i just finished the game and i think everyone should check on taisho x alice itâs very underrated imo, itâs pretty solid beyond the humor with the localization
Highkey Ais is easy asf and so is Mihn but I'm not gonna slander them right now. Also spoilers mentioned.
Kinda sad about Ais because he craves that connection so bad but he keeps giving it to folks who just wanna fuck and maybe be friends lol
The obvious reference is with Vere but we all know that. Actually nevermind, imagine being Ais and being attached to Vere and lowk wanting more and Vere is like "nah" because that's not what he signed up for (cool, cool) but then Vere turns right around and takes the MC on not one, not two, but three dates in one day after knowing them for about 48 hours.
And then the way I see it with the implications in the first demo, Ais and Leander slept together and Leander is such a manipulative sweet talker and Ais, despite his wisdom, did not have any pleasant experiences with humans combined with his terrible loneliness he's experienced and whatever he went through with his gang. So, it does make sense for him to buy into Lenders "look at me I'm not like the others" song and dance he does with anyone who is at a weak moment in their life.
Just something I thought of. I do think Ais is a hopeless, lonely, romantic wanting to place that somewhere.
I might be reaching, but I think this cultural thing of Eridia being a city of âgive and takeâ, charging for information and guidance can reflects on relationships too. We can even consider the paranoia about threats, vigilance and control (from the Senobium, and probably the Adderstone) and risks to oneâs well being are so frequent that itâs common to seek quick relief and shortcuts to connection. Life can be so fleeting that people are desperate (and pessimistic about real connection)
Both in the monsters and humanâs perspective : potential loss of a loved one (not just in the way of death but of their freedom). So keeping the status quo of transactional relationships can be a form of protecting themselves emotionally
To bond with someone, you have to give something in return first.
A while ago I made a post about the prologue's CG composition, how the CGs are all are dutch angles, but there's another detail I forgot to mention there that the Chapter 1 demo breaks: the rule of thirds.
(putting a cut bc this gets a little long esp with images)
The rule of thirds is basically a composition theory that claims every canvas can be split into thirds horizontally and vertically, and that people find composition most pleasing if the main focus lands on intersecting lines, and that people's attention is naturally drawn to those intersecting lines. Aside from the ending CG (most likely because of the amount of characters in it), all CGs in the prologue follow that rule pretty closely:
Heads and hands tend to fall near the intersecting lines, putting focus on facial expression and gesture.
For facial expressions, Kuras has a warm but distant look, Leander is not looking at MC but the Adders, Vere wears a cool, mischievous smile, Ais reveals almost nothing but watches closely, and Mhin's expression is closed off and their face covered in blood.
For gestures (which I rambled about a bit in the tags of this post), Kuras is holding papers, the text of which we cannot see, Leander has his magic lilies, Vere has MC's room key, Ais is keeping his hand close, and Mhin's is reaching out with a bloodied hand.
All of this sets up what to expect from the beginnings of their routes: Kuras is fascinated by MC's nature but is emotionally closed off and is keeping several secrets, Leander is not being completely genuine because he's performing for others so often, Vere keeps giving MC reason to seek him out because he's curious about what they are, Ais conceals his struggles with Ocudeus and pushes MC away because of it, and Mhin wants to be close but to do that would mean danger for MC.
Now, for the Chapter 1 demo. Most CGs do continue the pattern:
Mhin's and Leander's keep focus on facial expression and gesture, Vere's keeps focus on expression, and Ais' instead highlights Ocudeus' tentacles emerging from his tattoo.
Their CGs all subvert the original impressions of their prologue CGs.
In Mhin's CG, they are clutching themselves while covered in their own blood. The complete subversion shows the difference between Mhin's presentation and the reality: they appear dangerous and like they could hurt MC, but they themselves are in severe danger and in need of help.
Leander's gaze is still turned to an Adder. Instead of entertaining him, however, he is branding the Adder and looking completely indifferent to his screams. Leander went from a charismatic entertainer offering a delicate, fleeting flower to a hardened leader burning his followers so they prove loyalty. Neither impression of Leander is wrong- they are simply two sides to him, both of which he turns on at will.
In the prologue, he held MC's key, but now Vere is locked up. He still has confidence about him, but it's not the same air of control he held in the prologue. And his expression isn't fixed, it changes. It's hinted in the prologue that Vere is very physically expressive and hides it, but giving him different expressions in a CG really shows how important it is to watch his body language. The CG also changes the meaning of him stealing MC's key and marking them: he needs MC to seek him out because he's trapped. If he doesn't give MC a reason, he wouldn't ever be able to find out what they are.
Finally, the focus of Ais' CG isn't Ais. It's Ocudeus. In the prologue Ais took up almost the entire frame. While you can still see tentacles behind him, they weren't demanding attention. Now, Ocudeus is taking up almost all of the frame while Ais is off to the side. Ais has a powerful presence and seems very in control, but Chapter 1 is the reveal that his control is slipping away from him as Ocudeus takes root deeper inside of him.
