Second comment: The Truth that does not exist
It is a rare work that catches the eye in Chinese games. Those with more experience can see that it incorporates many Japanese suspense elements. I believe this is a successful application of suspense elements in Chinese social culture. As a series, it has a logical and well-planned plot, and it is a truly impressive work for less experienced players. However, compared to Ever17 and other games, it has both advantages and disadvantages.
The amount of foreshadowing is actually quite large, including the foreshadowing of the core plot points that have been running through the game. However, the problem is that it is so detailed that it takes multiple plays to fully uncover the foreshadowing behind the narrative. This can create a confusing initial experience, but after a few plays, you can appreciate the subtle design of the plot perspective and the interesting flavor of the characters'(especially Chen Mo's) words. The core suspense is a work that has no parallel in the history of Chinese games. The narrative rhythm has always been good, with a sense of balance between strength and softness. In terms of plot, I think the most unique part is the transition between the first and second generations.
The female protagonist's emotional drama is slightly lacking in characterization (in fact, it focuses on a rational emotion of careful consideration / reflection, but it is easy to miss the subtlety, and the emotional integration also carries a sense of helplessness and a realistic barrier), but some characters, including Zhong Qibei (to a certain extent, the most successful character portrayal in this game), are actually well-portrayed.
The sound and picture are first-class.
A certain degree of literary quality is a good direction, and the core of this work's weird imagery is also a reflection of reality (discussed in the plot), including the use of a scapegoat. The best thing to do is to make it a point to the end, and to encourage spontaneous thinking rather than instilling irony. The opposite direction is to deviate from the course of the galgame, but I personally think it's okay.
In short, I think it's the best choice for Chinese people to enter the mystery genre. It's not the best mystery, but it's the most suitable one for Chinese people to play. The plot itself needs to be updated in the series, but the direction is good, and the IP has great potential.
Third comment:"The Non-existent Truth / Summer"
Actually, I think there is a point: let's not talk about the tricks of time, space, and similarity. I think that "Romance" has achieved the following unique qualities:
. I think that "Romance" has achieved the following unique qualities:
(Let's talk about the first generation)
1)“The feeling.” Players struggle with the existence of 'weird' thinking with the protagonist, while Zhong Qibei's' scientific' explanations and contradictions create a suspenseful atmosphere in the early and mid-stages of the first generation. In addition to the suspenseful elements, the author"tried to use a very cliched hero-rescue plot" to distract the player's attention, hiding the otherwise not very mysterious plot twists and revealing countless hidden clues between the lines, resulting in a "perfect" plot that later recalled with amazement.
(2) The real social content that is mentioned but not explained. While imparting a literary atmosphere, it also allows players to constantly think, as this is a work that requires constant thinking to be more interesting, rather than waiting for the story to develop. And so on, is also a bold presentation.
(3) Contemporary Chinese culture. Everyone has their own preferences, but I think it's very good. And the words are not limited to"explanation", but reveal "plot" or"attitude", leaving blank space on some sensitive issues (perhaps they dare not write)
(Now for the second generation)
(1) For the connection between generations. One of the core elements is actually quite unique, and will definitely open up your brain and keep your CPU running at high speed. Especially the plot of the second half of the story, after the river, has given a generation of players deep thoughts. (Again, the author wants us to think deeply, whether it's the game's plot or the insinuation of society)
(2) Narrative rhythm. There are actually quite a few love stories, and some people complain about the lack of love, but it's actually just a lack of "plot" rather than a lack of"thought". At least when I played, I was always in the "thinking of love" mode. Even after revealing the truth, I spent a lot of time describing the feelings. And I personally think the narrative rhythm in the later part is also good, provided that you play for several hours at a time to have such an experience. Although the time and space from the river to the ending are chaotic, the feeling and order of the performance are"consistent with the customary sense of empathy". Not to mention that it ends like this, and even if you don't know when the story ends (this is another part of"thinking").
(4) Character creation. I think the most successful character creation is Zhong Qibei, and it's a character who has no parallel in history. If you want to be a representative, "Zhong Qibei" can be said to be one of the representative characters.
In summary, [this is like writing material, but whether it is used well or not depends on the argument and writing techniques. In terms of effect, the effect of Love Story is much better than that of Three Color Painting Homage to White Studies.] It is a plot conceived from a unique worldview. The"player's thinking" is the"interesting and meaningful core" of Love Story, which makes the entire plot impeccable. But that also means that the experience of playing without much thought will be greatly reduced. More importantly, I don't think it's a pure gal game that exploits girls. It's an AVG with a literary flavor. It's a domestically produced masterpiece, and at least one of the top works in the current domestic gal game industry.
