Initially, Doki Doki literature club would seem a caricature of visual novels, with all its usual caveats. Underneath it quickly reveals itself as a brilliant parody on its genre however, a satire of (interactive) narratives through a double twisting of its theme and, more importantly, with the construction of a negative 'deus ex machina' that complicates rather than concludes the narrative.
To get Patako's true ending, you must do the following: Play through Kurona's route until you get to Episode 6-1; Dialogue Choices: 'Help me, Ekoro!' 'I need to find a girlfriend, today.' Get doki-doki meter up to 100%. Unseen Destiny edit edit source The endings will depend on which girl you choose and your current stats. Alternate Ending. It's normally the first ending players go through while playing Doki Doki Literature Club! In Act 4, after starting a new game, the game appears to be normal, up until Sayori addresses the player at the end of the day, thanking them for deleting Monika.
- Jun 19, 2020 A simple guide on how to achieve the best ending including the developers note that comes with it. Spoilers ahead! Before anything else you must realize that this guide contains major spoilers and would ruin the experience for someone who has not already played the game.
- An easy way to obtain a 'True End' for each girl is to answer with the response to every question in the starting quiz, in order to maximize stats, not enter Doki Doki Mode, or risk stats being changed negatively, and answer to every question asked. It's also important to preform well in mini-games, so these endings are best done after.
I admit I have not played this game myself. I encountered it by watching a playthrough of the game on Youtube (https://www.youtube.com/watch?v=gwTciFcUAXg). Initially, the game seems silly and lighthearted, but the 2 players were promised that 'this game fucked me up' – implying a sudden twist in the narrative. Alongside the players I was expectant of a sudden step-up in dramatic tension. It was however only after the second twist of the initial playthrough (3 hours for the playthrough in question) that I realized just how I played just into the games expectation.
To explain how this twist can be described as brilliant, I will try to describe how the events unfold chronologically. Of course – if you hadn't realized by now, there will be spoilers of the story.
The first couple of hours might be occupied by the usual motions. A lot of dialogue, exposition, a few on-screen selections that will alter the 'route' – the direction of the narrative.
The players made their choices, and like the good old dating sims, they chose which character to focus their attention on. Suddenly, drama was afoot! One of the girls, the childhood friend to the almost non-existent protagonist, gets jealous, and begins avoiding the Literature Club in question. Like the decent friend the protagonist is, he tries to talk to this friend about this issue. And here the first twist occurs.
The first twist; a transformation from a light-hearted take on teenage life and emotional confusion, changes suddenly (and briefly as you will find out) into a tale of literature, poetry specifically, as a release for deep emotional issues. The unloved childhood friend, it turns out, had been deep in depression all along. This first twist might seem familiar. Many visual novels and games in general) have used a juxtaposition between light hearted, pastel colored innocence, and an underlying wrongness; in the form of horror (Eg. Hatoful Boyfriend), or psychological issues. The childhood friend fled not because of love quarrels, but because she had trouble combining her love for the protagonist with a crippling depression she has suffered through all her life.
Things take a turn for the worst, as she shortly thereafter meets the protagonist and his love interest together. She reveals after the love interest leaves that she is not satisfied with just being a friend. She is madly in love with the protagonist. In the Youtubers playthrough, he rejects her, with the protagonist saying 'I know what's best for you, and this isn't it'. From this point on, The true terror of the story slowly unravels itself. Immediately after her rejection, she screams 'Get out of my Head!' and runs back to her house. The story cuts to the next day, when he visits her with a feeling of dread. Opening the main door, no one is home – has he ever seen her parents? He opens the door to her room and find that she hung herself.
But the game does not linger on this story. The soundtrack loses its 'pastel' harmony, its upbeat short tunes, and degrades or melts, like the spool of a film, a teddy bear caught fire, into a horrifying disharmonic parody of itself. (Give a listen to the haunting tunes https://www.youtube.com/watch?v=0OR9C5PZNaU) The game falls apart – and what a game it is! The screens flickers, goes black by stating its end, and exits into the title screen. The childhood friend is nonexistent. The game no longer disguises itself as an exploration of the young emotional melodrama, but shows itself as something altogether unique, resembling a horror story, a nightmare within, a hidden horror story. A grim dread seeps from its pores, like the gothic tales of old.
Jumping to the reveal of this second twist, the game explicits the meta-narrative that was hidden in its subtext. By itself, this is an oft explored venue, if not exactly common. This is however not that which makes this game truly shine.
Introducing our complicating deus ex machina, a character within the story, with control over it, that wants to force the story, wants to be the one you, the player, loves. The childhood friend is only depressed because this character does not want the childhood friend to win your attention. When this doesn't work, she dials it up, making her suicidal. All for the sake of turning your affections towards herself ultimately.
What Doki Doki Literature club actually did, was to manipulate the story in order to affect the players decisions. A second-degree meta-narrative. Few if any games at all, to my knowledge, have to this extent attempted to subvert the player himself.
