Zalor

In response to my friend @Mr Poltroon's grammatically-questionable-but-nevertheless-generous patronage, I've decided to utilize my artistic skills and produce a drawing that does justice to his favorite character, Kilometers Edgeworth.
In short, I labored to reproduce the following piece that I found on an insider artists' hub known as Google Images:


(I forgot to replace the transparency in his eyes with whiteness, so please don't use a dark skin or he'll look scary and deformed.)

For the last few months, I’ve published reviews and top lists, presenting worthwhile or interesting OELVNs that usually have little presence on Fuwa and don’t get discussed as much as they deserve. From the very beginning, however, my goal was to focus not only on the games themselves, but also the people behind them – the independent creators and small studios that make the core of the Western VN market. Today, I present you with the first “Developer Spotlight” post, where I’ll be talking to Jackie M., the founder of Reine Works, authors of multiple yuri and otome VNs and the studio behind the recently-published otome title Seven Districts of Sin: The Tail The Makes the Fox, about the game’s somewhat-turbulent release and the realities of today’s OELVN market. Be sure to check out my review of the game first, where I also touch on its unusual appearance on Steam.
-------------------------------------------------

Plk Lesiak: Hello and thank you for agreeing to this interview! Let’s start with your latest VN. It’s pretty rare for me to be the first person to rate a game on VNDB, especially four months after its release. What happened to The Tail Makes the Fox that it went so much below the radar of the VN community?
Jackie M.: Correct me if I'm wrong, but I don't think there are nearly as many users on VNDB who rate otome games, as compared to anything that could be construed as aimed at men. I took a quick look at some other developers' titles out of curiosity, and it seems that female-aimed titles in general tend to have very few votes. Funnily enough, I can confirm that we do get sales referrals from VNDB. We've had a few of them.
PL: For a few months, your VN was only available on Itch.io, a platform usually associated with free games. Regardless of other plans, what was your experience of trying to sell your title there?
JM: Itch.io isn't really a storefront where a developer can make a profit unless the game in question is very low budget, nor should they particularly expect to, what with the smaller userbase. From when pre-orders opened before release till today, itch.io sales have only amounted to roughly 1/4 of the game's development cost.
That said, we do like it, because it isn't subject to a lot of the restrictions that similar shops are, and transferring earned funds out is also much quicker than anywhere else that I'm aware of. We just wouldn't recommend that anyone only ever sell their games there.

Blossoms Bloom Brightest
Read the full article at evnchronicles.blogspot.com

Introduction

 
Welcome, fellow Fuwamembers, to the FuwaRecognition thread. Starting this March, we’ll be highlighting some of the best contributions made by our members each month. From snazzy blog articles to delicious forum threads, and perhaps even a few things more on the shitpost part of the spectrum, we'll keep an eye out for the cream of the crop. And then we'll gather them here. Just for you.
 
*holds up giant APPLAUSE sign*

 
A-hem, so this is the first time we're doing this and it might be a bit rough; next time will be at the end of March. Anyways; without further ado, let's get to our highlights. 
 
By @Zakamutt.
 
Threads
 
Our first highlight on threads comes from two Ask Me Anything topics posted in the span of this month: from our dear provisional Tay, @Kaguya, and from the anti-moege task force founder himself, the saltlord himself @VirginSmasher.
 
It’s now Kags’ fifth year on these dear forums, and members of new ’n old had a lot of questions, climbing over to 50 comments, almost unheard of in this day and age of lacklustre forum interaction. Even after the glory days of lolis long passed, Kaguya still swears close to his heart how they indeed are the master-race that rule over this weeb-dom, mostly in nukige form. Charming.
 
@VirginSmasher’s AMA, on the other hand, is mostly an appreciation of past glory and his good friends, met before he died out, but he also remembered some newer members who are already becoming an integral part of these forums of today. Quite a lot of internal banter and jokes flew here and there, but it is quite touching to see even older members returning from long breaks of apparent irremovable death.
 

 
As you might have seen, we have a new EVN on the horizon, or rather, KickStarter: One Last Crane, developed by @Blissful-Works This visual novel is being developed by an Indonesian team with some members over at Tokyo, Japan, and it has a an odd goal amount of 10,052 dollars, though this is due the publicization of the project being handled from Japan, which also makes the whole project page ask all money in yens. A risky play, let’s see if it pays out for them.
The novel is planned on being released for four languages: English, Japanese, Chinese, and Indonesian. Quite the amount for still quite a small goal, but we’ll have to see how it pans out in the end, at least they are in no shortage of ambition.
While the art-style itself is quite generic, it does look modern and does its job as presentation well enough, not to mention that the KickStarter page itself is quite stylish, but only time will tell how it’ll go over. All we can do is wait.
 
@EastCoastDrifter has done something unique on the forums that no one would even think of. He loves space, and he has extended his love to the members of the Fuwanovel community by creating a Fuwanovel Solar System. Using a program called Space Engine, Drifter has taken the liberty to name all planets in this system after very prominent Fuwamembers. It’s a great tribute to the community and you should really check it out. Furthermore, Drifter says he’s not done, and has plans to create more Fuwa solar systems to feature more members in the future. If you want a planet named after you, feel free to post in the linked thread or contact Drifter personally.
 
By @Arcadeotic and @EastCoastDrifter.
 
Blogs
Hi I'm Zaka and I'm the only one that cares about blogs on the team. Maybe. I didn't actually ask the other guys. Shit. So uhh, here's my recs...
 
@Clephas writes accessibly about (for the most part) untranslated Japanese visual novels. This time, we have some posts about the recently released third VN in the Otome wa Boku ni Koishiteru series, of which the first actually has a translation by MangaGamer. Unfortunately, the second is where people think it actually got good. We start with a more general note on the series, then move on to a review of Otoboku 3 itself.
 
While Clephas has been writing for quite a while, @MaggieROBOT is a bit newer to the scene. She focuses on Otome and BL VNs, and for this post we'd like to show you her post on an upcoming BL visual novel (fresh from the pot, baby. That thing is probably the first blog post to come right after this one. Oh yeah. That's how we roll. - Kaguya) as well as her review of the robot-romance Otome VN Sakuya. Go ahead and look for her post complaining about a trap in a moege not having a route if you like things on the more humorous side of the spectrum

 
Just For Fun!
 
During the process of writing this post.
 

 
Well you know I’m all about that nepotism baby. That's right, this is just for you. Rising 1.8% female readership (thanks Maggie) local GM and blog post connoisseur Kaguya here. To close the blog review section up, we’ll be highlighting the post where I wonderfully delve into the mind of writer Setoguchi Ren’ya, explaining his past and his involvements with the little-known work The Shawshank Redemption as well as how that work affected the VN industry, finishing things with a bang as I explain his history and the hidden messages within Swan Song.
And finishing things off in a suitable grand scale, much like a writer who traps himself into writing continuously larger powerlevels until his shounen manga gets to a point where it doesn't even resemble the original, we will be looking at two posts made by Fuwanovel's current closest figure to Jesus, @Kiriririri (Who unlike our creator, did revive. How about that?)
He died for our sins as he bravely made two deep posts about the current state of the VN community that were completely hidden by the evil staff... Until now. Gaze upon them and marvel, this is the true work of a genius!!

February is over. We bled. We sweat. Friendships were broken and renewed, and old members revived from their graves and mingled with the new pringles to take us where we are now. And the community persists, as glorious as ever. 
March is here. And in this rewind, I declare FebruaryFuwa absolutely Fabulous! 

In my previous review I was writing about a NaNoRenO OELVN-contest entry that definitely bit slightly more than it could chew – a large scale project that, due to its short development cycle, came out rushed and deeply flawed, not reaching the full potential its premise and characters offered if handled properly. Today, however, I’m dealing with a game that could be seen as a bit of a counter-argument to my thesis on what can and cannot be done within NaNoRenO’s tight timeframe – a visual novel made mostly by a single person, which used the event as a starting point, delivering an extensive demo and expanding on it afterwards in a rather spectacular fashion. 
            CUPID, created by Fervent Studio and released for free in March 2016, was a rather unusual and surprising addition to the OELVN niche. This gothic romance/horror story with a female protagonist is pretty far detached from any established subgenre on the VN market, probably owing the most to the classic Western literature. However, its mature, dark themes and extremely competent execution makes it potentially attractive for many types of readers, as long as they’re not easily discouraged by highly unsettling and potentially depressing content. It also introduces a few spins on the typical visual novel formula and unusual storytelling techniques that make it stand out from most Western and Japanese titles, creating a unique, memorable experience on a market dominated by rather generic, trope-driven products.
Read the full article at evnchronicles.blogspot.com

LET THE PEOPLE WRITE SHORTER REVIEWS, YOU TYRANTS.

I'm currently playing Ai yori Aoi Umi no Hate, AXL's latest game by their 'unusual slice-of-life' team, and the setting is seriously bothering me.  It isn't that the concept is boring... there is nothing wrong with the concept of people living on a massive self-repairing ship hundreds of years after the demise of land-bound culture due to global warming.  No, the problem is the concept of the game and how it interacts with the setting. 
Ok, I can live with the idea that advanced culture was lost - deliberately or otherwise, and I can also live with the characters centering about 80% of their attention on day-to-day affairs.  That is normal in a self-sufficient community.  However, the idea that recreational culture not existing at all - music being lost entirely, for instance - is ridiculous.  Wherever you get a community of humans, you have some kind of recreational culture, whether it is simple sports, drinking contests, tests of strength and stamina, or card games.  To put it simply, people might be willing to let go of high tech, but they'll never give up being able to hum a tune while working.
It is such a huge hole in the concept that I just had to shake my head in exasperation. 
This isn't the first time I've run into this kind of thing...  for some reason, some writers, when they create a fantasy or sci-fi setting that justifies their story, gloss over elements like this that drive me nuts.   Moreover, they ignore human nature and history.  Even in a confined environment like the one in this setting, people still need recreation and will create it, regardless of the intervention of authority.  The first couple of generations might have successfully abandoned culture as they knew it, but the later generations would have inevitably birthed a new recreational culture of some sort.  So, the concept is just too ridiculous, at least in my eyes.
Edit: In other words, 'If you are going to create a new setting with a purely human society, you have to justify every difference in a way that makes sense given human history and nature!'

