Editing Visual novel (section)

==Content and genres==
{{see also|Adventure game|Bishōjo game|Dating sim|Otome game}}
Many visual novels are centered on [[Drama film|drama]], particularly themes involving [[Romantic love|romance]] or family, but visual novels centered on [[science fiction]], [[fantasy fiction]], [[erotic fiction]] and [[horror fiction]] are not uncommon.

===Dōjinshi games (dōjin soft)===
{{Main|Dōjin soft}}
[[Dōjinshi]] ({{Lang|ja|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 soft|dōjin games]]'' ({{Lang|ja|同人ゲーム}}), also sometimes called ''dōjin soft (''{{Lang|ja|同人ソフト}}). These visual novel-style games are created as [[Fan labor|fan-made works]] based on pre-existing ''[[fandom]]s'' (usually [[anime and manga fandom|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 (fandom)|shipping]]'') between two characters, known as an ''[[otome game]]'' ({{Lang|ja|乙女ゲーム}}) or ''[[dating sim]]''; sometimes becoming sexual (or ''[[hentai]]''), known as an ''[[eroge]]'' ({{Lang|ja|エロゲ}}, a portmanteau of '''ero'''tic '''ga'''me ({{Lang|ja|エロチックゲーム}})).

===Erotic content===
{{see also|Eroge|Sexual content in video games}}

Many visual novels also qualify as [[eroge]], an abbreviation of 'erotic game'. These games feature sexually explicit imagery that is 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 Japan with all art assets intact. 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 "[[Sex in film|obligatory sex scene]]" in [[Cinema of the United States|Hollywood]] [[action film]]s). 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 (company)|Key]]'s titles come in censored versions, although the content might still not be appropriate for children, and three have never contained erotic content at all. Also, all of [[KID]]'s titles are made with general audiences in mind.

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!|Little Busters! Ecstasy]]'' came out later, and though ''[[Clannad (video game)|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]]'' and ''Everlasting Summer'' do this. The effect it has on the reader is the H-scenes (sex scenes) will have a stronger emotional impact for the two (or possibly more) characters.

Some of Japan's earliest adventure games were erotic [[bishōjo game]]s developed by [[Koei]].<ref name=Pesimo/> In 1982, they released ''[[Night Life (video game)|Night Life]]'', the first commercial [[Adult video game|erotic computer game]].<ref name=Retro/> It was a [[Graphic adventure game|graphic adventure]],<ref name=Jones>{{cite journal|last1=Jones|first1=Matthew T.|date=December 2005|title=The Impact of Telepresence on Cultural Transmission through Bishoujo Games|journal=PsychNology Journal|volume=3|issue=3|pages=292–311|url=http://www.psychnology.org/File/PNJ3(3)/PSYCHNOLOGY_JOURNAL_3_3_JONES.pdf|issn=1720-7525|archive-url=https://web.archive.org/web/20060501201728/http://www.psychnology.org/File/PNJ3%283%29/PSYCHNOLOGY_JOURNAL_3_3_JONES.pdf|archive-date=1 May 2006|url-status=live}}</ref> with sexually explicit images.<ref name=Retro/> That same year, they released another erotic title, ''Danchi Tsuma no Yūwaku'' (''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.<ref name=Pesimo>{{cite book|author=Pesimo, Rudyard Contretas|chapter='Asianizing' Animation in Asia: Digital Content Identity Construction Within the Animation Landscapes of Japan and Thailand|title=Reflections on the Human Condition: Change, Conflict and Modernity – The Work of the 2004/2005 API Fellows|year=2007|publisher=The Nippon Foundation|pages=124–160|chapter-url=http://www.apimal.org/blogcms/media/13/File/Pesimo.pdf|url-status=dead|url=http://www.apimal.org/blogcms/media/13/File/Pesimo.pdf|archive-url=https://web.archive.org/web/20110904050744/http://www.apimal.org/blogcms/media/13/File/Pesimo.pdf|archive-date=4 September 2011}}</ref> Other now-famous companies such as [[Enix]], [[Square (video game company)|Square]] and [[Nihon Falcom]] also produced similar erotic games in the early 1980s before they became famous for their [[role-playing video game]]s. While some early erotic games integrate the erotic content into a thoughtful and nuanced storylines, others often used it as a simplistic vehicle for fetishism, pleasure, an aid of the lightheaded themes that encourage stress relief or to portray nuances of sexuality.<ref name=Retro/> 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 {{nihongo|"nukige"|抜きゲー}}, in which sexual gratification of the player is the main focus of the game.<ref>{{Cite book|author=宮本直毅|date=2013-01-26|script-title=ja:エロゲー文化研究概論|publisher=総合科学出版|isbn=978-4-88181-829-9|chapter=泣きゲーのうねり}}</ref>

