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It's it just me or have vn get more popular in West on console like Switch and PS4, I'm not sure about Xbox one or Xbox Serie X and S. It's seems we are getting more VN on console lately. We just got Root Double Crime Days and soon we are getting Autumn Journeys on Switch. We have Clannad, Tomoya After, The Fruit of Grisaia, Phantom Trigger and many other VN on Switch. I'm very happy with that, since I enjoy play VN on Switch. I hope we are getting more VN in West on console. I have four favorite VN I hope get on Switch. 1. Kanon(I know it might not be possible, but I hope it get ported on Switch) 2. Da Capo 3. Flowers -Le Volume sur Printemps- 4. Air. I'm not much into yuri but I did enjoy Flowers -Le Volume sur Printemps- and I have plans to continue play it. What do you guys think about we are getting more VN on console? What VN do there hope get on console?

I believe, After should be played first.

First, as I state in the title, I'm coming off my fifth playthrough (all paths and endings) of Tokyo Babel. As such, I am - very obviously - deeply fond of the game. I'm also a fan of the writer Higashide Yuuichirou (for reference, he also wrote Ayakashibito and the scenario for Fate/Apocrypha). However, in this post I wanted to address some of the complaints I get from those who play the game. First, I will address the major complaints I've taken personally from those who read or have read it untranslated, then those who read it translated. Untranslated 1. 'This doesn't feel like a Higashide game/isn't as good as his other games!' For better or worse, Higashide went in a different direction, style, and approach in Tokyo Babel in comparison to his previous works. Ayakashibito is the basis for most untranslated Higashide fanboys' love, but it needs to be said that anyone who has played the two games will barely see any resemblance beyond the writing style. Ayakashibito was about a young man struggling against the world as he tried to carve out a life for himself with his adoptive sister. His emotional struggles with unreasonable and unreasoning prejudice, as well as the active malice of powers both great and small, struck a chord in a lot of the people who read it. Moreover, it is by far the most slice-of-life focused of all Higashide's titles, whereas a huge portion of Tokyo Babel is fighting, preparation for fighting, and dealing with conspiracies. 2. 'I loved Dies Irae and this was recommended to me based on that, but it doesn't match up.' This one makes me laugh. Sorry, I'm not trying to be contemptuous, but, despite some surface resemblances, Tokyo Babel is wildly different from Dies Irae. Higashide is not a poet. Masada is. Higashide is calculating where Masada is impulsive. As such, I can honestly say the only resemblance between the two is that they both have a preference for fantasy and melodrama. Dies Irae is an opera, whereas Tokyo Babel is more straightforward and to the point, in comparison. 3. 'Why is there no ero? All his other games had ero, so why not this one?' I have to wonder if anyone but me was surprised at this one being the third most common complaint I got from those I recommended this game to. Yes, his other games have a mix of good and horrid ero (Ayakashibito is particularly infamous for its side-character scenes), but Tokyo Babel was written from beginning to end as an all-ages novel. Surprisingly, I agree with those who think the lack of ero in Tokyo Babel had a negative effect. To be blunt, I can't see Lilith not finding a way to shove Setsuna into Raziel's futon or failing to trap him in a room alone with Sorami... and that's setting aside several moments in her path that would have made for some great 'desperate and somber H' scenes. Higashide, for all that his ero scenes were sometimes awful (again, Ayakashibito), always made them relevant to the story and used them to enhance its flow... something many chuuni writers who utilize ero content fail to do. 4. 'What the heck is it with this game's weird mix of styles?!' I'm not an art bigot, so I'm not the best person to answer this question. This game's art style differs from previous Propeller games to a significant degree at times. Is that a good or bad thing? Hard to answer... though I do think the decision to make the main characters look younger than in previous games (with some exceptions) was questionable, lol. Translated 1. 'What is with the translation?!!!!'. Aah... this is the idiot argument. Sorry, but I've said this a thousand times before 'Japanese to English translation is an oxymoron'. Conjueror was pretty much the only translator brave enough to jump into translating something like Dies Irae or Tokyo Babel precisely because fans of this type of game are such a-holes when it comes to translations. Yes, it isn't perfect. Yes, it doesn't somehow magically mirror Higashide's brilliance perfectly. However, I would like to make a few major points for those who insist they could do better... Japanese has numerous concepts, sayings, and even casual phrasing that simply don't translate into English without a much larger number of words to fill in the gaps in the language. One reason I always recommend anyone who can read a game in Japanese (even if they have to use a parser and text hooker) do so is because it is impossible to perfectly replicate everything in a localization to English. It is possible to get across many concepts with creative language and a wide vocabulary in English, but that sometimes means spending minutes or even an hour on a single line, trying to create something that can somehow retain the best parts of the original. Chuuni translations tend to be awkward (both anime and games) because the language used requires more of this, and it becomes too easy to fall into the habit of robotically spewing out the translation instead of actually writing it into prose (look at the FGO cell phone game and you'll see what I mean). 2. 'This wasn't as dramatic as I thought it would be!' This one puzzles me... but then, I never played the game all the way through in English (I went up through the Miyako fight in Raziel's route to get an idea of what it was like), so maybe more was lost in the localization toward the middle and end than I thought. 3. 'The subject matter made me uncomfortable'... Ah yes, this one. To be honest, even I felt the remnants of my upbringing pounding on the doors of my psyche at times when I played this game. To be blunt, to anyone brought up in a devout Christian (or even Muslim) household, playing any of the routes can be enormously uncomfortable at times. By the nature of the process of 'suspending disbelief' that occurs when you read something fantasy, your prejudices and upbringing inevitably play into how you see the game. To be blunt, by Christian standards, this game is blasphemous, lol. In Japan, due to the way the divine is seen (impossible to explain if you haven't studied it, so I won't go into this here), this game doesn't feel that way. However, this game can cause some odd reactions in some Westerners. 4. 'I don't get the humor.' Sad to say, but a good portion of humor in Japanese VNs simply doesn't translate very well. The funniest scene in the game (in my opinion) is the drunken party in Sorami's path... but there are several points in this scene that don't translate (think plays on Japanese wording, puns, and phone number styles) that had me cracking up every time. Sad to say, but, for those playing translated JVNs, this is something you'll just have to live with. Conclusion I didn't really refute any of the complaints here... but I did try to address them. Tokyo Babel is one of the few of my favorite games that have been translated (though more of them have been in recent years, including Hapymaher and Dies Irae), but it is also the one of my translated favorites that is most likely not to be mentioned when someone is asking about this type of game.

