A murder mystery VN set in a 1482 monastary (kinda reminds me of Pentiment actually but more of a direct kinetic novel than that was). As a “Volume One” entry the central mystery it’s building toward is sadly left incomplete for now, but I would highly recommend it on its own anyway as its character writing and presentation really set it apart
While the cast overall is pretty compelling, it’s the protagonist that really makes this for me. Centered on Hedwig, an Anchoress who lived most of her life in total isolation, who’s suddenly forced out her cell by her Superior and given the goal of secretly trying to solve the murder of one of the convent’s Sisters. What makes Misericorde really interesting so far is not exactly the mystery itself (though the potential is definitely there), but seeing how completely unprepared Hedwig is for such a task and having to overcome her poor social skills as a result. Her internal dialogue is really well written and descriptive, watching her clash so heavily with trying to interact with the other Sisters while also playing a “detective” really makes her compelling to follow
This VN also looks and sounds really cool. The use of a monochrome aesthetic for the sprites and (I’m assuming) real photos as the backgrounds works really well in giving the monastery an unsettling gothic atmosphere. And while there’s no voice acting the music is excellent too, kind of hard to describe but it’s like lo-fi or trip hop sounding which seems like an odd mix but it’s actually very fitting
My feelings on it may change when I can think on it as a whole, but as is it’s really good and I’m very excited to see how it continues for Volume Two. Shows a lot of promise if it can pay off from all the build up
While the cast overall is pretty compelling, it’s the protagonist that really makes this for me. Centered on Hedwig, an Anchoress who lived most of her life in total isolation, who’s suddenly forced out her cell by her Superior and given the goal of secretly trying to solve the murder of one of the convent’s Sisters. What makes Misericorde really interesting so far is not exactly the mystery itself (though the potential is definitely there), but seeing how completely unprepared Hedwig is for such a task and having to overcome her poor social skills as a result. Her internal dialogue is really well written and descriptive, watching her clash so heavily with trying to interact with the other Sisters while also playing a “detective” really makes her compelling to follow
This VN also looks and sounds really cool. The use of a monochrome aesthetic for the sprites and (I’m assuming) real photos as the backgrounds works really well in giving the monastery an unsettling gothic atmosphere. And while there’s no voice acting the music is excellent too, kind of hard to describe but it’s like lo-fi or trip hop sounding which seems like an odd mix but it’s actually very fitting
My feelings on it may change when I can think on it as a whole, but as is it’s really good and I’m very excited to see how it continues for Volume Two. Shows a lot of promise if it can pay off from all the build up
In awe of how many embarrassing and tense situations a nun can get into in a single day.
Like a 15th century Twin Peaks but with an autistic failgirl instead of Dale Cooper. In all sincerity, one of the best VNs I've played, with stellar music and wonderful writing.
I'm not sure if I'd go as far as to call Misericorde an anti-mystery story (whether or not it is will depend a lot on subsequent installments), but its protagonist Hedwig is absolutely an anti-detective. Misericorde mainly plays with the dynamics between group and detective. In mystery stories, the detective and the reader are always one step removed from the inciting incident. The detective is typically an outsider to the rest of the cast, and through their skills they are able to put together the story perfectly. They read through everybody, and in the end they understand what happened better than the people who were much closer to the incident. Misericorde adapts this 'outsider' dynamic, but plays with it by making its 'detective' incredibly unfit to handle that role. We see a lot of socially awkward detectives in fiction, but in Misericorde we see how being unable to read other people makes investigation borderline impossible. By the end of Misericorde's first volume, Hedwig has achieved very little progress in solving the mystery or finding leads. While mysteries are set up, XEECEE seems much more interested in the exploration of social dynamics, particularly in relation to this tension of the outsider. Misericorde is primarily about this fear of not only non-understanding, but having to reckon with the idea that a full understanding might not ever be possible, that some gulfs between people are ultimately irreconcilable. So while XEECEE is very much playing with the typical role of the detective, the way it's executed is less about a critique of the mystery genre (as it is in Umineko) and more a means of depicting social alienation.
Hedwig's outsider status is obvious in the 'fish out of water' sense. As an anchoress, Hedwig has spent her entire life as a shut-in, with nearly all of her social interactions involving the transaction of information. When she is sent out, everyone is aware that her position has left her socially stunted, but the levels of sympathy towards that range from character to character. Not only does Hedwig not know how to connect with them, they're also unsure of how to connect with her. She acclimates to life in the convent as it goes, but that social tension is still there in every conversation, even the more sympathetic ones. While I think it would be a bit much to call Misericorde an autistic allegory, I do think there's an interesting echoing of autistic experience in this regard (whether intentional or not). Another obvious tension is that Hedwig's investigation is meant to be secret. While it is only officially known by her and the Mother Superior, Hedwig is always uncertain as to how much of an object of suspicion she is amongst the other nuns. This is typical in detective stories, but whereas the detective goes into interactions just for the purpose of solving the mystery, Hedwig has a sincere desire to connect to the other nuns and escape her loneliness. The problem is that the 'detective' role makes all of her interactions transactional. It's a position that requires doing every social interaction as if you're walking on eggshells, making the trust that meaningful connections are built upon impossible. In addition to this desire she also has a total contempt for the other characters, stemming from the disconnection they have towards religious matters. One mark of great character writing is the sense that characters are contradictory without necessarily being 'out of character', and I think XEECEE makes it believable that Hedwig would simultaneously be a deeply misanthropic zealot and a lonely woman desperate for connection. Hedwig not only has to participate in social dynamics that she's unfamiliar with - she is in a position where she can never fully reveal herself, she is always performing. The fish out of water story and the detective story is usually about the protagonist's gradual development towards a greater understanding, but in Misericorde we have a protagonist who is perpetually alienated.
