought came to my mind that has been bothering me since I finished Oratorio Phantasm.
Are Shinkurou and Luna still alive at the time this VN occurs within the setting? The reason I ask is because
Now that we are finished establishing my hypothesis about why things in Oratorio Phantasm played out as they did, I thought I'd consider Shinigami no Testament.
Shinigami no Testament, Bloody Rondo, and Oratorio Phantasm share the same world (Sorcery Jokers didn't show a recognizable connection to the other games, so I'm viewing it as a completely independent setting). The events in Bloody Rondo apparently occur at least a few years before Shinigami no Testament, and at least a century and a half have passed since the events in Bloody Rondo when Oratorio Phantasm has occurred.
Shinigami no Testament has the weakest connection of the three, simply because if the inherently self-contained nature of its main storyline. To tell you why, [spoilers for those who haven't played it]
The difference between Shinigami no Testament and Oratorio Phantasm is that Oratorio Phantasm actually has a direct link, whereas Shinigami no Testament just has a few pieces of info that tie it to Bloody Rondo.
Moving on... it is always interesting to see whether and how a writer or company will link its games together. Kinagusa Shougo's Akagoei and Reminiscence series are directly linked together in an obvious way:
However, it has never clearly been stated whether there is a canon for the two series (whether Kinagusa actually intended for the result that created Reminscence's setting to be absolute). Personally, I would prefer that it wasn't, because:
Other games that possess a link are Ayakashibito and Bullet Butlers, through the Chrono Belt FD. In the Chrono Belt FD, Kuki-sensei is sent to the Bullet Butlers world along with a particularly nasty villain from Ayakashibito, and Alfred Arrowsmith is sent to the Ayakashibito world, where he, for the first time, confronts his own demons due to the essential peacefulness of the world he finds himself in (keep in mind that this is post-Ayakashibito's events). This link is a more peculiar one, in that I normally wouldn't have liked it... but Higashide Yuuichirou somehow made it work (seriously, I sometimes think Chrono Belt has more impact than the original games...).
Now, I just gave you a bunch of examples of games where the 'setting link' actually works out pretty well... but as anyone who has stumbled onto a 'bad sequel' knows, the 'setting link' is a sword that cuts both ways.
A more negative link would be the direct sequel to Hachimyoujin by Light... Bansenjin. Now, one of the problems with even thinking of making a sequel to Hachimyoujin is that the main characters had been stretched about as much as they could possibly be in the original. They had pretty much used up what made them interesting (which wasn't much in some cases), and Masada had pretty much played up their flaws and virtues as far as they could be... in other words, Bansenjin essentially revived a cast that had nothing new to add. There literally weren't any new angles within the existing cast that could be played on, and that resulted in a game that felt stale, perhaps precisely because Hachimyoujin was so self-contained. The new characters weren't that good in the first place, and Masada was really heavy-handed about how he screwed with the setting. As such, Bansenjin most definitely suffered from the 'sequel disease'.
It makes me wonder... why do some writers, regardless of their skill, seem to always want to make a bad sequel to an excellent game? Oh, Dies Irae far surpassed Paradise Lost, its predecessor in the trilogy of Shinza main-series games. However, that was more of a result of Masada peaking with Dies Irae than anything else.
Shimantogawa Seiryuu, 3rdEye's main writer, has obviously (seriously) grown since he wrote Bloody Rondo. Shinigami no Testament was immensely greater than Bloody Rondo, Oratorio Phantasm benefited from his realization that he wrote one-path stories better than multi-path ones, and Sorcery Jokers pretty much showed the peak of what he was capable of. Masada definitely grew after writing Paradise Lost and through the versions of Dies Irae (the first few of which sucked compared to the two final versions, Fabula and Amantes). However, he also peaked at that point, and the expectations created by the final versions of Dies Irae were impossible to fulfill... Higashide got out while the getting was good, recognizing that Tokyo Babel's financial failure meant bad things in the future (so quite naturally, he signed on with Type Moon). Shumon Yuu only ever seems to write when he has a masterpiece in mind...
