There really isn't a game quite like Yume Nikki. It goes above and beyond of what even defines a video game. There is no goal here. You explore this dream world of Madotsuki and... that is it. Which may sound boring at first but it really isn't. It's just something you NEED to experience firsthand to just get. It is an experience that won't be understood through conventional means. Which is what makes this piece of art special. Being able to simply explore with no real apparent purpose or reason is... refreshing.

Just give this game a try I think it's something that you should experience yourself.

so so so glad I waited so long to play this one. any earlier and I was def not emotionally mature/stable enough to play something this meditative and slow and dark as this.

u can def tell this was made by a musician, stuff like how tiles make up the score for that worlds music is rlly rlly neat and I love it. found myself clanging the bell on the bicycle in tune w the music a lot. also very shocking how many of the songs I knew just through cultural osmosis, it makes smth as dark as this feel more comforting than it actually is and less otherworldly than it tries to be but in like a positive way. there’s an interview w one of the kinsella brothers where he mentions not even rlly being into emo/90s math rock/other stuff like capn jazz and yet ended up being a trendsetter for a whole sub genre of emo. it’s how I feel about this. obv the earthbound influence is front and center and also kind of lulls you into this sense of tranquility bc it’s smth familiar. like I never played earthbound for myself, it’s just not a kind of game that I can devote time to, but I did watch my boyfriend play the entirety of it on our modded wii when we originally moved in together and so seeing stuff like the mall looking area where u get the flute or the nes styled worlds or even the designs of the neon ghosts reminds me of half-watching him play that. it’s cute I love it. but I think more than anything this is def inspired by silent hill and other survival horror of its era.

kinda sucks that any kind of art that’s like vague or mysterious or doesn’t spell itself out for u now needs a BLANK EXPLAINED article or video for everyone that felt somewhat confused by the newest a24 horror film. idk no shame if smth leaves u feeling confused, I just watched blade runner 2049 w my bf this week and I literally kept asking him to explain it to me bc I don’t get get it. and I don’t understand all the imagery here and that’s okay, I don’t need to. the search for answers w smth like this is kinda idk dumb and redundant. this says everything it means to say, it can mean anything u want it to bc it’s so open ended and cryptic and vague and no one would technically be wrong bc the creator of the game has never said what it’s actually about, and even if they did and even if this meant smth super specific and personal to them like it most likely did doesn’t mean it can’t mean smth else entirely to u.

v relaxing, have played this for an hour or two each night after coming home from work and it felt good like it felt rewarding and also comforting.

reminds me of just in a general way of the feeling of being vulnerable and exposed, not many games, not even many horror games or other pieces of media make me feel so strongly like this. it reminds me of watching the 2001 horror movie pulse w some guy I barely knew in my basement as a teenager or when me and my boyfriend were taking a bus w a transfer on it back from a festival late at night and this very old very big drunk guy kept following us around and harassing/hitting on me. obv nothing happened in either situation but it’s like the feeling that it might and how that kind of sticks w u for a while after. scary stuff imo

Leaves a ton of space for your imagination to run wild in which is likely why so many people have vastly different experiences with this game. When so much is left up to interpretation, your brain can't help but fill in the lines itself.

My personal experience with the game is one of feeling incredibly isolated and displaced within the world while also being comforted by an abstract warmth, almost as if I am being hugged by a childhood friend with whom I had lost all communication with but who's memory has lived within myself and shielded me in ways over the years that I've never been cognizant of.

I now understand why a common joke is that Yume Nikki's biggest fans are all schizophrenic.

Yume Nikki and I have been passing acquaintances for more than a decade. Every so often, I'd fire the game up (undoubtedly an outdated build, now that I think about it) and explore a little; and, after an hour or two, put it down, bored.

However, if this and the general tone of other reviews here is any indication, Yume Nikki wasn't the kind of game I could easily put to the side and declare "not for me". Even as I searched Madotsuki's dream-wastes for gripping ephemera, and frequently came away empty-handed (and slightly disquieted), the game never lost its grip on me - since 2012, when I first downloaded it.

And- you know what, in retrospect, I realise was my grave mistake in those days?

I played Yume Nikki with a guide.

Trying to shortcut your stay in these dreams, treat your stay in Madotsuki's dreams like "tourism", get to the "interesting part" where something cool happens that makes the wandering "worth it"- well, that attitude diminishes the wandering! It robs the game of its ability to unfold its atmosphere to its fullest. Ahead of anything else, Yume Nikki, in your mind, must NEVER be a "problem to solve". "A game to complete." I get those that want to bypass the Hellmaze (it's the reason I took away a half-star from its score lol), but...