Out of the many excellently written character dynamics in Misericorde, my favorite is the one between Hedwig and Eustace, where this problem of simultaneous connection and disconnection is at its strongest. Hedwig comes much closer to Eustace than anyone else in the story, and there are times where we sense a true companionship emerging. However, there is another gulf between Hedwig and the other nuns, which is their relationship to Catherine, the story's murder victim. Most of the nuns are grieving, and Hedwig is too, but in a very different context. Hedwig only knows Catherine briefly before her murder, while the others have a much greater sense of who she was. So while Hedwig also grieves, she mourns the fact that she never got the opportunity to know Catherine beyond the one moment they shared together. She can't mourn Catherine herself as the others do. When she asks the other nuns about her it obviously serves her investigation, but she also does this as a way to resolve that mourning. It's this hope that the gap can be fulfilled, that she can 'know' Catherine through their answers. However, her investigation is also outright invasive to the grief of the other nuns, driving yet another wedge between the characters. Eustace is the one who was closest to Catherine and the one who seems to have the most knowledge on her murder, but every time Hedwig pushes her on this it becomes more and more apparent that she cannot ever 'know' Catherine or understand Eustace's pain. Hedwig and Eustace simultaneously have the closest bond and the largest disconnect for this reason. This dynamic builds into an excellent climactic scene that speaks to this pain and terror of the idea that you can never understand anything that you haven't directly experienced. The truth gets increasingly inaccessible.
What interests me about future installments is whether they'll stick to this idea of a detective story driven by social disconnect and alienation, and whether the story will be able to give answers while sticking to this concept. It's pretty heavily implied in the framing device (if not stated, since I'm writing this from memory) that Hedwig's investigation ultimately fails, which is very consistent with the setup so far. I still think we might get answers, but they'll likely be delivered in a not-so-straightforward way (akin to how the When They Cry series gives them). I'll try and write followup reviews for the future installments, and see if my argument on what I think the series is holds up.
Hedwig's outsider status is obvious in the 'fish out of water' sense. As an anchoress, Hedwig has spent her entire life as a shut-in, with nearly all of her social interactions involving the transaction of information. When she is sent out, everyone is aware that her position has left her socially stunted, but the levels of sympathy towards that range from character to character. Not only does Hedwig not know how to connect with them, they're also unsure of how to connect with her. She acclimates to life in the convent as it goes, but that social tension is still there in every conversation, even the more sympathetic ones. While I think it would be a bit much to call Misericorde an autistic allegory, I do think there's an interesting echoing of autistic experience in this regard (whether intentional or not). Another obvious tension is that Hedwig's investigation is meant to be secret. While it is only officially known by her and the Mother Superior, Hedwig is always uncertain as to how much of an object of suspicion she is amongst the other nuns. This is typical in detective stories, but whereas the detective goes into interactions just for the purpose of solving the mystery, Hedwig has a sincere desire to connect to the other nuns and escape her loneliness. The problem is that the 'detective' role makes all of her interactions transactional. It's a position that requires doing every social interaction as if you're walking on eggshells, making the trust that meaningful connections are built upon impossible. In addition to this desire she also has a total contempt for the other characters, stemming from the disconnection they have towards religious matters. One mark of great character writing is the sense that characters are contradictory without necessarily being 'out of character', and I think XEECEE makes it believable that Hedwig would simultaneously be a deeply misanthropic zealot and a lonely woman desperate for connection. Hedwig not only has to participate in social dynamics that she's unfamiliar with - she is in a position where she can never fully reveal herself, she is always performing. The fish out of water story and the detective story is usually about the protagonist's gradual development towards a greater understanding, but in Misericorde we have a protagonist who is perpetually alienated.
Out of the many excellently written character dynamics in Misericorde, my favorite is the one between Hedwig and Eustace, where this problem of simultaneous connection and disconnection is at its strongest. Hedwig comes much closer to Eustace than anyone else in the story, and there are times where we sense a true companionship emerging. However, there is another gulf between Hedwig and the other nuns, which is their relationship to Catherine, the story's murder victim. Most of the nuns are grieving, and Hedwig is too, but in a very different context. Hedwig only knows Catherine briefly before her murder, while the others have a much greater sense of who she was. So while Hedwig also grieves, she mourns the fact that she never got the opportunity to know Catherine beyond the one moment they shared together. She can't mourn Catherine herself as the others do. When she asks the other nuns about her it obviously serves her investigation, but she also does this as a way to resolve that mourning. It's this hope that the gap can be fulfilled, that she can 'know' Catherine through their answers. However, her investigation is also outright invasive to the grief of the other nuns, driving yet another wedge between the characters. Eustace is the one who was closest to Catherine and the one who seems to have the most knowledge on her murder, but every time Hedwig pushes her on this it becomes more and more apparent that she cannot ever 'know' Catherine or understand Eustace's pain. Hedwig and Eustace simultaneously have the closest bond and the largest disconnect for this reason. This dynamic builds into an excellent climactic scene that speaks to this pain and terror of the idea that you can never understand anything that you haven't directly experienced. The truth gets increasingly inaccessible.
