Archive for July 2022
Best Visual Novels Releases – July 2022
Summer’s Hottest Month
July
has been a scorching month around the world and it has also be a
month of hot releases in the realm of visual novels. There have been
some outstanding games released from supernatural mysteries to sci-fi
mecha epics and the quality of the stories on display are some of the best
of the year. Let’s waste no more time and get straight into these
exiting releases.
Official Releases
-Muv-Luv Alternative Total Eclipse Remastered -
Muv-Luv
is a series with so many spin offs and episodic sequels that it can be
a bit overwhelming at times. So here we are with the series' latest release, the remastered
version of Total Eclipse, an entry in the Alternative setting, and
one of the better extensions of the universe. Its focus on a new cast
and story distinguish it from the other spin-offs
which are content to languish in the shadow of the original games.
The strong interpersonal conflicts make each character stand out as
they all pursue their own beliefs and push forward the main plot
about the development of a new a Tactical Surface Fighter to help
fight against the alien BETA. For fans of the Muv Luv series Total
Eclipse is definitely one to pick up if you want a new angle on the
series, but it is not a great starting point for those new to the
series.
-Kinkoi: Golden Time -
Golden
Time is the fandisc of last year's Kinkoi: Golden Loveriche and
contains after stories for the previous game’s heroines as well as
new routes for Ayaka and Caminal. Needless to say this is a game
aimed at people who liked the previous entry and want to
expand on that experience. On this front Golden Time delivers an
excellent rendition of the qualities which made the original game so
entertaining with just the right amount of comedy and drama to keep
you engaged without being too taxing on your emotions. More of the
same but in the best way possible.
-Mothmen 1966 -
This
is a game which might have flown under some people’s radar due to
distinctive art style, with its heavy use of green, being something
which is likely to turn off as many people as it attracts. However,
for those who give it a chance they will find an engaging horror
story based on mid-20th century pulp fiction and playing on the myth
of the mothmen. The stylistic pixel graphics and second person
narrative work in tandem to invoke the period it draws from and plays
of it in new and imaginative ways. If you want something a little
different in your horror then Mothmen 1966 is for you.
-Digimon Survive -
After
having been delayed, Digimon Survive has finally be released and marks
a departure from the more rpg style games of recent Digimon titles
with its infusion of strategy gameplay into the series. This title is a
mixture of SRPG and visual novel rather than a pure visual novel and
as such the role of the visual novel segments is to carry the
narrative and set up for the SRPG missions. The game overall
emphasises its story to the extent that any fan of Digimon and of good
visual novels will find something to like in its personal narrative
of discovery and survival in an unknown world. Having an all new cast
also makes this game an excellent entry point into the world of
Digimon for those new to the series.
-TAISHO
x ALICE: HEADS & TAILS -
Heads & Tails marks the second fandisc on this list and just like the
previous one it contains after stories for all the original main cast
as well as two new routes (in this case for Ookami and Ryoushi).
However, this game goes above and beyond with the inclusion of school
parody story with routes for all the original characters which allows
the player to experience a new angle to their favourite characters. Heads & Tails is
definitely a game aimed at fans and it expects you to
already have a bond with these characters, making it hostile to those
who might want to start with this game. The solid romantic writing of
the original game are still here and the shorter play time leads to a
tighter experience with the emotional moments being as strong as
always.
-Amatsutsumi -
Denpasoft(18+) VNDB Genre
– Romance, Superpowers, Mystery. Play Time – 30 hours.
Purple
Software have developed some interesting visual novels over the
years, from Hapymaher to Chrono Clock, but nothing quite matches up
to the success and quality of their latest English release, Amatsutsumi. The story follows Makoto
who has the power to control people with his voice and it is about his
journey to discover the nature of his power and understand the girls
he meets along the way. Amatsutsumi makes clever use of its
supernatural powers to strengthen its key emotional moments and makes
sure it never overshadows the core themes and characters. The quality
of the writing and the focus on its overarching plot with an engaging
cast elevates this visual novel to heights that no other Purple
Software game has reached. It is a must pick up for any fan of a
gripping supernatural mystery with one of the best stories in the
medium.