Yume Nikki needs you to remain, and to persist. Yume Nikki needs you to wander. Yume Nikki needs you to be subsumed, wants to be played in a dark room with no distractions and certainly no walkthroughs open on the side.

And when I finally did it like that, when I embraced the uncertainty and the depths of its exploration,

Yume Nikki rewarded me.

Earlier this year, on a single exploration through this dream, I saw both some of the most inspiring art I've seen in any video game, and played through the most heart-thumping stealth segment in any video game I've ever played: I went to space; I delved into sewers. I grew long hair. I extinguished fire by controlling rain. I tiptoed around bookshelves to evade a bloody ball of hair that, in the top-down perspective, was just as frequently obscured as myself, often needing me to make educated guesses of its whereabouts.
EDIT: A friend told me later that what I saw couldn't have hurt me - but it certainly didn't feel safe - which further solidifies my point.

After that play session, I was energised - and I finally really understood this game. All the years of trying had been worth it.

Yume Nikki, if you let it be itself undissected, is a game you come away from with stories to tell.

I genuinely feel like it's not a game that wants you to complete it - while I'm not spoiling the ending here, the game's conclusion certainly makes that interpretation sound.

It's also one of those true video game mysteries: For people who don't know Japanese especially, but I think for basically everyone who isn't Kikiyama, this game's internal workings in RPG Maker 2003 are so complex that I don't think we'll ever come to holistically understand it, and know every single thing it's capable of.

And that's more than okay. That's beautiful! Play Yume Nikki - and don't be afraid of wandering.

This is one of the those games where if you spend enough time online you eventually be introduced to it. As an elementary schooler I was first introduced to this game through an internet personality showcasing the infamous Uboa. Though the experience was a bit traumatizing when I was younger it also greatly fascinated me and looking back this may have been the start of my love for the weird offshoots in the gaming industry. When the game was eventually ported to Steam I finally got to indulge myself in the oddity that fascinated me so many years ago. I then proceeded to play it for an hour and then didn't pick it up again until three years later.

Yume Nikki is a bit of a strange game to go back to. The basic gameplay is often incredibly boring with limited actions and decisions to make to progress in the game. Since the game lacks and sort of direction, without a guide, you may spend hours trying to find some of the last items you need to complete the game. What I didn't really get when I first played it is that all of these decisions were intentional in creating one of the moodiest and offbeat walking sims I have ever played and there in lies the core appeal of the game. The most rewarding experiences I had while playing was seeing what absolutely bizarre areas I would find myself in. The game does an incredible job of mixing lighthearted goofiness with abject terror all while having an incredibly somber tone to the whole experience. The community that has sprung up around deciphering every inch of this game is endlessly fascinating and the lack of info surrounding the creation of it adds to its mystique.

I think what Yume Nikki excels at the most, besides everything I previously mentioned, is being the groundwork that so many RPG maker horror games would be based off of. It's an incredibly important part of video game history and is one that is seldom talked about outside of online spaces and I think that is a real shame. I have my qualms with the game sure, as previously mentioned it can be a bit of a slog to traverse and its cryptic nature can sometimes end up hurting the experience. BUT, with the price of entry being only your time, I think its a game that everyone should try at least once just to experience the odd little game that influenced so much in the indie space. I don't know I could say that I really like this game but I can say that all of its quirks and oddities will be lovingly stored in my thoughts for many years to come.

Yume Nikki ranks among my favorites of all time looking back after having played it for a number of years. What I adored about Yume Nikki was the music, worlds, and imaginative art direction all encompassing the themes of isolation. If the "Top 10 Scariest Video Games" and "Video Game Creepypastas" initially piqued my interest due to Uboa, I stayed for the atmosphere and the other unique oddities that make Yume Nikki stand out among other RPGMaker games; or even other video games outside of the RPGMaker space. Despite the fact that this game hasn't been updated in years, many developers who came after it dabbled in the same idea such as .Flow and Answered Prayers. And, there is even a fangame that is still being updated to this day by contributors called Yume 2kki and is forty times larger compared to Yume Nikki and I highly recommend if you end up liking Yume Nikki and want more to give the games I mentioned above a try. I absolutely love this game and I hope you decide to give it a chance too.

I think I like the idea of Yume Nikki more than the actual act of playing it.