What interests me about future installments is whether they'll stick to this idea of a detective story driven by social disconnect and alienation, and whether the story will be able to give answers while sticking to this concept. It's pretty heavily implied in the framing device (if not stated, since I'm writing this from memory) that Hedwig's investigation ultimately fails, which is very consistent with the setup so far. I still think we might get answers, but they'll likely be delivered in a not-so-straightforward way (akin to how the When They Cry series gives them). I'll try and write followup reviews for the future installments, and see if my argument on what I think the series is holds up.
phenomenal game with some of the most riveting writing ive ever read, could not stop until i reached the end. the atmosphere is immaculate, there was a moment where the soundtrack hit and i realized "oh i fuck so hard with this." love the protagonist and the pov she provides too, someone barely keeping it together that could snap at any moment. everyone here is so unwell. its criminal how good this is and i cant wait for more.
This review contains spoilers
While the initial premise of Misericorde is definitely flimsy, it's pretty much the last part of the plot that is, because once the story is unleashed it becomes an intense character study of the MC and everyone else around her. Pretty much all of the characters are well-developed and interesting, each with their own stories of how they came to be in the abbey, flaws, and friendships/alliances.
This is an extremely layered story, which is fantastic and frankly way more complex than I expected out of a VN. You as the reader and the MC are both learning about a new world from adjacent angles - we as readers are coming to learn about the world as full-on outsiders, MC has only theoretical knowledge from books (which some readers probably share). She's also much more religious than almost everyone else in the convent, and she's forced to come to terms with that. The layered tension between the player and the MC and the MC and the other characters is a really interesting experience, I think.
Like Pentiment, this is a love letter to medievalism, and there are historical aspects that have clearly been well-researched. My biggest complaint, however, is that UNlike Pentiment, the dialogue is fairly modernized. I assume they did it to make it more approachable, but it feels anachronistic. There are a few moments of comedic relief (the infamous "duck" one referenced in Steam reviews being one of them) and one character who at first seems pretty memey (but has more depth later) that also do more to detract from the game than add. I think they should have just leaned into it being serious and let small moments of humor diegetically emerge anyway, like Pentiment did. Then again, holding any writer to Josh Sawyer as a standard just seems unfair.
Also, it's hard to adequately describe this, but the way the narrative focuses and unfocuses can at times be distracting. The game takes place in the span of just a few days, so there's a lot of focused attention to small moments. But sometimes the moments that it chooses to zoom in on feel like odd choices. This does get used to its strength in places, though - one that comes to mind is that chess is used as a metaphor for the events at the abbey throughout, and there's a point at which we see the details of several chess matches in a row that are really great metaphorical representations of the different characters' personalities. There's just a bit of a pacing issue where the VN drags in the center.
That said, the end had something that surprised and delighted me, and left me incredibly excited for part two. I can't wait.
This is an extremely layered story, which is fantastic and frankly way more complex than I expected out of a VN. You as the reader and the MC are both learning about a new world from adjacent angles - we as readers are coming to learn about the world as full-on outsiders, MC has only theoretical knowledge from books (which some readers probably share). She's also much more religious than almost everyone else in the convent, and she's forced to come to terms with that. The layered tension between the player and the MC and the MC and the other characters is a really interesting experience, I think.
Like Pentiment, this is a love letter to medievalism, and there are historical aspects that have clearly been well-researched. My biggest complaint, however, is that UNlike Pentiment, the dialogue is fairly modernized. I assume they did it to make it more approachable, but it feels anachronistic. There are a few moments of comedic relief (the infamous "duck" one referenced in Steam reviews being one of them) and one character who at first seems pretty memey (but has more depth later) that also do more to detract from the game than add. I think they should have just leaned into it being serious and let small moments of humor diegetically emerge anyway, like Pentiment did. Then again, holding any writer to Josh Sawyer as a standard just seems unfair.
Also, it's hard to adequately describe this, but the way the narrative focuses and unfocuses can at times be distracting. The game takes place in the span of just a few days, so there's a lot of focused attention to small moments. But sometimes the moments that it chooses to zoom in on feel like odd choices. This does get used to its strength in places, though - one that comes to mind is that chess is used as a metaphor for the events at the abbey throughout, and there's a point at which we see the details of several chess matches in a row that are really great metaphorical representations of the different characters' personalities. There's just a bit of a pacing issue where the VN drags in the center.
That said, the end had something that surprised and delighted me, and left me incredibly excited for part two. I can't wait.
I read the whole thing in two days, only stopping because I got way too tired to continue. The characters and the setting are amazingly realized, and the grainy black and white photography and the moody electronic score create an absolutely gripping atmosphere.
But the greatest achievement in my opinion is the stories protagonist: Hedwig is essentially a fish out of water character, who, because of her unique position in the monastery, isn't used to the comparatively mundane lives of the other nuns. This leads to a protagonist who needs to have things explained to her constantly, which obviously benefits the audience, but who is very opinionated about this information - and her preconceived notions and opinions are diametrically opposed to the average reader. It both makes her more compelling and adds a lot of emotion and interpersonal conflict to what would otherwise be exposition scenes. The other characters are also very intriguing, there isn't any of the nuns that I wasn't at least a little bit interested in.
