Science Fantasy – Genre Deep Dive
Of Robots And Sorcerers
At
first glance sci-fi and fantasy might seem incompatible with one
another since the first focuses on extrapolations of concepts from
our scientific present while the other deals with impossible events
and powers. However, behind these differences they share a common
desire to explore the nature of humanity through situations as
distant as possible from our everyday lives. When combined with this
angle in mind their union forms the Science Fantasy genre. For
visual novels this marriage is formed of several different
approaches which characterise their similar material in distinctive
lights. Maybe it is an exaggerated reflection of our own world,
often it is the rule of cool which decides how things go and
sometimes it is just an extremely tight and interconnection web of
concepts that brings the package together. Let’s find our wand and
phaser as we look at what this hybrid genre brings to visual novels.
Reflecting The World
A
common trend among Science Fantasy visual novels is their tendency
to have present day settings. Here the sci-fi element founded in an
exaggerated version of modern science and used to justify many of the
common elements of Urban Fantasy through which the narrative tells
its more dramatic elements. This union focuses on sticking to the
familiar parts of a present day setting and using them to create a
bond of empathy with the characters as they go through the mundane
realities of life. Yet at the same time the fantastical events give a
framing to those mundane actions which draws out their artificial
nature and the absurdity when placed alongside a life and death
struggle. The sci-fi half keeps the fantasy from causing the player to
disassociate from events on screen by tickling their sense of vague
familiarity with modern science and keeping the magic and superpowers
firmly in a grounding of the known world. By adhering to all of these
elements the Science Fantasy can present ideas about the present day
through a lens detached enough to allow for a proper consideration of
them without being so far away as to prevent them from having the
emotional resonance necessary for its desired impact.
 |
| Superpowers and psychology are an interesting mix |
Take Chaos;Head
for example, here a scientific conspiracy is mixed with teenagers
possessing superpowers in order to take a look at what the modern
world does the a person’s psychological state. The sci-fi elements
here focus around the human psyche and how the conspiracy seeks to
take advantage of it for their own gain. It includes a lot of
familiar scientific and pseudo-scientific terms the player is likely
heard about even if just in passing and so registers as vaguely
realistic which allows it to serve as a basis for the fantasy half to
bounce off of in order to better serve its core ideas. On the other
side, the superpowers work to enhance the sense of being detached from
the real world which alongside the protagonist’s unreliability
questions the effects of the modern social features, such as internet
forums, introduced through the sci-fi side.
The Rule Of Cool
Sometimes
the choice of Science Fantasy as a genre in visual novels is not in
service of some grand presentation of themes and is instead due to the
developer thinking it was cool. This originates from the way the genre
takes the familiar trapping of each of its parts and puts them
through a new lens in order to make them fresh again. Having a strong
sense of novelty provides a means of keep the player engaged over the
course of the game and creating a visual and narrative style
completely owned by the title. This brand of Science Fantasy tends to
lean into a specific aspect of one half while the majority of the
rest of the experience is focused around the other. For example of
one extreme there is Deus Machine Demonbane. Here is a game leaning
heavily into its fantasy elements with magic and lovecraftian powers
shaping events and forming the bulk of the reoccurring
elements. With one large exception being the titular Deus Machine
which is a giant mech, something generally found in a more sci-fi
setting. Obviously this is passed through the fantasy filter in order
to justify its existence, but its out of place nature makes it
memorable and this in turn creates a unique texture to the game that
remains in the minds of many even to this day.
 |
| Contrast is a powerful tool |
On the other hand
there are titles like BlazBlue where the rule of cool aspect of the
Science Fantasy is more spread out and attached to a general world
building. This manifests through the technology the characters
interact with and the way it exists to compliment their magical
powers while keeping up the character's sense of appeal with
little regard for practicality. There weapons are the most
common example of this over the entire cast, but it is worth pointing
out there are characters who are machines and thus fall firmly on the side
sci-fi and yet no effort is really made to explain their actual
workings with the focus instead being on how cool there are to look
at.
Stronger Together
So
far the uses of the Science Fantasy genre shown have placed various
kinds of clear divides between the two halves or put an overwhelming
emphasis on one over the other. However, there are a group of games
under this genre which use it precisely because the challenge of
balancing these distinctive parts results in a potent and memorable
experience through how they link to one another. For this union to
succeed the two parts need to hold a similar thematic purpose within
the narrative while also justifying their place within the wider
world, so their existence does stand out too much and disrupt the
player’s sense of immersion. In return for this delicate work the
game can provide a unique sense of place for its setting which serves
a directed purpose of pushing the core themes and ideas of the story
in a way simultaneously in the player’s face and also subtle enough
to seep into their minds through continual exposure. An approach like
this is only effective for visual novels where there are complex or
emotional elements to explore rather than something aiming for clean
and clear messaging for common themes which need no introduction and
where the game not expecting them to be considered deeply.
 |
| A muddy dividing line can do wonders |
This can
be seen in seen in the fault series where the technology level of the
world is both higher and lower than our own to organically integrate
it into the areas of people’s lives which magic is not used in
order to sell them as complimenting elements. It is through their
subtlety that the power of drawing the player’s attention to them
originates since being made aware of something previously in the
background reshapes the understanding of the whole surrounding it and
lends to a clarity of messaging. Utawarerumono takes this approach to
its logical extreme by using the presence and absence of each half of
the genre to highlight key narrative beats through the divide between
the world of the ancient past and the one of the present.
