Time Loop – Genre Deep Dive
Déjà vu
Of
all the subgenres of sci-fi and fantasy there are none as popular and
influential in visual novels as the Time Loop. It feels as if half of
all titles which want to be taken seriously go with some form of Time
Loop in order to tell their story. This is perhaps a natural result
of wanting to explain the existence of routes from an in-universe
perspective without having to deal with their often complex and
contradictory content. Of course it can also be used as an excuse to have
serious elements sitting right next to silly moments while trying to
preserve some sense of continuity. Character reactions to the Time
Loop are a favourite playground of this genre and the existance of a loop means they
can be pushed to extremes without having any lasting consequences
since it will be all be reset. Furthering this approach is the effect
dehumanisation has on the person undergoing the loop as they struggle
to maintain their sanity in a space without an ending or any means to
escape it. Let’s break the loop and discover the appeal and power
of the genre.
The End is The Beginning
Attempts
to marry the structure and narrative of visual novels define the
medium’s use of this genre. It provides a suitable justification
for its route based nature or the flexibility to have a more open
ended construction and neither of these extremes feels out of place
within the context of a Time Loop. There is an inbuilt expectation for
repetition in this genre which aids in the smooth transition in and
out of common routes and other opening scenes the player will
encounter since it makes sense for the protagonist to experience these events
again if they are caught in this cycle. In playing into Time Loop
conventions such as these, visual novels can gain the freedom to
create twists and turns with the knowledge that the consequences do
not need to be immediate. For route based titles the expanding
tendrils of each route and their endings are an easy to
understand representation of the possible outcomes of the loop. A
classic example of this type is YU-NO which shows its differing routes as
multi coloured splinters off the opening line on a flowchart through which the player is encouraged to think about how each relates to
the others. It is to this menu the game goes after each ending to
further push the cyclical nature of its Time Loop and nudge the
player towards the branches they have yet to explore. The fact that
in order to progress down certain routes requires key items from other paths
creates a feeling of the protagonist utilising the loop for their own
benefit as more about what is happening becomes clear. On a higher
level there is also the collection of special stones
which are needed by the player to break out of the loop and push into
the second half of the game. All of this comes together to create a
tactile weight to unlocking more of the paths and an easy to observe
forward momentum.
 |
| Representations of Time Loops in visual novels are always interesting to look at |
When it comes to Time Loops within a more open and
less directly linear structure Type-Moon’s fandiscs offer a pair of
interesting examples. Fate/ Hollow Ataraxia splits itself into
individual and self-contained events which the player can pick from during each time period. Since this creates a variety of possible paths
through the loop it cannot be easily presented in a flowchart even if
the paths for progression are indeed linear. Instead it is the amount
of choices and how more are slowly unlocked with each new cycle which
sells its repetition while not actually reusing more content than it
absolutely has to in order create a connection between player and
protagonist. Kagetsu Tooya leans closer to the continuous perspective
approach like YU-NO but takes it to its logical extreme with so many
paths and off shoots that attempting to make a flowchart for it would lead to an difficult to understand mess of lines. It forms a labyrinth of ways forwards where the player is going to constantly bump into endings or
new routes as they work to help the protagonist escape. There is an
implicit challenge in this structure where the player must explore
and understand the space they are operating within so they can find
the way out and so fosters an engagement not otherwise possible
without the existence of a Time Loop.
People Under Pressure
No
matter how interesting a Time Loop might be structurally, if there are
not characters being pushed to their extremes then it will be a dry
experience. Visual novels address this potential issue through
pushing their already character centric nature and keeping their
focus squarely on the people caught up in the loop. Due to the way
the loop removes a lot of the immediate consequences from character
actions they can be pushed to extremes that might normally be damaging or life
changing but here are removed once the loop resets. This lets the
story probe deep into a character’s motivations without having to
worry about how this will effect anyone in the long term and allows
it an adaptability when it comes to how to handle and frame each new
clash of identities. Extremes like these still have to make sense
within the context of the world or risk the loop appearing incoherent
so this freedom with the characters is not a ticket to do whatever
wild things the developer wants. Even if the characters do not
remember their actions in the loop, the player will and so it is
their mindset the game has to form its believability around.
 |
| Characters are key to a good Time Loop |
Generally this character focus pushes the cast into the spotlight one at
a time as with our two examples of this use of the Time Loop, Cross
Channel and Little Busters. Route based Time Loops such as Little
Busters already have an inbuilt mechanism where the player expects
the visual novel to concentrate on the selected character and so does
not have to contrive a situation for this emphasis since the player
has already created it themselves. It also helps the player
understand each character’s place in the world and their role in
the greater plot in a controlled yet exciting manner. By contrast
Cross Channel is far more rigidly constructed with heroines each
getting their turn in a linear order and provides a lot of fine
control over the player’s expectations and anticipation. The main
advantage this approach brings is the way it integrates the otherwise
isolated character arcs into a smooth and natural feeling direct path
as opposed to the bitty feeling route system.
