Archive for March 2023
Best Visual Novels – March 2023
With
cold winter months now behind us, we are fast approaching the
warmer days of spring and visual novels are here to help tide us over
the finishing line. March has been a bumper month when it comes to
the variety of different genres covered by new releases. We have the
standard slice of life content, but there has been a good deal of
comedy games with interesting twists on their premises and titles
that aim to be thoughtful or present a greater theme. Having
such a wide suite of options can be overwhelming so I have made sure
to include the best representatives from the pile. Let’s awake from
hibernation and see what the world of visual novels has to offer.
Official Releases
Norn9: Var Commons
Nintendo Eshop VNDB Genre – Otome, Sci-fi Play
Time – 50 hours
While this is not the first time
Norn9 has been released in English, the title finding its way to the
Switch is a cause for celebration since the last time it saw the
light of day was in 2015 on the PSVita. Norn9 distinguishes itself
from its Otome peers by have three separate protagonists,
each with their own set of three romances and the story is told
through how these characters form an intertwining web of
relationships. It is impressive how well the story can juggle this
many characters without any of them feeling half baked. They all
bring something to the table that reflects onto their respective
heroine and the overall cast and plot in some truly emotive and
profound ways. The mystery of the Norn9 and the people who live
within it gives the character threads a strong basis upon which to
grow and helps form the core identity of the game. This is definitely
a game every otome fan should try and might even convert a few people
if they give it a chance to shine.
Slobbish Dragon Princess 3
This month’s comfort food comes
in the form of the third Slobbish Dragon Princess game. There is not
an original bone in this visual novel’s body, but that is precisely
why it is appealing. It offers a short and satisfying experience,
perfect for a bit of light evening entertainment when you do not want
to play a complicated game. It continues the story of our NEET
protagonist and his misadventures with a group of dragon girls who pull
him in directions that are becoming increasingly absurd. Slobbish
Dragon Princess is a title which lives and dies on its humour and it
is a good thing then that each situation our protagonist is thrown
into play up the characters in a genuinely funny manner. If you are
looking for a visual novel to relax to this month then you cannot go
wrong with this simple but heart-warming title.
Tokyo NECRO
When it comes to interesting and
engaging games that push the type of stories that can be told to new
limits, there are few developers more willing to do so than Nitro+.
Tokyo NECRO continues this trend with a world in an ice age and the
dead rising to haunt the living. The story revolves around the
hunting down of necromancers, the people responsible for bring the
dead back in unholy forms, and the game is always sure to play up
these encounters for all the action value they can offer without
undercutting the core messages of the scenes. This achieves a nice
balance of accessibility since the game presents its more complicated
ideas through the lens of easy to understand action to prevent the
player from becoming bored. It also does not shy away from the darker
aspects of the themes it touches upon and this helps solidify its
distinctive identity. Looking for a game to really sink your teeth
into then you cannot go wrong with Tokyo NECRO. Just remember that
like many of Nitro+’s other games this one is also strangely horny
all the time (even without the 18+ content) so keep that in mind.
Disaster Detective Saiga: An Indescribable Mystery
Now from something completely
different, an absurd comedy that really puts its protagonist through
the wringer all in the name of making you laugh. Saiga Tendo is
perhaps the most unlucky protagonist in any visual novel as the
shadow of an evil god has fallen over his town and he is the least
suitable person to confront it. However, his very weakness might end
up saving him as his misfortune is his greatest weapon. This is a
game which is tongue and cheek with its plot and characters and, while
not entirely undermining its own narrative tension, likes to play
with expectations to get you to smile. Are you in the mood for a
humorous tale of insanity? Then Disaster Detective Saiga: An
Indescribable Mystery has you covered.
PARANORMASIGHT: The Seven Mysteries of Honjo
If there is one title on this
list that exceeded all expectation which were placed upon it then
there is no better candidate than Paranormasight. This mashing
together of mystery, supernatural and a game of wits should not work,
but the result is compelling in the way only a unique blend of genres
can be. It follows a narrative formed from the perspectives of
multiple protagonists as the grapple with the Seven Mysteries
of Honjo and end up finding far more than the bargained for. Their
competing motivations make for some strong character interplay and
ensure that the balance of power never remains static for long.