Using another example of writing, "Love Story" is like a perfect high-score composition that uses numerous techniques to dazzle the audience without losing its true feelings, and is a model of excellent writing by top students from prestigious universities. Gorgeous and profound. The flaws on the paper cannot obscure the excellence.
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The female protagonist's emotional drama is slightly lacking in characterization (in fact, it focuses on a rational and thoughtful emotion, but it is easy to miss the subtlety. The emotional integration also has a sense of helplessness and a realistic barrier, but there may be an illusion that the characters themselves are diluted by the vast story). However, some characters, including Zhong Qibei (to some extent, the most successful character portrayal in this game), are actually well-portrayed.
The sound and picture are first-class.
There are some bugs in the program, and it may be necessary to rush to complete the work.
A certain degree of literary quality is a good direction, and the core imagery of this work is also a reflection of reality (discussed in the plot), including the use of a scapegoat. The best thing to do is to go as far as possible, and to encourage spontaneous thinking rather than instill sarcasm. To say the opposite is to say that it has strayed from the path of galgames, but I personally think it's okay, and there are different labels for it.
In short, I think it's the best choice for Chinese people to enter the mystery genre. It's not the best mystery, but it's the most suitable one for Chinese people to play. The plot itself needs to be updated in the series, but the direction is good and the IP has great potential.
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Three comments:
Plot ideas: After a long period of microscopically examining and thinking through the plot, I came up with many possibilities (which is also part of the charm of this type of game, as I have personally gone through six-screen analysis and hypotheses on the plot through various channels), but in the end, I concluded that perhaps this is also a part of the next game that will provide a better experience.
Character Creation Supplement: I can actually appreciate some of the subtlety of the character creation in this work, and it's not as bad as some of the comments suggest. It's just a vague feeling that can't be explained, perhaps due to the influence of the concept of daily communication as part of the character. I think the emphasis on plot and character depends on readers'preferences. Of course, there are people who agree or disagree, but at least I can enjoy a game without being drawn to one of the characters. For example, I don't say I particularly like Banxia, Zhenzhen, or Chen Mo, but I particularly like this work. In other words, the plot is part of character development. The fact that characters serve as plot tools to drive the plot does not mean that the characters are not vivid and vivid.
Four comments:
Why is"Love Story"a successful Chinese-style series of gal works?
We can see that in The Truth That Doesn't Exist, there are many stitches (not completely, but cleverly) of classic Japanese gals, and there are also high-level routines that are "deliberately routinized" in some places, giving people the illusion that they are not real. However, in terms of the overall style of the "story" itself, you will find no trace of Japanese gals.
Regardless of what Chinese culture (there are many), at least the ability to create a contemporary society and integrate it with current events is a good thing. Behind every "weird" thing is a reference, and you can see the same online public opinion environment and the presentation of hot or sensitive issues such as family education, health care, gender, infrastructure, poverty, and the current unemployment situation in a certain academy. The writer's words are"We are making a love game, not a social survey report", leaving enough space for reflection and belonging to the literary genre.
As for the style of the entire series, there is very little overly emotional or provocative content. Regardless of whether it is about feelings or events, there is always a shadow of "rationality" behind it. Even though the performances vary, the romance is not so dramatic and has a "calm and peaceful" feel (typical of Chen Mo). The so-called rescue is also close-knit rather than overly emotional. Even if many seemingly biased behaviors are not caused by a momentary emotion, Gu Zhenzhen is no exception. (If you have to be sarcastic, it's not youthful enough or passionate enough to have the so-called feeling of love, after all, almost everything in the work can be explained in terms of cause and effect.)
The basic elements include Jiangcheng, tips, and dubbing. I think the dubbing is good, with few strong emotional"exposures", which is appropriate for the style of the work mentioned earlier. It is also appropriate for the character's personality, and it does a good job in terms of the Chinese tone.
These are all examples of the pursuit of"creating a Chinese-style gal without following the style of Japanese gal" in recent years (focusing on style). Like other Chinese gal that have achieved this effect, we hope to continue to work hard in the future.
In addition, regarding the relationship between Tales of the Fallen and the In series, the screenwriter's answer was,"If I were satisfied with paying homage to Ever17, it would be boring. Every veteran of the In series regrets that R11 didn't use the viewpoint, and finally abandoned treatment. The stone gate behind it is a step backward. So I'll try to take a step forward. That's the purpose of putting meta in Ep2."
Given the answer given by the screenwriter, I am looking forward to seeing how the meta follow-up will be handled. If it can really be"further", it will be a success.
The antidote is in the heart. Who is the one who can overcome the odds?