Schrödinger's Call Review – Is The Line Alive Or Dead?
Genre – Mystery, Drama Play Time – 10 hours Developer – Acrobatic Chirimenjako Steam VNDB
Hotline To The Dead
As
a method of commination, a phone call walks a strange line between
the awkwardness with its audio lacking the important
non-verbal cues of human interactions and the deeply personal
connection of having someone speak directly into your ears. This
unique experience lies at the core of Schrödinger's Call’s
narrative presentation which leans heavily into this space of
intimacy and misunderstanding to craft its dramatic and emotional
highs. The game follows Mary as she works as the last confidant for
recently deceased spirits where she takes their calls and tries to
help them make peace with their lives. All of these people do not entirely remember the trauma which keeps them here so a strong
investigative element runs through the title as the player must
deduce the truth and help Mary solve their cases. Each of the cast
Mary talks to over the phone bring their own quirky personality and
unique animal form to the table in order to make them easy to keep
track of and a joy to talk with. This sense of striking identity
extends to the visuals which use of a predominately black and white
sketched aesthetic backed up by sudden bold use of singular colours
to allow a moment or person to stand out. However, this is a game
plagued with odd game design such as an overuse of repetition and an
abundance of choices which merely loop the player around and waste
their time. Are these development decisions enough to undermine this
deeply personal tale of lies, loss and love? Let’s pick up the
phone and find out.
A Cat In The Box – Narrative And Themes
From
the moment Mary first picks up the phone there is a permanent through
line of personal mysteries about each caller as well as about Mary
herself. Having every person not completely remember their life
creates enough space for speculation about what trauma holds them here
and gives the player something to slowly pick apart over the course
of the game. Each chapter is made up of one main caller which Mary
has to help pass on and a selection of secondary callers who all knew
the main caller in life or they are somehow linked to them. This
interweaving web of relationships helps prevent the calls from
becoming repetitive since the player will be bouncing around between
these vastly different and colourful characters. Putting all the clues about their past together at the finale
of a chapter and freeing them is an incredibly satisfying experience
with a good catharsis and emotional climax to it.
 |
| The game begins and ends with this phone |
Similarly Mary’s
own past is slowly teased over her various encounters with the
callers and provides a nice plot thread to link the entire title. The
picture of Mary becomes more muddy over time as the fault lines in
her personality reveal themselves and overturn any initial
impressions of her character. So when the big reveals do come they
are still shocking but make complete sense when looking back at the
subtle hints left over the entire play time. Once all the callers
have had their turn and the spotlight turns to Mary, the game does
not pulls its punches and crafts a compelling final act where her
suffering get put on full display for the player to engage with first
hand. It is an impactful way to end the game and will sit in the
player’s mind as the credits roll and they put down the phone for
the last time. On a broader point, Schrödinger's Call makes a lot of
narrative use out of its use of the phone as the main means of
communication. There is a great deal of attention played to the
misunderstandings and nuances which occur only over the phone and
even make one of these a core plot line to great dramatic effect. The
phone also serves the role of being a symbol of connection, or the
seeking thereof, and how such relationships can be
fraught with problems and cut off when we least expect it. Yet it is
precisely these connection through the calls Mary makes which
ultimately save not only those callers but also Mary herself when she
comes to understand the value of those bonds. All of this is cleverly
conveyed through the ups and downs of the narrative and its gentle
warmth can be felt when it is most needed.
If
there is one thing Schrödinger's Call seems to have an obsession
with it is repetition. The game constantly repeats itself even when
the events or information it is repeating have only just happened
mere moments ago. By far the biggest offenders are Mary’s write ups
after each call where the player is taken through the call they just
experienced. Nothing in the game is complicated enough to justify
this kind of aggressive hand holding since all of the main points of
a call are highlighted during the call so the player cannot possibly
miss them. It is as if the game does not trust the player’s memory
and its own ability to hold their attention. At least a quarter of
the play time is dedicated to such repetition making it a constant
and invasive force many will find difficult to ignore. Had these
recaps only occurred once every so often then they might have served
a useful purpose to refresh the memory, but instead they are the
largest stain on the overall experience.
 |
| Gasp! Just like the famous thought experiment! |
A separate and less
noticeable problem can be seen in the way the game hand waves away
certain elements which seem like they should be important but end up
slipping to the sides in favour of the emotional finale. The moon
crashing to earth is perhaps the biggest of these and you would think it would be a big and constant presence but instead it has a
surprisingly minor presence and often forgotten. This is to the point
at which the game itself seems confused at times as to whether the
moon falling really happened or not with it bouncing around on its
position on the truth during the ending. Another weirdly discarded
feature pops up when looking at the cat, Hamlet, who acts as Mary’s
companion throughout most of the story. Despite this prominence and
the mystery surrounding him, he is somewhat discarded towards the end
and there is never any real resolution to who or what he is and where
he goes or what his purpose might be. Neither of these concepts matter
much to the emotional weight of the final act so it is understandable
they go pushed aside, but some proper clarification would have been
nice to neatly wrap everything up.
The Animal Kingdom – Characters
Being
glued to the phone naturally leads to a conversation heavy style of
narrative so it is important for the characters to be interesting to
converse with and on this point Schrödinger's Call is impeccable.
