Kill the past, Or embrace it. Choice yours and yours alone.

This game is about people that couldn't move on their pasts and their solutions to "dealing with it". So, we, the players, see these events from own eyes and make our own judgment. For the question, the ideology of the "Past". You, the player that seen everything. What do you do with your past? Embrace it? Or kill it? Or move on from it?

Choice is yours and yours for truly. Game is here for one thing and that is giving you multiple perspectives for this ideology and every case is here to support that fact.

I wish gameplay itself was cool as it's concept tho. Since trying out the ps1 armored core games, I didn't thought I would felt this feeling of "just looking of the cover brings me pure FEAR of playing" again.

Because movement sucks ASSSS. Puzzles sucks ASSSS. Mail reading sucks ASSSSS. Sorry, I went a bit rude at there, but really... I have a lot of problems for this game's mechanics and maybe I have even more things to count.

Yes I know the existence of holding skip makes everything go faster but even with that, exploration so damn annoying with tank controls with the inclusion of hard to see interaction symbols also with the combination of finicky interaction mechanics, playing this game feels like a chore to me.

You know, just for this reason I thought about leaving this game couple of times. Especially near the end where every mission just wants you to go around and rub your face to every goddamn wall to find and read trillion amounts of documents or finding millions of interactables to progress.

Excellent character writing stopped me from doing so... Sumio and Kusabi's daily friendly fights... Morishima's anger about his poor life conditions... Hachisuka and Morikawa's unending discussions and How red goes "..." And then goes "....." Really fun dialogues to experience dare I say. Also murder filled detective cases and journalist cases are cream on the cake too with how these two different segments support each other with the "question" part and the "answer" part of it.

But in my opinion, reading a pure visual novel format of it sounds to me more fun experience than playing itself ever again unfortunately.

this is probably the most confused i've been about a game so far, about so many of it's aspects, what's its story tried to tell me? how I should even view it's story, it's narrative, how everything about it works?

On one hand i'm given a fantastic visual presentation and unique style that no other game ever had, really good music that just fits brilliantly in every scene. Writing that's so specific yet fascinating with how much it mirrors a real life form of speech a regular person might have with the amount of swears and slurs. And to top off this segment there's genuine peaks of stories like in the entirety of the Parade chapter.

On other i got such an uninteresting first half where I questioned if it's worth going through more of it, often wanting to drop the game for a while. placebo segments that are an absolute drag in their pacing and mindless repetition and every time I had to do them i felt discouraged to boot up the game. There's a lot of characters but it's so hard to keep track of them and remember every single one since you won't know if they will become a major part of the chapter's plot or if they'll be gone forever in the very next scene. It has plathera of moments where I could not understand a single bit of what is even happening as so much of it is presented to the player yet might mean absolutely nothing as you cannot tell if what you're seeing is meant to be a metaphor, forshadowing or just an artistic flair

I genuinely have no idea how I should view this game, this work, this art piece. It's so fascinating and confusing to the point where i'm trying to comprehend so much of it that isn't supposed to even make sense.

And just for that.

I have nothing else but tremendous respect.

one day I will write a proper essay and/or make a feature-length youtube video on my favourite video game but for now here's some notes:

- I have never played a game that so effortlessly deconstructs it's own medium while marrying gameplay and story and themes until this game

- Neoliberalism + the police state + the information/digital age on blast

- all of tokio's segments hit harder in post-covid 2023

- kaumi is the demon of the info age, the human manifestation of the violence of the state

- a story about power and where it lays

- if we take neoliberalism to be the capitalism of "choice" in that it exploits freedom, then mechanically and thematically, the silver case is a direct confrontation of the dichotomy between freedom and power. we can take video games to be the arch artform of the neoliberal era, a form that gives the audience the chance, the freedom to make choices, the freedom to create their own narratives in the worlds laid before them. Visual novels/Japanese adventure games generally offer the player different kinds of narrative choices to affect the world laid before, the silver case actively pushes against this. in both scenarios, "transmitter" and "placebo", we play as two characters not in control of their own narratives, powerless to affect any change. the most amount of choice we have mechanically is to walk around a 3d environment and follow, for the most part, very rigid instructions. as we learn towards the end of the game, these characters' narratives have been affected before the we even pressed start. when we play a videogame, the choice given to us is obviously an illusion, boundaries always programmed in, our freedom is always limited despite many times being actively sold to us by PR as enticing freedoms. a competiton of freedoms.

- when we explore the 3d environments, no persons exist within them, simply objective markers. within the environments produced by the state + the financial markets + land developers we are alienated to the other occupants, only the images of a person is presented to us.

