A lot of visual novels try to stir up buzz by making themselves “contrasty,” though this kind of contrast isn’t the same as what an Osaka black shark otaku sees on Twitter — close enough, though. Basically: some games look like moe-bait on the surface but are secretly pitch black inside, while others look like an empty nukige but end up preaching some profound truth… This game isn’t just superficially “contrasty,” but it’s contrasty enough. I’m talking about Amairo Chocolata 2 (あまいろショコラータ 2). The previous game even got a Chinese release on Steam under the name 巧克甜恋 — so the Chinese name for this one should probably be 巧克甜恋 2, right? But I haven’t seen any news about a Chinese localization for this one.

Whenever I tell someone new that I play visual novels, I hear the same thing: “Oh, galge? Yeah I’ve played those, Nekopara, right? Man, that stuff is something else, heh heh.” Sure, Nekopara technically counts as a visual novel, but every time someone treats “visual novel” and “Nekopara” as the same thing, I get annoyed. Simple reason: I don’t like Nekopara. Unlike certain other Nekopara-hating keyboard-warrior otaku, I don’t hate it because the artist flip-flops politically, or because the devs are milking Steam. I hate it because the game just isn’t very good. First off, Nekopara is a nukige, and a pretty mediocre one. The everyday dialogue and setup have nothing going for them—throw it on DLsite and it’d be one of a thousand. Its only real edge was using Emote, which made it look fancy, and one of the biggest reasons it blew up was that it launched with “official non-Japanese language support.” There are otaku all over the world stuck not knowing Japanese, staring at squiggles with no idea what’s being said, refreshing forums every day waiting for a fan translation—it’s agony. Then suddenly there’s a Steam game with an anime art style, Japanese voice acting, localization support, and a cheap price, and it was the only way to play a visual novel on Steam. So it sold like crazy… Yeah, if I remember right, when Nekopara hit Steam, the only other thing on there was some Willplus game with an English-only release. It was your only option. So Nekopara’s success was just timing and circumstance. The era made it, not the quality.

There’s a fairly famous song called “Amazing Grace.” The Chinese translation usually goes with something like “divine grace,” though the official rendering in a lot of places is “wondrous grace.” It’s actually a religious song with deep roots in Christianity, but it got so famous that it spread around the world and stopped being confined to religious use. The gist of “Amazing Grace” is right there in the name—praising the grace God has given you, basically a hymn. But what people actually like about it is being moved by that sense of the “sacred” in the song. Maybe that’s the unique appeal of religious music in general. So at the end of this year, a game showed up carrying the “Amazing Grace” title—an 18X eroge, no less, with Korie Riko as the artist and Tsukiyashiro Tomu on scenario. A stacked lineup. The last time Tsukiyashiro Tomu and Korie Riko worked together was Magical Charming, and I called that one “the most insane galgame ever”. The slice-of-life content, the way the foreshadowing unfolded, even the system itself—all of it was full of highlights. After that, Tsukiyashiro Tomu planned a few more games, but they felt a bit middling. Last year’s Mono no Aware wa Iro no Koro. had plenty of highlights in its story too, but something still felt like it was missing a step. So this year Tsukiyashiro Tomu came back, and not only did he drag in his old partner Korie Riko, he also brought out Sakura Saori, who sang the OP for Magical Charming back in the day, and put together this new work: Amazing Grace -What color is your attribute?-. The title means exactly what it says—“Amazing Grace, what color is your attribute?” But look at the staff and it screams Lump of Sugar from every angle. If that bright “Cabbage Soft” logo weren’t sitting right there on top, I think 99% of people would assume this was Lump of Sugar. Same scenario writer, same artist, same OP singer—it’s the exact same formula. Of course, the reason I played this game wasn’t because I had any expectations for a Cabbage Soft title, and it wasn’t some particular fetish for the writer. It’s just that this is a game about “winter.” Yeah, anyone who knows me probably gets it. I like the atmosphere of winter, the way everything looks when it’s snowing, so naturally I like games set in winter. So I looked at the release list, saw Amazing Grace, saw the winter setting, saw that the writer probably wasn’t going to screw it up, and decided to give it a shot.

Sometimes I think about this: so many scenario writers in Japan do original drafts for anime and games — are they just mass-producing the same thing over and over? …………I mean, whatever a given writer puts out, doesn’t it always follow one pattern no matter how you look at it? Code Geass, Guilty Crown, Valvrave, and the latest one — what was it called? Kabaneri? I’m not saying Ichiro Okouchi is bad; the man won a best screenplay award, didn’t he? I’m talking about visual novels — whether some writers end up reusing the same套路 across multiple games. I noticed this pretty early on. For example, the Shiiba route in Yuzusoft’s Sanoba Witch overlaps heavily with the Riru route in Kujira Kami no Tiastila, which came out not long after. I don’t know if that’s Tota’s doing or just coincidence. But a “competent scenario” shouldn’t have the problem of “can’t adapt, only ever writes one path” — otherwise you’re just showing how tapped out you are. But man… for Hoshi Koi * Twinkle… I don’t even know what to say anymore…