#I FUCKING HATE THE NEW EDITOR IT WON'T LET ME MOVE THE IMAGES TO BE NEXT TO EACH OTHER

[thatlittledandere]

Akechi really told on himself like that.

Part 1 | Part 2 | Part 3

#persona 5 #sojiro sakura #ryuji sakaoto #makoto niijima #futaba sakura #morgana #persona 5 morgana #ren amamiya #akira kurusu #ann takamaki #goro akechi #pegoryu #shuake #my stuff #I FUCKING HATE THE NEW EDITOR IT WON'T LET ME MOVE THE IMAGES TO BE NEXT TO EACH OTHER

[caswellprmanager]

the caswell wears prada

read it on ao3!

Summary: EJ's style is simple and functional but Ricky discovers he's capable of more than just letterman jackets and white sneakers. (Part 4 of my trans!ej and genderqueer!ricky AU.)

Author's Notes: I have this little headcanon that EJ used to model baby clothes when he was a baby. Then only went back to modelling once he transitioned to the point he was comfortable enough. Also not me giving Ashlyn's parents a purpose except for just leaving the house empty enough for Ashlyn to throw parties. Hope you guys enjoy!

Warning: Implied Sexual Content at the very end but since it's not explicit, I'll just let y'all use your imaginations.

Ricky has almost exclusively seen EJ in basic white boy clothes. It's usually just a nice fitting t-shirt, some branded jacket, jeans, and branded sneakers. It's not exactly avant-garde but Ricky can appreciate the fact that EJ has found a distinct style that's both understated yet elevates his already good looks.

But from what Ricky has learned in the few months that they've been dating EJ is that just because he dresses like that, it doesn't mean EJ does not have an eye for fashion.

Ricky learned this one day when the two of them were hanging out with Gina and Ashlyn at Ashlyn's house.

Ashlyn's mom was the Editor-In-Chief of an editorial fashion magazine that focuses on highlighting brands that promote sustainable fashion. She also runs a design company herself. Every other minute, she'd be going in and out of her design studio with a phone against her ear and a different meter of fabric in her hands. Her job is also the reason why Ashlyn's parents aren't usually home. Ashlyn's mom would be invited to different fashion events or she'd meet with a client about a new start-up. Ashlyn's dad accompanies her so that she wouldn't overwork herself.

None of that is new to Ricky. What is new, however, is EJ's involvement in her work.

"Ashlyn!" Mrs. Caswell rushes in, a hundred different scarves wrapped around her neck. Ricky wonders if she can breathe beneath all that cashmere and silk. "Darling, I need your help."

"What is it, mom?" Ashlyn asks, pausing the movie the four of them were watching.

Instead of responding, Mrs. Caswell just runs back to her home studio with a hurried click of her heels. Ashlyn looks at the rest of the group with a shrug, moving to stand up until her mom comes rushing back in – this time with a little purple hat perched on her strawberry blond locks.

"EJ, sweetheart! You come too. I need your opinion on a few things." Before any of them could say anything, she's disappeared back into her studio in a flurry of scarves and sequins.

EJ doesn't even bat an eye and moves to follow his cousin out of the living room. Ricky grabs his hand before he could leave, asking him what Ashlyn's mom wants his opinion on. EJ isn't exactly Paris Fashion Week, if Ricky was gonna be honest.

EJ just smiles, placing a chaste kiss on Ricky's lips before saying, "I'll tell you when we get back."

With that statement, Ricky and Gina are left alone, both feeling more confused than before.

"Does that happen often?" Ricky asks Gina, who is picking through the popcorn bowl.

"Ashlyn's mom being weird?" Gina tosses a popcorn kernel up into the air before catching it into her mouth flawlessly. "I've seen Ashlyn help her a few times. But I haven't seen her call EJ into that room before."

"Yeah..." Ricky picks at a loose thread on their jeans. "Didn't really peg EJ as the fashionable type."

Gina pauses in her pursuit of the perfect popcorn kernel and raises a questioning eyebrow towards Ricky. "Hold up... EJ never told you?"

"Told me... what?" Ricky started to panic a little bit. They never liked hearing ominous phrases like that from other people. It fuels their already present anxiety about dating someone who is way out of their league like EJ – someone who could leave Ricky at any time if they realize that Ricky will never be good enough for them.