This really is just a walking simulator in which all you do is wander around strange environments and soak in the atmospheric background music. Sometimes it's creepy, sometimes it's calming, sometimes it's extremely unsettling. However, any emotion the game was trying to evoke from me eventually turned into boredom after slowly walking around the same area trying to find a door or an effect.

I get what it's going for, but after playing 2.5 hours and 9 out of 24 effects I'm throwing in the towel for now.

A very beautiful and atmospheric experience. Japanese media has often had this interest in why we dream, and not necessarily trying to solve the exact why but more so just discussing the oddity that dreaming is, and how much the real world can affect our dreams. We've seen this with Kon's Perfect Blue/Paprika, the whole "Dream-Festival" that took over the second Mario Bros, and even Japan's revival of the Little Nemo in Slumberland series 70 years after it's popularity in the United States. It seems fitting for a Japanese game that started the craze of RPG Maker indie games to focus so heavily on viewing dreams within this new and blossoming media art form.

とても美しくて雰囲気のある体験です。日本のメディアは、なぜ夢を見るのかということに興味があります。必ずしも正確な「なぜ」を解決しようとしているわけではありません。それはむしろ、夢の奇妙さや、現実の世界が夢にどれだけ影響を与えるかについて論じることです。例としては「パーフェクトブルー」「パプリカ」「夢工場'87」などが挙げられます。日本では、オリジナルの出版から 70 年後にリトル・ニモを復活させました。つまり、日本のゲームが RPGツクール インディー ゲームの人気は始まりました。この新しい形式が夢の観念を探求するのは当然のこと開花しました。

Pictures of my adventure | 写真 :
1 2 3 4 5 6

Yume Nikki is one of the most important games ever despite its seemingly small scope, paving the way for several RPG Maker games inspired by it in one way or another, as well as one of the most iconic surrealist games of all time, and for very good reasons.

In several ways, Yume Nikki isn’t really meant to be understood in any conventional way, nor is it meant to be played with the mindset of expecting a conventional game.

Yume Nikki as a game strips down the gameplay down to the very basic cycle of walking around like an idiot, soaking up in its atmosphere and occasionally finding something new, though the main difference is that where as in other games, such as Super Metroid, the reward for exploring the map to its fullest are upgrades that make you more powerful, finding new areas is the reward here, with some of the “power ups” merely changing the look of Madotsuki and nothing else (while others aid in traversing the map), but in the end they are still pretty cool.

But what truly matters in the game is what’s present (and what’s NOT present) in each location you find. Mind-bending landscapes where the borderline nonsensical reigns over anything else, seemingly endless black voids where surreal entities and abstract images coexist, and even the (arguably) more grounded places manage to feel just as strange as everything else due to their haunting atmosphere, helped by a stellar soundtrack which really sells the vibe of every place, all of that make the game arguably more harrowing more so by virtue of exploring a world so uniquely alien and terrifying as Madotsuki’s perturbed mind than that of an actual threat hiding around the corner. But eventually you start getting accustomed to the world’s idiosyncrasies, and consequently starts to get a better hang of the environments both based on their map layouts and their sights and sounds (for better or for worse), and the game itself is absolutely ripe with imagery and symbolism, and thus, much like the best surrealist and abstract art, it’s up to you to find meaning in everything you find throughout the game, and that’s the magic of Yume Nikki, isn’t it? Finding sense in everything found throughout the seemingly endless dimensions of abstract images, and piecing together all of it to find a meaning to Yume Nikki, or maybe not doing that at all and just soaking up all of it as it is and leaving it at that, that works too.

Now you may be wondering why did I rate this game only a mere three stars out of five despite everything I said so far?

SHORT ANSWER: IT’S BORING! Or rather, it BECOMES boring.

Long answer: When you first start, everything seems and feels extremely bizarre, and thus, it ends up being incredibly compelling and rewarding to explore each location and sometimes find new things, helped a bunch by other secret places and events that are entirely optional, making your first time reaching those moments really friggin special.

HOWEVER, it does get tiring when you have to do that to accomplish a goal as dull as “Collect 24 Effects”, especially with the slow as a snail speed of Madotsuki, and no, the Bicycle doesn’t make this much better. What starts as engrossing and bewildering starts to become annoying and exhaustive to go through, and I’ll admit I used a guide to find out how to get the rest of the Effects after I got 14 of them or so, since some of them are fairly tricky to find as well, which I would appreciate more if not for the aforementioned slow speed. Pro tip: Get the Bicycle ASAP, and then start using the Bicycle Glitch to get through most areas as quickly as possible.

