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:''Not to be confused with [[Graphic novel video games|Graphic Novel]], [[Anime video games|Anime Game]], or [[Dating simulation video games|Dating simulation]].'' {{ElementInfobox | type = Terminology }} A {{Nihongo|'''visual novel'''|ビジュアルノベル|bijuaru noberu}} video game, also known as a '''VN''', is an [[interactive fiction]] video game,<ref>{{Cite book | last1 = Cavallaro | first1 = Dani | title = Anime and the visual novel: narrative structure, design and play at the crossroads of animation and computer games | publisher = McFarland & Company | year = 2010 | pages = 8 | accessdate = 2012-02-05 | isbn = 0-7864-4427-4}}</ref><ref>{{Cite book | last1 = Lebowitz | first1 = Josiah | last2 = Klug | first2 = Chris | title = Interactive storytelling for video games: a player-centered approach to creating memorable characters and storie | chapter = Japanese Visual Novel Games | year = 2011 | publisher = [[Focal Press]] | location = Burlington, MA | url=http://books.google.co.uk/books?id=QUrarEcvaO8C&pg=PA194 | pages = 192–4 | accessdate = 2012-11-10 | isbn = 0-240-81717-6 | quote = Visual novels (or sound novels, as they’re sometimes called) are a popular game genre in Japan.}}</ref> featuring mostly static graphics, most often using [[anime]]-style art or occasionally live-action stills (and sometimes [[interactive movie|video footage]]).<ref name="1up_novel">{{Cite web|title=The Weird World of Japanese "Novel" Games|author=Ray Barnholt|url=http://www.1up.com/features/weird-world-japanese-games|accessdate=2011-03-08}}</ref> 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 consist predominantly of narration and have very few interactive elements, and [[adventure game]]s (abbreviated AVG or ADV), which may incorporate problem-solving and other types of gameplay. This distinction is normally lost outside Japan, where both NVLs and ADVs are commonly referred to as "visual novels" by international fans. Visual novels and ADVs are especially prevalent in Japan, where they made up nearly 70% of the [[PC game]] titles released in 2006.<ref>{{Cite web| date = 8 February 2006| url = http://www.animenewsnetwork.com/pressrelease.php?id=1510| title = AMN and Anime Advanced Announce Anime Game Demo Downloads| publisher = Hirameki International Group Inc.| accessdate = 2006-12-01}}</ref> Visual novels are rarely produced for [[video game console]]s, but the more popular games have occasionally been [[Porting|ported]] to systems such as the [[SEGA Saturn]], [[Dreamcast]], [[PlayStation]], or [[Xbox 360]]. 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 is small, though a number of [[List of anime based on video games|anime based on visual novels]] are popular among anime fans in the Western world. In recent years, there has been debate (mainly outside of Japan) regarding the status of visual novels. While many view them as video games, others view visual novels as an entirely new medium of narrative art. [http://www.jhunewsletter.com/2011/11/10/visual-novels-unrecognized-narrative-art-63657/][http://www.jhunewsletter.com/2011/11/16/the-visual-novel-medium-proves-its-worth-on-the-battlefield-of-narrative-arts-16068/] In recent years there have also been some Western games that resemble Japanese visual novels, most notably ''[[The Walking Dead]]'', which can be seen as an American take on the genre. ==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 [[List of video games with most endings|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.<ref name="klug_194-7"/> 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, comparing the quality of writing to literature. [http://www.awesomeoutof10.com/articles/lets-take-a-look-visual-novel-narrative/] 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 [[doujinshi|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 [[Seiyū|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 dialogue, as the main character typically has the most speaking lines due to the branching nature of visual novels. Visual novels are also known for the [[List of longest video game scripts|amount of dialogues]] they contain, which on average surpasses that of any other video game genre, including [[RPG]]s. Visual novels also, on average, contain more dialogues than even traditional novels, due to the interactivity (such as non-linear plots, [[List of video games with most endings|multiple endings]], and hidden/optional dialogues) requiring more dialogues to be written for visual novels than would normally be required for the more linear traditional novels. ===Branching narratives=== [[Non-linear]] branching storylines are a common trend in visual novels, which frequently use multiple branching storylines to achieve [[multiple endings|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.