I'm not able to judge the mystery aspect at time of writing, volume 2 is coming soon but this part had a lot of questions and very few answers so I can't judge how any of this resolves. I do think volume 1 is worth your time for the strength of the characters and setting alone, but it is an incomplete story.
But the greatest achievement in my opinion is the stories protagonist: Hedwig is essentially a fish out of water character, who, because of her unique position in the monastery, isn't used to the comparatively mundane lives of the other nuns. This leads to a protagonist who needs to have things explained to her constantly, which obviously benefits the audience, but who is very opinionated about this information - and her preconceived notions and opinions are diametrically opposed to the average reader. It both makes her more compelling and adds a lot of emotion and interpersonal conflict to what would otherwise be exposition scenes. The other characters are also very intriguing, there isn't any of the nuns that I wasn't at least a little bit interested in.
I'm not able to judge the mystery aspect at time of writing, volume 2 is coming soon but this part had a lot of questions and very few answers so I can't judge how any of this resolves. I do think volume 1 is worth your time for the strength of the characters and setting alone, but it is an incomplete story.
LOVE me a good loathing! our mc hedwig is just so MISERABLE; it's delicious. she's so angsty, so judgy, so wishy washy and ANNOYING. and yet equal parts the opposite! wonderful human specimen, that one. to the "enigmatic woman in the wall"! you're awesome.
Quite an engaging time! I loveloveloved it. suppose it's potentially a lil anachronistic feeling in the way the cast talk sometimes and the mystery aspect can comeoff a tad slow moving but whogivesashit. i'm here for the VENOM and enduring horrors behind human conversation. (also the ghosts(?) and the sicko ambience; that shit rocks too).
Quite an engaging time! I loveloveloved it. suppose it's potentially a lil anachronistic feeling in the way the cast talk sometimes and the mystery aspect can comeoff a tad slow moving but whogivesashit. i'm here for the VENOM and enduring horrors behind human conversation. (also the ghosts(?) and the sicko ambience; that shit rocks too).
loved this game, really compelling and beautifully crafted visual novel following a group of messy nuns wrapped up in a murder mystery! simple but strong aesthetic with great character designs and an incredible soundtrack
Damn, this was really good! An actually well-written VN! Astonishing.
A few unintended anachronisms here and there (nerd alert) but a bunch of delightful characters and a really neat setting. Looking forward to Volume Two.
A few unintended anachronisms here and there (nerd alert) but a bunch of delightful characters and a really neat setting. Looking forward to Volume Two.
A perfect storm of the horror lurking just behind the corner and the ugliness that lays just behind a person's true feelings. Perhaps the most gothic thing I have ever had the pleasure of experiencing. The greater mystery within Misericorde is given foundation, but Volume One serves mostly as an introduction to the complex, flawed actors. Everything is carefully crafted right down to certain lines that receive no further attention.
As a period piece, it is made to be accessible as possible to the reader in service of the overall narrative - this works in Misericorde's favor as a piece about a 1400s priory could easily be impenetrable. The dark setting of the abbey is truly one of the scariest things I have ever seen in a game- the black and white imagery lends to a giallo aesthetic that is sublime. Also, this has one of the best soundtracks ever.
And xeecee's philosophical explorations of the time period have now engrossed me: the demerits of literalism (biblical or otherwise), class in the gothic era, how theology and sexism intertwine in this sort of monastic process... a truly fantastic game that has gotten me doing my research. Can't wait for Volume 2.
Edit: The dialogue in this game- as mentioned before- is made to be accessible as possible to read. This means the game overall bucks authenticity in favor of better animating the character's personality. The characters speak modern english, in the sort of timeless tradition of graphic novels and media that takes a similar approach. This can serve to break the immersion, but for me, it worked 90 percent of the time. There is one scene where the characters get into a debate about ducks that didn't really work for me, but otherwise, its good stuff.
As a period piece, it is made to be accessible as possible to the reader in service of the overall narrative - this works in Misericorde's favor as a piece about a 1400s priory could easily be impenetrable. The dark setting of the abbey is truly one of the scariest things I have ever seen in a game- the black and white imagery lends to a giallo aesthetic that is sublime. Also, this has one of the best soundtracks ever.
And xeecee's philosophical explorations of the time period have now engrossed me: the demerits of literalism (biblical or otherwise), class in the gothic era, how theology and sexism intertwine in this sort of monastic process... a truly fantastic game that has gotten me doing my research. Can't wait for Volume 2.
Edit: The dialogue in this game- as mentioned before- is made to be accessible as possible to read. This means the game overall bucks authenticity in favor of better animating the character's personality. The characters speak modern english, in the sort of timeless tradition of graphic novels and media that takes a similar approach. This can serve to break the immersion, but for me, it worked 90 percent of the time. There is one scene where the characters get into a debate about ducks that didn't really work for me, but otherwise, its good stuff.
Xeecee is a genius
very interesting so far, although it's hard to say anything definitive from part 1 alone. the historical setting is going to matter eventually, i'm sure, but above all else it's a compassionate story about believably flawed women, which is a rarer find than it should be.
