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Type of interactive fiction video game

A visual novel (Japanese: ビジュアルノベル, Hepburn: bijuaru noberu ), often abbreviated every bit VN, is an interactive fiction video game genre,[one] [two] featuring text-based story with narrative style of literature and interactivity aided by static or sprite-based visuals, most often using anime-style art or occasionally live-activity stills (and sometimes video footage).[3] Equally the name suggests, they resemble mixed-media novels. The genre is more rarely referred to as novel game - internationally, it is well-nigh ofttimes used by people who highly regard the genre, such as insani; this term is most often an intentional retranscription of the wasei-eigo noberu gēmu ( ノベルゲーム ), which is far more than common in Japanese.[4]

Visual novels originated in and are especially prevalent in Nihon, where they made up nearly 70% of the PC game titles released in 2006.[five] In Japanese, a distinction is often made between visual novels (NVL, from "novel"), which consist primarily of narration and accept very few interactive elements, and adventure games (AVG or ADV, from "run a risk"), which incorporate problem-solving and other types of gameplay. This distinction is commonly lost outside Japan, as both visual novels and risk games are ordinarily referred to as "visual novels" by international fans.

Visual novels are rarely produced for video game consoles, but the more pop games have occasionally been ported to systems such as the Sega Saturn, Dreamcast, PlayStation Portable, or Xbox 360. The more than famous visual novels are also oft adjusted into calorie-free novels, manga or anime. The market for visual novels outside of Eastern asia is small, though a number of anime based on visual novels are popular among anime fans in the Western world; examples include Clannad, Steins;Gate, and Fate/stay nighttime.

Gameplay [edit]

A cartoon girl drawn in an anime style, named "Akiko" is seen standing in a highly detailed anime bedroom, telling the player that "Visual novels often feature highly detailed backgrounds and characters rendered in a style reminiscent of Japanese animation. This approach is frequently employed by Western developers, both amateur and pro-fessional regardless of their specific nation of origin."

Visual novels oft feature highly detailed backgrounds and characters rendered in a style reminiscent of Japanese blitheness.

Visual novels are distinguished from other game types by their by and large minimal gameplay. Typically the majority of thespian interaction is express to clicking to go on the text, graphics and audio moving (many recent games offer "play" or "fast-forward" toggles that make this unnecessary), while making narrative choices forth the way. Another main characteristic of visual novels are its stiff accent on the prose, as the narration in visual novels are delivered through text. This characteristic makes playing visual novels like to reading a book.[6]

Nearly visual novels have multiple storylines and more than one catastrophe; the mechanic in these cases typically consists of intermittent multiple-choice decision points, where the role player selects a direction in which to take the game. For example, in a dating simulator-themed visual novel, the player is prompted to pick different characters to date which, in turn, leads to a unlike catastrophe. This style of gameplay is similar to story-driven interactive fiction, or the shorter and less detailed real-life gamebook books.[7] Many fans of visual novels concord them upwardly as exceptions to the relatively weak storytelling in video games overall.

Some visual novels practise not limit themselves into merely interactive fictions, but as well comprise other elements into them. An case of this arroyo is Symphonic Rain, where the player is required to play a musical instrument of some sort, and attain a skilful score in society to advance. Usually such an element is related as a plot device in the game.

Fan-created novel games are reasonably pop; in that location are a number of costless game engines and construction kits aimed at making them piece of cake to construct, most notably NScripter, KiriKiri and Ren'Py.

Many visual novels apply voice actors to provide voices for the characters in the game. Oftentimes, the protagonist is left unvoiced, even when the residual of the characters are fully voiced. This option is meant to aid the player in identifying with the protagonist and to avoid having to tape large amounts of dialogue, every bit the principal character typically has the near speaking lines due to the branching nature of visual novels.

Narrative branches [edit]

Wikipe-tan, an unofficial mascot of Wikipedia is seen asking the player "What should I buy?". The player is presented with the options "A new mop." and "Some new socks."

In many visual novels, players are sometimes subjected to choices they need to make in club to proceed.

Non-linear branching storylines are a common trend in visual novels, which frequently apply multiple branching storylines to achieve multiple different endings, allowing non-linear liberty of choice along the way, similar to a cull-your-own-risk novel. Determination points inside a visual novel often present players with the pick of altering the course of events during the game, leading to many different possible outcomes.[8] [nine] An acclaimed example is Nix Escape: Virtue's Last Reward, where nearly every activeness and dialogue choice tin can atomic number 82 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 every component comes together to form a coherent, well-written story.