<ref>[http://news.softpedia.com/news/The-First-Free-Visual-Novel-Engine-Released-30725.shtml The First Free Visual Novel Engine Released], [[Softpedia]]</ref><ref>{{Cite book | last1 = Cavallaro | first1 = Dani | title = Anime and the visual novel: narrative structure, design and play at the crossroads of animation and computer games | publisher = McFarland & Company | year = 2010 | pages = 78–79 | accessdate = 2012-02-05 | isbn = 0-7864-4427-4}}</ref> 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.<ref>[http://uk.ds.ign.com/articles/114/1140602p1.html 999: 9 Hours, 9 Persons, 9 Doors Review], [[IGN]], 16 November 2010</ref> This branching narrative structure was largely popularized by ''[[YU-NO: A girl who chants love at the bound of this world]]'' (1996), and has since been used in many subsequent visual novels such as ''[[Clannad ]]'' and ''[[Zero Escape]]'' as well as [[adventure]] games such as ''[[Shadow of Memories]]''. Because visual novels revolve almost entirely around storytelling and character interactions, this allows the narratives to be much more [[non-linear]] than is usually possible in other genres. In [[RPG]]s, for example, the choices made often have a limited impact on the overall plot, whereas in visual novels, each choice can often have a big impact on the entire plot, leading to entirely different branches, which are often referred to as "routes" within the visual novel genre. Similarly in Western [[Point and Click Adventure|point & click adventure]] games, the plots are often quite linear due to their greater emphasis on puzzle-solving. The branching narratives found in visual novels represent an evolution of the ''Choose Your Own Adventure'' concept. The digital medium allows significant improvements, such as being able to fully explore multiple aspects and perspectives of a story. Another improvement is having hidden decision points that are automatically determined based on the player's past decisions. In ''[[Fate/stay night]]'', for example, the way the [[player character]] behaved towards [[non-player character]]s during the course of the game affects the way they react to the player character in later scenes, such as whether or not they choose to help in life-or-death situations. This would be far more difficult to track with physical books, in addition to other common visual novel features such as a large number of [[saved game|save]] slots and the ability to quickly skip through text that has already been read before to allow greater exploration of the different branching paths. More importantly, visual novels do not face the same length restrictions as a physical book. For example, the total word count of the English [[fan translation]] of ''Fate/stay night'', taking all the branching paths into account, exceeds that of ''[[The Lord of the Rings]]'' trilogy. This significant increase in length allows visual novels to tell stories as long and complex as those often found in traditional novels while still maintaining a branching path structure, and allow them to focus on deep stories with mature themes and consistent plots in a way which ''Choose Your Own Adventure'' books were unable to do due to physical limitations. Visual novels with non-branching plots, such as ''[[Higurashi: When They Cry]]'' and [[Christine Love (visual novelist)|Christine Love]]'s ''[[Digital: A Love Story]]'', are usually rare exceptions within the genre.<ref name="klug_194-7">{{Cite book|title=Interactive Storytelling for Video Games: A Player-Centered Approach to Creating Memorable Characters and Stories|year=2011|publisher=[[Focal Press]]|location=Burlington, MA|isbn=0-240-81717-6|url=http://books.google.co.uk/books?id=QUrarEcvaO8C&pg=PA194|author=Chris Klug|coauthors=Josiah Lebowitz|accessdate=20 February 2012|pages=194–7|month=March}}</ref> Many visual novels often revolve almost entirely around character interactions and [[Dialog tree|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 game]]s 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 [[Persistent world|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.