Curses also play a major role in the story and are well utilised to
get the characters into interesting and tense situations through
which they have to show their true colours. A game for someone
looking for something a bit off the beaten path and willing to try
what might on the surface seem like a messy combination.
Fan Translation
Akaya Akashiya Ayakashino
Patch Download VNDB Genre – Mystery, Supernatural Play Time – 20 hours
Our only fan translation this
month offers a supernatural tale of Japanese folklore and monsters
backed up by a series of well constructed mysteries. Following the
carefree Yue, the story focuses on his encounters with a variety of
colourful individuals as he ventures beyond the confines of the
shrine he has lived his life within. It is impressive how Akaya
Akashiya Ayakashino can keep a sense of tension even though much of
the narrative does not openly have high stakes. This is done through
the smart leveraging of the unknown which permeates every part of the
world and it becomes clear very quickly that many of the characters
you meet know things the protagonist does not and it is never quite
clear if this is for a good reason or they mean him ill. The amazing
visual novels that receive fan translations never cease to be one of
the best sources of good games and this is a strong example of why.
The True Ending – An Anatomy of Visual Novels
Final Destination
Controlling
how your game ends is crucial to the impression of it the player
walks away with. This is an especially pressing issue for games with
any kind of choice system which provides the option of alternative
endings. If not handled correctly this can cause the narrative to
come across as inconclusive and lacking a coherent identity. Something to tie the events of the
game together is needed to ensure the player in clear as to the
intent of the story. For visual novels this manifests in the True
Ending which gives developers an immediately recognisable tool with
which to create their branching narrative without having to worry
about issues relating to interpretation. This is one of visual novel’s
most well known features, outside of perhaps the Bad End, and has shaped how they form their structure and mechanical
elements. However, is this a deserved reputation or have people
merely become too intrenched in what is familiar to see the clear
weaknesses in this method? Let’s meet our inevitable fate and see
what the True Ending has to offer.
What Is A True Ending?
For
the sake of this argument the True Ending will be defined as the
primary ending to a route shown through the structure of the route
itself and through the finality of its presentation. At first this
might seem like a fairly simple definition, but it is in its
interaction with other ending types and the overall structure of a
visual novel that it becomes muddier. The first thing many people do
is place in it a contrasting position to the Bad End, but this is
more than a bit misleading. It assumes that a True Ending needs to be
positive in nature in order to be the opposite force and this is
simply not correct for many True Endings. Their ability to be flexible
is one their greatest strengths and this includes being bittersweet or
tragic in nature. By the same measure they are sometimes confused
with Good Endings under the false assumption that the True Ending has
to be happy. The only defining element that binds all True Endings
together is their role as a conclusion to a route’s narrative.
Another confusing interaction is with the True Route which is a
technique many visual novels also utilise and can make for a lot of
head scatting for an outside observer. Put simply a True Route
concludes the game while a True Ending only concludes a route,
through a True Ending can conclude the final route of the game but it generally
plays second fiddle to the force provided to the narrative by a True
Route.
Providing Resolution
At
its core a True Ending is primarily interested in giving closure to a
narrative. This is a complicated task as tying all the parts of route
into a whole that leaves the player satisfied requires finesse. One
of the main ways it has to achieve this aim
is through the route’s focus character. Since the whole route
revolves around this character the player’s eyes will be on them
and they will likely have a great investment in this character’s
struggles. As such a True Ending can frame itself through this
character by linking its events to the end of their character arc in
way that suits the overall themes of the story. This might seem like
something an ending of any story should do, but the way it commits
to it is different as it has an eye to how this individual route fits
into the puzzle of the visual novel’s totality.