Dehumanisation And The Looper
Repeating
the same few days again and again is going to have an impact of the
mental state of the looper and change how they view the people around
them. When there are no lasting consequences why should you care
about your actions? If people are just going to reset as soon as a
new loop starts can they really be considered anything more than set
dressing? There is an inevitable nihilism that seeps into a looper's
world-view the longer they remain trapped and they start dehumanise
the individuals they once cared about before eventually doing this to themselves. Since this is
a pretty dark subject many Time Loops in visual novels skirt around
the issue by have the protagonist only remember parts of the loop so
they get to keep being themselves. However, when it is addressed the
character development opportunities it offers are powerful and lead
to many memorable moments. This is generally handled in two ways,
witnessing the character struggle with the birth of these emotions or
showing someone who has succumbed to the nihilism pull themselves out
of it.
 |
| Rika is interesting since we see her from the outside for most of the story |
Perhaps the most iconic example of the first type is Okabe
Rintarou as he fights against a loop which seems set in stone. From
the intimate perspective afforded by the visual novel format we get
to see the decline in Okabe’s mental state as he tries many different
things in order to save those he cares about only for the world to
just adapt to his actions and lead the same outcome regardless. It is
only through opening up to the people he has started to dehumanise that he can pull
himself back from the pit of despair and move towards resolving the
loop which is a satisfying arc to watch unfold. On the other side we
have Rika Furude who has long ago been consumed by the nihilism of
the loop. What makes this noticeably different to Okabe’s portrayal
is the way the player gets to see this repeatedly from the persective
of someone who is unknowingly trapped in the loop. This makes her
sudden personality switching, treatment of her friends like pawns and
loss of interest when she considers the current loop a failure appear
alien and creates a tension between her perspective and the rest of
the cast as they try to salvage what she knows to already be doomed.
Once the player finally does get to see the twisted inner workings of
her head it is as a means to show her pulling herself out of this pit
through the new hope she has found and ultimately resulting in her
finding a way to her desired future.
Conclusion
Visual
novels and Time Loops are a perfect match for each other and a
constant source of new and engaging stories. The genre gives an easy
justification for the standard route based structure as well as more
experimental and flexible paths through the game. It offers an
opportunity to push its characters to their limits with the knowledge
that the long term consequences do not have to be considered so the
extremes can be wild. The person aware of the loop offers a unique
means of showcasing how easy it is for humans to slip into nihilism
and the dehumanisation of people they once cared about when pushed beyond
their limits. Overall there are few more fertile grounds then the
Time Loop and if you are thinking about making one then considering
the various options available to visual novels can go a long way.
Sorcery Jokers Review – The Many Sides Of Magic
Genre - Urban Fantasy, Action, Thriller Play Time - 35 hours Developer - 3rdEye Steam VNDB
Urban Wonderland
In
a world reshaped by the sudden appearance of magic, two young men from
vastly different walks of life find themselves on interweaving paths
as they work to uncover the tangled web lurking just under the
surface. It is these dual protagonists which define much of what makes
Sorcery Jokers stand out amongst the many other urban fantasy visual
novels. There is a clever contrast between the lives they lead and
sides of the conspiracy they uncover and it lends itself to a well
rounded and textured tale of action and intrigue. Characters also
play off this contrast to create a connection between the two halves
as they wander back and forth across the boundaries. The visuals and audio compliment this approach with
an artistic and auditory language for each protagonist and the in
game flowchart helps reinforce this trend. When it comes to properly
paying off all of this build up Sorcery Jokers can often stumble to
disappointing results. Yet even these messy conclusions have a
certain charm to them as the game continues to push forwards. Do all the pieces
come together to create a title worthy of its genre? Let’s activate
our magic and find out.
Depths Of Conspiracy – Narrative and Themes
Despite
the existence of magic being known to all and on full display, this
is a story driven by hidden magically machinations and truths rather than
larger than life battles. It does still have this sense of spectacle
but those who are fighting are rarely the ones in charge of their own
fate as they move to try and free themselves from invisible hands.
Sorcery Jokers is more of a thriller than an action title and leans
into the constant feeling of having the rung pulled out from under
you while the characters try and find a way out of maze they have
been dragged deep within. Having two protagonists from vastly
different sides of this world assists in furthering this feeling of
uncertainty and danger through providing the player with contrasting
and conflicting view points on the same situations. This prevents the
tension from become stale or predictable since the shifting
perspectives can give the player new things to witness at regular
intervals and helps them not become bored with either of the two sets
of characters. When action is brought in it is often not over the top
and is instead an intimate and vicious magical melee which all
participants are walking a fine line between life and death. Framing
the battles like this prevents the characters from appearing as if
nothing can harm them with their powers offering little
protection from the attacks of their enemies. Larger scale action set
pieces only happen at key climatic points in the story and are a
dramatic leap up in spectacle in order to sell just how important
they are to everyone involved. They fit into this thriller tone
through the way they act as a frantic scramble for survival and
control. Controlling the highs
and lows is what Sorcery Jokers thrives on and it comes together as a
wild roller-coaster of a ride.
 |
| The layers of action and intrigue run deep |
A
drawback to being so reliant on twists and turns is it can be
difficult to provide a suitable payoff for each one. There is only so
much time available to draw everything together and so some things
get left by the wayside regardless of how important they once were to
events or characters. This failure manifests as these plot points
being shoved to the side in an anticlimactic manner, resolved with a
deus machina or simply forgotten about. One of the most disappointing
examples of this trend is the relationship between the antagonist Ruu
and one of the protagonists Senri, they are shown to be two sides of
the same coin and constantly get in each others way and so it would
be expected they would have some kind of proper climax to this
dynamic. Instead Senri just manifests a deus machina to instantly win
the confrontation and neither side really learns or develops from
this conclusion to the point it could have just been removed without
any loss it the narrative. Something really has to have gone really
wrong in the writing department for such a formerly important
relationship to both characters to be cast aside. Weird choices like this plague the
game from start to finish as it is so excited to show off its new
toys to the player it forgets to resolve it old ones and just kicks
them into a ditch. The rule of cool is king here and in order to get
the most out of the title you have to be able to just roll with its
punches and focus on the moment to moment excitement.
