Visual Novel last edited by Bowl-of-Lentils on 05/23/20 09:30AM View full history

Overview

Visual novels are a sub-genre of Japanese adventure games and are a form of interactive fiction. The genre is similar to a mix-media digital novel where the focus is mainly on reading text with their presentation usually being made up of character portraits on top of background images accompanied by music, sound effects and sometimes voice acting. Some titles have no gameplay whatsoever and are solely about reading a linear story but it is more common for visual novels to have branching narratives where the player can experience different routes in a story and obtain different endings by making dialogue choices, very similar to Choose-Your-Own-Adventure novels or Gamebooks. The genre originate from the Japanese game industry and has seen the most activity on open platforms like the PC but is also prevalent on home consoles and portable devices.

Origins

The gameplay structure of the modern visual novel genre was first introduced by Chunsoft's Sound Novel franchise, which began in 1992 with the Super Famicom release of Otogirisou and gained mainstream popularity with 1994's Kamaitachi no Yoru [5][7][15]. These games played almost exactly like visual novels, with their focus on reading and branching narratives, and inspired the creation of many imitators on consoles like the Super Famicom and PlayStation. However the word itself, "visual novel," was created a few years later when the genre moved to Japanese computers thanks to an adult video game developer named Leaf. Released in 1996 for the NEC PC-98, Shizuku was an erotic horror game marketed by Leaf as volume one in the Leaf Visual Novel Series, coining the word "visual novel" for the first time [8][7][5][15]. Playing off Chunsoft's own brand name, Shizuku's creators classified their game as a "visual" novel rather than a "sound" novel, even though they were very similar, simply because Shizuku focused more on visuals [8]. Shizuku, and the other Leaf Visual Novel titles released afterwards, used detailed character portraits with multiple expressions and fullscreen event illustrations to visually punctuate their narratives. This was a stark contrast to the minimalist graphical style of most sound novels, which tended to focus more on audio presentation. Although Leaf's Visual Novel Series grew in popularly with its third entry in 1997, To Heart, the genre really began to grow when other companies began mimicking the storytelling style of Leaf's titles in the late 1990s and early aughts. This began with games such as Tactics' 1997 release of MOON. and 1998's One: Kagayaku Kisetsu e, which copied the format and presentation of Leaf's games. Although no one used the visual novel terms itself outside of Leaf to classify their games, Type-Moon was one of the notable exceptions that labeled their early titles as VNs, which helped spread the ubiquity of the term and popularity of the genre [5][9].

Otogirisou (1992)
Otogirisou (1992)
Shizuku (1996)
Shizuku (1996)
Moon. (1997)
Moon. (1997)
Tsukihime (2000)
Tsukihime (2000)

Japanese View on the Genre

While the term, visual novel, originates in Japan it is actually used far more often in the western gaming community than it is used in Japan itself, with the two regions having different understandings of the genre. Many titles that are thought of as visual novels in the West are classified as "adventure games" in Japan, with the abbreviations "ADV" or "AVG" often being used. Many popular titles that western fans would call visual novels, such as Clannad or Steins;Gate, are in fact advertised as just another type of adventure game in Japan [10][11]. Kotaro Uchikoshi, the creator of the Zero Escape series, explains in a 2013 interview that:

"The visual novel term does not really represent the genre in Japan. This is accepted as the genre and regarded as the genre outside of Japan, overseas. In Japan people think about it as... We have the adventure game, we have the sound novel, and we have the bishoujo genre. But there is no visual novel per say. With me personally, when I made 999, and Virtue's Last Reward, these are not referred to as visual novels, they're referred to as actual adventure games. Whereas overseas they're refereed to as visual novels. But in Japan, we don't really make that distinction [between visual novels and adventure games]" [6].

Jiro Ishii, director of 428: Shibuya Scramble, also elaborates that the adventure genre in Japan can be separated into two categories. Those two categories being traditional "command-based" and "novel type" adventure games [14]. Command-based titles allow the player to directly control their character through verb commands, or by other means, and require some kind of problem solving in order to continue the narrative. Basically, these games are structurally very similar to western point-and-click adventure games. However, "novel type" titles use the presentation of an adventure game to tell a story that does not require the player to overcoming gameplay challenges and keeps player interaction to a minimum [14]. This type of adventure game is what is often classified as a visual novel in the West or sometimes a "novel game" in Japan.

Western Definition on the Genre

In the West the definition of a visual novel is vague and is used liberally to classify a number of different kinds of games. The term is often used to label games based on their presentation rather than their gameplay or structure. Some of the commonalities shared between titles classified as VNs in the West are that they are text heavy, have an "anime" art style (or were developed in Japan) and are presented mainly through character portraits and text boxes [5]. Even Japanese titles that would be considered traditional "command-based" adventure games are often classified by western fans as visual novels. These include adventure games such as the Ace Attorney series or even older titles that were released before the visual novel term was invented such as The Portopia Serial Murder Case. The reason for this may be due to the relatively small number of Japanese adventure games localized into English with many of the titles from the 1980s and 90s never being released overseas, leading to the West having a skewed perspective on the genre [5].

