Visual novel

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Not to be confused with graphic novel, anime game, or dating sim.

A visual novel (ビジュアルノベル bijuaru noberu?) is an interactive fiction game,[1][2] featuring mostly static graphics, most often using anime-style art or occasionally live-action stills (and sometimes video footage).[3] As the name might suggest, they resemble mixed-media novels.

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 games (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.[4]

Visual novels are rarely produced for video game consoles, but the more popular games have occasionally been ported to systems such as the Sega Saturn, Dreamcast, PlayStation Portable, 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 anime based on visual novels are popular among anime fans in the Western world.


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 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 gamebook books. Most, however, strive for a higher level of plot and character depth than the aforementioned series of interactive children's books.[5] These can be more closely compared to story-driven interactive fiction. While the plots and storytelling of mainstream video games is often criticized, many fans of visual novels hold them up as exceptions and identify this as a strong point of the genre.

Some visual novels do not limit themselves into merely interactive fictions, but also incorporate other elements into them. An example of this is Symphonic Rain, where the player is required to play a musical instrument of some sort, and attain a good score in order to advance. Usually such an element is related as a plot device in the game.

Some shorter works do not contain any decision points at all. Most examples of this sort are fan-created. Fan-created novel games are reasonably popular; there are a number of free game engines and construction kits aimed at making them easy to construct, most notably NScripter, KiriKiri and Ren'Py.[6]

Many visual novels use voice actors to provide voices for the characters in the game. Often, the protagonist is left unvoiced, even when the rest of the characters are fully voiced. This is to aid the player in identifying with the protagonist and to avoid having to record large amounts of dialogue, as the main character typically has the most speaking lines due to the branching nature of visual novels.

Branching narratives[edit]


The branching path stories 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 characters 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. 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. 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, Planetarian: The Reverie of a Little Planet, Muv-Luv Alternative, Juniper's Knot, and Digital: A Love Story are rare exceptions within the genre.[5][6]

Many visual novels often revolve almost entirely around character interactions and 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 games 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 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.[10]

As early as 1983, Portopia Serial Murder Case featured non-linear elements, which includes traveling 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 herrings. It also features a phone that could be used to dial any number to contact several non-player characters.[11] The game was well received in Japan for its well-told storyline and surprising twist ending, and for allowing multiple ways to achieve objectives.[12] 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 audio CD music.[13]

It is not uncommon for visual novels to have morality systems. A well-known example is the 2005 title 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.[14]

A common feature used in visual novels is having multiple protagonists giving different perspectives on the story. C's Ware's 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.[15] Fate/stay night is another example that features multiple perspectives.[5] Chunsoft sound novels such as 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.[3][16] 428 in particular features up to 85 different possible endings.[16]

Other notable examples of non-linear storytelling include ELF's most famous visual novel, YU-NO: A girl who chants love at the bound of this world (1996), which featured a science fiction plot revolving around time travel and 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.[17] Similar systems have later been employed in the 2010 role-playing games, Radiant Historia[18][19] and the PSP version of Tactics Ogre.[20]

RPG hybrids[edit]

There have often been role-playing video games 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.[3] These sequences were penned by an award-winning Japanese short story writer, Kiyoshi Shigematsu.[21] Another title is the Arc System Works fighting game series Blazblue, which plays off of a complex fantasy setting where a one hundred year period is reset indefinitely with many variables. The many branching story lines in Story Mode can serve as stand-alone stories, but players must consider them together along with Arcade Mode stories to be able to fully understand the universe.

Another successful example is Sega's Sakura Wars series, which combined tactical role-playing game combat with visual novel elements, introducing a real-time branching choice system where, during an event or conversation, the player must choose an action or dialogue choice within a time limit, 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.[22] 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.[23] A similar type of real-time conversation system also appeared in the Sega-published action role-playing game Alpha Protocol.[24] Another example is Sentou Gakuen, which combined elements of both MMORPGs and visual novels.


Visual novels are commonly characterized with dialog boxes and sprites denoting the speaker. This is a recreation of the screen layout of a visual novel, generated by the Ren'Py game engine.

The visual novel genre has evolved a style somewhat different from print novels. In general, visual novels are more likely to be narrated in the first person than the third, and to present events from the point of view of only one character. It is fairly common for the primary structural unit to be the day rather than the chapter, with formulaic awakenings and returnings to bed framing each day's events. There are of course many exceptions to these generalisations.