<ref>{{Cite web|title=Defining Dialogue Systems|author=Brent Ellison|date=8 July 2008|publisher=[[Gamasutra]]|url=http://www.gamasutra.com/view/feature/3719/defining_dialogue_systems.php|accessdate=2011-03-30}}</ref> In certain visual novels, the dialogue choices have a strict time limit to respond to a certain dialogue or certain situation (much like a [[quick-time event]]), a mechanic that largely originated from ''[[Sakura Wars]]'' (1996) and has in recent years been adopted by a few Western story-based games such as ''[[Alpha Protocol]]'' and ''[[The Walking Dead]]''. As early as 1983, ''[[Portopia Renzoku Satsujin Jiken|Portopia Serial Murder Case]]'' featured non-linear elements, which includes travelling between different areas in a generally [[open world]], a branching dialogue conversation system where the story develops through entering commands and receiving responses from other characters, and making choices that determine the dialogues and order of events as well as alternate outcomes, though there is only one true culprit while the others are [[red herring]]s. It also features a phone that could be used to dial any number to contact several [[non-player character]]s.<ref name="Retro-85">{{Cite web|title=Portopia Renzoku Satsujin Jiken|work=[[Retro Gamer]]|issue=85|author=John Szczepaniak|date=February 2011|url=http://2.bp.blogspot.com/_kGAOBLrWIr4/TUgMtkSB28I/AAAAAAAACyk/oj3PBRY70HM/s1600/DSC01599.jpg|accessdate=16 March 2011}} Reprinted at {{Cite web|title=Retro Gamer 85|author=John Szczepaniak|publisher=Hardcore Gaming 101|url=http://blog.hardcoregaming101.net/2011/02/retro-gamer-85.html|accessdate=16 March 2011}}.</ref> The game was well received in Japan for its well-told storyline and surprising [[twist ending]], and for allowing multiple ways to achieve objectives.<ref name=Retro>{{Cite web|author=John Szczepaniak|url=http://www.hardcoregaming101.net/JPNcomputers/Japanesecomputers3.htm|title=Retro Japanese Computers: Gaming's Final Frontier|page=3|publisher=Hardcore Gaming 101|accessdate=16 March 2011}} Reprinted from {{Cite document|title=Retro Japanese Computers: Gaming's Final Frontier|work=[[Retro Gamer]]|issue=67|year=2009|postscript=<!-- Bot inserted parameter. Either remove it; or change its value to "." for the cite to end in a ".", as necessary. -->{{inconsistent citations}}}}.</ref> Another more non-linear early example was ''Mirrors'', released by Soft Studio Wing for the PC-8801 and [[FM Towns]] computers in 1990; it featured a branching narrative, multiple endings, and [[Red Book (CD standard)|audio CD]] music.<ref>{{Cite web|author=John Szczepaniak|url=http://www.hardcoregaming101.net/JPNcomputers/Japanesecomputers4.htm|title=Retro Japanese Computers: Gaming's Final Frontier|page=4|publisher=Hardcore Gaming 101|accessdate=16 March 2011}} Reprinted from {{Cite document|title=Retro Japanese Computers: Gaming's Final Frontier|work=[[Retro Gamer]]|issue=67|year=2009|postscript=<!-- Bot inserted parameter. Either remove it; or change its value to "." for the cite to end in a ".", as necessary. -->{{inconsistent citations}}}}.</ref> It is not uncommon for visual novels to have morality systems. A well known example is the 2005 title ''[[School Days (visual novel)|School Days]]'', an animated visual novel that [[Kotaku]] describes as going well beyond the usual "black and white choice systems" (referring to video games such as ''[[Mass Effect]]'', ''[[Fallout 3]]'' and ''[[BioShock]]'') where you "pick a side and stick with it" while leaving "the expansive middle area between unexplored." ''School Days'' instead encourages players to explore the grey, neutral middle-ground in order to view the more interesting, "bad" endings.<ref>{{Cite web|last=Eisenbeis|first=Richard|title=How A Visual Novel Made Me Question Morality Systems in Games|url=http://kotaku.com/5938370/how-a-visual-novel-made-me-question-morality-systems-in-games|publisher=[[Kotaku]]|accessdate=28 August 2012|date=28 August 2012}}</ref> A common feature used in visual novels is having multiple protagonists giving different perspectives on the story. [[C's Ware]]'s ''[[Eve Burst Error|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, with choices in one scenario affecting the other.<ref>{{Cite web|title=EVE Burst Error|url=http://www.rpgfan.com/reviews/evebursterror/Eve_Burst_Error.html|work=RPGFan|accessdate=3 September 2011|author=Commodore Wheeler}}</ref> ''Fate/stay night'' is another example that features multiple perspectives.