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Not to be confused with Graphic novel, Anime game, or Dating sim.
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A visual novel (ビジュアルノベル, bijuaru noberu) is an interactive fiction featuring mostly static anime-style graphics, or occasionally live-action stills or video footage.[1] As the name might suggest, they resemble mixed-media novels or tableau vivant stage plays.

In Japanese terminology, a distinction is often made between visual novels proper (abbreviated NVL), which are predominantly narrative and have very little interactive elements, and adventure games (abbreviated AVG or ADV), which typically incorporate problem-solving and other gameplay elements. This distinction is normally lost in the West, where both NVLs and ADVs are commonly referred to as "visual novels" by Western fans. Visual novels and ADVs are especially prevalent in Japan, where they made up nearly 70% of the PC game titles released in 2006.[2]

Visual novels are rarely produced for video game consoles, but the more popular games are sometimes ported to systems such as the Dreamcast or the PlayStation 2. The more famous visual novels are also often adapted into the light novel, manga or anime formats. The market for visual novels outside of East Asia, however, is small, though a number of anime based on visual novels are popular among anime fans in the Western world; such titles include To Heart (1997) by Leaf; Kanon (1999), Air (2000) and Clannad (2004) by Key; Kimi ga Nozomu Eien (2001) by âge; School Days (2005) by 0verflow; Higurashi no Naku Koro ni (2002) and Umineko no Naku Koro ni (2007) by 07th Expansion; Tsukihime (2000) and Fate/stay night (2004) by Type-Moon; and Steins;Gate (2009) by 5pb.

Gameplay

Visual novels are distinguished from other game types by their extremely minimal gameplay. Typically the majority of player interaction is limited to clicking to keep the text, graphics and sound moving (most recent games offer 'play' or 'fast-forward' toggles that make even this unnecessary).

Most visual novels have multiple storylines and many endings; the gameplay mechanic in these cases typically consists of intermittent multiple-choice decision points, where the player selects a direction in which to take the game. This style of gameplay has been compared to the Choose Your Own Adventure books. Most, however, strive for a higher level of plot and character depth than the aforementioned series of interactive children's books. These can be more closely compared to story-driven interactive fiction. While the plots and storytelling of mainstream video games is often criticized, many fans of visual novels hold them up as exceptions and identify this as a strong point of the genre.

Some visual novels do not limit themselves into merely interactive fictions, but also incorporate other elements into them. An example of this is Symphonic Rain, where the player is required to play a musical instrument of some sort, and attain a good score in order to advance. Usually such an element is related as a plot device in the game.

Some shorter works do not contain any decision points at all. Most examples of this sort are fan-created. Fan-created novel games are reasonably popular; there are a number of free game engines and construction kits aimed at making them easy to construct, most notably NScripter, KiriKiri and Ren'Py.

Many visual novels use voice actors to provide voices for the characters in the game. Often, the protagonist is left unvoiced, even when the rest of the characters are fully voiced. This is to aid the player in identifying with the protagonist and to avoid having to record large amounts of dialog, as the main character typically has the most speaking lines due to the branching nature of visual novels.

Branching plots

Non-linear branching storylines are a common trend in visual novels, which frequently use multiple branching storylines to achieve multiple different endings, allowing non-linear freedom of choice along the way. Decision points within a visual novel often present players with the option of altering the course of events during the game, leading to many different possible outcomes.[3][4] A recent acclaimed example is 999: Nine Hours, Nine Persons, Nine Doors, where nearly every action and dialogue choice can lead to entirely new branching paths and endings. Each path only reveals certain aspects of the overall storyline and it is only after uncovering all the possible different paths and outcomes through multiple playthroughs that everything comes together to form a coherent well-written story.[5]

Another example is ELF's most famous visual novel, YU-NO: A girl who chants love at the bound of this world (1996), which featured a science fiction plot revolving around time travel and parallel universes. The player travels between parallel worlds using a Reflector device, which employs a limited number of stones to mark a certain position as a returning location, so that if the player decides to retrace steps, they can go to an alternate universe to the time they've used a Reflector stone. The game also implemented an original system called ADMS, or Automatic Diverge Mapping System, which displays a screen that the player can check at anytime to see the direction in which they are heading along the branching plot lines.[6] Similar systems have later been employed in the 2010 role-playing games, Radiant Historia[7][8] and the PSP version of Tactics Ogre.[9]