Two Paths To The Same Destination – Characters
Presenting
two protagonists with such vastly different background, personalities
and world views immediately gives Sorcery Jokers a strong texture to
its narrative. On one side we have the naive and well off Mutsumi
Haruto who attends a school dedicated to teaching people to control
their magic and he is surrounded by children of CEOs. Opposite him
sits our other protagonist Senri who lives in the underbelly of the
city and is wrapped up in all sorts of unsavoury dealings. This
contrast is put to good use with the game showing the various sides
of this world as well as the views on how its issues should be
resolved. It helps create the sense of a living city where everyone
moves with their own purpose often ignorant of the actions of those
around them and just trying to make the most out of what they have.
The two very different uses of magic also work to show the good and
bad it has brought since its arrival into the world and how it has
changed people’s perceptions of what is and is not possible. Each
protagonist has their own separate inciting incident which sets them
on the same path and the way their journeys intertwine is a constant
source of amusement as they unknowing influence each other. One minor
flaw in this approach is that Senri is generally a more interesting
character than Haruto since Senri's thoughts are more morally gray and he
has the more complex companions due to rubbing shoulders with people
who want to use him. This can make the game feel lopsided towards
Senri with the feeling that he is the one who gets all the cool
moments and important plot points.
 |
| The idea of the superhero is one the game loves to play off and with |
Splitting
the game down the middle like this also splits the cast up and the
game organises them to take advantage of the divide. It assigns
its protagonists a pair of heroines who work to create a complex web
of emotions. One is a mirror for the protagonist and the other is a
contrasting personality who undermines his world view. Haruto is
given the sharp and pragmatic Atori Riku who clashes with his
idealistic nature and Rikudou Asahi who shares his heroic tendencies
but with a more directly outgoing nature. On the other hand Senri is
paired with the two faced Kousaki Fiona Annabel who reflects the
darker path he is set on while the innocent Noah could not be further
away from them and serves as someone to bring out the good in both of
them. Making the core cast so similar in composition on both sides
invites the player to compare them against one another and consider
the value of what drives each of them. The broader cast also reflects
this inclination in a way designed to flesh out the world rather than
directly challenge the protagonists. Their importance varies but they
have enough time to feel like they exist beyond the confines of the
story rather than being devices from narrative progression.
Strange New Girls – Visual, Audio and Technical
As
a title so focused on thrills and action, the visuals and audio play
a large role in effectively communicating what is going on and selling
the fast moving emotions of a scene. Conveying movement and power
through smart arrangement and framing in relation to the music and
text is the main trick Sorcery Jokers uses to achieve this effect.
With a change is music comes a change in mood and the dynamic motion
of the sprites and shifting CGs increases to match it while also
matching the story. Through the use of standard magical imagery, such
as magic circles, the game can rely on the player’s external
knowledge so it does not have to spend time explain what is on screen
and can instead dive straight into being exciting. A minor hiccup in
these visuals is the way it can sometimes feel a bit off and stiff
due to the limitations of the engine the developers were working
within and this is distracting at times. It is worth bring up the
excellent flowchart the game provides the player as it clearly shows
all the important information about what is happening when and to
whom so the constant protagonist jumping does not confuse the player.
This is especially essential in the first half of the game where the
protagonists do not always have scenes which occur at the same time
and the game gives you the choice of what scene you would like to experience next.
 |
| This is one of the most effective and intersting uses of flowcharts in visual novels |
Conclusion
There
is something distinctly memorable about Sorcery Jokers and the way it
crafts its urban fantasy tale which stems from how excited it seems
to present its story. Its choice to have two protagonists is full
taken advantage of through clever contrasts which extends into the
rest of the cast who are slip between the pair. Controlling the highs
and lows of its thrilling ride makes for a narrative where you feel
like something new is always happening. Well formulated visuals and
audio reinforce the action and drama of the story to make a visceral
roller-coaster. If only it would actually resolve its plot points
rather than moving on the next thing it is so excited to show you.
Despite this disposition Sorcery Jokers remains a strong and
enjoyable journey into a well realised world not so different from
our own.
Verdict –
The tapestry of multiple protagonists and interlocking paths
define a wild adventure through a world of magical conspiracy and
action which keeps you invested at every turn. It is a shame it can
sometimes forget to properly pay off all the twists it sets up.
Pros -
+
Keeps you on the edge of your seat with a thrilling ride of intrigue
and action.
+
The dual protagonist and casts makes for a varied and fresh narrative
as the characters’ stories interweave with each other.