- the music bangs

- the loud typing sounds make us constantly aware of 1. the primary mode of communication in the digital age 2. the often overwhelming, sometimes annoying abundance of information in our age 3. that someone (suda5, masahi ooka and sako kato) has wrote this all out for us to engage with, likely on a keyboard

- much of the tediousness is wholly intentional, integrated with game's themes of information abundance and the bureaucracy of the state as a form of power. but it also has the effect of lulling the player into it's world, repetition can be a powerful sedative to those willing to give in. it's Tarkovsky-esque lol

- just like sick UI/UX design how can you not love it pal
(more maybe later, need to play the 25th ward now)

Not that I've played a lot of video games that have detective stories that have 0% of gameplay that consist of assaulting evil dudes who are not trying to hug you, but this game genuinely feels like a REAL mystery of unraveling crime even without any sort of literal way to interact with the narrative.

What this means is that you are absolutely supposed to pay attention while being forced to feel alienated/confused the whole time, something the game does incredibly well to an extreme benefit and disadvantage to itself. There are times where you are just reading and times where you are just solving some puzzle for some reason (even with the game poking fun sort of at the adventure game aspect of that). The mere fact I finished this game initially and had so many questions/misunderstandings but I can go back and slowly shift the pieces in my mind to where I feel like I have a mental cork-board with 30 photographs and string is enough to make this game enjoyable to me, but obviously that's less gameplay design and more narrative design if anything.

Crime in the new millenium

My very first look into Suda51's works.

What a ride. More than a game I'd say it's an experience even if the term is a bit overdone by now. Even if I'm not that big into VNs, this game made fan of the genre and Suda51's work in general.

It's the style, the writting and some of the characters that kept me playing from start to end. Even if the game starts slow in the first three chapters, it quickly picks up the pace by the third and by the fourth is just pure insanity after another.

Not to mention is not only text based with some images and that's it, game often changes how it tells the story. Can be through animated videos or real life videos, or even CGI. Text boxes and images are deformed depending on the situation and it works incredibly well, making scenes dynamic. Though, you'll have to use your imagination to fill blank space more often that not since while you are playing, no one will be actually presented on screen. On the 3D sections I mean.

The story was really convoluted and only starts to making some sense by the end. Strangely enough it has some similarities with Metal Gear Solid 2 main storyline, regarding the flow of information, the internet and how it can shape the society. Even if it doesn't go very deep with those themes, I think it was a worth first attempt by the writting and scenario team, specially knowing this game was made before the new millenium.

Gameplay wise is, there. Can be somewhat tedious to control and hard to grasp as first, hell it was for me since I was playing on keyboard. It really feels like a old game, where actions are totally separated from context. An unecessary extra step or two is for the most part always requiered to get where you want to go. For the most part you'll following orders or a set path and exploration is kept at a minimal.

I don't know. But I do really like this game overall. Can´t state enough but the writting feels so natural, specially the relationship between Sumio and Tetsu and how Sumio changes overtime while Tetsu tries it's best to keep him on track. Good stuff.

So in short. A remaster of a 1999 game, localized to english in the best way possible. Great characters, great writting, comfy music and a good sense of style. I'm definitely going to check Suda51's other works, in the future.

ENG:

The stars know everything. I remember
a song like that. But the fact that they
know everything is a sad thing. There are
more things in this world that it’s
better not to know.

The Silver Case is a visual novel. One of those that barely has any gameplay. It’s hard to say it even has mechanics, even for the few puzzles it has, the game gives you a handy button to automatically resolve them. Yes, I say this as a negative. I don’t like the almost non-existent gameplay it has, for the first few hours I felt a bit bored ‘cause I was reading on and on, getting interrupted at every step I made to explain the one or two important mechanics, and it didn’t felt like anything was going on with the plot. I also say this as a negative, the start of the game is a bit slow and as a tutorial it’s not that great either. It doesn’t even has a choice-making system, so your role as a player is rather tiny. For the first hours, I thought I wasn’t gonna like it, and had it been any other game, it could have been that way. The fact that the game doesn’t seems to do any real effort to involve the player as part of the world (although it does some stuff I won’t tell), means that all the effort is carried by the narrative, and turns out that this is one of best narrative I’ve had the pleasure to experience in a video game.

