![]() Much of Sekimeiya’s soundtrack has the problem of trying to be too atmospheric to the point of sounding uninteresting. It doesn’t feel like that many, though, because many of the tracks sound very similar. There’s a lot of tracks, 63 to be exact, and they’re from various composers (including the director Adri himself). ![]() The same goes for the soundtrack I think that, while the songs are well done, they do leave something to be desired. Sure, everything is sharp, clean, and polished, but I do feel like it lacks a distinct personality to take it to the next level. ![]() All of this is to say that it’s good, but I wouldn’t say it’s great. The sprites are full of expression and detail, there are a ton of backgrounds that help set the mood of the location, and, while not common, the CGs look genuinely incredible. As for the rest of the visuals, the general aesthetic of the UI is attractive. It’s a style that isn’t common, so I appreciate it for adding flair to the game’s aesthetic. Sekimeiya takes an old-school NVL approach to present its text, similar to Higurashi and Umineko, where the text takes up the whole screen. The production values of the art, music, game engine, effects, and every other aspect are comparable to big-budget Japanese visual novels and even one-ups them in some ways. With Sekimeiya, throw all those thoughts out of the window. English VNs have a stigma of being meme games with cheap assets, poor production values, and generally low quality, so many VN fans tend to assume the worst. It aims to be just as good as the works it’s inspired by, and nowhere is this more apparent than in the production values and presentation. If there’s one thing to take away from Sekimeiya, it is that the game is incredibly ambitious.
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