In the typical visual novel, the graphics comprise a set of generic backgrounds (normally just one for each location in the game), with character sprites (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.[12] 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, 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.[3]

Content and genre[edit]

See also: Adventure game


Adult content[edit]

See also: Eroge and Adult video game

Many visual novels also qualify as eroge, an abbreviation of 'erotic game'. These games feature sexually explicit imagery that are accessed by completing certain routes in the game, most often depicting the game's protagonist having sex with one of the game's other characters. Like other pornographic media in Japan, scenes depicting genitalia are censored in their original Japanese releases, only becoming uncensored if the game is licensed outside of Japan. Certain eroge titles receive re-releases which exclude explicit content in order to be sold to a younger audience, such as ports to consoles or handheld systems where sexually explicit content is not allowed, and storylines referring to aforementioned sex scenes are often omitted from adaptations into other media, unless that media is also pornographic in nature, such as a hentai anime.

Traditionally, PC-based visual novels have contained risque scenes even if the overall focus is not erotic (similar to the "obligatory sex scene" in Hollywood action films). However, the vast majority of console ports do not contain adult material, and a number of recent PC games have also been targeted at the all-age market; for example, all of Key's titles come in family-friendly versions, and three have never contained adult content at all. Also, all of KID's titles are family-friendly.

However, some 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! Ecstasy came out later, and though Clannad is also all-ages, its spinoff Tomoyo After: It's a Wonderful Life is not.

Often, the beginning of the eroge will be dedicated to introducing the characters and developing the protagonist's relationship with them, before the protagonist sexually interacts with other characters, for example, Lump of Sugar games such as Tayutama: Kiss on my Deity, Hello, Good-bye, Gaku Ou: The Royal Seven Stars, Sekai to Sekai no Mannaka de and Everlasting Summer do this. The effect it has on the reader is the H-scenes (sex scenes) will feel more emotional and impactful on the two (or possibly more) characters.

Some of Japan's earliest adventure games were erotic bishōjo games developed by Koei.[25] In 1982, they released Night Life, the first commercial erotic computer game.[12] It was a graphic adventure,[26] with sexually explicit images.[12] 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.[25] Other now-famous companies such as Enix, Square and Nihon Falcom also produced similar erotic games in the early 1980s before they became famous for their role-playing video games. While some early erotic games meaningfully integrate the erotic content into a thoughtful and mature storyline, others often used it as a flimsy excuse for pornography.[12] 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.

Another subgenre is called "nukige" (抜きゲー?), in which sexual gratification of the player is the main focus of the game.[27]

Science fiction[edit]

In 1986, Square released the science fiction adventure game Suishō no Dragon for the NES console. The game featured several innovations, including the use of animation in many of the scenes rather than still images,[28] and an interface resembling that of a point-and-click interface for a console, like Portopia Serial Murder Case, but making use of visual icons rather than text-based ones to represent various actions. Like the NES version of Portopia Serial Murder Case, it featured a cursor that could be moved around the screen using the D-pad to examine the scenery, though the cursor in Suishō no Dragon was also used to click on the action icons.[28][29]

Hideo Kojima (of Metal Gear fame) was inspired by Portopia Serial Murder Case to enter the video game industry,[30] and later produce his own adventure games. After completing the stealth game Metal Gear, his first graphic adventure was released by Konami the following year: Snatcher (1988), an ambitious cyberpunk detective novel graphic adventure that was highly regarded at the time for pushing the boundaries of video game storytelling, cinematic cut scenes, and mature content.[31] It also featured a post-apocalyptic science fiction setting, an amnesiac protagonist, and some light gun shooter segments. It was praised for its graphics, soundtrack, high quality writing comparable to a novel, voice acting comparable to a film or radio drama, and in-game computer database with optional documents that flesh out the game world. The Sega CD version of Snatcher was for a long time the only major visual novel game to be released in America, where it, despite low sales, gained a cult following.[32]

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.[33] It also featured a hard science fiction setting, a theme revolving around space exploration, a plot inspired by the ancient Japanese tale of Urashima Taro, and some occasional full-motion video cut scenes. The gameplay was largely similar to Snatcher, but with the addition of a 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 save, an element Kojima would later use in Metal Gear Solid. The PlayStation version of Policenauts could also read the memory card and give some easter egg dialogues if a save file of Konami's dating sim Tokimeki Memorial is present, a technique Kojima would also later use in Metal Gear Solid.[32] From 1997 to 1999, Kojima developed the three Tokimeki Memorial Drama Series titles, which were adaptations of Tokimeki Memorial in a visual novel adventure game format.[34] Other acclaimed examples of science fiction visual novels include ELF's Yu-No (1996) and 5pb.'s Chaos;Head (2008) and Steins;Gate (2009).