Commonly this
manifests as the ending leaving enough space in the character’s
personality for growth in later routes while also not undercutting
their resolution in the route itself. A good example of this is how
G-senjou
no Maou handles
its character route endings in relation to the narrative’s
progress. Each True Ending is paired up with a Bad End to ensure it
has the highest impact through showing the failure of the character
arc and how it relates to it success. There is an effort to never
make the True Endings too happy in order for the character’s
victories to come across as hard won. It also allow for later routes to
provide them with a different type of resolution which does not come
across as hollow by comparison to the character’s own route. What
results is a controlled establishing and fulfillment of character
resolution on the character route level and within the context of the
complete game.
 |
| Impact is something True Endings thrive on |
The
other important manner in which True Endings present resolution is
through the use of the route as a marker within the visual novel’s
overall plot. A route can assume a role as within the narrative both
in terms of plot development and the message of the game. The True
Ending of a route can leverage this through line to highlight itself
as tying up this element of the game so it can be clearly burned into
the player’s mind. When presenting an aspect of the plot, the True
Ending can provide a moment of clarity for the player and tie up that
part of the story so it does not have to be constantly reinforced,
while also giving the ending a sense of satisfaction. On the other
side, we have the message the game is trying to present and how an
individual route plays into that idea. A True Ending can piggyback on
the part of the message contained it its route by making this its
core driving force in contrast to the other endings. It acts as a
resolution to this element and this reflects back onto the ending,
giving it a sense of closure and connection to the game as a whole.
Flexibility With Tone
Of
all the way to end a route there are none as flexible as the True
Ending and this is due to its ability to shift dynamically to fit the needs
of both the route and the game overall. As has been alluded to
before, one of the most noticeable ways it achieves this is through its ability to set the expectation for the ending in a way that does not
demand the ending be neither happy or sad, but simply satisfying. In
having this player expectation a developer can use True Ending to
present what they want without worrying about disappointing the
player and potentially losing their interest in the rest of the game.
It also results in a wide variety of different ending constructions
even within the same game and helps provide excitement since the
player feels as if they cannot entirely predict how things will pan
out. Fate Stay Night showcases this design philosophy well with its
satisfying but not saccharine endings which play out dramatically
differently to one another. The True Endings of Unlimited Blade Works
and Heaven’s Feel could not be more different from each other in
terms of vision and outcomes, despite still feeling as if they belong
in the same game. This is due to how they take their respective
route’s core ideas and drive them in contrasting directions to
highlight a different angle on the same message. Without the
expectations provided by True Endings, the way they play with events
which do not end entirely happily for those involved might be viewed
as a betrayal of the time the player put into the story.
 |
| True Endings make the same ingredients sing in different ways |
Providing
satisfaction is not the only way in which player expectations can be
leveraged to the benefit of a True Ending. For internal True
Endings, those that do not conclude the game, there is an
understanding that they are not entirely final in nature and this can be used
to allow for a form of open ending to provide greater route
flexility. This gives space for the ending to shape its own identity
while not being tied to concluding everything it has covered and
avoiding stepping on the toes of what other routes are going to focus
on. In Corpse Party: Book of Shadows can be seen a series of good
examples of how useful this aspect can be. Book of Shadows is a
collection of connected smaller stories which each cover a different
element of the story and world, so there is a lot of overlap between
them as their respective themes and plots intersect. The True Ending
of each story uses the expectations of the player to cleanly conclude
their own narratives and still provide the room for the other stories
to exist and form a whole puzzle together.
All
of this flexility makes the True Ending a wide spread staple of
visual novel narrative construction across all genres. This is due to it ability to change shape meaning that it is not tied to a specific set
of ideas or tones in the way other ending types, such as the Bad End,
are through their focus on achieving a specific effect. The general
applications are so neutral in nature that everything from horror to
action to slice of life uses them in some fashion or another. Even
visual novel spin-offs of other media franchises use it such as with
the True Ending in Date A Live: Arusu Install which fulfils its
most basic function of being a conclusion to the narrative and
providing a definite sense of finality to proceedings. When a tool is
so ubiquitous that even side projects from other mediums are using it,
there is a clear sense that the True Ending is a uniquely powerful
and adaptable framework.
