Honestly, the visual novel market this year has been pretty boring. From the start of the year up to now, every time I see the new releases for the month, my face just does the slow head-shake. At first I figured it was just me — played too many, tastes burned out — but then I looked again and nope, that wasn’t it. The content of these games has been getting more and more… bland. Actually, “bland” is generous. Let’s go with “boring.” A lot of studios went with romance stories that aren’t really plot-driven, and most of those revolve around making desserts. If they’re written well, that kind of thing works fine as a sitcom. Other titles started experimenting with the game systems themselves. What do I mean by “the game systems”? Basically, on top of being an “audiobook,” they started probing how “playable” the thing could be. So we got a bunch of games that look interesting. But what actually fits the AVG format best is “deduction” and question-and-answer “detective” games. Early in the year there was Ouka Tameshi. That game is genuinely hard, and the story has plenty of twists and turns. It’s just that I’m not a big fan of pre-Meiji Restoration Japan — the setting and culture — so I had a bit of resistance to it. Then another similar title got announced: original art by Yukie, producer 中澤工, from a new studio called miti. They billed it as something like “Ace Attorney”: Hoshifuru Yoru no Farnese.

A few days ago I saw someone on Reddit (r/visualnovels) recommending this game. It’s a visual novel on Steam called Doki Doki Literature Club!. Of course, when it was recommended I noticed the tag: Psychological Horror. I could sort of guess what that meant. This game, made by non-Japanese gaijin imitating a Japanese-style visual novel, looks all harmonious and beautiful on the Steam page, but inside it’s probably a scam. There might be some “depressing” elements in there. “Depressing” — how depressing can you get? The heroine suddenly dies, suddenly loses her head, suddenly goes yandere, suddenly chops you up. That’s about the limit. At most it’s blood splattering all over the screen. What haven’t I seen? So curiosity made me download this free game and click “Start.” After a thrilling adventure, I repeatedly confirmed that the game had really, truly “End"ed, and only then did my heart settle back down. I let out a long sigh… Let me shamelessly brag for a moment. As a forever-alone otaku who’s been single since 2013, who’s too old to find a partner and keeps failing at arranged dates, I’ve played nearly several hundred visual novels over these four years and written over a hundred impression posts. For a while I was playing visual novels almost indiscriminately. Among them were plenty with crazy plot twists and horror content, but I was immune to almost all of them. Even that Sakura no Mori † Dreamers with evil spirits all over the screen, Honoakari no Toki no Hate Yori with blood-spraying zombies everywhere, the sudden hanging in Midori no Umi, the dismembered limbs in Hakoniwa Logic — all small stuff. Games like Clockup’s are even more whatever. I just smirk, completely unfazed. Out of all the games I’ve played, only two actually scared me. One was the sudden decapitated-head CG that pops up in 3days. The other… is this game. Doki Doki Literature Club!. There’s only one reason it scared me: it was sudden, way too sudden, no preparation whatsoever. Looking back after finishing it, I can say clearly: overall, Doki Doki Literature Club! is not a romance sim. It’s more like a horror game. Yeah, don’t be fooled by all the promotional material or the people in the comments saying how interesting it is. This really is a horror game. At the start it repeatedly emphasizes: if you have a weak mental constitution, don’t play; if you’re a kid, don’t play; if you’re a scaredy-cat, don’t play. That sentence is serious, not a joke! I know a lot of young folks can’t handle even a little “cruelty” in a visual novel. I’ve seen people get spooked by the music in Hatsuyuki Sakura, people devastated because the little sister dies in Kami no Ue no Mahoutsukai, people who can’t take how tragic the mermaid princess is in Suisou Ginka no Istoria, and people who want to mail razor blades to Niijima Yuu because the heroine in a story-within-a-story doesn’t get a happy ending in Majo Koi Nikki. For those people, stay the hell away from this game. It is not a romance game. It’s a horror game, a horror metagame in the same style as Kimi to Kanojo to Kanojo no Koi.

Honestly? I’m a fan of Nanaroba Hana. Yeah, she’s got some black marks in her history, but I’m still a fan. I’ve always felt that when a female artist draws girls, there’s a kind of charm that male artists just can’t replicate—a sort of “cuteness” that only a girl can understand. So Mono no Aware wa Iro no Koro. was naturally on my radar. It got delayed a bunch of times, a trial version came out, I played it, and I felt… weird about it. How should I put this—Mono no Aware wa Iro no Koro. is put out by QUINCE SOFT, a subsidiary of Lump of Sugar. Quince is a fruit, a very peculiar one with a complicated “don’t just bite into it” nature. The reason the sub-brand is called QUINCE SOFT is probably that Lump of Sugar wanted to spin off that whole line of “somewhat playable, complex games” into its own label. What do I mean by “somewhat playable, complex games”? I mean stuff like Unmei Senjou no Phi, Magical Charming, Rensou Relation. Games that aren’t just simple branches but have a ton of complex choices. Honestly, I like these kinds of games. But for Mono no Aware wa Iro no Koro., it’s a bit too complex.

