12の月のイヴ |12 no Tsuki no Eve Review


The unprecedented nature of fate holds no flexibility as opposed to one destined after deed. By precedence itself that course of action aforethought supports not a deliberate reaching to piece of destiny. Still, exertion and perseverance alone are powerless against entropic law of possibilities in the finite amount of time, slipping to no avail, aiming for the rightest route through the lit up chances. Three girls, one timeline. For many a wish, they strive upon their objectives that, wherein, loop of emotion starts to intertwine on 12の月のイヴ.


Firstly after the break, I have to emphasize how excellent the playthrough of this title, including consideration of many things visual-wise worth an overly-exaggerated praises much as the enormous (relative on individual) space needed for the installation. The story has lots of emotional points on it that I for those lots of time hardly comprehend the train of thoughts which lead the trail of conversations. As the emotional parts were complicated and largely connotative the way I perceived them, ravelled around those was actually mind-provoking as it was interesting. Whilst I’m just a poor amateur in the VN native, not noticing any obtrusive writing style, where some wording pattern specifically being repeated over and over again through most available characters, was somewhat relaxing.


The most awe-inspiring exposure shown off is none other than the magnum opus of meticulously visualized graphics that capable of leaping the perspective of modern static graphic manipulation idea and simultaneously displaying the spectacles that harness the most definition of perspective itself, novel-wise. It’s more likely to judge the size of resource planted reflects content quality – aside from dummy -, not to mention the unusual installation protection from the get-go. Under the icing of crystal clear resolution of 1280×720, the beautifully drawn art of the sprites got the same treatment of quality of which the underlying scene blended behind rendered it almost no difference than a CG. Not an overappraisal just due to sleekness of the sprites combined with the background images, but the attentive arrangement of the sprites that makes it possible. Placement was set before the sight of the protagonist, reader as point of view, and giving a sense of depth along with standing position as reference.

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By utilizing adapting out-of-focus shifting blur in the limitation of field of view and adjustment to sprites’ size in accordance with distance from the protagonist, some extent of depth perception one aware of is magnificently achieved. For instance, Mizuka when talking beside Anzu and near in front of Naoto as point of view would be as is with both sprite facing straight on, while Yuki who’s standing some distance behind them would be slightly blurred. As the speaker moved to Yuki and if the content of conversation was enough to draw Naoto’s interest, Shiina sisters would be the ones who got blurred instead as intended gaze shifted to Yuki. Occasionally some sprites would be turned facing the opposite direction with their back facing our point of view and blurred along pointing the focus shifted to another character behind. If not for the lack of constant expression changes on each single spoken line, it’d be overkill brilliance.


The viewpoint from right beside is enhanced beyond just between the sprites seen facing ahead or tilting to our side. The background was panned together with up and down moving animation along with their swaying hair in case of walking. How natural it seem was excellent than necessary of featured up both eyes blink and lip sync, but apparently they wanted it to be stored out the commonplace. Granted, easing of naturalness has gone beyond mere (while not a mere ‘mere’ already) sprites to all available CG inside. Both eyes blink and lip sync, certainly both of these, were living up the generality of CG being a utter static images other than additional animation layer of surrounding air for the first time, if not, first time for me in the least. The CG themselves were by raw amazing, combined with expansive effects and some with natural psychic environment (snowfall, candles) rendered them stunning as they are dramatic of such grandiloquence. For an exceptional instance, the floating light particles on the CG depicting a scene of parting Yuki with Naoto is by no means of enjoyment to its fullest without witnessing it directly through the visual engine.