Gina seems to realize this quickly enough and she tries to diffuse the situation before it gets worse. "Oh! No no no, Ricky, it isn't bad!"

"Then what is it?" Instead of answering, Gina just looks over shoulder at the direction of where the Caswell Cousins went to. After a few seconds of making sure the coast is clear, she tilts her head and motions for Ricky to follow her.

Gina leads Ricky to the spare guest room that EJ occupies sometimes when he doesn't want to sleep at home. In fact, sometimes this room is literally just called EJ's extra room because he's here so frequently. Ricky's napped here a couple of times so it isn't a new place. But he's usually too tired to explore it due to some recent emotional problem or another.

By the far wall is a dresser that Ricky hasn't ever thought to look through. Gina beckons him to come closer as she opens the bottom drawer.

"Ashlyn showed me this when I first moved in. We had to call EJ immediately after because I just had... so many questions." After a few seconds of rummaging, Gina brings out a small stack of magazines triumphantly.

Ricky recognizes the magazines immediately as the same ones Ashlyn's mom is the Editor-In-Chief for.

"Are those...?" Ricky asks and Gina nods excitedly, motioning for him to sit down next to her. The two of them peer through the old issues together, pointing at things they think would look nice on them.

Before they turn to the middle spread, Gina turns to them with a serious look in her eye. "Ricky, I need you to brace yourself."

Ricky tilts their head in confusion. "For what?"

"Just," And Gina can't even hide her giddy little smile. "Get ready."

Ricky can't even bring themself to respond before Gina is showing them the middle spread of the magazine. Their mind skids to a halt when they see a younger EJ staring back at them from the glossy pages, dressed head to toe in the finest three-piece dress suit Ricky's ever seen.

And it isn't just that, EJ's all over the spread – dressed in all kinds of outfits. From gorgeously crafted lace button downs to tastefully styled overcoats – EJ models the shit out of them. Ricky scans the pages in awe because they've never seen EJ wear stuff like this. Sure, they've seen EJ in a suit during homecoming but not one with embroidered roses across the vest or paired with diamond encrusted gold jewelry.

Gina turns the page and Ricky lets out a small gasp.

It's a two page Ashlyn and EJ spread – the cousins looking absolutely ethereal dressed in the most delicate fabric embroidered with flowers along the seams. Their skin is glowing beneath the sunset, the light catching at the highlights on their cheekbones. But what really got to Ricky is one very small but powerful detail:

The flowers along EJ's shirt and the makeup he's wearing are in the trans flag colors.

"Ricky, look." Gina points at the small interview portion at the corner of the page, smiling when Ricky reads it and realizes that it's about EJ.

E.J. Caswell – Teen Transgender Model

"I've been avoiding modeling since I started transitioning and coming back to it was really scary." Says teen model E.J. Caswell. "But when my aunt gave me the opportunity to finally speak my truth through fashion, I knew that I wouldn't regret this decision in the long run."

"There are still so many moments where I hate my body. It's gonna take a while until that goes away. And maybe it won't. Ever." E.J. tells us with a sad smile. "But this is a start – and I get to style some really cool clothes while I'm at it!"

When Ashlyn Caswell was asked about the significance of this project to her cousin and to future transgender models, she smiled softly, making it abundantly clear how much she adores her older cousin. "E.J. is one of the bravest people I know. He's always been an inspiration to me and I'm so proud of him for doing this on his own terms. Plus, I'm really happy he asked me to be a part of it with him. But don't tell him I said that! I'll never hear the end of it."

"She said that?" E.J. said with barely concealed glee. "Aww, Ashlyn!"

Ricky and Gina giggle at the mental image of EJ probably giving an exasperated Ashlyn a big bear hug after his interview. Ricky can't help but stare at the spread again, lightly trailing his finger over EJ's face with a soft smile. He really is so beautiful. Ricky sometimes can't believe that someone as gorgeous as EJ is real.

"Looks like Gina beat me to it."

The sound of EJ's voice by the doorway makes the two of them freeze and turn to see both Caswell cousins looking at them with knowing smiles. But Ashlyn and EJ weren't wearing what they were wearing before Ashlyn's mom called them for help.

Instead, Ashlyn was wearing a floor length pink chiffon dress with embroidered roses scattered along its sleeves and body. EJ was wearing a dress shirt of similar color and material, pairing it with white dress pants and a ruby encrusted rose broach.

