Whenever I return to the adventures of Michel and the company, there is a fearful thought in my head: that after the next show I realize that this game is not as good as I thought. That has a lot of narrative inconsistencies, pre-wabzonch heroes and underwork, which I did not pay attention before only because I lacked adequate knowledge and in fact I was delighted with the melted candy in the buck. However, also this time my fears turned out to be burning, because it was enough that I only jumped in backstage to A Requiem for the Innocence and I already knew I was at home.
Backstage #2 takes us backstage again and waives the mystery of the creation of the obviously gay characters. This time, however, we leave the haunted property and visit the places we know with A Requi for the Innocence. Our guide, however, is not morgan’s little witch, and Ceren, who approaches the task with typical enthusiasm for himself. It is not difficult to guess, moreover, that probably no one else would be able to collect everyone together, after all, every hero (without exception) is dead and everyone (without exception) was killed by Jacopo. Jacopo himself is well aware of this and does not particularly want to integrate, but even Barnier knows that Ceren does not refuse. It is simply impossible to deny it.
Our charming guide not only presents the idea behind the creation of individual heroes, but also summarises the events of the main game and sequel, comparing them with each other. Individual characters, of course, willingly comment on everything, while proudly (or embarrassing) presenting their sprite’y (but we learn, for example, that maria sprite does not have whole legs). The most of all is the poor Jacopo, who always has a wind in the eye and a few nails in, which everyone has a good time at the expense of, but well – such a posthumous role of the protagonist who became an antagonist. After all, we also visit characters that appeared only in additional scenarios, namely Michel, Giselle (the main characters of the proper game) and Imeon, who – as it turns out – was actually supposed to play a bigger role. There was also some inaccuracy about barnier’s character creation, as his pre-mortem words in The House in Fatmorgan sound different from those in A Requiem for the Innocence. In the case of the first game, he was only scratched as a hero and fulfilled quite a rather unambitious function of the Evil, so he was impersonated by a coward.
Best adult game sequel?
In the sequel of this best hentai game, although he was still the Evil, he could not be accused of lacking courage and pride, so his request to donate his life sounded completely different. When Barnier #2 realized this in Backstage, he came to the conclusion that he would like to replace the word with the author.
Behind the strength created by the author of the character is the fact that after the game in A Requiem for the Innocence, I realized that for more than 25 hours I took on the character of a man who grew up as a bodyguard in the mat, fed the feeling to be decidedly too young for himself, because only twelve-year-old Morgana, and finally murdered everyone, and yet… I still like it. In the real world, I wouldn’t want to have anything in common with him, but thanks to the game I had the opportunity to see his inner experiences and get to know the enormity of the tragedy taking place before him. The same could Be said of the rest of the characters, which cannot be clearly assessed, because none of them is one-dimensional. My heart managed to get even the bloody feasts of Barnier, who, on the occasion of Backstage #2, confessed that he does not love Ceren at all, but if the girl wants, she can become his pet, to which our heroine of course willingly comes. Each character seems to be a man with blood and bones, and every player will find something in it that he likes in it, and something that annoys him in it. In me personally, the most ambivalent feelings aroused Yukimasa (Beast) – a murderer who kills only for the very pleasure of killing, but at pauline nun is potulny like a lamb and could do everything for her, even disguise dissuaded as a woman if she spins it (no, I didn’t think of it). But it’s actually a gay game for men.
The science that anyone thinking about creating their own game is not afraid of. There is a game in front of us that discusses such thankless topics as murder, prostitution, cannibalism, rape of psychopathy or both, and in addition, places can be considered downright blasphemous (Morgana considered sacred, Michel killed and crucified at the command of the Church). The problem is that everything presented and told is in such a way that it does not feel at all, because the above mentioned characteristics do not define the heroes, even if they are their integral part.
Creating this type of hero is not easy. Very often, novice creators seem to be putting a rape scene in their story (or even putting a character in front of an act) will make it seem more controversial and thus mature. This is also intended to explain the reluctance of the heroine (or hero) to the men who will beat the Only One. It is by far one of the most enlightened and most widely used schemes, which for some reason beats popularity records in fanfiction stories. The problem is that, in fact, most often it is merely a catalyst that releases the hadness of the story itself, which needs a “kick” to revive it – this is a problem that arises from those creators who have not mastered the theme of pacing and operasequels. As a result, we are dealing with either a scene with untapped potential, or a scene reminiscent of history at any time when the author does not cope with the narrative, or to make it the main axis of the story, even though she originally treated something else. Interestingly, the scheme i mentioned above is also used in Men Bang.
Impossible? And yet. After all, ehat differs this story from fanfiction is its realization as a hentai game. The past does not define Giselle, on the contrary – a woman hides it deep in herself and even takes the first step herself. Michel is also suitable for a prince on a white horse like a goat tail for a back, because an empty bottle after self-employed has more interpersonal skills than him, but nevertheless he does not lack sensitivity – acquired mainly by his own bad experiences. She was harmed, hurt, and such a beautiful love. They are both original characters, and yet they were chosen as in the poppy bark – and that’s why it works. It is the result not only of the desire to tell history, but also to do the right research (and therefore in this case, to acquire the knowledge needed to write about something that has not experienced itself) and the sensitivity of the author himself.