+
A visual and auditory style which works to add pressure to the
moments of tension and over the top flare to the moments of action.
+
Has a convenient flowchart to help keep track of how the two
perspectives relate to one another and when certain events occur.
Cons -
-
Often does not pay off properly older plot points as it wants to push
you towards the new shiny thing rather than provide resolution to
what came before.
-
Senri is a noticeably more interesting protagonist than Haruto and
also gets a lot more of the important plot points leading the game to
feeling unbalanced at times.
-
Some uses of the CGs and sprites in action scenes can feel a little
stiff at times.
Best Visual Novel Releases – February 2025
As
we say goodbye to the bitter cold of winter, it is a good time to look
back at the many excellent releases that came out over the past
month. These games have been defined by smaller titles catering to a
variety of underserved niches from space mecha to pixel art
supernatural mystery and offer something different for those looking
for new experiences. Let’s dive in and see what visual novels
might tickle your fancy this month.
Official Releases
Mojika: Truth Rears Its Ugly Head
One
thing that can be said of Nitro Plus is they are constantly pushing
their visual novels in new directions. This time they have crafted a
story about bullying which explores dark desires and secrets
through the protagonist’s power to see a person’s thoughts as
words around them. Nobody in this game is a good person from the
bullies to the their victim, all of them are scarred in some way and
allow it to distort how they treat others. At the same time they are
not evil and show a wide range of their emotions as each characters
gets a deeper exploration of what drives them and how the protagonist
is changed by this journey into their minds. A soup of chaotic drama
and emotions drives these people towards an ending they could not
have foresee. If you are looking for a powerful character centric
visual novel then you should definitely pick up Mojika.
Stories from Sol: The Gun-Dog
It
is clear to see from the moment the game starts what kind of ride the
player is in for with its mecha and space setting establishing
themselves with a strong first impression. The Gundam influences are
obvious yet Stories From Sol takes pains to differentiate itself
while still holding true to the spirit of its inspirations. Perhaps the
most immediately striking of these is the choice of a retro anime art
style for its visuals and large mechanically themed UI it has on
screen at all times. It is a wonderful mix of 80s elements blended
together to form a textured mesh of adventure game and visual novel.
Its story compliments this feel as it leans into the colourful cast
of the Gun-Dog and focuses on the mysteries and dangers they face in
a way which blends space action with a good dose of human tension.
This is something which will appeal to fans of retro anime, mecha or
sci-fi and if you fall into one of these groups it is well worth your
time and money.
Cage of Roses
Mixing
a historical setting with a tinge of the supernatural is a great way
to add some mystique and grandeur to a game, especially when dealing with the
presentation of a fantastical European past. This game takes full
advantage of its setting to set up a winding tale of love and dark
secrets where brilliant spender is perfectly contrasted with the less
than desirable elements it covers up. The story follows Meike who is
on her way to an arranged marriage when her carriage is attacked by
bandits. Fleeing from them she finds an eerie castle hidden way from
the world and its owner, the strange woman named Magdalena. It soon
becomes apparant that she is hiding a secret, she is in fact a
vampire and Meike finds herself drawn into Magdalena’s world. As a
short visual novel it is perfect for those seeking their fix of
period yuri drama and if you like it then you should consider looking
at Ebi-hime’s other work.
Urban Myth Dissolution Center
If
you are looking for the most unique title to be released this year
then Urban Myth Dissolution Center may well be up for serious
consideration. Its blend of supernatural mystery, personal drama and
striking pixel art create an episodic dive into a weird occult world.
The titular Urban Myth Dissolution Center deals with all kinds of
cursed objects and otherworldly phenomena and it is for this strange
organisation Azami Fukurai finds themselves working. Alongside its
director, Ayumu Meguriya, she must uncover the complex truths behind
each case as she is slowly drawn into a web of supernatural forces.
None of the cases play out exactly the way they initially appear they
will and the game makes cleaver use of its human element to muddy the
facts so the player will have to carefully unpack every aspect in
order to reach the truth. This one comes with a solid recommendation
as a memorable ride you are going to want to keep coming back to
again and again.
PRIMAL×HEARTS
Our
monthly slice of life and romance slot goes to a game which is asks
the player to pick one of two student councils to support and maybe
find love along the way. It is a lighter take on the tradition vs.
progress conflict with each of the councils representing one of these
two sides and while the title is willing to use this a source of
drama, it never pushes it into anything too serious. The aim here is
clearly to be a slow burn romance story first with everything else
existing to add some spice when needed and it does a strong job at
keeping all of this feeling natural. Overall it is a fun slice of
life visual novel and you should know by now if this is something up
your alley, if it is then you are in for a good time.
Character Sprites – An Anatomy Of Visual Novels
Representing Emotion
When
looking at a visual novel is there any single part which can be said
to have the same importance as Character Sprites? Their presence or
absence defines a lot about how a player will perceive a title and
they express much of its emotion. Not matter what artistic style is
chosen for these sprites, they offer a core avenue to present the
unspoken parts of a scene where the visual novel does not to spell
out how a character is feeling and instead show it. Such a seemingly
simple element has a lot of variation in its implementation and how
it can get the player to react to it. The basic static sprites are
the most common type and many games choose them since they offer an
easy to understand visual language. Next up in complexity are the
animated sprites which include things like live 2D and full 3D models
where the aim is to give a sense of life to every moment they are on
screen. Then there are the various miscellaneous types from back
sprites to silhouettes and these generally act as a way to complement
the primary style while offering narrative flexibility. Let’s find
our characters and see how each of these types works to enhance their
visual novels.