Many visual novels also often revolve almost entirely around character interactions and dialogue choices, such as Ace Attorney and Tokimeki Memorial, usually featuring complex branching dialogues and often presenting the player's possible responses word-for-word as the player character would say them. Such titles revolving around relationship-building, including visual novels as well as dating sims such as Tokimeki Memorial and some role-playing video games such as Shin Megami Tensei: Persona, often give choices that have a different number of associated "mood points" which influence a player character's relationship and future conversations with a non-player character. These games often feature a day-night cycle with a time scheduling system that provides context and relevance to character interactions, allowing players to choose when and if to interact with certain characters, which in turn influences their responses during later conversations.[10]

Another common feature used in visual novels is the dual-protagonist system, where a game has two protagonists giving different perspectives on the story. C's Ware's EVE Burst Error (1995) introduced a unique twist to the system by allowing the player to switch between both protagonists at any time during the game, instead of finishing one protagonist's scenario before playing the other. EVE Burst Error often requires the player to have both protagonists co-operate with each other at various points during the game.[11]

Style

Visual novels are commonly characterized with dialog boxes and sprites denoting the speaker. This is a recreation of the screen layout of a visual novel, generated by the Ren'Py game engine.

The visual novel genre has evolved a style somewhat different from print novels. In general, visual novels are more likely to be narrated in the first person than the third, and to present events from the point of view of only one character. It is fairly common for the primary structural unit to be the day rather than the chapter, with formulaic awakenings and returnings to bed framing each day's events. There are of course many exceptions to these generalisations.

In the typical visual novel, the graphics comprise a set of generic backgrounds (normally just one for each location in the game), with character sprites (立ち絵, tachi-e) superimposed on these; the perspective is usually first-person, with the protagonist remaining unseen. At certain key moments in the plot, special event CG graphics are displayed instead; these are more detailed images, drawn specially for that scene rather than being composed from predefined elements, which often use more cinematic camera angles and include the protagonist. These event CGs can usually be viewed at any time once they have been "unlocked" by finding them in-game; this provides a motivation to replay the game and try making different decisions, as it is normally impossible to view all special events on a single play-through.

Up until the 1990s, the majority of visual novels utilized pixel art. This was particularly common on the NEC PC-9801 format, which showcased what is considered to be some of the best pixel art in the history of video games, with a popular example being Policenauts in 1994.[12]

Content and genre

See also: Adventure game

Many visual novels are centered around drama, particularly themes involving romance or family, but visual novels centered around science fiction, fantasy fiction, and horror fiction are not uncommon.

Adult content

See also: Eroge and Adult video game

Traditionally, PC-based visual novels have contained risque scenes even if the overall focus is not erotic (similar to the "obligatory sex scene" in Hollywood action films). However, the vast majority of console ports do not contain adult material, and a number of recent PC games have also been targeted at the all-age market; for example, all of Key's titles come in family-friendly versions, and two have never contained adult content at all. Also, all of KID's titles are family-friendly.

However, most of these games are later re-released with the addition of erotic scenes, or have a sequel with such. For example, Little Busters! was first released as an all-ages visual novel, but a version with erotic scenes, entitled Little Busters EX, came out later, and though Clannad is also all-ages, its spinoff Tomoyo After: It's a Wonderful Life is not. One notable exception to the rule is Myself ; Yourself, which never had an ero version, though it did contain mature content not suitable for younger audiences. Another example of this is Higurashi no Naku Koro ni.

Some of Japan's earliest adventure games were erotic bishoujo games developed by Koei.[13] In 1982, they released Night Life, the first commercial erotic computer game.[12] It was a graphic adventure,[14] with sexually explicit images.[12] That same year, they released another erotic title, Danchi Tsuma no Yuwaku (Seduction of the Condominium Wife), which was an early adventure game with colour graphics, owing to the eight-color palette of the NEC PC-8001 computer. It became a hit, helping Koei become a major software company.[13] Other now-famous companies such as Enix, Square and Nihon Falcom also produced similar erotic games in the early 1980s before they became famous for their role-playing video games. While some early erotic games meaningfully integrate the erotic content into a thoughtful and mature storyline, others often used it as a flimsy excuse for pornography.[12] The Japanese game Pai Touch! involves the protagonist gaining the ability to change the size of girls' breasts, and the adventures that ensue in trying to choose which girl to use the power on the most.