The Common Route – An Anatomy of Visual Novels
In The Beginning
If
there is one structural element which is used by most visual novels it is the Common
Route. This linear opening section contains the choices which decide
the route you will be sent on as well as providing world and
character building setup so that the routes can focus on their
specific hero/heroine. They are so ubiquitous with visual novels that
even those who are not familiar with medium still associate them with
the Common Route.
 |
| Do all visual novels need a Common Route? |
Why
has such a distinctive structural ingredient become so ingrained into
the mind of visual novel developers? Other games which emphasise
choice do not share this aspect and instead opt to use different
structures such as the actions and consequences approach of Telltale
games or the Mass Effect series. Visual novels alone champion the Common Route.
This article will dive into the technical implementation of the
Common Route and find out both why it is so widely used as well as its strengths and
weaknesses.
The Backbone of a Visual Novel - The Pros and Cons
When
it comes to implementing a common route into a visual novel there are
many advantages but also trade offs to doing so. This section
will cover some of the most prominent examples from each end of the
argument and why you might consider having one in
your game.
The
strengths of the Common Route revolve around its function as the
foundational pillar from which all other routes and elements can build
on. The most prominent strength is the fact that the Common Route
often does the heavy lifting when it comes to establishing the world
and characters of the story. This means that the main routes do
not have to get bogged down with exposition and can focus purely on
their specific characters, themes and plots. The Common Route
ensures a level of understanding on the part of the player which the
writer can rely upon as a basis for what they can subsequently create.
This prevents pacing problems in the main routes where the majority
of important and memorable events happen and makes sure that the
player is left with a positive impression rather than becoming
bored with in-universe explanations.
 |
| Some Common Routes can be a bit on the nose. |
In
a similar vein, the Common Route allows for the establishing of a
malleable status quo and sets the tone for the rest of the game. This
is important as the routes which diverge off the Common Route are
likely to have distinctly different themes and plots which might
contradict one another if placed side by side. By building a flexible
foundation in the Common Route a visual novel can avoid possible
contradictions through allowing for a variety of outcomes to be
reasonable extrapolations from that base situation. Working to
complement this is how it establishes the tone of the game. While
this might be subverted later on, it sets expectations which can
be built off and provides a sense of consistency for the game as a
whole.
 |
| Western visual novels also follow the trend of using Common Routes. |
There
are often a lot of different heroines/heroes to choose from and it
can be overwhelming to make a choice about which of their routes you
wish to pursue. A Common Route creates a space in which the player
can get to know these characters before they need to make the
important choices about routes and this allows the player to switch the character they are going after if they change their mind. This is important as it creates an
understanding of the characters in the players mind and enables the
player to choose the part of the game they are most likely to enjoy
first, which helps ensure a good impression of the overall game.
 |
| Controlling the pace and tone of a visual novel is what a Common Route does best. |
On
a more practical level the Common Route is a useful tool to control
the scope of a visual novel. There is obviously the contraction
into a single section of the world building and character set up as
mentioned before, but on top of that it is an easy area to insert in
events from other routes which were cut for pacing reasons and need a
new location to play out. In addition, it is a section which the
player will repeatedly traverse through meaning it allows for a
padding of the play time if you need to control how fast the player
consumes the game.
Broadly
speaking the weaknesses of the Common Route come down to the bad
writing habits it can cause in some writers if they are not careful
with its implementation. We often see this in the poor pacing
which can be found in many Common Routes. The desire to put all the
exposition and character set up in the Common Route can lead to an
over-saturation of this content leading to a bloated and slow feeling pace and as a result it can struggle to hold the players attention. The Common Route
should never outstay its welcome, it is not the star of the show just
the warm up act. As such knowing what length of Common Route is
appropriate for your visual novel is a key skill for the game’s
overall pacing.
 |
| Common Routes thrive on character interactions. |
Another
common issue associated with Common Routes is that they can feel as
if they disconnected from the routes which lead off them. This can
happen for a variety of reasons, perhaps the transition between the
Common Route and the other routes is sudden jump which makes no sense
or perhaps the Common Route differ noticeably from the other routes
in terms of tone with too much slice of life content compared
to the rest of the game. These problems are symptomatic of the
balancing act of content distribution in a visual novel. There is a
temptation to put all of your slice of life elements into the Common
Route so your other routes will be free to focus on their main
stories. However, this can be done to the detriment of both Common
and main routes by creating a clashing tone and uneven distribution
of character moments.