The digital medium in visual novels permit for significant improvements, such every bit 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 actor'due south past decisions. In Fate/stay nighttime, for example, the way the role player character behaved towards non-player characters during the course of the game affects the fashion they react to the player graphic symbol in after scenes, such every bit whether or non they choose to aid in life-or-expiry situations. This would be far more than difficult to track with physical books. More chiefly, visual novels practice not face the same length restrictions as a physical book. For example, the total word count of the English language fan translation of Fate/stay night, taking all the branching paths into account, exceeds that of The Lord of the Rings by most 80%. This meaning increase in length allows visual novels to tell stories every bit long and complex as those frequently institute in traditional novels, while nonetheless maintaining a branching path construction, and allowing them to focus on complex stories with mature themes and consistent plots in a way which Choose Your Ain Chance books were unable to do due to their physical limitations.

Many visual novels often revolve about entirely around graphic symbol interactions and dialogue choices ordinarily featuring circuitous branching dialogues and oft presenting the role player'southward possible responses word-for-word equally the thespian character would say them. Such titles revolving effectually relationship-building, including visual novels besides as dating simulations, such every bit Tokimeki Memorial, and some function-playing video games, such equally Persona, frequently give choices that accept a dissimilar number of associated "mood points" that influence a player grapheme's relationship and future conversations with a non-role player graphic symbol. These games often feature a day-night cycle with a time scheduling system that provides context and relevance to grapheme interactions, allowing players to cull when and if to collaborate with sure characters, which in turn influences their responses during subsequently conversations.[10]

It is non uncommon for visual novels to take morality systems. A well-known example is the 2005 title School Days, an animated visual novel that Kotaku describes every bit going well beyond the usual "black and white choice systems" (referring to video games such every bit Mass Effect, Fallout three and BioShock) where you "pick a side and stick with it" while leaving "the expansive middle area betwixt unexplored". School Days instead encourages players to explore the greyness, neutral middle-basis in order to view the more than interesting, "bad" endings,[eleven] i. e. an ending where a character dies or the primary protagonist does non accelerate towards the flow of the story.

Kinetic novels [edit]

"Kinetic novel" redirects here. For the make, meet KineticNovel.

Visual novels with non-branching plots, such equally Higurashi When They Cry, Muv-Luv Culling, and Digital: A Love Story are known every bit kinetic novels.[7] [12] The term was start used by the publisher Primal for their title Planetarian: The Reverie of a Little Planet.

RPG hybrids [edit]

There are role-playing video games that characteristic visual novel-manner elements. A well-known case in the West is Mistwalker's Lost Odyssey, an RPG that features a series of visual novel-fashion flashback sequences chosen "A Thousand Years of Dreams".[3] These sequences were penned by an honour-winning Japanese brusk story author, Kiyoshi Shigematsu.[thirteen] Another championship is the Arc Arrangement Works fighting game series BlazBlue, which plays off of a complex fantasy setting where a i-hundred-year period is reset indefinitely with many variables. The many branching storylines in Story Mode tin can serve as stand-alone stories, simply players must consider them together along with Arcade Mode stories to be able to fully understand the universe.

Some other successful example is Sega'south Sakura Wars series, which combined tactical function-playing game gainsay with visual novel elements, introducing a existent-fourth dimension branching option system where, during an event or chat, the player must choose an action or dialogue pick within a fourth dimension limit, or to not respond at all within that time. The player'southward choice, or lack thereof, affects the role player grapheme's relationship with other characters and in plow the characters' operation in battle, the direction of the storyline, and the catastrophe. Afterwards games in the series added several variations, including an action gauge that can be raised upwardly or down depending on the situation, and a gauge that the player can manipulate using the analog stick depending on the state of affairs.[xiv] The success of Sakura Wars led to a wave of games that combine role-playing and visual novel elements, including M Artillery, Riviera: The Promised Land, and Luminous Arc.[15]

Style [edit]

Wikipe-tan, an unofficial mascot of Wikipedia is seen telling the player "I heard Watanabe-san was going to make his own visual novel so that we would have some free images to use on Wikipedia! That's the kind of guy who keeps the Internet alive, don't you think?"