<ref name="klug_194-7"/> [[Chunsoft]] sound novels such as ''[[Machi (video game)|Machi]]'' (1998) and ''[[428: Fūsa Sareta Shibuya de]]'' (2008) develop this concept further, by allowing the player to alternate between the perspectives of several or more different characters, making choices with one character that have consequences for other characters.<ref name="1up_novel"/><ref name="destructoid428">{{Cite web|title=428 – The greatest experiment in non-linear story telling|url=http://www.destructoid.com/blogs/ParaParaKing/428-the-greatest-experiment-in-non-linear-story-telling-158147.phtml|publisher=[[Destructoid]]|accessdate=27 August 2012|date=17 December 2009}}</ref> ''428'' in particular features up to 85 different possible endings.<ref name="destructoid428"/> [[ELF Corporation|ELF]]'s most famous visual novel, ''[[YU-NO: A girl who chants love at the bound of this world]]'' (1996), in addition to establishing the branching narrative structure used in many subsequent visual novels, featured a science fiction plot revolving around [[time travel]] and [[Parallel universe (fiction)|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.<ref>{{Cite web|title=YU-NO|url=http://www.rpgfan.com/reviews/yuno/Yuno.html|work=RPGFan|accessdate=3 September 2011|author=WooJin Lee}}</ref> Similar systems have later been employed in more recent role-playing games such as ''[[Radiant Historia]]''<ref name=Radiant-Historia>[http://www.1up.com/previews/radiant-historia-distinct-chrono-trigger Radiant Historia Gives Off a Distinct Chrono Trigger Vibe], [[1UP.com|1UP]]</ref><ref>[http://www.destructoid.com/to-those-of-you-that-asked-about-radiant-historia-191310.phtml To those of you that asked about Radiant Historia], [[Destructoid]]</ref> and the [[PlayStation Portable|PSP]] version of ''[[Tactics Ogre]]''.<ref>[http://www.gamesradar.com/psp/tactics-ogre-let-us-cling-together/review/tactics-ogre-let-us-cling-together-review/a-2011021515943267079/g-20100722113014352012 Tactics Ogre: Let Us Cling Together], [[GamesRadar]], 15 February 2011</ref> ===RPG hybrids=== Since the 1980s, visual novels have had a strong impact on the development of Japanese [[role-playing games]], [http://www.awesomeoutof10.com/articles/lets-take-a-look-visual-novel-narrative/] with visual novels like ''[[Portopia Serial Murder Case]]'' laying the foundations for [[RPG|RPGs ]] like ''[[Dragon Quest]]''. Since the 1990s, there have also often been [[role-playing video game]]s that feature visual novel style elements. A well known example in the West is ''[[Lost Odyssey]]'', a [[role-playing video game]] that features a series of visual novel style flashback sequences called "A Thousand Years of Dreams", which were well received in the West.<ref name="1up_novel"/> These sequences were penned by an award-winning [[Japanese literature|Japanese short story]] writer, Kiyoshi Shigematsu.<ref name="develop">{{Cite web|url=http://www.developmag.com/news/29489/Lost-Odyssey-translator-mystified-by-Microsofts-efforts|title=Harvard's Rubin on translating 360 epic Lost Odyssey into English|last=Fear|first=Ed|date=17 March 2008|publisher=Develop|accessdate=2009-01-30}}</ref> An earlier successful example, one that popularized the idea of VN-RPG hybrids, is [[Sega]]'s ''[[Sakura Wars]]'' series, which combined [[tactical role-playing game]] combat with visual novel elements. It also introduced a [[Real-time game|real-time]] [[Nonlinear gameplay#Branching storylines|branching choice]] system where, during an event or conversation, the player must choose an action or dialogue choice within a time limit (much like a [[quick-time event]]), or not to respond at all within that time. The player's choice, or lack thereof, affects the [[player character]]'s relationship with other characters and in turn the characters' performance in battle, the direction of the storyline, and the ending. Later games in the series added several variations, including an action gauge that can be raised up or down depending on the situation, and a gauge that the player can manipulate using the [[analog stick]] depending on the situation.<ref name="rpgamer_sakura">{{Cite web|title=Sakura Wars ~So Long My Love~ Interview|publisher=[[RPGamer]]|year=2010|url=http://www.rpgamer.com/games/sakura/sakura5/sakura5int.html|accessdate=2011-03-30}}</ref> The success of ''Sakura Wars'' led to a wave of games that combine role-playing and visual novel elements, including ''[[Thousand Arms]]'', ''[[Riviera: The Promised Land]]'', and ''[[Luminous Arc]]''.<ref>{{Cite web|title=Sakura Wars Comes to America, But is it Too Late to Matter?