The beginning, and here I refer to the first one or two hours, is rather slow and at first it doesn’t seem to add much to the overarching narrative. To not be that boring, the game presents the narrative in a more dynamic way than most VNs, with different pictures, colours and scenery, and from time to time, it lets us walk and interact with the world in a very limited way. It looks like the beginning is setting up the ground for a typical crime thriller about catching a serial killer, but as it goes on, things are not what they seem and a more sinister reality is hidden beneath the surface. I don’t want to start spoiling the plot, so let’s talk about characters. Their characterization is excellent. They’re pretty much just text attached to static images, but their personalities and how they’re written makes them differentiable from one another. So differentiable that I ended up giving most of them a unique voice while reading. Even the Barman (yes, that’s how they name him), which has a minor role, is an interesting character. Kusabi must be, without a doubt, the best character in the game, alongside Tokio Morishima. Both are great characters to me, each in their own way. Kusabi is the typical cop that is always bitter and never smiles; Morishima is a nobody that gets involved in all this mess without knowing why or what are his objectives. Kusabi, although not the protagonist, he might as well be, but Morishima is actually the main character of his own story. Because yeah, the story is split in two. There’s Transmitter, where you follow the investigation carried out by the HC Unit (Kusabi & Co.), but there’s also Placebo, where Morishima investigates whatever the HC Unit puts their noses in. Transmitter has us in the most Noir side of the story while Placebo has us in the most personal, day to day life of a dude who apparently doesn’t have anything to do with all this crap besides being paid to dig on it.

As the story goes on, it’s not entirely clear what is actually going on or where is it leading to. The narrative is deliberately obtuse to evoke the feeling of mystery, and makes everything feel like a big puzzle to solve although it’s extremely linear. It’s true that by the end, everything seems to be more or less resolved with some loose ends, but before getting there, all is shrouded in an aura of mystery and you never exactly know what is real and what is not, what is true and what not, or how much truth there is in what we’re being told. Once the second third is over, the game takes a wild turn really hard to predict and it’s then when you start to realize what this is all about. The game turns from a simple crime investigation to what I can best describe as surreal existentialism. It’s then when the game seems to ask itself almost philosophical questions about fate, what it is to be a human being, the meaning of life, and probably more stuff I might have overlooked. All of this is left in the background as secondary ideas as they don’t get much development, but they don’t need to, because The Silver Case is not about (just) those ideas. What The Silver Case is actually about, is truth. Not about the importance of truth or something similar, at least not just that, but truth in more general terms, as a concept in a philosophical sense I’d say. Crime thrillers have always been about truth after all. In this case, the truth is much more crude than the hidden intentions of a serial killer. Truth might take you to places and to see stuff you wouldn’t think possible, and in the end, it may turn out that it was best to not know it. Truth would have ended showing up sooner or later with no prior warning anyways, and by then you need to be prepared to face it. It’s here where the “Kill The Past” thing originates from. As I stated early in the review, the beginning of the game is rather slow and seemingly uneventful, but there’s a moment in the game where everything sort of clicks and starts making sense. The more you search for truth, the harder it gets to draw where it starts and ends and how far things are gonna go. There are more things in this world that it’s better not to know, and you’ll understand at some point. They say ignorance is bliss. It may be true after all.

ESP:

The stars know everything. I remember
a song like that. But the fact that they
know everything is a sad thing. There are
more things in this world that it’s
better not to know.

The Silver Case es una novela visual. Novela visual de las que no tienen jugabilidad ninguna. De hecho, a duras penas se puede decir que tenga mecánicas, y encima, los pocos puzzles que tiene ni siquiera hace falta que los resuelvas tú, ya que el juego pone un botón bastante cómodo para resolverlos por ti y que no tengas mucho que hacer. Sí, esto que comento es algo negativo. No me gusta la casi nula jugabilidad que tiene, durante las primeras horas llegué a estar un tanto aburrido ya que solo leía y leía, además me cortaban constantemente a cada paso que daba para explicar las una o dos mecánicas importantes, y tampoco sentía que estuviese pasando nada. Esto también es un comentario negativo, considero el inicio del juego un tanto lento, y como tutorial tampoco es nada del otro mundo y puede llegar a aburrir. Por no tener, no tiene siquiera un sistema de toma de decisiones, con lo que tu papel como jugador es bastante minúsculo. Durante las primeras horas pensaba que no me iba a gustar, y si hubiese sido cualquier otro juego, seguramente así hubiese sido. El hecho de que el juego no parezca hacer ni el más mínimo esfuerzo en involucrar al jugador como parte del mundo (aunque sí que tiene algunas cosas que prefiero no desvelar), significa que todo el trabajo lo va a tener que hacer la narrativa, y se ha dado que es una de las mejores narrativas que he tenido el placer de vivir en un videojuego.