Static Sprites
If
you pick up any visual novel it is very likely to be using static
Character Sprites as it is the oldest and most well tested type of sprites so
developers tend to gravitate towards them. They are simple in nature
being images of the characters, often just a bust of them, which only
changes then the game progresses to the next line of text and
otherwise present themselves in a direct manner. This gives them a
clarity and uncluttered visual identity which makes it easy for the
player to understand the emotions or ideas the sprites are attempting
to convey. Not drawing unnecessary attention to themselves through
blending in with the rest of the static assets helps create a sense
that they are a part of the world. Should other
elements need the spot light it is easy for these Character Sprites
to step aside due to their basic nature and not distract from what
the visual novel needs in order to move its narrative forward. Static
Character Sprites where once the sole way to present a visual novel’s
cast, but as technology and technique advanced many titles moved over
the using some form of animated sprites. These tended to be games in
the slice of life and romance genres and the ones which remained in
the static camp did so due to how difficult it is to balance animated
sprites and a series tone. As such the genres using static sprites
tend towards darker stories or titles from developers who simply lack
the resources to create animated sprites in the first place.
 |
| There 3D models are certainly unique... |
Since
this is the most wide spread type of the Character Sprite there are a lot
of examples of it in practice, so let’s narrow it down to Ever 17
and Stella Of The End. Ever 17 falls into the camp of being an older
title back in a time when static sprites were the only real option
and it has this baked into how it considers its visual presentation.
There is a slow and deliberate feeling to the choice of what
Character Sprite fits each moment where the lack of flexibility
forces each sprite to clearly communicate the intent of the scene.
What is interesting about Ever 17 is that it had an updated version
released for the Xbox 360 which used 3D sprites and it was
not well received. One of the main reason often stated for this
dissatisfaction is the way the new 3D did not capture the
atmosphere and charm of the old static sprites due to their weak
presentation of character emotion when compared to the sharpness
found in the originals. Key has maintained their use of static
sprites despite their tendency towards slice of life and drama as
core pillars of their work. This is maintained in their smaller
titles such as Stella Of The End where they use a distinctive art
style to help reinforce the its mood. Here the Character Sprites use their
static nature and blend into the elements around them to
create the impression they are part of this alien world and blur the
lines between them and the strange machines they encounter. This
gives the game the ability to craft a flow through the experience
where no single part overpowers the others which is always a risk
with the larger than life Character Sprites from other games taking
centre stage.
Animated Sprites
In
recent times there has been a trend in visual novels to include
Character Sprites which use dynamic motion to add life to its cast.
These animated sprites come in a wide variety from simple motions as
a character speaks to full 3D models with a free range of movement,
but by far the most common type is Live 2D. What each of these share
is an aim to create the illusion of the sprites on screen being an
actually person with all of the small mannerisms people have when
speaking. Their main advantage over static sprites is the way they
can flow from one expression or pose into another to provide a sense
of continuity to the character’s existence rather than simply
fading from one to another. Live 2D is the king of the animated
sprites due to the way it treads the line between the familiar static
presentation of the rest of the game and the expressiveness of a more
free form model such as 3D.
 |
| What is it with Live 2D and cat girls? |
Take for example Corona Blossom which
uses its Live 2D to emphasise its comedy and light tone. Here the
Character Sprites are constantly in motion even when not speaking to
give the sense that they are breathing and do all the small movements
people do even when standing still but taken to an exaggerated level
to match the anime aesthetic. Despite this over the top feeling they
never appear out of place since they are carefully matched to all the
other elements from backgrounds to CGs to create a continuous world.
Their poses are still limited by their nature as a series of flat
images overlapping one another and cannot reach the level of dynamic
presentation possible with 3D. Visual novels using 3D sprites tend to
commit to 3D in other elements of their presentation in order to make
use of the dynamic control these models offer while not having them
feel out of place, such as in Virtues Last Reward. The free form
movement offered by the 3D Character Sprite is the most flexible
available and provides a developer with the means to precisely
express themselves as each part of the body can be positioned in 3D
space to give it a sense of life. A lack of clarity can be a problem
for 3D sprites since their movements and subtle visual cues add noise
to any message or feelings they are attempting to convey to the player
which can lead to them not having a powerful effect in key
moments.
Myriad Of Options
There
are a variety of other styles of Character Sprite used in visual
novels, but many of them only appear in specific use cases. Let’s briefly go over a few here. One interesting
variant is the back sprite where only the character’s back is shown
to the player. Fate Stay Night loves to use this type of sprite to
create a feeling of distance and rejection from the character to the
player. Turning your back on someone not only prevents them from
seeing your face, and thus your emotions, it also points you away
from them suggesting that you are heading in a different direction to
them. Silhouettes are a type of Character Sprite which sees use
either as an artistic or budgetary choice. In Kamaitachi no Yoru they
serve both purposes and work as a way to create tension and enhance
the mystery atmosphere. People shaped images inherently draw your
eye yet there is something slightly unsettling about a human without
any concrete features. So when such
characters are on screen and talking, it creates a certain sense of
something being off which the game can lean into with its narrative.