Conclusion
As
with many hybrid genres, it how the union of the two halves manifests
and interacts with the visual novel format which makes them an
engaging experience. Science Fantasy succeeds on multiple fronts due
to how well sci-fi and fantasy play into each other’s strengths. It
can mix the fantastical with the mundane to offer a frank
representation of the modern world and its issues. The unity can be
so coherent and well thought out that the themes and ideas are
communicated without needing to say a word or through clever
highlighting of key elements. On the other hand, sometimes it just
about the rule of cool and the strength comes from impressing the
player with spectacle and keeping them amused. There is no denying
the flexibility and narrative power found in the Science Fantasy and
it is a genre more titles should consider branching out into.
Irotoridori No Sekai – The Colorful World Review – Beyond The Other Rainbow
Genre – Romance, Fantasy, Mystery Play Time – 35 hours Developer – FAVORITE Steam VNDB
Coming To Know Love
Everyone
has a wish they want fulfilled before they die, this can be anything
from unrequited love to becoming rich to seeing the world. However,
the world is a harsh place and many of these wishes go unanswered as
people pass from the moral coil. It is the value of these wishes that
forms the core of Irotoridori No Sekai’s themes and how they
intertwine with the idea of learning to love is key to their lasting
appeal. There is a delicate balance struck between the procession of
the story and the journey of its characters. This is a game concerned
with the dramatic emotions of its characters. The other worlds
being brought in to provide additional stakes or push home a key
narrative beat. The issue of this approach appears when the title cannot
properly pay off the tension it has built up and resorts to deus ex
machina in order to get it out of the corner it has written itself
into. Do these inconsistencies undermine the core message of the
game? Let’s set the basement clock and find out.
Answering Your Wishes – Narrative and Themes
Other
worlds are by far Irotoridori No Sekai’s most immediately distinct
element and how they play into the narrative build up burns them into
the player’s mind. Each one is representation of the vastly
different wishes of humanity and how the circumstances surrounding
them can dramatically alter what they desire. Sometimes these places
are never shown but is it quite clear what effect their unique environments have
had on the characters from them. These in turn reflect the heroines
who are associated with them and allow a view of their actions or
wishes through the unique factors which shaped them. Having the
ability to lean into fantastical elements provides room for the
exploration of the individual heroines in varied fashions to keep
things feeling fresh. At the same time most of the actual
otherworldly events happened before the game even begans so they game
can play with them without losing the grounded setting it has
established as the place where the characters can be themselves. Take
Toumine Tsukasa’s route, it invokes certain elements from her
original world in order to sell the danger while being firmly planted
in the town and its community where the people she works with are a
large part of her life. Striking this balance is key to holding the
player in suspense without losing sight of the reason they are
invested in the character’s journey in the first place.
 |
| Even what might seem normal always has some otherworldly connection |
Hanging
over the entire game are the duel mysteries of the recurring dream
and the ghostly Shinku. These act as a constant throughout each route
and do a good job of making the title feel like it is a cohesive
experience which is building towards a greater ending. Their intimate
relation to the protagonist, Kanoue Yuuma, means they have an
impactful screen presence where they shape how he see the world and
people around him and by extension the key heroines. Such an approach
gives the small bread crumbs of truth a greater sense of importance while not
taking the limelight away from the stars of the route. It also helps
that the pay off from all of the build up is and exceptionally strong
final route where the themes and ideas the game has being presenting
are tied up in a nice bow. The characters are provided a similar
resolution within this revelation as each one has a victory lap where
we get to see the traits we fell in love with on full display.
Altogether this route is excellent to the point at which it is worth
playing the entire title just to experience it which is a testament
to how effective the mysteries are at capturing and holding interest.
 |
| Oh boy, I cannot wait for your extensive flashback... |
When
it comes to how this story is presented to the player there are
noticeable cracks in its implementation. Chief among these is the
game’s tendency to have the characters explain their past through
narrated flashbacks using Yuuma’s magical powers rather than
through organic reveals or by being placed in the character’s
shoes. It leads to extended dry sequences where the character in
question tell the protagonist the feeling and events of the past in a
way which lacks impact and instead comes across as if they are
talking about someone else. If this was done sparingly it would not
be an issue, but the flashbacks occur in every route and sometimes
multiple times in a route which massively disrupts the flow that the route had
before. Being told about events is a quick way for the player to lose
interest, especially in a game so focused around the emotions of its
characters where it would make more sense to keep the player in the
current tide of feelings rather than taking a sudden turn into
telling them about the past. On some level Irotoridori No Sekai
realises this is an issue as it has intermissions in the middle of
these flashbacks where the characters in the present briefly stop the
telling their story and share a few words. This is a clear indication
of the developers' concern that the player might become bored with
their narrative. Flashbacks are not inherently a bad thing as there
is an example of how to do one properly within the game’s final
route where the player gets to experience the events of the past
first hand rather than simply being told them. It is strange then
that the Irotoridori No Sekai choses to deliberately damage itself in
every other instance of flashbacks.