It’s CD show-off time again. I bought quite a lot this time, and it’s been a while.

There was once a god-tier game called Onii-chan, Migi-te no Shiyou o Kinshi Shimasu (お兄ちゃん　右手の使用を禁止します). The gimmick, the marketing, the selling points, the story and art — all of it had real punch. Even people who can’t read Japanese see that title and their imagination runs wild. Combined with that cursed OP, the game hit a height that year, even though it looks like a nukige on the surface… Honestly I don’t think it’s a nukige at all — it’s a pure love game. It even gives every heroine her own route and ending theme. Nukige don’t get that treatment… The company behind Onii-chan, Migi-te no Shiyou o Kinshi Shimasu is Galette, a sub-brand built specifically for siscon games. But this company is… how do I put it. Unlucky. First, two brands to keep straight: Galette and GLace. Galette exists to put out siscon games, GLace exists to put out story-driven ones. Going by the lineup, the company’s real focus is clearly the latter — making nukige is just a desperate cash grab to stay afloat. Who wouldn’t rather be highbrow… But the games GLace puts out are kind of tragic… I never played that Koikami thing they released earlier, no idea. I did play Timepiece Ensemble, and in short: a pile of shit. Later GLace hyped up their new title Amanosora Retrospect (天ノ空レトロスペクト), and after playing it I thought… it’s okay. The setup up front is interesting, but the entire second half has plenty of problems. Worse, even though I thought it was passable, the Japanese didn’t agree — ErogameScape tore it apart and panned it into a landmine. After that the brand was basically poison, so they put on a disguise and kept releasing, putting out Amanatsu Adolescence (甘夏アドゥレセンス). That game has… some redeeming qualities, but overall it’s still pretty garbage… So GLace, the brand supposedly dedicated to building a reputation with story games, has had every release panned into a landmine from day one, even under a new name. Zero reputation to speak of. Did GLace ever put out anything good? Yes! 1/2 summer! But unfortunately 1/2 summer was filed under the Alcot label, and although it later came back to GLace, nobody remembers it as a GLace game anymore. So in most of the industry’s memory, GLace games = landmines…

Ever run into someone like this in real life? Their mouth is vicious, every word dripping with nitpicking. But they also read the room, and the moment they sense you’re about to blow up they shut it down fast. Sensitive and perceptive enough to know if you’re genuinely pissed or just in a bad mood. They care what you think of them, adjust their talk based on your mood, yet they never actually back down—still keeping up that sharp-tongued high ground. They cut themselves off from others, from every little circle, from socializing altogether. But they’re scared of being alone, scared of being misunderstood, they want friends, yet they can’t let go of whatever’s stuck in their craw………… They want to get close to people, but they’re afraid of being gotten close to too easily. Contradictory creatures, through and through………… Japanese has a word for this: porcupine syndrome (ヤマアラシ症候群). Because they’re afraid of getting hurt, they hurt others. Their inherent kindness makes them not want to hurt anyone, but they can’t stop hurting people anyway. So they sink into self-blame and contradiction, sometimes doing ridiculous, absurd things that cause even more damage. That’s the so-called bad side of porcupine syndrome. In modern society there are actually quite a lot of these people. But they’re pitiful too, because deep down most of them aren’t bad at all—they’re kind. It’s just that fear of being hurt turned them into the “vicious loudmouth villain” on the surface, carrying a reputation they don’t deserve. Like a porcupine: afraid of getting hurt, so it stabs others, curls up and refuses to show itself, leaving nothing but spines for everyone else. Actually, these people can be saved. They can shed others’ preconceptions—all they need is someone willing to pull them out. And that person needs the capacity to withstand the “porcupine’s” attacks. Put bluntly: they have to get hurt, and not be afraid of getting hurt. So Zannen na Ore-tachi no Seishun Jijou. (残念な俺達の青春事情。) is, roughly, that kind of story.