Taking photos of real places and people for use in visual novels is a
long standing option for those on a budget. However, photograph
sprites have their own distinctive feel to them and are grounded in
the real world in a way no other sprite can hope match. This can be
played with for a variety of effects such as in Hatoful Boyfriend
where the realistic images are of birds and the inherent silliness of
the idea of real birds being in a school setting as students is played for source of comedy. As images of the real world they have a
connection to it that our minds immediately cling to and this gives
them a rigid feeling which can serve a visual novel aiming for that
sort of presentation.
 |
| Umm... They are just birds right? |
Conclusion
The
choice of what Character Sprites to use in a visual novel has a
profound impact on how it is perceived and the tools it has access
to. Animated sprites allow for a feeling of life and presence to be
given to the characters on screen while still feeling like they
belong in this world. On the other hand static sprites provide a
clear and easy to understand medium for the presentation of character
emotions without any noise to distract from the developer’s intent.
Then there are a variety of other types from photographs to
silhouettes which each bring a new way for the perception of the
characters to be controlled and they do not demanding extensive screen time
to be effective. Overall the value these sprites offer as a tool kit for someone creating a visual novel cannot be
overstated and which one you choose to use should be considered
carefully so it matches the design of the game.
Rhythm Games – Uncovering The Hybrid
Dancing To The Beat
Merging
Rhythm Games and visual novels into a single package is something not
seen often yet when it does happen it reveals interesting facets about both
styles of game. The audience of Rhythm games generally expects an
extremely focused experience where the gameplay is front and centre with few distractions. As such the inclusion of visual
novel elements has a delicate relationship born out of the need to
achieve something outside their normal speciality. Most of the time
this is to meet some kind of outside need for the game to justify the
player continuing to engage with it. It can also be due
to its status as a spin off game which demands a narrative it is
otherwise not equipped to produce. Then there are the rare exceptions
where the Rhythm Game is the smaller part and exists as a means to
create emotional resonance. Let’s find our grove and see what each
of these practices reveals about the nature of these genres.
As Part Of The Package
A
common reason for a hybrid to exist between Rhythm Games and visual
novels is due to the presence of a third element which exerts a
pressure on the overall product that cannot be met by only the Rhythm
gameplay. Perhaps the most dramatic third element in this hybrid is a
gacha system. They demand a reason for the player to pull the new
products it is offering and this often means characters. Rhythm Games
on their own do not have the best avenues to capture the player’s
interest in a specific character or encourage them to engage with the
gacha due to the inherently detached nature of their mechanical
focus. They want people to get lost in the music rather than any
other part of its presentation which is not helpful in selling the
player on something external to that moment. It can have a
character on screen but how much attention can the player really give them when their focus is entirely on getting the best score. Here is
where the visual novel sections come in to support what
characterisation has been established. By spreading them out wherever
there are gaps in the player’s engagement with the Rhythm levels,
they can frame the characters within a desirable context as their
constant presence works the endear them to the player. This is mainly
done through providing a story which justifies the existence of the
Rhythm mechanics and links them to the characters generally in the
form of the characters being musicians of some kind.
 |
| Gacha consumes all |
Taking a look
at games like Project Sekai: Colorful Stage! and D4DJ Groovy Mix we
can see this practice in action. Characters are everywhere in these
titles, they are what is being sold and the player will never be able
to escape the influence of this choice. Despite the visual novel and
Rhythm game sections occupying the same space, there is slight
disconnect sometimes in order to serve the content model of a gacha
through events and core additions often causing the two halves to
segregate in order to be released at a fast pace. Some effort is made to
try and prevent this issue from becoming too pronounced through
common theming in the choice of songs and stories for each new update
and this is generally enough for the gaps be less noticeable. Each
games’ respective ability to pull in players should speak to appeal
this hybrid and its ability to be a means
of expanding the potential audience of both genres.
Invoking Feelings
When
the visual novel is in the driving seat of this hybrid a change in
emphasis occurs with a desire to enhance the narrative over
everything else. In order to meet this expectation, the Rhythm Game
elements lean into their music nature and the power it has to invoke
emotions. The ability of music to influence a person’s feeling is
something visual novels already understand and utilise extensively,
but what makes the Rhythm mechanics better than this baseline is the
way they have the player act out the music. Having a direct role in
the successful presentation of the music, through adhering to the
beat, provides a tangible connection to it that is absent when it is merely
background noise and connects the emotions of a piece directly to the
player while keeping them immersed in the experience. If this is used
selectively over the course of a visual novel it can work as a means
to engage people with the story and allow for the key feelings of
characters to be obvious during these moments. Since this draws the
player out of the visual novel it has to match the narrative in some
direct form in order to not be distracting and as such it is limited
to only certain kinds of story like those which contain musical
motifs.
 |
| Musical theming is a good pair with a Rhythm Game |
Symphonic Rain showcases how this balance can work in
practice with its highly musical presentation. This is a game which
really leans into musical ideas as a framing device for its narrative
and characters to the point of being set in a city of music with the
protagonist’s goal being to become a master musician. Using
intermittent Rhythm Game sections gives it a means of directly tying
the musical theming to the characters emotions and this has a greater
power since it is the player who makes this link between them through their own actions. It also provides a direct representation of the
abstract idea of music and a tangible process of input for those
without a pre-existing background in its creation so opening it up to
a wider audience. The protagonist motivation of becoming a master
musician has a greater immediacy when the player participates in his
dream which helps to blur the line between the two.