===Science fiction===
In 1986, [[Square (video game company)|Square]] released the science fiction adventure game ''[[Suishō no Dragon]]'' for the [[Nintendo Entertainment System|NES console]]. The game featured several innovations, including the use of [[Computer animation|animation]] in many of the scenes rather than still images,<ref name=Square-Enix>{{cite web |url=http://www.square-enix.com/jp/archive/suisho_no_dragon/ |title=水晶の龍 – SQUARE ENIX |publisher=Square Enix Japan |access-date=26 May 2008}} ([https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=http%3A%2F%2Fwww.square-enix.com%2Fjp%2Farchive%2Fsuisho_no_dragon%2F Translation])</ref> and an interface resembling that of a [[point-and-click]] interface for a console, like ''[[The 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.<ref name=Square-Enix/><ref name=itmedia-dragon>{{cite web |url=http://plusd.itmedia.co.jp/games/articles/0608/22/news023.html |title=やーきゅーうー、すーるなら!? 「水晶の龍（ドラゴン）」 |publisher=ITMedia |date=22 August 2006 |access-date=26 May 2008}} ([https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=http%3A%2F%2Fgamez.itmedia.co.jp%2Fgames%2Farticles%2F0608%2F22%2Fnews023.html Translation])</ref>

[[Hideo Kojima]] (of ''[[Metal Gear (series)|Metal Gear]]'' fame) was inspired by ''The Portopia Serial Murder Case'' to enter the video game industry,<ref name=Kasavin>{{cite web | url=http://www.gamespot.com/features/6120427/p-2.html | title="Everything is Possible": Inside the Minds of Gaming's Master Storytellers | access-date=15 August 2007 | last=Kasavin | first=Greg | date=21 March 2005 | work=[[GameSpot]] | publisher=[[CNET Networks]] |page=2}}</ref> and later produced his own [[adventure game]]s. After completing the [[stealth game]] ''[[Metal Gear (video game)|Metal Gear]]'', his first [[graphic adventure]] was released by [[Konami]] the following year: ''[[Snatcher (video game)|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 scene]]s, and mature content.<ref name=1UP-Kojima>[http://www.1up.com/features/retroactive-metal-gear Retroactive: Kojima's Productions] {{Webarchive|url=https://web.archive.org/web/20160626222742/http://www.1up.com/features/retroactive-metal-gear?pager.offset=0 |date=26 June 2016 }}, [[1UP.com|1UP]]</ref> It also featured a [[Apocalyptic and post-apocalyptic fiction|post-apocalyptic]] science fiction setting, an [[amnesia]]c 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]].<ref name=Kalata-Policenauts/>