|author=Jeremy Parish|date=8 May 2009|publisher=[[1UP.com]]|url=http://www.1up.com/do/blogEntry?bId=8988084|accessdate=2011-05-18}}</ref> The ''[[Shin Megami Tensei: Persona|Persona]]'' and ''[[Shin Megami Tensei: Devil Survivor|Devil Survivor]]'' series of the ''[[Megami Tensei|Shin Megami Tensei]]'' RPG franchise are also often considered VN-RPG hybrids, with ''[[Shin Megami Tensei: Persona|Persona 3 Portable]]'' in particular being the closest to a visual novel. Another example is [[Sentou Gakuen]], which combined elements of both [[MMORPG]]s and visual novels. It has been noted that various modern Western [[role-playing games]] also feature elements similar to visual novels, such as the plot and dialogue segments of [[BioWare ]] games such as ''[[Mass Effect]]'', or the [[dating sim]] elements of ''[[Fable]]'' or ''[[Dragon Age]]''. [http://www.siliconera.com/2011/02/17/visual-novels-a-cultural-difference-between-the-east-and-west/] The Sega-published [[action role-playing game]] ''[[Alpha Protocol]]'' also featured a real-time conversation system similar to ''Sakura Wars''.<ref>{{Cite web|title=Alpha Protocol Has A Touch Of Sakura Wars|url=http://www.siliconera.com/2010/03/17/alpha-protocol-has-a-touch-of-sakura-wars/|publisher=Siliconera|accessdate=7 March 2012|author=Spencer|date=17 March 2010}}</ref> ===Other hybrid genres=== Besides VN-RPG, there have also been other types of hybrids combining VN elements with other genres. A common example is combining visual novel storytelling with more traditional [[Point and Click Adventure|point & click adventure]] elements such as [[puzzle]]-solving (for example, ''[[Phoenix Wright: Ace Attorney|Ace Attorney]]'', ''[[Zero Escape]]'', and ''[[The Walking Dead (2012 video game)|The Walking Dead]]''). Another fairly common example is combining visual novel storytelling with [[shmup]] [[action]] segments. Some of the more uncommon hybrid examples include ''[[BlazBlue]]'' [http://www.ign.com/blogs/proto-destroyer/2014/01/28/are-visual-novels-turning-mainstream] and ''[[Asura Cross]]'' which combines [[Versus fighting game|versus]] [[fighting]] combat with visual novel storytelling, [http://www.siliconera.com/2013/01/14/asura-cross-the-korean-fighting-game-that-is-part-visual-novel/] and ''[[Moero Downhill Night Blaze]] ''which combines together elements from both visual novels and [[racing]] games. [http://kotaku.com/5975091/this-adult-3d-racer-is-neither-a-good-racing-game-nor-a-good-visual-novel] ==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 {{nihongo|[[Sprite (computer graphics)|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.<ref name=Retro/> There have also been visual novels that use live-action stills or video footage, such as several ''Sound Novel'' games by [[Chunsoft]]. The most successful example is ''[[Machi (video game)|Machi]]'', one of the most celebrated games in Japan, where it was voted No. 5 in a 2006 ''[[Famitsu]]'' reader poll of top 100 games of all time. The game resembled a live-action television drama, but allowing players to explore multiple character perspectives and affect the outcomes. Another successful example is ''[[428: Fūsa Sareta Shibuya de]]'', which received a perfect score of 40 out of 40 from ''[[Famitsu]]'' magazine.<ref name="1up_novel"/> ==Content and genre== {{see also|Adventure game}} Many visual novels are centered around [[Drama film|drama]], particularly themes involving [[Romantic love|romance]] or family, but visual novels centered around science fiction, [[fantasy fiction]], and [[horror fiction]] are not uncommon. ===Adult content=== {{see also|Eroge|Adult video game}} Traditionally, PC-based visual novels have contained risque scenes even if the overall focus is not erotic (similar to the "[[Sex in film|obligatory sex scene]]" in [[Cinema of the United States|Hollywood]] [[action film]]s). 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 (company)|Key]]'s titles come in family-friendly versions, and three 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 titled ''[[Little Busters!|Little Busters! Ecstasy]]'' came out later, and though ''[[Clannad (visual novel)|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 [[Eroge|erotic]] [[bishōjo game]]s developed by [[Koei]].<ref name=Pesimo/> In 1982, they released ''[[Night Life (video game)|Night Life]]'', the first commercial [[Adult video game|erotic computer game]].