*This post contains no spoilers!
Before starting this post, I suppose that I should give a brief introduction and summary for Subarashiki Hibi ~Furenzoku Sonzai (Our Wonderful Everyday ~Discontinuous Existence). However, Asceai in his review of the VN probably gave the best and most condensed summary for this fairly complicated story. So I will borrow his words:
“Subarashiki Hibi is a story told in six chapters. The chapters are of varying lengths and structure, but for the most part, they cover the month of July 2012 from a number of different perspectives.
The story begins in chapter #1, 'Down the Rabbit-Hole" on July 12, 2012. The protagonist; Minakami Yuki; lives a peaceful everyday life with Tsukasa and Kagami; her childhood friends; when one day she meets a mysterious girl, Takashima Zakuro (a girl in another class in Yuki's school, who seems to have met Yuki before but Yuki does not remember this).
The next day, she learns that Takashima Zakuro has killed herself. Rumors in school are abuzz about predictions of the end of the world in 2012 - one of which is a Web site called the "Web Bot Project", a network of crawlers designed to harness the 'collective unconsciousness' to make predictions.
A boy in Yuki's class named Mamiya Takuji stands up and makes an apocalyptic prediction, stating that the world will end on the 20th, and that Zakuro's death was the first sign. He speaks of an event he dubs "the Last Sky", where the world will be destroyed and reborn.
The clock is ticking and more people die as the prophesied date draws closer and closer while Yuki attempts to get to the bottom of the identity of Mamiya Takuji, the Web Bot Project and the Last Sky.”
 
Although this is a highly accurate plot summary of Suba Hibi that avoids spoilers, what a prospective reader of Suba Hibi should also know, is that the story is divided into two parts. The two parts are fundamentally interlinked, but are also kept separate. And it is this aspect of the visual novel that really defines it as a masterpiece. There is the part of the work that is a story, and then there is the part that is a philosophical work. Both parts are handled excellently well, and mix together in a fascinating and integral way. Simply, these chapters: Down the Rabbit Hole 2, It's My Own Invention, Looking-Glass Insects, Jabberwocky, Which Dreamed it, Jabberwocky 2, and the first two epilogues are a complete story. The VN very well could have been just these parts, and it would have been a damn good work of art. And yet, the visual novel is not just these parts. Down the Rabbit Hole 1, End Sky 2, and all the scenes with Ayana throughout all the chapters are included as well. And by virtue of just being there, it forces the reader to question why? These parts add nothing to the actual narrative of the story, and yet it is these parts that mark the very start and the very end of the story. With a mysterious girl named Ayana showing up periodically throughout the story to remind us not to get too caught up in the events of the story. That while the narrative part of the story is fascinating, and very easy to get lost in. There is a whole deeper layer to everything going on that we will only get a clue of at the very end.
Down the Rabbit-Hole 1, which I will refer to as Chapter 0, gets a lot of flak for being considered a weak start to an otherwise excellent story. And although Down the Rabbit-Hole 1 does have a fair bit of fluff, it is an absolutely integral part of the story. As an introduction, Chapter 0 has the role of establishing what kind of mind set the reader should approach this story with. And it is for this reason that Chapter 0 is so important. Suba Hibi is a philosophical work above all else. Upon finishing this story, you get the feeling that Sca-ji (the primary creator) wanted to write a philosophical thesis of his own, but then decided to create a whole visual novel instead. And I'm so glad he chose that route. By using fiction to express these concepts, and forcing the reader to see the story not as a story but as a world of its own, it gets us to see the relevance of said philosophies. The whole story is essentially there to create a conversation about various philosophical topics, with solipsism being one of the big ones. This is what Chapter 0 exists for, to get the reader to understand that the events we will see unfold as the actual story progresses is not meant to be just mere entertainment (and oh boy is it a thrill ride), but to keep in mind that there is even deeper subtext to everything going on.
Takashima Zakuro, the girl whose suicide is the triggering point, or perhaps even the direct cause of all the events that follow, plays an entirely different role in Chapter 0. With the exclusion of this chapter, she is a normal character and even the primary protagonist of the Looking Glass-Insect chapter. But in Chapter 0, she has the role of being a character that knows what is going on. A role that she shares only with Otonashi Ayana (except that Ayana retains that role throughout the entire duration of the story, not just in Chapter 0 as is Zakuro's case). When reading Chapter 0, we are told and even see some interesting and cryptic things, but have no way of piecing those things together. Thereby giving you enough information to be curious about the under workings of everything that is going on, but with no means of figuring that out yourself without continuing into the proverbial “Rabbit Hole”.
It is for that reason that Suba Hibi is first and foremost a philosophical work, because above all else our purpose is to try to figure out what is going on. And once the story really gets rolling in Down the Rabbit-Hole 2, we experience the main events from a myriad of unreliable perspectives. Meaning that trying to figure out what is going on is less like a puzzle as would be in a typical mystery, but more about determining what makes the most sense from the scrambled information we get. In fact, without giving any major spoilers, it is made quite clear at the very end of the story that interpreting the story is the only solution we have, meaning that everything isn't laid out clearly by the end. Which once again, adds significance to Chapter 0.
Upon finishing Suba Hibi (meaning reading End Sky 2), you will want to reread Chapter 0 since now we as readers will no longer be in Minakami Yuki's shoes as we were the first time. Throughout the whole first reading of the story, Chapter 0 was nothing but a source of questions. Upon the second time, it is our source for answers. We have the necessary knowledge to be sharing the table with Takashima Zakuro and Ayana, since this time around, like them we will also know what is going on. When Zakuro and Ayana spoke to Yuki in our first reading, it felt like the two characters with any sort knowledge of what was really going on were keeping us in the dark. They would give subtle clues, but those clues were useless at that time. In the second reading of chapter 0, as readers we are equals in knowledge to Ayana and Zakuro and can finally make use of those clues. And the VN understands this. In fact, Ayana first introduces herself in Chapter 0 by saying “It's been a while”, addressing herself not to Yuki, but to the audience. The true meaning of this remark is very apparent to a second time reader, and instantly reminds you of the conversation you had with Ayana in End Sky 2.Although in a first reading, you probably will easily disregarded this, thinking that Ayana and Yuki briefly met before, and that Yuki simply doesn't remember. And it is here where the role that Ayana and Zakuro play differ in Chapter 0.
(Here is an upload of that entire first encounter with Ayana in Down the Rabbit Hole 1, English subtitles are available)
When Zakuro speaks, she is speaking to Yuki the character, not us the audience. Ayana however, really speaks directly to us, the audience (in all the chapters of this story), and that “it's been a while” (久しぶり) is essentially proof of that. As you progress in the story and work through the other chapters, Takashima's role is quite different from Chapter 0's, and she is much more ignorant compared to her chapter 0 self. Ayana however, no matter what chapter you read (and therefore which character's perspective you are seeing), is the exact same. In a story so filled with inconsistency, she is always the one consistent factor. Which goes back to my first point, just as Chapter 0 and End Sky2 are separate from the main story, so is Otonashi Ayana.
Suba Hibi is not a simple story, and it is not meant to be only enjoyed for its emotional highs and lows; it's strange beginning makes that clear. Furthermore, during the process of reading, in case you ever forget that, Ayana is always there to remind you of that fact. Especially with the appearances she makes near the climax of the story in various chapters.
But perhaps what I love most is the use of perspective. Returning to a previous point, in your first reading of Chapter 0 you will naturally orient your own perspective with Yuki's since all the information we receive in that chapter is from her. In fact, the whole story is told from the first person perspective of various unreliable narrators. And in every chapter we will identify our understanding of things from that character's point of view.
But by the second reading of the story, because we have a complete picture of everything, there is a dichotomy between the reader, and the protagonist's narration. An artificial feeling that we are in a third perspective emerges. Because at this point we can balance what the protagonist perceives, with an objective understanding. Which causes us to identify with out own (third person) perspective of the story, rather than submitting to the protagonist's point of view. The more the reader develops their own personal perspective of things, the more they can relate to Ayana. The one character whose role is simply to be an objective observer.
In a first reading, conversations with Ayana seem like she is teasing the reader for how little they actually know of what is going on. But this is because in a first reading, we identify with whichever protagonist's perspective we are seeing. Ayana is teasing us the reader by teasing the character she is talking to. The more we identify with the character's point of view, the more annoying and weird Ayana seems. But the more we identify with our own perspective (meaning by having read everything already), the more Ayana feels like an equal talking to us. Since just like the reader, she is the only other objective perspective on everything.
In fact, this brings us back to the fact that unlike a book, where a first person narrative is without dispute a first person narrative. This is a visual novel, with choices. Even with all the information presented to us is in first person, it is by nature of its medium a third person experience since we dictate the story at certain key points. And Ayana is there to remind us that we like her, are experiencing things from an objective point of view.

*This post contains no spoilers!
Before starting this post, I suppose that I should give a brief introduction and summary for Subarashiki Hibi ~Furenzoku Sonzai (Our Wonderful Everyday ~Discontinuous Existence). However, Asceai in his review of the VN probably gave the best and most condensed summary for this fairly complicated story. So I will borrow his words:
“Subarashiki Hibi is a story told in six chapters. The chapters are of varying lengths and structure, but for the most part, they cover the month of July 2012 from a number of different perspectives.
The story begins in chapter #1, 'Down the Rabbit-Hole" on July 12, 2012. The protagonist; Minakami Yuki; lives a peaceful everyday life with Tsukasa and Kagami; her childhood friends; when one day she meets a mysterious girl, Takashima Zakuro (a girl in another class in Yuki's school, who seems to have met Yuki before but Yuki does not remember this).
The next day, she learns that Takashima Zakuro has killed herself. Rumors in school are abuzz about predictions of the end of the world in 2012 - one of which is a Web site called the "Web Bot Project", a network of crawlers designed to harness the 'collective unconsciousness' to make predictions.
A boy in Yuki's class named Mamiya Takuji stands up and makes an apocalyptic prediction, stating that the world will end on the 20th, and that Zakuro's death was the first sign. He speaks of an event he dubs "the Last Sky", where the world will be destroyed and reborn.
The clock is ticking and more people die as the prophesied date draws closer and closer while Yuki attempts to get to the bottom of the identity of Mamiya Takuji, the Web Bot Project and the Last Sky.”
 
