![]() The world is not properly established or reinforced through visuals beyond recycled backdrops for gameplay segments. The characters, while compelling conceptually, lack the platform needed to truly shine with prolonged social interactions. However, as the story went on, as the fragments continued to come in without anything solid or cohesive enough to constitute a full minute of reading time, I simply began to lose interest in whatever tale was supposedly being told. Why build a world when you are not going to describe it to the reader? Why build these characters and not delve deeper into their backgrounds? Why would anyone craft a story-driven game like this and do the story such a disservice by breaking it into individual sentences that are divided up between comparably small instances of gameplay?ĭespite being so confused by what was going on and frustrated by how this story was paced, I still tried to power through the main story, making it over 50% of the way through the first arc and going through nearly 200 individual story missions. I like my stories to be clear and direct, and as a fiction writer, I simply cannot understand the logic behind this approach. It is a vague approach to storytelling that I understand certain people enjoy, just look at the fervor surrounding the lore of games as narratively obtuse as Dark Souls, but I personally cannot stand it. All of which are written in an exaggerated semi-poetic manner that, while commendable as pieces of prose, do precious little to establish or explain much of anything about the world or what the characters are actually doing. Instead, SINoALICE’s story is told through these brief and vague monologues and fragmented musings from the characters, which preface each story chapter. ![]() Unfortunately, that is not what is delivered here. The game sets the stage for a prolonged deconstruction of these pure simplistic characters as they are both internally and externally twisted into something far from the light and saccharine hues they are typically painted in, all with that signature Yoko Taro dark and edgy flair. Whether it be salvation, guidance, revenge, or the opportunity to indulge in their vices once more. This corrupted and deprived realm is populated by none other than various fairy tale protagonists, all of whom have gained awareness outside of the works they were originally created in and confined to, and have resolved themselves to embarking through these badlands in pursuit of a promised wish that would allow them to revive their deceased authors for their own purposes. SINoALICE takes place in a world known as the Library, a convergence point that draws out the worst from fictitious worlds, twisting and reinterpreting their protagonists into something that exemplifies their worst traits and casts them aside in a land blighted by nightmares where one must kill to survive. And after 3 days with the game and over 12 hours logged into it, I realized I made a mistake somewhere down the line. Across all of these smaller more supplemental projects, the biggest and most prolific one is SINoALICE, a mobile gacha RPG that originally released on June 6, 2017, as a Japan-exclusive that was originally set to be brought to the west by Nexon in 2019, only for those plans to fall through, thus leading developer Pokelabo to localize the game themselves.Ĭonsidering how the developers went to such lengths to bring the title over to the west, translating it into an additional six languages, and Yoko Taro’s talent as a writer and storyteller, I was looking forward to at least dipping my toes in SINoALICE after it launched on July 1st, 2020. While Yoko Taro is most often cited as a game director and a writer behind the Nier and Drakengard series, he also frequently involves himself in smaller more supplemental projects, writing short stories, novels, plays, and even worked on a few other service games like Monster X Dragon and Demon’s Score.
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