Each of the main callers has their own distinct relationship with
Mary and bounce off her in entertaining new ways in order to keep
them feeling fresh. From Lucy, the guilt ridden mother, to Violet,
the gentle and confidant rich girl, they all present themselves
through their memorable mannerisms then, as the player comes to know more
about them, their flaws and imperfections give them a delicate
humanity. Their associated secondary callers have intertwining views and lives despite the fact they never talk to one another
during the game and rely on Mary to be a go between which helps
further push the importance of her centralising role. As they all
slowly remember their shared history, the powerful emotions this
brings out constitute much of the titles ups and downs for them to
push through and this journey is what makes them so memorable. The
chapter structure also ensures they never outstay their welcome with
their resolutions coming at just the right time when they have said
all they need to and the player is ready to move on.
 |
| Choosing to have each caller be a different animal person was a smart choice |
Every caller
somehow has an emotional similarity to Mary and it is by interacting
with them that a more complete picture of how she thinks becomes
clear. This is an excellent method of making every character
important since they each hold a piece of the puzzle about Mary and
her lost memories. It also helps reinforce the idea of Mary as an
empathetic person who is suitable to be the last confidant while
setting this trait up be questioned and its fragility to be brought
to the front. Mary’s broader characterisation is wonderfully put
together from her ability to act as a problem solver for the callers
to her eventual confrontation with her own past. Throughout she
remains a central pillar of the player’s interest and the texture
of her personality is teased out slowly to keep them on the edge of
their seat. Investing emotional in Mary is easy which is extremely
important when the final sections of the game rely so heavily on the
player’s connection with her.
Hold The Phone – Visuals, Audio And Technical
When
loading up the game for the first time its visual language
immediately marks it out from its peers with its use of darker
colours and strong lines. The majority of time black and white will
be presented to the player as they act as the baseline for this space
between life and death. It speaks to the delicate balance maintain
here and Mary’s role in pushing people out of the intermediary
place. This pairing of contrasting lines and white voids makes the flat
and dark colours which each of the callers brings to the table stand
out against Mary’s own bland room. Each lacks the lustre they may have once had
to mirror the poor state the callers find themselves in yet the
colours still hold a weight to them and subtly communicates the
emotions and personality they had in their prime. The soundtrack is
similarly dulled with a heavy use of deep and resounding sounds even
in pieces aiming towards a lighter tone for their associated
character. It does a good job of capturing the mood of each caller to
the point of the player being able to recognise which person is
calling from their track alone. Furthering the auditory identity of
the cast are their series of distorted voice snippets which all carry
the fuzziness of a phone line and their own unique cadences.
These elements combine to create an audio-visual landscape which help
elevate Schrödinger's Call and make it easier to overlook its
issues.
 |
| Clean, informative and filled with personality |
On
the mechanics side of the equation things are a bit more uneven in
terms of quality. Having the player input the phone number of the
person they want to call by rotating the dial gives the phone a
wonderful sense of tactility. It helps centralise the phone as a
device of connection through this physicality with the phone also
needing to be manually picked up to answering incoming calls just to
keep it in the player’s mind. In a similar vein, the notebook has the player flipping between its writing covered pages to find the
clues needed to answer the mysteries and set the caller free. Later
on it becomes an important narrative point when starts to become the
playground for Mary’s increasingly decaying mental state. Despite
the game forcing the player to spend too much time looking due to the
constant recapping of events, it remains an endearing feature due to
its role in the story and Mary’s illustrative drawings.
Unfortunately things get worse when looking at one of the biggest
points of player interaction, choices. The offender here is the way
choices are looking for only one response and looping the player back
around to the start of the text if they choose incorrectly. This is
understandable in the quiz sections where the whole point is for
there to be a right and wrong answer, less so when they are used for
the general conversation choices without any kind of clear correct
option. The second group form the majority of the choices in the game
and so the player regularly finds themselves being looped around
since they have no context to know what the game wants from them with
such a small amount of information. What makes this worse is the way
the choices initially create this idea of non-linearity which
encourages the player to explore the narrative space only for them to
be slapped across the face for attempting to do so.
Conclusion
Finding
connections with others can be a difficult and delicate yet rewarding
endeavour and it is this core message which Schrödinger's Call
wonderfully captures with every call. The mystery of each caller’s
life and regrets makes for a compelling series of interactions which
build towards the greater finale around Mary. Each character has a
vibrant life to them which allows their calls to be constantly
engaging while slow picking away at the tragedy they hold in their
hearts. A strong audio-visual style supports this growing narrative
and uses colour to create contrast and dulled beauty in order to sell
every revelation. The phone and the notebook mechanics add a tactile
feeling to the small space Mary inhabits and lends these solitary
points of connection a weight they would not otherwise possess.
Issues of execution do exist throughout the experience from
repetitive hand holding to vague plot points to frustrating choices,
but none of these are enough to break the brilliant vision of the
work yet they do add some distracting cracks.
Verdict –
Deftly dials up an imaginative story of the fragility and value found in human connections told through the distorted audio of a rotary phone.
Yet it never quite reaches its full potential due to some poor design
decisions related to repetition and time wasting choices.
Pros-
+
Each caller is their own mystery where picking away at their past
slowly unveils the tragedy keeping them from passing on.
+
Makes the most out of the phone with a series of plot twists and
misunderstandings perfect for the nebulous connection it provides.
+
The cast has a good variety to it and they rub up against Mary in
their own unique ways.
+
Mary is an excellent protagonist who starts out as a seemly well
adjusted girl and over the course of the game the player gets to see
her gradual collapse.
+
Well crafted visual and auditory identity weaved in amongst the
tactile mechanics of the phone and notebook.
Cons -
-
Repetition plagues the game with it constantly going over events
which have just happened as if it is afraid the player might miss
something.
-
Frustrating abundance of choices which loop the player around them if
they choose the wrong option and wasting their time.
-
Some plot points end up discarded and unclearly resolved.
Best Visual Novel Releases - July 2026
With
the summer heat being so intense it has caused everything to catch
fire, now is the perfect time to escape to a cool place through the
wonderful world of visual novels. This has been a month filled with
an interesting mix of spicy and sweet otome, puzzling mysteries and
emotional roller-coasters across its many releases. Let’s dive in
and uncover what new titles are worth your time and what you should
be playing.
