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I found funny the fact that you too read moege in the night. But, as for me, depending on the day, the effect changes (sometimes they are mental caffeine, really)... And... You seem more structural than me... ;_; I don't really worry about my conditions when it comes to reading.


Uhm, u have a good point but I was referring to the more "idionsyncratic" conception of the term. I think ひまなつ is a good exponent if we're talking about eroge. But well, when I feel better, I'll read さいはて.


I'm fine with it. Thanks for the advice!


I found the humor of C+C hard to adapt but that's definitely other leagues. I will need to read おれつば then. Shuumon will have to wait...

また(来週)ね ദ്ദി ༎ຶ‿༎ຶ )

ばんは！(creative greetings scarcity ╥﹏╥)

Omm, now that you mention “moege” and “console”, I can finally read on a psp emulator (i didn't install anything cool, only ぜろきろ). It would be pretentious to say but I understand a little your situation but if you can get through your days that way, its great. For curiosity, are you the type of person who dives into reading when you feel empty or bored? I cant avoid being intrigued by your words of “without needing to invest too much time and emotional energy”.

Well, as for what you told me about さくとき, you really have good points, but it's the first time I read an op like that, really. I wasn't really a fan of the first chapter, believe me. I can't understand your feeling but I think I understand what you mean. I really liked the theme. But maybe I didn't like it enough しずる. Or maybe it just wasn't kind of first chapter I expected. But after all, it's a matter of resonance. Aniway, I def feel a bit dissatisfied with that the dialogue feels more artificial.

And yes, I fell in love with Tanaka's writing sincerely. It really was a complicated journey and it was hard to adjust. A lot of his magic for me was in, as you say, that poetic feeling; and, even more, in the fact that he was able to penetrate me emotionally. And well, yes, he has an absurdly good command of language, he uses too many figures of speech in an impeccable way and everything I read felt articulate and thoughtful but above all, heartfelt.

Btw, I didnt know you had read Sakurai. I only know one friend here who has read him. He's one of the authors whose works have never caught my attention. Although the fact that you characterized as “theatrical”, doesn't bother me, heh, I think it interests me even a little more.


I see... that's exactly what I meant by “punctual”. Honestly, there is a certain “directionality” about the message. It's not a universal thing, so to speak. One of the reasons I appreciated it a lot was because C+C just like うた, deal the 人間の弱さ. It made me too nostalgic when ななか hugged たいち and said “弱いままでも、いいんだよ”. But well, really... I haven't read anything with C+C's level of writing. Right now, I'm considering reading さいはて (I remember you commented to me that you liked this one better), however, I doubt I'm anally up to it. I don't want to read anything so... strong (and dense)? I mean, moodily I'd prefer something more いやしけい or something with great comedy. I'm mulling between おれつば and あさいろ Do they seem like “softer” stories?Though I'm not going to read liar-soft (please laugh).


This passage is sensational for me. And well, I understand you a little, I didn't really feel it very monumental either. I've a strong aversion to “lick ones wounds mutually” relationships. But... it's ironic. Tanaka partially refutes and partially accepts this relationship type. Tanaka highlights the impossibility of 個人的な存在. We need that one receiver (I love the simplistic but effective form of “聞いている人”). It's not a transaction, it's an intersection, a rubbing. I feel like C+C is aimed at those types of people who on lonely nights sometimes turn on a bedroom light. I see a lot of people calling it a great story about communication but that's an understatement... It's a story more essentially about loneliness. I absurdly love your analogy of the 交差. An ephemeral human contact and then comes no-society. A fleeting perpendicularity. Was that epilogue simply the heart of たいち?

And if you ask me... some of my favorite words from Tanaka are:
あなたには誰かとの思い出が、ありますか？それは貴重なものです。決して忘れないようにしてください。孤独と向かい合った人の、唯一の支えだからです。
Those words not only touched my heart... If I have to be honest, I cried. They also show what C+C was all about. I told you I had serious problems with the kind of pacing of the story and even the inaccessible humor it has at times. But, trust me...this isn't really a story about that. In retrospect, it's a simple 思い出の友達 story that becomes so monumental. I promised myself not to talk a bit about the final broadcast. But I really can't.

But even in a passage that is not so dense or revealing, he can demonstrate his brilliance (or perhaps his sensitivity). The subtlety in approaching certain things. Choosing “健全さからは対角に位置する” instead of “正気を失っている.” That told me what kind of person he is. I could go on for hours complimenting his writing... I'll stop here.