 |
| Unfortunately you are not the true heroine of this story |
Statement of Themes And Ideas
The
significance a True Ending holds within the structure of the
narrative makes it the prefect framing device for a game’s themes
and core ideas. As the player is expecting a finality to what is
presented to them during a True Ending, they will be paying
heightened attention to what is transpiring and be more susceptible
to any implications or subtleties the developer wants to send their
way. By mixing in themes and ideas from the rest of the game into
this conclusive segment, the player will become more aware of how
these elements have been present throughout the whole experience and
come to understand the point of what the game is saying to them. This
has a tendency of manifesting in visual novels with a single high
impact True Ending such as Steins Gate which has its entire game
structure push the player towards this ending. Its funnelling of the
player gives a focus to the True Ending and makes the process of
helping them understand the themes easier since all its important
ingredients were presented in an obvious line. A True Ending just
allows for these pieces to be brought into the light and Steins Gate
exploits this opportunity to the full extent of its worth.
 |
| Steins Gates True Ending is masterclass in proper conclusion |
How
a True Ending relates to its fellow endings can be used to create
a thematic contrast in order to allow the message of the visual novel
to spelt out for the player. This generally involves having the True
Ending be connected to choices and outcomes which are fundamentally
different from any of the other endings. The result is a section of
the game that stands separately from the rest and shines a light
onto the problems in the thinking which lead the player to the other
endings. WE KNOW THE DEVIL utilises this method especially well by
having the other endings focus on a single characters struggles in
isolation and having the True Ending showcasing that the solution to
their issues can only be found through all the them facing their
problems together. This contrasts isolation with unity
provides a strong statement about which one the game thinks is the
more compassionate and human path. While this is a particularly
extreme example it nonetheless showcases how the True Ending can be
used as a tool within the framework of other endings.
 |
| It is amazing how much you can get out of a simple contrast |
Conclusion
There
are few features of a visual novel more memorable than its True
Ending and this is due to how powerful a technique it is for leaving
an impact on the player. Its focus around providing resolution for
characters and plot elements gives it a flexility to imbue these parts
of the narrative with the impact they deserve without causing issues
for any future routes or overarching plot. Not being bound by
expectations of tone lets a True Ending be satisfying for the player
without needing to compromise itself and be suitable for use in any
genre that might need what it offers due to its neutral narrative
nature. On top of this, it offers a chance for the developer to make a
statement about their vision for the ideas and themes of the game due
to the conclusiveness of the True Ending or through its contrast with
all the other endings. Through all these unique features the True
Ending can offer you a chance to shape your visual novel and leave
the player with a powerful memory that will stay with them long after
they have closed the game.
Horror VNs – Genre Deep Dive
There Is Something Behind You
Genres
define the games they inhabit and how the game uses its unique features
to achieve or subvert the expectations of the audience. This is
especially true for horror which aims to invoke feelings in the
player that many other genres deliberately steer clear of. As such it
is an excellent candidate to begin to observe how visual novels adapt
themselves to accommodate and play to the strengths of a specific
genre. When a developer sets out to make a horror game they are
shaping their game into a framework with the aim of creating fear and
dread in the player. This is an extremely narrow set of priorities
which often leads to creative use of assets and ideas, but also
restricts what a game has access to in terms of standard motifs since
it is highly incompatible with other genres. Visual novels are by
nature a medium of limited means of expression while still being
extremely flexible and has lead them to have an odd relationship with
horror. Let’s dive in and find out exactly how the bond between
them manifests.
Less Is More In Horror And VNs
The
strongest bond between horror and visual novels is their
understanding that less is more when it comes to narrative and
presentation. For horror this is about not giving away too much
information in order to insure that the source of the fear and dread
does not become a known quantity and thus familiar to the player. By
contrast visual novels lean into this narrative style more out of
necessity due to the limitations of the medium and the need to keep
the pace of story up while making the most out of the assets
available in creative ways. Regardless of their differing reasons for
this choice, it makes for an excellent pairing with horror which is able
to cleanly achieve its aims and not put a burden on the resources of
the visual novel. Perhaps the most iconic example of this common
trait is the original Higurashi. This title had a very limited
budget to work with resulting in the creator having to make all the
artwork himself and splitting the overall narrative into a series of
shorter visual novels. However, these apparent shortcomings were in
fact strengths for the horror focus of the game. They prevented
the source of the fear from becoming an easily identifiable element
through the odd style of the artwork and limited nature of its
implementation does as much for obscuring the truth as the narrative.