Science fiction

In 1986, Square released the science fiction adventure game Suishō no Dragon for the NES console. The game featured several innovations, including the use of animation in many of the scenes rather than still images,[15] and an interface resembling that of a point-and-click interface for a console, like Portopia Serial Murder Case, but making use of visual icons rather than text-based ones to represent various actions. Like the NES version of Portopia Serial Murder Case, it featured a cursor that could be moved around the screen using the D-pad to examine the scenery, though the cursor in Suishō no Dragon was also used to click on the action icons.[15][16]

Hideo Kojima (of Metal Gear fame) was inspired by Portopia Serial Murder Case to enter the video game industry,[17] and later produce his own adventure games. After completing the stealth game Metal Gear, his first graphic adventure was released by Konami the following year: Snatcher (1988), an ambitious cyberpunk detective novel graphic adventure that was highly regarded at the time for pushing the boundaries of video game storytelling, cinematic cut scenes, and mature content.[18] It also featured a post-apocalyptic science fiction setting, an amnesiac protagonist, and some light gun shooter segments. It was praised for its graphics, soundtrack, high quality writing comparable to a novel, voice acting comparable to a film or radio drama, and in-game computer database with optional documents that flesh out the game world. The Sega CD version of Snatcher was for a long time the only major visual novel game to be released in America, where it, despite low sales, gained a cult following.[19]

Following Metal Gear 2: Solid Snake, Kojima produced his next graphic adventure, Policenauts (1994), a point-and-click adventure notable for being an early example of extensive voice recording in video games.[20] It also featured a hard science fiction setting, a theme revolving around space exploration, a plot inspired by the ancient Japanese tale of Urashima Taro, and some occasional full-motion video cut scenes. The gameplay was largely similar to Snatcher, but with the addition of a point-and-click interface and some first-person shooter segments. Policenauts also introduced summary screens, which act to refresh the player's memory of the plot upon reloading a save, an element Kojima would later use in Metal Gear Solid. The PlayStation version of Policenauts could also read the memory card and give some easter egg dialogues if a save file of Konami's dating sim Tokimeki Memorial is present, a technique Kojima would also later use in Metal Gear Solid.[19] From 1997 to 1999, Kojima developed the three Tokimeki Memorial Drama Series titles, which were adaptations of Tokimeki Memorial in a visual novel adventure game format.[21]

Nakige

A popular subgenre of visual novels is the nakige ("crying game"), also known as utsuge ("melancholy game"). The main purpose of such a game is to make the player feel for the characters and make them cry due to emotional scenarios which serves to leave a bigger impact on the player after the game is over. These games often follow a similar formula: a comedic first half with a heart-warming romantic middle followed by a tragic separation and finally (though not always) an emotional reunion. This formula was primarily influenced by Leaf's visual novel To Heart, released in 1997, and was further developed in the 1998 title One: Kagayaku Kisetsu e, developed by Tactics. After One was complete, the development team quit Tactics to form Key where they developed their first title Kanon, also based upon on this formula. According to Satoshi Todome in his book, A History of Adult Games, Kanon was "heavily hyped [and] had gamers impatient until its release. It was only one game released by Key so far, and yet [it] had already sent major shockwaves around the industry. And yet another game [Air], two years later, sent even more shockwaves. Air was equally hyped and well received."[22]

The success of One and Kanon on Key's formula to create a "crying game" was later adopted by other visual novel companies which were influenced by this formula to create their own "crying games". Examples of this include: Kana: Little Sister (1999) by Digital Object, the Memories Off series (1999 onwards) by KID, D.C.: Da Capo (2002) by Circus, Wind: A Breath of Heart (2002) by Minori, and Snow (2003) by Studio Mebius (under Visual Art's).

One of the most acclaimed visual novels of this subgenre was Key's Clannad, written by Jun Maeda and Yūichi Suzumoto. Released in 2005, its story revolved around the central theme of the value of having a family.[23] It was voted the best bishōjo game of all time in a poll held by Dengeki G's Magazine.[24] It served as the basis for a media franchise, with successful adaptations into a light novel, manga, animated film, and acclaimed anime series.