There are also some western publishers and fans that think of the visual novel genre as its own medium. John Pickett, MangaGamer's Public Relations Director and Head Translator, explained in a 2011 interview that visual novels were their own medium that contained different genres within it, with the "novel" genre only being one of many [13]. The first American company to actually call their products "visual novels" was a publisher from the early 2000s named Hirameki International, who explained on their website that a visual novel is any game that involves "reading, listening, watching and choosing" [12]. None of the titles released by the company were classified as visual novels in Japan but they would label all their products as "Interactive Visual Novels" in spite of whatever they were called by their original developers, leading to western fans internalizing the company's loose definition of the term.

Gameplay

Visual novels are similar to "Choose Your Own Adventure" books, but take advantage of the digital medium to evolve the concept further. Common features of visual novels include branching storylines that lead to multiple endings with the gameplay often revolving almost entirely around the narrative. Gameplay is often fairly limited, and sometimes nonexistent outside of pressing a button to advance text, as the focus is placed primarily on storytelling. Actions are usually contained to simply making choices based on a selected number of options such as whether or not to talk to certain characters, choosing dialogue responses or deciding to move to another location. Making certain choices will often place the player on a "route" that will place the player on a specific story path that leads to different endings.

Because visual novels revolve almost entirely around storytelling and character interactions, this can allow narratives to be more non-linear. This is one of the key elements usually differentiating visual novels from traditional adventure games, where the plots are often more linear due to their greater emphasis on exploration and puzzle-solving. However there are also entries in the genre that eschew all forms of gameplay and tell completely linear stories while using the presentation of a visual novel.

Variations on the Genre

Sound Novels

Kamaitachi no Yoru (1994)
Kamaitachi no Yoru (1994)

Sounds novels existed before the visual novel term was invented, serving as the progenitor to the modern visual novel. The word was invented by Chunsoft in 1992 to brand their series of simplified adventures games but, even though the term is copyrighted, it is also used by fans to classify titles created by other developers that are similar. Sound novels are basically the same as visual novels in terms of gameplay structure, with their focus on reading and branching narratives, but they are different in how they present themselves. Sound novels usually minimize visuals, with the story's text being the main focus, and are known for relying more on audio design, with atmospheric sound effects and music being used to set the mood for the narrative.

Kinetic Novels

Planetarian (2004)
Planetarian (2004)

"Kinetic novel" is a term often used by fans to describe a visual novel that does not have a branching narrative or any kind of gameplay. These are titles that focus purely on telling a linear narrative while using the presentation of a visual novel to deliver its story. The term originated from a brand created by VisualArt's called KineticNovel that was used to classify a line of linear visual novels created by them and other developers, beginning in 2004 with the release of Planetarian. Western fans have since adopted the name to describe any kind of linear visual novel created by any publisher.

Hybrid Titles

Utawarerumono (2002)
Utawarerumono (2002)

There are some visual novels that are hybrids between two different genres with the two gameplay styles often being very segmented. Some examples of hybrid visual novels are games like the Zero Escape series where the puzzle solving gameplay and novel sections are very clearly separated. Other popular hybrid titles include Utawarerumono, which has strategy RPG gameplay, the Baldr franchise, which has action mech combat, and the Spirit of Eternity Sword series among many others.

Sources and External Links

  1. Soundscapes – Back to Basics with Visual Novels, - by Peter Hasselström (Nightmare Mode, 2012).
  2. Visual Novels: Unrecognized Narrative Art, - by Alex Mui (John Hopkins University, 2011).
  3. The Weird World of Japanese "Novel" Games - by Ray Barnholt (1UP, 2012).
  4. Peter Hasselström: Can AAA games learn something from visual novels? - by Aare (Visual Novel Aer, 2012).
  5. ビジュアルノベルはいつ成立し、そして現在に至るのか? ストーリーゲーム研究家・福山幸司氏が解説する歴史 - by Koji Fukuyama (Game Business, 2019).
  6. Interview with Kotaro Uchikoshi, "The Untold History of Japanese Game Developers Vol. 1" (Pages: 340-341).
  7. A Brief Introduction to Visual Novels by Matt Fitsko, "The Untold History of Japanese Game Developers Vol. 1" (Pages: 314-316).
  8. Bungle Bungle - The official website of Tatsuya Takahashi and Tooru Minazuki, creators of the Leaf Visual Novel Series.
  9. Type-Moon Offical Homepage (2004) - Classifies Tsukihime and Fate/stay night as "visual novels" on their Product page.
  10. Steins;Gate Official Homepage (2009) - Markets Steins;Gate as a "想定科学ADV".
  11. Key's Official Product Page (2004) - labels Clannad as a "恋愛AVG".
  12. What is a Visual Novel?, Hirameki International Group Official Website (2007).
  13. ANNCast's Interview with John Pickett of MangaGamer (2011).
  14. イシイジロウ氏ら第一線で活躍するクリエイターがアドベンチャーゲームを語り尽くす!――「弟切草」「かまいたちの夜」から始まった僕らのアドベンチャーゲーム開発史 (4Gamer, 2013).
  15. Otaku: Japan's Database Animals by Hiroki Azuma (Pages: 75-76) - Defines the origin of "novel games".
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