A visual novel ( bijuaru noberu?

) is an interactive fiction game featuring mostly static graphics, usually with anime-style art, or occasionally liveaction stills or video footage.[1] As the name might suggest, they resemble mixedmedia 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 inJapan, 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 theDreamcast 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;Rumbling Hearts (2001) by ge; School Days (2005) by 0verflow; Higurashi no Naku Koro ni (2002) and Umineko no Naku Koro ni(2007) by 07th Expansion; and Fate/stay night (2004) by Type-Moon. 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 'fastforward' 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. Non-linear branching storylines are a common trend in visual novels, a subgenre of interactive fiction and adventure games. Visual novels 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] Style 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 ( 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.

Content and genre

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

Science fiction
In 1986, Square released the science fiction adventure game Suish 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,[9] and an interface resembling that of a pointand-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 Suish no Dragon was also used to click on the action icons.[9][10] Hideo Kojima (of Metal Gear fame) was inspired by Portopia Serial Murder Case to enter the video game industry,[11] 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.[12] It also featured a post-apocalypticscience 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 a Mature rating limiting its accessibility,[13] gained a cult following.[14] 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.[15] 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 pointand-click interface and somefirst-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.[14] From 1997 to 1999, Kojima developed the three Tokimeki Memorial Drama Seriestitles, which were adaptations of Tokimeki Memorial in a visual novel adventure game format.[16]

Crying game
A popular subgenre of visual novels is the "crying game" (nakige) or "melancholy game" (utsuge). 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'svisual 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."[17] 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, andSnow (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 Yichi Suzumoto. Released in 2005, its story revolved around the central theme of the value of having a family.[18] It was voted the best bishjo game of all time in a poll held by Dengeki G's Magazine.[19] 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 Higurashibut instead of leading the player to cry, Ryukishi07 wanted to scare the player with the addition of horror elements.[20] Another example of a horror-themed visual novel is Animamundi: Dark Alchemist, a 2004 gothic horror title.

Adult content

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.[6] In 1982, they released Night Life, the first commercial erotic computer game.
[7]

It was a graphic adventure,[8] with sexually explicit images.[7] 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.[6] 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.[7] 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.