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In the Fallout 4 thread here, I was seemingly cynical on the game for no reason. I have reasons, I just didn't post them. So to not be that bitter pointlessly cynical guy, I'll talk about why I'm still not very excited for FO4. I'll start by talking about Bethesda's older games, because a lot of posters here weren't around for them, and I'll establish the trends that make me skeptical of more Bethesda-produced open-world RPGs. Bethesda started the Elder Scrolls series as just some self-insertion sandbox for their in-office D&D campaign. This is fine, Arena was a charming game in its own right. But it had nary an ounce of narrative to it, which was normal for anything other than adventure games at the time. The world was threatened and you were given a vague directive at the start, you went from dungeon samey dungeon, and eventually found the bad guy, killed him, and won the game. With Daggerfall, you had a bit more introductory story. The world was in trouble and only you can save it. You had to accomplish several tasks before confronting the big bad. Every once in a while you met with an NPC who had small amounts of exposition. There were more side-quests strewn about with some pretty basic objectives, mostly without any story behind them. The game was procedurally generated (not on the fly) so that's to be expected. There were also books around that explained the world a little, it was pretty interesting. You went from dungeon to samey dungeon, killed the bad guy, won the game. By this point, people started expecting more from not just RPGs, but from games in general. Narratives were becoming a big thing, Bioware and Black Isle started doing their things with storytelling in RPGs, and Metal Gear Solid in action games. Bethesda felt like they had to adapt, they had to tell cool stories with strong narratives in their games, too! Morrowind was actually a pretty dang good first attempt at this. The world building was surprisingly strong, the setting was unique and interesting. It held inspiration from Heart of Darkness, which was fairly bold for a fantasy RPG. There was a complex political climate with clashes between colonizers and the colonized, on top of this world-threatening event that's going down. You met many of the people deeply involved with the sticky situation the island finds itself in, including the local god-king Vivec who is holding the island hostage by artificially suspending a giant meteor above it (including preserving its inertia) and claiming that if followers stop worshipping him, the meteor will crash and kill everyone. Welp. There's lots of cool stuff like this strewn about. But here's the thing, it's all relating to the setting and the backstory. Anything beyond that is pretty threadbare. Your mission was to find the savior the dark elf prophecies speak of so this person can save the world from some looming evil. You go from dungeon to samey dungeon, and BIG TWIST: you were the savior the whole time! You save the world, game over. You saw a lot of cool stuff along the way, but it felt more like a sightseeing tour than a proper narrative. You were an agent following the whims of others the whole time, too. You get the sense that no one at Bethesda had any experience writing these kinds of stories. But the world-building was so cool that you wanted to keep exploring for hours on end, seeing the unique sights of Morrowind and getting involved in their conflicts. The main quest kind of sucked, but the side quests were a lot of fun. They themselves didn't have particularly strong stories and were mainly filled with one-dimensional characters who just wanted a task done, but there was some real neat stuff thrown in there, like the last dwarf alive, in some plague colony, with his lower body replaced by mechanical spider legs. Cool! It was also the first TES game with an extensive mod community. (Morrowind was full of bizarre flora, fauna, and architecture) Oblivion was a disaster in a lot of ways. The industry was firmly planting itself in support of strong narratives in not just certain kinds of games, but ALL games, now. While Half Life did a lot for storytelling in shooters at the time, it was nothing in comparison to Max Payne, an intense third-person shooter with a lengthy, twisting plot and plenty of dialog. There was Warcraft 3, a real-time strategy with an epic fantasy story attached (the previous WC games had stories that were more window-dressing than anything). If your game didn't tell a long, complex story, it was junk. It didn't matter what kind of game it was. Even Rockstar got in on the trend with their nonsensical murder simulators, Vice City and especially San Andreas. Bethesda could not afford to release an open world RPG without an absolutely epic story. But here's the thing, they SUCK at at storytelling! They're good at writing backstory, at worldbuilding. Every other facet of their writing is terrible. But gosh darn if they weren't going to try. They splurged on several very expensive voice actors to deliver their surely incredible dialog, then only had a handful of VAs rest for the rest of their hundreds of characters. Oops. The dialog in the main questline was as generic as possible. There were no truly interesting hooks to it, the player didn't have to make any difficult decisions, and the characters were as flat as cardboard. You were tasked to find the savior, did so by going from dungeon to samey dungeon, doing a LOT of busywork in closing those damn oblivion gates, and BIG TWIST: there is no twist! You find the savior and he defeats the final boss, saving the world for you. You weren't even the main hero! Bethesda's one saving grace, their world-building, failed them here. Cyrodiil was originally written as a dense jungle with interesting, dynamic cultures, but was retconned because