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

Despite using the narrative fashion of literature, visual novels have evolved a manner somewhat dissimilar from impress novels. In full general, visual novels are more likely to be narrated in the first person than the third, and typically present events from the point of view of only one graphic symbol.

In the typical visual novel, the graphics comprise a gear up of generic backgrounds (usually just one for each location in the game), with character sprites ( 立ち絵 , tachi-e ) superimposed onto these; the perspective is usually first-person, with the protagonist remaining unseen. At certain key moments in the plot, special issue CG estimator graphics are displayed instead; these are more detailed images, drawn peculiarly for that scene rather than being composed from predefined elements, which often use more than cinematic camera angles and include the protagonist. These upshot CGs tin can normally be viewed at any time once they have been "unlocked" by finding them in-game; this provides a motivation to replay the game and endeavour making different decisions, as information technology is unremarkably 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 peculiarly 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.[16] There accept also been visual novels that utilise live-action stills or video footage, such as several Sound Novel games by Chunsoft. The about successful instance is Machi, 1 of the most historic games in Japan, where it was voted No. 5 in a 2006 Famitsu reader poll of meridian 100 games of all time. The game resembled a live-action television drama, just allowing players to explore multiple character perspectives and affect the outcomes. Another successful instance is 428: Shibuya Scramble, which received a perfect score of 40 out of 40 from Famitsu magazine.[3]

History [edit]

The history of visual novels dates back to Portopia Serial Murder Case (1983). Information technology featured non-linear elements, which include traveling between different areas in a by and large open world, a branching dialogue chat system where the story develops through entering commands and receiving responses from other characters, and making choices that make up one's mind 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 punch whatsoever number to contact several not-player characters.[17] The game was well received in Japan for its well-told storyline and surprising twist ending, and for assuasive multiple ways to attain objectives.[16] Another more not-linear early example was Mirrors, released past Soft Studio Fly for the PC-8801 and FM Towns computers in 1990; it featured a branching narrative, multiple endings, and sound CD music.[18]

A common feature used in visual novels is having multiple protagonists giving unlike perspectives on the story. EVE Outburst Fault (1995), adult by Hiroyuki Kanno and C's Ware, introduced a unique twist to the system past allowing the histrion to switch between both protagonists at any time during the game, instead of finishing one protagonist's scenario before playing the other. EVE Burst Fault oftentimes 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.[19]

An of import milestone in the history of visual novels was YU-NO: A daughter who chants honey at the bound of this globe (1996), which was adult by Hiroyuki Kanno and is ELF'due south most famous visual novel.[twenty] Information technology featured non-linear storytelling, with a science fiction plot revolving effectually time travel and parallel universes. The thespian travels between parallel worlds using a Reflector device, which employs a limited number of stones to marking a certain position as a returning location, then that if the thespian decides to retrace their steps, they tin can go to an alternate universe to the time they have used a Reflector rock. The game too implemented an original organization chosen Automatic Diverge Mapping System (ADMS), which displays a screen that the histrion tin can cheque at any time to meet the direction in which they are heading along the branching plot lines.[21] Information technology also featured an early Isekai story arc.[22]

YU-NO revolutionized the visual novel industry, specially with its ADMS system.[xx] Audiences shortly began demanding large-scope plotlines and musical scores of similar quality and appetite to that of YU-NO, and that responded by hiring talent. Co-ordinate to Gamasutra: "The genre became an all-new arena for young artists and musicians one time once more, with companies willing to hazard on fresh blood; the market thrived with the excitement and the risks that were being taken, and became a hotbed of inventiveness".[23] The branching timeline organization was influential, opening "the door for visual novels to become more than elaborate and have a greater range of narrative arcs, without requiring the player to replay the game over and over again".[24] According to Nintendo Life, "the modern visual novel genre would simply not be without" YU-NO.[25] Branching timeline systems like to YU-NO also later appeared in role-playing video games such as Radiant Historia (2010)[26] [27] and the PSP version of Tactics Ogre (2010).[28]

Chunsoft sound novels such as Machi (1998) and 428: Shibuya Scramble (2008) developed the multiple-perspective concept further. They allow the player to alternating between the perspectives of several or more different characters, making choices with ane character that have consequences for other characters.[iii] [29] 428 in particular features upwards to 85 unlike possible endings.[29] Another popular visual novel featuring multiple perspectives is Fate/stay nighttime (2004).[7]

Content and genre [edit]

Many visual novels are centered on drama, particularly themes involving romance or family, but visual novels centered on scientific discipline fiction, fantasy fiction, and horror fiction are not uncommon.