The Foundation of Many Faces - Types of Common Route
In
order to accommodate the needs of the countless different visual
novel in existence, the Common Route has been adapted to suit their differing purposes. In this section, some of the most common types of Common Route
will be covered to see why each one is used.
 |
| Katawa Shoujo is a game which wastes no time. |
The
most standard of all Common Routes is the straight line. However,
even this simple structure has some important variations to it in the
form of whether it has early or late branching routes. This decision
changes the dynamic of the player's interaction with game. Common
Routes which start branching earlier generally have a faster pacing
and a shorter length as the routes rapidly take centre stage. This
type is generally chosen when the visual novel either wants to
quickly split the plot into distinct sections with heavily divergent
events or wants to focus in on specific characters rather than there
interactions with one another. Tsukihime is a strong example of the
first category, it has an opening Common Route which introduces the
characters in a basic fashion before splitting into the Near Side and
Far Side routes which focus on different aspects of the plot and the
world. The second category is best exemplified by Katawa Shoujo which
does not dwell on its Common Route and instead diving into the routes
quickly so that the focus in placed solely on the characters and
their struggles. These examples of early branching Common
Routes reveal the strength of using one, the ability to emphasise a particular
aspect of the narrative by shifting the focus into it rather than
dwelling on the Common Route itself. For visual novels with a focus on plot or characters
as its core appeal having an early branching Common Route allows them
to keep the momentum up while playing into their strengths.
 |
| In-built flowcharts are something more visual novels should have. |
Late
branching Common Routes are by far the most frequently used of the two
standard types and are without a doubt what many people associate
with visual novels. The reason for their extensive use is space they provides the
player to just exist in the universe with these characters rather
than having the constant pressure of choices breathing down their
neck. As such late branching Common Routes tend to favour slower
paced games which is why most romance based visual novels tend to use this type. You could pick up any number of visual novels and
find examples of this type of Common Route, a relatively recent
release which falls under this category (and has been reviewed on the
blog) is Cafe Stella. All of the game’s branches occur at the end
of what is a long Common Route and are decided by the cumulative
choices over its duration. For Cafe Stella this allows the Common
Route to focus on telling its story set up and self contained short
vignettes to make the selection of which route the player wants to
pursue something they are certain about. The popularity of the late
branching Common Route is a testament to how important a distinct
Common Route can be to the pacing and feel of a visual novel.
 |
| Despite its age Tsukihime is an example of good Common Route structure. |
The
last type of Common Route which will be covered here is the Ladder
Structure. Of the Common Route types this is by far the least used by
developers and this is due to the fact it requires them give up a lot
of the non-linear aspect of visual novels in exchange for its
strengths. In a game with a Ladder Structure the Common Route takes
on the role of containing the main plot which would normally be contained in the
routes and forms the majority of the play time. Character routes
generally diverge off the Common Route at set intervals such as near
the end of chapters (hence it forms a kind of ladder), though they are
generally optional and only expand on the Common Route rather than
containing key plot points. The only exception to this is the final
route which comes straight off the end of the Common Route and is
almost an extension of it to conclude the story. The most iconic
example of the Ladder Structure is Steins Gate which follows the
above formula to a fault with each heroine getting a small route but
with the focus clearly being on the Common Route and its push towards a narrative conclusion. This works for Steins Gate because of its
thriller writing style which keeps the pace up throughout its duration and
the side routes act as a sort of breather from the main plot and it
results in a more even experience than a standard route based
game. The Ladder Structure works best for visual novels which want to
emphasise their more linear stories but still want to have some
routes to keep the reader engaged through choices. It trades
the benefits of a more non-linear structure for a tighter narrative
experience.
 |
| The use of phone for choices is one of the smartest design decisions in Steins Gate. |
Why are common routes so common?