they deemed verdant plains and deer-filled forests to have more mass appeal in the US and Europe. They spent a lot of money developing a complex AI system where every NPC would have needs and wants, and would seek out their own methods to fulfill them, and then disabled it because it didn't work at all. One thing Bethesda did do is up their game on the side quests. A lot of them were generic, but there were these main guilds in the game, and each one had their own storyline, and some got reasonably involved. They were mostly kind of middling, but the star of the show was the Dark Brotherhood questline, where you join a guild of assassins. There were twists and turns to its story, shady characters with grey-area motives, many assassination contracts had complex setups, and there were multiple endings to the quest line. It felt like its own game. Looking back on it, it's really nothing special, but it was like a small pond in the middle of a scorching desert, an oasis players took solace in and gathered around as a shining example of how to do questing in an open world game. One man wrote and designed all of these quests, Emil Pagliarulo, and his work stood out so much from the rest of Bethesda's offering, they handed him the reigns to all of Fallout 3. Fallout 3 was a cool game, although it didn't feel very much like a real Fallout game. I'm not talking about the shift in perspective and gameplay, but the shift in tone, storytelling style, and world design. And you know what? Bethesda's writing still sucked. It became clear that Emil Pagliarulo is not an especially skilled writer. When taken out of the sea of shit the rest of Oblivion was, Emil's quest design and writing was shown to be fairly amateurish and not actually all that interesting. The story still felt uninspired. It was a personal story to find your father (and maybe save the world in the process), but therein laid the problem. The player character was still nameless, mute, and devoid of personality. Can you really tell a personal story involving family with that kind of setup? Well, you can, but you can't get anyone to care. And while the world design was reasonably interesting in its own right, with plenty of unique sights to see, the setting overall was a total failure. It was meant to be 100 years after the apocalypse, but it felt like it was just one year, with no organization, barely anything in the way of factions (other than two shadowy organizations), and people still scrambling and scavenging to survive. I still had more fun with it than I did with Oblivion, but it felt so lacking in so many areas. A couple years later, New Vegas came out developed by a different studio, one staffed by members with experience developing previous Fallout games, Obsidian Entertainment. And it totally clowned Bethesda and their attempt at a Fallout game. It had its own set of downsides, but gosh was New Vegas fun. Many characters individually had more depth to them than the combined depth of all of FO3's characters combined. The quests had a wealth of options, diverging branches, and alternate outcomes. The dialog was often witty and compelling to listen to. The world truly felt like how a post-apocalyptic world should feel like, with budding governments, organized banditry, and more overt faction wars competing for territory with the citizenry caught in the middle. They even managed to make the story feel personal despite your character being a no-name cipher. Many of the dungeons felt more unique. There was more loot with a crafting system. The combat, armor, and weapon systems felt more balanced and more fun. The one point I will concede is that aimlessly exploring the wasteland felt a bit more frustrating and less rewarding. (an example of the branching structure of one side quest in New Vegas) Would Bethesda learn from their mistakes in Oblivion and Fallout 3, and Obsidian's triumphs in New Vegas? Yes and no. Skyrim was fun. Bethesda's world-building strength has returned to them Skyrim was gorgeous, varied, and a joy to explore. They incentivized exploration in some really smart ways. Character leveling didn't feel so broken. The story, though, was still a problem. Bethesda is still shit at writing. You are the chosen one, overcome these trials, delve through dungeon through samey dungeon, kill a dragon or two, and save the world! It was still stock fantasy fair, without a hint of depth or creativity. That's okay though, because exploring the world is fun. What about the questing in the rest of the world? Well, the faction quests felt like stepped-up versions of Oblivion's faction quests. They had a bit more dialog, a bit more story to them, but most of them were still kind of mediocre. The characters were still largely one dimensional. Most of them did allow you to make a decision or two, which could affect the outcome in some inconsequential manner. The stand-out side-plot in this game was the civil war. It created an interesting political climate, but how much did it really impact the world? You could side with one faction or the other, and each had their own quest line. The faction I sided with lead up to a cool battle where we laid siege to a major city, and assaulted it. There were missions that lead up to it that determined the effectiveness of the soldiers, siege weapons, etc. When you finally got into the battle, and catapults were going off, spells were firing, and soldiers were charging the gates, it was so cool! Then the scripting broke at multiple points, requiring reloads. Well, it's an Elder Scrolls game. Then you won the battle, some buildings were smoldering a little, and a different man sat on the throne. That was it. You could go into towns occupied by the opposing faction and no one would bat an eye at you. It felt like the battle had no impact whatsoever. It was all a bit underwhelming. Bethesda