It’s romance under pretext of semi-fantasy and reality. It’s complication called upon love and youth. It’s trial of thought and action. It’s a passage of life and drama. In a series of time slip in a restricted single timeline stripped out of science appliance and theoretical contravention, the pillar heroine, Yuki, supported the development unbeknownst to the protagonist, Naoto, himself. Through the chain of arc replaced branching routes with linear-type development in purpose of alternative to enforced reading order, kinetic timeline take the redundancy-minimized storyline entirely on focus common(route)-less. Shiina sisters, Mizuka and Anzu both wished for, with Naoto, three of them could stay together and the same time seek out for love. Each still having their own personal matter to be resolved, not by the protagonist alone, by interference of all heroines that didn’t left out the trouble of building up quite the drama. Of course since Mizuka and Anzu were sisters who hoped and desired the same thing which add more complexity to their relationship. They didn’t actually want things to change, yet flow of events didn’t let it stay the way it was. Thankfully the protagonist wasn’t a proactive dull-type to increase stress level dramatically. The turn of events eventually favoured to Yuki’s aim at the same time with her backed intentional support to Naoto so he managed to sort his mind out. Alas, her selection didn’t reward the result she sought, which lastly put her to a third leap to the exact same past.


Pretty much another taste of particular fantasy under serious reality, a series of time travel once again touching the drama concerning life and death, specifically an unknown illness situation. Comparing it with the reference, this one has better story and strong relation one character had with another, as well with relation between the said illness with the cause of time travel. The logical chain of event strengthened the story quality where the part of time travel itself was one of important deciding factor to the story. In retrospect, how it’s not too depend on moral value, not being pointlessly pragmatic, not putting nakige with utsuge altogether, and properly seamlessly driven the romance in romantic way no matter how cliche it is was the answer to part of my dissatisfaction toward my previous read.


Title screen, varying between day, twilight, and night adapting the time – technically PC’s clock – at that moment, felt so lonely. I don’t get why they did didn’t put any BGM there on purpose. Aside from that, the vertically aligned menu and all-in-one respective page were done pretty well, like all system, text, and sound configurations were put in one page and auto save/load slots cornered just beneath the regular save/load slots. In-game interface is clear from buttons though, I don’t think their design of setting keyboard shortcut with combination of alt key is efficient, not to mention lacking despite gesture which itself is too limited likewise. Troubled over having to scroll into backlog mode to repeat the voice wasn’t rare and right away became the worst part they’re really ought to fix it. Musica was graphically good enough, just lack of basic functionality and the irony on how their superior BGM were left repeat-less I wonder if another title of minori are similar.


December 24th. A brief NVL scene directing Yuki’s narration and monologue on her birthday and at the same time, Christmas Eve. Bought her own birthday cake and prepared her own birthday party to be celebrated together with her father, Naoto, who was said in bad term with her. Reticent and always shut himself in his room, barely talk with his daughter, but strangely always at home on the Christmas Eve. Just Yuki was about finishing the preparation, her view turned black. Fell down while still being conscious, she saw her birthday cake with lit up candles, whereupon she gestured her hand and grasped one of those source of light. Her being leaped back, passing point of view to Naoto.


December 24th. Naoto was on the way buying a cake for Christmas party while talking trivial things with Anzu on the phone. A sense of deja vu surprised him soon after he hung up. The word ‘classmate’ popped out the moment he saw a walking girl passed him. Twisting his direction the opposite, that girl turned out to be facing him as well, giving one sentence to the prologue closing. “See you again, in the future.”

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Is it from the sub title into the main theme song or the opposite, ‘Run. Eve. Run.’ Is still a mystery. The opening movie has nothing extraordinary to note beside the now spreading trend of pseudo-animated CG slipped in. I took low transition variation put importance to reality element of some parts. Lightweight by not thrashing lots of random quotes from the lines and matching the song’s rhythm was satisfactory in its own style. Right, in retrospect, the text minimized as short and few as possible simplified focus to graphical calibre they surely proud of.