<ref name=Retro>[http://www.hardcoregaming101.net/JPNcomputers/Japanesecomputers3.htm Retro Japanese Computers: Gaming's Final Frontier], Hardcore Gaming 101, reprinted from ''[[Retro Gamer]]'', Issue 67, 2009</ref> It was a [[Graphic adventure game|graphic adventure]],<ref name=Jones>{{Cite journal|last1=Jones|first1=Matthew T.|month=December|year=2005|title=The Impact of Telepresence on Cultural Transmission through Bishoujo Games|journal=PsychNology Journal|volume=3|issue=3|pages=292–311|url=http://www.psychnology.org/File/PNJ3(3)/PSYCHNOLOGY_JOURNAL_3_3_JONES.pdf|format=PDF|issn=1720-7525}}</ref> with sexually explicit images.<ref name=Retro/> 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.<ref name=Pesimo>{{Cite book|author=Pesimo, Rudyard Contretas|chapter='Asianizing' Animation in Asia: Digital Content Identity Construction Within the Animation Landscapes of Japan and Thailand|title=Reflections on the Human Condition: Change, Conflict and Modernity – The Work of the 2004/2005 API Fellows|year=2007|publisher=The Nippon Foundation|pages=124–160|chapterurl=http://www.apimal.org/blogcms/media/13/File/Pesimo.pdf}}</ref> Other now-famous companies such as [[Enix]], [[Square (company)|Square]] and [[Nihon Falcom]] also produced similar erotic games in the early 1980s before they became famous for their [[role-playing video game]]s. 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.<ref name=Retro/> 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 (company)|Square]] released the science fiction adventure game ''[[Suishō no Dragon]]'' for the NES console. The game featured several innovations, including the use of [[Computer animation|animation]] in many of the scenes rather than still images,<ref name=Square-Enix>{{Cite web |url=http://www.square-enix.com/jp/archive/suisho_no_dragon/ |title=水晶の龍 – SQUARE ENIX |publisher=Square Enix Japan |accessdate=2008-05-26}} ([http://translate.google.co.uk/translate?hl=en&sl=ja&tl=en&u=http%3A%2F%2Fwww.square-enix.com%2Fjp%2Farchive%2Fsuisho_no_dragon%2F Translation])</ref> and an interface resembling that of a [[point-and-click]] interface for a console, like ''[[Portopia Renzoku Satsujin Jiken|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.<ref name=Square-Enix/><ref name=itmedia-dragon>{{Cite web |url=http://plusd.itmedia.co.jp/games/articles/0608/22/news023.html |title=やーきゅーうー、すーるなら!? 「水晶の龍(ドラゴン)」 |publisher=ITMedia |date=22 August 2006 |accessdate=2008-05-26}} ([http://translate.google.co.uk/translate?hl=en&sl=ja&tl=en&u=http%3A%2F%2Fgamez.itmedia.co.jp%2Fgames%2Farticles%2F0608%2F22%2Fnews023.html Translation])</ref> [[Hideo Kojima]] (of ''[[Metal Gear series|Metal Gear]]'' fame) was inspired by ''Portopia Serial Murder Case'' to enter the video game industry,<ref name=Kasavin>{{Cite web | url=http://www.gamespot.com/features/6120427/p-2.html | title="Everything is Possible": Inside the Minds of Gaming's Master Storytellers | accessdate=2007-08-15 | last=Kasavin | first=Greg | date=21 March 2005 | work=[[GameSpot]] | publisher=[[CNET Networks]] |page=2}}</ref> and later produce his own [[adventure game]]s. 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 scene]]s, and mature content.<ref name=1UP-Kojima>[http://www.1up.com/features/retroactive-metal-gear Retroactive: Kojima's Productions], [[1UP.com|1UP]]</ref> It also featured a [[Apocalyptic and post-apocalyptic fiction|post-apocalyptic]] science fiction setting, an [[amnesia]]c 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]].<ref name=Kalata-Policenauts/> Nevertheless, many Western gamers may have already gained familiarity with the visual novel format through Kojima's more popular ''[[Metal Gear series|Metal Gear]]'' series, which present much of the plot through codec conversations that are presented in a very similar manner to visual novels. [http://www.awesomeoutof10.com/articles/lets-take-a-look-visual-novel-narrative/] 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.<ref name=IGN-Kojima>{{Cite web|title=Kojima's Legacy: We reflect on the influence of Hideo Kojima's 20 years in gaming|author=Mark Ryan Sallee|publisher=[[IGN]]|url=http://uk.ps2.ign.com/articles/715/715932p1.html|accessdate=2009-08-20}}</ref> It also featured a [[hard science fiction]] setting, a theme revolving around space exploration, a plot inspired by the ancient [[Japanese literature|Japanese tale]] of ''[[Urashima Taro]]'', and some occasional [[Full motion video based game|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 [[Saved game|save]], an element Kojima would later use in ''[[Metal Gear Solid]]''. The [[PlayStation (console)|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''.