repeatedly teases the players in their games, make grand promises, and fail to deliver time and time again. I'm kind of getting sick of being disappointed. I'm getting sick of being a no-personality mute who is little more than an errand boy. I'm sick of the samey dungeons in every single game. I'm sick of the quest design that feels like you're going down a straight predetermined line instead of doing things your way. I'm sick of the shoddy writing, the shallow characters with crystal clear motivations, the stale and generic dialog, and the simple boilerplate storylines. Yes, Bethesda makes some great worlds to explore, but you know, I've played every single Bethesda game. I've played plenty of other compelling open world games. I've kind of had my fill. I watch the Fallout 4 trailer and am filled with apathy. I'm not saying Bethesda should ditch the open world, not at all, but I need something more. I'm looking forward to E3 this year. I'm a long-time fan of Bethesda's games, and I desperately want them to prove me wrong. But I won't hold my breath for it. ---------------------- On a side-note, The Witcher 3 has been giving me that something more. Its characters are all fascinating, even the minor ones. The story is a compelling search for your adopted daughter in trouble. The quests are sprawling with many avenues of approach and outcomes, even the side quests. The writing is entertaining and never fails to capture your attention. You are prompted with so many decisions on such a constant basis, all of which have some impact on the world big or small, that it no longer feels like you're playing a god controlling the fates of these characters, but you ARE Geralt of Rivia, in the world, making these decisions. It's an incredibly immersive experience. You end up never wanting to reload and take back your decisions, because they become so personal. And the open world is not sacrificed even a little in the face of this narrative experience, with a huge world to explore with an enormous amount of things to discover. The Witcher 3 allows us to have our cake and eat it, too. What is a Bethesda game in the face of this? (as I write this, I'm itching to jump back into The Witcher 3)

Wow. This is definitely a case of not being able to judge a book by its cover... or by its summary, either. I don't think I've encountered a VN with as much emotional impact as this one since Houkago no Futekikakusha, last summer. Sumire is by Nekoneko Soft, one of the oldest existing VN brands... They are one of the 'founding names' of the moege umbrella genre, while also producing more serious works through their subsidiaries, such as Cotton Soft (of Reconquista and Owaru Sekai to Birthday fame). Sumire is rather unique, by the standards of current VNs. The protagonist, rather than being a student, is a salaryman in in his mid-twenties, a socially inept man who was an otaku but has lost most of his passion. He goes to a virtual chat room/online game that imitates a school, where people use characters from Nekoneko Soft games as avatars. There, he is part a sub-community of four people (including him) of people that are similarly awkward. This story is... emotional to say the least. So far, I've finished two arcs of the story (there is only one actual path, though there are apparently multiple endings) and I had to spend the last thirty minutes or so easing myself out of crying-mode. What is so good about this? Generally speaking, I have to say it is the overall presentation and characterization, as well as the narrative. The depth of the characters lent by the narration and dialogue - keeping in mind that they are the same type of person, generally speaking - is impressive, considering how relatively short a time I have been playing. At the same time, the story itself - for all its odd aspects - is one that is mostly easy to understand. It reminds me of some of the best works of last decade (2001-2010) in that it tries to just tell a story rather than pretending to be something in particular (ex. a charage, a nakige, etc). So, unless they seriously screw things up, this is VN is a definite candidate for VN of the Month... Edit: Changed this post so it reflects the whole game. Now that I've finished the game - and yes it is that short - I will go ahead give my final word on it. This game stops a bit short of kamige-level (the ending is a bit too short and 'things are looking up' optimistic for that), but it is nonetheless an excellent game. Now, for the overall... first, I should say that there are a total of three arcs. There is one focused on Sumire, then Hinahime, then Akari. Sumire is the main heroine, with the other two girls having 'extra' h-scenes in the omake section or as an extra on the second playthrough. The first two arcs are both straightforward - relatively speaking - stories of alienation and redemption, with a bit of love and friendship thrown into the mix. Really, in the first two arcs, you can't really get a good lock on what is motivating everyone, which isn't surprising, really. About two thirds of the game is in the characters rl and a third in the virtual space (it is more like half and half in the early game and ends up mostly rl at the end). For those who like mild mindfucks... Akari's arc will fulfill your desires to an extent. You'll find out the last few undiscovered secrets of the characters, including what links them together. In addition, you'll also have to choose between one normal, one bad, and one true ending. The true ending is a nice conclusion, though it is very short. The normal ending is sad, and the bad ending is a bit... depressing looking at it from the outside. Overall, this is an excellent VN, though short. I'd recommend it to those who want something unusual to break out of their usual reading habits but don't want something violent or with lots of sexual drama.