The protagonist, Furuhata Naoto, was a student together with his osananajimi, Shiina sisters. Mizuka in the same class as him and Anzu was his underclassmen. Another was the transfer student Yuki and last one of the group, the daughter of the schools’ board chairman who rarely seen in the absent of justice doing, Asukai Rin (飛鳥井凜). In the side of minority, a child-figured doctor Ogata Honami-sensei (緒方穂奈美) completed the introduction of all available characters. Naoto as protagonist wasn’t a cool and socially popular person, let alone being proactively meddle with random guy’s business and problem that it’s annoying. How he could be described with ordinary young man who passed immaturity of adolescence. Reliable to some extent, indecisive sometimes, and most importantly, not a donkan protagonist in spite of his hetare behavior in his adulthood. One which I could perceive his viewpoint as relaxing enjoyment. Faceless FTW.


Shiina Mizuka (椎名みずか), self-proclaim onee-san type as the way she act like a reliable older sister who actually sort of helpless, physically weak, and need to be looked after instead. She’s good at persuading people, pretty wise and surprisingly reliable when time demanded. Mizuka was not all self-paced clumsy chara she looked. She’s in fact smart and had sharp sensitive observation that value great support for many around her. What she’d been thinking about was a mystery, but who cares, she’s eroi after all. The hottest available here and has the top quality tides of events, ebb and flow the way drama is, much less the best hadaka-apron ever exhibited yet.


Love triangle problem soon followed the beginning of Mizuka arc. Lot of things happened and Naoto chose Mizuka after all. Everything changed dramatically after an accident and Mizuka suffered amnesia which created another character in her. Mizuka with same personality, but had no trace of episodic memory. Even so, Naoto accepted her the way she was, reassured her from uneasiness of having everyone expecting her memories to return. Their romantic approach received yet another shock of event that miraculously revived the former Mizuka in the shape of separated character inside her body, labelling the former with memories before Mizuka A and the amnesia suffered one Mizuka B for the sake of convenience. Each of them, either both Mizuka and Naoto had to overcome such hardships. It was cruel, but nothing could be done as there was no such scenario in medical case. Mizuka prepared for it and lasted a romantic yet tears-dropping moment of farewell, leaving the other Mizuka in his care and words that they will meet again someday.


I seriously thank the brilliance of their BGM composition that it was able to calm me down. If not for Frolic, the ending of Mizuka arc would be more a heartbroken than half it supposed to be. Yuki’s silent soliloquy transiently soothing and soon drawing focus on herself.


Narration backed to Yuki who awoke on a bed in a hospital room as focal viewpoint. She arrived at conclusion of having Naoto and Mizuka together led to a future where she suffered inherited unknown illness. Her other image on the mirror somehow was able to talk to her as if mocking. Yuki knew what she needed to do, stretched her hand, grasped the lit up fire of another candle she saw of which one out of two already blown off – indicating disposal from her chance to leap through time -. Once again, her consciousness swayed.


Shiina Anzu (椎名杏鈴), a helpful tsundere one year younger than Mizuka. Whilst Mizuka was a strong character contrary to her looks, her imouto was an opposite. Anzu was in reality frail under tough front. In spite of her nature that mistook her to be the older sister instead, juvenile mind and naivety she fit deep in. She wished for them three, Naoto, Mizuka and her, could keep staying together, just like Mizuka did. To achieve that, she decided to play a role as Naoto’s imouto.

Three days after Yuki’s transfer to their school, as if fate was in Yuki’s side, Anzu approached Naoto more actively like preparing bento for Naoto with tsundere reason. Perhaps that’s just Yuki staging in the background since she was the one behind the AV prank which resulted to closer relationship of Naoto and Anzu, soon escalated to her imouto role play. It was really feel weird Anzu was serious about it and lived together with Naoto. Somewhat irresponsible I thought and actually getting me worried of left alone Mizuka. Rin saved me unnecessary concern there, damn she and her money and social connection.

Would be an overvaluation to call it a real problem since it would be solved not by a resolution to the result of Anzu’s mother left her family in her childhood, but rather how she overcome her wishful attachment to her irresponsible mother. The role play didn’t stick long as Mizuka asked her to return back home. They knew how pointless to keep it up the way they needed one another.