This post was all over the place... but then, it was never intended to be coherent, since I was writing things as I thought of them. It is hard to make a VN sequel or reuse a VN setting... the adjustments necessary to keep expectations from ruining things for the reader are delicate, and few writers or companies can manage to do it well. 3rdEye did it by mostly keeping the setting links light, Masada failed with Bansenjin because he misjudged the quality of his own characters and setting, and Higashide managed to pull a masterpiece out of what should have been a massive failure...
This is the latest VN by AXL, and it is also the latest in its 'swords fantasy' (there is very little magic in these games) series (I say series, but they are just a line of similarly-designed games). The previous games in this series include Princess Frontier, Hyakka Ryouran Elixir, Racial Merge, and Ou no Mimi ni wa Todokanai. This is also AXL's fifteenth game, making it one of the most prolific companies (ignoring subsidiaries) still active.
Like all the games in this series, it is based in a world whose tech level is medieval with bits and pieces of higher levels of technological development here and there. This one falls in an area similar to Ou no Mimi, rather than Princess Frontier or Hyakka Ryouran, meaning it has a somewhat more violent turn almost from the beginning. The protagonist is an antique dealer (thus the game's name) named Rowan who, due to the loss of his parents during an adventure at the highest levels of the tower, has had to deal with an aversion to the tower that is at the center of the town that serves as the center of the game's story. This changes when a young girl bearing a greatsword named Linaria comes into the picture, and he finds himself guiding a young group of adventurers through the lower levels of the tower.
Rowan is not only an antique dealer but an exceptionally talented dagger-user and toolmaker. He is also the only individual in the town that can repair the various machines that come down from the tower. If I were to pick his class, I'd consider him to be a cross between an engineer and a rogue, with excellent crowd-control techniques and stuns. Like a lot of mature protagonists, there is a disconnect between his emotions and rational behavior, and as a result, he will often take the logical path, even when it conflicts with what his heart wants, thus leading to him being a bit dense about emotions in general.
The tower is much like a lot of roguelike rpg towers (though this game isn't an rpg) where people climb the tower to gather treasure, fighting monsters and robot-like Guardians as they do so. The power gems taken from the Guardians can be used in various devices made from parts taken from the tower, and this is the source of most of the setting's higher technology. The tower itself is self-repairing and self-defending, deploying seemingly endless numbers of Guardians and monsters. No one knows how high it goes.
The three heroines are the young princess Karin, the protagonist's adoptive sister Mira, and the newbie adventurer girl Linaria. Karin is a sort-of tsundere who very obviously is in love with Rowan from the beginning. Her father is the second King of the country (that consists of the tower, the town, and the land around it), but she only realized she was a princess at a relatively late age due to the closeness of the royal family to the people. Mira is a responsible girl who takes care of most of the chores and the account books at Rowan's shop... and has an unnatural attachment to the spiky ball and chain she uses as a weapon (the first time you see her flushing after squashing an enemy says everything). Linaria is the daughter of a deceased adventurer who came to find out why her father abandoned his family in order to seek fame and wealth in the tower. Though she resents adventurers as a profession, she is too kind-hearted to actually take it out on anyone.
Common Route
The common route mostly accounts the trials and tribulations of Rowan and company as they rise through the lower levels of the tower to be acknowledged as full-fledged adventurers (novices are called 'virgins' until they reach town on the Twentieth Floor). If you like AXL games' style of character interaction, you'll like the slice-of-life elements, and the battles are actually tactically interesting (something that is unusual for AXL). There are a few emotional moments dealing with Rowan's past, but the common route mostly serves to familiarize you with the characters.
Normal Ending
This is an ending you get if you fail to pick one of the three main heroines. It is basically a joke ending where the results of his actions in the common route come home to roost, lol.
Karin
Karin's path starts out with a lot of light ichaicha and a somewhat annoying get-together sequence. However, at roughly the halfway point, it suddenly turns dark and violent... and outright bloody. The violence in this path startled me a bit, as it is out of character for AXL (AXL generally restricts violence to one or two scenes in a given path, and never on this kind of scale). However, the story was interesting, and I left the path feeling satisfied. The actual progression from lighter atmosphere to darker one is common on AXL's games, and anyone who has played one will probably recognize the pattern... That didn't bother me, though, since it was interesting in and of itself.