A popular subgenre of visual novels is the nakige (泣きゲー "crying game"?), also known as utsuge (鬱ゲー "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's visual novel To Heart, released in 1997, and was further developed in the 1998 title One: Kagayaku Kisetsu e, developed by Tactics. After One was complete, the development team quit Tactics to form Key where they developed their first title Kanon, also based upon this formula. According to Satoshi Todome in his book, A History of Adult Games, Kanon was "heavily hyped [and] had gamers impatient until its release. It was only one game released by Key so far, and yet [it] had already sent major shockwaves around the industry. And yet another game [Air], two years later, sent even more shockwaves. Air was equally hyped and well received."[35]

The success of One and Kanon on Key's formula to create a "crying game" was later adopted by other visual novel companies which were influenced by this formula to create their own "crying games". Examples of this include: Kana: Little Sister (1999) by Digital Object, the Memories Off series (1999 onwards) by KID, D.C.: Da Capo (2002) by Circus, Wind: A Breath of Heart (2002) by Minori, Snow (2003) by Studio Mebius (under Visual Art's).

One of the most acclaimed visual novels of this subgenre was Key's Clannad, written by Jun Maeda, Yūichi Suzumoto, Kai and Tōya Okano. Released in 2004, its story revolved around the central theme of the value of having a family.[36] It was voted the best bishōjo game of all time in a poll held by Dengeki G's Magazine.[37] It served as the basis for a media franchise, with successful adaptations into a light novel, manga, animated film, and acclaimed 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 at No. 2, Kanon at No. 4, Air at No. 7, and Little Busters! at No. 10.[38] 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.[39]


Higurashi no Naku Koro ni (When They Cry) was a 2002 horror-themed visual novel by 07th Expansion, influenced by the "crying game" subgenre. Ryukishi07 of 07th Expansion mentioned in 2004 how he was influenced by Key's works during the planning of Higurashi no Naku Koro ni. He played their games, among other visual novels, as a reference and analyzed them to figure out the reason why they were found to be so popular. He figured that the secret was due to how the stories would start with ordinary, enjoyable days, but then a sudden occurrence would happen leading the player to cry due to the shock value. He used a similar model for the basis of Higurashi but instead of leading the player to cry, Ryukishi07 wanted to scare the player with the addition of horror elements.[40] Other examples of a horror-themed visual novels include Animamundi: Dark Alchemist, Higanbana no Saku Yoru ni, Umineko no Naku Koro ni, Ookami Kakushi, Imabikisou, Saya no Uta and Corpse Party.

Dōjinshi Games (Dōjin soft)[edit]

Main article: Dōjin soft

Dōjinshi (同人誌, often transliterated as doujinshi) is the Japanese term for self-published (fan-made) works. This includes (but is not limited to) dōjin games (同人ゲーム), also sometimes called dōjin soft (同人ソフト). These visual novel-style games are created as fan-made works based on pre-existing fandoms (usually anime and manga, but also for tv shows or even other pre-existing games and visual novels). Dōjinshi games are often based on romance (or shipping) between two characters, known as an otome game (乙女ゲーム) or dating sim; sometimes becoming sexual (or hentai), known as an eroge (エロゲ, a portmanteau of erotic game: (エロチックゲーム)).

Related terms[edit]

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[dubious ] 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'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.[41]


Prior to the year 2000, few Japanese visual novels were translated into other languages. As with the visual novel genre in general, a majority of titles released for the PC have been eroge, with Hirameki's now-discontinued AnimePlay series as notable exceptions. As of 2014, JAST USA and MangaGamer are the two most prolific publishers of translated visual novels on the PC; both primarily release eroge, but have begun to diversify into the all-ages market in recent years, with titles such as Steins;Gate and Higurashi no Naku Koro ni respectively. 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. Fan translations of Japanese visual novels into languages other than English such as Chinese, French, German and Russian are commonplace as well.

English translations of Japanese visual novels on video game consoles were rare until the release of the Nintendo DS, though some games with visual novel elements had been published in the Western world before then, such as Hideo Kojima's Snatcher. Following the success of mystery titles for the Nintendo DS such as Capcom's Ace Attorney series (which began on the Game Boy Advance in 2001), Cing's Hotel Dusk series (beginning in 2006),[42] and Level-5's Professor Layton series (beginning in 2007),[43] Japanese visual novels have been published in other countries more frequently. The success of these games has sparked a resurgence in the adventure game genre outside Japan.[42][44][45]

GameSpot has credited Phoenix Wright: Ace Attorney in particular for revitalizing the adventure game genre.[46] 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.[43] 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).

