Foreword: Okay so I’ve been procrastinating this title for quite a bit so I felt that I should probably complete this before I move onto some other titles I have planned for myself (like Golden Hour). Before I start though, with all due respect to minori, MangaGamer, and all its readers, this is the type of the game that gets a shitload of excessive “hype” purely because of its setting or art when it’s not that great in the first place. Sure it can definitely be seen as good in many portions, but one thing I hate with a burning passion are stupid players who rate games like this as the absolute best and completely throw out everything else that was bad about it out the window. I’d say it’s fair if you thought this game was good, but I’m going to think you’re an idiot if you try to brush the bad parts under the rug.
I’m pretty sure some players only rate it good because others say so and/or they’re too dumb to understand the symbolism/analogies presented in the game. I know they’re out there. Kinda makes it really fucking sad some of these players have minds of 15 year olds when this game’s supposed to be for adults the age of 18 and up.
Enough of my ranting
because I’ll be doing it anyways in my review. Let’s get started.
Due to various personal bias this review may be much more critical. Players who genuinely liked this game are discouraged from reading further.
It also contains various spoilers in order to prove my points properly.
Title: トリノライン (Trinoline)
Release Date: March 31, 2017
VNDB Link: https://vndb.org/v19644
Getchu Link: http://www.getchu.com/soft.phtml?id=916829
Game Type: Fantasy novel dealing with taboo of artificial intelligence
Summary: The word for “forget” (忘) in Japanese is written with the combination of “heart” (心) and “to die” (亡), meaning memories can be compared to one’s life or their reason to live. At least for Shun, this quote meant everything after his younger sister Shirone’s death where her memories in him was everything he had. Even after years pass after her death he still holds dear anything and everything he remembers of her.
However, this will change one day when he wakes up and finds the exact resemblance of his younger sister playing the piano. Extremely startled, Shun soon realizes that this is not actually his younger sister, but instead an android made in her image with her memories with the exact same name “Shirone”. While reluctant at first Shun becomes accustomed to this android who is almost like his younger sister.
However, their happiness won’t last for long as Shirone’s existence did not come without a heavy price. It comes with the separation of Shun and his mother along with his memories which now needs to be recovered by his childhood friends and his new younger sister.
Story Length: Long (30-35 hours)
Complete Story Clearing Difficulty: Very Easy
Comments: There’s really no reason you should struggle with this game as the game offers very few choices. It does seem that Shirone and Yuuri’s routes are available before Sara’s.
Character Design Rating: 5/10
Story Rating: 3/10
Protagonist Rating: 2/10
Game Quality: High
Overall Rating: 3/10
Rating Comments: Okay. I feel like there needs to be some explanation about these scores before I actually rant about them.
u w0t m8
Story rating is very low due to the main reason there’s really nothing that actually happens in the game. By that I mean that from the theoretical “normal” life Shun and others might have experienced, the addition of Shirone really did nothing to change it and even Shun’s amnesia was a convenient excuse to create the three routes as shown in the game. Even after getting into heroine routes, nothing actually happens that’s worth mentioning, and I’ll just say it right now that killing off characters in order to make this a crying game is just absolutely retarded unless you’ve developed them thoroughly beforehand, like eden* from minori which was infinitely shorter but had much more impact and value… ESPECIALLY when those reasons of said deaths just appear spontaneously and are poorly explained.
Protagonist is almost worthless in this game as that character who literally does nothing until he’s pushed by something, usually a subcharacter. Makes you wonder why the heck he’s even considered the protagonist if he’s not properly representing or making the change he should be making in the distressed heroines, and for the most part it’s Shun’s past relationships with the heroines/characters that really “do” anything for him, GREATLY suggesting that even if this game didn’t exist, the hypothetical “Shun” would have lived a happy life. Whoopdie-doo. And the game then goes to NOT displaying these past relationships when it was the most important thing in regards to him (and perhaps the heroines too). Go figure. As with all games that display a pathetic, worthless protagonist, this game was thoroughly ruined by having Shun in the center of most of the events.
If at all, Shirone should have been the central heroine and the character whose all scenario revolved around.
