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One of the biggest criticisms Goodbye Volcano High has faced since launch is that there’s only one ending, and therefore, none of the choices the player makes matter. Despite most games only having one ending anyway, there’s a different expectation when it comes to choice-based narrative games. The player’s choices must be so impactful, so game-changing that there can be multiple endings based on them.

It's a genre standard when it comes to visual novels, dating sims, and the like. And it feels like Goodbye Volcano High is being seen and critiqued as a visual novel, despite developers KO_OP never claiming it to be one. This is a cinematic narrative game. The goals and gameplay are entirely different. You wouldn’t expect a cinematic game to follow the conventions of a visual novel any more than you would demand a car to be more like a mountain bike.

There’s a recurring theme in Goodbye Volcano High’s narrative about learning to let go. It’s a story about teenagers having their futures being robbed from them in real time because of circumstances well beyond their control. But the theme also comes up with Fang’s relationship with their best friend Trish, where Fang desperately tries to hold on to Trish when she’s trying to move on from the band to pursue her goal of being an entomologist.

As Fang, you can make many choices to improve your relationship with Trish. Favor her at every opportunity you can over everyone else, save Mango when she gets lost at school, play L&L with her and show how well you two work together, take on more burdens in the band so she doesn’t have to work so hard. Anything, everything to make sure Trish stays close.

None of this can change the outcome. Trish will still want to take a break from the band. And no matter how close or how distant the two are at the time, Fang will still take it poorly. Just like the asteroid ending the dinosaurs, this is an outcome the player can’t change.

Yet, the player does have agency.

Almost every choice the player makes affects the characters’ relationship with Fang, as measured by the game’s Affinity chart. It’s pulled up every time the player pauses the game, and visually shows how close each character is, emotionally, to Fang. They orbit an icon of Fang’s face, and the closer they orbit to Fang, the stronger their connection is. How close they are impacts many game-related unlocks, including flashbacks and photos, that you’d otherwise miss if you failed to foster certain relationships enough.

More vitally, the player’s choices can unlock different secret scenes throughout the game. Choosing to take Sage’s ambitions for being a chef seriously gives him the confidence to open up to Fang about his struggles with transitioning. Choosing to apologize to Naser for lashing out at him causes him to later come backstage at Battle of the Bands to give Fang some encouraging words. Choosing to sit with Rosa and Trish at the auditorium causes Rosa to meet up with Fang at their locker and engage in kind small-talk, showing Fang that she’s not trying to sabotage Fang and Trish’s friendship. These moments are all over, and they’re rewarding, as they give bigger context for who these characters are and what they see in each other.

Who Fang is closest to also changes who they can talk to after the bonfire argument in episode seven. It’s the final chance for the player to get some closure for each character, after everything they’ve been through and what they’re about to go through.

The choices matter to the characters, not to the player.

And finally, the player’s first choice comes back into play. If the player chose to “Let go”, they will see Fang drop the book into the fire. But if they chose “Hold on”, Fang will hesitate, and someone (either Trish, Naomi, or Naser) will encourage them to go through with it. No matter what you chose at the start, the book is burnt.

You can’t change the book’s fate any more than you can change the dinosaurs’ fate.

You can’t save them any more than they could have saved themselves.

The best you can do is bring them happiness and something that feels like closure before the end.

The choices mean nothing, yet mean everything.

So, if you felt that loss of control at this point, like nothing matters… congratulations, that’s exactly how the characters felt too. You are experiencing ART.

This, I think, is why tragedy stories need to be told more, especially in games. We live in an era where happy endings aren’t just expected, but demanded. “You can’t hurt or kill these characters! I love them too much!” Stories where beloved characters suffer, die, or otherwise don’t end up with a happy ending often lead to discontent and the creators receiving backlash.

And it’s frustrating to me as an aspiring writer and critic. If creatives aren’t allowed to tell all the kinds of stories they want, tragic or otherwise, then we leave it in the hands of corporate content mills to feed us bland, milquetoast stories where things pan out exactly as we expect them to with cheap fanservice (hello, comic book movies). As an audience, we are left unchallenged. It’s strange because people call out that kind of shallow media for what it is and demand better, but bristle at stories that go the distance. It’s like how people say they’re tired of cute, passive women in games and want them to be more assertive, but freak out when Princess Peach gets a slightly more determined expression on some box art.

This is why I think we need to make more games that push against preconceived notions. Goodbye Volcano High, at least from my perspective, shows the kind of stories that games can – and maybe should – be telling more, using the medium of the genre to invoke feelings you wouldn’t get by just watching someone else play it. If you’ve only experienced this game through YouTube clips or streams, I implore you to try it for yourself. It’s a very different experience, and I think a worthwhile one.