Spin off Syndrome
Another
subset of this hybrid is those born from the needs and expectations of
its existence as a spin off title. If the original title the hybrid
is based off has a strong narrative element then a pure Rhythm Game
would clash against established ideas for the series, so the visual
novel sections act as a means of bridging that gap. The two halves
often share a relationship similar to a visual novel and an RPG in
that the Rhythm elements act as a stand-in for some form of conflict
or what would be a battle in an RPG. Let’s look at an example of
this in action with Persona 4 Dancing All Night. The Persona games
are well known for their long JRPG stories and so any sort of
spin-off would need to meet this expectation hence the visual novel.
During the main campaign of Dancing All Night various forms of conflict
will arise and the characters will be forced to dance in order to
resolve it, these are the Rhythm Game sections, and they take the
place of what would have narratively been a big fight in the original
titles. This change of how the characters deal with the threats they
face is exceedingly contrived and the game is aware of this tension
so it leans into being a more comedy centric title with an overall
light tone. It helps compliment the already brighter music which
forms the core of the Rhythm sections and brings the whole package
together.
 |
| Rhythm Games as method of conflict resolution will always be funny |
Conclusion
While
visual novels and Rhythm Games are an odd pairing, they can be made
to work as a cohesive hybrid with careful consideration. If there is
a pressure from a third element in the mix, a common focus on
characters can provide a bridge where an emotional resonance for them
can be crafted when both sides push towards that goal. In a spin-off,
the visual novel half can be a stand-in for the narrative expectations
of the original work with the Rhythm sections being a replacement for
conflict mechanics. Should the visual novel be in the driving seat
then Rhythm Game elements can enhance the power of the game’s music and any
musically themed aspects it might use. Overall, you can make this
pairing work with the right framing and purpose, but it will never
truly managing to shake off the feeling of how different these two
parts are from one another.
MYTH Review – Walking With My Shadow
Genre – Mystery, Thriller, Denpa Play Time – 20 hours Developer – Circletempo Steam VNDB
Walking Without A Shadow
In
a world where everyone is shadowless, should you trust someone who
has one? This is a tale of multiple dimensions, interweaving
character relationships and even parents eating their own children.
There is nothing quite like MYTH and it can make explaining its
qualities to another person somewhat difficult, especially since it
relies so heavily on plot twists and this constrains what can be
discussed. Nevertheless, this review will endeavour to cover the ups
and downs of the game while keeping away from the deeper aspects of
the winding plot. One of the ways it likes to keep people guessing is through a
variety of POV characters who at first glance seem to have nothing to
do with one another and the small casts which surround them. In order
to keep track of all these different moving parts MYTH gives ample
charts and reference information to encourage theorycrafting at every
turn. The most noticeable flaw in the title is its limited
presentation which stems from its low budget and small development
team. Is the weakness enough to draw people out of the experience and
undermine its elaborate narrative? Let’s locate ourselves a shadow
and find out.
Step Into The Labyrinth – Narrative And Themes
The
largest reason to play MYTH can be found in the complex and
interconnected narrative and the way it is carefully given to the player
one helping at a time. From the moment the game starts we are
presented with a mysterious world where people do not have shadows
and it is here we are introduced to our first protagonist, Tanabe Meito.
Not much time is initially spent here and Meito is swiftly pulled
into another equally strange world by Shimon, yet it will linger in
the player’s mind while leading to a pay off much later on. This
process of highlighting key elements of the story for future reveals
through their sheer abnormality is what makes the journey so
memorable as it pulls on all kinds of sci-fi and mythological
references to hint at the bigger picture. Slowly teasing ideas with
distinctive yet separate elements, which invite the player to consider
how they functions, provides an incentive to form theories about
how all these pieces link to one another. The way MYTH loves to jump between protagonists, sometimes
without informing the player, reinforces these feelings of intrigue
as it reframes concepts which the player may have thought they
understood. In many ways the build up where all the theory crafting
takes place is more interesting than the truth about what is going
on. Not because the truth is boring or underwhelming, but rather the
back and forth between player and game as theories are tested
against new information is so incredibly engaging that it carries a
powerful momentum throughout the entire experience.
 |
| MYTH is broadly series yet know how to add some levity into the mix |
Perhaps
it is inevitable that the strengths of a complex visual novel are
also one of its primary weaknesses. This is a game so in love with
its plot twists and reveals it can sometimes take it too far and they
become somewhat overwhelming and nonsensical. Towards the end of the
story the twists come at a rapid pace and in order to justify certain
revelations there have to be leaps in logic to accommodate them. Many
are inoffensive and make some degree of sense, but there are a fair
few pushing the bounds of believability too far and causing the
player to be distracted by them when they should be focusing on the
narrative climax. The really important twists manage to avoid this
fate since it is clear the developers have thought about their
implementation at length, but it hurts them by proximity and a
feeling of inconsistency. At the point this issue arises a player is
likely already going to see the game through to the end, but it does
take away from what it otherwise an emotional and tense finale.