"Well look at you two supermodels!" Gina squealed in glee, bounding over to gush over Ashlyn's outfit. Ricky stays rooted in their spot on the floor, their eyes never leaving EJ's. EJ approaches them slowly and takes a seat on the bed next to Ricky. He moves into an effortless pose, making Ricky blush more than necessary.

EJ smiles at them, eyes sparkling mischievously. "Hi."

"H-Hi." Ricky says, moving to face EJ with shaky legs. "You look nice."

"Just nice?" EJ leans down with a smirk, a lock of hair falling to his forehead like some goddamn romance movie. Ricky didn't even notice that even his hair was styled differently. Was EJ growing his hair out? Why didn't he warn me?

"I'd say something dirtier but I don't wanna traumatize the girls." EJ laughs at that and Ricky could only stare at the way EJ throws his head back with the most beautiful smile they've ever seen.

This isn't fair. EJ is sitting here looking like he was plucked straight out of a Vogue magazine while Ricky's sorry ass is on the floor in pajama pants and an old hoodie. Fuck. They should have texted Kourtney for help with their outfit today.

"You're so cute," EJ leans forward even closer, so close that EJ's able to lightly graze their noses together. "Maybe I should dress like this more often to make you blush like that."

Ricky contemplates on the statement for a bit, imagining what it would be like if EJ were to wear more designer clothes to school everyday. EJ right now certainly looks confident and cool. Plus, he gets the added bonus of Ricky looking extra flustered around him.

But at the end of the day, it's EJ's body and EJ gets to choose whatever makes him feel good.

Besides, Ricky fell for EJ without all the bells and whistles.

"You don't have to wear fancy clothes to make me think you're gorgeous." Ricky says before they can stop themself from saying it. But it's out now and there's no turning back. EJ's eyes widen but they eventually soften after processing what Ricky said.

"It doesn't matter what I think, though." Ricky says, reaching for EJ's hand. "What matters is that you're happy. Whether you're wearing a potato sack or Versace. As long as you feel comfortable and you're seeing your favorite self in the mirror, I'll tell you that you're the most handsome boy in the world."

Ricky scoots closer to place a soft kiss on EJ's nose before pressing their foreheads together. Ricky can't really tell who's smiling wider from this angle but they didn't care.

"My handsome boy." Ricky whispers, lightly tracing EJ's bottom lip with their thumb. EJ smiles even wider at the sound of that and it never fails to make Ricky happy seeing EJ so happy.

They're about to move in for another kiss when they hear Ashlyn cough from the doorway.

The two of them separate abruptly, both blushing profusely as the girls giggle behind their hands.

"We'll leave you two alone," Ashlyn says, grabbing Gina's hand to pull her back to the living room. "I'll tell mom you'll be late for dinner."

As soon as the door closes behind the girls, Ricky turns back to a still blushing EJ, a small but urgent thought manifesting to the front of their mind.

"I should take this off-" EJ doesn't even get the chance to finish his sentence before Ricky is pushing him down on the bed and straddling his hips. "R-Ricky?"

Ricky smirks, placing a single finger on EJ's lips as they lean forward to whisper in his ear,

"I'll help you take it off." EJ lets out the smallest whimper at that but Ricky shushes him, blowing against his earlobe. "But you have to be quiet, handsome."

As soon as EJ shakily nods his head yes, Ricky gets to work.

Unfortunately, they're more than a little late for dinner.

---

A/N: I've added some reference pics below if y'all want a better image of what EJ and Ashlyn were wearing hehe :>

#ej caswell #ricky bowen #caswen #gina porter #ashlyn caswell #hsmtmts #hsmtms fanfiction #trans!ej #genderqueer!ricky #cloud's writing now

[sally-mun]

As someone who hasn't, wouldn't, and won't be experiencing Major/Minor (or whatever it was called) could you perhaps analyze more specifically some of the things you felt were missteps more in depth, so others who decide they might want to make a visual novel or even just a story, might be able to avoid the same issues? I realize this might not be your area of interest, but I'm always interested in these kinds of analyses.

Man, where do I even begin.

I suppose I should start by saying that this game could have been fine; I don’t necessarily hate this game for the story, even if I think it’s uninspired. I play lots of point-and-click games and usually enjoy them (even the stupid ones) so long as they have merit in one area or another. But that’s the core of the problems with Major/Minor: It has NO merit to work with. Its construction shows absolutely no understanding of this genre of game design. Or of writing. Or of entertainment in general. Or of simply respecting one’s audience.