El comienzo, y aquí me refiero a las primeras horas, resulta un tanto lento y en principio no parece añadir mucho a la narrativa principal. Para no aburrir tanto, el juego presenta su narrativa de una manera más dinámica que en la mayoría de NV, con diferentes planos, colores y escenarios, y de vez en cuando nos deja caminar e interactuar de manera muy limitada con el entorno. El inicio parece sentar las bases de lo que sería el típico thriller de atrapar a un asesino en serie, pero según avanza la trama, las cosas no son lo que aparentan y cosas más siniestras se esconden bajo la superficie. No quiero adentrarme mucho en spoilers, con lo que voy a hablar un poco de los personajes. Me parece excelente la caracterización de cada personaje. Pese a que no sean más que texto adjunto a imágenes estáticas, sus personalidades y la manera en la que están escritos hace que sean muy diferenciables unos de otros. Tan diferenciables son que yo mismo acabé poniendo voces específicas a casi todo el elenco mientras leía. Hasta el Barman (sí, se llama así) es un personaje interesante, y eso que lo ves poco. Kusabi tiene que ser, con diferencia, el mejor personaje de todo el juego, junto a Tokio Morishima. Ambos me parecen personajes excelentes, cada uno a su manera. Kusabi es el poli que está siempre amargado y que no sonríe nunca; Morishima es un cualquiera que se ha visto envuelto en todo esto por azares del destino sin tener del todo claro cuál es su objetivo. Kusabi, si bien no es el protagonista, bien podría serlo, y Morishima si que es el protagonista de su propia trama, porque sí, la historia está dividida en dos. Por una parte tienes Transmitter, donde sigues los quehaceres de la HCU (Kusabi y compañia), y por otra está Placebo, donde Morishima investiga en paralelo y por cuenta propia todo lo que tiene algo que ver con lo que la HCU investiga. Transmitter nos lleva a la parte más policíaca de la historia mientras que Placebo nos acerca, de manera muy personal, al día a día de una persona que en principio no parece tener razones personales para estar involucrado.

Conforme la historia sigue adelante, no queda del todo claro qué es lo que está pasando o a dónde va a parar todo esto. La narrativa es deliberadamente obtusa en según que aspectos para evocar la sensación de misterio, y hace que se sienta todo como un gran puzle a resolver pese a que sea extremadamente lineal. Ya por el final, es cierto que todo queda más o menos resuelto, aunque sí que deja algunos cabos sueltos, pero hasta llegar ahí todo está envuelto en un aura de misterio y nunca termina de quedar claro que es cierto y que no, que es real y que no, o cuanta verdad hay en lo que nos cuentan. Ya terminado el segundo tercio, la historia da un cambio radical que es muy difícil ver venir y es entonces cuando empiezas a entender de lo que va en realidad. Da un giro que pasa al juego de una simple resolución de un caso criminal a lo que mejor puedo describir como existencialismo surrealista. Es ahí cuando empieza a hacerse preguntas cuasi filosóficas sobre el destino, lo que es ser humano, el sentido de la vida y algunas cosas más que seguramente habré pasado por alto. Todo esto queda en un plano secundario ya que no se desarrolla lo suficiente, pero no lo necesita, ya que The Silver Case no va de (solo) esos temas. De lo que en realidad trata The Silver Case es de la verdad. No de la importancia de la verdad o algo así, al menos no solo de eso, sino de la verdad más a rasgos generales, como concepto en un sentido filosófico diría yo. Los thrillers criminales siempre han sido sobre la verdad, después de todo. Y en este caso, la verdad es mucho más cruda que las intenciones secretas de un asesino en serie. La verdad puede llevarte a lugares y hacer ver cosas que no creerías posibles, y puede que al final resulte que lo mejor era no saberla. De todas formas, la verdad acabará llegando tarde o temprano y sin previo aviso, y para entonces hay que estar preparado para saber cómo afrontarla. Es de ahí de donde viene lo de “Kill The Past”. Si bien, como al principio dije, el comienzo del juego resulta un poco lento y no parece aportar mucho, hay un momento en el juego en el que todo hace clic y empieza a tener sentido. Cuanto más buscas por la verdad, más difícil es dibujar dónde empieza y dónde termina y cómo de lejos va a llegar todo esto. Hay cosas en este mundo que sería mejor no saber, y en algún momento lo acabarás entendiendo. Dicen que la ignorancia es una bendición, quizás sea cierto después de todo.

The Silver Case, ultimately, begs the player to be critical. To be critical of government, police, and most importantly of one's self. What does it mean to commit a crime, when the governments that define "crime" are themselves criminal? Since completing this game, I've been constantly thinking about the case Lifecut. About how the masks of the Heinous Crimes Unit slowly slip away, revealing that despite their apparent individuality, they are nothing but pawns to be used for the higher powers surrounding the story. They side with the law, and die for it. They die to protect the truth of their master's misdeeds, and commit criminal acts without being labeled "criminal". It's only by embracing that which is deemed "wrong" by society that one is able to kill their past.

The Silver Case lauds individuality, but also depicts how dire the need for community is in a world shaped by the Internet. Tokio Morishima starts his half of the game as a person who is largely squandering his potential to be great. He sits in his shabby apartment, checking his email, chain smoking and talking to his turtle. It is only through his connections with Erika and the bartender at Jack Hammer that he is able to reach his true potential. He transforms from a slimy tabloid reporter into an almost sagely presence in Lifecut. He rejects the Internet, and finds what really matters in the real world.