Linaria
I recommend that anyone that plays this game play this path last. The reason is is that this is the only path that deals with the tower itself and climbing to the top as its subject matter. It is also the only path where certain major issues involving the protagonist are completely and finally resolved in a direct manner. This is perhaps not surprising, seeing as Linaria was being presented as the 'main heroine' almost from the beginning. However, it is a situation where anyone who plays this path will be a bit displeased with the other two if they played it first. The path itself is a lot less bloody than Karin's (to be blunt, Karin's path is the only one that gets bloody and serious to that degree), but it is still a good path, with a more emotional focus than Karin's.
Mira
Mira is my favorite of the three heroines, so I left her for last this time. She is the protagonist's adoptive little sister, and she falls under the archetype of the 'imouto who scolds her beloved oniichan but adores him'. Mira is a serious girl who cares deeply about the antique shop they are running, and as a result, most of her path deals with the economic issues of the city and the tower. It was when I finished this path that I came to the conclusion that Mira's path is the 'merchant' path, Karin's is the 'nation' path, and Linaria's is the 'adventurer' path.
Mira's path is full of secrets and conspiracies, and it has some really good moments for Verbena (who is incidentally my favorite character in this game). It is also frequently humorous in ways the other two paths didn't manage, which was a plus for me.
Some thoughts
A few thoughts/complaints about this game. I honestly liked this game a great deal... but it seriously needed a grand route to put the themes of the other paths into a single one. The issues in each path weren't going to go away just because they weren't dealt with in those individual paths, and it bugs the hell out of me that there was no single path that brought them all to a resolution.
I also think Verbena should have had a path other than the normal ending. Sure, she is a slut, a heavy drinker, and takes pleasure in unleashing her spiky weapons (ranging from morning stars to kusarikama)... but her personality is just awesome. Seeing that kind of character go all deredere is one of my favorite AXL events (AXL does really good 'haraguro' heroines).
Conclusion
If you liked any of the other 'swords fantasy' AXL games, you'll like this one. It has all the elements that make those games great, such as the protagonist being equally or more important than the heroines, decent action without being focused on the action, and a mix of light humor and serious story that keeps slice of life from getting out of hand. I'll be the first to admit that AXL doesn't change its art style or character archetypes, but that never seems to effect whether their games are good or not.
This is the latest game released by Akabeisoft3, the bastard company made by Akabeisoft2 to take in all the subsidiaries of its parent company other than itself, Applique, and Akatsuki Works. The game was written by Nakajima Taiga, who first made his name as the writer of Dekinai Watashi ga, Kurikaesu and gained yet more fame with the utsuge Inochi no Spare.
This game is a nakige, though it is one that leaves a lot more bitter in with the sweet than is normal. It is based in a Japanese inn called Yuki, where ghosts can interact with the physical world in order to complete the desire that keeps them in the world. In order to hide the fact that they are ghosts from the normal customers, the employees wear cosplay to make the unusual or out of season clothing the ghosts are often wearing not stand out.
The protagonist, Haruto is the bantou, the male in charge of greeting customers arriving and taking reservations. He has been there for ten years and is seen as a reliable employee by the younger staff. He is very much a workaholic, performing his duties with absolute devotion and no real hesitation... it is just that those duties involve arranging the things that 'non-reservation customers' (the ghosts) need to fulfill their last desires. These desires are often simple things like wanting to say something or leave a message for a loved one, but can also be somewhat crazy things like wanting to get into a swordfight to the death. Haruto takes on all these requests without hesitation or any real emotional disturbance. Nonetheless, he does care.
The partings in this game are probably the most vivid aspect... naturally, you come to know the ghosts' stories, and when the time for parting comes, it is always sad, even if you know they are going away happy and satisfied. I cried repeatedly during these scenes.
There are four heroines in this game: Neko, the ghost of a girl who wanted to live freely but was unable to when alive; San, a cheery girl who gets along with everyone and enjoys her work; Kohane, a nervous otaku girl whose dream is to become a professional cook; and Sakine, a somewhat gloomy woman in her mid to late twenties who decided to work at the inn on impulse.