I honestly have a weird fanaticism for how Setoguchi writes his stories. I haven't read that much of him yet, but I've confirmed that he's the essentially pessimistic type. Hes bittersweet. He can be surprisingly philosophical, and he has a particular skill, to develop such emotional moments while preserving realism and keeping the flow. It's stunning, really. But... he's maybe not my type. MUSICUS is almost perfect for me, it's so rich and incredibly “diluted”. It's one of the few works that I can say “great experience from start to finish”. However, Idk if there will be another work of his that I adore as much as MUSICUS. つめたいオゾン spooked me a bit perhaps. The darkness of that one is brilliantly conveyed but it stays there, it doesn't have that really insightful “twist of the screw”. It does propose some sense of response but it's a bit vague and bland. I need to continue SWAN SONG, but now that finished C+C I'm feel a bit down, I guess I'll put off reading it.


YES, that conversation reminded me of ecclesiastes as I mentioned. I remember I kept pondering it. But yes, つめたいオゾン broadened my view a bit of the kind of writer hes.


No worrie. It's not something you can see every day because it lasts quite a long time and... I think it requires a certain “state of mind”. But, regardless of whether you're a cinephile, I recommend you see it. Although well, if you're looking for a shorter trip with a more dynamic story watch Throw Down.

しぶりです。いかがお過ごしかね? :-)

So... I'm not sure what 2024 was like for you, but in my case, as for readings, very precarious. The only truly great eroge I was able to finish was さくとき. But well, this year started with my completion of C+C. And I think it's not wrong to comment beforehand that it's the almost the greatest work I've ever read in my life. I think I have a lot to comment on MANY things.

First, さくとき was a WORTHY reading, but in all honesty, I have my complaints even if I call it 神ゲ. Unfortunately, it was boring during during the first half of the game. The first few chapters are really slow, complicated my reading a lot. The new cast of characters didn't convince me (the drama of しずる and れいか is bland, 直哉の学生たち = charmless reiteration of the うたの美術部, and much more really). It was hard to read these chapters at times. And this is coming from someone who enjoyed the SoL aspect of さくうた too much, but here it was really different. But well... the closing of chapter II motivated me to keep reading. And thankfully, it was from III where the story really starts to "flow". III is much more dynamic, the problem of みすず and ねい ("天賦の才" was a theme that felt rehashed, but I will say it was interesting). And well, it's obligatory to mention ほうさい, it's inevitable to feel him as a constant antithesis of the passive 直哉; however, the dialogues between them, are grandiloquently great def. Idk if u agree with me, but in this fact it differs a lot from さくうた, it differs too much (とき is a kind of 英雄再临 story, and it distances a lot from さくうた). And well, if I have to talk about the routes, to my surprise, the best one was まこと.

Likewise, even I'm not the biggest fan of the みすず route, near the end of it, the conversation between れいじろ and けにちろ was absurdly powerful (who would have thought it happened after the end of IV in うた?), and I feel like it's really the thematic nucleus ("時の流れ"). But cmon, I'm not exaggerating if I say it's a route that gets overshadowed by the まこと route. SCA-DI did a great job. Here u could find a great analogy about his 弱き神 (maybe more precisely rephrasing?): the “unrealization”, supported by a metaphor (that reminds me of 宮沢), about the incomplete moon: “きぼう” (btw in this scene, there is a clever use of 掛詞). The hope that lies in the 届かない月. I think the most powerful passage in this route definitely is when まこと mentions why Christ was betrayed for some mundane silver coins. Phenomenal. And well... what can I say about IV? Probably the best of とき. I won't comment vainly. And well, then comes V, which I can only describe as strangely good. Then comes V, an emotional cataract. It's a “fly again”. Perhaps too epic for my taste... but I loved it. I'm not exaggerating that one of the characters that shines the most here is かな. And well... the last hour of V is masterful. Maybe it's a bit rushed but the final stretch is beautiful. Emotional outbreak. And to close in terms of さくとき.... VI was pleasurable but it wasn't really hallucinatory. It just felt like a warm sip of tea to conclude. It's kilometrically poor if you juxtapose it with the ending of さくうた... Anyway, I would like to hear your opinion about this :p