 |
| Kana is someone with the a greater weight hanging over them which never has a proper pay off |
Introducing
various other worlds and their supernatural elements requires a
narrative to properly commit to them or risk them feeling token and
out of place. It is this dilemma which Irotoridori No Sekai spends
its entire play time wrestling with and there are often points where
it uses ideas only to hand wave them away or focus on the wrong
element of the conflict. Over the course of the many routes this
issue manifests in different forms. Kana and Tsukasa’s routes introduce
serious threats originating from these worlds only to immediately
resolved them in the next scene making them feel like a cheap thrill
with no substance to them. Mio’s route chooses the wrong part of its
otherworldly element since it is afraid of presenting Mio in the
slightest negative light, even if it is only by proximity. The ideas
present in Kyou’s route feel like an odd choice since there is no
reason they could not have just been from our world and this foreign
presentation just comes across as strange and distracting. Only the final route
really sticks the landing due to it being based around concepts which
have been built up over the whole game and so properly established
beforehand. None of these weaknesses are last for long enough to
undermine the entire route by they do draw the player out of what is
otherwise an emotional and intimate ride.
Girls Falling From Lighthouses – Characters
A
colourful cast is something this game always presents front and
centre. Each one has a strong and easy to identify personality, from
Kana’s constant flirting to Tsukasa’s innocent energy, which
helps sell them and make them empathetic. Their wishes are worn on
their sleeves, but these desires are never what they first appear,
there simple nature is picked away at throughout their routes until a
complete picture of them comes out. Doing this gives these characters
a sense that they are layered and complex beyond their initially
presented personalities and works to keep them player on the edge of
their seats as they can never be sure they truly know a character.
Backing this up is the interactions between the heroines and Yuuma
with each heroine having their own memorable dynamics with him. This
is extremely important given how much emphasis the game places of
these individual pairings and isolating them from the world around
them. Without their strong and varied banter the sections solely
dedicated to them might prove dull, but instead they are some of the
most vivid scenes in the entire game.
 |
| Ah yes as normal people do |
By
far the strangest choice when it comes to the characters is how they
do not really interact with each other or share a group dynamic. They
might appear on screen together but they will often talk solely to
Yuuma and not really engage with the other people present. The few
scenes where characters are allowed to form their own bonds are
undermined as they are either completely forgotten about, as in the
case of Mio and Kana’s rivalry, or simply used as a plot device to
motive one of the characters, as in Kyou’s route with her
friendship with Tsukasa. Absent from these is any sense of an
organically growing dynamics and it instead feels like they exist
purely to serve whatever narrative needs Yuuma has without any proper
regard for others. The result is the dorm feeling somewhat mechanical
in nature where the characters are pieces in a plot rather than a
warm place where friends live together. It is fortune that outside of
Kyou’s route the game tries to not emphasises the characters’
relationships and so mostly avoids this making this a large issue
through focusing in on their main pairings to compensate.
Shattered Moon – Visual, Audio and Technical
As
you would expect from a game so focused around other worlds, there is
a distinctive visual style in play which is backed up by a keen
understanding of how to use colour to invoke emotions. The everyday
lives of the cast are shown through the standard images of mundanity
the player expects from a romance visual novel which are here used as
a clever baseline to contrast with the more fantastical angle. Once
the characters step through basement doorway the art style takes a
noticeable shift into a more abstract and emotive presentation where
clear objects give way to vague shapes. It is clear what kind of
place each is without having to spend a single word on its background
lore and this works well given their role as conduits for characters
and narratives rather than as fleshed out spaces. Even the normal
world is not without its own eye catching imagery, the shattered moon
hanging over the town is a constant reminder that even this world is
not quite like our own. Colours not only play a role in creative
distinctive feeling worlds, but also using the emotions associated
with colour to empower the key dramatic moments. Deep oranges and
blues are contrasted with blacks and reds to keep the player in a
sense of suspense as they are buffeted by roller-coaster of each
heroines’ route.
 |
| Powerful colours define many scenes |
Conclusion
Capturing
the complicated emotions caught up in wishes and love is what
Irotoridori No Sekai is about and through them showcasing just what a colourful world we
have within ourselves. It leverages its other worlds as a core driver
for the plot and this allows it to more freely explore its themes, even
if it can stumble at time while doing so. The strong uses of
distinctive art styles and colours for these worlds and key moments
also plays into the game’s ability to invoke emotion. An
overarching mystery keeps the player hooked through the various
routes and offers a great pay off from the ideas which the title has
being presenting. Add to this the distinctive characters and
excellent dynamics with the protagonist and the result is a well
rounded experience that uses the romance visual novel as a means to
express greater ideas of the value of wishes and desires.
Verdict -
An emotional examination of what it means to wish for something
seen through characters who know what it is to have that snatched away. It
is only held back by some strange choice in narrative presentation
and character interactions.
Pros
+
The other worlds are a strong narrative device which gives the game
room to present its ideas with greater freedom.