Neko
Neko was the first heroine I pursued, mostly because I have a thing for girls who say ~nyaa. Neko is a seemingly whimsical girl who loves to hang around the protagonist and constantly makes false attempts to play hooky from her work... but never really does so. Her path starts out as a soft romance between two souls with a lot in common...
... but the fact is that Neko is a ghost, and there was no way it was going to have a purely happy ending. Neko's path is full of small happiness and frequent sorrow, and the desire that binds her to the world is heartbreaking in and of itself. I honestly found myself crying for the entirety of the last hour of the path, to the point where I developed a sinus headache.
Kohane
Kohane is the assistant to Makoto, the fake homosexual cook (the story behind how that happened is hilarious in retrospect but it is part of a sad scene). She is shy and is very negative about herself, but there is enough iron in her core that she has managed to stay for one year under Makoto's extremely harsh tutelage. Kohane is a living heroine (as opposed to Neko, who was a ghost), and her path differs accordingly.
Kohane's personal issues were actually fairly interesting... enough so that I was honestly able to empathize with the last scene and cry my eyes out (again). The last scenes in this path are all highly emotional, but there is a lot less bitter in with the sweet than Neko's ending, which feels more bitter. One issue that is common to both this one and Neko's path is that the protagonist's own issues aren't addressed, sadly for him, though it doesn't seem to bother him much (which is understandable once you know about him). It isn't a negative issue, since it makes sense within the context of the story.
Sakina
Sakina is the only full adult heroine in this VN (by the story, I'm guessing 27 or 28). Having quit her job previous to coming to stay at the inn, she decides to work there soon after the game begins. She is quiet, shy, and a bit gloomy at times. However, she is also kind and thoughtful. Unlike the other heroines, you will only rarely see her smile, but those few smiles are the ones that get you.
Sakina's path is... tied up with the protagonist's past. The way this route turns out is different from the previous two (though I can't tell you why without spoiling), but it was interesting in and of itself. I didn't end up crying my way through the whole later part of the game, but the ending was uplifting and bright.
San
San is the game's central heroine. Her personality is bright and sunny, generous and giving by nature with a strong spirit. San is a student as well as one of the inn's hostesses (a job shared by Neko and Sakina), and her favored cosplay are a dog-girl, a maid, and a new wafuu (Japanese style) idol.
Her path, like many central heroine paths, is the only one where all the major character issues are resolved (though only speculatively based on the epilogue in a few cases), and it is also the only one where the protagonist's own major issue is resolved. Like Neko's path, this one is very bittersweet, and like many cases in this VN, the partings here had me in tears for long periods of time, leading to sinus headaches (this game took me longer than it would have otherwise because I kept having to stop playing after I cried myself into a headache). I will say that I consider the ending to be a happy one, but, thinking of how San had to feel in the time between the ending and the epilogue breaks my heart even now...
Overall
Overall, this is an excellent nakige by a writer who seems to be able to write across all the genres and involving characters of all types and ages. For those who want a lot of catharsis, this is a great choice, but be prepared for a bit more 'bitter' in with the 'sweet' than is normal with a nakige (though it is still a nakige, rather than an utsuge). Despite my remarks on how bittersweet this game is as a whole, it should be noted that the atmosphere at Yuki, the ryokan (Japanese-style inn) that serves the setting, is very warm, welcoming, and downright familial to the point that I found myself wanting to jump into the game and stay a night there. I liked all the characters, including the side-ones, like Sentarou (the night security guard and exorcist that bears a passing resemblance to Archer from FSN), Toki (the century and a half hold ghost owner of the inn), and Makoto (the macho fake homosexual head cook). This isn't a kamige, though I'm tempted to call it one based on my general level of satisfaction, but it comes pretty damned close.
Umm... it really isn't worth it to make a post for this, but I went ahead and played Phantom Trigger vol 5 in Japanese.
My impression of this one was that it was very much like the 'flashback episodes' that pop up in so many urban fantasy anime of the nineties and two thousands... It is all about Haruto and Murasaki's past (how they got acquainted, Saki's sister, etc), and, while that is in itself interesting, I felt cheated at the end.
