#mwhs

so i think its safe to say that ddlc really shook up indie gaming from a cultural standpoint. first is that it helped people figure out that visual novels have value as a medium, inexplicably. theres been this weird holdover in western gaming culture at large from like, the 2010s xbox era, where visual novels dont count or something. if people engage with them at all, its dismissively, and people come away with the idea that everything is a sound novel and therefore boring. but like... not only are sound novels good, but ryukishi07's work is the only example of a vn not having an interactive component. dating sims are basically stat managers, detective games require attentive puzzle-solving, and a lot of vns outside that have interesting gameplay hooks like va11hallas drink mixing

all this is to say that i feel like ddlc was designed in a lab to be a 'hiding medicine in the balogna' situation, where people can say that it may be a visual novel, but its totally worth it for the funny viral scares. well, im glad it did, because now it feels like people are very very slightly more receptive to visual novels

but, more importantly, it brought more attention to the postmodern potential of video games as a medium. this isnt the first time that gaming has borrowed aspects of postmodern literature (characterized by interacting with itself and intentionally subverting audience expectation) such as stanley parable's famous use of a unreliable narrator within the context of a controllable story. but ddlc makes it feel ludonarrative. games like oneshot and imscared already paved the way for games that interact with the player as computer files and use this context to create puzzles and simulate a haunted computer, but ddlc was one of the first games to make a character aware of the fourth wall and interact with their negative feelings on the matter. traditionally, 4th wall breaks are treated as comedic, seen best with characters like gwenpool. but... wouldnt knowing that not only is everything in the world fake, but there is only a single person who actually matters? a player that has agency that you are designed to lack, a sole audience member that you are asked to perform for. thatd fuck anyone up.

hence, metaware high school. fun fact, because of how much i associate VNs with high school settings with japanese culture, i keep wanting to pronounce it metawarAY, but that ruins the pun of the portmanteau of meta and aware. i played fucking めたわれ bro.

so its pretty clear that this game is iterating on ddlc, only in the context of being in a demo. in addition, it takes more of a character studying approach to how individuals understand their world. nari gives into despair and helplessness knowing that she is helpless to fight her scripted actions. hope takes a very relaxed and lackadaisical "its just a demo, bro" outlook, izzy is obsessed with fulfilling her role but anxious because she doesnt know what the full game is. the idea that they dont know the full game is interesting, because it brings to mind religious undertones. christians, as children of god, are 'supposed' to live godly lives, and seek fulfillment from something that they can only trust is invisibly real. the difference is that the player is different from the creator. i didnt make izzy, but its still her purpose to demonstrate the game. what is the punishment for failure? what does failure even look like? is it worth the risk to find out?

going back to nari and hope, i find their dynamic really interesting. the game presents nari as a mysterious character to begin with, hardly talking except for the end of routes. personally, i think it makes sense for her to have such a connection to hope. i should capitalize her name so you dont get confused, huh. its funny because nari has a pretty hopeless disposition, resigned to her fate and disillusioned from her surroundings. i dont think she has completely dehumanized the other characters in the same way monika saw the other club members as meaningless code. my view is that nari is just as real as her friends, and any disregard of them is just from post-realization depression. the player isnt more real or more important, at least outside of the demo's machinations that nari is forced to work within, but instead a lovecraftian intruder from outside their schema of reality. Hope sees them as more of, like, some fella. weird glowy thing. i wonder if they like mochi. this isnt out of stupidity or callous disregard, we are shown scenes of Hope being emotionally considerate and using the structure of reality in creative ways (the "what word am i thinking of" gate), so we as the audience know that Hope is making the personal choice to acknowledge the world in a more positively nihilistic way. yeah, its a demo. thats what the world is. wanna get mochi? i like mochi

i think if Hope werent so roxy lalonde flavoured, Aspen would be my fave. nari reacts with despair, Hope reacts with a casual smile and a shrug, izzy reacts with concern and anxiety, then aspen reacts by thinking about how they can directly benefit from the situation. the second they find out the player knows about the future, they sequester you into a very long series of questions. like, im convinced if the the apocalypse was happening, aspen would cheer and go full mad max. i think this extends to why they want the game to be a dating sim so much, because that would be the genre that directly benefits them the most. like, if its a detective or mystery game, theyd have to solve a mystery or die or whatever, but if its a dating sim they get a cool ephemeral entity to date!

and then theres chris. shes something of a mascot for the game demo, so i expect her reaction to reality (read: her personal philosophy) to be pretty important. from her route, we learn that she loves visual novels, and from that she wants to make the player enjoy her visual novel (demo) too. i think this is interesting on its own: if you learned that the world was a game, wouldnt you want that game to be good? especially in the context of the player messing around and taking the piss, where she gets upset that youre not taking her effort seriously. if izzy is the stage director, chris is the lead actor, at least that's how she's appointed herself. actually, her contrast with izzy is interesting, because theyre both the only characters who feel dedicated to performing their roles appropriately. with izzy, it feels more negative, but chris feels more like a sincere and intrinsic dedication. she wants to make the world better, just because shes enjoyed so many other great worlds and wants to spread that feeling to others.

so yeah, this feels like a more exploratory expansion of ddlc's concept. but upon reflection, i dont think theres anyone who copes with their circumstances the same way monika does. monika goes through a sort of philosophical derealization where the player becomes the only thing thats real, but nobody in metaware feels the same level of disconnection in my opinion. nari gets the closest of course, because she has the most intimate awareness of the games code and script, but shes uniquely powerless and is forced to recognize that, in addition to the aforementioned realness of her friends. so she CANT be a yandere, she hates the player for essentially being spoiled by having the whole world live and die by their convenience. ddlc's player is the most important person (positive) while mwhs's player is the most important person (negative, in naris perspective). it reminds me of how everhood positions itself as a response to undertale, building on its interaction with games as an artistic medium by building on its themes without presenting itself as a correction. i also just love the fact that since the world being a demo is a known truth, no characters perspective is presented as definitive, which does a better job of inviting the player to engage with the world and come to your own conclusion on what reaction would be the most justified

oh, and the ending... its like every character is confronted with the ultimate culmination of the world, as a direct challenge to their personal outlook. Hope's playfulness dissolves into panic, because she never seriously contended with this and used her casual playfulness as a coping mechanism that doesnt work anymore. nari meanwhile is totally nonreactive, this has been a forgone conclusion for her for a long time, such an innate inevitability it may as well already have happened... which doesnt make the moment any more enjoyable, shes panicking as much as Hope. izzy's biggest concern is her friends, the ones shes been panicking at the whole game until that point, the ones shes been relaying her concerns to and desperate to force into line to try and Play Their Role as theyre supposed to, just in case. but shes alone anyway. aspen reflects on their efforts to extract meaning and benefit from their circumstances and lements never having real control. chris romanticizes their memories and just expresses thanks for everything, ever positive. its an interesting analysis of their culmination of all their philosophies. like, hope and nari were pretty opposed, but they feel pretty similar in the end. chris's optimism cant hold up in the face of oblivion and fades into the same mournfulness and regret as her friends. end the end, regardless of outlook, its hard to change the basic human reaction to inevitability and tragedy

metaware is immaculately crafted, its a wonderfully made exploration into human reactions to fundamentally inhuman circumstances. the characters all feel unique and reasonable, memorable yet realistic, but still with a thematically relevant twinge of scripted performance. anyone who doesnt like visual novels can kiss my ass, youre gonna play this and youre gonna like it.