Well, changing the topic, my reading of C+C was literally a discontinuous journey. Took me technically over a year to finish it, because I had a long lapse of not reading it. However, at the end of last year I reactivated. And... I can't help but say that I feel like it took me a while to ""adjust"" to the game. I didn't know the “direction” of what I was reading, really. The peculiar descriptions, the humor, the interactions, and the type of protagonist that was たいち (my opinion of him was a constant mutation), were all factors that made me wonder what the shit I was reading. Tanaka's writing was eccentrically charming (I have a love/hate for his sentence alignment), but well, it felt rather subtextual, that “hiding something” feeling. His writing is dysgressive... In retrospect, it's kind of funny... around the first week if I remember correctly, there's a passage, during a たいち monologue, where he makes a differentiation between 欲求 and 欲望 (I was pretty flabbergasted at the time, and thought they were synonyms hehe). It was enough to make me think “Ah... it's this kind of wretch”. Another rare thing about his writing, but quite attractive, is his ingenious 倒置法. I understood why you considered him “creative type”. Likewise, the most complicated thing wasn't that aspect. The worst was definitely understanding his humor, at first I had a relatively accepting impression, but then you feel like you're reading an agglomeration of unintelligible jokes (I overlooked a lot of jokes, they felt absurd because I didn't know much of the references).

Likewise... even if I complain about the “inaccessible” sense of humor in the work... I laughed too much at times. I have an absurd attachment for the 漫才, and believe me that even if I love the characters ツッコミ type, developing a story from a ボケ , speaks about Tanaka's ability to write. Actually, I'm not a person most of the time funny, and it is sometimes inevitable that people like me when we experience a protagonist of the """silly""" type we feel rejection. Bad writers are those who build a ボケ with no layers and leave you indifferent.... Now, just size up the risk of telling a story of loneliness from a ボケ character.... It's another level. In fact, the “”“circumstantial”“” use of たいち of the word “苦笑”” is a detail that speaks a lot about the kind of character he is.

And if I have to give my opinion on the pace the story keeps... the first few weeks are very slow, and the story gets very little exposition but when you get to きり it gets pretty heavy and that's where you start to appreciate the corrosive aspect of the story. And when I got to ようこ is where I finally got a dimension of the loop, but even then, the ambiguity didn't dissipate. But well... I kept reading and finally reached the cherished climax (the week of 送還). It's ironic how emotional it gets here. But it's sad. This is where the “繋がり” between たいち and his friends takes place. Bond reinforcement and farewell. This way, by the time I got to the final week, this is where I got to the sour 独白.

And well, I simply have to pause here. I definitely can't make any worthwhile comment about that ending. Sometimes I'm a presumptuous guy and just like to try to verbalize just about anything. But this is one of the few exceptions. It's perhaps the best thing I've ever read. A writer is at his highest point when he has something to say, knows how to say it and manages to touch someone's heart. This is one of those cases. I would find it even harder to explain it in eng, which isn't particularly good, perhaps too bland. But even if I had to write it in french, I couldn't avoid saying something simply too cheesy.



And thank you... I'm not exaggerating if I say it's the first time I've finished a work like this. However, it's definitely too “punctual” work (I can't find the right adj). I mean... if I had to condense it in my terms C+C is kind of “孤独な人向け希望の息吹”.

Oh and about Setoguchi.... My immersion in him ended up being weird.... I tried to sync up his works: KIRAKIRA, SWANSONG, CARNIVAL and つめたいオゾン (definitely syncing readings wasn't as fruitful as I assumed ╥﹏╥). But well... I've only finished the last two (as a matter of length). And I also have a few things to tell you about... (haha, sorry if it's getting stifling at this point).

Regarding つめたいオゾン, it was really great work but converged into something too simplistic (ye, you were right). The first two volumes... I'm not exaggerating to say they were great. Third person writing is a weird format in an interconnecting story, at least for me.... I don't know if it was the wisest decision, but ironically it makes the inherent pessimism of the story gain more strength. The story of 脩一 is weird and witty, developing the story of a simple boy who delves into shogi and on the other hand, despite maintaining a passive and slow narrative, it manages to give certain inflections, and thus, the everyday becomes dark. But... the best of LN is personally the second volume. If the first volume feels like a gradual descent, the second is literally a frantic decadence. The perspective of はなえ is essentially apathetic. The sense of loneliness and helplessness is strongly captured. I mean, the neatness of how the abuse to her is narrated is beastly. It's a painfuly vivid experience, it's descriptive and now when reading Setoguchi in LN format, that even without imagery, it's absurdly “visualizable”. Oh, and well, my dislike is a bit in the last volume? it was good but not up to par. Even if this is where the juiciest dialogues of the work are evident. There's a conversation I still remember about はなえ explaining to 脩一that she considers the human being as a "mutant organism that manages itself". And what can I say... this materialistically decadent vision (so sour it reminded me of Ecclesiastes) is well woven. The progressive interconnectedness was kind of sadistic I'd say. But... I don't like how it all ends.