Although this is a highly accurate plot summary of Suba Hibi that avoids spoilers, what a prospective reader of Suba Hibi should also know, is that the story is divided into two parts. The two parts are fundamentally interlinked, but are also kept separate. And it is this aspect of the visual novel that really defines it as a masterpiece. There is the part of the work that is a story, and then there is the part that is a philosophical work. Both parts are handled excellently well, and mix together in a fascinating and integral way. Simply, these chapters: Down the Rabbit Hole 2, It's My Own Invention, Looking-Glass Insects, Jabberwocky, Which Dreamed it, Jabberwocky 2, and the first two epilogues are a complete story. The VN very well could have been just these parts, and it would have been a damn good work of art. And yet, the visual novel is not just these parts. Down the Rabbit Hole 1, End Sky 2, and all the scenes with Ayana throughout all the chapters are included as well. And by virtue of just being there, it forces the reader to question why? These parts add nothing to the actual narrative of the story, and yet it is these parts that mark the very start and the very end of the story. With a mysterious girl named Ayana showing up periodically throughout the story to remind us not to get too caught up in the events of the story. That while the narrative part of the story is fascinating, and very easy to get lost in. There is a whole deeper layer to everything going on that we will only get a clue of at the very end.
Down the Rabbit-Hole 1, which I will refer to as Chapter 0, gets a lot of flak for being considered a weak start to an otherwise excellent story. And although Down the Rabbit-Hole 1 does have a fair bit of fluff, it is an absolutely integral part of the story. As an introduction, Chapter 0 has the role of establishing what kind of mind set the reader should approach this story with. And it is for this reason that Chapter 0 is so important. Suba Hibi is a philosophical work above all else. Upon finishing this story, you get the feeling that Sca-ji (the primary creator) wanted to write a philosophical thesis of his own, but then decided to create a whole visual novel instead. And I'm so glad he chose that route. By using fiction to express these concepts, and forcing the reader to see the story not as a story but as a world of its own, it gets us to see the relevance of said philosophies. The whole story is essentially there to create a conversation about various philosophical topics, with solipsism being one of the big ones. This is what Chapter 0 exists for, to get the reader to understand that the events we will see unfold as the actual story progresses is not meant to be just mere entertainment (and oh boy is it a thrill ride), but to keep in mind that there is even deeper subtext to everything going on.
Takashima Zakuro, the girl whose suicide is the triggering point, or perhaps even the direct cause of all the events that follow, plays an entirely different role in Chapter 0. With the exclusion of this chapter, she is a normal character and even the primary protagonist of the Looking Glass-Insect chapter. But in Chapter 0, she has the role of being a character that knows what is going on. A role that she shares only with Otonashi Ayana (except that Ayana retains that role throughout the entire duration of the story, not just in Chapter 0 as is Zakuro's case). When reading Chapter 0, we are told and even see some interesting and cryptic things, but have no way of piecing those things together. Thereby giving you enough information to be curious about the under workings of everything that is going on, but with no means of figuring that out yourself without continuing into the proverbial “Rabbit Hole”.
It is for that reason that Suba Hibi is first and foremost a philosophical work, because above all else our purpose is to try to figure out what is going on. And once the story really gets rolling in Down the Rabbit-Hole 2, we experience the main events from a myriad of unreliable perspectives. Meaning that trying to figure out what is going on is less like a puzzle as would be in a typical mystery, but more about determining what makes the most sense from the scrambled information we get. In fact, without giving any major spoilers, it is made quite clear at the very end of the story that interpreting the story is the only solution we have, meaning that everything isn't laid out clearly by the end. Which once again, adds significance to Chapter 0.
Upon finishing Suba Hibi (meaning reading End Sky 2), you will want to reread Chapter 0 since now we as readers will no longer be in Minakami Yuki's shoes as we were the first time. Throughout the whole first reading of the story, Chapter 0 was nothing but a source of questions. Upon the second time, it is our source for answers. We have the necessary knowledge to be sharing the table with Takashima Zakuro and Ayana, since this time around, like them we will also know what is going on. When Zakuro and Ayana spoke to Yuki in our first reading, it felt like the two characters with any sort knowledge of what was really going on were keeping us in the dark. They would give subtle clues, but those clues were useless at that time. In the second reading of chapter 0, as readers we are equals in knowledge to Ayana and Zakuro and can finally make use of those clues. And the VN understands this. In fact, Ayana first introduces herself in Chapter 0 by saying “It's been a while”, addressing herself not to Yuki, but to the audience. The true meaning of this remark is very apparent to a second time reader, and instantly reminds you of the conversation you had with Ayana in End Sky 2.Although in a first reading, you probably will easily disregarded this, thinking that Ayana and Yuki briefly met before, and that Yuki simply doesn't remember. And it is here where the role that Ayana and Zakuro play differ in Chapter 0.
(Here is an upload of that entire first encounter with Ayana in Down the Rabbit Hole 1, English subtitles are available)
When Zakuro speaks, she is speaking to Yuki the character, not us the audience. Ayana however, really speaks directly to us, the audience (in all the chapters of this story), and that “it's been a while” (久しぶり) is essentially proof of that. As you progress in the story and work through the other chapters, Takashima's role is quite different from Chapter 0's, and she is much more ignorant compared to her chapter 0 self. Ayana however, no matter what chapter you read (and therefore which character's perspective you are seeing), is the exact same. In a story so filled with inconsistency, she is always the one consistent factor. Which goes back to my first point, just as Chapter 0 and End Sky2 are separate from the main story, so is Otonashi Ayana.
Suba Hibi is not a simple story, and it is not meant to be only enjoyed for its emotional highs and lows; it's strange beginning makes that clear. Furthermore, during the process of reading, in case you ever forget that, Ayana is always there to remind you of that fact. Especially with the appearances she makes near the climax of the story in various chapters.
But perhaps what I love most is the use of perspective. Returning to a previous point, in your first reading of Chapter 0 you will naturally orient your own perspective with Yuki's since all the information we receive in that chapter is from her. In fact, the whole story is told from the first person perspective of various unreliable narrators. And in every chapter we will identify our understanding of things from that character's point of view.
But by the second reading of the story, because we have a complete picture of everything, there is a dichotomy between the reader, and the protagonist's narration. An artificial feeling that we are in a third perspective emerges. Because at this point we can balance what the protagonist perceives, with an objective understanding. Which causes us to identify with out own (third person) perspective of the story, rather than submitting to the protagonist's point of view. The more the reader develops their own personal perspective of things, the more they can relate to Ayana. The one character whose role is simply to be an objective observer.
In a first reading, conversations with Ayana seem like she is teasing the reader for how little they actually know of what is going on. But this is because in a first reading, we identify with whichever protagonist's perspective we are seeing. Ayana is teasing us the reader by teasing the character she is talking to. The more we identify with the character's point of view, the more annoying and weird Ayana seems. But the more we identify with our own perspective (meaning by having read everything already), the more Ayana feels like an equal talking to us. Since just like the reader, she is the only other objective perspective on everything.
In fact, this brings us back to the fact that unlike a book, where a first person narrative is without dispute a first person narrative. This is a visual novel, with choices. Even with all the information presented to us is in first person, it is by nature of its medium a third person experience since we dictate the story at certain key points. And Ayana is there to remind us that we like her, are experiencing things from an objective point of view.

*This post contains no spoilers!
Before starting this post, I suppose that I should give a brief introduction and summary for Subarashiki Hibi ~Furenzoku Sonzai (Our Wonderful Everyday ~Discontinuous Existence). However, Asceai in his review of the VN probably gave the best and most condensed summary for this fairly complicated story. So I will borrow his words:
“Subarashiki Hibi is a story told in six chapters. The chapters are of varying lengths and structure, but for the most part, they cover the month of July 2012 from a number of different perspectives.
The story begins in chapter #1, 'Down the Rabbit-Hole" on July 12, 2012. The protagonist; Minakami Yuki; lives a peaceful everyday life with Tsukasa and Kagami; her childhood friends; when one day she meets a mysterious girl, Takashima Zakuro (a girl in another class in Yuki's school, who seems to have met Yuki before but Yuki does not remember this).
The next day, she learns that Takashima Zakuro has killed herself. Rumors in school are abuzz about predictions of the end of the world in 2012 - one of which is a Web site called the "Web Bot Project", a network of crawlers designed to harness the 'collective unconsciousness' to make predictions.
A boy in Yuki's class named Mamiya Takuji stands up and makes an apocalyptic prediction, stating that the world will end on the 20th, and that Zakuro's death was the first sign. He speaks of an event he dubs "the Last Sky", where the world will be destroyed and reborn.
The clock is ticking and more people die as the prophesied date draws closer and closer while Yuki attempts to get to the bottom of the identity of Mamiya Takuji, the Web Bot Project and the Last Sky.”
 
