I've rarely encountered the game that was such a miss with me.
It's got a very, very, very slow situational flow. The characters sit in empty rooms, wander empty halls, walk empty streets, and have long conversations which are presented in the most unappealing way possible.
An illustration is due. I'll make you a storyboard. It's a scene early in the game.
The main character learns that his friend/nemesis has died, and meets with another friend to discuss it.
1. [MC sits in a chair with his mouth open] What a fucking mess
2. [no changes] And poor Viridiana. First her parents, then her grandparents, and now her brother?
3. [no changes] Has anybody told her yet?
4. [MC closes his mouth, another character is speaking] Brent: We didn't have to. She learned the same time as us.
5. [MC opens his mouth] Fucking hell.
6. [MC closes his mouth, another character is speaking] Brent: I can't imagine seeing such fucked up stuff at nineteen.
7. [MC looks away from the camera, thoughtfully, still sitting, in a deep thought]
8. [he opens his mouth and raises his eyebrows a bit ] I can unfortunately...
Like what the actual fuck was that. I abhor every click of the mouse.
Did you notice the flow of information here? It's over-expository and cryptic at the same time. Hey, Viridiana is a sister of a dead man! She's nineteen! She lost: [1] her parents, first, [2] her grandparents, second, [3] her brother, now. What a tragedy. I'm sure the sequence of her losses plays the part in the narrative (really doubt it).
On the other hand, there is a hint of something hidden, something deep, something terrible in the main character's past. He can imagine such a loss, he can understand it. Believe me, it's not the first hint you'll encounter during the first hour of the game. Do you think it's the fourth one? Nah! And maybe in five thousands clicks and thirty hints later I'll learn more!
It simply doesn't work for me — on some visceral level.
But! If you, dear reader, look closely at the storyboard above you may see something interesting. It has three characters: two are present, one is offstage. They are different. One of them can't imagine such a loss. Another one can. There is a third one, and she has her own story-hooks that may be capitalized on later.
There are such hooks for everyone.
Let's take a look at another scene. The main character is in the club, he's having a brief discussion with a woman. She seems vaguely interested in him, they may even kiss to scare off the guy hitting on her.
The main character returns to his friend and they discuss this woman. The main character gives a long rant that this woman is too good for him — she is rich, educated, smart. He knows such women. He is not worthy of her. More than that, he feels intimidated.
The buddy replies: nah, you know shit, my kiddo. She just needs a good man.
Then you, choosing a reply, may tell him to court her himself if he thinks so.
Alright, what do we have her? We actually see a story-hook, the seeds of a character arc. Who is she really, deep down? We have two conflicting interpretations on top of our previous impression. More than that, this conversation isn't just about her. It's also about MC and his vulnerabilities. It's also about his friend, appreciating the beauty from the distance. Does he consider himself unworthy as well? This scene also hints at some branching routes.
Do you know a lot of AVNs which pay so much attention to the characters? I can hardly name five or six.
But I simply can't make myself follow through with this one.