First and foremost, let’s discuss visual novels.

The critical difference between a novel and a visual novel is interactivity; a novel is a set and done deal that takes its readers along for the ride, whereas a visual novel invites the readers to be part of the ride itself. The direction of the story is influenced by the player, and this allows them to personally take ownership of later events. It’s the sort of game that tries to put you in the role of the protagonist in the most direct form possible. Like other first-person games your view as a player is exactly that of the character you’re playing, but in a VN’s case it’s like reading a comic book in a choose-your-own-adventure format.

Major/Minor not only fails on both the visual and novel elements, but it also fails when combined as a visual novel.

1) Visual

For the most part, visual novels don’t have a lot of action. They primarily consist of conversations with NPCs and usually take place in static locations. For this reason, both the characters and the environments need to have a lot of personality. Players need to feel like they’re actually having conversations with the characters and that they’ve entered a unique location that sees real use. This is the red, meaty center of how VNs engage and gratify their players.

Designing characters in a visual novel is about more than giving each one a different face; it’s about giving each character enough of a range of actions and emotions to sell the idea that the character is actually interacting with you, and in a way that’s truly unique from every other character. In real life, people do all sorts of crap when speaking: Our expressions change, we gesture with our hands, our posture varies, and sometimes we even have small ticks associated with certain topics or emotions. Between these visual cues and the actual discussions themselves, players ought to know the NPCs well enough to be able to describe them like real-life friends by the end of the game.

This brings us to Major/Minor’s first serious offense: Every character has one face. Typically in a VN, each character has a minimum of half a dozen expressions, poses, and gestures/ticks to match the different emotions they’ll need to exhibit over the course of their conversation topics. The characters in Major/Minor can only make a single expression and pose throughout the entire game, which immediately leads to some seriously disjointed discussions. It’s hard for me to take a character seriously when they say they’re angry with me when the art staring through the computer screen is bright, cheerful, and apparently mid-laugh. Sorry, NPC #672, I really don’t care that you’re allegedly on the brink of tears, because your singular piece of character art is so smarmy and mischievous that I forgot you were trying to tell me something tragic.

What makes this even more annoying is that most of the characters DO have a secondary piece of art, but it’s only ever used ONE time as an introduction to a new character before the game chucks it in the bin and we never see it again. Each character COULD have had at least two expressions if the dev had planned his commissions carefully enough, buuut instead he chose to get two shots that are barely distinguishable from one another so there could be a ~=*FLOURISH*=~ when we see someone for the first time. Granted, two per character still isn’t anywhere near enough, but it’s a hell of a lot better than just one! It makes me wonder why he bothered to spend the money on a second image for each character at all, since half of these commissions only get about 10 seconds of screen time. What a waste.

And hey, speaking of wasted opportunities, let’s talk more about the environments! Lots of visual novels don’t spend much energy on their backgrounds, and although that’s usually fine (albeit not my first preference), Major/Minor seriously needed to think more about its settings. For the moment I’ll ignore the laziness of the fact that the backgrounds are generic photos with a blur filter over them; what’s more important is that this game loves to tell us all kinds of random crap about the rooms we’re in, especially during the scenes that take place in Japan. This game would’ve benefited dearly from simply having more detailed backgrounds and just letting us observe the goings on of the room on our own. Y’know, because that makes it more... visual.

Honestly, if it were me, I would’ve taken it all a step further and gone full-blown Ace Attorney on the environments. In AA games, investigating the scene is very important because you have to look for clues. I’m not saying Major/Minor needed to let you hunt for items, but I do think that it could’ve cut a ton of random information from the text by simply letting us inspect the backgrounds. That way the players that want to know what a kotatsu is can find out on their own time and players that already know or don’t care can move on.

Something else that would’ve brought the game a much-needed boost of interest is cut scenes. As noted earlier, visual novels don’t tend to have a lot of action, so when something physical DOES happen, it makes an impact. One way to maximize that flash of excitement is with a cut scene – or at least, the visual novel equivalent of one. A “cut scene” in a VN isn’t typically a full motion video like most video games boast; it still makes use of a static image, but it’s an image whose quality far surpasses that of the rest of the art in the game. Maybe it’s abnormally large and the camera slowly pans across for dramatic effect, or maybe it’s a scene drawn from an interesting angle that isn’t the player’s POV. Some games take this even farther and really do animate their cut scenes a bit (usually on par with a nice animated gif). Lots of VN cut scenes make use of sound effects or action-specific music cues to keep the player emotionally involved with the scene, as it’s a moment that’s out of the player’s control.