+
Each character sells themselves in a believable way and plays off the
protagonist in an engaging fashion.
+
Overarching mystery helps maintain interest while providing a
suitable send off for the core themes and ideas.
+
Strong art styles and impressive use of colour sell the emotions and
otherworldly nature of the story.
Cons
-
Overuse of dry flashback scenes where the player is told rather than
shown important information.
-
Characters have no group dynamic and often feel like a strangers to
each other.
-
Does not commit to the other world concepts completely which leaves
them feeling hollow or misplaced.
Best Visual Novel Releases – April 2024
As
the gentle April showers patter against the window, now is the time
to immerse yourself in a visual novel while you wait for the storm to
pass. This has been a month of some standout titles with a wide range
of appeal from underworld Otome to heart pounding thriller to a
mystery laden apocalypse. Let’s find some shelter and see what
treasures we can uncover from this month in visual novels.
Official Releases
Amazing Grace -What color is your attribute?-
When
Shuu wakes up he finds himself in a town sealed off from the outside
world and he possesses no memories of who he is or how he got here.
Fortunately, the people living there are kind and take him in as one
of their own, but this is short lived as the town burns down and he
discovers he can travel back in time. So he sets out to save the
people who treated him kindly and uncover the cause of the fire. This
title is an interesting blend of the standard route based heroine
romance visual novels we have all become accustomed to seeing and an
overarching mystery where the cast are in genuine danger if it goes
unsolved. Its tonal aspects are nicely blended together and there is
a real understanding of the value each part provides the other while
still offering what people are looking for from each element.
Overall, this is an excellent visual novel for those who want
something a little more substantial to their romance narratives.
Aoi Tori
As
Purple Software’s latest title to be localised for an English
speaking audience, Aoi Tori looks to continue off the success of its
sister game Amatsutsumi and it aims to play on a similar emotional
axis. Following the tale of a young priest at an all girls school who
has a strange power which has made him a target for demons seeking
it, but his life is a relatively peaceful one until an ancient
vampire arrives at the school and he get a phone call from the devil.
Soon he becomes deeply involved in the lives of the girls he meets as
the supernatural begins to stir around him. The strengths brought by
a blend of the emotive idea of love and desire taken through a lens
of the supernatural are on full display here and allow the game to
invest you in the intimacy it offers. For those looking for a visual
novel which will get them to cry and feel a connection to the
characters then you cannot go wrong with Aoi Tori.
The Shell Part II: Purgatorio
Once
called Kara no Shoujo – The Second Episode, this marks its second
release and its first time coming to Steam. Being available on more
platforms will help The Shell Part II have the needed exposure to
avoid falling into the cracks like its previous version which never
achieved the popularity of the original game. Tokisaka Reiji gets
involved in another string of strange murders where the victims were
all found with clay doll in their body and soon finds himself deep in
a web of deception and desire. For him this is a distraction, he
still purses a certain disappearing girl who he cannot let go of even
after two year of silence. The Shell Part II is a worthy successor to
the first game and if you have ever been curious about it now is the
chance to get it on your preferred distribution service.
Tengoku Struggle -strayside-
Nintendo Eshop VNDB Genre
– Otome, Supernatural Play Time – 60 hours
As
a tale of love after death, this Otome divides its time between
romance and the pursuit of souls who have escaped hell for a mix of
supernatural tension and heartfelt emotions. Following the journey of
Enma Rin as she hunts down these souls, this is a game very much
focused around her interactions with her male teammates who are all
people condemned to hell for their crimes in life. However, it is the
why of their actions which holds a lot of the narrative hook for
which drives forwards both the player’s and Rin’s interest in
them and ultimately makes them more complex characters. Another in a
long line of high quality Otome visual novel in recent years and one
you should consider picking up if the genre appeals to you.
Fan Translations
Sampaguita
Patch Download VNDB Genre
– Thriller, Romance, Action Play Time – 7 hours
Of
all the things to get a fan translations, an old PSP thriller visual
novel was not an expected choice. Yet there is no denying there is a
certain charm to Sampaguita’s integrating of action with pure
romance leads to short and compelling tale. Using stills in a
classical animation style as its main method of visual presentation,
it shapes a grimy and grounded atmosphere where the characters’
struggles appear to have them constantly walking on the edge and
makes their danger more palpable for the player. If you are looking
for a short bit of fun from an older age of visual novels then you
will have a good time with Sampaguita.
Multiple Title Screens – An Anatomy Of Visual Novels
The Many Faces We Wear
Upon
booting up a visual novel, the first thing the player will see is the
main menu. Over the course of their play time they will pass through
it countless times and come to memorise its details. As such altering
this key feature will immediately be picked up by the player and the
more dramatic the change, the greater this impact will be. A wide
variety of visual novels utilise this approach and it has become a
staple to underscore some kind of narrative progression in order to
signal an upping of the stakes. It can also go a long way to set up a
tone shift even before a single word has appeared on screen and helps
maintain it for the duration of what remains of the game. Sometimes
the change occurs after the entire title has been completed and
communicates all that the player has achieved. Let’s transition to a
new frame and find out what Multiple Title Screens provide for visual
novels.