While other horror visual novels might not practice this technique to
the extremes of Higurashi, they nevertheless lean into it for both
budgetary and artistic reasons to help form the desired dread in the
player.
Monster Of The Week
When
it comes to structural elements, there is one type which both horror
and visual novels love for longer form storytelling and this is the
episodic format. The most common manifestation of this format for horror
visual novels is a monster of the week style where the threats facing
the characters changes regularly to keep the player on the edge of
their seat. By not sticking to a single monster the game can preserve
the overall sense of the unknown since it can discard an individual
threat the moment the player no longer feels fear from them. It also
allows for the build up of a greater and insidious final antagonist
to act as a capstone for the game through an escalation of the
dangers facing the characters, thus making the entity responsible for
all the previous monsters come across as particularly threatening.
The Death Mark games showcase this compatibility through the
various ghosts and ghouls the developers based their episodes around
and the way in which the visual novel format complements this
approach. Each self contained segment has its own mystery and
mechanical puzzles to complement the associated monster and provide a
pacing tool through which the game uses to control the build up and release
of tension. This is important as for a game of Death Mark’s length as it
cannot keep a constant tension otherwise it will wear out the player
and cause them to want to stop playing the game. So the solution
Death Mark hits upon is to simulate the highs and lows of an overall
horror experience on a smaller scale to give space to breathe and
generate excitement for what is coming next. It is the also a great
pacing tool utilised by visual novels in general to make break their
longer games into manageable chunks, leading to them slotting nicely
alongside horror.
Control Over Information
One
particular sub-genre of horror which does not adhere to the episodic
format is Denpa, a genre where controlling the player’s access to
information is critical to the effectiveness of its fear. Given the
limited means visual novels have of presenting the player with
information, they are capable of providing a developer with precise
control over what is know, while still offering the option to drop
hints and create striking moments. This might be through the use of
specific character portrait placement, subtle audio cues or the
clever narrative moments. There are a surprising number of avenues to rely ideas down but these have limitation on the amount which
can be conveyed at once and this sets the player’s expectations for
what they are witnessing.
Together these are excellent tools to sow
doubt in the player's mind and invoke a paranoid state in them that is
the hall mark of Denpa. Soundless - A MODERN SALEM IN REMOTE AREA –
is a good example of how compatible Denpa horror and visual novels
are at their core. The overall aim of Soundless is to create a sense
of claustrophobia and doubt the game can channel into making the
player question everything as events decay into a whirlpool of
madness. To do this, the game establishes a status quo through a set of
symbols and sounds that meet the player’s expectations while subtly
cueing them in that something is not right, but never allowing them to
put their finger on what it is. Thus when events start to slip into
an uncontrolled descent, the player cannot tell if the protagonist is
a reliable narrator to events given how off they can be at times, but still having to grapple with them as their only source
of information. The restricted space to understand what is happening
provided by the limitations of the visual novel medium ensure the
player will always be in the palm of the developer’s hand and
experience the desired dread.
What You Imagine Is Scarier Than Reality
Sometime
it is best to let the player hang themselves with their own
nightmarish vision of what is hiding under the bed. No game can
possibly match the power of our own mind when it comes to creating
fear, so why not let it help the game’s main purpose. Visual novels
are especially well placed to exploit this feature of the human mind
since they by nature have large gaps in the presentation which they
expect the player to fill with their imagination. These spaces around
the edge of the threat can be positioned by the game so that
they do not come across as holes in the narrative, but instead as the
insidious and unknowable nature of the horror. Controlling this
balancing act is key for this techniques success, the player must
never know that they are the source of the fear and must believe in
the game’s power over their emotions. This kind of horror can be
difficult to maintain for long play times and as such visual novels
with this as their core then to be on the shorter side. We can look
to Phenomeno for a concise example of this approach since it is
entirely reliant on it to scare the player. The game heavily leans into the
implications of a threat without ever showing anything, from
unsettling music and sound effects to ominous visuals since, its
monster lacks a form to appear in. In doing this Phenomeno has to
tread the fine line between the player’s desire to see the threat
and their dread about seeing it, which it does through never dwelling too long
on any one source of fear.