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.<ref name=IGN-Kojima>{{cite web|title=Kojima's Legacy: We reflect on the influence of Hideo Kojima's 20 years in gaming|author=Mark Ryan Sallee|website=[[IGN]]|url=http://uk.ps2.ign.com/articles/715/715932p1.html|access-date=20 August 2009}}</ref> It also featured a [[hard science fiction]] setting, a theme revolving around space exploration, a plot inspired by the ancient [[Japanese literature|Japanese tale]] of ''[[Urashima Taro]]'', and some occasional [[Full motion video based game|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 [[saved game]] (save), an element Kojima would later use in ''[[Metal Gear Solid (1998 video game)|Metal Gear Solid]]''. The [[PlayStation (console)|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 (video game)|Tokimeki Memorial]]'' is present, a technique Kojima would also later use in ''Metal Gear Solid''.<ref name=Kalata-Policenauts>Kurt Kalata, [http://www.hardcoregaming101.net/policenauts/policenauts.htm Policenauts], Hardcore Gaming 101</ref> From 1997 to 1999, Kojima developed the three ''[[Tokimeki Memorial (series)|Tokimeki Memorial Drama Series]]'' titles, which were adaptations of ''Tokimeki Memorial'' in a visual novel adventure game format.<ref>[http://uk.ps2.ign.com/articles/088/088501p1.html Hideo Kojima Speaks], [[IGN]]</ref> Other acclaimed examples of science fiction visual novels include [[ELF Corporation|ELF]]'s ''[[YU-NO: A girl who chants love at the bound of this world|Yu-No]]'' (1996) and [[5pb.]]'s ''[[Chaos;Head]]'' (2008) and ''[[Steins;Gate]]'' (2009).

===Nakige and utsuge===
{{anchor|Nakige and utsuge}}{{anchor|Nakige}}
Popular subgenres of visual novels include the {{Nihongo3|crying game|泣きゲー|nakige}}, which still usually has a happy ending, and the {{Nihongo3|depressing game|鬱ゲー|utsuge}}, which may not. The genres are somewhat fluid and were largely pioneered in parallel during the late 1990s through the early 2000s by the works of [[Key (company)|Key]] co-founder, scenario writer, lyricist, and composer [[Jun Maeda]]; and through the works of {{ill|Hirohiko Yoshida|ja|吉田博彦}} through his affiliated company [[Âge]], particularly [[Kimi ga Nozomu Eien]] and its successors, notably [[Muv-Luv]].<ref>{{Cite web|title=The visual novel medium proves its worth on the battlefield of narrative arts|url=https://www.jhunewsletter.com/article/2011/11/the-visual-novel-medium-proves-its-worth-on-the-battlefield-of-narrative-arts-16068|access-date=2020-11-16|website=The Johns Hopkins News-Letter}}</ref> The ultimate goal of nakige and utsuge are emotional connection with the characters, through exploration of their personalities and evolving interrelationships through the drama of the game's storyline, and to emotionally resonate with the player; repeated playthroughs across a rich cast of characters offers a multi-layered narrative. Games from publisher Key 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 influenced primarily by [[Hiroyuki Kanno (game designer)|Hiroyuki Kanno]]'s ''[[YU-NO: A Girl Who Chants Love at the Bound of this World]]'' (1996) and [[Leaf (company)|Leaf's]] ''[[To Heart]]'' (1997), and was further developed in ''[[One: Kagayaku Kisetsu e]]'' (1998) by [[Tactics (company)|Tactics]]. After ''One'' was complete, the development team quit Tactics to form [[Key (company)|Key]] where they developed their first title ''[[Kanon (video game)|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 (video game)|Air]]'' was equally hyped and well received."<ref name="history-of-adult-games">{{Cite web|last=Todome|first=Satoshi|url=http://www.kyo-kan.net/column/eroge/eroge3.html|title=A History of Adult Games, chapter 3|access-date=22 November 2007|language=ja}}</ref>

Key's "crying game" formula used successfully in ''One'' and ''Kanon'' was later adopted by other visual novel companies 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 (company)|Circus]], ''[[Wind: A Breath of Heart]]'' (2002) by [[Minori (company)|Minori]], and ''[[Snow (visual novel)|Snow]]'' (2003) by Studio Mebius (under [[Visual Art's]]).

One of the most acclaimed visual novels of this subgenre was Key's ''[[Clannad (video game)|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.<ref name="pre-Clannad">{{cite book|title=pre-Clannad|publisher=[[SoftBank|SoftBank Creative]]|isbn=4-7973-2723-5|date=15 April 2004|language=ja}}</ref> It was voted the best [[bishōjo game]] of all time in a poll held by ''[[Dengeki G's Magazine]]''.<ref>{{cite web|url=http://gs.dengeki.com/ranking/index.html|title=Dengeki G's Magazine top fifty bishōjo games|publisher=[[ASCII Media Works]]|access-date=3 June 2009|language=ja|url-status=dead|archive-url=https://web.archive.org/web/20080704113955/http://gs.dengeki.com/ranking/index.html|archive-date=4 July 2008}}</ref> It served as the basis for a media franchise, with successful adaptations into a [[light novel]], [[manga]], [[Clannad (film)|animated film]], and acclaimed [[List of Clannad episodes|anime series]].