Horror

Higurashi no Naku Koro ni (When They Cry) was a 2002 horror-themed visual novel by 07th Expansion, influenced by the "crying game" subgenre. Ryukishi07 of 07th Expansion mentioned in 2004 how he was influenced by Key's works during the planning of Higurashi no Naku Koro ni. He played their games, among other visual novels, as a reference and analyzed them to figure out the reason why they were found to be so popular. He figured that the secret was due to how the stories would start with ordinary, enjoyable days, but then a sudden occurrence would happen leading the player to cry due to the shock value. He used a similar model for the basis of Higurashi but instead of leading the player to cry, Ryukishi07 wanted to scare the player with the addition of horror elements.[25] Other examples of a horror-themed visual novels are Animamundi: Dark Alchemist, Higanbana no Saku Yoru ni, Umineko no Naku Koro ni, Ookami Kakushi and Imabikisou.

Related terms

Sound Novels is a trademark of Chunsoft, which used the term for its novel games such as Otogirisō, Kamaitachi no Yoru, Machi and 428: Fūsa Sareta Shibuya de (which received a perfect 40/40 score from Famitsu). Sound Novels were the origin of the "novel"-type game genre. Both genres share the style and gameplay. However the term "Visual Novel" is used by non-Chunsoft developers partly to avoid Chunsoft's trademark and partly to emphasize its focus on visuals rather than sound. As later entries in Chunsoft's own Sound Novel series have strengthened its visual expression with 3DCG and real-life graphics, the latter difference have pretty much disappeared.

Despite what the term may imply, not all sound novels have voice acting; the "sound" being merely background music and sound effects. An example of this is the original Higurashi no Naku Koro ni series for the PC, which billed themselves as "sound novels". Another variation of the sound novel is the audio game, the most notable example being Superwarp's Real Sound: Kaze no Regret, which consists entirely of sound rather than visuals.

Visual Art's, the major visual novel house that publishes Key's works (among numerous other brands), has recently released a series of works called Kinetic Novels, which are notable for being an experiment in online content distribution. Most of these fall into the completely linear category, lacking any choices at all; as a result, some fans have begun using the term to describe other non-interactive titles.[26]

Translations

As of 2007, all major visual novels are produced in Japan.[original research?] Only a few have been licensed in the United States and other countries; a majority are eroge, with Hirameki's now-discontinued AnimePlay series as notable exceptions. In addition to official commercial translations, a vibrant fan translation scene exists, which has translated many free visual novels (such as Narcissu and True Remembrance) and a few commercial works (such as Umineko no Naku Koro ni and Policenauts) into English. Some French and Russian translations exist as well.

Commercial English translations of contemporary Japanese visual novels were uncommon, though some games with visual novel elements had been officially translated into English for release in the Western world. These included Hideo Kojima's Snatcher and Capcom's Ace Attorney series. Multiple arcs of Higurashi no Naku Koro ni have been translated by MangaGamer and ported to Apple's touch screen products. This translation has been approved by original author Ryukishi07.

In recent years, Japanese visual novels have been released in the West more frequently, particularly on the Nintendo DS handheld following the success of mystery titles such as Capcom's Ace Attorney series (which began on the Game Boy Advance in 2001), Cing's Hotel Dusk series (beginning in 2006),[27] and Level-5's Professor Layton series (beginning in 2007).[28] This was made possible due to the Nintendo DS's unique touchscreen and dual-screen features. The success of these games have sparked a resurgence for the adventure game genre in the West.[27][29][30] GameSpot has credited Phoenix Wright: Ace Attorney in particular for revitalizing the adventure game genre.[31] The success of the Ace Attorney series was followed soon after by the even greater success of Level-5's Professor Layton in 2007. Both have since become some of the best selling adventure game franchises, with Ace Attorney selling over 3.9 million units worldwide and Professor Layton selling over 9.5 million units worldwide.[28] Their success has led to an increase in Japanese visual novels being localized for Western release, including KID's Ever 17: The Out of Infinity (2002), Cing's Another Code series (2005 onwards), Marvelous Entertainment's Lux-Pain (2008), Chunsoft's 999: Nine Hours, Nine Persons, Nine Doors (2010), and Capcom's Ghost Trick: Phantom Detective (2010).

