Irotoridori no Sekai Review
Without getting into the quicksand that encompasses "-ge's", their typing, and descriptions, I feel like a bit of romance, and "traditional", (fantastic premise, high school/teens, commonly structured routes) every now and then, are almost like a palate cleanser, after a disappointing experience. It's safe, predictable, enjoyable and comfortable. Another safe assumption, is that more particular VN readers, have a distaste for such commonplaces, and titles with those components. You could call it a bias, putting value in difference, or simply being tired of it (extensive read list).
How is any of this relevant to InS? Well, I'm happy to report that the writer definitely understands the inner workings of a VN, and how they can succeed. What's done here is a combination of giving "the people" what they want, demonstrating utmost care towards the reader understanding (a bit too much even), and raising the expected quality bar (writing), which might have been in the way, of the previously mentioned audience. You don't have to take that as something ironclad, or infer excessive positivity from it. All I'm saying, is that I was surprised with some aspects of the writing.
InS = Irotoridori no Sekai
"Characters/Story/Writing"
Now, I'm not trying to "bamboozle" you with this next verdict, but the extended premise (supernatural limits of the setting) of InS, is bordering on "offensive to your intelligence" with baseless "patchwork", and common imagery of non-related sources, as the worst offenders. It's a failed attempt at gathering different religious/mythological concepts, and mixing them together. I get that I'm neither Japanese, nor Buddhist (target audience), but when will they learn, that a cycle of reincarnation removes a great deal of "gravitas", from any narrative where avoiding needless death is a central theme?
How can I (as a reader) be invested in saving someone, who can just be reborn "endlessly", and experience all kinds of different lives? (it's one of those fundamental differences that can't be fixed, I suppose) I had little interest in a substantial part of the "true end route" thanks to this notion being stuck in the back of my mind. (I understand that the positive message is the point, but this doesn't work for me).
With that off my chest, let's move to "greener pastures". The characters in InS are notorious for breaking their archetype, just enough to avoid criticism. Most of it is done through means of breaking "tropes", when interacting with the protagonist. For instance, the childhood friend doesn't continue an endless trend of jealousy; The "klutz" turns out to be academically inclined with good reason; The unmotivated (shut-in) girl is strangely competitive; The energetic, hard working "kouhai" tends to get depressed easily. The teacher isn't drinking beer ,and is not looking for a husband (remember, title was released in 2012). The usual "shenanigans" are still there, but an effort was made to escape them, and that is worthy of praise.
While in the subject of heroines, you could say that InS has a "True ending heroine", 2 main heroines, and 2 sub-heroines. What's interesting about this distribution, is the fact that the "true ending heroine" is very appealing, right from the start. I will say that the following is incredibly subjective, but "Shinku" (the heroine in question) might be detrimental to the rest of the cast, due to how comfortable, and established, her relationship with the protagonist already is at the beginning of the V.N. I'm not sure if this counts as negative, but what I just stated, combined with her lack of screen time during "her own route", made for (what I consider to be) a mistake, in terms of reader reckoning (heroines) and general appeal of the cast. This one is totally up to you, however.
In regards to the writing, it has left a positive impression on me. The build-up to mystery, that is usually associated with the concept of "amnesia", being paired with a policy of openness, the likes of which I don't remember seeing in any other V.N. would be enough to immediately recommend InS. This writer is very worried with the reader, and its understanding of the narrative. Little details will be explained (add-up); Summaries are provided (characters, worldbuilding); VN tropes, that you probably find suitable by default, receive some attention (logic); Conflicts of information are usually solved fast (within the same sequence); Most loose ends are addressed in the final route (less than brilliantly, but I have seen worse).
It feels like the writer is playing by its own rules, if that makes sense, unlike some other "mischievous" examples within the medium, that will go unnamed (spite hurts your lifespan). I might as well exemplify: Imagine "narrative fact 1" is associated with sleep, the writer will address variations of it like napping, and remove that from the range of possibilities. Imagine that character X appears far from its usual "hangout" to save the day. There will be an explanation as to how such was possible... InS has dozens of these (personally, it gets annoying, but it's still a positive).
Another thing, is that InS is filled with good insights (life lessons, you could call them), that are delivered subtly, without pretension, and within context (many VN's fail when trying to do this, even "big names"). It does feel like some personal wisdom is being imparted upon the reader, in very agreeable (non-intrusive) fashion. Overall the writing style (and the all the crying, I guess), is the biggest selling point of InS, as far as I'm concerned. Let's enter neutral territory now.
The use of (many) short term flashbacks, isn't exactly something new in the medium, but the situations where you "go back" a few minutes in time, to make a description of events seem too common, especially when the choice of continuous, logical storytelling is available. I didn't think too deeply on it, and writer's style/creative freedom should flow unimpeded, whenever nitpicking is the obstacle. I will still argue however, that more "fanciful streaks", could be swapped with focus on the cast, and their interactions (one of the weaknesses of InS).
While on the subject of interchange, the problem is that most of it flows through the protagonist, and (just) one heroine. There are group sequences (usual comedy, lighthearted moments), but relationship growth and establishing dynamics is not a priority. When the cast gets together, the frailties of the writing immediately surface, and "meta-commentary" is the saving grace. (I don't see it as a serious problem, the focus of the VN is "one-on-one dialogue". It could be a lot better, though).