When
looking at visual novels as a whole, this is a natural question to ask
given the frequency of Common Routes. The obvious answer is to point to the benefits
which have been listed above as the primary motivating factor for
their inclusion and this is in part true since Common Routes provide
what visual novels need in terms of structure. However, there is
another factor at play, expectations. Common Routes have become such
a ubiquitous part of the medium that the audience
expects one in every visual novel,
whether the game needs it or not. This is especially true for romance
based visual novels where the player's choice of heroine/hero is so
important that not having a Common Route might anger some players
since it betrays their expectations. That is not to say that there
are no visual novels without Common Routes, we can find plenty of
examples from the simultaneous story sections of games like Wonderful
Everyday and Zero Time Dilemma to the recent trend for episodic games
like Phantom Trigger and 9 nine. Instead this perception of the
necessity is just a limit on the creativity of visual novels and one
which needs to be broken if we are to see more interesting and
experimental games in the medium.
 |
| Different stories have different needs and it is important to remember that fact. |
The Best Fit For All?
Common
Routes are at the heart of visual novel design as a pillar of
support for the non-linear aspects brought about by the presence of
routes and it provides these games a flexible anchor they can build around.
The exact structure and use of a Common Route has mutated into
different forms over time to fit the needs of each story, but at
their heart they focus on marrying the linear and non-linear. Despite
how useful they can be, you should never become too attached to them
and instead ask if they are what best fits the story you want to
tell. Be inventive with your Common Routes and maybe you will create
a new type Common Route which revolutionise the world of visual
novels. After all there is nothing common about a good Common Route.
Are Visual Novels Video Games?
The Big Question
The
debate about whether visual novels are Video Games or
something else entirely has been a topic of discussion among many people. This is
especially now since their exposure to a more mainstream audience has
brought in new voices. Those who argue against visual novels' status
as video games point to a seeming lack of gameplay mechanics as proof
that they something entirely distinct from Video Games. However, is gameplay the single element which defines a video game? If visual novels
are not Video Games what are they?
What is a Video Game?
This
seemingly simple question is strangely difficult to answer. As
mentioned above some people would define a video game by the presence
of gameplay mechanics though this is equally vague since then we have
to define what even counts as a gameplay mechanic in the first place. If we look to define that we find it is equally unclear and we continue to be unable to clarify what should be included under the title of Video Game.
 |
| Many Visual Novels have other game elements mixed in. |
Instead let
us look to a dictionary to see how Video Games are defined from a
linguistic standpoint. The Cambridge English Dictionary says that a Video Game is “a game in which the player controls moving pictures
on a screen by pressing buttons”. This answer is even less clear
than the use of gameplay mechanics as a definition though they do share
the common feature of requiring inputs in order to be classified as a Video Game. However, that alone could mean that almost any program on
a computer could be considered a Video Game if you were to argue along those
lines since every one of them needs some kind of input to function.
 |
| There are certain stories which can only be told through visual novels. |
Ultimately
it is probably best to see the term video game as a simple marker
which differentiates it from traditional physical games like
board games and sports. In this light the great variety of games under
the banner of Video Games makes more sense as does the vagueness
surrounding its specific meaning. It is a simple catch-all for a new
medium of games.
Visual novels as Interactive Narratives
One
of the most common categories proposed as an alternative to Video Games for visual novels is Interactive Narratives (or some variant of
the term). This is used due to the emphasis visual novels place on
the story as their primary element of engagement. There is a certain
truth to this argument since without their narratives most visual
novels would not have anything left, so on the surface the term
Interactive Narrative might seem to fit them. However, let’s
examine this phrase more closely and see where the cracks begin to
show.
 |
| The narratives which can be told through games are countless. |
By
presenting Interactive Narratives as a separate category to exclude
visual novels from the title of Video Game there is the implicit notion that Video Games are
not Interactive Narratives since it is used as a term to
differentiate between visual novels and Video Games. This is obvious
not true as there are plenty of stories within the various genres of
video games, from RPGs like Mass Effect to FPSs like Call of Duty, and
they all allow differing levels of acting out the narrative presented
to the player. Beyond this there are the narratives inherent in the
act of playing a game, the little stories each session offers as we
overcome its challenges, for example Space Invaders has a simple
structure but each time you play it you create your own unique
narrative of success or failure. As such the choice to try and frame visual novels as solely Interactive Narratives makes little sense
since Video Games are inherently Interactive Narratives of differing
types.