Dōjinshi games (Dōjin soft) [edit]

Dōjinshi (同人誌, often transliterated equally doujinshi) is the Japanese term for cocky-published (fan-made) works. This includes (but is not express 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 (ordinarily 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 equally 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)).

Erotic content [edit]

Many visual novels likewise qualify as eroge, an abbreviation of 'erotic game'. These games feature sexually explicit imagery that is accessed past completing certain routes in the game, nearly often depicting the game's protagonist having sex activity 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 condign uncensored if the game is licensed outside Nihon. Certain eroge titles receive re-releases which exclude explicit content in club to exist sold to a younger audience, such as ports to consoles or handheld systems where sexually explicit content is not immune, and storylines referring to aforementioned sex scenes are often omitted from adaptations into other media, unless that media is also pornographic in nature, such equally a hentai anime.

Traditionally, PC-based visual novels take independent risque scenes fifty-fifty if the overall focus is not erotic (like to the "obligatory sexual activity scene" in Hollywood action films). However, the vast majority of panel ports do non incorporate adult material, and a number of contempo PC games have also been targeted at the all-age market; for example, all of Key's titles come up in family-friendly versions, although the content might still non be appropriate for children, and 3 take never independent adult content at all. Likewise, all of KID's titles are family-friendly.

All the same, some of these games are later re-released with the add-on of erotic scenes, or have a sequel with such. For example, Footling Busters! was get-go released as an all-ages visual novel, but a version with erotic scenes titled Little Busters! Ecstasy came out later, and though Clannad is too all-ages, its spinoff Tomoyo After: Information technology's a Wonderful Life is not.

Often, the beginning of the eroge will exist dedicated to introducing the characters and developing the protagonist's relationship with them, before the protagonist sexually interacts with other characters, for instance, Lump of Carbohydrate games such every bit Tayutama: Kiss on my Deity and Everlasting Summer do this. The effect it has on the reader is the H-scenes (sexual activity scenes) will have a stronger emotional impact for the two (or possibly more) characters.

Some of Nihon's earliest adventure games were erotic bishōjo games adult past Koei.[30] In 1982, they released Dark Life, the first commercial erotic computer game.[16] Information technology was a graphic adventure,[31] with sexually explicit images.[16] That same twelvemonth, they released another erotic title, Danchi Tsuma no Yūwaku (Seduction of the Condominium Wife), which was an early risk game with colour graphics, owing to the eight-color palette of the NEC PC-8001 estimator. It became a hitting, helping Koei become a major software company.[30] Other now-famous companies such as Enix, Square and Nippon Falcom also produced like erotic games in the early 1980s earlier 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 alibi for pornography.[sixteen] The Japanese game Pai Touch! involves the protagonist gaining the ability to alter the size of girls' breasts, and the adventures that ensue in trying to choose which girl to utilize the power on the well-nigh.

Another subgenre is called "nukige" ( 抜きゲー ), in which sexual gratification of the role player is the main focus of the game.[32]

Science fiction [edit]

In 1986, Foursquare released the science fiction take a chance game Suishō no Dragon for the NES panel. The game featured several innovations, including the use of animation in many of the scenes rather than withal images,[33] and an interface resembling that of a signal-and-click interface for a console, like Portopia Serial Murder Case, merely making utilise of visual icons rather than text-based ones to represent diverse actions. Like the NES version of Portopia Serial Murder Case, information technology featured a cursor that could be moved effectually 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.[33] [34]

Hideo Kojima (of Metal Gear fame) was inspired by Portopia Serial Murder Case to enter the video game industry,[35] and afterwards produced his own adventure games. After completing the stealth game Metallic Gear, his get-go graphic adventure was released by Konami the post-obit year: Snatcher (1988), an aggressive 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.[36] It also featured a post-apocalyptic scientific discipline 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 fourth dimension the only major visual novel game to be released in America, where it, despite low sales, gained a cult following.[37]