A series of strong individual scenes without a lot of internal cohesion. There's a great deal of vacillation in tone: the early chapters seem interesting in creating something like a grounded interpretation of the Late Middle Ages, but this is abandoned pretty suddenly in favor of writing the characters as something between Twitter users and the cast of a slice-of-life anime. This describes a lot of visual novels that I've absolutely hated, but I think very highly of Misericorde in spite of it: it's a game which always manages to stick the landing. A great deal of the game's word count is used to establish characters and self-consciously attempt to endear the audience to them, and relatively little is devoted to the development of the actual mystery plot, but it nevertheless rarely feels inefficient or bloated. Almost every character, even those who seem one-note on their introduction, has personal nuances and contradictions established by the end of the game. Scenes which might be pure fluff in another game almost always manage to leave the game's world a bit more fleshed out.
Misericorde makes a certain number of implicit promises in its framing device: that relationship between the cast will remain complex and tenuous, that nothing in the story is wholly unnecessary, and that the narrator will not necessarily become a better, wiser, or more fulfilled person by the end of the story. Volume One isn't much of a standalone narrative and ends on a scene that's notable but not very conclusive. It's hard to say, then, if the story ultimately has a point, if these events are going anywhere. It ends while still in the process of establishing context for a mystery, and while it does so in a smart, consistently enjoyable way it'll be disappointing if it's all one great hustle.
The game was greatly enhanced for me, and ballooned to about three times its expected run time, by the act of reading the whole thing aloud over a video call. This has also established voices for the cast which I now consider to be inseparable from them and which I now must share with uninitiated: Eustace talks in a nasal sneer, Darcy has a monotone valley girl accent, Charity sounds like Mercedes from Fire Emblem, and Moira has a strong southern accent, Ireland being the Osaka of the UK.
Misericorde makes a certain number of implicit promises in its framing device: that relationship between the cast will remain complex and tenuous, that nothing in the story is wholly unnecessary, and that the narrator will not necessarily become a better, wiser, or more fulfilled person by the end of the story. Volume One isn't much of a standalone narrative and ends on a scene that's notable but not very conclusive. It's hard to say, then, if the story ultimately has a point, if these events are going anywhere. It ends while still in the process of establishing context for a mystery, and while it does so in a smart, consistently enjoyable way it'll be disappointing if it's all one great hustle.
The game was greatly enhanced for me, and ballooned to about three times its expected run time, by the act of reading the whole thing aloud over a video call. This has also established voices for the cast which I now consider to be inseparable from them and which I now must share with uninitiated: Eustace talks in a nasal sneer, Darcy has a monotone valley girl accent, Charity sounds like Mercedes from Fire Emblem, and Moira has a strong southern accent, Ireland being the Osaka of the UK.
I don't have anything deep or insightful to say right now except that I finished this game a few weeks ago and I can't stop thinking about it. I need to know what happens next.
i think murder mysteries are unique in their ability to very easily make characters into beings from text. everyone is somewhere, even if unobserved from the frame of the player; it's so exciting to feel them dancing around, just out of view, comfortable in some realm between fiction and reality
Cringe writing. Also comma and period spacing errors lol
volume 1 is truly excellent, and i can't wait for volume 2. beautiful prose, a compelling setting and strong cast, great art and flawless music, all wrapped around a fun mystery that compels me to keep clicking through
the begining was quite slow i almost gave up but the misericorde night was truly a turning point suddenly i was in love with all the nuns and their thoughts and feelings and inexplicable actions and how they experience their grief since the loss of their close friend.
also kinda of obsessed how everyone kinda sucks a little (everyone but darcy of course shes perfect), especially hedwig thats my girlfailure catholic guilt nun. love how catherine ii haunts every single moment in this game, everything is about her and she died like 10 minutes in, an icon, made me so interrested in getting to know her.
and i must comment on the soundtrack and sound effects that created such an amazing atmosphere, not to mention the art and the game desing in general.
final notes: love flora love eustace LOVE DARCY so excited about how this story is going to continue.
also kinda of obsessed how everyone kinda sucks a little (everyone but darcy of course shes perfect), especially hedwig thats my girlfailure catholic guilt nun. love how catherine ii haunts every single moment in this game, everything is about her and she died like 10 minutes in, an icon, made me so interrested in getting to know her.
and i must comment on the soundtrack and sound effects that created such an amazing atmosphere, not to mention the art and the game desing in general.
final notes: love flora love eustace LOVE DARCY so excited about how this story is going to continue.
You know, looking back, I have played so many games that write women so poorly. Playing this back to back with Dave the Diver was the impetus for me realizing just how much in Dave the Diver was rubbing me the wrong way because of the covert sexism in that game. Misericorde's cast is (for now, I'm expecting some gender stuff in volume 2) primarily women. Flawed, silly, heroic, villanous, and so so human. The art design helps capture that, utilizing presentation that gets across the uniformity of their nuns' habits to strike fear into the reader and then seamlessly showing through posture and gesture how they each wear it a little differently.
I believed in every single character in the game, even the ones I didn't like, and Hedwig is a perfect protagonist. I admit, at the start, I expected Hedwig's fish-out-of-water story to be background, but it is the foreground. We are hearing Hedwig's story with all the biases and missing moments you would expect of a profoundly self-loathing and self-righteous woman who has been isolated all of her life.
The music is an absolute gift. Over 100 tracks for a game a tenth of that length, and I have listened to it often while writing or working.
I cannot wait for volume 2 and all future volumes!