Why Visual Novels being Video Games Matters
Now
we reached the big question, why does any of this arguing over the
meaning of words matter? The simple answer is that the title of Video
Game has a certain power and legitimacy to it and especially so to
those who are viewing visual novels from a position of ignorance of
the genre but a familiarity with other Video Games. These people will
see the marker of Video Game and be more willing to give visual
novels a chance since it has a known quantity to it and as a result
visual novels will have an easier time finding new audiences.
Obviously the Video Game title has negative connotations for those
unfamiliar with the medium since it has gained associations with
laziness, violence and moral corruption in the minds of certain people. However,
this trade off is worth it overall as it is unlikely you are going to
convince the latter group to accept visual novels.
 |
| Visual Novels have so much to offer to those who give them a chance. |
Overall,
names and categories are important for the success of a genre and a
medium more generally, especially in this digital age where there is
so much content to consume it can be overwhelming. By being seen as
Video Game, visual novels can find a form of acceptance and
recognition from players in a crowded market and spread the wonders
of this medium of games to new eyes. More sales means more games and
that is good for all of us.
fault – StP – LIGHTKRAVTE Review - Capturing A Moment Of Beauty
Genre – Science Fantasy. Playtime – 6 Hours. Developer – ALICE IN DISSONANCE. Publisher – Phoenixx. VNDB
Before The Storm
LIGHTKRAVETE
marks ALICE IN DISSONANCE’S first new fault title in
seven years and this gap has lead to a substantial change in their
overall style. Gone are the static character portraits, now each
character has their own live 2d style model which moves as they speak
and react. A dynamic camera now changes to focus on key characters or
background elements and gives each scene more life. However, do all
these bells and whistles come at the cost of what made the fault
series so special? Let’s find out.
 |
| The main menu is truly beautiful. |
A World of Wonder - Narrative and Structure -
There
is something special about the world of fault. Its blend of fantasy
and sci-fi concepts always made for an engaging read in their
previous games and this trend continues in LIGHTKRAVETE. Unlike in
previous fault games there is no overarching villain to push the
narrative forward, since this is a prequel, and as result the world building has
to do more of the heavy lifting. The story starts by presenting the
kingdom of before the events of the first game which provides
it with a sense of place that had previously been lacking
and sets the stage for the story. Once this has
been established the narrative moves onto the meat of the world
building, the technical mystery. Without spoiling the exact nature of
it this mystery, it is an exploration of the limitations and practicality
of utilising magical technology for a new purpose not previously
achieved. This section of the story is by far the strongest as it has
the player piece together the solution along with Khaji, our protagonist, by having the
two gain a full picture of the puzzle at the same rate and when the
solution is revealed it is extremely satisfying.
 |
| This game has an encyclopedia of in-universe terms. |
The
only issue with the emphasis LIGHTKRAVETE places on world building is its overuse of in-universe terminology to the point of being actively
distracting. One such example of this is the in-universe word for bear which is beare. This might at first glance
seem like a petty nitpick, does a single letter difference really
matter? The answer is in the frequency and the way these instances
impede the players enjoyment by forcing them to stop and reread the
sentence to understand it. This collectively adds up to distract for
the excellent core narrative and, since most in-universe
terminology is used were standard English would have been clearer, the
writers could have easily avoided this problem by reducing their usage of these terms.
 |
| Ignoring something does not make it go away. |
A
story cannot exist on world building alone and so LIGHTKRAVETE has a
character focused narrative to complement the world building and give
it context. It is through Khaji’s struggles that this aspect
manifests and we slowly get to see the development of his character
in tandem with the growing mystery. His overall character arc is one
of the most cathartic experiences in a recent visual novel release as
he grows before our eyes from someone who is cowardly and unsure into a person who achieves his dreams. While it is not the most original arc, it is
used by many for a reason and here its strength is obvious.
Khaji’s character arc creates some strange
pacing issues within the narrative which can sometimes takes the player
out of the experience. One of the most frequent early examples of
this is an overemphasis on Khaji’s cowardice. This manifests as
extended sections of the narrative where events are pulled to a
screeching halt so that Khaji can express his unwillingness to do
something. If this was a singular incident to show this aspect of his
character then it would have been fine, but it happens repeatedly
and they all follow the same pattern and the result is a lot of
stopping and starting. Thankful this issue dies down in the second
half when the technical mystery takes centre stage.