Post-obit Metal Gear 2: Solid Snake, Kojima produced his next graphic adventure, Policenauts (1994), a point-and-click adventure notable for being an early on example of extensive vox recording in video games.[38] Information technology too featured a difficult science fiction setting, a theme revolving around space exploration, a plot inspired by the aboriginal Japanese tale of Urashima Taro, and some occasional total-motion video cutting scenes. The gameplay was largely like to Snatcher, but with the addition of a betoken-and-click interface and some get-go-person shooter segments. Policenauts too introduced summary screens, which act to refresh the player's memory of the plot upon reloading a saved game (salve), an element Kojima would later employ 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'south dating sim Tokimeki Memorial is present, a technique Kojima would also later use in Metal Gear Solid.[37] From 1997 to 1999, Kojima adult the three Tokimeki Memorial Drama Series titles, which were adaptations of Tokimeki Memorial in a visual novel adventure game format.[39] Other acclaimed examples of scientific discipline fiction visual novels include ELF's Yu-No (1996) and 5pb.'due south Chaos;Head (2008) and Steins;Gate (2009).

Nakige [edit]

A pop subgenre of visual novels is the nakige ( 泣きゲー , "crying game"), which, as opposed to utsuge ( 鬱ゲー , "depressing game"), still usually has a happy ending. The genre was largely pioneered by Key co-founder, scenario writer, lyricist, and composer Jun Maeda.[twoscore] The main purpose of such a game is to make the player feel for the characters and to brand them weep considering of emotional scenarios which serve to have a bigger touch on the thespian after the game is over. These games often follow a similar formula: a comedic beginning half, with a eye-warming romantic middle, followed by a tragic separation, and finally (though not e'er) an emotional reunion. This formula was influenced primarily by Hiroyuki Kanno's YU-NO: A Girl Who Chants Love at the Bound of this World (1996) and Leaf's To Heart (1997), and was farther developed in One: Kagayaku Kisetsu e (1998) by Tactics. Later on One was complete, the evolution team quit Tactics to course Key where they developed their first title Kanon, too 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. Information technology was only ane game released by Key so far, and withal [it] had already sent major shockwaves around the industry. And withal another game [Air], two years later on, sent even more shockwaves. Air was as hyped and well received."[41]

Key'southward "crying game" formula used successfully in One and Kanon was afterward adopted by other visual novel companies to create their ain "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) past Circus, Wind: A Breath of Heart (2002) by Minori, and Snow (2003) past Studio Mebius (under Visual Art'southward).

One of the most acclaimed visual novels of this subgenre was Key's Clannad, written by Jun Maeda, Yūichi Suzumoto, and Kai and Tōya Okano. Released in 2004, its story revolved around the central theme of the value of having a family.[42] It was voted the best bishōjo game of all time in a poll held by Dengeki G's Magazine.[43] Information technology served every bit the footing for a media franchise, with successful adaptations into a lite novel, manga, animated film, and acclaimed anime series.

In 2008, several of Primal's visual novels were voted in the Dengeki poll of the 10 most tear-inducing games of all time, including Clannad at No. 2, Kanon at No. 4, Air at No. 7, and Trivial Busters! at No. 10.[44] In 2011, several visual novels were also voted in Famitsu'south poll of xx most tear-inducing games of all time, with Clannad at No. 4, Steins;Gate at No. 6, Air at No. seven, Little Busters! at No. ten, and 428: Shibuya Scramble at No. fourteen.[45]

Horror [edit]

Afterwards developing The Portopia Series Murder Case, Chunsoft released Otogiriso in 1992.Koichi Nakamura conceived the title afterward showing his work on the Dragon Quest role-playing video games to a girl he was dating. On finding she did not savor them, he was encouraged to brand a video game that he described equally "for people who haven't played games earlier."[46] Influenced by the early survival horror game Sweet Home, he developed it into a horror-themed interactive story. Chunsoft'south adjacent release, Kamaitachi no Yoru was likewise a best seller and would show to be highly influential.