<ref name=Kalata-Policenauts>Kurt Kalata, [http://www.hardcoregaming101.net/policenauts/policenauts.htm Policenauts], Hardcore Gaming 101</ref> From 1997 to 1999, Kojima developed the three ''[[Tokimeki Memorial (series)|Tokimeki Memorial Drama Series]]'' titles, which were adaptations of ''Tokimeki Memorial'' in a visual novel adventure game format.<ref>[http://uk.ps2.ign.com/articles/088/088501p1.html Hideo Kojima Speaks], [[IGN]]</ref> Other acclaimed examples of science fiction visual novels include [[ELF Corporation|ELF]]'s ''[[YU-NO: A girl who chants love at the bound of this world|Yu-No]]'' (1996) and [[5pb.]]'s ''[[Chaos;Head]]'' (2008) and ''[[Steins;Gate]]'' (2009). ===Nakige=== A popular subgenre of visual novels is the ''nakige'' ("crying game"), also known as ''utsuge'' ("depressing 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 (company)|Leaf's]] visual novel ''[[To Heart]]'', released in 1997, and was further developed in the 1998 title ''[[One: Kagayaku Kisetsu e]]'', developed by [[Tactics (company)|Tactics]]. After ''One'' was complete, the development team quit Tactics to form [[Key (company)|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 (visual novel)|Air]]'' was equally hyped and well received."<ref name="history-of-adult-games">{{Cite web|last=Todome|first=Satoshi|url=http://www.kyo-kan.net/column/eroge/eroge3.html|title=A History of Adult Games, chapter 3|accessdate=22 November 2007|language=Japanese}}</ref> 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 (company)|Circus]], ''[[Wind: A Breath of Heart]]'' (2002) by [[Minori (company)|Minori]], ''[[Snow (visual novel)|Snow]]'' (2003) by Studio Mebius (under [[Visual Art's]]), and [[Katawa Shoujo]] (2012) by 4Leaf Studios. One of the most acclaimed visual novels of this subgenre was Key's ''[[Clannad (visual novel)|Clannad]]'', written by [[Jun Maeda]], [[Yūichi Suzumoto]], Kai and Tōya Okano. Released in 2004, its story revolved around the central theme of the value of having a family.<ref name="pre-Clannad">{{Cite book|title=pre-Clannad|publisher=[[SoftBank|SoftBank Creative]]|isbn=4-7973-2723-5|date=15 April 2004| accessdate=15 March 2007|language=Japanese}}</ref> It was voted the best [[bishōjo game]] of all time in a poll held by ''[[Dengeki G's Magazine]],''<ref>{{Cite web|url=http://gs.dengeki.com/ranking/index.html|title=Dengeki G's Magazine top fifty bishōjo games|publisher=[[ASCII Media Works]]|accessdate=3 June 2009|language= Japanese}}</ref> and is considered the "''Citizen Kane''" of visual novels, as "the visual novels's magnum opus for showing what the form could achieve," elevating the medium to a level on par with other forms of literature. [http://www.jhunewsletter.com/2011/11/16/the-visual-novel-medium-proves-its-worth-on-the-battlefield-of-narrative-arts-16068/] It served as the basis for a successful media franchise, with adaptations into a [[light novel]], [[manga]], [[Clannad (film)|animated film]], and acclaimed [[List of Clannad episodes|anime series]]. In 2008, several visual novels by Key were voted in the ''[[Dengeki]]'' poll of ten most tear-inducing games of all time, including ''[[Clannad (visual novel)|Clannad]]'' at No. 2, ''[[Kanon]]'' at No. 4, ''[[Air (visual novel)|Air]]'' at No. 7, and ''[[Little Busters!]]'' at No. 10.<ref>{{Cite web|title=【アンケート結果発表】感動して泣いてしまったゲームはありますか?|url=http://news.dengeki.com/elem/000/000/113/113442/|work=[[Dengeki]]|publisher=[[ASCII Media Works]]|accessdate=7 May 2012|archiveurl=http://translate.google.co.uk/translate?sl=ja&tl=en&js=n&prev=_t&hl=en&ie=UTF-8&layout=2&eotf=1&u=http%3A%2F%2Fnews.dengeki.com%2Felem%2F000%2F000%2F113%2F113442%2F|archivedate=7 May 2012|date=15 October 2008}}</ref> In 2011, several visual novels were also voted in ''[[Famitsu]]{{'}}s'' poll of 20 most tear-inducing games of all time, with ''Clannad'' at No. 4, ''[[Steins;Gate]]'' at No. 6, ''Air'' at No. 7, ''Little Busters!'' at No. 10, and ''[[428: Fūsa Sareta Shibuya de]]'' at No. 14.<ref>{{Cite web|last=Romano|first=Sal|url=http://gematsu.com/2011/12/famitsus-top-20-list-of-tear-inducing-games|title=Famitsu's top 20 list of tear-inducing games|date=29 December 2011|accessdate=24 February 2012}}</ref> ===Horror=== ''[[Higurashi When They Cry|Higurashi no Naku Koro ni]]'' (''When They Cry'') was a 2002 [[Survival horror|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 (company)|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.