A Cast Of Many Qualities - The Characters -
The
cast of LIGHTKRAVETE is one of the areas in which the game stumbles
slightly as character development and interactions are not evenly
spread among them leading to some characters feeling underdeveloped or
unnecessary. This flaw can be explained by splitting the cast into
three groups, the main characters, the minor characters and the old
fault characters.
 |
| What an understandable protagonist! |
Having
a memorable main cast is key to any visual novel and LIGHTKRAVETE
succeeds at this for the most part. Khaji Oberg has the excellent
character arc need for a protagonist and being in his head space
throughout the story gives the player a mix of outsider and insider
perspectives on the workings of the fault world. This high bar of
quality defines all the important characters of the story and it is
clear that the writer knew that this was where they wanted to focus
their efforts and the fruits of their success are obvious.
It
is when we reach the minor characters that the cracks begin to show
themselves. This secondary cast are noticeable less fleshed out and
seem to exist just to deliver exposition. The lack of emphasis on these
less important characters is understandable given the short playtime
of the game but it is a disappointment none the less. The larger
issue is the one scene each of these character has where they
explain their backstory and without exception they are tragic in some
fashion. This is not so bad in theory, but these backstories are all
delivered almost back to back over a small section of the story and
the result is a parade of misery which comes across a slightly silly.
If they had been spaced out over a larger time frame then this issue
would have been less noticeable and each story would have been given
the space to breathe.
The
final and most problematic group are the old fault characters, Ritona
Reighnvhasta and Selphine Rughzenhaide. These two feel out of place
in the narrative and seem to merely exist to justify the use of the
fault name. Ritona is the worst offender since she has the greater
amount of screen time and at times overshadows Khaji with her
presence, particularly early on when he is somewhat cowardly. Her
presence is meant to act as a reflection of Khaji’s own issues, but
instead she comes across a character out of place compared to the rest of
the cast with her extreme talent. The story would have been better
served by not being so attached to the fault name and feeling
confident in carving out its own identity.
The Spark of Life - Visuals and Audio -
If
there is one area where ALICE IN DISSONANCE are at their strongest it
is in the visual design and the quality of their narrative
presentation. Each character portrait has been given a complicated
live 2d style allowing for a stronger suite of dynamic expressions
and the addition of motion to formerly static scenes. This
works well for the talking heavy nature of the fault series with its
focus on ideas and world building and adds emotion and spice to the
character’s discussions. Complementing this change is the addition
of a dynamic camera which focuses on aspects of the scene to increase
the emphasis on certain characters and places while lending a sense
of life to the world. Together these elements support the already
strong narrative by lending weight or levity when needed to keep the
player engaged with Khaji’s story.
 |
| The character animations are extremely expressive. |
However,
this approach is not without issues and even if they are not deal
breakers, they are still worth discussing. The first is the mouth
movements while the character is speaking. If the game had voice
acting then this would not be an issue at all, but since it doesn’t
the silent mouth moving as the text is displayed makes the otherwise
emotive portraits come across as lifeless dolls. The other problem is
that some of the poses which characters take cause parts of their body to
noticeable clip through each other. It is not a frequent
occurrence but when it does happen it is distracting from what are
otherwise effective narrative moments.
As
for the quality of the actual artwork itself and the music, they are a step
above the previous fault games and show that the gap between the games
has helped ALICE IN DISSONANCE step up their craft. The backgrounds
pop with life and the character portraits are detailed to a level
which has previous not been found in the series. The music focuses on establishing the mood and as a result is not memorable but it
empowers the moments it needs to and works well with the type of
narrative which is being told.
Verdict – 8/10 –
LIGHTKRAVTE is an astonishing work of character and
world building which demonstrates why ALICE IN DISSONANCE are masters
of their craft.
Pros
and Cons -
Pros:
+The
fault universe continues to have some of the best world
building around.
+Khaji’s
character arc has an excellent catharsis to it.
+Visuals
and animations are astounding.
+The
technical mystery in the second half is extremely compelling.
Cons:
-Overuses
in universe terminology leading to unnecessary confusion.
-Some
character poses and movements do not look quite right.
-Old
fault characters feel out of place.
-There
are pacing issues in the first half.