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 past Key's works and Tsukihime during the planning of Higurashi no Naku Koro ni.[47] He played their games, as well as other visual novels, every bit a reference and analyzed them to try to determine why they were and so popular. He decided that the hugger-mugger was that the stories would start with ordinary, enjoyable days, but then a sudden event would occur leading the actor to weep from shock. He used a similar model as the basis for Higurashi but instead of leading the role player to cry, Ryukishi07 wanted to scare the thespian with the addition of horror elements.[48] Other examples of horror-themed visual novels include: Animamundi: Night Alchemist, Higanbana no Saku Yoru ni, Umineko no Naku Koro ni, Ookami Kakushi, Imabikisou, Saya no Uta, Doki Doki Literature Society!, and Corpse Party.

Visual novels in the Western world [edit]

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 accept been eroge, with Hirameki's now-discontinued AnimePlay series a notable exception. As of 2014, JAST U.s.a. and MangaGamer are the two most prolific publishers of translated visual novels for the PC; both primarily release eroge, but accept begun to diversify into the all-ages marketplace in recent years, with titles such equally Steins;Gate and Higurashi no Naku Koro ni respectively. In add-on 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 every bit Umineko no Naku Koro ni and Policenauts) into English. Fan translations of Japanese visual novels into languages other than English such equally Chinese, French, German and Russian are commonplace every bit 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 globe before and so, 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 serial (beginning in 2006),[49] and Level-5's Professor Layton series (starting time in 2007),[50] Japanese visual novels accept been published in other countries more than ofttimes. The success of these games has sparked a resurgence in the adventure game genre outside Japan.[49] [51] [52]

GameSpot has credited Phoenix Wright: Ace Attorney in particular for revitalizing the run a risk game genre.[53] 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 take since become some of the all-time selling adventure game franchises, with Ace Attorney selling over 3.ix meg units worldwide and Professor Layton selling over 9.5 million units worldwide past 2010.[50] Their success has led to an increment in Japanese visual novels being localized for release outside Japan, including: Child'south Ever 17: The Out of Infinity (2002), Cing's Another Code series (2005 onwards), Marvelous Amusement'due south Lux-Pain (2008), Chunsoft's 999: Nine Hours, Nine Persons, Nine Doors (2010), and Capcom'due south Ghost Trick: Phantom Detective (2010). In more recent years, several modernistic Western narrative chance games have fatigued comparisons to visual novels, including Telltale Games titles such equally The Walking Dead (2012),[54] and Dontnod Amusement'due south Life Is Strange (2015); the latter's creative director cited visual novels such every bit Danganronpa (2010) as an influence.[55]

In recent times, some visual novels have been adult mainly in English, and intended for an English-speaking audience, notable examples existence Doki Doki Literature Society! and VA-11 HALL-A. Other languages accept been the focus in visual novels, including Castilian, French, Russian and Mandarin, which have seen increased success due to the popularity of the genre.

Listing of acknowledged visual novels [edit]

Sales data for visual novels is frequently unavailable; the sales listed below tin can be significantly outdated as some of the sources are over a decade sometime, and series qualified for an entry could be missing. These lists should be referenced advisedly.

Complimentary visual novels exercise non appear in these lists due to the unreliability of download numbers and for consistency with other best-selling lists.

Series [edit]

Visual novel serial that have sold over 100,000 copies
Series Debut Creator(s) Sales Annotation(south)
J.B. Harold Murder Club 1986 Riverhillsoft 20,000,000 [56]
Professor Layton 2007 Level-5 / Akihiro Hino 17,020,337 [a]
Ace Attorney 2001 Capcom / Shu Takumi 8,600,000 [59]
Danganronpa 2010 Spike (Spike Chunsoft) / Kazutaka Kodaka 5,000,000 [b]
Sakura Wars (Sakura Taisen) 1996 Sega CS2 R&D / Cherry Entertainment 4,718,113 [c]
Tokimeki Memorial 1994 Konami / Koji Igarashi 3,714,704 [d]
Nekopara 2014 Neko Works / Sayori iii,000,000 [64] [65]
Sound Novel 1992 Chunsoft (Spike Chunsoft) two,709,907 [f]
Tantei Jingūji Saburō (Jake Hunter) 1987 Data East 2,346,841 [g]
Fate 2004 Type-Moon / Kinoko Nasu 2,096,148 [i]
Sakura 2014 Winged Deject 1,566,022 [j]
Steins;Gate 2009 5pb. / Nitroplus 1,244,545 [k]
Rance 1989 AliceSoft i,159,193 [l]
Higurashi: When They Cry 2002 07th Expansion / Ryukishi07 one,109,018 [north]
Shinseiki Evangelion (Neon Genesis Evangelion) 1996 Sega AM2 / Gainax Network Systems one,040,972 [o]
Dōkyūsei 1992 ELF Corporation 722,662 [p]
Zippo Escape 2009 Chunsoft / Kotaro Uchikoshi 640,213 [q]
The Death Trap 1984 Squaresoft / Hironobu Sakaguchi 600,000 [r]
To Center 1997 Leaf 584,263 [s]
EVE 1995 Hiroyuki Kanno / C's Ware 575,873 [t]
Clannad 2004 Key / Jun Maeda 468,278 [u]
Welcome to Pia Carrot 1996 Cocktail Soft 320,696 [v]
Hatoful Young man 2011 PigeoNation Inc. / Hato Moa 317,015 [w]
Kidou Senkan Nadesico (Martian Successor Nadesico) 1997 Sega 284,255 [10]
Cardcaptor Sakura ~Sakura to Card to O-Tomodachi~ 1999 MTO 193,745 [58]
Muv-Luv 2003 âge 140,708 [y]
Dies irae 2007 Light 100,000 [89]