Although this is a highly accurate plot summary of Suba Hibi that avoids spoilers, what a prospective reader of Suba Hibi should also know, is that the story is divided into two parts. The two parts are fundamentally interlinked, but are also kept separate. And it is this aspect of the visual novel that really defines it as a masterpiece. There is the part of the work that is a story, and then there is the part that is a philosophical work. Both parts are handled excellently well, and mix together in a fascinating and integral way. Simply, these chapters: Down the Rabbit Hole 2, It's My Own Invention, Looking-Glass Insects, Jabberwocky, Which Dreamed it, Jabberwocky 2, and the first two epilogues are a complete story. The VN very well could have been just these parts, and it would have been a damn good work of art. And yet, the visual novel is not just these parts. Down the Rabbit Hole 1, End Sky 2, and all the scenes with Ayana throughout all the chapters are included as well. And by virtue of just being there, it forces the reader to question why? These parts add nothing to the actual narrative of the story, and yet it is these parts that mark the very start and the very end of the story. With a mysterious girl named Ayana showing up periodically throughout the story to remind us not to get too caught up in the events of the story. That while the narrative part of the story is fascinating, and very easy to get lost in. There is a whole deeper layer to everything going on that we will only get a clue of at the very end.
Down the Rabbit-Hole 1, which I will refer to as Chapter 0, gets a lot of flak for being considered a weak start to an otherwise excellent story. And although Down the Rabbit-Hole 1 does have a fair bit of fluff, it is an absolutely integral part of the story. As an introduction, Chapter 0 has the role of establishing what kind of mind set the reader should approach this story with. And it is for this reason that Chapter 0 is so important. Suba Hibi is a philosophical work above all else. Upon finishing this story, you get the feeling that Sca-ji (the primary creator) wanted to write a philosophical thesis of his own, but then decided to create a whole visual novel instead. And I'm so glad he chose that route. By using fiction to express these concepts, and forcing the reader to see the story not as a story but as a world of its own, it gets us to see the relevance of said philosophies. The whole story is essentially there to create a conversation about various philosophical topics, with solipsism being one of the big ones. This is what Chapter 0 exists for, to get the reader to understand that the events we will see unfold as the actual story progresses is not meant to be just mere entertainment (and oh boy is it a thrill ride), but to keep in mind that there is even deeper subtext to everything going on.
Takashima Zakuro, the girl whose suicide is the triggering point, or perhaps even the direct cause of all the events that follow, plays an entirely different role in Chapter 0. With the exclusion of this chapter, she is a normal character and even the primary protagonist of the Looking Glass-Insect chapter. But in Chapter 0, she has the role of being a character that knows what is going on. A role that she shares only with Otonashi Ayana (except that Ayana retains that role throughout the entire duration of the story, not just in Chapter 0 as is Zakuro's case). When reading Chapter 0, we are told and even see some interesting and cryptic things, but have no way of piecing those things together. Thereby giving you enough information to be curious about the under workings of everything that is going on, but with no means of figuring that out yourself without continuing into the proverbial “Rabbit Hole”.
It is for that reason that Suba Hibi is first and foremost a philosophical work, because above all else our purpose is to try to figure out what is going on. And once the story really gets rolling in Down the Rabbit-Hole 2, we experience the main events from a myriad of unreliable perspectives. Meaning that trying to figure out what is going on is less like a puzzle as would be in a typical mystery, but more about determining what makes the most sense from the scrambled information we get. In fact, without giving any major spoilers, it is made quite clear at the very end of the story that interpreting the story is the only solution we have, meaning that everything isn't laid out clearly by the end. Which once again, adds significance to Chapter 0.
Upon finishing Suba Hibi (meaning reading End Sky 2), you will want to reread Chapter 0 since now we as readers will no longer be in Minakami Yuki's shoes as we were the first time. Throughout the whole first reading of the story, Chapter 0 was nothing but a source of questions. Upon the second time, it is our source for answers. We have the necessary knowledge to be sharing the table with Takashima Zakuro and Ayana, since this time around, like them we will also know what is going on. When Zakuro and Ayana spoke to Yuki in our first reading, it felt like the two characters with any sort knowledge of what was really going on were keeping us in the dark. They would give subtle clues, but those clues were useless at that time. In the second reading of chapter 0, as readers we are equals in knowledge to Ayana and Zakuro and can finally make use of those clues. And the VN understands this. In fact, Ayana first introduces herself in Chapter 0 by saying “It's been a while”, addressing herself not to Yuki, but to the audience. The true meaning of this remark is very apparent to a second time reader, and instantly reminds you of the conversation you had with Ayana in End Sky 2.Although in a first reading, you probably will easily disregarded this, thinking that Ayana and Yuki briefly met before, and that Yuki simply doesn't remember. And it is here where the role that Ayana and Zakuro play differ in Chapter 0.
(Here is an upload of that entire first encounter with Ayana in Down the Rabbit Hole 1, English subtitles are available)
When Zakuro speaks, she is speaking to Yuki the character, not us the audience. Ayana however, really speaks directly to us, the audience (in all the chapters of this story), and that “it's been a while” (久しぶり) is essentially proof of that. As you progress in the story and work through the other chapters, Takashima's role is quite different from Chapter 0's, and she is much more ignorant compared to her chapter 0 self. Ayana however, no matter what chapter you read (and therefore which character's perspective you are seeing), is the exact same. In a story so filled with inconsistency, she is always the one consistent factor. Which goes back to my first point, just as Chapter 0 and End Sky2 are separate from the main story, so is Otonashi Ayana.
Suba Hibi is not a simple story, and it is not meant to be only enjoyed for its emotional highs and lows; it's strange beginning makes that clear. Furthermore, during the process of reading, in case you ever forget that, Ayana is always there to remind you of that fact. Especially with the appearances she makes near the climax of the story in various chapters.
But perhaps what I love most is the use of perspective. Returning to a previous point, in your first reading of Chapter 0 you will naturally orient your own perspective with Yuki's since all the information we receive in that chapter is from her. In fact, the whole story is told from the first person perspective of various unreliable narrators. And in every chapter we will identify our understanding of things from that character's point of view.
But by the second reading of the story, because we have a complete picture of everything, there is a dichotomy between the reader, and the protagonist's narration. An artificial feeling that we are in a third perspective emerges. Because at this point we can balance what the protagonist perceives, with an objective understanding. Which causes us to identify with out own (third person) perspective of the story, rather than submitting to the protagonist's point of view. The more the reader develops their own personal perspective of things, the more they can relate to Ayana. The one character whose role is simply to be an objective observer.
In a first reading, conversations with Ayana seem like she is teasing the reader for how little they actually know of what is going on. But this is because in a first reading, we identify with whichever protagonist's perspective we are seeing. Ayana is teasing us the reader by teasing the character she is talking to. The more we identify with the character's point of view, the more annoying and weird Ayana seems. But the more we identify with our own perspective (meaning by having read everything already), the more Ayana feels like an equal talking to us. Since just like the reader, she is the only other objective perspective on everything.
In fact, this brings us back to the fact that unlike a book, where a first person narrative is without dispute a first person narrative. This is a visual novel, with choices. Even with all the information presented to us is in first person, it is by nature of its medium a third person experience since we dictate the story at certain key points. And Ayana is there to remind us that we like her, are experiencing things from an objective point of view.

Recent events have compelled me to contemplate the Oxford comma to an even greater extent than usual, so let me share a story to convince you that, in addition to using the Oxford comma in writing, you should enunciate it in your speech.
I was getting pizza some time ago. But I must note that it was one of those pizza places where they make little quadrilateral pizzas for a single person ("single" having two meanings, probably). I normally wouldn't concede to the expenses associated with such a bourgeois establishment, but the meal is quite cheap when one orders a full-sized square pizza―probably because they aren't meant to be eaten in one sitting―and, most notably, the meal comes with a free side order.
As such, the cashier asked which side I would like, and I will transcribe this in such a manner as to accurately represent her enunciation: "You want bread chips or carrots?"
I cannot think of how to tell this anecdote without now giving away the catch, which the keenest among you may have already ascertained: The sentence was actually, "You want bread, chips, or carrots?"
But I am not the keenest among us, and the fact that there was no pause between the "chips" and "or" suggested, in my mind rightfully accustomed to the Oxford comma, that there were only two items: bread chips and carrots. I sought to confirm this, asking, "Bread chips?"
And she, wielding the apathy of an employee who unwittingly tempts the manager into automating all the cashiers, recited the items with the selfsame cadence or lack thereof―"Bread chips or carrots?"
This corroborated my confusion, and I thought to myself, I have no idea what bread chips are, but I know I don't want carrots. So I said, "BREAD CHIPS."
She replied, "Chips?" And then I might have said "BREAD CHIPS" again―I forget―but apparently I conceded to chips eventually, and went to await the production of my comestibles thereafter. Not even at this point had I come to realize the situation, as my friend labored for some time to explain it to me.
The Oxford comma was not the instigator in this story; it was a reluctant spectator, a single tear running down its cheek. I implore you to take this experience to heart.

I told a couple people I would post my thoughts about Sayonara wo Oshiete when I finished it, and just a few days ago I finished a bad end and Mutsuki's good end. So here are my impressions, thoughts, and analysis of that experience. Also, this post does not contain any significant spoilers to the VN. So its safe for all those that are curious. (Also from here on forward I will refer to Sayonara wo Oshiete as 'Sayooshi')
Before I start talking about Sayooshi, I want to briefly describe the circumstances in which I discovered it. During this past summer, after having studied Japanese (with a grammatical focus) for a while,  I wanted to get a few easy moege under my belt before attempting something I actually wanted to read. I was honestly having a miserable time, as I hate moege. I was reading them for no other reason than to practice and learn Japanese, as they were appropriate for my level. I wasn't having fun, and it honestly felt like work more than anything else. Just as I was about to give up on Untld Vns for the time being, I read a post by Vokoca talking about Sayooshi, and he linked to this video. The unsettling music and ominous imagery instantly piqued my curiosity and I set out to get this VN. For a while I was saving it, still thinking "My Japanese isn't good enough yet", but then at some point in the fall I decided "Fuck it, with the help of dictionaries and text hooking software, I can make this journey", and began reading it whenever I had time. And boy was this a journey worth taking, even if I did proceed through it a bit slowly. 
I love the first person narrative because getting inside the heads of interesting characters is truly experiencing the world through a different person's eyes. And VNs in my view are the best medium for first person narration, as they allow you to to see and hear what the MC experiences. Furthermore, back ground music enriches the story by immersing the reader in the moods of various settings and situations. Sayooshi takes all these strengths of VNs and the first person narrative, and uses it to put you inside the head of a madman. A man whose sense of reality is slipping further and further away by the day. The unreliable narrator is a literary trope that I really enjoy, but this is an area where I think VNs by default have higher potential than books. It is one thing to solely read the mind of a madman/untrustworthy narrator, it is another thing all together to see and hear that man's world, on top of reading his narrative.   
Too often I see wasted potential in the artistic side of VNs. Visual art is important for not only conveying ideas (i.e. a picture of a hallway should look like a hallway, a picture of a girl should look like a girl, etc.), but art can also convey moods. VNs of the same era usually have extremely similar character designs, and there is usually a lack of creativity in artistic style in VNs. While the character designs aren't anything revolutionary (it is admittedly nice that this VN came out before moe blobs became popular though), what is special about the art, is the eternal twilight. Hitomi's world is a world drenched in the orange and reddish hue of twilight, as the VN takes place exclusively during the evening. And coupled with all the things Hitomi experiences, the color of twilight really makes things even more ominous. It instills a feeling of loneliness, or at the very least detachment.

Supporting the artwork in creating an unsettling atmosphere, is the music. The main theme that plays when Hitomi is wandering the school alone (this theme), only reinforces the feelings of detachment that the visual art and writing create. Character themes as well are quite well suited for each of the characters and the moods they represent, further successfully reinforcing the tone of the writing.
Now onto the writing itself. Things are confusing, and they only get more confusing. Any sense of orientation is screwed around with, and this only gets worse as the story continues. You are left thinking "Did what I see actually happen?", until it gets to the point where you just altogether give up on distinguishing reality. In this way, you yourself submit to the insanity and fall further into Hitomi's world. Not knowing what to make of his situation. The only difference between you and him, is that you know he is crazy, but nonetheless identify with him because you experience the same sense of the world as he does. And perhaps weird to say, but the H-scenes in this VN serve to further sympathize with his madness.
When I was telling a (non-VN reading) friend of mine about Sayooshi. He admitted that it sounded interesting, and even could appreciate the use of the H-scenes from an intellectual perspective. But he then told me that what he thought was truly disturbing, was not the use of H-scenes, but that "inevitably there will be people out there that will find it arousing". For him, (and his understanding of what I told him about Sayooshi), the sex scenes, which are exclusively rape scenes, serve to reinforce Hitomi's insanity, and therefore their portrayal is justified. But finding the scenes arousing yourself, is horrific as it is identifying with a monster; like the monster that plagues Hitomi's dreams. But it is here, where I disagree. The VN does everything in its power to have you identify with Hitomi's insanity, and the sex scenes are no exception.
The sex scenes are arousing, despite knowing that they shouldn't be. It isn't just rape, but the Heroines are (supposedly) middle school girls for Christ's sake. Perhaps eroge players (particularly nukige fans) maybe a bit desensitized, but this is certainly fucked up. But just like when Hitomi experiences the dream that plagues him for the first half of the story, he knows he is the monster raping the angel, and there is pleasure still drawn from this. A pleasure that Hitomi knows is horrible and monstrous. But just as Hitomi submits to the role as the monster as he views his nightmare; we are in an identical role, viewing (and partly identifying) with his sexual misdemeanors as he commits them. It coerces you into submitting yourself to the madness of these H-scenes. By doing so an enjoyment is found in them, but for you and Hitomi alike there is a darkness implied in that pleasure. Furthermore, Hitomi seems to understand that he is defiling them. There is a guilt and sense of disgust felt, but also a feeling of extreme excitement, just as we as readers feel. This is shown through the multiple references he makes to 'contaminating the purity of the angel/Mutsuki', to paraphrase what he says. The H-scenes, and our feelings towards them, mirror Hitomi's perspective; furthering our identification with his insanity.
Yet, just like the reoccurring nightmare, the H-scenes almost always end abruptly, and are divorced from continuity. It is not uncommon for an H scene to abruptly happen, end all of a sudden, and the next thing you know you are placed into a completely different context. And not only do the H-scenes lack continuity immediately before and after, but the characters never make reference to it afterwards, and act just as they did before. Further questioning whether they ever really happened. And this confusion surrounding the reality of the h-scenes, makes it easier to identify with Hitomi during them, since the normal consequences and damage caused by rape, do not apply.  