I'm going to be blunt. They should be putting a lot more content into these releases, considering how long the gap between each one is and the cost. I would much rather pay forty or fifty dollars for a half-length VN than dish out fifteen dollars every six months for what amounts to a tenth of an average VN's length of content. While I do like what is put out, I am always left feeling like there should have been more to it. I pay less for books on Kindle and get a lot more out of them. *sighs*
Anyway, like all the entries in this serial VN, this 'episode' is interesting... but I'm starting to get 'repetition fatigue' due to the way the series is constructed. Each episode is, of course, self-contained but contiguous with the previous one and the one after. However, the way each one starts is exactly the same (structurally), and you hear almost identical speeches out of Haruto (internal or external) throughout their lengths, the only difference being the subject.
If this were bundled as three episodes per installment, I probably wouldn't be feeling so irritated. However, the amount of content given by a single entry in this series is very, very low. Yeah, now I know all the main characters' backgrounds intimately except Haruto himself... but I also feel cheated because I'm finishing each installment in under an hour and a half... and fifteen bucks is a bit much to pay for an hour and a half of entertainment, in my mind.
... in the end, I couldn't stop complaining. The real problem here is that I love what is there, but there just isn't enough of it to satisfy me with any individual installment.
I've decided to start a new column called Reader's Choice of the Month. The concept is simple. I will post a poll of end of the month releases I don't intend to play, and the readers of my blog will have a chance to pick which one I will play and review. This column will take the place of VN of the Month in the sense that I will still be playing something for the sake of the readers, but this time I won't be going out of my way to play every obscure charage/moege I find.
This is about picking out the VN in the poll you most want to know about before playing yourself, so keep that in mind while voting.
July Release choices:
Erewhon
Shukusei no Girlfriend
Minikui Mojika no Ko
Games I will play:
Shin Koihime Musou Kakumei
Haru to Yuki
Now, anyone who has seen pictures or videos from Hapymaher will have noticed the VN's resident loli, Maia.
For various reasons, Maia is easily the character who leaves the strongest impression in the VN, hands-down. She is the center of the VN's obvious conflict, and she easily has the greatest variety of character poses and non-H CGs. If there is drama of some sort throughout the common route, Saki's route, Keiko's route, or Yayoi's route, she is somehow involved or the cause of it. In a game that is focused around dreams, she is the devil's whisper, always giving people that last push they need to cross a line or jump off a cliff. If Tohru, the protagonist, is the picture of the human capacity for self-control, she is apparently a representative of the part of the human psyche that denies that same control.
However, that is only a small part of who she is. In fact, that surface appearance and her symbolic role are actually less important than what lies at the core... a person who's motivations are neither inscrutable or incomprehensible (though she lies like a rug when it suits her). In fact, she repeats her motivation verbally throughout the VN, mixed in with the lies and half-truths she tells habitually just to see the look on other people's faces. She hides nothing of her nature or personality, but she is quite capable of using that truth to deceive. In fact, in a regular chuunige, she really would be the ideal antagonist, as that combination of lies, half-truths, and truth that defines her makes for precisely the kind of antagonist chuunige-makers love.
Heck, just listen to her theme song.
That is precisely the kind of music they'd normally give to the last-boss type protagonist in another game...
Nonetheless, at the core of her is a deep and abiding love and devotion that surpasses all barriers, allows her to bear anything... except that emotion itself. To be honest, she even makes the yandere-ish Saki (she really seems like it sometimes) seem mild in terms of her degree of emotion. That love contains everything that love should contain, including the fundamental duality of human nature... what we want for ourselves and what we want for others (I'm not saying anymore on this, as going any farther would be a real spoiler).
The definition of a 'capable' heroine, in my case, is a heroine who manages to surf the waves of life and move circumstances to create a situation convenient to herself, either through manipulation or force of will. A heroine of this type might pursue a dream, pursue revenge, or pursue power, but what defines them is that they both 'seek' and 'take' what they want. Most heroines in male-oriented and otomege VNs do not fall into this area. Most are reliant on the males in their life to some extent, and without them they wouldn't get anywhere. This is a list of heroines who don't fit that particular stereotype, for one reason or another (incidentally, this isn't me being a male feminist... I just like this kind of heroine). These heroines aren't dependent by nature, though they might feel a strong attachment to or obsession for someone. These are heroines capable (both in general and psychologically) of navigating the sea of life with none or little help. If you feel someone belongs on this list, feel free to add them in the comments section. I might argue with you, but if it is within the ballpark, I won't delete the name, lol. (an exception... most heroines that are born all-powerful don't count, since they meet few if any challenges in their lives. As an example, Sofia from World Election doesn't count since she was born essentially unkillable, with a genius-level intelligence, and more power than anyone else in the world) A heroine of this type should be at least a little ruthless, even if it is only the sense that they are capable of pulling out stops in the way of their goals or manipulating others if necessary.