I believed in every single character in the game, even the ones I didn't like, and Hedwig is a perfect protagonist. I admit, at the start, I expected Hedwig's fish-out-of-water story to be background, but it is the foreground. We are hearing Hedwig's story with all the biases and missing moments you would expect of a profoundly self-loathing and self-righteous woman who has been isolated all of her life.
The music is an absolute gift. Over 100 tracks for a game a tenth of that length, and I have listened to it often while writing or working.
I cannot wait for volume 2 and all future volumes!
"Her hollow laughs had given way to bitter, dry sobs."
I went into this not really sure if I would like it but wound up devouring it, every good thing people said about it was true and then some. I think the best word for Misericorde is... gripping? This is a PAGE TURNER of a visual novel, it made me so hungry to know what happened next.
I loved following Hedwig as she navigated the big personalities of the cast, the tricky social politics of the monastery, her own crisis of faith, and (of course) the deliciously dangerous mystery. I don't want to give anything away, but at the same time I don't even know if I could because even at the end of Volume 1 it still feels like we're only beginning to grasp the depths of what's at play here.
A lot of people have praised this game better than I could but one particular thing I'll highlight is how it made the very distant setting of a 15th century English monastery feel accessible- I'm very impressed by how natural the exposition felt (I'm neither Catholic nor European so I was unfamiliar with much of the terminology but I never felt lost) and the way the attitudes of the characters felt completely faithful to the era yet so modern at the same time.
My favorite song on the soundtrack is "Enchante."
I loved following Hedwig as she navigated the big personalities of the cast, the tricky social politics of the monastery, her own crisis of faith, and (of course) the deliciously dangerous mystery. I don't want to give anything away, but at the same time I don't even know if I could because even at the end of Volume 1 it still feels like we're only beginning to grasp the depths of what's at play here.
A lot of people have praised this game better than I could but one particular thing I'll highlight is how it made the very distant setting of a 15th century English monastery feel accessible- I'm very impressed by how natural the exposition felt (I'm neither Catholic nor European so I was unfamiliar with much of the terminology but I never felt lost) and the way the attitudes of the characters felt completely faithful to the era yet so modern at the same time.
My favorite song on the soundtrack is "Enchante."
When I first started reading Misericorde, the structure, genre, themes, and Photoshop-filter backgrounds gave me strong Umineko vibes, and I wondered whether it was actually an inspiration or just me having "guy who's only seen Boss Baby" syndrome. Then every character started lecturing me about chess, and that question was put to rest immediately.
Jokes aside, Misericorde is excellent so far. Obviously it's hard to have a complete opinion on an incomplete story, but even if the game ultimately fails to deliver on its surface-level intrigue it will still have oodles of arresting prose and anxious atmosphere to make it a worthwhile read. The cast is uniformly excellent, archetypal enough to stay distinct in memory for however long it takes the next volume to release but grounded enough to provide depth and properly complement the tone (I think Darcy might go too far, with her permanent :3 mouth and Homestuckian speech patterns, but she's Darcy so I'll let it slide).
The soundtrack is also fantastic - I was not expecting breakcore to fit so well with a story set in 1482 but here we are.
Jokes aside, Misericorde is excellent so far. Obviously it's hard to have a complete opinion on an incomplete story, but even if the game ultimately fails to deliver on its surface-level intrigue it will still have oodles of arresting prose and anxious atmosphere to make it a worthwhile read. The cast is uniformly excellent, archetypal enough to stay distinct in memory for however long it takes the next volume to release but grounded enough to provide depth and properly complement the tone (I think Darcy might go too far, with her permanent :3 mouth and Homestuckian speech patterns, but she's Darcy so I'll let it slide).
The soundtrack is also fantastic - I was not expecting breakcore to fit so well with a story set in 1482 but here we are.
Buen juego de monjas.
Misericorde is fantastic, a strange delight that builds a compelling murder mystery out of exciting historical specificity, an atmosphere of gothic dread and a great cast of likable and complex characters whose relationships are ripe for good drama.
But part of why I love Misericorde so much is the writing. Every other pure visual novel I've played, even when good, has tended towards rambly over-written prose. Misericorde is simply well-written on a moment to moment basis - the prose is atmospheric and gives everyone a distinct voice but never feels the need to overexplain itself or belabor a metaphor for five paragraphs. xeecee is simply a good writer and stylist
Anyways what an ending and I can't wait for volume two
But part of why I love Misericorde so much is the writing. Every other pure visual novel I've played, even when good, has tended towards rambly over-written prose. Misericorde is simply well-written on a moment to moment basis - the prose is atmospheric and gives everyone a distinct voice but never feels the need to overexplain itself or belabor a metaphor for five paragraphs. xeecee is simply a good writer and stylist
Anyways what an ending and I can't wait for volume two
I'm not a huge visual novel person, but man I can see the appeal of them after playing this one. What a phenomenal game.
A very good and well written story! It is mainly, especially in the first half, a slice of life character drama, and while the mystery is engaging, this arc of the story is clearly not the focus of it. It comes well in full force at the very end, and it makes me very excited for the larger story when volume 2 comes out!
I'm also excited to re-evaluate this volume as the story finishes, if the quality and care into the characters is present in the rest of the series.
I'm also excited to re-evaluate this volume as the story finishes, if the quality and care into the characters is present in the rest of the series.
Part 1 of a promising murder mystery visual novel with well-written characters set in an uncommon setting, a 15th-century English abbey, religious themes are to be expected.