Official Releases
Be Missed and Remembered: The Letter from Mayoiga
What
should have been a simple holiday visit for Matsuda Naofuyu to his grandparents’ rural home turns into something far more dramatic
when he ignores the villagers' warnings and goes explores the mountain
shrine. There he meets the mysterious Suzu and the strange nature of
this magical place begins to unveil itself as the march of time moves
them forwards. Mixing mystery and drama in with its 1970’s
rural Japan setting makes for a fairly distinctive experience which
envelops the player in its atmosphere. It is also a nice and concise
game that does exactly what it sets out to and wraps itself up
without drawing out the story leading to a well paced escalation. A title for those looking for something short and
sweet in the mystery genre where the mood holds a major part of its appeal.
sins of KALEIDO
Nintendo Eshop VNDB Genre
– Dark Fantasy, Otome Play Time – 40 hours
The
first otome of the month and one leaning heavily into its dark
fantasy setting and unusual selection of suitors in order to put its own spin
on the genre. It follows the story of a young girl who was once the child
of a wealthy family until she lost everything and a group of men who
possess the power of witches within them. Each route is focused around
repairing the damaged hearts of the suitors and saving them from the
darkness which has claimed them. These different interaction reflect
back onto the protagonist’s own journey and do a fantastic job of
showcasing the interweaving growth of both parties in this
relationship. Diving into what makes the suitors tick is almost
treated like a mystery element where the player must peel back the
layers of accumulated pain to discover who they really are and what
drives them. The presence of three endings for each suitors reinforces
the importance of this discovery since it is only through the
player’s persistence that they can reach a happy ending and avoid a
terrible fate. If you are looking for an otome with compelling
characters but sits on the darker side of the genre then sins of
KALEIDO will be a delight for you.
Staffer Retro: A Supernatural Mystery Quest
Mysteries
are this game’s defining element, from everyday deductions to
truths about the nature of the supernatural power underpinning this world, and there is rarely a moments rest from its march towards the
truth. The story revolves around Verita, a young girl buried in a
sudden and considerable amount of debt and who must navigate the
barrage of investigations while somehow getting enough money to
resolve her issues. Choices within the title are heavily informed by
what information the player has managed to deduce so encouraging them
to explore the complex web of truth and lies in order to direct
Verita towards their desired ending. A lot of the mechanics of deduction
focus around documents and match or contradicting their contents and
this gives the experience an almost clerical feel as the player sifts
through the papers. Overall, a well put together mystery clearly
aimed at those want a consistent string of deductions to engage their
minds while the story plays out in front of them.
The Prince of Tennis Sweet School Festival 0-40 and more / Doki Doki Survival eternal passion
School Festival Steam VNDB Doki Doki Survival Steam VNDB Genre
– Otome, Sports, Dating Sim Play Time – 60 hours per game
Komani
has decided to release a pair of otome games from The Prince of
Tennis series on the same day and they are very similar in their
overall content despite having seemly different premises. Sweet
School Festival focuses around the player character wrangling the
tennis club into preparing for the festival while in Survival Eternal
Passion the tennis club get stranded on an island and must survive. Yet these are held up by the same core pillar of romantic interactions
with the suitors through the lens of their identical dating sim mechanics.
Difference do exit between the two title such a Sweet School
Festival’s singular focus on the festival compared with Survival
Eternal Passion’s sillier tone and meandering storylines. Both
offer an experience which is somewhat interchangeable with the other
so someone interested in them should pick one based on which premise
appeals to them, but either way they are in for a
light hearted and romantic time.
Dreamin' Her
Nintendo Eshop VNDB Genre
– Nakige Play Time – 7 hours
After
having been rejected by his childhood friend, Igarashi Aoi begins to
see a strange girl in his dreams who bares a similarity to said
childhood friend and treats him with a kindness he cannot find anywhere else. Soon the line
between this dream and reality begin to blur for him and his life unravels in ways he least expects. The core appeal of Dream’
Her lies in the mental anguish of its protagonist and the way it
plays it for tragic effect in order to push its big emotional
reveals. Due its short length it does not draw out its story with the
focus being on keeping the pace up as this dramatic train hurtles off
its tracks. A concise and well formed Nakige and perfect for those
looking a strong emotional punch to their visual novels.
Fan Translation
DEVILS DEVEL CONCEPT
Patch Download VNDB Genre
– Urban Fantasy, Action Play Time – 65 hours
As
one of Akatsuki WORKS earliest titles, DEVILS DEVEL CONCEPT sits in a
strange place for a modern player since it has much of the
studio’s identity printed all over it, but in an underdeveloped form. This extends to the visuals which lack the
polish which their later works would demonstrate so it is clear from
the moment you start that this something from 2008. It story follows
Shigure Sora and the girls he interacts with as the clash and form
bonds in world distorted by ‘devils’, humans and monsters.
Throughout the game there is an attempt to address the ideas about
how post industrial society has influenced the people within in and
this is an interesting topic for it to consider even if it is handled messily at times. Recommending DEVILS DEVEL CONCEPT is an odd
prospect given its value lies in its status as a curiosity of
the past since few modern visual novels would tackle these topics in
quite the same way.