Kamio Ami (Semiramis no Tenbin)
Hinaori Kagome (Comyu)
Himehoshi Arika (Ojousama no Hanbun wa Ren'ai de Dekiteimasu)
Chitose Oboro Amatsu (Silverio Vendetta)
Amatsu Kanata (Devils Devel Concept)
Otonashi Saku (Hello, Lady)
Himegami Alice (Yami to Hikari no Sanctuary)
Fujina Kanori (Minamijuujisei Renka)
Tsukigase Sayane (Shuumatsu Shoujo Gensou Alicematic)
Hijikata Sei and Sakamoto Ryouma (Kikan Bakumatsu Ibun Last Cavalier)
Leona Kaname Burns (Electro-Arms)
Shiguresato Himeno (Hyper→Highspeed→Genius)
Naname Nanami (Ojousama wa Gokigen Naname)
Kizuna (Reminiscence)
Sakurakouji Luna (Tsuki ni Yorisou Otome no Sahou)
Nagisaka Hakua (Namima no Kuni no Faust)
It is no secret that I am a huge Higashide Yuuichirou fan and that Evolimit is my favorite Higashide Yuuichirou game. Before I go any further into this, I should note that Evolimit has the dubious honor of being the VN I've played the most often... a total of six times, as of two hours ago. I should also explain what Higashide's unique qualities are as a writer.
Higashide Yuuichirou wrote six VNs for Propeller before retiring from VNs completely to work for Type-Moon as a writer. He also worked on the Vita version of FSN, with the Caster and Rider routes, the Muramasa FD, Princess Waltz (as an assistant), and Fate/Extella Link. His qualities as a writer include a peculiar genius for the characterization of 'heroic' characters, the ability to create villains/antagonists worthy of those same heroic characters, and an even rarer ability to both write and integrate SOL with those aspects. For better or worse, most SOL writers fail utterly when it comes to dramatic characterization and most chuunige writers suck at SOL compared to specialists. However, Higashide manages to do both at a very high level and, when he is 'in the zone', does it better than any other writer I've encountered.
Some will argue with me about this, naming Shumon Yuu, Masada, or even Hino Wataru. However, it needs to be said that Shumon Yuu writes in a manner that is so unique that it is completely genre-free. Masada writes excellent dramatic characters, but his SOL is average at best. Hino Wataru tends to shift the balance of his games back and forth, and there is usually a huge gap between the quality of the paths of heroines he loves and those he merely likes.
I have never felt like Higashide has failed to give a heroine a fair shake. In fact, Higashide almost never makes heroines the true focus of a game/path from beginning to end. Circumstances, events, the protagonist, the antagonist, and the pattern as a whole often far transcend the heroine of a given path. His heroines are often good, but I've yet to encounter a path in a Higashide game where I felt cheated.
Higashide is a devout follower of the concept of the 'heroine that is always by the protagonist's side, no matter who he chooses'. This type of heroine pops up in a lot of chuunige. Kagome in Comyu is probably the most blatant example of this, but Higashide takes it to extreme lengths. In Ayakashibito it was Suzu, in Bullet Butlers it was Selma, and in Evolimit it is Shizuku. The key point of each of these heroines is that the bond with the protagonist transcends romantic relationships (though it leads to them in their own paths). Suzu is both parent and older sister to Soushichi, Selma is Rick's master and truest friend, and Shizuku and Shiranui are ridiculously close friends, so close that they easily settle into a familial role toward one another. Why is this important? Because these characters and their relationships form the largest and firmest pillar that serves as a backbone for each of these protagonists' view of the world and how they relate to it.
