While arguing over an inheritance, the wealthy Ushiromiya family is trapped by a typhoon in their private island of Rokkenjima. The alchemy councilor of the family, Beatrice, then suddenly appears to challenge the family members to solve a riddle within two days or she will claim the inheritance and become the family successor.
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The head of the wealthy Ushiromiya family is gravely ill, and his relatives gather at their private island of Rokkenjima to split the inheritance. A sudden typhoon traps the island's inhabitants, and a mysterious woman named Beatrice threatens to reclaim the family's assets, promising to step down only if the family can solve a riddle that grants its solver the right to succeed the family head.
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The best story ever told in a videogame (by a fairly substantial margin). The best cast of characters ever in a videogame (by a fairly substantial margin). A strong contender for richest atmosphere ever in a videogame. A strong contender for best soundtrack ever in a videogame.
I remember discovering Car Seat Headrest's 2010-2014 music. It was (and still is), some of the most gorgeous, moving, profound, infinitely rewarding art I'd ever experienced. Life changing. I couldn't (and still can't) fathom how little interest it receives. I can't fathom living without it, either.
That's exactly how I feel about this game.
What are you waiting for?
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The unbelievably compelling first half of the Umineko series. Forewarning for the interested: Be prepared for a lengthy read, at least 45 hours even for a speedy reader. Also, this is a doujin series, so despite the fact that it grapples with adult subjects like finance, inheritance, legacy, love, body image, and death, there's some otaku stuff in here.
The game features almost no interactivity, save for menus that allow you to confirm whether or not a character has died, as well as descriptions of those characters and other key information. You're essentially invited to either attempt to solve the mysteries using the clues the game gives you, or to simply enjoy the story as it happens, which is just as enjoyable considering how wonderfully written and detailed it is.
The game features a soundtrack arguably as jaw-dropping as its mysteries; if you didn't have an interest in trance music before playing this, you certainly will after it.
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This VN made me trans fuck you Ryukishi you little shit I’m going to come over and show you what a real witch can look like
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Great story, great writing and characters. Wonderful music, and mindblowing plot. Impossible not to recommend, but it's important to understand that there are no actual choices made by the player in this one. It's just a linear story - however, there are a lot of ways that the game uses its writing to make the player feel involved. Something like this really shows what the Visual Novel genre can do when in the right hands.
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I'm shocked at how little credit Sayaka Ohara is getting in this box. I'm only on Episode 3 so far but she does so much to propel nearly every line Beatrice has with such insane aplome. It's a phenomenal performance that twists to convey so much about her character without me understanding Japanese in the least.
Also, of note, I've seen some people note the length barrier and "obscurity" as a means for all the high ratings but even without mods it's pretty easy to play the series via the Steam games. A game like Last Window Secret of Cape West is infinitely more subject to that obscurity factor. A Japanese/PAL only sequel to a somewhat niche DS game that goes for $100 secondhand on a system that's a pain-in-the-ass to emulate Touch Controls for on PC. That has high ratings from anyone who played it but also very few people who had played it.
It has its issues; the anime humor is near universally bad and leads to some character traits I feel could've been removed, the start is slow, the logic of how different realms work can be kind of annoying to follow, some plot points/confrontations are weirdly contrived but everything else is special and cool.
I love its premise, the push/pull of its main dynamic, the music, the constant intrigue of new identity mysteries, a lot of the character arc concepts I've seen so far, any time something it’s doing reminds me of another thing I enjoy as a means to dig deeper, and Sayaka Ohara’s voice performance as Beato is simply divine. Brainrotting hard about it since finishing and this is the “worse” half.
About halfway through episode 2; I'm digging what I've read so far, but something that sorely sticks out is how badly this needed an editor. I'm 25 hours in and I don't feel like anything I've read so far feels justified to be that goddamned long. There's so much prose that feels clunkily written and padded out; like there's this section in episode 2 that talks about a character's failing business, and I'll paraphrase roughly the way it's written:
"(Character)'s business was like a seesaw. In a seesaw, you can go up and down, and to go up, you need someone else on it. (Character)'s company was like this. Now imagine a seesaw in a playground where no kid was interested in playing with it. Without another kid, the seesaw would never go up. (Character) couldn't find someone else to participate in their business, so it wouldn't get off the ground, hence why their company was like a seesaw."
Like yes lmao thank you, I get the metaphor already. That's a particularly egregious example but there's a lot of overstuffed roundabout narration that's like this, and it's taxing getting through it all. I'm not sure if this is a product of translating the original Japanese script or what.
If it wasn’t a character’s direct voice lines I usually read through all the extraneous descriptive text pretty fast but your mileage may vary depending on read speed and which characters you want to hear actually say their lines most
Also, of note, I've seen some people note the length barrier and "obscurity" as a means for all the high ratings but even without mods it's pretty easy to play the series via the Steam games.
A game like Last Window Secret of Cape West is infinitely more subject to that obscurity factor. A Japanese/PAL only sequel to a somewhat niche DS game that goes for $100 secondhand on a system that's a pain-in-the-ass to emulate Touch Controls for on PC. That has high ratings from anyone who played it but also very few people who had played it.
It has its issues; the anime humor is near universally bad and leads to some character traits I feel could've been removed, the start is slow, the logic of how different realms work can be kind of annoying to follow, some plot points/confrontations are weirdly contrived but everything else is special and cool.
I love its premise, the push/pull of its main dynamic, the music, the constant intrigue of new identity mysteries, a lot of the character arc concepts I've seen so far, any time something it’s doing reminds me of another thing I enjoy as a means to dig deeper, and Sayaka Ohara’s voice performance as Beato is simply divine. Brainrotting hard about it since finishing and this is the “worse” half.
"(Character)'s business was like a seesaw. In a seesaw, you can go up and down, and to go up, you need someone else on it. (Character)'s company was like this. Now imagine a seesaw in a playground where no kid was interested in playing with it. Without another kid, the seesaw would never go up. (Character) couldn't find someone else to participate in their business, so it wouldn't get off the ground, hence why their company was like a seesaw."
Like yes lmao thank you, I get the metaphor already. That's a particularly egregious example but there's a lot of overstuffed roundabout narration that's like this, and it's taxing getting through it all. I'm not sure if this is a product of translating the original Japanese script or what.