Conclusion
Horror,
just like humour, varies by person, some find grotesque monsters scary
while others find the unknown a source of dread. Regardless of what
type of horror experience is desired, visual novels offer a flexible
environment to create an emotional roller-coaster for the player.
Their compatibility with horror is founded in a fundamental
commonality with how the two approach their structure and execution. From
an emphasis on a limited means of presenting ideas, to an episodic
centric approach to long form stories, to an ability to create gaps
into which the player can project their own monsters. Together they
can create games and narratives which would not be possible in other
mediums due to their more expansive tool sets and differing player
expectations. Horror is a genre defined by its ability to make something
from very little material and visual novels understand this approach
in a way nothing else can hope to match.
Gnosia Review – In Space No One Can Hear You Scheme
Genre – Mystery, Social Deduction, Thriller Play Time – 20 hours Developer - Petit Depotto Steam VNDB
With Knives Out and Masks On
Trapping
a group of people in a remote location and forcing them to into a
game of social deduction is a premise with a surprising among of
interesting scenarios to give despite how simple it is at its
core. We have death games like Danganronpa, more mystery orientated
titles like Virtue’s Last Reward or multiplayer experiences such as
Among Us and each brings a unique angle to the same basic idea.
Gnosia seeks to add its own flavour to this sub-genre by taking the
social deduction aspects of a game like Among Us and simulating it in
a single player narrative visual novel where the player is trapped in
a time-loop focused around this element. There is more to this game
than that simple summery allows and bellow the surface is a
distinctive sci-fi world. However, do all Gnosia’s parts work in
combination or is the idea of a single player social deduction game a
fundamentally flawed idea? Let’s get trapped a spaceship with a
monster and find out.
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| Even the main menu will come to reflect your journey |
Trapped In A Nightmare With Me – Narrative and Themes
At
its core Gnosia is a mystery thriller with a large helping of sci-fi
to spice up proceedings. The cast has just escaped the destruction of
a world at the hands of the gnosia only to find out there are an
unknown number of gnosia onboard the ship. The gnosia infect humans
and as such it is impossible to immediately tell which of the crew
have been turned and only through debating it and social deduction
can the crew save or doom themselves. This is the base premise the
player is initially presented with but soon after they have
navigated their first encounter the gnosia to its conclusion, they
find out that they are trapped in a time loop where they relive these
debates again and again.
On a base level this gives Gnosia a constant
sense of tension since you never know who is on your side and who is
against you whether they be gnosia or someone who believes you to be
a gnoisa. This feeling that everyone has their knives out and is just
waiting for a chance to off you creates a narrative paranoia which
the player must overcome as it is the only chance they have of
escaping this loop. On top of this you are given the opportunity to
choose to be the gnosia and turn the dynamic on its head while seeing
the story and characters from the angle of the monster and providing
another means to understand what makes them tick and piece together
what is really going on and why you can be the both hero and villain
of the story. It helps that the overall pay off for the time spent in
these loops is engaging and suitably ramps up the stakes to make the
later cycles hold more weight in the journey towards the truth.
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| This a game with its fair share of strange moments |
One
of the most striking ways in which the game complements this pit of
snakes is through contrasting it with the vivid universe it provides
snippets of. A world were people merge themselves with cats, dolphins
walk among us and complicated cast systems rule the galaxy from the
shadows. These elements and more help shape our impression of this
world and their variety makes each new fragment of information a
delight to uncover and move towards a more complete understanding of
the situation. Just as the overarching mystery is careful to never
reveal more than is necessary, the world is kept to single pieces of
knowledge told to us by characters who consider it normal and do not
expand on it in much depth. This allows from it tantalise the player
with the possible complexity on offer but also does not overstay its
welcome and make the player wish the game would just move on to
something more important. Despite all this praise the universe of
Gnosia, it can sometime rub a bit too close to the stupid and causes
tonal problems when put alongside the life and death drama the
characters are undergoing. While this issue does not come up very
often, it can still be jarring to have it happen when you were trying
to take the events seriously.