Standalone [edit]

Standalone visual novels that have sold over 100,000 copies
Title Release Developer(due south) Sales Notation(s)
Portopia Renzoku Satsujin Jiken (The Portopia Serial Murder Case) 1983 Yuji Horii / Chunsoft 700,000 [90]
VA-11 HALL-A 2016 Sukeban Games 500,000 [91]
13 Sentinels: Aegis Rim 2019 Vanillaware 500,000 [92]
Nonomura Byōin no Hitobito (Mystery of Nonomura Infirmary) 1996 ELF Corporation 400,000 [93]
YU-NO: A Girl Who Chants Love at the Bound of this Globe 1996 Hiroyuki Kanno / ELF Corporation 380,820 [z]
Long Live the Queen 2012 Hanako Games / Spiky Caterpillar 369,384 [72]
Policenauts 1994 Hideo Kojima / Konami 341,483 [58]
Kanon 1999 Key / Naoki Hisaya 317,512 [aa]
Air 2000 Cardinal / Jun Maeda 308,382 [ab]
Hotel Dusk: Room 215 2007 Cing 213,208 [95]
Monster Prom 2018 Beautiful Glitch 200,000 [96]
Can Tin Bunny: Premiere 1992 Cocktail Soft / KID 159,502 [78]
Doukoku Soshite... 1997 Data East 131,085 [58]
Want 1994 Hiroyuki Kanno / C's Ware 102,187 [78]

See also [edit]

  • Hypertext fiction
  • List of video games based on anime or manga
  • List of visual novel engines
  • Motility comic
  • The Visual Novel Database
  • Visual novel engines
  • Western visual novels

Notes [edit]