Indicating Progress
By
far the simplest implementation of the multiple title screens is to
tie them to key milestones in the forward momentum of the visual novel.
This is commonly seen in games with an unlockable true route or other
such route and the menu change reflects it becoming available to the
player. Here the intended effect is twofold, to communicate to the
player that more content is open for them to experience and to sell
them a sense of progression as a means of rewarding them. People like
to feel that their actions have meaning and the natural forward
momentum of games is an easy way to take advantage of this emotional
response. The larger the signal of progress the better and there is
nothing larger than the menu the player will see every time they load
up the game. It shows them that their hard work pushing through the
game is being acknowledged and acts as a form of encouragement
to keep going into the last section of the title. It has even become
an expectation for many of those familiar with the medium and acts as a
comfort blanket to reassure them that they are moving in the right
direction.
 |
| Changing from blues to oranges is a powerful colour shift |
Take Irotoridori no Sekai for example, this game has a
main menu change after all of the main routes have been completed and
the final route has been unlocked. Initially the main menu shows a
brilliant blue sky and transitions into a deep orange evening sky.
This communicates two things, firstly that something has changed and
the player should investigate to uncover what it is and second that
this marks the final section of the game. The evening sky makes the
player think of the coming night and since the night is the end of
the day so to must this this new content be the end of the game. All
of this is conveyed without the need for a single word and provides a
good motivation to continue to the end and a sense of how far the
player has come through the main routes. It smooths over what might
otherwise be an awkward transition between the major acts of the
visual novel in a manner which will leave a strong impression on the
player even after they put it down.
Setting Tone
When
something mundane is transformed into something novel, there is
something which draws the mind away from the past and firmly onto the
present moment. We take notice of the change and what
it says to us enables a framework from where we can pull how to
understand this transition and everything that accompanies it. As such the
changing of the main menu can be used to convey a change in tone or ideas without demanding any narrative connection or time consuming
scenes. Simply looking at the menu immediately fills the player in of
the sort of story they are in for after this transition into the
depths of the game. This is important for visual novels as it
conserves resources and adheres to their general ethos of high impact
uses of limited space and so does not come across as out of
place. Setting the tone is most important when the game is seeking to
move from a more non-linear route structure onto a single direct
pathway where the and acclimatising the player to this shift is key
to keeping them engaged.
 |
| Nothing says tone shift like a barren wasteland |
Hello Lady! showcases this in practice with
its multiple main menu changes in the Complete Edition. As an
amalgamation of several different version of the title with shifting
tonal needs, there is the possibility this change between these sections might take the
player off guard if they are not familiar with the game’s history
and so a clear divide needs to be established between the parts. The
Multiple Main Menu’s fulfil this need perfectly due to how much
Hello Lady! already leans into locations and CG’s with strong
colours and imagery in order to add impact to its combat so large
changes are within what the player expects. Each changed Menu offers
a distinctive tone separate from the others in order to ensure there
is never any confusion about what these shifts mean for the tone of
the game.
A Constant Reminder
The
final major use of Multiple Main Menus is as a monument to all that
the player has achieved and witnessed over the course of the visual
novel. This type appear after all the content has been completed and
are generally the first thing the player sees after the credits
have rolled giving them a greater emotional impact. They also remain
present whenever the title is revisited and will remain regardless of
what part of the narrative is revisited and so act as a constant
reminder of how this is all going to end and a monument to the
player’s success. Generally this type of Multiple Title Screens comes
in two flavours, a wholesale shift in the imagery being used or the
addition of key characters to the existing picture. Fate/Stay Night
is an example of the first kind with its menu shifting into something
bright and hopeful from its formerly darker or more conflict
orientated original. What this larger shift achieves is to
communicate the key themes and ideas the title has been building up
to in a simple fashion which will inform the player’s future
playthroughs and cause them to have a greater sensitivity to them.
This is an especially desirable trait for games which lean into plot
and themes as it can give something new to unveil in old material
rather than feeling as if it is something known by heart.
 |
| Bright colours always make for a strong final impression |
For the
second kind we can look to VA-11 HALL-A for an example with the menu
background being constant, but characters being added to it after the
ending. This addition has them side by side and works as a symbol of
their bond which is the key thematic pillar of the later narrative.
An approach like this is favoured by visual novels where the
characters form the main appeal of the story and works as a reminder
of why the player fell in love with them. It also helps VA-11 HALL-A
as the background is the city and from the player’s perspective the
city is the characters as it is through their eyes we experience what
is beyond the bar making the link between the clear.
Conclusion
The
effects of Multiple Title Screens cannot be underestimated as the
power of such a sudden change and its constant exposure have a
profound impact without the player realising it. It is often used to
indicate progress within the game’s structure and provides a sense
of accomplishment and motivation to continue onwards. Selling a tone
plays a large role in the strength of these title screens as it can
communicate a shift in the game’s story without having to say a
word and helps smooth over any possible confusion. Once it has
changed the new title screen acts a constant reminder of all the
player has experienced as well as key thematic or character elements
that can recontextualise any subsequent playthroughs. Integrating a
change in the main menu may be something you want to consider for
your visual novel especially if you are planning a longer game with
unlockable routes.