But even so it was not a waste of time. I actually like suggested concept by Setoguchi of “collective unconscious”. Even through a clever analogy (with 若竹) he talks about an essentially interconnected humanity.... It's a clever piece of work but I feel that's its limit. Maybe it just wasn't what I wanted. Btw, I find the epilogue disappointing. Setoguchi used a strategy of narrative circularity... :/

Ummm... in comparison, CARNIVAL... ended up being very disappointing. Lit my complaints lies mostly in the interlude of the work. I was expecting something pretty good and it wasn't the experience I was looking for.... It felt very forcedly dark at times. Unlike in つめたいオゾン, which you feel the darkness of the narrative is coherently annexed with the decadent vision of the work and the tragedies are a “dive to calvary”, in CARNIVAL... I felt it was merely GRIM. Anyway, my main problem is the flux. The narrative is questionable as it is consolidated into a “triple perspective” structure (a pretty good format if it goes well), but it felt rather repetitive. I have a lot of dislikes about this game. But even with as much crap as it has, if I had to talk about what's essentially good, it's the conceptual weight of the work and the ending. Really... I didn't expect in a grotesque story the presence of christianity. And well, the analogy of happiness (inspired explicitly by 宮沢) is obvious. It's also curious the different visions of happiness Setoguchi proposes at the end of the second and the last scenario. Btw, I could also notice a lot of references to many works by western authorsbut I have a sympathy more for the more diluted stories (this is hard to explain). Oh, and well, I quite like the final dialogue, it was absurdly touching. It was a pity that it ended up shining only in the end.

I've a lot of eroges to read. I'm reading a lot of things at once and I feel that my pace is slowing down but it's inevitable. The worst thing is that my fascination with C+C makes me want to install Saihate no Ima now ;_;

He... as for anime, there's not much new news. At the end of last year, I finished Hachimitsu no Clover. But it became one of my favorites. I have yet to watch the second season, anyway.

Oh, and how I like to recommend things... Idk if you still watched ユリイカ, but I definitely suggest you watch Throw Down (2004). It's a powerful story about 七転び八起き :)

It took me almost 3 hours to write all this

Real. One Piece semenjak Egghead mulai enjoyable. Gw rasa karena main plotnya mulai progress kenceng, gw jadi suka lagi

All good bro. Lagi sering baca apaan?

W dah lama gak buka MAL. Migrasi ke Anilist, tapi gak pernah komunikasi sama FL disana.

Yoooooooooooo 'sup

You're welcome, have a great day ~

Iya nih, ga kerasa.

Happy birthday! :)

To be honest, I don't really know. I did play a little bit of Iris but soon was turned off it after hearing how much alchemy you had to do (at least that's what I remember hearing like 5 years ago). Maybe these days I would like the game but I think Mana Khemia has way better characters, story, and OST. Though I was not a big fan of the sequel, Mana Khemia 2, they might have fixed a lot of problems from the first game but it wasn't that enjoyable. :/


I've been wanting to play Arland for a while, it has such a beautiful colorful art style and the characters look nice. Plus the OST is one of the best in the Atelier series from what I've seen so far. Nothing can beat Ayesha as a character though, she's such a fun character to see on a journey. =)

200 jam lebih bwt semua ending 🥲 

Gpp pen nyoba aja, aku jarang main turn-based. Tapi ngeri playtime nya gk ada yang pendek.

I have played a little bit of Ateleir Iris but I mostly play the newer titles (my favorite being Ayesha).

From what I've seen Mana Khemia 1 doesn't really reference other Atelier titles other than Pam, the ghost girl.

Bukan spoiler tapi penting. Di ch7 nanti ada boss fight yang harusin pake char tertentu, jadi siap" leveling dari awal.

Wkwkk udah hampir selesai skrg klo gasalah di ch7. Sidetrack gegara baca vn sma males grind 🤣

Bang, vn yang ada gameplay yang bagus apa aja yak?