Evolimit
Evolimit is a kamige. Yes, that is my opinion, but I'll stand by it until the end of days if necessary. For this entry, I'm going to focus on characters, their interrelationships, and their influences on one another. From here on in, I will intermittently add in spoilers, which I will put in boxes. These spoilers will often reveal aspects of the story you absolutely do not want to know until you've played the game, so I recommend just reading the parts that aren't spoiler-boxed and going back after you've had the opportunity to play the game.
The Characters
Shiranui (nobody calls him Yoshikazu, interestingly), is an interesting character. Like the other two Higashide kamige protagonists (Ayakashibito's Soushichi and Bullet Butlers' Rick), he is, when it comes down to it, a classic hero. He is the type who will, without hesitation, throw away his life for others if it comes down to it, take a bullet for a friend, or mercilessly destroy someone or something that seeks to harm them. Since this is revealed in the prologue (and my rules about spoilers don't apply to prologues), I'll go ahead and describe his basic set of circumstances.
First, Shiranui was one of the Calamity Monkeys, the first colonial/terraforming expedition sent to Mars by the more-or-less unified governments of Earth. Born with a bad heart, he spent much of his youth in horrible pain and fear, wondering if that day would be the day his heart went out. However, he received a heart transplant, and soon after he encountered Kokoro, the spiritual remnants of the young Chinese girl who was his heart's original owner. The reason I reveal this particularly dramatic element in advance is because it is necessary to describe his peculiar personality.
On the surface, Shiranui is a slightly pervy young man with an ever-present smile who goes out of his way to be something of a clown. In stressful situations, he is surprisingly perceptive, brave, and compassionate. However, there is one peculiarity that is all-important to grasping his character.
He is incapable of sorrow.
The reason goes back to the spiritual remnant of his heart's original owner, Kokoro. In order to allow her to remain within him, he, of his own free will, gave up his ability to feel sorrow (as well as odd bits and pieces of other emotions) in order to allow what amounts to a second person to inhabit part of his brain. She is also the reason he chose to head for Mars. When he discovered that her dream was to go to Mars as part of a colonial expedition he, without hesitation, chose to take the baton and run with it, ferociously devoting himself to the duty of taking her there as part of himself.
I've been considering this for some time, but it has suddenly become a reality.
To be blunt, I've come to my limit when it comes to playing pure SOL games. Oh, I can still enjoy many of them, but if you asked me whether I can look at them without my resentment of 'normal' SOL content blinding me, the answer is no. If I have to read through one more template date scene or see another osananajimi climb through the window from next door, I'm going to start tearing out the last remaining hairs atop my head.
*coughs* Ahem, now that I've got that out, it needs to be said that I've been doing this since September of 2012... a ridiculous amount of time to be playing roughly 80% of all non-nukige VNs that come out (I'm figuring those I dropped or just couldn't play because they were just that bad into the twenty percent).
Just to be clear, I will still continue to play VNs and comment on/review them in this blog. However, I will no longer play as many outside my tastes, nor will I go out of my way to seek gems from companies I hate reading from.
I realized while I was playing Koisaku (Ensemble's latest game), that a few years ago, I would have read this game without any real problems, and I wouldn't even have blinked at the crap that now drives me up the wall. Oh sure, Ensemble's base quality has fallen massively, but when I took a step back, this is actually one of the better amongst their more recent games, with plenty of indications of real stories for the heroines in the background. However, I found I just couldn't tolerate it.
It hit me in the date scene that occurs in the common route... I have no tolerance for date scenes at all anymore. Scenes like that exist for every heroine in every SOL VN, and they all turn out in almost an identical fashion. Reading it, even though it was basically a 'friend date', was like dragging my brain through mud. I just couldn't do it.
I promised myself that I wouldn't BS myself on this particular matter years ago... and I knew the limit was coming. I just didn't realize that it would be this soon.
So, I have to announce that this is the end of my VN of the Month column. Now, all that remains is my Random VNs and whatever VNs I choose to play each month.
I will continue to play what I'm interested in, and that will probably include slice-of-life at times. However, I will no longer play SOL out of a sense of duty to my readers.