In 2008, several of Key's visual novels were voted in the ''[[Dengeki]]'' poll of the 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.<ref>{{cite web |date=15 October 2008 |title=【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？ |url=http://news.dengeki.com/elem/000/000/113/113442/ |url-status=live |archive-url=https://web.archive.org/web/20120419012624/http://news.dengeki.com/elem/000/000/113/113442/ |archive-date=19 April 2012 |access-date=7 May 2012 |work=[[Dengeki]] |publisher=[[ASCII Media Works]]}}</ref> 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: Shibuya Scramble]]'' at No. 14.<ref>{{cite web|last=Romano|first=Sal|url=http://gematsu.com/2011/12/famitsus-top-20-list-of-tear-inducing-games|title=Famitsu's top 20 list of tear-inducing games|date=29 December 2011|access-date=24 February 2012}}</ref>

===Horror===
After developing ''The Portopia Serial Murder Case'', [[Chunsoft]] released [[Otogiriso]] in 1992. [[Koichi Nakamura]] conceived the title after showing his work on the ''[[Dragon Quest]]'' role-playing video games to a girl he was dating. On finding she did not enjoy them, he was encouraged to make a video game that he described as "for people who haven't played games before."{{sfn|Parish|2018}} Influenced by the early [[survival horror]] game ''[[Sweet Home (video game)|Sweet Home]]'', he developed it into a horror-themed interactive story. Chunsoft's next release, ''[[Kamaitachi no Yoru]]'', was also a best seller and would prove to be highly influential.

''[[Higurashi When They Cry|Higurashi no Naku Koro ni]]'' (''When They Cry'') was a 2002 [[Survival horror|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 (company)|Key]]'s works and ''[[Tsukihime]]'' during the planning of ''Higurashi no Naku Koro ni''.<ref name="hidev01">{{cite web|url=http://sai-zen-sen.jp/works/extras/faust07higurashi/01/01.html|title=騎士07ロンクインタビュー|publisher=Faust|date=24 May 2005|language=ja|archive-url=https://web.archive.org/web/20170319041416/http://sai-zen-sen.jp/works/extras/faust07higurashi/01/01.html|archive-date=19 March 2017|access-date=2 May 2018}}</ref> He played their games, as well as other visual novels, as a reference and analyzed them to try to determine why they were so popular. He decided that the secret was that the stories would start with ordinary, enjoyable days, but then a sudden event would occur leading the player to cry from shock. He used a similar model as the basis for ''Higurashi'' but instead of leading the player to cry, Ryukishi07 wanted to scare the player with the addition of horror elements.<ref name="Ryukishi07-blog04">{{Cite web|url=http://naderika.com/Cgi/log_cbbs/logcbbs.cgi?mode=red2&namber=399&no=1|title=Key's Essence is Actually...(Bitter Smile)|author=[[Ryukishi07]]|publisher=[[07th Expansion]]|date=9 July 2004|access-date=15 May 2009|language=ja|url-status=dead|archive-url=https://web.archive.org/web/20110714145857/http://naderika.com/Cgi/log_cbbs/logcbbs.cgi?mode=red2&namber=399&no=1|archive-date=14 July 2011}}</ref> Other examples of horror-themed visual novels include: ''[[Animamundi: Dark Alchemist]]'', ''[[Higanbana no Saku Yoru ni]]'', ''[[Umineko no Naku Koro ni]]'', ''[[Ookami Kakushi]]'', ''[[Imabikisou]], [[Saya no Uta]]'', ''[[Doki Doki Literature Club!]]'', and ''[[Corpse Party]]''.