Forming
the backbone of the narrative is the theme of identity which finds
its way into every aspect of the game. From the mechanic search for
the identity of the gnosia, to the characters quests to define their
own identity in the world, to the player’s choices about what sort
of person the protagonist is, it is an inescapable thread linking all these
parts together. It works especially well with both the serious and
the upbeat moments by being a universal concept etched on our lives
through the ups and down. This makes it easy for player to empathise
with the struggles of the characters when they are presented to you
through a familiar lens but in an unfamiliar manner to spice this
know quantity and create an engaging story. Gnosia is one of the
strongest representations of what it means to hold an identity in the
modern world and provides a uniquely nuanced and accepting look at
the consequences of this environment. Despite this being a future
were we have not resolved our differences, it is still an oddly
hopeful one when it comes to freedom of identity and how this process
heals everyone involved.
Space Is A Strange Place – Characters
In
a game so focused around social deduction the quality of the
characters holds greater significance than it would in other genres,
since it needs them to act as both narrative and mechanical elements.
Gnosia mostly sticks the landing with its colourful cast but there
are a few aspects of how they are often presented which prevent them
from truly reaching their potential.
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| Being pulled along is how you move forward |
The
narrative focuses around the duo of the player character and Setsu
who share the ability to remember previous loops and for most of the
run time it is their struggles you will experience. Having a
companion in your endless cycles gives a surprising level of warmth
to the cold void of space knowing that, even if they stand against
you in the debate, they are working towards the same end goal as you.
It also helps invest you in Setsu’s own journey as they come to
grips with their place in this crew and in this universe as a whole
and your closeness to them lets you form the bond necessary to cheer
for them every step of the way. By investing in this connection the
player furthers their immersion in the role of the player character
through a little bit of role-playing stimulated with the focus around
a central companion character. This bond is by far Gnosia’s most
impressive narrative achievement as it could have gone wrong so
easily if Setsu had been too present or too absent from the story or
simply had an irritated information dumping role and it is a
testament to the developer’s skill that the final result is such a
strong dynamic.
A
ship of fools is perhaps the most apt way of describing the rest of
the cast. Each brings something wildly different to the table, they
often rub each other the wrong way and they all have something to
hide. Forcing them all into a life or death situation where they have
to work together to find the monster hiding among them allows these
characters to slowly reveal more about themselves in a natural
manner. In combination with the many loops the player undergoes,
there is enough space to explore them in great detail both as crew
and as gnosia and this possibility of being the antagonist gives them
a depth by showing them not simply as they want to be seen but also
as they are like with the mask off. The variety of personalities on
display is astonishing with the energetic Comet being contrasted with
the silent Kukrushka and the reserved Gina with the arrogant Raqio.
The narrative thrives off their interactions and for most of the
early game scenes between small sections of the cast form the
majority of what the player experiences, so it is a good job that they
are so strong and emotive. Gnosia would not be nearly as memorable as
it is without the focus on these characters and when you walk away
from the game it will be your time with them that you will remember
above all else.
 |
| Okay I get it you look like an alien can we move on please... |
There
are two characters who muddy the waters of the excellent cast and
these are the talking dolphin Otome and the grey alien like
Shigemichi. They are not by any means bad characters but they suffer
from the same tonal issues present in the world building. Both are
played up for humour far more than for serious moments resulting in
them feeling like joke characters by comparison to the rest of the
cast who have levity but only in small amounts and are generally more
well rounded. This is not helped by the fact that the game often uses
them as jokes even when they are meant to be a threatening gnoisa
which indirectly undermines the menace of the gnosia in general.
There is always some need for humour to prevent a story from becoming
so serious that it wanders inadvertently into parody, but this is a
fine line and one which Gnosia repeatedly stumbles over much to its
own detriment.