Many Universes, Many Faces – Characters
Swapping
between the various point of view protagonists and seeing their very
different opinions on their worlds acts a major pillar for MYTH. To
start out there are just two POV characters in Meito and oddly named
Berserker with more being added as the game moves along. This pair
perfectly captures the range of characterisation the player can
expect from future POV characters. The seemly ordinary Meito
contrasting against the violent and strange Berserker who is being
eaten by his mother perfectly represent the extremes of MYTH's narrative
space. Everyone other POV character falls somewhere within
this range and expands their respective angle on the greater
mysteries. Being inside their heads helps make the more esoteric
protagonists, in particular Berserker, more engaging to witnesses as
the player gets to see the full twisted and morbidly fascinating
workings of their minds rather than the potential vague outline of
them a third person view would provide. The regular switching between
them helps keep the narrative feeling fresh through a constant sense
of new things being uncovered and new strange worlds coming into
focus. It is important for MYTH that these POV characters be as
memorable as possible since they form a large part of what is a
relatively small core cast and so the scrutiny placed on them from the
player is more intense than might otherwise be found in a large
group. As such their intense nature is a direct response to the requirement and this elaborate solution defines a lot of the game’s
identity.
 |
| Berserker is a truly odd character |
Beyond
the POV protagonists, the main cast is a relatively small affair with
each group consisting of no more than a handful of characters. Take for example Meito, he has a total of three important
characters around him, in Riri, Shimon and Sou, and together they are
the people the player will spend the majority of their time interacting with. Such a small group ensures an intimate knowledge of
their relationships and a greater number of opportunities to grow
attached to them during the slower paced moments. These bonds make it
more personal when the doubts about the characters’ intentions come
crawling out of the woodwork and the player has no choice but to
reevaluate them in the context of Meito’s story and also their
appearances from other perspectives. Having this doubt weave into the
protagonist switching creates an interesting push and pull about how
the player feels about certain cast members due to their seemly
contradictory presentation. While this is happening the game provides
characterisation to all these sides of them so they come across as distinct
and create uncertainty about the reliability of each protagonist’s
testimony.
Pushing Through Limitations – Visual, Audio and Technical
The
first thing you will notice when starting up MYTH for the first time
is its low budget nature. From the simple character portraits with
limited expressions to the small pool of background music and sound
effects, it is a constant presence throughout its play time.
Having this reuse of assets can lead to some sources of
confusion about what is being show on screen. For example, if a
background asset of a forest is used in two different characters’
perspectives how should this be thought about? Are they in the same
location or is this just a strategic recycling of assets? Due to how
vague the narrative can be, and the fact that both are true at
different times, it muddies the player’s understanding of what is
going on and hurts the viability of their theorising. It also suffers
from the standard feelings of repetition from being forced to use the
same visuals and audio on a regular basis. Through a clever
re-framing of these assets from the different perspectives and
contexts MYTH mitigates the fatigue that might otherwise be present.
Keeping everything fresh with new framing is a key pillar of every
part of MYTH and it is just as strong here as it is everywhere else.
 |
| Good charts are always a blessing |
As
the complexity of the plot and the number of cast members increases
it can be difficult to keep track of everything. To alleviate this
burden MYTH has a series of charts and notes which documents of all
the big reveals and character relationships.
This helps the narrative avoid repeating information for the sake of
catching the player up on something they may have missed and it gives
the player a space to take a break and speculate about what is going
on. Keeping each part as clearly defined as possible is a big focus
for these charts and one of the main way they achieved this is
through dividing it along the narrative lines player’s are encountering in
game. The largest example of this is how the character relationship
charts are each centred around a different POV protagonists to match up
with what the player is experiencing. It cannot be overstated how
much these charts and notes make the feeling of playing MYTH more
accessible and it is something more visual novels should include if
they want to lean into complexity in their narratives.
Conclusion
Strange
is perhaps the single word which best sums up every aspect of MYTH
and it uses this to its advantage. The twisting story keeps the
player guessing and encourages them to engage in their own
theorycrafting about what is going on. This is aided by a well put
together suite of charts and notes to help them keep track of events
and characters. Presenting all of this through a variety of POV
protagonists each with their own small main cast works to create an
interesting and dynamic set of characters. It is only held back by
its status as a low budget title limiting its available assets and
the way it can sometimes push its plot twists a little too far.
Verdict –
Strange worlds and imaginative characters populate a rich and
winding narrative that rewards the player’s willingness to engage
with it. Despite its low budget presentation, there is nothing quite
like MYTH.
Pros -
+
Complex and interweaving plot which engages with the player’s
ability to think about the situation from different angles.
+
Smart use of a variety of POV characters to create intrigue.
+
Small core casts around each protagonist ensure the player is able to
get intimately familiar with them.
+
A suite of charts and information which constantly updates to help
the player keep track of what is going on.
Cons -
-
Can push the plot twists of its tangled plot too far and it can be
distracting.
-
Its low budget nature leads to the reuse of a lot of assets.
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