Let's end this parameter with some assorted info: Main heroines (Shinku, Kana, Mio) have enough going for them (plot); It's best to be prepared for new story elements to come out of nowhere, even "later on" (no hints); Plot moving points are a bit forced, but within acceptable; Most inconsistencies (plot holes) are solved in the final route (I have some doubts regarding time dilation, but it's petty stuff); The V.N has very strong focus on the why/how people fall in love; And I found a couple of ethic conundrums presented, to be compelling.
"Themes/Emotional Segments"
As I stated at the beginning, I would prefer to stay away from universal classifications on typing (VN's have grown to share elements like S.o.L, comedy, sex, story, focus on character traits, drama, and more, in a way that is hard to separate them neatly), but it's safe to say that the emotional segments in InS are a priority (lots of them) to the writer. Generally speaking, these fulfill their purpose (elicit a reaction from the reader) but I find that the themes used to convey such, were the real value here. For instance:
Overcoming trauma; Difficulty of opening to others; Fear of commitment; Fear of death; Value in self-sacrifice; indecisiveness (breaking habits); Accepting that which cannot be changed; Memories and experiences make YOU; Struggling against fate (being upset with god); How walls form between people; Grief and associated concepts; Loneliness; Individual powerlessness; Self-validation (You could summarize it as "what it takes to face reality").
It's a good display of what makes humans "tick" (rendition of human weakness), and there's some heartfelt sentiment (major positive), mixed with signature "cheap shots". It's also true, that some sequences feel too long, extended for no reason, other than a continuation of the initial (many times artificial) "mood swinging", and the writer doesn't shy away from introducing new components in the story (with only scant hints up to that point), to further expand, a feeling of distress (and more) in the reader.
"Technicals"
First up are visuals: Art style is OK, there are a few low quality CG's, but their number is adequate (some super deformed CG's are present, they are not very good). "Sprites" are limited; Backgrounds are diverse, but not great. Not that many effects, camera shots, and most shocking of all... no "first kiss CG" (appalling!).
Next up sound: The OST has a good number of songs, and individually they are fine. The main issue is the current track not fitting the moment, playing for too long, or disregarding proper timing, and consequently breaking the "segment type". I believe "over the top", sums it up well enough. The piano tracks + emotional moments still do their job, but that's not much of a compliment
I have heard terrible V.A in entertainment coming from Japan, and what we have here is not it. It is however, the bare minimum (low effort) being delivered, and very easy to dismiss. I will admit that "Shinku" has a rare tone of voice, but she also suffers from monotone, rigid delivery, and slow pacing. In clear terms: Many lines feel like they are not being brought to life by professionals. The protagonist is silent, the sound effects are plentiful, but terrible in quality, timing, volume, appropriateness... (The lockpick sound is the same as "Morrowind", so all was forgiven).
Structure/pacing have little to report. The common route is very long, and things are divided in traditional fashion, with very few choices. All the explanations, and plot connections took their toll, and the march of the narrative ended up being obstructed, for periods of time. It's a lot of "clutter", material that serves no real purpose, and could have been eliminated, or streamlined for the reader's enjoyment. Duration of the VN, and engaging content are at odds, in my opinion.
(Unrelated, but I'm placing it here) InS has a good number of options, and convenience. Humor reaches its highest point, when the "meta references to eroge drop".
The H-scenes don't get their own section, this time around. They only exist to signify that heroine and protagonist, are now officially together. It's "vanilla all the way", if you will. Maybe if "Loli fox" and "Milf fox", contributed to the action (preferably together - "oyakodon") I would have been able to conjure up some enthusiasm. That not being the case: The H-scenes are there, enjoy the "missionary out of it".
"Hidden Meanings (symbolism)"
InS is far from one of the best VN's, when it comes to "content" with unclear meaning, but there's a strong focus on symbolism, in particular with objects. A lot of these are connected to the themes I already mentioned above, (personally interesting by default) but the best thing about it, are the multiple interpretations. Here are some examples:
The sky and its color; The feathers and their color; The book (diary); The lighthouse; The grandfather clock; The wind (turbines); The types of butterflies; The library; The color of the Moon (Moon being broken too).
Nothing too convoluted, they translate to concepts like freedom/restraints; Tangible/intangible; Reality/dreams, Will/lethargy. It's just an example of going the extra mile when writing.
"Is InS as good as its ratings suggest?"
It's complicated (when is it anything else, one could ask). It is assuredly true, that a significant part of what's accomplished here impresses, but that blends with many ordinary VN tropes, and creates a strange dichotomy. If you were to ask me, I'd say I was pleased with the writing, and message of InS. I still don't feel as "strongly" about it, as other reviewers, or the reactions you may have observe in other platforms.
Where is the complicated part then? VN promotion. Is it really that bad to say that something is slightly better than it actually is, in order to promote the medium? The answer is "ni!". Degrees and scales are in order, and objectivity is not something to strive for in a review. What on earth is my point then? The highest 7 and the lowest 8 are completely different, to you who is currently reading this review. To me, they are just a speck that clears my conscience (decimals wouldn't help sadly, things would get even more tangled).
"Score"
Irotoridori no Sekai is a 7/10, a good VN that surprises you with its writing, moves you with some of its drama, and bores the life out of you, with more things than I care to enumerate. I would recommend it, if you place great value in an honest style of writing specifically, and supernatural mysteries in general. The "Nakige" (there, said it) side of things never resonated with me (not completely), and the "traditional" I alluded to initially, is plagued with many different issues. I'm still glad I read it.
(This review is also on VNDB (same author), the copyright is feeling fine, don't worry about it)