I get that most people will look past this and still adore it for everything else, and I can perfectly see why, but when the whole gameplay loop involves something as mundane as walking and nothing else, that one flaw starts to get on me. And to me, the game manages to be boring both intentionally and unintentionally, and the latter part is the issue.

In summary, I do really admire what this game does (and did to indie gaming as a whole alongside Cave Story), it is an absolute piece of art that broke the boundaries of what video games could be at the time, to the point where several games were inspired by it, including fan games like the famous Yume 2kki or .flow… However, I could also say something similar about other games I far prefer to play over Yume Nikki.

TL;DR - I admire the hell of what Kikiyama did, but I don’t like actually playing it, and I’d rather just watch about it than playing it, but I don’t know, maybe YOU will find those “flaws” as something that adds to the experience of playing Yume Nikki, and I'm fine with that.

Edit: Who the fuck changed the cover art in IGDB? Come on bro the other cover art was so awesome, but now it's replaced with this dull as a plank stuff!

This is not a review so much as a brief commentary or analysis of a certain aspect of Yume Nikki I find interesting. I have no intention of providing the (n+1)th narrative interpretation of the game's imagery etc.

--

A large subset of "art games" (a term I dislike, but I won't go into that here) turn on the central act of moving through space. While derisive commentary on such games generally draws attention to the lack of interactivity between the player and environment, I find it more interesting and helpful to think about the ways in which these games allow movement to be expressive, or how they fail to do so.

In a certain sense many, if not most, games already have movement at their core, and arguably handle it more profoundly than many art games by complicating and problematizing the nature of movement itself. One trick is to split movement into distinct actions (jumping, walking, dashing, etc.) which are required in different combinations at different times; another is to confront the player with AI agents ("enemies") that impede the player's movements unless they are avoided or overcome. If this is obvious, the point is that these complexities make the act of movement itself expressive in ways that are easy to forget when everything is viewed abstractly in terms of genre conventions.

The question is, when such things (whether we insist on calling them "gameplay" or not) are subtracted, what is left to be expressive? Many authors will rely on the strength of their writing or art, and this approach can be fruitful, but it sidesteps the question I'm interested in. Yume Nikki answers this challenge with the very structure of space itself.

Partly it does so by drawing on the conventions of a kind of game that predates digital games, i.e. the maze. Even putting aside its scale and interconnectedness (and the occasional gate puzzle), Yume Nikki is a particularly forbidding maze in that it has no end, at least in the usual sense. The "effects" scattered throughout its interior (some of which aid traversal while others are purely cosmetic) unlock an ending, true, but many of Yume Nikki's depths contain no effects at all. The game's world is many times larger than it needs to be to accommodate the effect-finding game. Certainly, each "unnecessary" area serves its own narrative or affective purpose, but in terms of my argument they all serve just one: they are places to be lost in.

The other, complimentary aspect of Yume Nikki's approach is its austerity. Yume Nikki has no concern for making a first impression of variety or density; looking at the areas immediately accessible from the Nexus, the impression is rather one of emptiness. Partly it's the repeating tiles, a technical convention of RPGMaker and the games it draws from, but also the scarcity of features, interactive or otherwise, that would distract the eyes or hands in the way we normally expect.

The upshot is that Yume Nikki requires two things of its players: firstly, not to become bored (something of a dare in all honesty), and secondly to be quite deliberate and systematic in their approach to exploration. All this results in a level of serious engagement the typical "walking sim" does not require, and in the long run that other aspect—Yume Nikki's art and aesthetics—only gains from this.

Notes:

1. One could reasonably argue that much of what I have said about Yume Nikki's structure derives from its unfinished state. While I doubt an updated version would drastically alter this structure by filling in currently "empty" areas, I'll concede that I have nothing to base this on besides intuition, and that other additions or alternations could change the core in unforeseen ways. (That is, of course, assuming the project has not been abandoned.)

2. I will also concede that certain secrets are definitely /too/ well-hidden.

2004.

A year in gaming like no other, where consumers were banqueted an assortment of games, many of which would become some of the best in gaming of all-time. That year, we saw the release of games like Half-Life 2, Halo 2, Metal Gear Solid 3, World of Warcraft, Grand Theft Auto: San Andreas, Counter-Strike: Source, Vampire: The Masquerade - Bloodlines, Knights of the Old Republic 2, Ninja Gaiden, Katamari Damacy and many, many more. More importantly though than that these games were fun, they were innovating. Pushing forward to the future of what games could become. And the game that lead that helped lead this charge and would lay down the foundational bedrock for a scene that would rival AAA studios was Doukutsu Monogatari, or Cave Story. A game that was all created by one developer, Daisuke "Pixel" Amaya.