Fighting Games – Uncovering The VN Hybrid
Fight Start!
As
a style of gameplay Fighting Games are at once wonderfully expressive
and yet incredibly restrictive and so combining them with visual
novels make for an interesting hybrid. The primary feature which
binds the two together is their heavy focus on characters and
invoking strong emotions through their expressiveness. Visual novels
offer the chance for fighting games to expand on those characters in
a direct narrative where they can be explored in more depth than in
the before battle conversations. This is especially true for Fighting
Games which are spin-offs from a normally story heavy game series and
want to meet the audience's expectations for storytelling in a way
which merges smoothly with the combat on offer. Let’s allow the
wheel of fate to turn and see how these two gameplay styles are able
to form a harmonious hybrid.
Selling The Characters
Larger
than life personalities define the Fighting Game since they have so
few chances to show the player who they are, these games make the
most out of each second of it. However, on the flip-side this also
makes them feel flat and lacking the depth and range of emotions an
actual human experiences. To compensate for this weakness the visual
novel can provide a means of expanding on the characters established
by the Fighting Game in an environment where their personalities can be shown off
while not feel out of place. This is due to how visual novels
naturally lean into character centric stories and it allows the
conflicts depicted in each to blend together through how they focus
on the same key notes of a story with differing levels of details. On
the reverse side a Fighting Game can express events in a much more
direct and player interactive manner and so it can create a more
intimate experience by punctuating key moments with these combat
encounters. They act highlights which increase tension and allows
the visual novel to focus on the surrounding events without having to
spend time depicting complicated fight scenes.
 |
| Characters are the foundation of a Fighting Game |
Having the two form a
hybrid helps sell the characters which are the main attraction of
both in a more holistic manner than either could achieve on their
own. UNDER NIGHT IN-BIRTH provides a good example of how this shared
focus on characters enhances what each part has to offer. It modern
fantasy setting where people possessing unique magical powers clash
is a perfect breeding ground for the mechanics of a fighting game and
the drama of a visual novel. The powers match the expressiveness of
the characters allowing them to maintain a sense of continuity
between combat and story through the way they frame the characters
and expand on different elements. By jumping backwards and forwards
between the two halves and their magical powers, the game can keep
the characters fresh and provide a means for the player to feel what
it is like to be them from an immediate and an emotional perspective.
There is also a level of narrative tension offered by the players
direct involvement as they feel a desire to help the characters they
have come to love through the story and might choose to continue to
play them after it is over.
Substitute For Another Style Of Narrative
Sometimes
the hybrid is born because the game is a spin-off of a series known
for its narrative focus. Here the visual novel elements act as a
substitute for the storytelling style of the original titles while
not being invasive to the Fight Game like a full blown RPG would be.
A spin-off aims to offer the fans something new without challenging
them or investing too many resources into the game’s creation and
so the visual novel is a cost effective and easy to understand
stand-in for what their audience expects. This is often a tightly
told narrative where the characters get a chance to show the traits
the player has come to love without changing over the course of the
game so the main series does not have to deal with the events of a
spin-off. Battles seek to express the characters in the same expected
way by showcasing their unique skills through the combat move they
have been given with each one being a nod to their original
appearance. Working in tandem, this simulates the titles it is based
off and provides a dose of something new for the players to inject life into their love for this world and its characters in an
organic manner. Choosing a more complicated system of narrative
expression than a visual novel could alienate or confuse the players
as they have would to grapple with a disconnect between story and
battle mechanics which a visual novel provides a clean and clear
method of storytelling designed here to be as modular as possible.
 |
| The spin-off does not have to work as hard to impress an already invested player |
Let us take Persona 4 Arena, a spin-off of the successful Persona
series, as it shows how the merger of these two halves is flexible
and meets player expectations for the story. Coming from a JRPG
environment the players expect a certain style of story and character
interaction so the visual novel acts a conduit to imitate a Persona
narrative. The previous focus on characters allows the game to lean
into this synergy between the visual novel and Fighting Game halves
to capture the essence of the original cast in a way which will be
entertaining across its entire playtime. This is helped by the game
being given room to introduce its own characters who exist to have
the development that the main cast cannot and this gives the a space
where the unique aspects of this hybrid can be put to full use
without the limitation of an established personality. In their
totality these pieces allow for a smooth transition between the main
series and this spin-off while still have enough of its own flair to
keep the player engaged.