Major/Minor, on the other hand, does none of this. Much like the drought of facial expressions, the game simply pelts you with paragraph after paragraph to tell you about the events taking place around you, rather than simply letting you see for yourself and be, y’know, involved. Even a handful of cut scenes that had some real effort put into them would’ve really given this game some pep. Not only would it have kept me engaged as a player, but it would’ve weeded out even more unnecessary narration.

Oh, and speaking of weeding shit out of the text…

2) Novel

The writing in this game badly, badly needed to be edited. Like, so badly it makes me physically hurt from how poorly this text is constructed. I’m not talking about the simple things like misspellings and failed capitalizations, I mean BIG mistakes, like sentence fragments and improper conjugations and completely misusing some words all together. It’s also excruciatingly repetitive. Never in my life have I ever seen prose that recaps itself so frequently – sometimes literally within minutes of the event that it’s reminding you of. It even recaps itself within the same block of text a few times.

It’s pretty obvious the dev never allowed a seasoned editor to proof the text, but it’s so unbelievably bad that I’m not even sure the dev himself ever gave it a second glance. It reeks of being a first draft that was never once revisited; actually, it strongly reminds me of the sort of stories I myself wrote when I was about 13. At that time I wanted so badly to write big, dramatic stories! Stories that had deep themes and lots of intrigue! With a complicated plot and several subplots!! And lots of characters that would all totally be different and completely matter!!!! But the problem was I was so wrapped up in wanting to make my stories big, impressive epics that I stretched myself way too thin and everything came out incredibly shallow. It’s honestly kind of eerie to think back on the things I wrote as a kid while I play this game. The similarities are so striking that I can’t tell if this is something the dev wrote at that age and just never decided to polish, or if he did write it as an adult but has the writing skill-level of a teenager.

But honestly, I’d overlook all the technical flaws and melodrama this guy could throw at me if he would just show and not tell. “Show, don’t tell” is one of the oldest rules in the book when it comes to storytelling, and for good reason: Telling instead of showing is not only fucking boring, but it treats the reader like an idiot. If a writer knows what they’re doing, they shouldn’t have to tell, because they’d just demonstrate those things instead.

For example, let’s examine another huge flaw with the writing: Incredibly shallow characterizations. Early in the game the player meets a character named Rook. Rook is very rude. I know this because the game tells me. All. The. Time. I legit don’t remember how many times the game has mentioned that Rook is rude at this point. The dev seems completely oblivious to the notion that you don’t have to tell the player these things. You can just… write Rook as being rude. Trust me, my dude, I can figure out if a character is an asshole or not. Not only can Rook’s rudeness be demonstrated by how he treats me as a player, but it can be further reinforced by other characters reacting to him in a put-off manner. If you’re so concerned that I won’t pick up on the fact that Rook is a rude person just based on how he behaves, then you’re doing it wrong, end of discussion.

But then, as I said, the characterizations are shallow in general. Everyone tends to have their one basic trope and the story rests on the idea that you know what the character is. None of the scenes go out of their way to really dig into who someone is – which is kind of amazing, honestly, since the prose is so obsessed with making sure you know the most inane and unrelated shit half the time – and even after I’ve known a character for several chapters they still feel like a cardboard cut-out to me.

To be honest, I’m kind of impressed by the sheer volume of ways that Major/Minor fails at showing instead of telling. It tells you what characters are like instead of just letting you interact with them, it tells you about the places you visit instead of just letting you view them, it tells you every single time the characters have a mood shift or expression change because it couldn’t be bothered to give them each more than one face, and it hamfists unnecessary information into the script where it’s unneeded and interrupts the scene – and THEN, it makes SURE you notice that it’s telling instead of showing by repeating those things over and over and over again!