Brilliant Stars In The Night- Visual, Audio and Gameplay
When
it comes to the technical side of the game Gnosia there is a clear
vision of how to implement its features to sell the feeling of being
trapped on a spaceship in the far future. The music and visuals do a
lot of heavy lifting to immerse you in the strangeness and tension of
the setting. While the gameplay makes the player feel the experience
of a time loop in an almost visceral way. However, a few strange
missteps led to unnecessary frustration and poor pacing.
 |
| Important elements are made obvious from the moment you see them |
The
art and music direction of Gnosia is the place where its world
building and characters are invoked in sensory manner to complement
the way they are written. Visually the distinctive character designs
lend a lot to presenting their personalities to the player without
them having say a word. You can tell the type of world that they
belong to by the way they dress and hold themselves as well as
providing small hints as to what to expect from them when the debates
start. It also makes it clear who they are at a glance which helps
prevent any confusion that might occur in the chaos of the debate
where everyone is regularly cutting in with their own opinion and it
might otherwise be hard to tell them apart. They also comfortable fit
into the general sci-fi aesthetic of backgrounds and CGs to form a
whole vision of a distant future entirely distinct from our own time.
The music complements this feeling with its synthesiser tones and
leanings into a looser and almost magical audio landscape. In its
totality the experience of playing the game is greatly aided by how
much the two aspect complement each other.
To
effectively communicate the situation of the player character, gameplay is utilised in the form of a repeating cycle where a new
gnosia much be identified. Each loop consists of a series of debates
about who is the gnosia interspersed with down time to try and
convince other crew members to side with you and intermittent
character and plot scenes. This repetitive structure works in the
game’s favour by immersing the player in the role of the player
character through having them experience a similar situation. It also
allows for little triumphs and failures to occur more often, while
preventing either from becoming so common as to frustrate the player
or make the challenge of the debate seem trivial. A wonderful balance
has been reached with how the game gives the player new skills to use
in the debates and the increasing escalation in the complexity of the
debates and the result is a well rounded progression of difficulty.
Having the resistance escalate as the player grows closer to escaping
the loop helps increase the tension and also the longing for success as
the player knows that this is a sign that they are on the right
track. It is surprising how well all these elements work in tandem to
create the time loop without stepping on
each others toes and the final result justifies Gnosia’s choice to
implement these systems.
 |
| When the game provides you with an ability graph you know what it has planned |
There
are some strange issues with the gameplay which hold it back and
these have to do with the way it backloads most of the plot and how
the later sections introduce gameplay scenarios which are wholly
dependent on RNG. The game opens strongly with a flurry of plot
developments which are nicely tied into the character arcs of the
main narrative players, but shortly after this point new plot scenes
almost entirely dry up. This results in the middle of the game
feeling as if it drags on for far too long with the player simply
left to play through the loops without any sign that they are making
progress. A choice like this risks loosing the player and is highly
unnecessary given the later plot elements could have easily been
redistributed, since they do not have anything which specifically
requires them to be located at the end of the game. As for the late
game scenarios, these consist of challenges the player must overcome
in order to progress which sounds like a fine idea in theory but run
up against the inherently RNG nature of the debating system. Turning
debates to focus on a specific direction is difficult to achieve due
to the other crew mates attempting to do the same and the system
where the player is punished for being too aggressive in their
attempts to move events by having the crew turn on you out of
suspicion. The result is a frustrating reliance on the whims of other
crew mates to carry the debate and they are often more of a hindrance
than a help.
Verdict –
Its unique brand of single player social deduction coupled with
its vivid universe and strikingly human characters make for an
enthralling take on the genre.
Pros
+
A cast who are flexible in their personalities allowing them to be
the hero or villain of a loop without it appearing contradictory to
who they are at heart.
+
Touches on a variety of issues relating to identity and makes them
fit into the character arcs.
+
The setting is rich in a distinct style that merges the mundane with
the absurd to create a living universe.
+
Through the debates the player gets an intimate sense of what defines
the characters which complements how they are presented elsewhere in
the narrative.
Cons
-
Some characters feel as if they exist as just a joke and feel out of
place next to the heartfelt struggles of everyone else.
-
The plot progresses extremely slowly after the early game and it can
feel as if you are doing something wrong.
-
There are some scenario’s in the later part of the game which are
frustratingly wholly dependent on RNG for your to suceed at them.