Amaya's game wasn't groundbreaking by any means. Cave Story isn't an innovative milestone nor is it pushing any boundaries. What Cave Story is was polished, taking influence from games that Pixel enjoyed from his childhood, like Metroid and Castlevania that he references. It was an extraordinary game, with absolutely stellar music, gorgeous pixel art, and very snappy run-and-gun action. Cave Story is cited by many indie developers as the game that got them into development or as influence for their games, and in-turn, the art those developers would create would influence other indie developers in this chain-reaction of inspiration that would see the rise of the indie game industry. It is to note that Cave Story is by no means stand out in what it does, even in its legacy of a game from one developer. There is a long history of fan-made and independent content. It would be more apt-to say that Cave Story laid the foundation for indie developers in terms of its inspiration, much like Cave Story was inspired from others before it.

But Cave Story was not even meant to be special, it was an untranslated shareware game, among others in Japan's own long history of doujin soft, that had been going on way long before Cave Story even came to the picture. Japan's history of indie development goes back just as long as the rest of the world, most of which of which were as a hobby. This scene that was once, and in some cases still is, enclosed off from the rest of the world, would have its own fair share of games that inspired others, have doujin games created based off the works of others out of admiration, like Touhou. In 2004, Cave Story would be released into the public in a limited release alongside another game that would predate it.

Yume Nikki.

Yume Nikki released on the same year as Cave Story on the same site. Much like Cave Story, Yume Nikki was also developed by one person, Kikiyama, who would create the entire game's sound, art, programming, everything. It also saw a very limited release, until fans of the game created an English-translation that would see to this games proliferation across the Internet. And much like Cave Story, it's a game that has had a strong influence on so many people across the independent games scene across the globe and has become the primary inspiration for a lot of their games, with the primary example being Toby Fox's Undertale, which in-turn would also spawn it's own creative legacy with others. But what sets this apart from a lot of its contemporaries, despite also not being the first game to accomplish this, is Yume Nikki itself.

Yume Nikki does not play like anything I've ever seen before, with LSD: Dream Emulator probably being the closest example we have, and yet Yume Nikki is still unique of its kind. Yume Nikki is a game where you're experiencing the dreamscape of your unconscious mind. There are no specific goals, there is no dialogue, there is no direction. There is only experience. Drifting around these multivaried and interconnected areas of your REM sleep reality, all abide by unspoken, archaic rules. Worlds inhabited by all of peculiar creatures, if you can even call them that. Common themes that binds one particular area offset from another with their own entirely different gimmick. These worlds were not meant to be traveled but be explored, not to pass by but to immerse in. These long, often unending segments of your dream stretch out unfathomably long with often repeating objects in varied patterns dispersed widely across the abstract plane. It also seems so repetitious, especially underscored with tracks that last no longer than ten seconds before they loop back.

And yet, that is the point.

The long journey to of discovery of one's own mind, the human tendency to find patterns and symbolism in things that seem incomprehensible to anyone else. To seek meaning in things where their may not even be any and may not matter if it means something to us. These long stretches of pure infinite void to find discovery in things about ourselves and trying to make sense of the chaos that we have no control over, there is a sense of understanding. As you traverse further into the worlds deeper and deeper below the surface, things become more sensible and concrete and another branch far deeper are the things that we don't understand but have a profound effect on us. The further down we go, the more sensible it is and the more terrifying the implications, as the things that make sense are the things that are the reasons why they're pushed so far below in the dark depths of Madotsuki's mind, likely distorted memories of things that should never be resurfaced. Memories of key moments in her life that we do not wish to ever see. While Yume Nikki is quite abstract it is not without some obvious themes and common interpretations found from the clues you find plummeting down the rabbit void. A sense of identity, trauma, and death are very common imagery found throughout the game and lots of theories that the community have surgically went over the game. For me, I ignored all of those because they're not relevant to what I want to take away from this personally and feel like using things as guides and theories would get in the way of the intended idea of directionless roaming around without any sense of guidance or preconceptions.

