I’ve been playing Innocent Witches for years, since the days of the old plot, and it is understandable why so many people are dissatisfied with the long degradation that has led to its current state and bleak future. Innocent Witches v0.12.1 is a point-and-click adventure game with minigames, visual novel elements, and an immense amount of bloated dialogue, created by Sad Crab, a company that unfortunately did not plan the game’s structure well enough to use its limited resources efficiently. This resulted in one of the messiest developments in adult gaming history. The first and foremost aspect of the game, the main hook for any new player, is the stellar art by Valerii Siserg, possibly the best illustrator in the genre. Siserg does the heavy lifting throughout the toil that is navigating the unbearably slow gameplay of Innocent Witches, offering relief with his comic style filled with bright colors and beautiful details that few can compare to. The story is composed of large acts and smaller chapters in which you take the role of Marcus Redblack, a dumb new medicus (healer) at Hogwarts who is pushed left and right into a wild and wacky tale of mysteries. These mysteries become increasingly convoluted with each update, all while Marcus deals with the whims of the female prefects (students with additional authority) from the four houses. These feisty girls are also the main romance options for the player, but the developers decided to commit what is close to a crime in adult gaming by forcing the player to select only one of them early on, effectively removing a significant portion of content tied to the others. That being said, in act two, interactions with them are greatly reduced as the game decides to attend to other matters, seemingly deluding itself into believing that the audience would care about grannies, annoying ghosts, disgusting elves, and shoehorned aurors, despite the existence of four perfect romance options. The game’s initial concept is a very interesting satire of the Harry Potter series, with plenty of references and analogies. Many of these are made up, but they are still crafted with enough care to blend into the unstable world Rowling created. Unfortunately, it feels as though the developers are allergic to focus, wildly flailing between storylines that do not connect, or even outright changing characters’ personalities in order to cut and recut plotlines. It is shocking how much the developers forced a ragged Minerva on the player, even dressing her as a nauseating grandma cat in an attempt to entice interest, a failed effort, judging by audience backlash. Worse still is the repeated pushing of a revolting-looking elf into the player’s face, even during holiday events, wasting God knows how much time and money on useless panels, animations, and dialogue. You have four beautiful girls with very distinct personalities that every player will undeniably fall in love with. Logic dictates that all resources should be directed toward developing these relationships, without even conceiving the idea of limiting the player to only one of them. Instead, their differences should have been used to create varied quests and minigames, allowing Marcus to slowly grow closer to all of them at a pace matching their uniqueness. This would have fit his portrayal as a perverted scoundrel far better than forcing him to act like a mopey, lovestruck teenager with only one true love in his head. If the developers wanted to provide additional variety, there were plenty of less important students suitable for smaller quests and rewards, such as the short stories involving Gina or Parvati. Just don’t hurt the player’s eyesight in the process. The story is very long, and you feel every minute of it. For every small step in a quest, you are forced to slog through a hundred lines of heavily comedy-inclined dialogue, plagued with incessant interruptions and boring quips from professors or portraits. Rarely does a line actually land well. Most of the time, the writing kills the intended mood of the scene, until the fast forward button becomes irresistible. The changes in writing style become increasingly noticeable as the chapters progress and the old plot mingles with the new, highlighting severe cuts and rewrites that even affect certain characters’ personalities. In conclusion, Innocent Witches stands as the biggest waste of potential in the genre. The original concept was perfectly on point: you would play a blockheaded new headmaster, very slowly finding your footing, improving your status and relationships, perving on the prefects, lowering their inhibitions, completing personal quests tailored to their personalities, and solving one or two major mysteries behind the scenes to save Hogwarts and become an unexpected hero. Somewhere along the way, however, the developers decided to burn the writing and instead drive players insane with an endless barrage of dead ends. Slow-paced games are not the problem. Everyone can enjoy a slow-burn story that grows progressively more radical until a volcanic climax, but when you have ten years of development and so little progress with the main cast, while slapping your audience in the face with rewards no one wanted or even understood the purpose of, your product becomes a source of mockery. This is a unique case of a project losing its way during development while ignoring thousands of warning signals from a very vocal audience, resulting in an absolute mess. It saddens me greatly to say that even years later, Innocent Witches is still far from being a good adult game.