Disclaimer: This is an unfinished story, and my opinion of it could well change for better or worse with the future parts. Furthermore, this is a kinetic novel, meaning that the "player" has no way of interacting, it's a reading experience only.
Although it's a mystery plot, a murder mystery no less, this part focuses more on character exploration and drama. It works particularly well here: in just ten or so hours, each of the nuns (the most important characters) manages to be both compelling and complex, even those who at first glance may seem one-dimensional. They are shown in many facets, both positive and negative, even if this means doing so in a slice-of-life manner, making the whole crew believable and engaging. I particularly like the protagonist Hedwig, who is a total loser but is far from being bland.
Despite the sympathy you may feel for these nuns, you may also sense a constant suspicion that something is amiss, that they may be hiding something from you. The mystery itself manages to retain its intrigue through the characters, even though the mystery plotline on its own doesn't get as much emphasis as you may expect, which I don't necessarily think as a flaw to be honest.
Also, the overall atmosphere is enticing, whether it's the black-and-white aspect, which I really dig, or the massive soundtrack with its indecent amount of tracks.
While the full story isn't available yet and I will only be able to judge its overall quality when we reach the conclusion, this is already well worth your attention. Definitely looking forward to Volume Two.
Disclaimer: This is an unfinished story, and my opinion of it could well change for better or worse with the future parts. Furthermore, this is a kinetic novel, meaning that the "player" has no way of interacting, it's a reading experience only.
Although it's a mystery plot, a murder mystery no less, this part focuses more on character exploration and drama. It works particularly well here: in just ten or so hours, each of the nuns (the most important characters) manages to be both compelling and complex, even those who at first glance may seem one-dimensional. They are shown in many facets, both positive and negative, even if this means doing so in a slice-of-life manner, making the whole crew believable and engaging. I particularly like the protagonist Hedwig, who is a total loser but is far from being bland.
Despite the sympathy you may feel for these nuns, you may also sense a constant suspicion that something is amiss, that they may be hiding something from you. The mystery itself manages to retain its intrigue through the characters, even though the mystery plotline on its own doesn't get as much emphasis as you may expect, which I don't necessarily think as a flaw to be honest.
Also, the overall atmosphere is enticing, whether it's the black-and-white aspect, which I really dig, or the massive soundtrack with its indecent amount of tracks.
While the full story isn't available yet and I will only be able to judge its overall quality when we reach the conclusion, this is already well worth your attention. Definitely looking forward to Volume Two.
Didn’t expect another absolute banger of a game about a murder mystery in a Benedictine monastery in early modern era Europe several months after Pentiment, but here I am having finished Misericorde Part 1.
Misericorde actually makes an interesting compare and contrast with Pentiment in several ways, their protagonists for one. Pentiment’s Andreas Maler is an outsider to Kiersau Abbey and the rural town of Tassing, he’s a well-educated and well-traveled artist hired by the Abbey as a manuscript illustrator who is unaccustomed to both the monastic and pastoral life. So when his good friend at the monastery is accused of murder Andreas finds himself in over his head in the murder investigation and the conflicts between the town and monastery. Misericorde’s Sister Hedwig is also an outsider to Linbarrow Abbey, but in the complete opposite direction. Hedwig has lived the majority of her life as an anchoress, locked away in a cell in Linbarrow since childhood to become spiritually closer to God. Hedwig does not know life outside of the books she reads, the Scripture she copies and illustrates, and the people who come to the slat in her door whom she cannot see. When one of the sisters is murdered, one who was the closest thing Hedwig had to a friend, Hedwig is forced out into the wider world of the abbey to investigate. Even though she has technically lived there for decades, the cloistered halls of the monastery are still an overwhelming and alien presence to her as she struggles to actually interact with her fellow nuns for the first time.
Misericorde is head and shoulders above much of its VN brethren and one major reason for that is that it actually feels literary. The game avoids so many of the clichés and archetypes that crop up in the genre and is a truly engaging work; you can tell the dev actually has experienced things outside of the purview of bargain bin anime and light novels. While it doesn’t dive into Early Modern European history and society nearly as hard as Pentiment did, because Josh Sawyer is a huge nerd, Misericorde still does a superb job bringing the late 1400’s English abbey of Linbarrow to life. The whole main cast of sisters at the abbey are all fleshed out and complex characters. Hedwig is a really strong protagonist as well; she’s a great example of having a protagonist be a rather useless asshole but still be totally engaging in a real human way as she develops over the course of the game. The prose is also nicely done and the game is paced so well. There was never a moment that I felt that the game desperately needed an editor to take a chainsaw to it which even a game I adored like Great Ace Attorney Chronicles couldn’t avoid.
Aesthetically the game is fantastic too with the usage of stock photographs covered in black and white dithering and grain. This aesthetic gives the game a uniquely melancholic and mysterious tone and feel well befitting a murder mystery in an old monastery. The character art is really good too, it’s in an anime-esque style that differentiates the characters design well even though the majority of the cast are wearing the same habits. The soundtrack also goes frigging hard as hell with like a hundred individual tracks and it’s all great. You wouldn’t think drum and bass would fit with a game set in a 15th century monastery but it does.
Obviously as you can glean from the title this is the just the first part of the game so the game’s narrative and mystery is not resolved. I do have a few worries that the next part might go into a direction that could potentially ruin the game for me, but even in such a worst case scenario Part One is still fantastic and a must play. Just an overall wonder of a game that deserves so much more love, easily going to be one of the best games of the year for me no question.