(Perhaps this would be a considered spoiler if I could guarantee that it actually happened )
And for all these reasons, I feel that the thesis of this VN is the fragility of the human mind. Often we draw huge differences between the mentally deranged, and functional normal human beings; but what Sayooshi points out is that the difference is actually rather subtle. In seeing the world Hitomi experiences, and sympathizing with him, it gets us to realize that we ourselves are not that different. That given his circumstances and what he experiences (and seeing it through his eyes), his reactions are actually understandable. The atmosphere of his world, and reading the thoughts of his mind, gets us to question his sanity, and in doing so, eventually gets us to question our own sanity as well.     
Sayooshi in an incredibly strong atmospheric experience. And it is for this reason that I feel Sayooshi is a great representative of the strengths VNs offer as a medium. This VN took advantage of all the tools it had as a VN (music, sound effects, visuals, and narrative) to provide a full experience of what the wanders of a madman look like. I really felt like I understood to a degree what it was like to be insane reading this work, and I don't think I would have been able to identify as well if it were told in any other medium in any other way.  
 
 

One of the single biggest elements of most VNs in existence is slice-of-life.  This entire post is based on this fact, and it isn't one that can seriously be argued against by anyone who has read more than a hundred VNs.
So what is slice-of-life?  With VNs, it is a type of scene where bits and pieces of daily life, without any particular conflict, are portrayed.  These can be humorous, mildly touching, or informative. 
So what is the value of slice-of-life as a tool for storytelling?  For one thing, it provides an opportunity to portray and develop the characters in their most 'natural' setting.  Do you want to know what a character is like in peaceful times?  Slice-of-life scenes are generally the tool used.  Do you want to slowly develop a mild romance between two characters?  Then slice-of-life is your friend. 
In this sense, slice-of-life is a highly valuable tool.  While extreme scenes, such as violent scenes or ones with psychological or intellectual conflict, are also valuable for developing characters and their relationships, it is the slice-of-life scenes that form the skeleton to which the conflict and/or drama adds flesh later on. 
However, the problem with slice-of-life is that it is basically an exclusion of extremity.  It is difficult - virtually impossible - to give flesh to a character with only slice-of-life.  For better or worse, people bare their true strength and value (or weakness and uselessness) in situations where they are being tested by circumstance or opposition (whether intense or mild).  This applies to VN characters, as well. 
Slice-of-life is your friend... unless that's all there is.  Sadly, a lot of writers make the mistake of thinking otherwise.  I can't count how many VNs I've experienced that make this mistake, to one extent or another.  Slice-of-life as a tool is a valuable friend and ally... but as the sole tool for constructing a story, it falls pathetically short all too often.
Edit: Understand, I came to these conclusions as a result of playing numerous VNs that made that particular mistake... and I'm including 'standard Vn romance' as slice-of-life.  Romance is something I'll touch on separately in the next entry.

To provide some context, Deemo is a Taiwanese rhythm game developed for the iOS and Android by Rayark Games. For the most part, I think this game has escaped the notice from most western otaku. Which honestly would make sense, since it isn't marketed towards Otaku like other rhythm games (notably Love Live and Osu). In fact, the game play is arguably not even the primary purpose of the game. Rather, the songs serve the broader purpose of telling a story together with the visuals.
The word "visual novel", by its name suggests a story that emphasizes the visual aspect to express the story. Taking this loose understanding of the term (and not the conventional definition), Deemo certainly qualifies as an interesting example. In fact, Deemo mostly relies on its visuals and audio to convey its story, hardly using much text at all. This aids the experience excellently as the story is quite simple, and most of the experience is emotional. And nothing conveys emotions as well as music.
The game begins in a cut scene showing falling sheet music, and a mysterious figure that resembles a walking shadow (Deemo). The next thing we see is Deemo peacefully playing a piano, when he is suddenly interrupted when a girl falls from the sky into his house. Catching her, they then ponder on the best way to return her where she came from (in the sky). It is then that they discover a little sapling growing on the ground, and they realize that when it grows into a large tree, she could climb it up. Thankfully, the tree grows through the power of music, and that is where the game play becomes relevant.
The tree grows by playing music, but in order to keep it growing you need to keep discovering new music. This is where the other key game mechanic becomes important. For the most part, you unlock new songs when the tree reaches certain heights. But usually you can only get the music by finding it. So you have to search through Deemo's house to find new songs. In doing so, you discover all sort of other clues that provide hints about Deemo's true identity. As you search through Deemo's house, you are not only discovering new music to progress the game, but also learning about the weird world you are in. Deemo's house, is essentially the whole world in this universe. By exploring, you will inevitably ask yourself 3 questions. Who is Deemo, who is the masked lady, and what is this world? 

Visual Novels typically use choice structures as a means to direct the story. Similarly, but also quite differently, you guide the story and its progression in Deemo through exploration of the limited areas. There is not much to explore, just like how VNs usually only provide a few branching choices, which provides the same sense of confinement that VNs give. You are given some room to explore and deviate, but you are mostly restricted to a few places. 
The art cover for each song also adds a level of storytelling as each picture captures an image of Deemo's and the girl's relationship developing. The song itself provides the mood to interpret the picture. In other words, the song is essentially the words. Or another way of thinking about it is that each song could be broken down into musical notes and transcribed on paper as sheet music. Well that sheet music, is the script to this story. The game focuses all the comprehensive aspects of the story to imagery and exploration (with minimal use of text), allowing for character development and all things emotional to be expressed by the music as opposed to text. And while narrative can always communicate plot points more efficiently than music, music trumps narrative in terms of emotional expression. And ultimately Deemo's story is more focused on mood, than it is on plot.   
The game wants the player to use their imagination to string the plot together by using images and the music as the core tools to do so. In much the same way that novelists want the reader to use their imagination when visualizing descriptions. In this way, I think this music game, captures the true heart of music; emotional expression.
The title of this article suggests that I think that Deemo is in some way a visual novel, and using the term loosely, that is true. As I briefly mentioned before, the term “visual novel” implies a story that is primarily expressed through visuals (this is of course ignoring the historical context to how the term was coined in the first place). And I have seldom seen any story that has relied on the visual aspect as much as Deemo. The game almost solely relies on images to express what is going on, and music to infuse emotional meaning to those images. And it is truly impressive how effective a story can be told in this limited way. To the extent where by the end of this journey, I was in tears. And when I return back to replay certain songs, or to view certain cut scenes, the feelings I initially felt are still there.

Boring introduction to understand why I'm making this tutorial. (You can skip this if you want)
So this tutorial is to create that so called "mechanical immersion" when you play a VN, kinda (?)
Personally I read old VNs with the help of chiitrans for parsing the text, to being able to immerse myself into the story I need to read it in full-screen mode (I just can't read it otherwise) and this is not a problem when I read new novels that allow me to kinda cheat and use chiitrans even in full-screen mode but what about old VNs? With VNs that have resolutions of 640x480 or 800x600 you can't go full-screen and use chiitrans at the same time, the parser will either look really bad or it simply won't show.
Now, to fix this issue I used to use a virtual machine called Oracle VM VirtualBox, that program allowed me to scale the screen at any size I wanted so I could play the VNs in "full-screen" mode and it kinda worked... but the problem is... using a virtual machine was a pain in the ass in general  so I searched for an easier solution and here it is:
(End of the boring introduction)
 
What you will need:

http://www.mediafire.com/file/ss3izesipa8ecca/res.rar
(OnTopReplica, ResizeEnableRunner and maybe Windows on top)
All the softwares are free and ad-free too but you can scan them if you want.
Tutorial:
1) Download, unpack and install everything (some of them don't require any installation).
2) See if you can take a shortcut by using ResizeEnableRunner, this wont work most of the time and it will make some VNs look bad, but you can try if you want.
Just resize the screen of the VN by clicking on the borders of the VN itself and while holding the left click drag it and expand it, just like you do with any other program.
 
 3) If that method doesn't work (80% of the time) or you just don't like how it looks, then use OnTopReplica.
a) Open the program and you will see this:
Left click on it...trust me on this one.

b) Select your VN and click in "-whole-"
c) Once your VN is selected you will know because the program will duplicate the screen, now you can resize it but that's not what we want to do, we want to go full-screen mode.
So go to: Resize > Full-screen. (you can also double click on the duplicated screen and it will do the same thing)
d) Now this is the important part, you will need to advance the text of the VN with your keyboard but you can also use your mouse.
Position the VN behind the duplicated window, then right click on the duplicated screen and click on "enable click-through", the duplicated screen will now be "transparent" so you can click through it.

Here is how it looks and a comparison using the stretching mode (with ResizeEnableRunner) and using the duplicated screen.
NOTE: The "resize enable runner" program uses the same method that Visual Novel Reader to stretch the visual novels.
Problems you may encounter while using the software:

*Some VNs will love to stay on top of the screen or they won't let you use, in my case chiitrans or the parser you normally use, for those cases use WindowsOnTop. 
Open it > assign a hotkey to it > and when have that issue just force the program to stay on top, this is how I solved it with some VNs, for example setsunai, or just old VNs.
 
*Why I'm seeing black borders? It's annoying!