<ref name="Ryukishi07-blog04">{{Cite web|url=http://naderika.com/Cgi/log_cbbs/logcbbs.cgi?mode=red2&namber=399&no=1|title=Key's Essence is Actually...(Bitter Smile)|author=[[Ryukishi07]]|publisher=[[07th Expansion]]|date=9 July 2004|accessdate=15 May 2009|language=Japanese}}</ref> Other examples of a horror-themed visual novels include ''[[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 (company)|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.<ref>{{Cite web|url=http://kineticnovel.com/kineticnovel.html|title=キネティックノベルについて|publisher=kineticnovel.jp|language=Japanese|accessdate = 2007-01-06}}</ref> ==Translations== <!-- Concerns have been raised on the talk page about specific mention of the fan-translated commercial games. Please don't add them back without further discussion. --> As of 2007, all major visual novels are produced in Japan.{{Or|date=June 2010}} 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 other countries 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: Room 215|Hotel Dusk]]'' series (beginning in 2006),<ref name=Kalata-Snatcher>Kurt Kalata, [http://www.hardcoregaming101.net/snatcher/snatcher.htm Snatcher], Hardcore Gaming 101</ref> and [[Level-5]]'s ''[[Professor Layton]]'' series (beginning in 2007).<ref name=Attorney-Layton/> The success of these games has sparked a resurgence in the [[adventure game]] genre outside Japan.<ref name=Kalata-Snatcher/><ref>[http://nl.newsbank.com/nl-search/we/Archives?p_product=OLPB&s_site=theolympian&f_site=theolympian&f_sitename=Olympian%2C+The+%28WA%29&p_multi=OLPB&p_theme=gannett&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=117221BC67C30BF0&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM Gameplay of the Week – Two new engaging DS adventures hit the spot], ''[[The Olympian]]''</ref><ref>Kurt Kalata, Sotenga, Jason Withrow, [http://www.hardcoregaming101.net/phoenixwright/phoenixwright.htm Phoenix Wright], Hardcore Gaming 101</ref> [[GameSpot]] has credited ''[[Phoenix Wright: Ace Attorney]]'' in particular for revitalizing the adventure game genre.<ref>{{Cite web|url=http://uk.gamespot.com/ds/adventure/phoenixwright/review.html|title=Phoenix Wright: Ace Attorney Review|publisher=[[GameSpot]]|accessdate=2010-07-27}}</ref> 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.<ref name=Attorney-Layton>[http://www.gamasutra.com/view/news/31090/Layton_Series_Hits_95M_Ace_Attorney_39M.php Layton Series Hits 9.5M, Ace Attorney 3.9M], [[Gamasutra]]</ref> Their success has led to an increase in Japanese visual novels being localized for release outside Japan, 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). Also, an American visual novel known as [[Cause of Death]] has been released for [[iOS]] mobile devices. ==See also== * [[List of anime based on video games]] * [[List of video games based on anime or manga]] * [[List of longest video game scripts]] * [[List of video games with most endings]] * [[Adventure video games]] * [[Bishoujo game]] * [[Graphic adventure video games]] * [[Motion comic]] * [[Key (company)|Key]] * [[Otome game]] * [[Ryukishi07]] * [[Ryu Umemoto]] * [[Text-based video games]] * [[Type-Moon]] ==References== {{Reflist}} ==External Links== * [http://vndb.org/ VNDB.org] – A comprehensive database for information of visual novels * [http://visual-novels.net/ Visual-Novels.net] – A site dealing with the latest visual novels from Japan, forum and downloads * [http://www.shii.org/translate/ Visual Novel Fan Translations] * [http://visualnovelgames.com/ VisualNovelGames.com] – A site with Visual Novel Games made mainly for Western audiences * [http://vnovel.info/ vNovel.info] – A site offering visual novels playable right in the web browser *{{DMOZ|Games/Video_Games/Adventure/Visual_Novels/|Visual Novels}} * [http://www.gamasutra.com/view/news/29267/Analysis_How_FateStay_Night_Goes_Beyond_Binary_Choice.php Analysis: How Fate/Stay Night Goes Beyond Binary Choice] , [[Gamasutra]] * [http://nightmaremode.net/2012/08/soundscapes-back-to-basics-with-visual-novels-22241/ Soundscapes – Back to Basics with Visual Novels] ;Creation engines * [http://www.renpy.org/wiki/renpy/doc/tutorials/Quickstart Ren'Py] * [http://www.visualnovelty.com/ Novelty] * [http://instead.pinebrush.com/ INSTEAD (Simple TExt ADventure INterpreter)] * [http://www.visualnoveldai.com/NovelStream NovelStream] {{Genres}} {{DEFAULTSORT:Visual Novel}} [[Category:Video game genres]] [[Category:Visual novels| ]]
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