Misericorde actually makes an interesting compare and contrast with Pentiment in several ways, their protagonists for one. Pentiment’s Andreas Maler is an outsider to Kiersau Abbey and the rural town of Tassing, he’s a well-educated and well-traveled artist hired by the Abbey as a manuscript illustrator who is unaccustomed to both the monastic and pastoral life. So when his good friend at the monastery is accused of murder Andreas finds himself in over his head in the murder investigation and the conflicts between the town and monastery. Misericorde’s Sister Hedwig is also an outsider to Linbarrow Abbey, but in the complete opposite direction. Hedwig has lived the majority of her life as an anchoress, locked away in a cell in Linbarrow since childhood to become spiritually closer to God. Hedwig does not know life outside of the books she reads, the Scripture she copies and illustrates, and the people who come to the slat in her door whom she cannot see. When one of the sisters is murdered, one who was the closest thing Hedwig had to a friend, Hedwig is forced out into the wider world of the abbey to investigate. Even though she has technically lived there for decades, the cloistered halls of the monastery are still an overwhelming and alien presence to her as she struggles to actually interact with her fellow nuns for the first time.
Misericorde is head and shoulders above much of its VN brethren and one major reason for that is that it actually feels literary. The game avoids so many of the clichés and archetypes that crop up in the genre and is a truly engaging work; you can tell the dev actually has experienced things outside of the purview of bargain bin anime and light novels. While it doesn’t dive into Early Modern European history and society nearly as hard as Pentiment did, because Josh Sawyer is a huge nerd, Misericorde still does a superb job bringing the late 1400’s English abbey of Linbarrow to life. The whole main cast of sisters at the abbey are all fleshed out and complex characters. Hedwig is a really strong protagonist as well; she’s a great example of having a protagonist be a rather useless asshole but still be totally engaging in a real human way as she develops over the course of the game. The prose is also nicely done and the game is paced so well. There was never a moment that I felt that the game desperately needed an editor to take a chainsaw to it which even a game I adored like Great Ace Attorney Chronicles couldn’t avoid.
Aesthetically the game is fantastic too with the usage of stock photographs covered in black and white dithering and grain. This aesthetic gives the game a uniquely melancholic and mysterious tone and feel well befitting a murder mystery in an old monastery. The character art is really good too, it’s in an anime-esque style that differentiates the characters design well even though the majority of the cast are wearing the same habits. The soundtrack also goes frigging hard as hell with like a hundred individual tracks and it’s all great. You wouldn’t think drum and bass would fit with a game set in a 15th century monastery but it does.
Obviously as you can glean from the title this is the just the first part of the game so the game’s narrative and mystery is not resolved. I do have a few worries that the next part might go into a direction that could potentially ruin the game for me, but even in such a worst case scenario Part One is still fantastic and a must play. Just an overall wonder of a game that deserves so much more love, easily going to be one of the best games of the year for me no question.
Hooked me in a way I genuinely wasn't expecting-once I started reading I couldn't think to do much else until I had finally finished the game. Misericorde is a kinetic novel, not a visual novel, so unfortunately there are no branching little paths or choices you have to make but for its type it doesn't really need them. Your character is barely socialized shut-in who could at best recite the dictionary definition of guile, so there's virtually no chance of them solving much of anything. Running around in their head and trying to figure out what the hells going on as they poke around aimlessly, sort through their emotions, and try to learn to be a person is as much a game of picking apart clues and trying to read the general writing on the wall as any game that purports to be about Big Choices.
The game completely nails what this genre requires, which is a cast of vibrant characters who, despite most of them coming off as deeply neurodivergent weirdos, all feel like genuine people with histories and rich interior lives. Conversations hit a really good balance between "it sure is fun to hang out with these loveable kooks" and "what does it mean that they said this? Is what you told me true? What can I learn from how you're reacting right now? Is the way you're acting right now the way you really are?". It's a mystery that is first and foremost about character analysis, about trying to guess why someone did what they did, where someone goes when you're not seeing them, and when someone is only telling you a little bit of the truth, and it perfectly captures the feeling of being a shut-in suddenly thrust into social situations where you're not sure how to look after your own best interests.
Of course, it's only half a story and I'm ravenous for the next part, but I'm extremely confident that whatever volume 2 looks like, I'm going to very much enjoy it, especially since I"m pretty sure this game just gave me a nun fetish.
The game completely nails what this genre requires, which is a cast of vibrant characters who, despite most of them coming off as deeply neurodivergent weirdos, all feel like genuine people with histories and rich interior lives. Conversations hit a really good balance between "it sure is fun to hang out with these loveable kooks" and "what does it mean that they said this? Is what you told me true? What can I learn from how you're reacting right now? Is the way you're acting right now the way you really are?". It's a mystery that is first and foremost about character analysis, about trying to guess why someone did what they did, where someone goes when you're not seeing them, and when someone is only telling you a little bit of the truth, and it perfectly captures the feeling of being a shut-in suddenly thrust into social situations where you're not sure how to look after your own best interests.
Of course, it's only half a story and I'm ravenous for the next part, but I'm extremely confident that whatever volume 2 looks like, I'm going to very much enjoy it, especially since I"m pretty sure this game just gave me a nun fetish.