  1. ^ Professor Layton series:
    • Every bit of June 2018[update] – 17one thousand thousand+[57]
    • Layton'southward Mystery Journey DX (August 2018 to 2019) – xx,336 (Japan)[58]
  2. ^ Danganronpa series: [threescore]
  3. ^ Sakura Wars series:
    • Upwardly until 2010 – 4.5 one thousand thousand [61]
    • 2013–2018 – 39,687 (Japan)[58]
    • Shin Sakura Taisen (2019) – 178,426 (Japan)[62]
  4. ^ Tokimeki Memorial series:
    • threemeg+[63]
    • August 2006 to 2019 (Nihon) – 714,703[58]
  5. ^ Meet 428: Shibuya Scramble § Reception
  6. ^ Sound Novel series:
    • Otogirisō (1992) – 400,000+[66]
    • Kamaitachi no Yoru (Banshee's Last Cry) – ane,941,758
      • Kamaitachi no Yoru (1994 to Apr 2002) – 1.25million[67]
      • June 2002 to 2019 (consoles) – 691,758 (Japan)[58]
    • Machi (1998) – 164,866[58]
    • 428: Shibuya Scramble (2008) – 203,283[due east]
  7. ^ Tantei Jingūji Saburō series
    • As of May 2007[update] – ii.22meg[68]
    • July 2007 to 2019 (Japan) – 126,841[58]
  8. ^ See Fate/stay night § Reception
  9. ^ Fate series (Japan)
    • Fate/stay nighttime – 751,488[h]
    • Fate/hollow ataraxia – 247,474
      • PC – 154,015[69]
      • PS Vita – 93,459[58]
    • Fate spin-off titles (consoles) – i,097,186[58]
  10. ^ Sakura series:
    • Sakura Agent, Sakura Dungeon, Sakura Gamer, Sakura Magical Girls – 206,022
    • Other titles – ane.36one thousand thousand[70]
  11. ^ Steins;Gate series:
    • 2009–2015 (Japan) – 1million+[71]
    • Steins;Gate (Steam) – 160,015+[72]
    • Steins;Gate 0 (PS4) (Japan) – four,087 (April 2018)[73]
    • Steins;Gate 0 (Steam) – 50,000+[74]
    • Steins;Gate Elite (Nihon) – thirty,442[75]
  12. ^ Rance serial:
    • Nippon – 1,000,000 (Data of all series until Rance 03 –Fall of Leazas–)
    • Rance X (PC) – 159,193 (2018)[76]
  13. ^ Run into Higurashi When They Cry § Reception
  14. ^ Higurashi When They Weep serial:
    • Japan (consoles) – 908,391[m]
    • Steam (PC) – 200,627+
      • Ch.1 – 100,000+[77]
      • Ch.ii – 28,301+[72]
      • Ch.3 – twenty,000+[77]
      • Ch.4 – 12,326+[72]
      • Ch.v and Ch.6 – 40,000+[77]
  15. ^ Neon Genesis Evangelion series (Nihon)
    • 1st Impression and 2nd Impression (Sega Saturn) – 785,034[78]
    • Girlfriend of Steel and Girlfriend of Steel two – 255,938[58]
  16. ^ Dōkyūsei series (Japan)
    • Dōkyūsei (PC Engine) – 107,594[79]
    • Sega Saturn – 615,068[78]
  17. ^ Zero Escape serial:
    • Japan (consoles) – 90,213[58]
    • Steam (PC) – 550,000+[80]
  18. ^ The Death Trap series:
    • The Death Trap – 500,000[81]
    • Will: The Death Trap II – 100,000[82]
  19. ^ To Center series (Japan)
    • Consoles – 473,870[58]
    • To Heart 2 X Rated (PC) – 110,393 (2006)[69]
  20. ^ EVE series
    • EVE: Burst Mistake – 350,000[83]
    • EVE: The Lost One (Sega Saturn) – 145,071 (Japan)[78]
    • Later EVE titles (consoles) – eighty,802 (Japan)[58]
  21. ^ Clannad series:
    • Clannad – 365,757+
      • Windows (Japan) – 100,560[84]
      • PS2, PSP, X360 (Japan) – 105,197[58]
      • PS3, PSV, PS4 (worldwide) – lx,000[85]
      • Steam (overseas) – 100,000+[86]
    • Hikari Mimamoru Sakamichi de (On the Hillside Path that Light Watches Over) – 28,984[58]
    • Tomoyo After: Information technology's a Wonderful Life (consoles) – 73,537
      • PS2 – 49,226[69]
      • PSP and Xbox 360 – 24,311[58]
  22. ^ Pia Carrot series (Japan)
    • Consoles – 284,186[58]
    • PC (2006) – 36,510[87]
  23. ^ Hatoful Boyfriend:
    • Steam – 309,725[72]
    • DLsite English – 7,290[88]
  24. ^ Kidou Senkan Nadesico series (Nippon)
    • Yappari Saigo ha 'Ai ga Katsu'? – 138,161[78]
    • The Bare of 3 Year and The Mission – 146,094[58]
  25. ^ Muv-Luv series
    • Japan – 135,452
      • Muv-Luv Culling (PC) – 62,546 (2006)[87]
      • Consoles – 72,906[58]
    • Steam (PC) overseas – 5,256[72]
  26. ^ See YU-NO: A Girl Who Chants Love at the Bound of this Globe § Reception
  27. ^ Kanon:
    • Up until 2006 – 300,000+[94]
    • PSP (Japan) – 14,762[58]
  28. ^ Air:
    • Up until 2006 – 300,000+[94]
    • PSP and PS Vita (Japan) – 8,382[58]

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External links [edit]

  • Visual Novels at Curlie
  • Visual Novel Database

turnertriblend.blogspot.com

Source: https://en.wikipedia.org/wiki/Visual_novel

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