 
Easy peasy Japanesey, now you can read your VNs full of runes and 象形文字 in full-screen mode for a perfect immersion.
Btw, if you are wondering about the delay between the duplicated screen and the original, well there isn't any. (I'm sure there is probably some but it's imperceptible)

Ambiguity is a fascinating element of language, one an editor both struggles with and celebrates regularly. On the celebration side of things, ambiguity is an essential tool in the setup of a lot of short jokes, for one. As an example, an ambiguous statement leads to a misunderstanding, and in a VN said misunderstanding usually leads to an accidental love confession, resulting in the unfortunate victim stammering outrageously while blushing like a sunset. How cute. Ambiguity can also be a powerful tool in foreshadowing, since it allows a single statement to be interpreted in two ways, of which one can be applicable to the immediate present, thus making it a perfectly reasonable line to have in the present, and the other only meaningful when considering future events, usually causing the reader to look back and say, "Ahh-hah, now I see what it really meant." Ambiguity is also absolutely essential in writing clever blog post titles. But on the struggling side, ambiguity is often an enemy getting in the way of your reader enjoying your text.
As you read, your brain furiously analyzes words as they come in, building up and tearing down many possible syntactical structures for the sentence and many possible semantic interpretations of the various words and phrases, before eventually trimming this all down to a single interpretation of the sentence, typically over the course of a tiny fraction of a second. However, there are many stumbling blocks which can lengthen this process or thwart it entirely, notably including actual errors (misspellings, dropped words, incorrect grammar, etc.,), which is probably the chief reason why such errors are so frowned-upon in typical writing. Slowing down the reader's understanding, or preventing it entirely, is generally not the author's goal, assuming said author is not James Joyce.
Setting aside actual errors, ambiguity is one of the main impediments to a reader's understanding. Since one of a VN editor's chief goals is to ensure a script flows well for a reader, eliminating unintentional ambiguity is an important sub-goal. Even outside of intentional usage like in the cases mentioned in the first paragraph, ambiguity in English is still incredibly common, with small ambiguities cropping up constantly while reading essentially any text. Let's take a look at an example of a super-small ambiguity which slows down the reader just a tiny bit, a sentence containing my least favorite word:
Looks fine, right? As a whole the sentence is totally unambiguous. But while you're reading it, you're going to run into "that", and "that"'s a problem. "That" is an incredibly flexible word in the English language: it's a pronoun, a determiner, an adverb, and a relative pronoun. It's actually even more flexible in British English, where it can act as a subordinating conjunction, and even though most VN translations are written in American English, the lines there are pretty fuzzy, and it wouldn't be surprising or confusing to see a sentence like "He asked that she go" in a VN.
Now, in the sentence above, "that" is being used as a relative pronoun, but the prefix of this sentence, "I told you that" is also a perfectly well-formed English sentence in which it's instead being used as a pronoun, and if your brain follows such an interpretation immediately as you read the sentence, it'll take it a few extra milliseconds for your brain to unwedge itself, reorganize into treating "that" as a relative pronoun, and continue on forming the correct interpretation.
All right, doesn't sound like a big deal, does it? You're right. This particular, single instance isn't. But they add up, and you can do better, so you might as well. To put it in super technical jargon I didn't know until I was writing up this post, English has a so-called "zero relative pronoun" which can be used in place of relative pronouns like "that" which are introducing restrictive relative clauses. To give an example, since the previous jargon is so technical as to be basically useless, instead of the above sentence, you can just drop "that" and write:
Now, look, I'm not saying this makes a huge difference, but doesn't this version feel a tiny bit better when you read it? Eliminating usage of overly-flexible words like "that" is a good way to reduce some ambiguity, but keep in mind this is a single example of a specific case. It just happened to be the one which prompted this blog post. However, I assure you, if you start reading your work with a careful eye out for the clarity of each line, you'll find tons of small, unintentional ambiguities popping out at you which you want to correct. Training yourself to look for them and to clean them up is one part of helping your text flow better.
I guess that's that. I hope you got something out of that, and I ask that, if you have questions, comments, or problems regarding this or "that", you leave a note below to that effect.

Those of you who are familiar with Ojousama wa Gokigen Naname will probably wonder, "Why did he just introduce a non-heroine character before anyone else?"  The reason is fairly simple... this is a game that is defined at least as much by its antagonist as its protagonist and heroines.  This one of about a dozen VNs I'm replaying in parallel (as the mood takes me), and it is one of my favorites... as well as one of the two reasons I keep playing Ensemble games, even though they've made nothing but shit for the past three years.
I'll let her introduce herself first, with a translated excerpt from her intro scene.
鶴美「はしたないなんて、そんな意地悪言わないで？ 私は仕方ないの」
Tsurumi "Don't be mean by calling me 'vulgar'. I'm hopeless.
鶴美「だってね」
Tsurumi "After all..."
たっぷりともったいつけ、今度は最高の笑顔を浮かべて、言った。
She took a long pause, giving me her best smile, and spoke.
鶴美「私はお金が大好きです♪」
Tsurumi "I love money!"
鶴美「子供の時も文集に、将来の夢『お金になりたい』って 書いたくらい、お金が大好きよ」
Tsurumi "I love money so much that I wrote that 'I want to become money' in an essay as a child."
鶴美「だから、仕方がないの」
Tsurumi "So, there is nothing that can be done about me.
元「……」
Hajime "..."
鶴美「世の中の人は、人生はお金じゃないなんて 平気で嘘をつくけど、私は素直で純真なだけなんだ と思うわ」
Tsurumi "People always lie with a straight face by saying that life isn't about money, but I think I'm just frank and pure.
鶴美「私はお金を手に入れるためならなんだってするし、 １秒でも早く、１円でもたくさん欲しい」
Tsurumi "I'll do anything to get more money, and I want as much money as possible as fast as possible.
鶴美「お金より愛が大事だなんていう人は、 貯金を全部私にくれてもいいと思うの、ねえ」
Tsurumi "I think that people say love is more important than money should give me their savings, don't you?"
鶴美「私、誰かのお財布から根こそぎ洗いざらい、 何もかも奪い取るのって、だぁ～い好き♪」
Tsurumi "I love nothing more than stealing everything from the insides of another person's wallet!
鶴美「それでも“愛”は残してあげるんだから、 それも許されるって思わない？」
Tsurumi "But I leave them 'love', so don't you think I can be forgiven?"
日本どころか、世界の長者番付の常連になるような人間が、何を言うのか。
It was hard to believe that I was hearing this from a person whose name was on not only Japan's richest people but those of the world as awhole.
『富める者は、庶民に奉仕する』
"'Those with wealth must do service to the masses.'"
本物の金持ちは、金に執着しないもの。だが、この人は生まれついての金の亡者だ。
True aristocrats aren't excessively attached to money.  However, this person is a born money-grubber.
この人が誰かに『愛してる』と囁く時。
When this person says that she 'loves' someone...
――それは根こそぎ奪ってやるぞ、という合図である。
... it is another word for 'I am going to steal everything  you own'.
何より恐ろしいのは、愛してるというのが決して嘘ではないという点だ。
More frightening than anything is the fact that she isn't lying when she says she loves someone.
この女はお金をくれるというだけで――たとえ、実際には奪い取っただけだったとしても、
This woman, if someone gives her money or even if she steals it...
その人物を心の底から愛することが出来る。怪物なのだ。
She is a monster capable of loving them from the bottom of her heart...
おかげで隠し子がいるといういかがわしい噂まで立つほどだが、それだけは絶対にありえないと断言してもいい。
Because of that, dubious rumors abound about her having an illegitimate child, but I can say that is impossible without a doubt.
鶴美は、異性でも、子供でもなく、お金そのものを愛しているからだ。
Tsurumi does not love the opposite sex, nor a child, but rather money itself.
鶴美「だから元くん？ 早くお金ちょーだい♪」
Tsurumi "So, Hajime-kun? Hurry up and give me some money."
As you can probably guess from the excerpt above, Tsurumi is... more than a little insane.  She doesn't hide her motives at all from Hajime (though he misunderstands them at times), and she is unbelievably ruthless in the pursuit of money.   She isn't a heroine... nor is she a potential heroine (with good reason).  She's the antagonist who defines everything that can go wrong with an individual as a result of exposure to the twisted nature of old, wealthy families.

NSFW?
 
I'll say it straight out... in my mind, Draculius is one of the top two vampire VNs in existence... with the other one being Vermilion by Light.  Meromero Cute was a company that had a tendency toward making... eccentric works.  Mahou Shoujo no Taisetsu na koto is particularly memorable for the cross-dressing protagonist who spends a ridiculous amount of time being reverse-raped in a magical girl costume...  It used the fact that nobody expects mahou shoujo stories and settings to be consistent to go a bit crazy...
Draculius is a bit different... the protagonist, Jun, is the kind of guy who would be a hero in an otome game.  While he isn't voiced (a mistake in my mind, but one that is common) his narration and lines have so much personality that you never see him as a 'standard' protagonist.  There are precisely two paths in this VN... a 'joke' path where Jun doesn't make the full transition to a vampire during the story (focused on Rian and Zeno), and a true path, where Jun confronts the people hiding behind the curtains in the course of building his vampiric harem of a trigger-happy tsundere vampire-hunting nun, an ancient vampire who was once his father's vassal and lover, a vampire 'ojousama' whom everyone takes joy in teasing, and a loyal werewolf maid who makes  a hobby out of tricking her mistress into making a fool of herself.
The action in this VN is actually a bit above the standard for chuunige of the era, though it doesn't match works by Light.  At times there are battles of wits, and there is enough comedy to make a lot of modern charage seem boring.  To this day, I've never met a loli in a VN that matches Belche for characterization (yes, I include stuff by Favorite).  The multitude of roles she takes on and the layers to her personality and viewpoint on life make her one of the few 'ancient heroines' who doesn't seem in the least bit fake. 
One of the things that is most important in a vampire story of any type is the perspective... to be blunt, a vampire setting where the vampires don't drink blood or are fundamentally harmless is... boring, to say the least.  Vampires in Draculius are nothing of the sort... in particular 'Seconds', vampires made from humans, can only turn humans into zombie-like Roams (and can potentially do so just by biting someone), so vampirism is actually a legitimate threat.  Firsts, like the protagonist and Rian (also called Shiso, like the True Ancestors in the Tsukihime world), don't have any of the vulnerabilities of their servant vampires... and they can make vampires that are sane.  However, most Firsts perspectives are... warped, to say the least.  There is nothing worse than a justified sense of superiority to make people insanely arrogant, lol.
The actual story of this tilts back and forth between the more absurd slice-of-life and the more serious parts, but this is one of those rare VNs that manages the balance nearly perfectly.  People die, the protagonist kills, and the enemy is ruthless (as is Belche, lol).  However, the slice of life in this VN tends to serve as a bright and amusing contrast to the darker elements, keeping it from becoming a purely serious VN. 
Overall, replaying this VN has confirmed to me something that I had more or less guessed over the last few years... they don't make ones like this one anymore, lol.
Edit: The pic is Belche just after she became a vampire.
Edit2: ... for those who wonder, the h-scenes in this VN... are pretty unique.  Most of them switch between Jun's and the girls' perspectives...