It’s really hard to wrap my head around the insane amount of themes and images invoked in this game. This game has my utmost recommendation to anyone with the patience to keep up with a visual novel created in 1999.

“I feel weird. Someone died in my building, but I didn’t see it. I didn’t hear the sound, I wasn’t told by someone else living here: I first knew of it via my computer. It doesn’t feel real.”

- Tokio Morishima, Hana

One problem I have with VNs is that they always feel me too much like novels, while the visual ascpect always somewhat lacking in my eyes. The silver case fixes that problem with me with cutting a lot of fluf VN dialogue as well as having the coolest visual style imagineable.

But what's a novel without a good story and the silver case brings that in spades with 2 different campaigns that focuses on 2 different views, the authorities within the 24th wards and the civilains within it. Possible one of the best denpa works I've consumed right next something like SEL or the documentary "The New God".

Like everybody else’s review, this is gonna be a wall of text

With every Suda game I play, I question more and more why I continue playing them. Before playing TSC, I had played Killer7, the three main No More Heroes games, and Killer is Dead with it being the only game I came out of with a fully positive feeling. I find Suda’s writing style to be obtuse, esoteric, and obnoxious for the sake of being obnoxious. I don’t feel like he writes compelling characters as most just have a single gimmick they stick to for the entire story or their characterization feels like a mishmash of other characters from media he likes (he’s stated he’s inspired by everything he likes). I feel the worlds he writes tend to not live up to their potential, feeling like he either wasn’t able to finish all the background writing or he thought he did but there’s a lot missing. His newer works also feel masturbatory, he never stops referencing his old works and how freaking awesome! they are, which is funny to me because I think almost all of them aren’t very good

I was really hesitant to play The Silver Case. My friend @Kungfugloves spent weeks shouting about how insane and amazing it is, how “it doesn’t feel like a human wrote it” and how everything feels super unique and interesting. The thing is I hate visual novels. I do not find them engaging, I put gameplay and story on an equal pedestal and visual novels tend to be stripped of the former. As stated, I also do not like Suda’s writing and this is nothing but that. He tried to ease me in by saying one of the campaigns was written by someone else so I’d at least like that one. He bought it for me despite me telling him not to and so I bit the bullet and tried my hardest to go into it with an open mind

I remember watching my friend play this a few months prior to my playthrough and genuinely getting a headache from the UI and backgrounds. I didn't have as much of an issue with it this time around but I do think they're waaaay too busy and a lot of them seem like they're trying to be cryptic and weird for the sake of it. I also found the music to be largely uninteresting, very little of it being downright bad but there isn't a single song that ever stuck out to me and I couldn't even hum a single tune from the game if you stuck a gun to my head

But how did I feel by the end? I think “underwhelmed and frustrated” is probably the best descriptor. The story wasn’t nearly as complex or interesting as I was led to believe. I did have the context that the original release was 1999, but at the same time none of the concepts or story beats felt original to that time period. I’d definitely seen police procedurals of a similar nature as a child with my grandparents that followed a lot of the same beats. Mental clones had been done before in comics and manga well before this. Manic obsessions with serial killers had been a phenomenon for ages.

This game also plays like complete and utter shit. I go into further detail about it in Placebo later in this review but I cannot understate how little I enjoyed the simple act of playing this game. The little exploration you do isn't interesting and takes ages. The puzzles aren't interesting, fun, or engaging, searching every nook and cranny for what you can interact with is actively shit. I cannot and straight up refuse to understand anyone who says that playing this is a good time

The chapter I was most disappointed by was Parade, which my friend described as being “actually crazy, there’s explosions and kidnappings, it’s insane”. Those were present, sure, but the presentation of the game didn’t do the former any good and the latter felt like any other political kidnapping in any other media, topped off with Suda’s esoteric writing that I hate (I know the conclusion is very much easy to understand but the way it’s presented prior to the reveal really rubbed me the wrong way). Runner up goes to Spectrum which felt like an insane waste of time from beginning to end and Lunatics which doesn’t add anything except a miserable conclusion for the five fans of Moonlight Syndrome

I enjoyed Placebo more than Transmitter for the sole reason that the mundane life Tokio lived was more compelling to me than the police procedural of Transmitter. Seeing Tokio’s life descend and him slowly lose his mind as it becomes less clear what’s real and what isn’t was interesting and despite how much more fantastical parts of it were than Transmitter, the grounded tone felt less miserable than Transmitter. I did feel the gameplay was more frustrating though due to the constant back and forth of the three interactables in the room, not telling you which you should do first so you have to constantly trial and error which leads to reading the same lines over and over. I’m told this is a holdover from the original PS1 version but I feel they could have just cut out that spot in the room by the bed if they wanted to