Narrative Ambition
Not
all Fighting Games are satisfied with being just an expressions of
their characters where the gameplay is the only attraction. There are
a subset of them which have grander narrative ambitions with a desire
to utilises its many characters to tell a sprawling tale. Merging
with a visual novel is an option to achieve this approach which is at
once flexible to their needs and simple and cost effective to
implement. Visual novels can present the complex narratives the
designers want while keeping the character focus of the Fighting Game
front and centre. Compared to other methods of storytelling like and
RPG or Cinematic style cutscenes it lacks the more immediate strength
of their impactful moments due to its more abstract nature, but in
exchange it can easily express intricate ideas and engage in route
based stories. So rather than simply being the best option for a
merger with Fighting Games, it is instead niche narrative style which
offers a specific toolbox that a subset of Fighting Games lean into
due to their desire for intimate and complex storytelling.
 |
| Blazblue is nothing if not ambitious |
We can see
an example of this with the Blazblue series and how it handled its
story over the course of multiple games. As the series has developed
each entry has tried to push the visual novel element in new
direction to fit their extensive use of narrative. Calamity Trigger
experimented with an open structure and Continuum Shift offered a
wide range of character stories and this variety was enabled by the
flexible and inexpensive nature of visual novel presentation. It also
allowed the large cast to act towards their own goals while
preventing the player from becoming lost in the web of motivations
through the clear divisions between sections. The narrative outcomes
even stretch into the Fighting Game sections with victory or defeat
having different and interesting narrative consequences which
encouraged the player to explore and experiment.
Conclusion
Adding
a visual novel element to Fighting Games creates a hybrid where both
sides can showcase what makes them special. Their common focus on
characters and expressing them in a distinct and memorable manner
furthers this connection by presenting the same traits from different
angles. Having visual novel sections in a spin-off title can work as
a substitute for an expected type of narrative structure while not
being invasive or confusing for the players. Then there
is the way it allows for a game with narrative ambition to express
complex stories and routes in a flexible and smooth manner. Overall,
Fighting Games are a good partner for visual novels and taking the
two together should definitely be considered when designing a title
where the larger than life characters need another avenue to express
themselves.
Synergia Review – Blurred Lines And Robotic Hearts
Genre – Cyberpunk, Dystopia, Romance Play Time – 5 hours Developer – RadiArt Steam VNDB
Are These Feelings Real?
Dealing
with romantic emotions can be a difficult and this is doubly so when
the entire world seems to reject what you are experiencing. Such is
the situation Cila finds herself in when she develops feelings for
the mysterious android Mara, but the powers in the shadows will not
allow their happiness to last. Synergia is an extended exploration of
this pair’s relationship through a mixture of mechanophilia, yuri
and dystopia. The result is a case study of their identities which
grounds them within a sense of place many longer games can not match.
Move outside of this core bubble and the cracks begin to show with
the secondary cast lacking proper development and certain plot
elements having little substance. However, is this inconsistency
enough to undermine the strong foundations of the core relationship
and the ideas it explores? Let’s get lost in the neon lights and
find out.
Mechanical Love – Narrative and Themes
No
matter how small an element might be, everything returns to being
about the romance between the two leads. In making their relationship
such a cornerstone of the narrative it forces the player to see the
world through the lens of their emotions. Synergia is very much a
title which wants people to engage with it on an immediate and
visceral level. It puts a lot of effort to place the player into the
head space of Cila by placing them into her perspective and dragging out the
contradiction between her work and her own feelings. This tension is
a core part of the underlying momentum that the story uses to keep
the slow pacing from causing players to lose interest through the
promise of what will happen when she eventually choose what she
values. Prospects for the pairs future together are initially
presented as bleak given how their world’s views on romance between
human and machines. Here Synergia draws parallels between real world
discrimination over who it is correct for a person to be able to
love, with the most noticeable being the treatment of homosexuality
especially since the pair are both female. Through this the narrative
can present grounded themes and ideas about the subject without
spelling it out in a way that insults the player’s intelligence and
adds something solid to all the emotions they have been immersed in.
Drawing these elements into a whole allows the game to offer
something for every part of the player’s mind to engage with from
its emotional to its intellectual and this ensures even after they
put it down they will still think about it.
 |
| From their first meeting Cila and Mara's relationship is the core of the narrative |
Acting
as the backbone supporting this focus around the main romance is a
strong sense of place within the decay of this cyberpunk dystopia.
While we are never given a complete picture of the state this city is
in, there is never any doubt this is a civilisation long past its
prime with its ailing emperor and oppressive government. It sits on
the edge of collapsing into nothing as it totters along and yet it
still have teeth to bear against those who stand to oppose its
beliefs. In many ways it is a perfect reflection of Cila’s own
internal psyche as she remains trapped in the past and slowly rots
away in the life she finds herself consigned to walk. Without Mara’s
arrival she would probably have sat forever in that pit and so
overcoming and moving on from the city which has constrained her acts
as both as a literal and metaphorical escape from her own prison.
Beyond this metaphor the world works as means to explain why people
act the way they do and create a thick atmosphere of melancholy to
contrast with the moments of happiness between the two leads. Leaning
into this emotional representation of a lived in place gives an
intimate feeling to the player’s time there as it offers an easy to
grasp idea of place in a way they can draw parallels with their own
experiences.