Now... I know you've heard me bash charage/moege before.  That isn't the purpose here, though.  I've played plenty of VNs of the type over the years, and a decent number of them have actually managed to make it pretty high on my list of recommendations, despite the genres' flaws.  I've also mentioned before that VN quality has fallen drastically in the past two years... and I still think that, despite a few seriously stand-out works this year in general and this month in particular.
The reason why I'm focusing on charage/moege right now is because I just played one great one, one average-quality one, and now I'm playing a mediocre (but pretty-looking) one.  Having seen, just in the last few weeks, the variance in the genre in detail... I've had it thrust in my face that my conclusions, which were previously just instinctive (thus I thought it was at least in part because I was tired of the genre/s in general) and thus had the possibility of not being entirely justified, were not entirely off the mark. 
To be specific, I'm somewhat bemused at the degree to which people have been pushing/hyping the one I'm playing right now, considering how pathetic this writer is at using the tools available to him. 
It isn't the first time where I've encountered a mediocre VN with great visuals that gets pushed by the Western community (mostly by people who haven't played it but voted on it anyway... or ones who just extracted the CGs or used a save file to read the h-scenes) like crazy.  However, it is the most egregious example of this particular social pattern I've seen recently. 
Now, leaving aside my outrage at completely unjustified hype and recommendations...  I have to ask, why is this VN, which probably never would have made it to production three years ago, is still somewhat better than the baseline of what I've experienced in the last two years?
Thinking about it, the answer came to me startlingly quickly... it is because it satisfies people's nether-regions and their desire for idealized slice-of-life with a few quirks without actually having a personality.  The very reason I hate it is the reason it has caught the interest of some in our community, and I find myself smiling wryly as I realize that most of the people who play it are only interested in fapping to archetypical moe-heroines. 
Understand, I actually don't have any objections to non-extreme fap material or moe fap material.  I don't have problems with others' sexuality in general (as long as they don't inflict it on me or create victims along the way).  However, I do have to wonder why these same people don't hit up one of the dozens of moe-nukige that get released every year instead, lol. 
Obliterating all twists and scent of personality from a VN story is reemerging as a habit in VN makers, after a very very brief hiatus, and it is coming back even worse than before.  On the bright side, it makes the gems stand out more... but it also means that I have to listen to people fawning over mindless drivel that isn't even good by genre standards.
I actually should have seen the signs long ago... considering Sougeki no Jaeger (Propeller's last VN) and the sudden reappearance of the previously endangered beast known as the 'pure moege' in the last two years (though only a few of them, thank god).  The problem now, as it was thirteen years ago, is that the market is saturated with VNs in general and charage/moege in particular.  Because of this - the Japanese being the most conservative businessmen on the planet - the various VN companies have started to 'go back to basics', trying again the sort of tactics that succeeded before.  The fact that the average otaku ero-gamer in Japan is perfectly willing to shell out $120 for a crappy game that happens to have a cute (and preferably half-nude) dakimakura attached actually makes this trend worse, as it is creating an artificial (and very temporary) inflation of a stagnant market (and not for the first, second, or even third time).  It is almost like the real estate market here in 2007... everybody knew the bottom was going to fall out eventually, but people kept putting their bets on making a few more bucks before it did.
Worse, even if the market does collapse, it is unlikely to result in better VNs, lol.

I've been playing video games more or less constantly for over twenty-five years. 
That's a very simple statement that holds a surprising amount of meaning, considering how much video games have changed since I first began playing them.
It began with the NES, for me... with Mario, Luigi, and the ducks.  I shot ducks out of the air, I jumped Mario across gaps and on top of turtles, without ever really understanding what was going on.  As a kid, this was fun, seriously.  Understand, this is the biggest point I am going to try to get across here... the difference between addiction and fun with video games.
I played rpgs, primarily jrpgs, throughout most of my first ten years as a gamer, starting with Dragon Warrior (Dragon Quest), eventually reaching levels of true love with Final Fantasy II and III (IV and VI), Chrono Trigger, Secret of Mana, Secret of Evermore, and Ogre Battle.  When the era of cd-gaming came, I played D&D dungeon-crawlers on a shitty dos computer setup, and I played every jrpg I could get my hands on, with a lot of shooters, strategy games, and sports games mixed in. 
Throughout all of that, I was still having fun.  Fun was my reason for continuing (I've always been a story-centric player, so I tended to stick with jrpgs, but I did play a lot of other stuff) and my reason for playing in the first place.
It was in the PS2 era that I first came to recognize the difference between taking pleasure in playing something and merely being addicted to it.  I picked up FFXI and started playing it on the PS2 (yes, it was possible to play it on the PS2), and for the first time, I knew addiction... for the first time, I poured hour after hour, day after day, into a game that I wasn't having any fun at.
I was constantly irritated, constantly driven to continue, whether for social reasons (friends I'd made in-game) or simply because I felt like I was 'almost there'. 
Then, one day, I suddenly looked up and realized... I was immensely depressed and not enjoying anything about the game.  The sense of having wasted my time... sent me into a funk that lasted the better part of a year.  I still played games, but the color seemed to leech out of the screen even as I played them.  I realized that I was seeing bits of FFXI in other games, and that was enough of a reason for me to actively hate them.
No game hit me this way more than FFXII... because FFXII's battle system is essentially that of FFXI with some tweaks.  Visually, it was a nightmare, and the weak story and characters only made it worse for me.
Ironically, it was the realization that I honestly didn't trust Squeenix to provide pleasurable games anymore that led me to start playing a lot of the weirder stuff out there... such as Eternal Darkness for the gamecube and the SMT series.  Ultimately, because I'd become very much aware of the difference between pleasure and addiction, I lost interest in games that I would once have jumped onto simply because they were jrpgs or done in a style I found interesting.  I started abusing Gamestop's used game 'seven-day return policy' to demo games, and I slowly but surely came to realize that I honestly and truly hate multiplayer games that aren't played in the same room. 
I am now an unabashed solo gamer, even outside of VNs.  I won't play most multiplayer games at all, and I hate games where the social element is as or more important than the actual gameplay or story.  Of course, if a game has an interesting concept, I'll try it... but if I feel that sensation I used to get from FFXI, I drop it immediately, cancelling all subscriptions and discarding all related materials without a second thought, even if I paid a good deal of money for them. 
To be blunt, life is too short to waste on playing something that is merely addictive (this coming from a VN junkie, I know).  That sensation of false social interaction you get from online gaming and the high you get from winning in competitive games is highly addictive... but are you having fun, really? I wonder, how many younger gamers actually know what it is like to enjoy a video game, rather than simply being addicted to one?  This is a question that seriously bothers me, as I saw my young cousin playing Call of Duty (whatever the latest one is) online, unsmiling, for two days straight while we were staying at their place a few months back.  He really, really wasn't enjoying himself.  He was angry, depressed, and frustrated, but I never saw even a hint of a smile when he won, only this vague expression of relief he probably thought was a smile.  Was that relief that his team-mates weren't treating him like a worthless noob or an incompetent, or was it simply because the match was over and he could relax?  I don't know, because I didn't ask.  I know from experience that the difference between addiction and fun is fine enough that most people don't even recognize it is there until they are forced to.
What are your experiences, gamers of Fuwa?
 

These are just a few thoughts that I've had after experiencing various gameplay VNs over the years. 
First, understand that I see VNs as reading material (in the same vein as manga but with the addition of voice, some animation, and detailed narration) first and games second.  Second, the type of gameplay most likely to be fused to a VN (strategy or turn-based rpg) are ones I played for well over a decade before I first encountered VNs, so I have at least some qualifications to evaluate them.
First, for the gameplay...  no matter how you express it, the average VN gameplay is several levels below the average console strategy game, srpg, or jrpg in terms of quality and design.  Some of the best of the type - such as the Ikusa Megami series - just barely reach the same level as stuff released before the turn of the century as far as those two aspects go. 
Second, balance... in a VN hybrid, having a good balance between the story and gameplay is vital.  In other words, the grinding needs to be minimalized and difficulty should be adjustable.  VN hybrids without adjustable difficulty levels (with an easy version that really is easy) tend to result in a VN where the story is told in snippets between long stretches of grindy gameplay (Softhouse Chara's games tend to have this flaw in excess).
Third is feature creep... a lot of hybrids have weird gameplay features that make the game confusing without really adding anything enjoyable to the game.  An example of this is the recruitment system from the 'breeder' Venus Blood games.  To be blunt, this game mechanic, while fitting in with the atmosphere in the story, made the games unnecessarily complicated, and not in a good way.
Fourth... story pacing.  A lot of hybrids have horrible pacing.  In particular, many of them start out really well, grasping the reader/player with a dramatic prologue or first few chapters... then suddenly become a complete slog or grind in the mid-game.  To be honest, the most egregious offender in this case are strategy-conquest VNs, where the story won't progress significantly until you've achieved an artificial goal, like conquest of a certain region.  Generally speaking, most strategy-conquest VNs (such as Sengoku Rance or Madou Koukaku) start out really well, with an interesting beginning to the story... and suddenly become devoid of story for about thirty hours if you don't act in exactly the right way.  The Sengoku Hime and Sangoku Hime series are classic examples of this.  Both series tend to have first-rate beginnings, but the story gets put to the wayside pretty early in the game.  As a result, you essentially get stuck playing a sub-par strategy game for ten to fifteen hours before you manage to restart the plot.  This is tiring and boring, to say the least.
My conclusion?  Generally speaking, VN hybrids can be good, but that is only if the VN aspects don't become an adjunct for the third-rate gameplay that tends to be tacked onto them.