The only other character I ended up liking by the end was Kusabi. I say this because he was easily my least favorite character for a lot of the game. Most of his dialogue early on felt like it was written around the profanity instead of the profanity being written in after, it felt like Suda just discovered the words “fuck”, “shit,” and “goddamn”. I do think he gets some nice development as the game goes on and he effectively becomes the protagonist due to how intertwined he is in everything, but I feel the way he’s more or less dropped at the very end (and how he’s used in the future games now that I’ve played them) is a major misstep

I understand TSC. I get what it’s trying to say. I don’t think it’s an interesting story, I don’t think anything it does is new, I feel it expects the player to never have even considered anything it says throughout its runtime which feels like an insult to the player’s intelligence. I do think the world of the 24 wards is really interesting and had me intrigued the whole time. This game’s world seems downright miserable to live in and the things they hint toward really had me itching for more, but unfortunately instead of any interesting developments I spent the final chapter going up and down ten buildings for some lore that easily could have been consolidated to a drastic degree. Maybe if I liked visual novels more I might have given this a higher score but I don't think that's the case

Most of the criticism I’m writing comes from during and after the playthrough but now that I’ve gone through Flower, Sun, and Rain (terrible) and MUCH MORE IMPORTANTLY The 25th Ward (amazing), this game’s flaws mean much more to me because I can see what was possible in this world that has been created and how the establishing framework placed down in this game could have been so much better. I do think it’s interesting how prescient the writing is when it comes to the way government corruption and terrorism are presented, but I don’t think this game is very good in any way honestly

At least it got me to play The 25th Ward

Silver Case esteve comigo por três meses, sendo a minha canção de ninar na maioria das noites. Com seus ambientes vazios e o barulhinho de máquina de escrever que o texto faz, revelou-se promissor produtor de melatonina, apesar dos raios claros do Steam Deck fritando meus olhos na madrugada.

A primeira impressão é a que importa e a que fica: duvido que jogarei tão cedo alguma VN que consiga desafiar esta em sua apresentação. Menus dinâmicos, janelas voando, trocando de forma, o fundo em fluxo constante - é o sonho estético de todo mundo que tenta representar uma ‘websfera’ dos anos 2000. Ainda que superficial, vejo este fator como extremamente importante no meu aproveitamento da obra, já que é uma execução fantástica como essa que romantiza e confere personalidade a um ato que não é muito diferente do de passar slides - só o barulhinho modular do texto conforme você apertar um botão ou outro já é uma coisa que deixa tão mais gostoso de se ler.

Não que eu queira reduzir Silver Case à uma VN tradicional: uma enorme parcela do jogo envolve um dungeon crawl - livre de estados de falha e cheia de momentos de tédio e banalidade - por masmorras do cotidiano presas em estase, como shoppings, apartamentos, escritórios e indústrias, espaços liminares desprovidos de qualquer alma viva.

Silver Case é sobre transitar nestes espaços, tatear as paredes de Tokyo-24, habitar essas zonas solitárias. Sobre processo, bater em centenas de portas, investigar cada porta e gaveta e email a troco de nada. Sobre rotina, acordar na mesma cama centenas de vezes, ir e voltar pra casa, ir ao bar de vez em quando ou bater um papo com sua tartaruga. E claro, sobre conversar com gente esquisita que fala engraçado e me faz sentir constantemente apequenado diante do turbilhão nonsense - não precisa fazer sentido.

Foi confuso e muitas vezes entediante ao ponto do sono. Estou vendido. Silver Case tem a soberba, a panache e o espírito irreverente que fica gravado na memória muito mais do que uma historinha bem amarrada. Daqui uns anos, eu posso não lembrar o nome de ninguém do jogo, mas pode saber que vou lembrar como era transitar as ruas e condomínios da cidade, e daquela vez que tive que tocar na porta de 20 apartamentos mais de uma vez na mesma missão, ou da forma deliciosamente bizonha que todo mundo conversa, da sonoplastia icônica e saborosa que cada transição de cena tem, ou da foto da lua com palavras malucas que sempre aparece no final de cada capitulo… Caralho… Que trilha sonora foda, irmão… Today’s WORD phrase is…

"BELIEVE IN THE NET"

the silver case is difficult to discuss. your knowledge of suda51's work, enjoyment of visual novels, and how much you can tolerate arbitrary ass writing will make or break your experience with this game.

personally, i am absolutely in love with this game, and it's my favorite visual novel of all time. it has an incredibly unique presentation that creates an atmosphere i've never experienced in any other game, let alone suda51's other work, through the incredible artwork and soundtrack. objectively this game has fantastic character writing, with the transmitter route featuring an amazing cast and the placebo route having one of the best protagonists ive ever seen in media.