Backgrounds – An Anatomy Of Visual Novels
The Stage Is Set
If
there is one part of a visual novel which often goes underappreciated
it is the Backgrounds, they end up forgotten despite their constant presence throughout every title in the medium. By their nature they do not want to
draw unnecessary attention to themselves and instead serve to
supplement the character sprites and other art assets. The most
common use of Backgrounds is to provide a sense of location to events
and frame them within a context the player can easily understand
without spending too much time focusing on them. Inherently all
Backgrounds end up as a representation of a place rather than a real location due to the limited number of them the game can use
so they must lean on the idea of reality rather than its actual
complexity. Then there are those which aim to capture an emotional
state through colour, shapes and strange imagery which the textual
content can play off to establish the tone of a scene. Let’s look
past the pretty men and woman and discover the ways in which
Backgrounds have quietly shaped the medium.
On Location
In
many ways the Backgrounds of a visual novel are akin to the stage
upon which the characters perform the story. They act as the
locations each scene takes place and provide a feeling of physicality
to the world the cast inhabits. Allowing the player to imagine the
described movements of the characters within this space encourages
the player to understand the narrative through this broader static
lens and controls their expectations for presentation. Once this
baseline is in place the Backgrounds can leverage their highly
detailed nature for various kinds of camera shots from panning to
close ups in order to add an extra flare to otherwise dry moments and
drawing attention to elements that might have escaped notice. Yet
this beauty must also be able to sink into the edges of perception so
as to not distract from the tension and drama of the narrative taking
place in front of it. A good location based Background treads this
line while it moves in and out of the player’s focus and imbues the
scene with the idea of where it is taking place.
 |
| There is no better way to make your game feel real than to use real photos |
This concept of place can
sometimes be very literal as it is with Root Letter and its use of
real world locations. Each Background is based on a spot in the
Shimane Prefecture and the game leans heavily into the sense of
reality it gives each scene in order to ground the sometimes
outlandish narrative. It also accidentally makes the title come
across as a promotion for the area to encourage tourists due to
how fixated it is on selling each place. The impact and tactile
feeling of these Backgrounds cannot be overstated and much of
the game’s appeal ends up being in this connection to reality and
showcases the way this sense of place can be a powerful tool to
motivate the player. This was so successful for Root Letter that it
received a new version called Last Answer which just replaced the
drawn versions of those places with real photos of them to underscore
the prefecture as the main character.
Most visual novels do not use
real locations as the basis for their Backgrounds and instead opt for
a fiction town, city or world as is the case in fault - milestone
one. The fantasy world in which the story takes place is not even
remotely close to our modern day and the spaces it presents come
entirely from the imagination. By being unbound by the expectations
of reality fault can leverage its Backgrounds as a space for world
building since it must push twice as hard to make the player believe
the locations are real to the cast walking through them. A tavern
must be lively and a palace must be grand in a way which highlights them through how it frames the cast’s interactions with these space and
this creates a dialogue between them where each lends the other an
air of legitimacy. This can never result in the same direct invoking
of emotion and ideas found in real places, but it can express its own
set of principles and flexibility to form a hyperreality where the
locations are bigger and more expressive than any real life
counterpart could ever be.
Abstractions Of Reality
No
matter how realistic or fantastical the Background, it can never be a
true representation of a space due to its 2D nature and the
limitations on what can reasonably be shown throughout the visual
novel. What this means in practice is a game has to choose a small
pool of images to represent an abstraction of the places the cast
will visit and convey the idea of them rather than a fully formed and
interactable location. The most obvious way this impacts the
experience can be seen in how a visual novel moves between these
Backgrounds using transitions rather than showing the movement from
one place to another. While most games uses this approach to some extent or another, visual novels have to utilise it for even the
slightest shift in perspective such a turning around in a room or
even just changing the placement of objects in a room. As such it is
critical that the player be conditioned to expect this abstraction as
soon as possible through regular shifts between Backgrounds while
also serving the double purpose of keeping them visually engaged.
Once established, a visual novel is freed from the expectations of
reality and it can then present these Backgrounds as compression of space
where all the big features of a location are shown on screen in a way
which would seem strange in a more grounded presentation. These can be entire districts, cities or wildernesses condensed down into an
easy to digest yet detailed vision of something the player can
identify and parse while it sits at the edges of their perception.
Fate/Stay Night is a relatively grounded use of these techniques
being set in a modern city and having most locations be those which the
player will be familiar with. As such it has greater freedom with its
compression of reality since it can expect the player to fill in the
gaps and intuit the way locations are connected to one another. The
city streets and school corridors construct a sense of place
compressed down to its essence with all the edges sanded down to keep
the focus squarely on the narrative performed on them. In battles
they have to demonstrate the movement of the combatants through rapid
camera angles and if Shirou is running away then it has to swap
between Backgrounds while not drawing attention to the way the images
do not have reasonable connections between them. This is a tightrope
act held together by the narrative tension and drama of these scenes
pulling the player’s attention away from any incongruity between
the images flashing on screen.
 |
| For all its over the top visuals, Danganronpa's backgrounds are surprisingly easy to parse |
An interesting contrast with this use
of abstraction is the approach taken by the Danganronpa games. Since
the player can walk from place to place the compression of distance
is not an issue for them and instead the Backgrounds are confined
to indoor locations reached through this traversal. Here these places
utilise their hyperreality as a means of framing the items and people
within it so the player’s attention can be drawn to specific spots.
This is especially important for Danganronpa’s investigation
sections which demand key clues be uncovered within these rooms and a
messy or more grounded presentation would make this task frustrating
for the player. By using an abstraction of these locations they can
be carefully curated to ensure the important items are visible while
not compromising on the vision of what these places were meant to be.
