Flowers, Expectations, and the Perils of Interactive Fiction

I had a variety of subtopics in mind for my return to Flowers, and we’ll probably get to a few of them, but at the moment, I can only really feel one strong emotion towards this game: resentment. There are many unique dramatic tricks only made possible by interactive art; but at the same time, there are just as many potential dramatic hurdles, and ways in which your narrative trajectory can be contradicted by your gameplay options. For many games, this disconnect is most apparent in their treatment of violence – characters will torture themselves over difficult moral questions in cutscenes, and then we’ll return to controlling them, and happily murder hundreds of people. In Flowers’ case, it came in a different, but equally frustrating form: a blunt and unexpected fail state.

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Flowers – Le volume sur printemps (Part One)

There’s something about visual novels that always seems to return me to younger days, and my own high school and high school-adjacent experiences. Of course, I never actually had a high school experience like the one perpetually portrayed in anime and visual novels – I never sat in that back right window seat, and I never developed the passionate, tangled web of romantic longing that seems to define Anime Youth. But the thing is, I actually was in high school at the same time I was watching through many of these properties, and my own memories are thus tethered not just to my physical experiences, but to the aesthetics that informed my view of what high school life is “supposed to be like.”

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