Since I already did a full review of this back when it first came out, I'm going to restrict my words on this to comments about things I noticed or found interesting during the second playthrough (setting aside spoilers).
First... Zephyr.  As a protagonist, he is the kind of guy most people would love to hate.  In Japanese, he frequently refers to himself with blunt internal honesty (and outwardly to others as well) as '小者’　and ’凡人’ (words that basically mean he is the lowliest of 'normal' people).  His primary directives are living low profile, staying away from trouble, and avoiding things like victory and defeat at all costs.  However, the moment he's backed into the corner, he becomes a psychopathic murderer who will do anything to survive, including humiliating and killing others painfully.  He gains a dark pleasure from seeing people better than him fall into ruin, and he is the farthest thing from a hero that you can possibly imagine.  It is a mark of the skill of the writers in this VN that he is actually likeable anyway, lol.
Second, Millie.  To be honest, she is basically the Kasumi (Dies Irae reference) of this VN.  She is warm and loving by nature, a representative of the life that Zephyr wants to live as well as the one person he would willingly do anything to protect (including die, which says a lot considering his abnormal attachment to life).  Chuunige makers almost compulsively include at least one heroine of this type in their games, because the rest of the heroines are usually somewhat psychopathic, broken, or otherwise outside of the norm.  That she is also actually 'useful' in the VN is a plus point in her favor, as such heroines go.
Third, Chitose... Amatsu Oboro Chitose is my favorite type of chuunige heroine, the type that mixes love, hate, and obsession in varying amounts when it comes to the protagonist, but still retains her sense of self nonetheless.  She is the elite of the elite, a thoroughbred warrior-leader who lives for her work (which is killing people and administering judgement/justice).  Her attachment to the protagonist might seem weird to someone not used to the somewhat twisted relationships common to action-fantasy VNs, but this kind of heroine is an absolute treat for those of us who are experienced in the genre.  Also, a warrior-type that is not a straight-laced, unaware-of-her-own-feelings type heroine is nice indeed.
Fourth... Vendetta.  I'm going to be blunt.  Do-S eternaloli.  Rusheed's obsession with her (since he is a do-M lolicon) is perfectly understandable, and she also works out nicely as the game's true heroine, as she has that peculiar inherent sense of tragedy and loss that true heroines in good chuunige tend to have.  Unfortunately, talking about her any further would ruin it for those who haven't read the VN yet.
Fifth, Valzeride.  This guy is a primary antagonist and the hero of Adler, the country (and city) in which this VN is based.  I'm going to be blunt... in any other chuunige VN, this guy would be the protagonist.  I'm not kidding.  He is upright, outstanding, utterly capable, and honorable to a fault, within his own sense of personal morality.  He is Zephyr's antithesis and the contrast is actually a pretty significant issue in the VN.  Even if this guy weren't the protagonist in another chuunige, he would be the one who dies to save the world, leaving the protagonist and everyone else to weep in loss.  If this guy were ruling my country, I'd probably join the military too, lol.
I hope this gives those interested - or not yet interested - in this VN an idea of what the primary characters are like, lol.

Grimo Love is a nukige.  Now, you'll notice that I generally don't bother to rate or comment on nukige... because most of the time I drop them inside of ten minutes.  However, Grimo Love has this sort of dread fascination to it that kept me playing right until the end (incidentally, it wasn't the story or the characters that kept me going). 
I'm going to be blunt.  This VN doesn't really have a story.  Oh, there is one in there that probably would have made for a ridiculously good charage with story if they'd bothered to develop it properly... and the sheer amount of detailed sprites in this VN makes me want to ask why they didn't.  However, this is ultimately a nukige and it has that ever-so-familiar 'sex under the necessity' trope going for it.
In this case, the protagonist is a member of the student council and the Second Literature Club (descended from the ancient Occult Research Club, whose leader died ten years before).  This VN is so full of supernatural incidents that they actually overwhelm the nukige H by a ratio of 10:1... and that's just weird, for a nukige (and it is one, from the feeling).  The school in this VN, its characters, and the constant incidents are comedic and feel unbelievably surreal... and virtually endless.  This VN is seriously long.  It took me twenty hours to finish, and most of the time I was either smiling or outright laughing.
If you asked me whether this was a pure comedy, I'd say no... but despite all the horrifying incidents that supposedly occur or almost occur around the characters (with a witch teacher who loves evil grimoires constantly causing trouble, ghosts and youkai attracted to the school like moths to a flame, and a vampire True Ancestor sleeping on the emergency stairs, how could it be peaceful?  lol) it never quite manages to be serious.  Sure, there is a really half-hearted attempt to make certain parts serious... but the characters and their reactions are so silly and blase that it is impossible to take even zombies, ogres, and evil gods seriously.  The protagonist's blase reaction to everything that happens around him is what defines a lot of the VN's atmosphere, and since he basically has sex with all the girls as a result of such incidents (or the girls' whims) it is kind of hard to take anything in this VN seriously.
In other words, I laughed but I never cried.
 
Anyway, now down to my thoughts on Jeanne... Liarsoft's new game.  I only started it about five hours ago, but I'm already ready to drop it.  Sorry, I just have trouble with Alice in Wonderland-type down the rabbit-hole stories.  Mixing it with chuuni-ism and a former French Resistance fighter doesn't actually help as much as you might think, at least for me.
I'm sometimes surprised at how intolerant I can be of this kind of stuff... but it doesn't really help that the writer is making it out to be a huge mystery when what is going on is blatantly obvious to anyone who has read a little bit of history and surrealist fantasy.  As a point of reference, I just have unforgiving tastes when it comes to serious fantasy in general.  My dislike for surrealist fantasy (I like down in the dirt fantasy much better) is an inevitable result of having outgrown that kind of crap when I was in second grade, lol.  Just making it  more mature doesn't make it interesting for me.
Anyway, I'm going to play a random VN until I can get into a mood to forgive this VN for being a part of a sub-genre type that I generally avoid like the plague, so don't expect another post on it for at least a few days.

I remember the not-insane guy from the documentary about The Pirate Bay talking about why he rather used AFK in place of IRL when denoting anything he did which was not in front of his computer. Recalling the exact quote proves difficult but it doesn't matter as my point isn't necessarily what he meant but how I perceived it. I seem to recall his reasoning being something along the lines of online and digital presence also, technically, being part of real life.
 
It makes sense to me that reality is not exclusive but in fact the opposite; inclusive. Anything that can be at all I would consider part of reality and thus also, if I am involved in it, a part of my own real life. Which leads me to virtual reality. Not VR but the idea of virtuality. As far as I know, European philosophers back in the day (and maybe even now?) sometimes divided reality into the material reality (is actual, has form) and virtuality. Keep in mind that I'm using the term very liberally. Something virtual can be a thing, such as a character in a visual novel, which is not material but according to some people very much real since it obviously exists. If the character did not exist, there would be no way to see or interact with it, even through the UI of the game. There may be moral values connected to the importance of something virtual vs. something material but that is another discussion. However, I don't really buy the fact that distinctions between forms of realities are necessary nor representative of the way it works. This is why I'm just going to say that everything is real, real to the extent that we don't even need the word real as nothing can not be real. Truth be told, I am making a conscious effort not to get trapped in a spiral of semantics, arguing the duality of language, thoughts and symbols such as the word 'reality'. So, in conclusion to this paragraph, let me say that since I consider reality inclusive and non-specific, I also consider reality all-encompassing and so it includes anything that follows henceforth.
 
Since smooth segue is smooth and If I haven't already lost everyone at this point, what I wanted to get to was this: animu and vidya are for realz! In fact, it makes me very satisfied that I can fool myself into believing the equal reality of MMORPG worlds enjoy compared to the one my shrink wants me to be functional in.
 
Ever since I was a wee lad I have enjoyed escapism a lot. Like many of my generation I was at a point completely absorbed in the World of Warcraft, Azeroth. Because, while I love the worlds of my favourite movies, anime, fighting games, visual novels and so on, they are a bit lacking in the world department. With world I mean a traversable landscape which preferably differs enough from Earth to make it interesting. So, for me, what an MMORPG needs to be is a system which makes an as large of a virtual landscape as interesting and exciting as possible, ideally to the point that you start to forget that it is not indeed virtual.
 
My interest in these kinds of games has dwindled significantly for the past several years. I feel they have become more about being virtual landscapes supporting a gameplay system than the other way around. Specifically I'm talking about convenience features which make the gameplay systems quicker and easier to understand. I didn't get into them for that, though. There are plenty of games I enjoy primarily for their gameplay features, such as Street Fighter and Starcraft, but none of them are MMORPGs.
 
Recently I have regained hope, though. On March 11th this year, Visionary Realms streamed over an hour of gameplay from the pre-alpha version of their game Pantheon: Rise of the Fallen. I've been skeptical, thinking the game was most likely vapourware until I saw the stream but now, seeing how far along they've gotten, I think it will most likely see the light of day after all. Basically, the game is like any other game in the genre only stripped of what I consider bloat features. It will also be significantly slower paced and focus more on group efforts as opposed to solo play. There will be limited fast-travel, instancing and enemies which can be killed by a lone player. They are promising that there won't be exclamation marks over the heads of NPCs giving quests and combat as well as regeneration of health will take longer than in modern MMORPGs. The graphics aren't exactly state of the art but to me they look serviceable, although I'm fine with playing Dragon Quest (1986) on my Famicom so my standards aren't exactly sky high.
 
Maybe this pitch sounds like a snorefest to you and I completely understand why someone might think so but I do hope that there are enough people interested in this kind of niche to let the game stay afloat. Perhaps you are like me and love to escape to a world of fantasy, be it in a visual novel or otherwise. Perhaps you are like me and happen to have 12-20 hours to kill in front of your computer before you sleep again. Just thought I'd put the word out there in my own construed and needy way.
 
That's all, thanks.
 

Naitou Tohru is the protagonist of Hapymaher and the character whose viewpoint you share for about 85% of the VN.  He is a character whose personality and situation are defined by a sense of loss and guilt so painful, it has literally driven him to the brink of insanity.  Oddly enough, the thing I find most admirable about him is the fact that is self-aware enough to actually rely on someone (most of the time) when he is at his limits and outside his specialty (which is altering/controlling his own dreams).
A few words about his situation without giving away anything that would ruin the story.  If you know the concept of a 'lucid dream', you also know that it is a dream where you are aware you are dreaming (this often leads to you remembering more of it).  In Tohru's case, he sees nothing but lucid dreams... which means that the barriers between reality and dreams in his consciousness are extremely blurry and he is incapable of 'resting' psychologically when he sleeps.  He rarely, if ever receives what we would call 'restful sleep' without the aid of drugs that send him into utter insensibility, and in his dreams, he is capable of doing practically whatever he wants, in many cases. 
Tohru's character can sometimes be seen as a symbol of self-control - as I said in my post on Maia - because he really does have a ridiculous level of self-control for someone still in his teens.  He is not really that dense, though he often pretends to be out of self-defense.  However, he has a lot of psychological hangups even in real life that have reinforced his somewhat blurry view of reality... ones he actually needs to maintain his mental and emotional balance, even if he realizes they are ridiculous.
Tohru's clear-eyed view of dreams can be seen as a contrast to his somewhat blurry view of reality, as he is almost always the first to realize when he and the other characters are dreaming and when they aren't... and what the nature of the dream is.  To him, nightmares are everyday stuff, and he is so inured to the pain that accompanies them by experience that it would be tempting to see him as nerve-dead from the outside.
He does have his weaknesses, even in dreams, though... and their names are Saki and Maia.  He is heavily dependent on Saki (self-evident within seconds of encountering her) and... holds other emotions towards Maia. 
So what can I say?  In another VN, I might seriously dislike him, because he is too aware of those around him to be your standard harem protagonist, but he does have some seriously admirable elements... such as a sense of compassion and good Samaritan-ism (limited to women most of the time) or his willingness to endure pain for the sake of others.  However, he is also more than a little clumsy when it comes to handling those close to him and he frequently makes a wild boar look mild and easily moved. 

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).