All of this is further exacerbated, by the way, because the dev has no idea how to tell a story in the first place. Even with all the above flaws, I miiight have still been able to enjoy this game if it was just a compelling narrative in any sense of the word at all. I will happily deal with poor construction and telling-not-showing if the story still has some intrigue. Even a flawed story can have a mind-blowing plot and keep you reading just to find out what happens next, right? I thought so too, until I realized that Major/Minor goes SO far out of its way to spoil its own plot that it frequently makes you sit through scenes that you, the protagonist, are not even present for. Yes, in a game that’s built upon being a first-person experience, the story will slam on the brakes and take you OUT of the protagonist’s shoes to make you sit by as an observer to events that probably would’ve been an great reveal later on had the dev just kept his mouth shut.

3) Visual Novel

So the visuals suck and the writing sucks, but hey, lots of games get by without investing much in those areas. Could Major/Minor pull it together and at least give the player an interesting mechanic? Hahahaha no, of course it didn’t. As far as the gameplay is concerned, Major/Minor is so bad that in many ways I hesitate to even call it a game.

The cornerstone of visual novels is making choices. They can range from serious decisions that determine the overall outcome of the game or small cosmetic details, but either way, the core of this gaming style is putting the player in the driver’s seat as often as possible. When playing Major/Minor, however, the player is strapped into a straight jacket, blindfolded, and tossed into the trunk of the damn car. This game is so reluctant to surrender control of the narrative that it’s not uncommon at all to go through entire sections of the game having made no choices whatsoever. It fails so spectacularly as a visual novel that I’d be willing to bet that the dev had never played one before. He is astonishingly disinterested in what makes a visual novel enjoyable to the player.

There’s a principle in game design called Illusion of Control. The goal of this idea is to allow the player to feel like they’re in charge of the game while actually keeping them within strict boundaries. It applies to a lot of games, but it’s especially important in visual novels. Players need to be able to dictate how the story progresses, even if some of those choices make no real impact on outcomes. For example, players can enter conversation trees with NPCs that seemingly offer a lot of control – perhaps the player chooses the discussion topics, or can decide if they want to be shy or snarky in their replies – and yet at the end of the scene there could realistically be no change to the story’s progress. The greater point is that the player feels like they handled the conversation the way they wanted to. This allows them to still feel like they’ve gotten somewhere and that they accomplished something.

Major/Minor appears to scoff at the very idea of this, like the game’s worried you’ll cramp its style if it gives you too much power.The player is allotted no input whatsoever on how the PC treats the other characters, what subjects to discuss, where they’d like to go, how to react to the actions of other characters… It’s truly mind-blowing just how consistently the game misses opportunities to allow the player even the illusion of control. For example, there’s a scene where the player character (PC) is awakened in the middle of the night by a pounding on the door, and no options are offered on how the player would like to handle this. A better game might allow the player to choose if they want to pretend to keep sleeping, or call out to whomever is knocking, or try escaping out a window, or crack the door open to see what the person wants. Even if it’s an absolute necessity to the plot that this person enters the room, it’s still better to let the player choose, because there are a plethora of ways to redirect each of those options back around toward the character getting in.

Unfortunately, Major/Minor is just too damn lazy to be bothered with gameplay, and the PC just lets the stranger in with no input from the player. Soon after, the stranger attacks the PC, which would again be a prime opportunity for lots of reactionary options: The player could duck! Or the player could punch their assailant! Or maybe they could kick instead! Maybe they’d try to run away or call for help! Buuut no, Major/Minor really doesn’t care what you want YOUR CHARACTER to do, and it’s already decided that you’re going to put up no fight at all and immediately pass out. It’s by far one of the most unsatisfying things I’ve ever experienced in a video game.

The disconnect between the player and the protagonist is so extreme that I honestly don’t feel it’s a fair assessment to refer to the protagonist as the “player character.” It’s not uncommon for visual novel protagonists to speak in the first person, but in most games it feels like the PC is speaking on your behalf because they’re acting according to your will. The protagonist of Major/Minor decides so many things for themself that it stopped feeling like “my” character a very, very long time ago. This character isn’t me and never was; it’s the main character of a book that I didn’t ask to read, who very occasionally pauses to ask my opinion on something.

HEY HOWDY HEY SPEAKING OF PAUSING… If you boot this “game” up for a session, you’d better hope you have plenty of time on your hands to get through it, because you’re at the dev’s mercy for when you can save your progress. Being able to save anytime you want is a staple of visual novels because 1) people read at wildly different paces, and 2) for many people, excessive reading makes them tired. Not only that, but sometimes life just plain gets in the way and you have to pick up and go on short notice. Major/Minor ignores all of these factors and leaves the player relegated to appointed checkpoints throughout the game.