If there's any one goal the game might have it's collecting these Effects that will transform Madotsuki into various forms with some power. All of which have very little-to-no use and almost none needed to "progress" in the game. But what they do have is consequence. The unpredictable events that it can bring to the inhabitants of your mind, and in doing so, discover a little more (or less) about ourselves. I used an Effect to transform myself into a traffic light and interacted with one inhabitant, in a place fathoms below the surface of our dream, who are one of the few people who actually resembles something like a human in a landscape where everything looks distorted and crude. What I got was a complete surprise and something I never would have expected from a game that thrives off unpredictability and the strange at the very beginning.

Even as I completed the game and remained stunned at the ending of a game I already knew years in advance would happen, the first thing I did was boot it back up again and kept going. Yume Nikki has this wonderful sense of atmosphere that I kept finding myself going back to even after its completion, because it wasn't complete. There was more to see and discover and more to know about what this game is. To retread familiar grounds and journeying through tonally whiplashed zones, both visually and through its sound. It's hard to really nail down what this game is trying to go for or to explain the hook of what makes this game. In fact, conceptually it sounds extremely boring. There are no puzzles, nor action, exploring the worlds sounds repetitive, there's no story. And yet, for many, it's their favorite game of all time and has saw almost as much popularity over Cave Story.

It has found its own niche audience that has grown in popularity. Many fan games were created that were almost as good, if not just as good, as Yume Nikki. And while it's not a big foundation starter for a global industry kickstarter like Cave Story, it would help lay the cement and provide further inspiration to younger developers to create things of their own: things that were more profound, thought provoking, creative, or just downright silly and strange. That's what's fascinating about doujin soft games is that they didn't care much about making games that fit some niche but to fit the things themselves they would want to put out. Born from that were some incredible titles of ingenuity, while of course among the piles of rather mediocre titles. Regardless though, all made out of some love or passion from what the things that influenced them that would be discovered by others to translate these games to be shared worldwide and influence other generations of artists to create something of themselves. Yume Nikki while has its influences that clearly inspired it, like Mother 1, it doesn't behold to any conventions or adhere to any standard industry practices. It's just whatever Kikiyama wanted to make, no strings attached.

2004 was a good year.

And Yume Nikki is an art like nothing else.

que rayos fue eso?

yume nikki es el ejemplo perfecto de juegos que te ofrecen una experiencia única, sentimientos únicos y que te transporta a su mundo. juegos que suelo jugar de madrugada luego de venir de trabajar, con la luz apaga más que la de una lámpara de noche que da luz naranja mientras fumo o consumo sustancias. las interpretaciones que le podía dar mientras jugaba, su atmósfera y ost opresivo, pero a la vez reconfortante que me daba un sentimiento de nostalgia y familiaridad e incluso identificado...

este sentimiento solo lo he experimentado con muy pocos juegos y el cual solo me lo ha dado obras muy de nicho y japonesas que salieron en los 90s o 2000s, una época que para los que me conocen, significa demasiado para mí.

O jogo mais importante da minha vida.
Não seria hipérbole da minha parte eu dizer que sem Yume Nikki eu seria uma pessoa completamente diferente da qual sou hoje, conheci a obra em meados de 2014 e desde então ela me acompanha a todo instante, nos momentos bons e nos ruins, Yume Nikki esteve ali de diversas formas; sendo ouvindo a trilha sonora que me acalma de uma forma meio mistica ou simplesmente abrindo o jogo e andando por alguns dos meus mapas favoritos.
Talvez a primeira vista Yume Nikki pareça apenas um jogo cult desconhecido, mas ele é muito mais que isso, ele é um projeto genuino sobre sentimentos genuinos, me ensinou a me entender como individuo e aceitar a solidão como algo aconchegante, me ensinou que sonhos são uma forma de olhar para dentro de nos mesmo.
A esse ponto nem sei se isso é uma review do jogo pq sinceramente ele é muito simples, é basicamente explorar e coletar diferentes efeitos pelo caminho mas alem disso tudo ele utiliza essa mecanica a seu favor pois Yume Nikki só é efetivo como é por ser um jogo.
Esse tipo de obra me faz lembrar pq videogame é tão impactante, da mesma forma que existem experiencias que só são fortes por serem filmes, ou livros como por exemplo house of the leaves, existem obras que necessitam de serem videogames.
Eu sinceramente não sei mais o que eu to escrevendo mas de todas as minhas analises nesse site essa talvez seja a que mais tem emoção envolvida.
Eu amo Yume Nikki e se pa vou continuar amando até o momento da minha morte