More isn’t really a studio that specializes in galge, honestly. It looks more like… “A bunch of music people who make galge on the side so they have an excuse to put out albums.” The company name is MME — MORE MUSIC ENTERTAINMENT. Which is my whole point: their center of gravity is clearly music. Making galge, a cheap kind of game dev, probably isn’t the day job for them. More like a hobby? Hobby or not, they’ve put out a decent number of games, and they don’t look like they’re doing a “one and done” bit. If anything they keep branching out, spawning more and more sub-brands… Sometimes I wonder if registering a new brand in Japan is just free. Why else does every eroge company change its skin every other year… This time the new More brand is called Niko, and their game is Golden Hour (ゴールデンアワー). I mean, More already had two brands running fine — More for pure-love stuff, Pure More for nukige — and now there’s a pile of sub-labels: Chelseasoft, which looks like it’s going for moege, DOLCE, which put out the little flower of Casablanca, and now Niko. God knows what style this one is supposed to be.

Wagamama High Spec (ワガママハイスペック) did pretty well for itself last year. It even got a short-form anime, and a way better one than that princess stray cat got — word is the latter ran out of money entirely. And when a game sells, a sequel is inevitable. So Madsoft sat on it for nearly a year and put out Wagamama High Spec OC. At first I assumed it was a sequel, and Madsoft’s own copy sort of implies that. In this “sequel,” the class rep who wasn’t a route before, April 1st Kanade, the protagonist’s editor-in-charge Takatsukasa Chitose, and his homeroom teacher Iwakuma Yukari all get promoted to heroines — while the original cast stays available too. No trial version. Straight to the full release. Which made me wonder — is this just a fandisk? Then I saw the price. Nearly 10,000 yen. You can’t be that brazen. Booted it up. Holy shit. It’s a fandisk.

Looking back on some of my old Gal impressions, I always want to laugh bitterly. The old me thought a game had to have a good story to be good. And what counts as a good story? It has to have a big twist, but not too absurd a twist — explode the plot while staying coherent, plant a pile of foreshadowing and pick every bit of it back up. Best if it also works in a little life wisdom and the truth of the world. That’s a good game. Now I see that what I was after was just the “good” games within the story-driven category. But like how a cinema shows more than Hollywood blockbusters, visual novels aren’t only the story-driven kind. I’ve also thought that if a game can make its characters cute enough, that’s fine too — I just always felt that kind of game was a tier below the story-driven ones. Because those are the big titles, and this is just selling moe character writing, tea-party-slice-of-life level. Like holding up Death Note against Yuru Yuri, or a AAA title against Minecraft — most people figure the two aren’t even on the same level.

I played サクラノモリ†ドリーマーズ last year, and my takeaway at the time was: strong opening, decent premise, peaks early and then nosedives, rushed ending. I remember the promo OP being absolutely insane. The buildup before the OP hits is done perfectly—basically the protagonist falls in love for the first time, confesses to the girl he likes, Madoka, and then the very next moment, because he wasn’t paying attention, she gets killed by a serial killer. His rage, despair, regret—all of it explodes the moment that blazing OP kicks in. Hell of an opening. I won’t get into the rest of the game. It’s a textbook high-open-low-walk. The protagonist starts randomly chasing the killer who murdered his girlfriend, randomly joins a few organizations, solves a few random haunted-house incidents around town, and the plot gets more and more psychedelic. The killer turns out to be a psycho, also bisexual, then the killer himself starts randomly getting superpowers, and the protagonist gets a parasite… This kind of escalation reminds me of a ghost story I read in high school. The mystery setup was solid, then suddenly the protagonist gains Taoist powers and starts having superpowered xianxia battles with all sorts of ghosts. I literally spat out my drink. It went from mystery to melodramatic wuxia, massive disappointment. Same with サクラノモリ†ドリーマーズ. Massive disappointment. Great start, then it turned into a mess. After that, the scenario writer for サクラノモリ†ドリーマーズ, Go Nii… oh wait, Mr. Go, went off to write other games. Still heavy horror stuff, but no longer the “dream diving” of the original サクラノモリ†ドリーマーズ. The game called 仄暗き時の果てより tells a story of aliens and Cthulhu-style time travel. It was actually okay, but I was starting to feel fatigue with Mr. Go’s approach of “not enough plot? add ketchup.” Then サクラノモリ†ドリーマーズ 2 was announced as a sequel. At first I was curious what kind of story サクラノモリ†ドリーマーズ 2 could possibly tell, since the first game basically wrapped everything up. The protagonist’s girlfriend died, killed by a bisexual psycho. By the end, Madoka had ascended to heaven and the protagonist couldn’t even see her ghost anymore. The mastermind, that bisexual psycho, had been taken out by the protagonist. The story had a relatively complete ending. All that was left were some loose threads with the side heroines. I could understand an FD, but a “2”? Are we just calling FDs “2” now? Then the game came out. After playing through it in bits and pieces over two weeks, I’d say as a “2” it holds up.