My original reasons for starting VN of the Month
When I first started Clephas' VN of the Month, it was because vndb gives nothing to you for info on their games beyond poor tls of the game summary from Getchu, character profiles, and sometimes tags (that might or might not be accurate). I felt that that didn't do most games justice, and I hated the way I had to go into a game blind on so many occasions. As such, I started putting up commentaries on just what kind of VN I was playing, with few or no spoilers. This was a need that, at the time, was not being fulfilled (and as far as I know, still isn't, since most reviewers include major spoilers because they are inconsiderate).
Over time, my routine each month started with figuring out which games weren't nukige and which I would play first... and picking out which one was the best after I played them (the latter of course being entirely a matter of my opinion, informed as it might be).
However, it is time to set down my burden. I tried handing off my work to others, and that worked for a while (thanks to @Dergonu@fun2novel@BookwormOtaku@Kiriririri for their help over the last year - yes, even you, Kiriririri). In the end, though, I'm just one man... and one middle-aged man with increasingly bad health isn't going to be able to keep this up any longer. Heck, I'm amazed i kept going this long.
I do hope someone else takes up the torch of at least informing people of what to expect in newer games (and not just the ones from popular companies), but that isn't my job anymore.
Thanks for reading,
Clephas
First, I should note that this is a series that is right up the alley of people like Dergonu... it were a VN. This series, Under Jurisdiction by Susan R Matthews, mostly follows Andrej Koscuisko, a Drakonij Prince and would-be (though not by his own will) Inquisitor.
Setting
The Under Jurisdiction series is based in a sci-fi future where humanity, at some point, diversified so greatly that sub-specification has occurred (though most aren't quite separate species entirely. In this future, humanity (such as it is) is ruled by the judiciary, in the form of the Bench. All humans are subject to the law as proclaimed by the judicial forces, and punishments are mostly corporal... horribly so in some cases.
In this setting, torture is not only allowed, it is actually carried out by licensed medical professionals trained to inflict the maximum amount of pain to gain confessions of crimes (regardless of how heavy the evidence is), and, where it is justified, to torture them to death in the most horrible of fashions. This legal use of torture as a deterrent to criminals has led to a gradual decay in the morale of the planets ruled by the Judges on the Bench, and rebellions have begun to occur on a regular basis by the time the protagonist, Andrej, takes his first steps into the world of the Fleet.
Andrej Koscuisko
Andrej is an extremely complex man... a man raised in a noble family of oligarchs who believe intensely and with absolute conviction in the duties of noblesse oblige and the duties to those under a lord's protection. He is also a young medical professional, a genius surgeon and chemist with a the kind of skill in actual surgical procedures that is seen so rarely as to be unheard of. He understands the human body (all races) to a degree that is often terrifying, and this is part of what becomes his plague... for when he begins his training, he discovers that, to his horror, the process of Inquisition brings out an intense, sick hunger to inflict pain upon and dominate the subjects that come under his hands. Coupled with his natural understanding of the body and human psychology, he comes out of his training as the most horrifyingly skilled Inquisitor in Bench history, an artist of pain eternally on the verge of madness due to the conflicting imperatives within him. He is only held back from the edge of the cliff by the efforts of his Bond Involuntaries, former criminals implanted with behavioral governors that force them to absolute obedience, so they can serve as his aides, and they are thus under his protection. Their care for him, for his sanity, for his health, and for his honor, is all that keeps the sadistic madness at bay as it fights with his honor and inherent compassion...
The Story
The story follows Andrej from his training as an Inquisitor and first encounter with a Bond Involuntary, to his first duty as a Fleet Inquisitor and beyond... His fight with madness as he tries to glean mercy and justice from the horrors he is forced to perform on others, his fight to keep his honor, to protect his Bond Involuntaries from others who would use them poorly, and his fight with his own, culturally-ingrained sense of filial duty are intense to read. For all the foreignness of his culture, Andrej's journeys through life leave behind an impact far out of proportion for the actual deeds he performs.
Unfortunately, if you have a weak stomach, I can't recommend this story at all. The galaxy Under Jurisdiction is one of the most horrifying dystopian sci-fi systems I've ever seen... all the worse when you realize that it all began out of a desire for justice and fair play in a universe where human racism has, if anything, gotten worse thousands of years after leaving Earth.