In A Mood
So
far the discussion has focused on Backgrounds depicting locations but
there also exists another group which aim to capture emotions and
other non physical representations of the narrative. These often
appear as solid colours or shapes and patterns where the point is
not for the player to understand them directly and instead it appeals
to the instinctual part of their brain. By far the simplest and most
common versions of this Background are the solid black and the solid
white. A mono black invokes a vaguely negative association to back up
the mood of the story or the protagonist’s inner thoughts but it
can also be a sign of the character being unconscious or asleep and
the black is their eyes being shut tight. On the other hand a bright white
can represent a hopeful or peaceful moment and it can serve to
capture the idea of the protagonist as being blinded by a bright
light. Using more complex colours and patterns works to narrow
down the exact mood and emotions it wants to invoke at the cost of it
potentially going over the player’s head if they do not have the
same associations with the imagery being utilised. As such the
majority of titles simply lean into flat colours rather than
complicated shapes in order to not run this risk and it is rare for games
to go beyond this limited space.
 |
| A sky background is so common it has become difficult to tell them apart |
One of the frequently used complex
patterns are the depictions of the sky found throughout the medium.
Rather than being a specific part of the sky which the player is
meant to be closely examining, it is instead a representation of the
POV character’s current mood or a sign the narrative has shifted
into an internal narration. It can also make use of the time of day
to shape the tone it wants to present with a clear blue sky providing
a vastly different feeling to a stormy one or the night sky and
through a careful selection of the time of day a game can gain a
subtle power over how a player perceives any given moment. Since it
is such a common style of Background, a developer can lean into this
standardised visual design language for their scenes and be reliably
able to invoke the same effect repeatedly which makes the sky a
valuable tool for shorthand expression. On the flip side it is
exactly this overuse that players have often mocked for being a
cliché so it, and other similar Backgrounds, needs a deft hand to
avoid drawing this unwanted ire upon them.
Conclusion
A
lot can be achieve with a simple visual novel Background while not
being the primary focus of any scene it is in. They can present a
sense place and identity to the locations where the cast play out
their story and quietly influence how the player see the game’s
setting. Since the Backgrounds can never truly represent a location,
they end up being abstractions of these spaces which the title can use
to highlight key elements or ideas and makes the whole process feel
natural. Beyond those depicting locations exist a group which consist
of colours and shapes with the aim of purely invoking emotion or
capturing a mood in order to enhance an introspective moment. Being
such a flexible toolbox offers a wide range of opportunities for
subtle expression and putting thought into how Backgrounds can be
used in your own visual novels can provide a quiet yet noticeable
impact on them.
Robots And AI – Character And Cliche In Visual Novels
I Do Not Understand Your Human Emotions
Modern
sci-fi across the world has an obsession with AI and Robots so it
should come as no surprise to find numerous characters fitting this
description within visual novels. These machines are the perfect
breeding ground for complex theming around what it means to be human
and the important questions surrounding technology. Not being bound
by the expectations of a human character has led to this these
machines developing their own brand of cliches and defining aspects.
The majority of the Robots and AI in visual novels fall into the
category of being stand-ins for humanity or take an element of human
nature and isolate it for examination. Characters in this group range
from copies of living humans to machines who hide their true nature
and make for vivid spectrum of personalities. Next to these sit the
AIs who are purely functional in nature, those who might present
human mannerisms but only exist as mechanisms with nothing going on
behind their eyes. Beyond them exists a broader overarching element
of these machines stemming from their nature being fundamentally
different from ours. They are not bound to the flesh like a human is
and reflecting on this invites interesting additions to these
characters’ presentation. Let’s boot up our systems and look at
how different titles handle this archetype.
Metaphor For Humanity
By
far the most common use of Robot and AI characters is as a means of
reflecting human nature back onto the other characters and pointing
out the absurdity and beauty to be found within it. This provides a
space for the narrative to be flexible in how its cast deal with the
events around them when confronted by a vastly different yet familiar
viewpoint. It can utilise the inorganic nature of these machines to
make the singular focus of their personalities more believable and
allows for them to be slotted into the desired thematic spot. Since
they are man made constructs they end up being a mixture of their
creator’s imperfections and the cold steel of their materials and
reflect this back at those same creators. In order to fill this role
these characters tend to either be lacking emotion or have an element
of childishness and innocence to their identities. Many share a lot
in common with child characters in their inquisitiveness with a layer
of adult knowledge showing their data based nature and lending them a
slight disconnect from their organic counterparts. One style of this
character is those created from the memories or brain scan of a
person so inheriting their personality passed through the lens of
their programming and metal container. These AIs generally act as a
kind of ghost for the cast since their original is often dead which
is case the Amadeus, from Steins;Gate 0. She is a copy based on
Makise Kurisu but made from memories from before Kurisu met Okabe
which makes her artificial nature immediately apparent and her
interactions with Okabe are awkward due to the differences in what they
both remember. For Okabe, Amadeus is Kurisu’s ghost who has come
back to haunt him and he both wants to talk with her and yet fears
the guilt which weights him down. She reflects his self-loathing and
apathy back into him while constantly presenting the truth about what the real Kurisu would have wanted Okabe to do. Being digital means
she can nicely slot into the phone angle of Steins;Gate where the
main way they interact with is over the phone rather than in person
furthering the idea of her as a ghost detached from the physical
world. Overall, Amadeus, like most ‘copy’ AI’s, is more a
narrative device than a complex character and they are simple
outlines around which other characters must develop and grow rather
than having much in the way of agency themselves.