the story is hit or miss. its admittedly word dumpy at times, and there are some plot beats that can breeze by you but suddenly be super relevant later. characters can be hard to remember across chapters, hell, theyre usually drawn completely differently depending on the chapter. i took alot of time to process this game, but i understand that not everyone is willing to OR able to make that time. these aspects don't bother me enough to dock points, but it's worth considering

the gameplay is Fine. just Fine. it's weird to get used to, but you'll have it down after the first 2 chapters. this is TECHNICALLY an adventure game, so there are puzzles and interactables strewn about- but usually it's super easy to figure out, and the game even autosolves puzzles for you if you can't be fucked. as expected of a vn, the gameplay is just there to present the story (insane)

the silver case, again, is my favorite vn of all time. it has incredible depth for grasshopper manufacture's first release and still holds up today with its themes of criminal psychology, individuality, and wooowowaha government conspirarcy woaowow. but its true the game isnt very approachable and can be hard to sit through for some people. i think it is very, very worth it though, as a gateway to "kill the past" and especially in relation to its sequels, FSR and the 25th ward: the silver case

Imagine if your friends played the game you like.

Aesthetically wonderful, immersive OST, and a full deep and complex storyline not made for those weak to reading what is beyond of the text.

Did you think i was not going to use the catch phrase? F#$% OFF
KILL THE PAST

The Silver Case is an experience that makes me understand how Grasshopper Games have managed to cultivate such a cult following. This game is a mix of gameplay ideas and narrative moments that remain unique in the contemporary interactive media market.

Kamui Uehara is one of fiction's most interesting, enigmatic characters representing the fact that while one can kill of the person, they can never kill off the idea that he represents.

The Silver Case is one of those games that does not leave your head even days after completing it, It festers and requires you to think about its commentary and that I think is one of the most beautiful things a game can make you do.

Kill The Past.

lend me 50,000 yen

aesthetically very reminiscent of jrpgs of its contemporary from the late 90s with a cool as fxck aesthetic ala racing lagoon. chapter select is depicted as dj deck cant get any cooler than that. the way the assets are put together throughout the vn with the portraits of the characters, backgrounds, and dialogue placed/layered throughout the screen gives off the feeling of a real time evidence board mixed with surveillance recordings; fitting for a story about solving crimes. plot being broken up by cases with an accompanying evidence report chapter is a good way for the story to maintain mystery while also delivering just enough information so the player isn't too lost. it is almost like the player themselves is also a detective trying to figure it all out. it got to the point where i became one of the characters with how seamless i would wake up and log on to the computer to read my emails and feed my pet turtle. dialogue got me actually laughing out loud and the ost is effective. however, its age shows with how clunky the controls were during the exploration and puzzle bits which took a bit to get used to but became second nature eventually. i welcomed how slow the game was sometimes but i do understand that it is not for everybody. imperfect game but the imperfect can be considered perfect by virtue of its imperfection (lol) so thank you Grasshopper Manufacture Inc. recommend if u wanna be cool tho cuz only cool people played this game

This was a LOT to swallow honestly, but I do think I really liked this game
we'll circle back around to that after i get most of what I say out in the open
So i've already played killer7 and no more heroes 1 by this point and youd think that would already be enough under my belt to prepare me for the shit that happens in this game, but you would be wrong! and i would be wrong!

And im glad i am! because it just shows again that suda really does just go off with making shit he wants to
thats why all his shit is so Special to the point where even if there's connecting themes and such, each one of these shits has a different feel,vibe and end goal progression while still maintaining this 'Kill The Past' mantle
The music and sound design are so fucking good and the way the UI pops out like computer programs is so tantalizing to my retinas. This game boasts 2d art, 3d ps1 cgi and FMVs of whole ass real people and locations to convey this unique flavor I dont think ive seen done before. On top of this I also really like the dialogue it can be so immensely funny, sometimes it feels on accident with how humorous some things can be in this game because i was overall having that more than a serious gritty story i was sinking my teeth into.. lots of mysteries yeah! but.. ill get to that..

It's just im tapering myself off because for as much as im singing praises right now

I REALLY REALLY wish I could dicksuck this game, I REALLY REALLY DO but.. there's some problems i have

For starters, Im already not too fond of visual novels as a medium for my games
I like when there's interactivity involved.. maybe a puzzle here or there or using the bulk of the dialogue to it's advantage
I feel ALMOST none of that here with this game, it mostly just felt like I was reading an interactive web graphic novel which is so cool but also..
It was on occassion more than once where I was like "do i Really wanna keep playing this game though... do i Really like this that much" and then something interesting happens in the story or a revelation or something that makes me think about it a bit more and what could happen and im snapped out of it.