Website: https://liviagame.com Sign up for news at our upcoming Indiegogo & be the first to hear of the upcoming demo! https://www.indiegogo.com/projects/livia-little-fledgling The brightest and the best of all children in the Saldacian Empire are brought in to Snowdrop Academy. There, they’re taught etiquette, leadership, history, poetry… and, of course, the use of Magic. These children will be the future leaders and champions of the Empire. And among them… a little orphan girl called Livia. You are Livia. This is your story. You see her live a life of wonder, magic, friendships and challenges. You see her develop her skills and talents and grow from a sweet little girl to a bright young woman. What kind of a person will your Livia be? What kind of a future awaits her? Hi all! Thanks for checking out the project! Livia: Little Fledgling is a visual novel / life simulator with heavy RPG elements. It’s a story-based game in which you go through young Livia’s life in a magical academy, make friends and enemies… and try to figure who you are, and who you’re going to become! We take inspiration from cult classics such as Princess Maker and Long Live the Queen, but give the concept our very own flavor! What makes this game special? What if you could make your own character to be just the kind of a person you want them to be… and the game world actually reacted to it? In Livia: Little Fledgling, the game track all the choices you make throughout the game and changes accordingly. When you act a certain way and make certain kinds of dialogue options, other characters start reacting to you differently. And, once you gain a certain reputation, your whole story changes: a kind-hearted, popular Livia will encounter very different story events than a hard-boiled Livia with a reputation of a bully! At the end of Livia’s school journey, you will see one of dozens of endings, showing you what Livia grows up to be… an artist? magician? carpenter? teacher? …a princess? In most story-based games, you’re either given a pre-made character with a complex personality, needs, wants, dreams and desires; a character who’s really interesting, but isn’t someone you created. Or else your character will be a silent protagonist who never speaks and never shows any trace of emotion or character, outside of what you imagine in your head. Livia: Little Fledgling tries to do something completely different… a character who’s uniquely yours, and the game world acknowledges that! Who is making the game? Livia: Little Fledgling is developed by Fabler Studios, a small but ambitious new indie studio based in Finland. Our game designer and writer, Fabler, has worked as a game designer for “real” game companies since 2011. Most recently he worked for Frozenbyte on games such as Trine 3, Shadwen and Trine 4. Fabler Studios, and Livia: Little Fledgling in particular, is his leap into indie game development, with the ambition of exploring narrative games in completely new and unprecedented ways! Our character and background artist is the amazingly talented LPchan. You can find more of her work at her ArtStation: https://www.artstation.com/lpchan ! Our UI has been created by the wonderful Sasquatchii. For programming, we’ve received help from multiple great and talented programmers: carrot, naomimyselfandi and drKlauz! Depending on the scale of the full game, we’ll be expanding the team in the coming year! Will there be a demo I can try? Yes! A free demo version of the game will be available very shortly. The demo version will contain a fraction of the features we’re hoping to accomplish, as well as a small preview of exactly what the adapting gameplay could be like. All of this will be greatly expanded upon and improved based on your feedback! Don’t worry, though: a small example it may be, but the demo already contains over 60,000 words of story and a proper little story arc for you to experience as you get your glimpse into what life in Snowdrop Academy might be like! Why a crowdfunding campaign? Livia: Little Fledgling is a passion project that we’ve already invested lots of time and work into. The full version of our dreams will require even more work, especially with all the plans and ideas we have lined up! We’re hoping to raise funds to finish the full game, yes; but also, to see just how big and ambitious we should make the final game! If the crowdfunding reveals modest interest, we’ll polish the game into a finely tuned little story that will likely last for a couple of years of in-game time. If the interest is great, however, we’ll be happy to take Livia through all her school years! Either way, we’ll look forward to bringing you the best, most complete story and experience we can! Where will the full game be released, and how much will it cost? The game will be released on Steam and Itch.io for the PC. Other platforms pending! Final price will depend on a lot of factors and is yet to be decided. If you take part in our crowdfunding campaign, your pledge will absolutely guarantee you a copy of the final game, no matter the final price! When will the full game be finished? Depending on the success of our Indiegogo campaign and the final scope of the project, we’ll be looking at a 2021 or 2022 release!