 |
| Purity and innocence define a new born machine as much as they do a child |
Another kind of
Robot, and one Key in particular is in love with, is those focused
around purity and childish innocence. Philia, from Stella of The End,
perfectly captures this approach with her boundless curiosity and
complete lack of any sense of danger. These are the traits of a child
played up to their extreme in a mechanical form which does not
experience the world in quite the same way as a human. She simulates
the needs of an organic, such as hunger and sleep, but they are obvious
not quite right since her understanding of them is filtered through
her nature. This slight disconnect is perfect for her role
in providing a reflection of humanity to a jaded Jude that he cannot
easily dismiss and brings out the caring part of him buried beneath
the scars. Unlike the previous type of machine characters, Philia
gets an arc and meaningful development where she matures out of the
innocence into a well rounded adult without losing the valuable parts
of said innocence. Our final group of characters are those who keep
their artificial nature hidden and pass as humans from the point of
view of both the player and other characters. When initially shown
Luna, from Virtue's Last Reward, the player is likely not going to
suspect her to anything more than a kind and timid woman who wants
to have the most peaceful solution possible. Only at the end of her
path, late into the game, is the truth about her mechanical nature
revealed and this reframes her actions over the course of the story in a new context. The fact she knows a lot about what is going on but
is bound to rules which prevent her from revealing this information, presents the only unquestionably good person as not human at all.
Yet there exists a contrast between her and Zero III AI in that she
ultimately chooses the people she has experienced these events even at
the cost of her own existence while Zero is completely obedient
mechanism which adheres to its programming. This works to highlight
the theming surrounding human nature by being another angle through
which the power and value of choice are presented to the player.
Functional Machine
This
kind of machine character is an odd one to talk about since their
nature as mechanisms not capable of acting outside their determined
limits results in them being more plot device than person. Often they
serve the purpose of being the mouth for exposition or a surprise
source of conflict when they are hacked by the antagonists.
Inhumanity through a lack of agency defines these characters and they
present the veneer of being sentient but this quickly collapses under
scrutiny. Their broader role is to be a contrast against the push and
pull of the human characters who shape the story so the importance
and consequences of this freedom can be put into focus. One basic
example of this kind of AI character is Anato, from Secret Agent, who
manages the running of the city. She is the quintessential functional
AI with her role within the narrative being solely based around what
utility she can offer the cast. This means she is regularly reduced
to explaining the world to the player or providing a key bit of
information a character needs so the plot can move forwards. Despite
her motherly personality, she is presented through the lens of her
nature as a bundle of programming rather than a person and has an
identity which remains entirely static while also being passive to
the cast surrounding her. This makes such characters great for this
role due to the audience’s expectation for a machine making it less
distracting for them to dump information than someone who is meant to
be a living person.
 |
| Can a connection be meaningful when the other person can never say no? |
Masuko, from 2236 A.D., is a more complex version
of this archetype. She is an AI owned by the protagonist, Yotsuba,
and it is immediately obvious that her personality is not genuine
from the moment she first appears with her responses being extremely
inorganic and functional. Despite this staring him in the face,
Yotsuba continues to emotionally invest in Masuko due his desperation
for a meaningful connection and it helps reinforce the idea he has no
idea how to make them. On some level this knowledge is understood by
Yotsuba hence why he so aggressively tries to pursue the other people
in this life even to the ends of the world. Masuko is a constant
remainder throughout of his failing and shows the only connection he
can form is to something which is obedient and incapable of living
without him. The role she occupies comes from how others define her
given she is completely without agency of her own.
A Different Axis To Organics
As
might have become apparent, the synthetic nature of these Robot and
AI characters ends up being their primary distinguishing feature and
shapes how they interact and perceive the world. Not being bound in a fleshy prison gives them the ability to highlight the importance said
body has to humanity. It also offers a unique angle to explore what
intelligence and freewill mean when placed into a context with vastly
different needs and means of perceiving them. Since the way the
manifest varies wildly from game to game, it is best to look at a few
examples to get a sense of the overall shape of this trait. Aiba,
from AI: Somnium Files, treads an interesting line between organic
and machine due to her primarily acting as Date Kaname’s
replacement left eye. Visually she has a soft and squishy appearance
to match the organ she replaces while also contrasting it with her
almost alien inorganic internal workings. The obvious connection to
be drawn here is the presentation of Aiba as a part of Date and someone
without whom he is not whole, both literally and figuratively. More
broadly Aiba’s AI nature allows her to offer advice and support to
whoever she is paired with through her variety of data analysis tools
and this is shown to fundamentally shapes her understanding of the
world. This is why she needs to work alongside a human partner so
their combined wisdom can overcome the weakness of organic and
machine to create a better detective.
 |
| Aren't you the most adorable eye replacement |
One character who is complete
defined by being strings of code is Monika, from Doki Doki Literature
Club!. Her existence and much of the game’s big reveals revolve
around this twist on what she is within the confines of the world the
player is presented. Even as she plays with the rules, there remains
weight to her perception of herself and what she does to the other
characters. This lends what could have otherwise been silly fourth
wall breaking a level of power and consequence to create a tension
between her and the player. Monika knows exactly what she is and what
she is doing and is comfortable with both and she thinks and acts on
an entirely different axis from the organic player and Doki Doki
really wants this to hit home for its emotional pay off to have its
full effect. For our last example let us move back into the realm of
humanoid robots with Dorothy Haze, from VA-11 HALL-A. What
will immediately strike the player when first meeting Dorothy is the
disconnect between her mind and body with her mental age clearly been
that of adult while her body appears much younger. Her attitude
towards her physical form comes across as laissez-faire and she
treats it as a vessel rather than a fundamental part of her
existence. Talk of the modifications she has done to her body is a
light subject for her since they lack the permanence they would have for
an organic. Despite how different she from the rest of the cast, when
it comes to her relationships and interactions she is shown to be
capable of the same kindness as the rest of the cast and this helps expand the value of connections which the game pushes through
the variety of its characters.
