Happy Monday! Banish those new work week blues with another episode of The MoeGamer Podcast, featuring my fine self and the ever-charming Mr Chris Caskie of MrGilderPixels.
The MoeGamer Podcast is available in several places. You can subscribe to my channel on YouTube to stay up to date with both the video versions of the podcast and my weekly videos (including the Atari A to Z retro gaming series); you can follow on Soundcloud for the audio-only version of the podcast; you can subscribe via RSS to get the audio-only version of the podcast in your favourite podcast app; or you can subscribe via iTunes. Please do at least one of these if you can; it really helps us out!
Or you can hit the jump to watch or listen to today’s episode right here on MoeGamer.
Continue reading The MoeGamer Podcast: Episode 22 – A Crafted World
With this month’s Cover Game being one of the most influential, well-regarded visual novels of all time, it seems only right and proper to take a look at the history of the medium as a whole.
To date, there have been three main “eras” of visual novels that can be clearly distinguished through a combination of their visual style, thematic content, gameplay elements (if any) and breadth of appeal. Of course, things aren’t quite as neat and simple as that might suggest, with some modern works deliberately channeling older styles, or some older works being ahead of their time, but it’s a working hypothesis to start from.
And, since visual novels form an extremely important part of both Japanese gaming and Japanese popular media in general, it’s worth tracing the route things have taken to get to where we are today.
Continue reading The Three Ages of Visual Novels
Today, March 16, is the birthday of Japanese voice actress Asami Imai, one of the most distinctive, recognisable voices in modern Japanese entertainment.
Since her debut in 1999, she has racked up an impressive number of roles to her name across a variety of different media. Among enthusiasts of Japanese gaming, she’s probably best known for her roles as Noire in the Neptunia series, Makise Kurisu in the Steins;Gate visual novels, and Ikaruga in the Senran Kagura series.
She’s had an interesting career, for sure — so let’s take a look at it!
Continue reading Happy Birthday, Asami Imai
Video games are a great means of immersing yourself in another culture. For years now, Western gamers have been enjoying titles like Yu Suzuki’s sadly unfinished Shenmue series and Atlus’ Persona titles not only for their enjoyable gameplay and overarching storylines, but for their ability to make you feel like you’re “living the Japanese life”.
There’s a huge amount of scope for interactive entertainment in general to promote and foster understanding between different cultures, whether you use the word “culture” to refer to national identity, socioeconomic groups, minorities of various descriptions or simply groups of people who have chosen to gather together under a particular banner for whatever reason. And it’s something of an underused aspect of interactive entertainment, too, though with the growing diversity of the games industry — particularly thanks to the indie scene and how easily we can access content from all over the world via the Internet these days — it’s something that more and more developers are starting to explore.
Nitroplus and 5pb.’s visual novel Steins;Gate is an interesting example of this practice in action, and it’s arguably only now that it’s been localised into English that it can be truly effective at one of the things it’s doing.
Continue reading Guidebook to Another Culture
Every time I settle down to play — or even to write about — a visual novel, I’m reminded of how much I love the medium.
I use the word “medium” when referring to visual novels rather than “genre” because in many cases, it’s not entirely accurate to call them “games”, despite the fact that they tend to be festooned in the trappings of video games. Most tend to include some sort of metagame element, be it a simple checklist of endings, a CG gallery with a completion percentage or, in the case of more complex games like the recently localised Steins;Gate, even achievements. Most of them are presented in a distinctly game-like fashion, with console-style main menus that make pleasing noises when you click on them, colourful but clear text boxes with a little spinny thing in the corner that tells you when you’ve reached the end of the current paragraph, and all manner of other things.
And yet they’re not games. Not really. They’re interactive stories — some having no more than one or two meaningful choices over the course of the entire narrative, and some even eschewing the element of choice whatsoever — that make use of multimedia presentation to distinguish themselves from, you know, reading a book. The combination of static background images, static or lightly animated characters, music, voice acting, sound effects and text all combine to create a very distinctive effect — and one that can be a powerful poke to the imagination.
Continue reading Visual Novels and Games: The Same, But Different