Heroines are locked onto three different “Morals”, if you will, and that really became the theme of each of them (Courage for Yuuri, Enlightenment (?) for Shirone, and Trust for Sara). It’s really nice that each of them have this rather strong topic associated with their story, but the main problem is that none of these topics are even remotely foreshadowed, meaning the lack of courage in Yuuri was never even hinted in the common routes or in other routes; it just randomly appeared to be the main theme of the girl a bit further into the route. The biggest miss for each of the characters is that while they did have those realistic emotions (fear/anxiety/uncertainty), these were portrayed extremely poorly and almost exaggerated in some parts to the point they were pathetic.
Though if you ask me how pathetic Shun was throughout the game, I’d say he’s even worse.
Sexual Content: Moderate
Comments: First, my apologies for completely scrapping the “Character Summary” portion; I might be doing this a lot from now on because there’s really nothing to say about the heroines in the first place and/or I’d want to rant about them more extensively. I’ll still talk about each of the heroines (hopwever briefly) so bear with me. Without further ado, some comments on this game.
Oh god the tropes.
I legit had to close the game and look away from the screen for a moment because these tropes were too much for me at times. There’s very little originality in terms of scenario and aside from that the main problem with this game was that it really lacked monologues when it was the kind of scenario that needed it most (life and death). Strangely enough Sara’s route was okay in this sense ironic because her route is the only one not involving life and death while Yuuri and Shirone’s routes involve characters dying but you can’t even start to empathize with them because
- The writers didn’t present them enough/failed to sell the characters to the readers (Yuuri and Shun),
- The characters dying never had monologues to describe the dilemma they had, and
- Whatever remains of #2 the writers wanted to express was overwritten with a hasty conclusion
On that thought, what’s with writers wanting to create fake conditions to kill of characters? Again in Inochi no Spare, the Oumonbyou was only an element used to represent fear and hopelessness; not necessarily death. Trinoline used these randomly created diseases to actually kill off characters and have the incorrect mindset that it was supposed to build affection which doesn’t work at all.
Not a good way to go about nakige with characters dying. Look at Clannad which introduced characters extensively to build affection. Look at Inochi no Spare which had thorough monologues and dialogues which expressed the character’s dilemma of life and death. Whenever you’re utilizing some life-and-death element, you need to take your sweet ass time building and developing the characters so once that crumbles the impact and result is much greater.
LET’S JUST KILL OFF YOUR LOVED ONE AND WE KNOW IT GON MAKE U CRY
Don’t think Sara’s route was good either. After pretty much showing how smart this heroine is with her invention powers, the game then goes to show her how stupid and frail she is and obviously it’s the protagonist with absolutely no knowledge about robots and this research who comes in and solves everything. By the end, I guarantee that Sara’s route is more or less a deus-ex-machina.
All of this plus more failed in Trinoline because you’re literally given like 30-60 minutes of text before shit hits the fan and the writers go into actually elaborating the plot they planned out. Poor transitioning, improper explanation of background and setting, and absolutely no efforts to connect the main scenario with the morale they planned out leads to everything seeming incoherent and giving the readers more confusion about why and how things happened.
Also fuck the romance in this game. Even in Yuuri’s route the “Nightingale effect” wasn’t elongated properly to have that romantic development so if there was something objectively shitty in this game, it’s the romance. Then the game goes absolutely nuts with its H-scenes and the typical minori-balloon-chest-syndrome, so I’m sitting here confused if I should be considering this a nukige or not. This lack of romance is the worst in Sara’s route where literally you get into the route and suddenly both characters are in love with each other: literally in a single scene transition. Oh come on, minori. I know you’re shit with romance at least pretend like you’re trying.
kinokonomi presents finished art
> minori: make them bigger
> kinokonomi: sir?
> minori: make the boobs bigger
> kinokonomi: …Will this do?
> minori: No. Make them even larger to the point it’s almost the size of the heroine’s face.
> kinokonomi: ….
I’m seriously sick of this. My last two games from minori were 12gatsu no Eve and this one, and neither of them were even close to being good, which is really setting up the red-flag that minori’s also degrading severely in a lot of fields. I even considered trying out NatsuPerseus purely because Ichikawa Hinako is voicing a character there, but seeing how the jist, summary, and various reviews point that game to being another nukige instead of a deep and meaningful story, I’m really hesitating on touching any of minori games in the future.