Conclusion
In
the end Robots and AI characters are not so different from the
organic counterparts yet they are different enough to make them
perfect for exploring human nature. They can work well in the
role of metaphor for an aspect of humanity and each one can
leverage their relationship with the cast to bring out interesting
new angle to them. Playing off their inorganic nature can create
divides between them and organics which can be leveraged for plot or
emotional pay offs through this new understanding of the way thinking
and feeling can manifest. Then there are the characters who are
entirely bound by their programming and lack the freewill and these work both as exposition dumps and a
contrast with the freedom offered to the rest of the cast. Overall,
the inorganic nature of Robot and AI characters gives developers
a flexible way to hold up a mirror to the player and ask them to
examine themselves and they can make for a powerful avenue for the consideration of the human condition in a modern or
sci-fi stories.
Coffee Talk Series Reivew – Brewing Connections
Genre – Bartending, Fantasy, Cosy Play Time – About 8 hours Per Game Developer – Toge Productions Original Hibiscus & Butterfly Tokyo VNDB
On The House
Running
your own cafe and chatting with the customers as you serve them
drinks is a form of cosy fantasy focused around forming human
connections. The Coffee Talk games lean heavily into the potential of
this premise and sets about crafting a narrative space where sitting
and listening to the character’s worries is pleasant. These titles
take place in a modern day setting with fantasy races yet their
lives and troubles are surprisingly normal and their struggles form
the backbone of the story. Interacting and serving drinks is the
majority of what the player will be doing and Coffee Talk does
everything in its power to make this as engaging and impactful as
possible. Each of their life stories endears them to the player and
helps the games push its themes and ideas in an organic manner as they
come out over the course of multiple conversations. The cafe and the
people visiting are all rendered in a strong visual and auditory
style which quickly communicates who they are and makes them stick in
the memory. However, this is a series of titles which are plagued by a set
of recurring issues, from a struggle with subtly and conflict to
drink requests which can feel too vague, and its attempts to solve
these problems often end up shifting the issues to other parts of the
experience. Are these struggles between maintaining its cosy identity
and pushing the series forwards enough to weaken the fantasy? Let’s
fail to draw some latte art and find out.
Fantastical Mundanity – Narrative And Themes
Being
cosy sits at the heart of Coffee Talk’s identity and the inviting
atmosphere of the cafe and its customers do everything they can to
reinforce this tone. It plays off the inherently passive nature of
the premise, where the characters and events come to you rather than
you being the driving force, to create a slow pacing where the player
is encouraged to surrender themselves to the flow and appreciate the
interactions taking place in the current scene rather than looking to
future promises. This is supported by a web of characters and plot
threads which interact in surprising and satisfying ways as they meet
for the first time in the cafe. A lot of care has been taken to place
each character alongside others who will bring out the interesting
parts of their personalities and allows for them to grow in
meaningful ways. New relationships born from these chance encounters
form a key appeal of the narrative with the player getting to shape
their ultimate outcomes through correctly meeting their orders. By
offering the element of agency in the fundamental element, the game
can invest the player in the consequences they have helped to shape
while preventing them from become too complacent in the cosy tone.
 |
| One of the few looks at the outside work you get |
The social media app, where the player can look at what the cast have
been doing, adds another aspect of player interaction for them to
fiddle with outside of big narrative moments. It also serves the
purpose of making the cast feel like they exist beyond the confines of
the cafe so they come across as more believable individuals. All of
these elements are in service of some extremely powerful emotional
moment and pay offs in the finale which utilise the slower pacing to
get the space they need to breath and properly set the player up for
the gut punch. When the player puts down the game after the credits
roll it will be these scenes of catharsis that will stick with them
and each title in this series manges to capture its own version of
this impact.
Despite
there being some truly powerful narrative threads, there are just as
many others which meander or weakly splutter to their conclusion.
This unevenness consistently plagues the series and it is perhaps a
result of the large cast required for the amount of meshing
relationships Coffee Talk wants to engage with. A need to provide
arcs for each of these characters means some get left behind in
favour of the more interesting ones the developers clearly
put a lot of time and effort into. While the emotional impact of the
powerful moments is undeniable there exists a strange toothlessness
to them when it comes to actual conflict. There seems to be a fear
that if the cast are seen as being in conflict it will ruin the cosy
tone and on some level they are right. However, there is a different
being dramatic and destructive conflict and the weaker challenging of
beliefs style conflicts which make up most character centric
narratives. Shying way from any meaningful conflict creates a sense
of this world being a sanitised version of our own and lends it a
fake feeling.
 |
| This is just water with some mint on it... |
Then there is the series’ weird relationship with
subtly. There is a regular use of subtly through the dialogue and
character actions and it speaks to an understanding of how to sell a
theme or idea without saying it directly. Yet the developers constantly decide to have the
characters shout these ideas at the player in the most direct and unveiled
manner possible. This comes across as a lack of faith in the player’s
ability to pick up on clues and engage with the story while being
desperately afraid that its precious messages might be missed for
even a second. Ash is a good example of this trend, he is a stay
at home dad and through interacting with him the player is subtly
made to see his perspective on the role men can take in the family.
Then later on he explicitly vomits his beliefs out loud in a long
monologue despite the game having already demonstrating them and it
feels awkward while causing the scene to come to a screeching halt.
As a result it often feels like the games are preaching to the player
in a distracting and almost fourth wall breaking manner. On a higher
level, the overall structure and pacing of all three games is near
identical to the point of them somewhat blurring together. Rather
than being a strictly negative trait, this is more something a
prospective player should be aware of coming into the series. If they
like one of the games they will probably like the rest or vice verse,
but it is definitely not a series interesting in winning over new
audiences so much as sticking to what it want to be.