See also

References

  1. ^ Ray Barnholt. "The Weird World of Japanese "Novel" Games". Retrieved 2011-03-08.
  2. ^ "AMN and Anime Advanced Announce Anime Game Demo Downloads". Hirameki International Group Inc. 2006-02-08. Retrieved 2006-12-01.
  3. ^ The First Free Visual Novel Engine Released, Softpedia
  4. ^ Dani Cavallaro (2010), Anime and the visual novel: narrative structure, design and play at the crossroads of animation and computer games, pp. 78-9, McFarland & Company, ISBN 0786444274
  5. ^ 999: 9 Hours, 9 Persons, 9 Doors Review, IGN, November 16, 2010
  6. ^ WooJin Lee. "YU-NO". RPGFan. Retrieved 3 September 2011.
  7. ^ Radiant Historia Gives Off a Distinct Chrono Trigger Vibe, 1UP
  8. ^ To those of you that asked about Radiant Historia, Destructoid
  9. ^ Tactics Ogre: Let Us Cling Together, GamesRadar, February 15, 2011
  10. ^ Brent Ellison (July 8, 2008). "Defining Dialogue Systems". Gamasutra. Retrieved 2011-03-30.
  11. ^ Commodore Wheeler. "EVE Burst Error". RPGFan. Retrieved 3 September 2011.
  12. ^ a b c d Retro Japanese Computers: Gaming's Final Frontier, Hardcore Gaming 101, reprinted from Retro Gamer, Issue 67, 2009
  13. ^ a b Pesimo, Rudyard Contretas (2007). "'Asianizing' Animation in Asia: Digital Content Identity Construction Within the Animation Landscapes of Japan and Thailand". Reflections on the Human Condition: Change, Conflict and Modernity - The Work of the 2004/2005 API Fellows. The Nippon Foundation. pp. 124–160. {{cite book}}: External link in |chapterurl= (help); Unknown parameter |chapterurl= ignored (|chapter-url= suggested) (help)
  14. ^ Jones, Matthew T. (2005). "The Impact of Telepresence on Cultural Transmission through Bishoujo Games" (PDF). PsychNology Journal. 3 (3): 292–311. ISSN 1720-7525. {{cite journal}}: Unknown parameter |month= ignored (help)
  15. ^ a b "水晶の龍 - SQUARE ENIX". Square Enix Japan. Retrieved 2008-05-26. (Translation)
  16. ^ "やーきゅーうー、すーるなら!?　「水晶の龍（ドラゴン）」". ITMedia. 2006-08-22. Retrieved 2008-05-26. (Translation)
  17. ^ Kasavin, Greg (2005-03-21). ""Everything is Possible": Inside the Minds of Gaming's Master Storytellers". GameSpot. CNET Networks. p. 2. Retrieved 2007-08-15.
  18. ^ Retroactive: Kojima's Productions, 1UP
  19. ^ a b Kurt Kalata, Policenauts, Hardcore Gaming 101
  20. ^ Mark Ryan Sallee. "Kojima's Legacy: We reflect on the influence of Hideo Kojima's 20 years in gaming". IGN. Retrieved 2009-08-20.
  21. ^ Hideo Kojima Speaks, IGN
  22. ^ Todome, Satoshi. "A History of Adult Games, chapter 3" (in Japanese). Retrieved November 22, 2007.
  23. ^ pre-Clannad (in Japanese). SoftBank Creative. April 15, 2004. ISBN 4-7973-2723-5. {{cite book}}: |access-date= requires |url= (help)
  24. ^ "Dengeki G's Magazine top fifty bishōjo games" (in Japanese). ASCII Media Works. Retrieved June 3, 2009.
  25. ^ Ryukishi07 (July 9, 2004). "Key's Essence is Actually...(Bitter Smile)" (in Japanese). 07th Expansion. Retrieved May 15, 2009.{{cite web}}: CS1 maint: numeric names: authors list (link)
  26. ^ "キネティックノベルについて" (in Japanese). kineticnovel.jp. Retrieved 2007-01-06.
  27. ^ a b Kurt Kalata, Snatcher, Hardcore Gaming 101
  28. ^ a b Layton Series Hits 9.5M, Ace Attorney 3.9M, Gamasutra
  29. ^ Gameplay of the Week - Two new engaging DS adventures hit the spot, The Olympian
  30. ^ Kurt Kalata, Sotenga, Jason Withrow, Phoenix Wright, Hardcore Gaming 101
  31. ^ "Phoenix Wright: Ace Attorney Review". GameSpot. Retrieved 2010-07-27.

External links

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