 |
| The setting is a wonderful mix of concrete and vague |
When
everything is so heavily focused on a single narrative and emotional
direction, it makes the parts which go against this route stand out in a
distracting manner. For Synergia this takes the form of Cila’s past
and in particular her nature as a Daughter of Velta who was created
from an artificial womb. This is used to explain Cila’s ability to
heal from injuries faster than normal, but does not tie well into the
otherwise machine facing narrative nor does it add anything
meaningful to her dynamic with Mara since that role is already taken
up with Cila’s past love for an android. It is brought up out of
nowhere and is dismissed equally as fast creating a sense of whiplash
where the smooth tonal flow and pacing of the game is broken
abruptly. The only place where is take the spotlight as the core
element of the plot is in the second ending where all previously
established ideas take a backseat including Mara. However, nothing
revealed during this ending is of any real consequence and it mostly
just spins its wheels until events beyond Cila’s control allow her
move on with the plot. It does not help that Cila has already come to
terms with her origins and so lack any character arc related to them
leading to an absence of dramatic tension. The absence of Mara or
events relating to her means this ending struggles to justify its
existence in a visual novel so focused around Cila and Mara’s
relationship. This leaves Cila’s creation feel like an odd
inclusion which could have been written out and takes up space that
could have been better utilised to expand on side characters or other
themes.
Of Man And Machine – Characters
Above
all other characters stand Cila and Mara, it is their individual
characters and the dynamic they share which create the game’s
compelling hook. Cila is our protagonist and point of view character
and she makes for an interesting choice to narrate this journey. She
is at once deeply involved in this world through her job and her
past, yet detached as she merely meanders through her life without
making any meaningful connections. Despite this she never comes
across as cynical, she knows how unfair the world can be but despite
this harsh reality she can never quite give up on the feels which
have defined her. As such Mara makes for the perfect contrast to
Cila. As a bubbling ball of curiosity and smiles, Mara acts as an
excuse to have the world explained to the player and to communicate
just how sheltered she has been from reality. There is an innocence
to her actions which disarms Cila and gets her to open up to Mara,
but at the same she without intentions and desires to drive her. For
Cila, Mara is a rudder to guide her life towards some kind of future
and help her understand her own emotions. This creates an unbalance
in their relationship with Mara being the driving force and Cila
being dragged along behind and plays into their dynamic for the
eventual pay off to their relationship.
 |
| Yoko is by far the most developed secondary character |
With
so much of Synergia’s short duration focused on Cila and Mara,
there is a distinct lack of development and engagement with the
secondary cast. Each is given just enough time to give them some
basic substance and fulfil their plot function before they are cast
aside never to change again. As you can imagine this makes them feel
quite hollow and this detracts from the concrete sense of place the
game sets up by making its inhabitants lack a feeling of humanity.
Take Yoko, the most prominent of the side characters and the closest
thing Cila has to a friend. Initially she is involved in events quite
extensively since she is the person who gives Mara to Cila and know
the truth about Mara’s existence. However, after a while she just
drops out of existence and only reappears in the climax as means to
provide a means of escalating the conflict. Yoko’s motivations are
not explored in any detail and end up being boiled down to a simple
hatred of the empire which create a flat feeling character. The
developers do try to correct this through the later released epilogue
Sunrise and this does do a good job of exploring her motives and
humanity. It is just a shame that this does not apply to the rest of
the secondary cast who never escape their lack of screen time.
Our Grimy Dystopia – Visual, Audio and Technical
The
title’s relatively low budget is
clear to see in its lack of the bells and whistles of larger visual
novels. However, this is not something the player will notice in the
moment as Synergia knows how to milk every drop from what it does
have available. Each part of the visuals and audio works to push a
specific sense of what this dystopia is like to live in and the
emotional
mood of the characters. This manifests as stripes of striking colour
in an otherwise dark and muted landscape, their beauty a fleeting
reminder of the happy moments of people’s lives and the grim
reality which surrounds them. Even at its brightest the colours are
always muted as if smothered by the smog of the city’s factories
and it adds an almost dreamlike quality to the intimate moments
between the cast. The music adds to these vague feelings through its
synth tones and it conveys a world of technological brilliance coated
in a thick layer of soot out of which only glimpses of what came
before can be seen. It
leans heavily into promoting this atmosphere to the point that even
outside of the context of the game the audio sells the experience of
playing it and the fragile mix of oppression and hope it represents.
 |
| Strong and muted colours define the identity of Synergia |
Conclusion
Cyberpunk
is a genre which has gone relatively unexplored in visual novels, but
Synergia provides a compelling case for why more games should make
use of it. The wonderfully all consuming romance between Cila and
Mara makes for a space where the themes and ideas can be explored
freely. Supporting this is a sense of place which paints a bleak picture of
the pairs prospects and yet feels alive in its own unique way. It
also helps the narrative to have Cila and Mara be such strong
personalities with their dynamic being a selling point for the game
as a whole. Making sure these parts for a cohesive is the visual and
audio which present a vision of this world and its characters without
saying a word.
Verdict –
The seamless blending of engaging themes, strong characters and
an atmospheric world make for a highly memorable and immersive
cyberpunk story.
Pros -
+
The romance between Cila and Mara wonderfully engages with the game's
core themes and ideas.
+
The grim reality and decay of this dystopia are palpable at every turn.
+
Cila and Mara’s characters and dynamic is endearing and complex.
+
Careful and considered use of the strong visual style and soundscape
help sell the experience.
Cons -
-
Cila’s past relating to her creation feels out of place with the
heavy theming around machines and Mara.
-
The secondary cast lack development and come across as one
dimensional.