Three of them held a talk about the past, talking of each side’s view to the sequence of events they saw back then. Anzu rejected facts Mizuka revealed by giving naively positive retaliations, but one point for sure, she had to face reality where Anzu herself actually already reckon that. She did find her salvation in the last moment when she decided to throw her unrewarding expectation for facade. Her sister was always waiting for her to back home. Mizuka who acknowledged Anzu as she did finally reached conclusion.

Needless to say Naoto chose Anzu this arc. Not quite fond of the given setting to be honest. The impression was so similar to where one heroine perfectly matched compatibility to the protagonist and fitting the heroine’s certain circumstances, to be left out by a different route the protagonist took. Inevitably the heroine had forcibly endured rejection which put me inbitter state of bad residue. At least not as severe it was back then. Mizuka’s phrasing did feel unstrained and her reasoning didn’t let her disappointment leaks awful remainder on the surface. Once again reminded me, she was indeed one respectful sister.


Yuki’s condition gone worse the time point of view returned to her back in the future. She could neither move a muscle nor producing any voice. With her mind she talked to her other reflection forcibly light up one more candle out of plead. Gestured the same action, she leaped the third time.


Unahara Yuki (宇奈原由紀), or actually Furuhata Yuki, but then it’d become more troublesome later so let’s pass on that. All energetic, easy-going, optimist, and talkative classmate of Anzu’s. Her vigorous personality made her quite the center of crowd. She’s damn adorable in the first place. Her design, particularly those charmingly glistening eyes is outstanding, drawing interest just on the first glance. Certainly someone who’s fun to be around with. She might have complained of having the smallest breast compared to Shiina sisters but, I’d like like to complain back about unjustified nonsense she claimed. The definition of small breast here is nonsensical. Apparently not as stupid as she behaved since she passed the exam properly and didn’t receive supplementary lesson together with Anzu. Yuki’s untold to be good at reading atmosphere and wise knack on decision making Naoto might be completely hopeless without her advice. That marked her actually helpful at crucial moment.


Yuki rose on her conscious at the very same place with previous two time leaps now described. Brought along the medicine she needed to supressed her spasm of unknown illness, she swallowed one and dragged her body up the bridge where she met Rin. It’s the first time for Rin, but thrice to Yuki that she simply followed the same response to get Rin helped her with identity, place to live, transfer procedure, and many things altogether.


Naoto as point of view now approached Yuki due to her strange behaviour. She’s lost of what to be done in order to reach a right conclusion to her future and revealed the fact that she came from the future to Naoto. She only revealed that Naoto himself was her father some moment after she’s living at Naoto’s house and the beginning of their intimate lovey-dovey relationship. Yuki’s illness started to worsen and turned her bedridden. Her custom-made medicine from technology of few decades in the future not just depleting as its effectiveness lessened and solution to her illness hasn’t yet possible into detection. One night her condition recovered slightly, Yuki decided to take her last pill for affection she thought would be the last of her.


The story progressed fast from there on. Yuki barely keep her condition to the minimum thanks to inferior reproduction of her medicine. Naoto married her and blessed a daughter named Yuki (由希). Yuki passed away and his daughter has grown with figure reflecting young Yuki utterly the same. The irony was that Naoto has become what Yuki experienced. He fell into despair from knowing high possibility of Yuki (daughter) suffered the same illness inherited from her mother since she could see the imaginary candle as well. That ‘day’ has finally come reproducing the exact flow of events told.

Naoto saw an image of Yuki a few moments his daughter was about to experience the same occurrence. He dashed out the room and caught falling Yuki (daughter) right on, followed by confession of his fright and despair to that moment. Still something had to be resolved. The image of Yuki granted Naoto a miracle to see the ‘candle’, thus he grasp the light.