Now, I’m not necessarily saying that checkpoints are inherently bad, but they do need to be used very, very wisely. Any game (VN or otherwise) that doesn’t allow the player to save anytime they want needs to be sure checkpoints are reasonably close from any given location, and furthermore that they’re spaced at regular intervals. As I’m sure you’ve guessed by now, however, the dev flushed that idea down the toilet along with what was left of his common sense and parents’ love. Sometimes Major/Minor stacks save points practically back-to-back within the span of a few minutes, and in other cases I’ve literally played for over and hour before the game finally rewarded me with the option to save.

There’s no discernible pattern or technique that I can detect for when save points are bestowed on the player; you’re not even guaranteed an opportunity to save when the game switches chapters! I would say that I can’t fathom why the dev thought this would be a good idea, but let’s not kid ourselves here, it’s clear that the dev never thought this through in the first place. If he had, he might’ve noticed that players being uncertain about whether or not they’ll be able to save their progress discourages them from playing at all.

Also, before I fully move on from the game design, I just wanted to make a brief side note about the music. To be honest, I turned the music off a VERY long time ago, so I don’t even remember what it sounds like; however, I’ve read that all of the music in the game is from the free assets you get in RPG Maker. I’ve further read that the free assets (both audio and visual) were the entire reason the dev decided to use RPG Maker for this game in the first place, in spite of the fact that there are other programs out there specifically geared toward making visual novels. This is worth mentioning because it further highlights just how lazy this entire game is. It’s not a sin to use free program assets – that IS what they’re there for, after all – but when you ONLY use the free assets and then advertise your game on Steam for being sooo creative and original, AND have the gall to charge $20 for it?? Yeah, that’s a gigantic slap in the face.

Speaking of Steam, you’d think a game like this would’ve been weeded out by the gaming community for being the garbage that it is, right? After all, there’s a ranking right at the top of the page showing the proportion of good and bad reviews it’s gotten, and right now it says the feedback is “very positive.” I will say that I do take community feedback into consideration when I’m thinking about a game that I haven’t otherwise heard of before, and my misstep with this game has definitely taught me a valuable lesson. When I saw that the game is ranked “very positive” and I scrolled down to see several glowing reviews, I felt that was sufficient enough research to know if the game was worth my time and money.

However, upon trying out the game and realizing just how badly I’d been deceived, I did a little more digging. As it turns out, the dev is known for flagging negative reviews as “abusive” and getting them deleted, allowing him to effectively filter out the bad press so long as he can make some kind of a case to Steam. This debacle has taught me that it’s not enough to scroll to the bottom of a Steam page for user reviews, as those tend to be the most recent; what you do instead is click the “Read all [x] reviews” link, as those reviews are sorted by popularity. THIS is where you’ll find the reviews that the community has deemed the most helpful and informative, and in this case, it’s like night and day. ALL of the highest-ranked reviews of Major/Minor are negative, and the numbers are staggering. Literally HUNDREDS of people have ranked these terrible reviews as helpful, and most of them are in the 80-90% range on agreement. You have to load more reviews four times to find even one single positive post, and once you do start getting into the positives, the upvotes are significantly fewer.

SO, in conclusion...

I want to say that’s about all I have to give on this subject, but the sad truth is it’s not. I could probably critique this game line-by-line, moment-by-moment, if I really wanted to. Fortunately for my sanity, I really don’t want to. … Not right now, anyway. I’m sure I’ll lose it at some point and decide to go through and count all the missed opportunities in the game or something, but I won’t be doing that right now, thankfully.

So in the vein of others learning from the mistakes of this game: If you were thinking about buying Major/Minor, don’t. If you bought it a while ago during a sale and were thinking about starting to play it, don’t. If you’re interested in making a visual novel and wanted to learn from this game’s mistakes… Well granted there’s a lot to learn about what not to do, but still, don’t give this lazy, deceptive dev any more money. Learn from this guy’s shortcomings based on the feedback of players. Hell, read or watch a Let’s Play if you really want to experience it first-hand. Just please don’t buy and play this game. As a favor to ME, please don’t buy and play this game.

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#sciver #Sallymun plays Major/Minor #I hope you guys enjoy this because it was not easy #if you know someone who's thinking about this game please show them this post #REBLOG TO SAVE A LIFE