But Ais' chapter has 4 CGs in total, and the one remaining that stars Ais breaks the rule of thirds that Touchstarved normally follows:
The moment it hits MC that they aren't dealing with Ais anymore, but Ocudeus.
The other CGs breaking the rule of thirds are Kuras':
The moment MC realizes that Kuras isn't a human.
In his prologue CG, he's off to the side. Not demanding too much attention. But in the Chapter 1 demo, he's front and center. His act of being a human doctor is broken when MC touches him, and he reveals just how fascinated he is by MC, not just because something about their soul or heart is different, but from a scientific angle they are unlike anything he's ever seen.
Instead of following the rule of thirds, the subjects are centered and demanding attention from the player.
In both cases, the subjects are not only Monsters. They are divine and do not belong to the mortal world.
If following the rule of thirds establishes what is 'normal', then breaking it establishes what is beyond.
Their presence is the only thing you are allowed to focus on in their CGs. Unlike in Vere's CG, where he is looking at the player but his gaze is indirect at the player, Ocudeus and Kuras are looking completely at MC and the player. It breaks the fourth wall and makes the player feel as seen as MC does.
As for MC... they have the full attention of divine beings. And in Eridia, attention is the last thing anyone wants.
Club Suicide review and ranking of the routes (with spoilers)
This game came to me as a gift, considering itâs tailored exactly to my tastes and I feel like will resonate well with neurodivergent and LGBT people who struggled with suicidal thoughts, loneliness and feeling like outcasts in society. I didnât expect to get so attached to all the cast considering I almost always fixate on only one or two characters in otome games. This time, I adore everyone and this game will be hard to beat for my favorite spot as I play other games of the genre in the future.
Iâll be ranking the routes here and sharing thoughts about what I appreciated and what I think couldâve been done better (theyâre all good though, which is impressing). Feel free to disagree, since personal taste will always be one of the criterias for how you engage with character stories.
đ Eba Zaizen (S)
positives
>impactful, heartwarming and tragic all at once
>characterâs torment and irrational thoughts are very well written
>terrific endings that leave a lasting impression (both bad and good)
>beautiful bonding moments with the main character
>very interesting reflection about the creative process, external pressure and sense of value
>sparks a reflection about how we judge where suicidal thoughts come from and who âgetsâ to have them
negatives
>none
đĽFinale route (A+)
positives
>beautiful conclusion and resolution to the cast in Ending 22
>âpower of friendshipâ done well and realistically
>character progressions unique from their individual routes
>highlight of the castâs voice acting
>we get to see the characters bond with each other
>seems like the quiessential route
negatives
>choice intent and dual route system can be confusing
>wrong vs right choices donât have that many weight on the characters immediate reactions and change of viewpoint except from an ending progression, stakes couldâve been better
(and not exactly a negative but wouldâve loved an expansion of their future after the good ending, like a future reunion)
đĽTsuzuriâs route (A)
positives
>mystery surrounding his figure is unraveled as you explore the endings, we get this feeling that weâre uncovering a secret
>makes us question what is real about him and what is not
>amazing endings
>beautiful character exploration
>lots of content
>has enough bonding to keep us interested while at the same time making it clear that we canât have it all (since tsuzuri is a âdoomedâ character)
>ANGST
negatives
>protagonistâs internal monologues can be repetitive and even redundant, sometimes to the point of exhaustion
>a few reflections and conclusions about society and life are a bit too simple in contrast to their flourished writing and the heights we already experienced in other routes
>purple prose
(not exactly a negative again, but i wish we got to see his goodbye video)
4-Shiki (A-)
positives
>adorable bonding and cute romance
>impactful endings that donât shy away from making him a complex figure when it comes to the morality of his actions
>characterâs backstory is consistent with his present attitude and viewpoint
>adorable good ending (and alternative ending)
>good balance between character progression, protagonist reflections, bonding times and tragic events
negatives
>shiki comes to term with crucial faults of his own better in the finale route instead of his own individual route (though you could see this just as a natural flow of the game since itâs the route that ties it all together)*
>wish we got more pressing conversations between the protagonist and shiki outside of bad endings and wrong choices
>the theme of hypersexuality couldâve been explored further
>needs a biit of suspension of disbelief when it comes to how his ways change with ringoâs interference
5- Meiyo (B+)
positives
>UNEXPECTED EXPLICIT QUEER REPRESENTATION
>amazing good ending + lovely future insight
>consistent bad endings
>liked the parallel between the book ringo finds and her bond with meiyo > how we use their hobby to understand them
>leaves a nice, suspenseful hook to the secret route in the good ending future insight
>route leaves space for the player to make their own conclusions about the character while at the same time exploring them
negatives
>seemed like it couldnât decide if it wanted it to be romantic or not (mostly in the alternative good ending)
>at times, can be progressive and yet, regressive at the same time (though iâm aware this comes from a cultural factor)
>sometimes has a purple prose (can be due to translation)
>meiyoâs backstory weirdly didnât seem fully fleshed out for such a complex character, the characterâs struggle with morality and possible dysphoria in light of the relationship with their father seemed a bit out of sync when they could be united to then, naturally progress to their gender transition in the good ending
6-Mitsuki (B)
positives
>very relatable route and touching when it came to my own struggles