Naoto woke up on a certain night and dashed out his room after confirming the date he leaped to. He stopped Yuki from consuming her last medicine and talked about the future awaits them. How Yuki would bear a child named Yuki only to repeat the same time loop, but miracle allowed him to change that. Yuki relieved upon hearing that, knowing she didn’t make a wrong selection. Naoto was determined to cut the loop and cure Yuki’s illness. He asked her to wait for him in the future, promising the best possible outcome for them. Light engulfed Yuki as she departing over the romantically tearjerking scene. With a capsule on his palm, Naoto reaffirmed his determination.

Became a researcher like a mad scientist Naoto has, he cracked his everything to find a method to cure an unknown illness. Everything he had done didn’t result to any practical fruition. He at a time then pondered where would Yuki come from anyway since he did cut the time loop and severe blood ties of parents and child. That answered the impossible problem he’s trying to solve all along. Somehow he completed the medicine which wasn’t a custom-made anymore (still don’t get how he knew the factor of Yuki’s illness).


He capriciously wander around the town on the way buying a Christmas cake for the party just like how it was some years ago. A girl ran past him and as he turned back, his anticipation was rewarded. Yuki was there facing Naoto on a certain day of Christmas Eve.


Not that I like to compare one with another, each title has their own pros and cons, but this raise some morale on the contrary of being overly pragmatic. The protagonist himself emphasized it a few times, to not giving up. A typical reprimand saying nothing would be solved if one gave up. Well it’s just the situation was different and absolute rule bind the ‘timepiece’ with fate. I really like that the protagonist actually realizing his determination to cure the heroine. It’s heartening.


A great story is nevertheless a great story regardless how illogical and nonsensical the foundation actually is. This might only acceptable for some circumstances, including this one. If not for the strong relation of every aspect used, I might as well praise it just by bias toward its graphical advantages. The paradox lies on how Yuki could keep the timeline undistorted while she who was the daughter of Naoto had relationship with him. Disregarding the premise of parallel universe theory, Yuki did return to the past of that very same timeline so practical science apparently not a help here. Not that it’s completely illogical if thinking about it more carefully, since hypothesizing the cause and effect was exciting, I’d like to put it along starting from beginning how it happened to convince myself. Yuki was on the first place with her parents who weren’t Naoto and Yuki, but her original parents. Bearing an illness which not yet able to be cured, she somehow leaped to the past and met Naoto and company. On her third leap, she held relationship with Naoto and here the rejection of unnatural phenomenon began, causing an unknown illness differs from her original illness to her daughter of which name was Yuki as well. From this point, the time loop occurred, unknown how many Yuki born out of phenomena rejection until one point where miracle happened to Naoto allowing him to leap to the past as well and cut the eternal loop. Of course since Yuki here now wasn’t the original Yuki anymore, she who returned to her original time and illness didn’t recognize her parents who were originally her real parents. So that’s the end of my time loop hypothesis which still doesn’t explain how Yuki travel to the past on the first time.


Few lines for the impression of H-scenes part since I’m no longer in position to praise its content’s arousing level. Parted into 3 segments for each heroine, one each was consist of long 3 to 4 scenes jumbled with some exception. 2 short teaser from Mizuka were parts of segment exception. Well, she’s eroi I don’t mind having more of her. If just the images, Mizuka got even some more from Anzu’s batch where she wore a wig in Mizuka’s hairstyle. The most exceptional came to one segment for the last in Yuki arc. A blowing 8 H-scenes in consecutive sequence at once wasn’t shocking anymore, it’s overdone even maniac-type nukige rarely do that. Good point of the overall H-scene is the way they’re mostly aligned with the storyline which didn’t make it feel forced. Perhaps the trait of the plot itself would take it unnatural in case H-scene skipped through.


Timescape: 1 prologue – 9 Mizuka – 5 Anzu – 8 Yuki – 1 epilogue

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