Though more often than not there's so many moments in this game where I feel like i wouldve benefited from keeping a log
or some kind of journal to quick look and brush up on things thatve happened previously, its a remaster of a PS1 visual novel so its not really like i expected the world of it with quality of life things thatre commonplace now

it's just also I put off writing this review because ive been scrambling to fill in the gaps of my knowledge and bits where i was confused getting cleared up lolol. Which is STRANGE because I feel like I was more palpably confused about THIS than killer7, which by all intents and purposes doesnt make any fucking sense because this has 10 times the dialogue killer7 even has. I think its the fact that my theorizing and such amounted to next to nothing with this game and that knocked the wind out of my sails about it, silly as it sounds. Like I won't really go into spoilers here but there's numerous occassions where i've put two and two together because im insane Or because of my prior expectations from killer7

and then all of a sudden the game just kind of walks stark ass naked in my face with my theory proven right like halfway through the game or even earlier than that
So then im sitting there like.. the fuck? then where is this gonna go? And then in the final couple cases it felt like i was getting the plot dumping of the century like the game had taco tuesday and laxatives ala mode stuffed up it's brain and i was seeing it all bounce forth

This was a double edged sword feeling to me because while I do think the narrative of this game is really good i think its absolutely fair to say that retaining certain things that may or may not be relevant later on to the story is something that not everyone is gonna be able to do, shit i was barely able to but maybe thats because this game didnt hit a very specific stimulant in my brain
And thats not necessarily it's fault in particular
What is its fault is that I think that this doesnt really feel like an adventure game or a puzzle game like the genres slapped onto it imply and its just feels like a cool, stylized visual novel

The puzzles I just could not care about whatsoever and I think its actually kind of funny in retrospect that just tapping a button solves them if you really just only care about the story, which ADMITTEDLY i started to only care about the story!

This is all why I said i think I like The Silver Case rather than I think i LOVE the silver case or that i LOVE the silver case, I think characters like Tokio, Sumio, Kusabi, Morikawa and Hachisuka are interesting characters but I think i walked away from this game with specifically Tokio and Kusabi as favorites overall. i think there's something that just wasnt.. igniting in me like i wanted to happen with this game and my expectations were loud while this is very much an inside voice game so to speak, in the fact of the matter that it's gameplay is subtle.. its nuance with its writing.. is subtle
It's very open and upfront about the thinkpieces on crime, cops, and how changing shit from the inside doesnt work out and how often times government will manufacture something to keep higher power regardless of the intent..

but, yeah. btw I was so confused at some points infact that Im embarrassed to admit I didnt connect two and two that Tokio in Transmitter and Tokio in Placebo were the same guy. like. probably my dumbest moment ever when i realized that by Parade LMFAO

final thoughts: if youre keen on visual novels as one of your favorite mediums of games then you have absolutely no reason to skip out on this but if youre lukewarm or neutral on the genre this may not hit the same as some of suda's other stuff. i fully understand why this was one of his breakout magnum opus, but go into this expecting a nearly completely narratively driven experience and Please
PLEASE PLEASE PLEASE!!!!!!! REMEMBER YOU CAN SCROLL UP AND DOWN WITH YOUR MOUSE, THERE WAS SO MANY TIMES WHEN I WAS WALKING UP AND AROUND AND I FORGOT YOU COULD DO THAT IN THE GAME AAAAAAAAAAAA!!!!!!!

Too much to say about this one, really, which usually means that it will end up becoming one of my favorite things ever a couple of years from now.

All the style it has - and if there is something that nobody can deny is that this game has style - serves its themes perfectly.

Like a slow cinema police procedural, the amount of thematical twists this manages to pull off is astonishing, particularly when you consider the "gameplay" and how it lulls you a certain flow, giving you agency as quickly as it takes it away from you. You can row, but there's only a single path that river can take.

Masahi Ooka is a genius from writing something so well structured as Placebo.

Now to dust off the trusty DSi with my R4 card to finally understand what the fuck was going on 13 years ago when I triedplaying Flower, Sun and Rain and turned if off after 1 hour.

não tão surrealista quanto Killer7, mas tão experimental quanto, se não mais. Estaria mentindo se dissesse que estive super entretido 100% do tempo de gameplay, em alguns momentos me peguei me perguntando "tá chato ou é conceito?", a gameplay é praticamente nula, algumas escolhas de design são ruins, mas mesmo assim minha curiosidade em relação a tudo que estava vendo na tela nunca deixou de existir. Esteticamente lindo, ótima trilha sonora, excelentes diálogos e uma história que vou me lembrar e pensar sobre por muito tempo. Meu segundo jogo do Suda51, mais uma mitada