Winged Cloud. Guess I don't really need to make any introduction, since they are already well-known in visual novel community for their boobs-first-story-later "Sakura" series. Of course, after getting a mountain of money poured into their pocket with their previous titles, there is no way that they don't want more. May 29th, they released the 3rd one in the series - Sakura Fantasy Chapter 1. Yes, this is only the chapter 1, because they want to milk as much money as possible from this game (that said, the price is still the same as other "Sakura" games, which is 12$). And here I am, with my B-52 Bomb Squadron, ready to engage them. WARNING: 18+ 15+ MATERIAL BELOW. YOU HAVE BEEN WARNED. SYNOPSIS The new visual novel from the makers of Sakura Spirit and Sakura Angels. Sakura Fantasy Chapter 1 is an exciting visual novel fantasy adventure where you decide the development of the story by the choices you make. It is the tale of an aspiring female protagonist who wishes to aim to become a knight. CHARACTER 1. Raelin Protagonist. A novice knight with the special ability a.k.a "gift" of "farseeing" (basically, let her "spirit" leaves her body and goes looking around). A perverted girl with the hobby of peeking at other people's nude private moment and getting nude herself. 2. Gwynne Raelin's best friend. She handles paperwork in the barrack, and rarely participates in actual combat practice. She has the gift of lighting (summoning lighting and such). 3. Keira Raelin's instructor. A serious and harsh girl, especially toward Raelin. She has the gift of stone skin. 4. Ardena The Empress. An emotionless girl, or should I say, thousand years old grandma Her gift is currently unknown. STORY To summary, Sakura Fantasy is about Raelin, a novice knight that is currently training in some random barrack in some random empire. For some reason, she got the gift of farseeing from someone called "the creator". For some reason, she wanted to become an excellent knight in the army to fight again some kind of monster. One day, in her sleep, she found herself getting stucked in a swamp with a huge monster, but decided that it's just simply a dream after she woke up. Yup, dark. Sometime later, she was assigned to be the castle's guard. There, she met a strange girl who told her about "a star may soon falls from the heaven". She did not understand it well, until later of the day, when it really happened: A star fell from the sky, crashed down to somewhere outside the "wall" (which protect the city from monster). Despite the opposition of the Council, the strange girl - who now revealed as the Empress - decided to assemble a group of brave soldiers to seek for the fallen star. Of course, everyone can guess who would be in that group: Raelin - the protagonist, Gwynne - best friend, and Keira - the tsundere instructor. After crawling through the swamp filled with all kind of perverted monsters that you can expect (slime, tenta-tree) and fought a super anti-climax battle with a "slime girl" (which she soon retreated after throwing out some random attacks), Keira suddenly got shot down by a strange girl. Turned out that that girl - Ethy - mistook Keira with a monster - or something like that. The group then took a break at the small village where Ethy lived. Before departing, suddenly, a huge monster came to attack the village. The group fought back, and won after a deus-ex-machina battle. They had a big feast, and Ethy ended up joining them after the Empress's spirit emerged from Raelin and talked to the villagers - who had a lot of respect toward the Empress. Anddddd that's the end of chapter 1. Man, there are so many things to talk about that I don't even know where to start anymore. First off, language. When Winged Cloud first released Sakura Spirit, they got a full container of rocks for the omfg English in the game. This time, there are improvements, but STILL NOT ENOUGH. I mean... Yes, I'm not a native English-speaker, but I'm damn sure this is NOT how you use "wake" in a sentence! Btw, this is just the 4th sentence into the game! Other parts of the game are also trashed with random weird sentences all over the place. In the synopsis also: "female protagonist who wishes to aim to become a knight". No no no, you either "wish" or "aim". You don't "wish to aim". That's retarded. Secondly, detail. You wonder why I used so many "someone", "something", "somewhere" in the summary? That's because the game simply explained ABSOLUTELY NOTHING about those. They just throw the players into the game environment and leave them there dying with no information whatsoever. What is this empire called? Why did Raelin join the army? What are they fighting against? Where did those monsters come from? What's the current situation? What exactly is "gift"? There are simply no answer for those very basic questions. All there for players to know, is that they are soldiers with "gift" in an empire fighting against monsters. Done. Let's take a look at the 2nd choice, about 2 minutes into the game: Before this choice, they did not mentioned a damn single word about what the hell is this "gift" thing, and suddenly, they tell players to make a choice related to that "gift" thing. Are you trolling me here!? Next, the consistency. In a sword practice scene: Excuse me, girl, but those things are called "dummy", not "doll". Realizing their mistake, in the later scene, not far from this scene, they changed it back to "dummy", but