Affection for the Characters: Low
CG Score: 8/10
Music Score: 8/10. I especially like Shirone’s theme, which has a light but cute feel to it.
Like literally; the game has some really nice artwork and music. It’s just that its contents are shit.
Addictiveness: Very Low
- Artwork is more or less superior, surprisingly with Kinokonomi working on both Yuuri and Shirone
- Has value as a nukige at least. (If you ask for my blunt opinion, this is the only value this game has though)
- Various visual features such as “animations”, lip movement, blinking, sprite positioning, and background movement
- Music is something I would consider at least a bit more superior than others
- Life-and-death philosophy and theory of AI is at least something that was elaborated a bit more.
- Objectively bad romance, which was ironically the main element that was connecting the two characters throughout the conflict of the heroine route
- Overall story lacks impact and variability, making it rather boring, and begs the reader to question why this story exists in the first place
- Protagonist is nearly worthless and contributes very little to the story
- Heroines are more or less bland, but are well tied to a morale that the conclusion of the route reveals
- Story is absolutely terrible. Bad transitioning, poor explanation, and the usage of “own-world-logic”, deus-ex-machina, and the incorrect assumption of killing off characters -> nakige made this game have one of the worst stories I’ve ever read. “Fillers” are present for a large portion so if you can’t get engaged immediately the game becomes even more of a chore to complete.
Overall, Trinoline is a game which is mostly a failure and I genuinely can’t understand why some people can even begin to think it was a good game when all the value it had were from the life-and-death philosophy and the AI theories for which were performed very poorly in the first place. As it stands the only thing the game did right were the exterior aspects such as the visuals and music, and while I can definitely agree they’re both extremely important in a VISUAL novel, if that’s the only thing done right, this game might as well sell itself as a nukige instead.
If you or someone you know gave this game at least a 5 or an above and it was NOT due to the graphics or the external portions of the game, please let me know what you think. I’m seriously curious why some would give this game a perfect score on VNDB and highest ratings on EGS, though to be fair these players are the ones whose rating I can’t trust in the first place anyways
Kanojo to Ore no Lovely Day: Please don’t give me harem bullshit. Please don’t give me harem bullshit. I’m so fucking tired of harem bullsh– FUCK
Yep, I was disgusted from the very beginning with this one with the shitty setting of the protagonist being that semi-perverted, “seemingly” super diligent boy with talent and conveniently surrounded by bishoujos with no reasoning, this game
proudly features the eroge trinity and is almost at a GIGA level of boring and unoriginality along with similarities from the previous kusoge from Parasol (which was Quintriple Splash) including way-too-early H-scenes, shit romance, and of course the cringe and unwanted addition of the harem bullshit which just caused cancer for me a little too much that I went ahead and dropped this game even without giving its main storyline a second chance (and believe me; the foundation was already retarded so I wasn’t really putting much hope in it either). It’s just a pity because most of the heroines are voiced by well known CVs so that’s just potential wasted. I’m really thinking Parasol’s having some major regression with its titles after their last biggest hit Harenochi which was pretty good in a lot of parts.
On the bright side, looking at the writers for both this and Quintriple Splash working on the next title does give me the idea that the next Parasol game due in September 2017 is also going to be shit, so there’s that going for me.
Hatsukoi Syndrome: Let’s be fair to this game; it was actually written pretty well; it didn’t go rushing through introducing the characters
probably because it didn’t have that many kek and had a relatively steady development. The problem is that it tries to incorporate MAGIC in a title supposedly for love triangles, and then uses the nonsense logic that it’s required for all magicians to experience a romantic rejection.
That’s like the most retarded reasoning ever; they literally could have explained that magic power is derived from emotion and “rejection” would be the best way to draw that power out; something along those lines that MIGHT seem true. Romantic rejection required to become a full-fledged magician? That’s just idiot reasoning right there.
I might also piss off a couple people saying this, but I’m actually not quite a fan of Ayumi Sara’s voice, so seeing how the love triangle (which was really the only thing keeping me in this game) was pretty much thrown out the window later on in the game, I felt like that was the moment I needed to drop this game as well.