>we get to see his family dynamic and a perspective on his personality from a third point of a view
>as funny as it can be grim
>plays with our first impression of the character and how he is revealed bit by bit
>nice good endings
negatives
>felt like the bad endings (except from one) didnât leave that much of an impression compared to those from the other routes
>the characterâs violent nature couldâve been touched upon further in link with the topics of male socialization, gender and past trauma, especially for a character who is defined by his sense of justice (even more considering how he lectures shiki about exploitation of women in the finale route)
>the clash with his former bully was quite rushed in terms of how fast she caved in
>start and middle of the route are significantly better than its final moments
7-Masaya (B-)
positives
>interesting clash between the protagonistâs views on expression and masayaâs
>bad endings were brutal enough to be effective and not get into misery exploitation territory
>nice slice of life vibes
>good endings (and alt endings) are lovely
>overall a solid route
negatives
>feels a bit superficial in comparison to the other routes
>a tad bit repetitive with his food quirk gag
>we see more of his emotional world in the finale route than here (*same as what i said abt shiki)
>needed more emotional weight, push and pulls and layers apart from the bad endings (even though i love the relaxing moments)
Virche evermore: disappointment and expectations with visual novels Part 1 (cw: spoilers)
This is not just about criticism, but a bit of a rant post after I dedicated my time to this loaded baggage of a game that is highly regarded by most people within the Otome game community. Iâll not focus on the issues with the sci-fi aspect being inconsistent and a bit absurd, since itâs already been well discussed
The visual novel genre doesnât always flourish outside of its limitations of text exposition and constrained structure. Of course it doesnât mean that someone is less for enjoying these games (as I enjoy it too), neither does it mean that a visual novel is inherently bad. That said, I have no tolerance for inconsistent and lazy writing at all, in regards to this game specially, in which the lack of a well-constructed and developed romance couldnât sustain it for me.
The thing with Virche Evermore goes beyond the irritating problem that VNs have of utilizing flashbacks, text exposition (through the MCâs thoughts and actions) to hold the hand of the player. It gets to the point of sweeping the floor with a bloodied mop, over and over again.
From the start, Virche presents itself as a tragedy-fueled game that expects its players to go through many trials and tribulations to get their expected happy ending. You have to experience all the unpleasant (and sometimes overwritten and redundant) main bad endings, unlock routes and endings in a way that is specific to the game, and not just the common playthrough you go through with the average otoge. That alone is not a bad thing, it is in tune with the tone of the game being this scorching melodrama.
But, it starts to crumble when the game fails to deliver a convincing tragedy, running on wishful thinking that the player (most will, considering the reception) will react to the tragic events accordingly simply because they exist as heavy, cruel and âtear-inducingâ.
One major example is in Lucasâs route, where the narrative insists on throwing as many absurd and gritty events as possible to keep the player engaged, unblinking.
Even before the main tragedy of the bad ending strikes, the bond between Ceres and Lucas is set aside to fill in the obligatory yandere trope of âcaged heroineâ, which would be interesting if it wasnât so sloppy â a necessity and not an actual impactful event that serves to illustrate Lucas character and actually explore the dynamic of teacher-student that has been changed by this revelation.
It is extremely disappointing considering that Lucas is such an interesting character being born from this dual nature of manipulated villain and faith-bearing teacher. His thoughts of struggle and inner push and pull seem merely like an afterthough, a glimpse within other, more developed routes (in terms of content). At certain moments, he is simply reduced to the flimsy storyline of Bourreau, as being this constant tool to block the other characters ways with his strength.
Regarding the biggest, nail-in-the-coffin route: Le salut, we find a major issue with trying to twist the players expectations and frustrate them by prolonguing reveals and shocks. Meddling with the playerâs reaction is not a sin by itself â itâs natural, but doing so in the same pattern of ânow everything is working- oop, I was kidding, keep the tragedy going!â only makes for a shallow âgotcha!â moment. Even worse knowing that this is not something that is inherent to this route, but is present everywhere in the game (only here, itâs more obvious)
Considered one of the biggest reveals in the game âto finally expand Ankou as a character, ends up as a nulification of his character
We already had clues of Ankou and Adolphe being one entity considering that they share a route and start exhibiting the same powers of âimmortalityâ. Ankou starts to gradually seem more human, showing that being a âWatchman of deathâ is merely a facade. One would expect the game to expand on his weakness as a character of his own, but this expectations is thrown out of the window when this revelation happens.
Suddenly, everything is an addition to Adolpheâs thin struggle with normalcy, to give him a layer of absurdity that was needed to keep this gameâs tone. Except, the best thing about Adolpheâs character was that his distinguished normalcy as an outsider (that even reflects on his design) made him actually, stand out with a different sense of morality. This merging only kills the possibility of fleshing out Ankou as the ethereal mystery that stands out amongst the other characters, a characterization that goes well with gothic tragedy.
By denying the player to have Ankou as a character and not an extension of another, the game hinders this established force, this mythology. And as an otome game, frustrates those invested in Ankouâs personality and distinct charm
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