decided to keep the "doll" in this scene as it, just to remind the players "Oh, we actually wanted to use doll but it sounded too dumb so we changed it to dummy instead". In another scene, when Gwynne told Raelin "You should not sleep in late." ("sleep in late", meh...), Raelin replied: "I was making strange faces? Like what?". Errr.....what? Raelin, are you still sleepy? She did not mention a damn single thing about your face you know!? Fourthly, "the creator". In this game, "the creator" is pretty much "God" in this empire. "He" (nah, don't know the gender) granted people with gift, for some reason. And also for some reason, only granted it for some people, not all. And because he is the "God", some sentences in the game became weirdly funny: Who were you thanking there, Raelin? The "creator" who granted you the gift, or did you just break the forth wall and thank Winged Cloud? And finally, the choice. According to Wingled Cloud, players can "decide the development of the story by the choices you make". Nooooope. Most of the choices are absolutely pointless, they affect nothing toward the story development. In like half of them, Raelin will just go ahead and do whatever she wants to do, regardless of your choice. There are only 2, or maybe 3 choices that really make a different, that will result in different CGs, but even then, nothing is actually changed in the flow of story. There is no route, no bad end, so you are free to make whatever choice you want. You want to stay loyal to one girl? Go for it. You want to make a harem (in your imagination)? Go for it. You want to be a coward and always stay in the back line? Go for it. You want to be a crazy girl who charge headfirst into the monster without a single care in the world? Go for it. You want to go commando? Go for it. GRAPHIC Well, it's Winged Cloud, so you know what is coming. Nice art as ever, with a heck amount of boobs, ass and fan-service. 80% (or more, I'm suck at math) of the CGs are fan-service. How did this thing even get through Steam again? No wonder why they can attract a bunch of perverts on Steam buying their games. Eeeeveryone fell for the honey trap. Not me, I pirated. MUSIC Just your normal everyday BGM, nothing to talk about. Actually, did they reuse some BGMs from their previous games...? CONCLUSION I will just say one thing: Please, stay away from this trash. Don't pour more money into Winged Cloud's pocket, giving them motivation to create more disasters. If you want something to spend your money on, then go for Grisaia (or wait for the 18+ ver if you want), Neptunia, or even Akiba's Trip. Much better. Pros: - Nice art. Cons: - Still have Engrish. - Unexplained story, detail. - Pointless choices. - No route (this game is not designed to be a kinetic novel). - Lack of consistency in wording and sentencing. - Overused fan-service CGs. - Overkill price. Score Story: 2/10 Character: 5/10 Graphic: 7/10 Music: 4/10 Overkill price: -2 Total: 2,5/10 My previous review: Love Rec. (Trial Edition)

I wrote this response to a thoughtful commenter on Reddit. I would not support a non-adult only English release of Kagura Douchuuki, with a purchase or otherwise. I would also encourage other eroge fans not to support whitewashing of titles where sexual content was an integral part of the original concept (i.e., this title and MoeNovel's If My Heart Had Wings). Just because a story can be told without sex doesn't mean it should. Just because it's easier to promote a game without sexual content doesn't mean that sexual content should be removed for the sake of convenience. This isn't merely a matter of supply and demand. It's about faithfulness to the original concept of the work. As a developer, it's lazy and disingenuous to cut content just to maximize sales in a given territory, while leaving fans with no option to restore the content and enjoy the original experience. It's callous to turn one's back on fans who have been supporting the market all along so companies like Debonosu could have the opportunity to release games like Kagura Douchuuki on Steam. I wrote my Kaguara Douchuuki article to notify fans of the path Debonosu has embarked on, and hopefully to persuade Debonosu to change their minds. According to dovac (CEO of Sekai Project) our earnest pleas will fall on deaf ears (in his words, "They don't care"). But at least we'll have tried. Should we support developers that "don't care"? I would say that, no, we shouldn't. And if Debonosu truly "doesn't care", then I would argue they don't deserve the support of you, me, or anyone else. And when a company truly doesn't care, that'll likely manifest in more than just needless content cuts; you'll see it in the slipshod way the localization is handled. Notice how the Greenlight campaign was started without any English description (which Sekai Project rushed to donate because they didn't want the black eye of a campaign for a prominent VN failing). Notice how Debonosu's single English comment was in broken English. Does that indicate to you that Debonosu is invested in making this release a success? Does that give you confidence that the final product will be professional quality? I think if Debonosu doesn't start caring more pretty quick, this release will likely be a trainwreck that will cause gameplay VN fans to cringe for years to come (not unlike what's happened with MoeNovel's release of If My Heart Had Wings). [Feature image: Thomas the trainwreck]