All Walks Of Life – Characters
As
you might imagine for a series so focused around interactions, the
characters of Coffee Talk are its strongest aspect and form much of
its appeal. They cover the full spectrum of what this fantasy society
has to offer from struggling journalists to blind musicians and it
comes together to create a patchwork picture of this diverse world.
Each one has an immediately recognisable core identity which helps
the player keep track of who they are in the sea of other characters
who enter the cafe. These are then expanded upon over the course of
their visits and as the player chats and serves drinks to them they
develop into well rounded and interesting individuals beyond their
initial archetypal introduction. Their colourful personalities mesh
together in pleasing ways where the unexpected can be born from a
chance meeting and helps push the sense of them as dynamic people who
have more going on than what the player gets to see. Only seeing a few
of the cast per day does a lot to keep them fresh, the games
regularly have characters be absent for one or two days in order to
make their presence not overstay its welcome and giving time for
developments between them to believably take place.
 |
| Even the smallest interactions are a joy |
One character who
sticks out for their weaker presentation is the protagonist who is
devoid of almost any interesting features and they are someone with
no investment or emotional connection to the world. They fit the
generic ‘nice guy’ mould and this basically removes them from
every conversation taking place as they only offer cookie cutter
reactions. There is the reveal in the first game about what they are
but this is hand waved away and never has any meaningful consequences
so feels like an excuse for their bland personality rather than
legitimate world building. What is worse about this is there are
characters in each game which are clearly the main recurring ones and
could have easily been slotted into the protagonist role, such as Vin
in Tokyo. This shows the developers are at least partly aware of this
issue and try to have another character fill this role of being the
core emotional anchor.
Coffee Shop Interiors – Visuals, Audio And Technical
The
pixel art visuals and their 90s anime inspirations craft what is the
series’ mostly consistently stunning feature. One look at a
screenshot invokes a powerful nostalgia in those who have played any
of the titles as its carefully designed characters and cafes are
laser focused on capturing the essence of the nostalgic comfort of a
good coffee. Just as the cast’s personalities are immediately
memorable so to do their visuals catch the player’s interest
through their mixture of familiar modern elements alongside the
fantasy features of their race. The cafes each present their own
vision of cosy mundanity through the assortment of decorations and
fixtures spread throughout which make it so there is always something
new to look at. Since this is the only location in each game, this
ability to continuously hold the player’s interest supports a
smooth visual experience where even in downtime it can work to
enhance the tone. Working alongside the pixel art is the lo-fi
soundtrack composed of relaxing and jazzy tunes and it is pitch perfect for
the narrative it accompanies. Each game in the series has its own
selection of new tracks to give them their own auditory identity
while still possessing the same cohesive feel across every entry. It
is difficult to overstate just how much these OSTs add to sense of
cosiness underpinning much of the series’ appeal and they are
wonderful to listen to outside of these games.
 |
| Mix and match your ingredients |
Preparing
and serving beverages offers the player their primary mechanical
means of interacting with the narrative and it characters. The act of
matching customers to their destined drink has a puzzle like
satisfaction to it and tests if the player has been keeping track of
the cast’s likes and dislikes. A small amount of artistic
personalisation is provided through the option to create latte art on
appropriate beverages and it connects the customer’s satisfaction to the player’s own work.
Each title adds its own new layer to this process of drink creation in
order to prevent it from becoming too familiar and routine so the
player must actually engage their wits rather than relying on previous knowledge. The only issues with these systems is
how some orders can be vague to the point of confusing since the game
does not show what ingredients or drinks have more abstract qualities
which some characters can ask for. Since this could be solved by
adding some keywords to drinks it the compendium to make it clear if
they match the requirement, it is not a major enough flaw to be
anything more than a slight frustration.
Conclusion
Capturing
the appeal of cosy interactions with lovable characters is what
Coffee Talk does best and over the course of the series it has slowly
developed its approach. It encourages the player to surrender to the
relaxed flow and go along with the cast’s slow development while
still being able to pack an emotional punch when needed. The pixel
art aesthetic and lo-fi soundtrack reinforce this atmosphere as they
provide enjoyable stimulation to make each moment feel fresh and
soothing. Its characters are the main appeal, they cover a wide
spectrum of this mixture of modern and fantasy people and each brings
their uniquely interesting problems to the table. Backing this up is
a robust set of beverage making mechanics to give the player a means
of influencing the narrative. However, it is not without issues
stemming from the uneven quality of its character arcs, its struggles
with introducing meaningful conflict and a flat protagonist which all
muddy the experience. Despite these weaknesses there is little doubt
about the strength of Coffee Talk’s cosy appeal and it understands
how it get the most out of its vibes and put its positive qualities front
and centre.
Verdict –
A beautiful and cosy collection of games about a cafe which
plays host to the emotionally resonant tales of its customers that stay with you long after the credits roll. Although there are
some issues with the execution of their character arcs and conflicts.
Pros-
+
Has an immersive and cosy atmosphere which helps the player sink into
the task of serving drinks and listening to stories.
+
Some extremely potent emotional moments act as the capstone to each
title and leave a memorable mark.
+
The cast are a collection of colourful and human personalities who
engage with each other in endlessly entertaining ways.
+
Excellent pixel art graphics and lo-fi OST forge a distinct
audio-visual identity.
+
The mechanics of serving drinks provides agency to the player while
also acting as a test of their memory.
Cons -
-
Character arcs are of an uneven quality with some being flat and
dull.
-
The games can sometimes be unnecessarily direct with their
presentation of ideas to the point of coming across as preachy and
lacking it subtly.
-
A protagonist who is a bland and generic ‘good guy’ archetype and
feels odd when placed next to the rest of colourful cast.
-
There are moments when the instructions of what a customer wants from
their drink can be too unclear and this leads to frustration at the
vagueness.
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