See also[edit]


  1. ^ Cavallaro, Dani (2010). Anime and the visual novel: narrative structure, design and play at the crossroads of animation and computer games. McFarland & Company. p. 8. ISBN 0-7864-4427-4. 
  2. ^ Lebowitz, Josiah; Klug, Chris (2011). "Japanese Visual Novel Games". Interactive storytelling for video games: a player-centered approach to creating memorable characters and storie. Burlington, MA: Focal Press. pp. 192–4. ISBN 0-240-81717-6. Retrieved 2012-11-10. Visual novels (or sound novels, as they’re sometimes called) are a popular game genre in Japan. 
  3. ^ a b c d Ray Barnholt. "The Weird World of Japanese "Novel" Games". Retrieved 2011-03-08. 
  4. ^ "AMN and Anime Advanced Announce Anime Game Demo Downloads". Hirameki International Group Inc. 8 February 2006. Retrieved 2006-12-01. 
  5. ^ a b c Chris Klug; Josiah Lebowitz (March 2011). Interactive Storytelling for Video Games: A Player-Centered Approach to Creating Memorable Characters and Stories. Burlington, MA: Focal Press. pp. 194–7. ISBN 0-240-81717-6. Retrieved 20 February 2012. 
  6. ^ a b "The Ren'Py Visual Novel Engine". Ren'Py. Retrieved 4 February 2013. 
  7. ^ The First Free Visual Novel Engine Released, Softpedia
  8. ^ Cavallaro, Dani (2010). Anime and the visual novel: narrative structure, design and play at the crossroads of animation and computer games. McFarland & Company. pp. 78–79. ISBN 0-7864-4427-4. 
  10. ^ Brent Ellison (8 July 2008). "Defining Dialogue Systems". Gamasutra. Retrieved 2011-03-30. 
  14. ^ Eisenbeis, Richard (28 August 2012). "How A Visual Novel Made Me Question Morality Systems in Games". Kotaku. Retrieved 28 August 2012. 
  18. ^ Radiant Historia Gives Off a Distinct Chrono Trigger Vibe, 1UP
  19. ^ To those of you that asked about Radiant Historia, Destructoid
  20. ^ Tactics Ogre: Let Us Cling Together, GamesRadar, 15 February 2011
  21. ^ Fear, Ed (17 March 2008). "Harvard's Rubin on translating 360 epic Lost Odyssey into English". Develop. Retrieved 2009-01-30. 
  22. ^ "Sakura Wars ~So Long My Love~ Interview". RPGamer. 2010. Retrieved 2011-03-30. 
  23. ^ Jeremy Parish (8 May 2009). "Sakura Wars Comes to America, But is it Too Late to Matter?". Retrieved 2011-05-18. 
  24. ^ Spencer (17 March 2010). "Alpha Protocol Has A Touch Of Sakura Wars". Siliconera. Retrieved 7 March 2012. 
  27. ^ "Visual novel database" on nukige, Plot serves the sex-scenes, not the other way round..
  28. ^ a b "水晶の龍 – SQUARE ENIX". Square Enix Japan. Retrieved 2008-05-26.  (Translation)
  29. ^ "やーきゅーうー、すーるなら!?　「水晶の龍（ドラゴン）」". ITMedia. 22 August 2006. Retrieved 2008-05-26.  (Translation)
  30. ^ Kasavin, Greg (21 March 2005). ""Everything is Possible": Inside the Minds of Gaming's Master Storytellers". GameSpot. CNET Networks. p. 2. Retrieved 2007-08-15. 
  31. ^ Retroactive: Kojima's Productions, 1UP
  32. ^ a b Kurt Kalata, Policenauts, Hardcore Gaming 101
  34. ^ Hideo Kojima Speaks, IGN
  36. ^ pre-Clannad (in Japanese). SoftBank Creative. 15 April 2004. ISBN 4-7973-2723-5. 
  37. ^ "Dengeki G's Magazine top fifty bishōjo games" (in Japanese). ASCII Media Works. Retrieved 3 June 2009. 
  38. ^ "【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？". Dengeki. ASCII Media Works. 15 October 2008. Archived from the original on 7 May 2012. Retrieved 7 May 2012. 
  39. ^ Romano, Sal (29 December 2011). "Famitsu's top 20 list of tear-inducing games". Retrieved 24 February 2012. 
  40. ^ Ryukishi07 (9 July 2004). "Key's Essence is Actually...(Bitter Smile)" (in Japanese). 07th Expansion. Retrieved 15 May 2009. 
  41. ^ キネティックノベルについて (in Japanese). Retrieved 2007-01-06. 
  42. ^ a b Kurt Kalata, Snatcher, Hardcore Gaming 101
  43. ^ a b Layton Series Hits 9.5M, Ace Attorney 3.9M, Gamasutra
  44. ^ Gameplay of the Week – Two new engaging DS adventures hit the spot, The Olympian
  45. ^ Kurt Kalata, Sotenga, Jason Withrow, Phoenix Wright, Hardcore Gaming 101
  46. ^ "Phoenix Wright: Ace Attorney Review". GameSpot. Retrieved 2010-07-27. 

External links[edit]