The first twist was predictable, almost conforming to the genre. It is exactly this predictability that the game preys upon. The game, acquired sentience (sentience of a 'real' and 'fake' world, read self-aware) through a character, explores the way in which a narrative, and its reframing, can manipulate the player. Most brilliantly it reimagines the way in which stories affect perception and choices, in an interactive sense.
A game that springs to mind is Undertale. At a late stage, the game closes itself down, a tactic used by the sentient boss of the game. In this case, it tries to stretch the limit of how the game can manipulate interaction through mechanical manipulation. Affect how the player act, by changing the mechanical field within which the game is played.
Doki-Doki Literature Club does this in a later stage as well. Its brilliance however, lies still squarely within the manipulation of the narrative. Bmw fsc code keygen generator. Here, it seduces and entices the player to make their own choices within its narrative framework. It creates a boundary, a simulacrum of its genre, underneath the façade, with the intention of luring the player into an emotional trap.
To summarize; Doki-Doki literature club proves that true manipulation of a player, the way to subvert his authority of the game, is not to deny him control of his senses, removing his control within the framework, but to manipulate him by his desires, to change the story being told itself.
More than anything else, it is proved that the story is not subject to the player, but that the player is slave to the story being told trough the narrative. Truly, no narrative is sacred, no story is without its discourses, in the form of a malevolent dictator. A game is no guide, its essence is to seduce and control. That this is the very foundation of interaction, with or without the screen, is a truly frightening concept.
Good Ending
Hint: To make this go by quicker, go to 'Settings' and go check both 'Unseen Text' and 'After Choice' under the Skip tab. This can save you from HOURS of just sitting around and using Auto, or pressing space as quick as you can. If you want though, you can just turn up the text speed and leave the entire game on Auto.
GOOD ENDING: ACT 1 – Sayori, Yuri, Natsuki, Monika
-Save at the first poem-writing segment. Write a poem for Natsuki.
She likes anime and food, as well as technology and animals.
-Show your poem in order.
-It doesn't matter what you choose on the options (Natsuki), (Yuri), and (Help me, Sayori!!).
-Write the second poem for Natsuki (again).
I admit I have not played this game myself. I encountered it by watching a playthrough of the game on Youtube (https://www.youtube.com/watch?v=gwTciFcUAXg). Initially, the game seems silly and lighthearted, but the 2 players were promised that 'this game fucked me up' – implying a sudden twist in the narrative. Alongside the players I was expectant of a sudden step-up in dramatic tension. It was however only after the second twist of the initial playthrough (3 hours for the playthrough in question) that I realized just how I played just into the games expectation.
To explain how this twist can be described as brilliant, I will try to describe how the events unfold chronologically. Of course – if you hadn't realized by now, there will be spoilers of the story.
The first couple of hours might be occupied by the usual motions. A lot of dialogue, exposition, a few on-screen selections that will alter the 'route' – the direction of the narrative.
The players made their choices, and like the good old dating sims, they chose which character to focus their attention on. Suddenly, drama was afoot! One of the girls, the childhood friend to the almost non-existent protagonist, gets jealous, and begins avoiding the Literature Club in question. Like the decent friend the protagonist is, he tries to talk to this friend about this issue. And here the first twist occurs.
The first twist; a transformation from a light-hearted take on teenage life and emotional confusion, changes suddenly (and briefly as you will find out) into a tale of literature, poetry specifically, as a release for deep emotional issues. The unloved childhood friend, it turns out, had been deep in depression all along. This first twist might seem familiar. Many visual novels and games in general) have used a juxtaposition between light hearted, pastel colored innocence, and an underlying wrongness; in the form of horror (Eg. Hatoful Boyfriend), or psychological issues. The childhood friend fled not because of love quarrels, but because she had trouble combining her love for the protagonist with a crippling depression she has suffered through all her life.
Things take a turn for the worst, as she shortly thereafter meets the protagonist and his love interest together. She reveals after the love interest leaves that she is not satisfied with just being a friend. She is madly in love with the protagonist. In the Youtubers playthrough, he rejects her, with the protagonist saying 'I know what's best for you, and this isn't it'. From this point on, The true terror of the story slowly unravels itself. Immediately after her rejection, she screams 'Get out of my Head!' and runs back to her house. The story cuts to the next day, when he visits her with a feeling of dread. Opening the main door, no one is home – has he ever seen her parents? He opens the door to her room and find that she hung herself.
But the game does not linger on this story. The soundtrack loses its 'pastel' harmony, its upbeat short tunes, and degrades or melts, like the spool of a film, a teddy bear caught fire, into a horrifying disharmonic parody of itself. (Give a listen to the haunting tunes https://www.youtube.com/watch?v=0OR9C5PZNaU) The game falls apart – and what a game it is! The screens flickers, goes black by stating its end, and exits into the title screen. The childhood friend is nonexistent. The game no longer disguises itself as an exploration of the young emotional melodrama, but shows itself as something altogether unique, resembling a horror story, a nightmare within, a hidden horror story. A grim dread seeps from its pores, like the gothic tales of old.
Jumping to the reveal of this second twist, the game explicits the meta-narrative that was hidden in its subtext. By itself, this is an oft explored venue, if not exactly common. This is however not that which makes this game truly shine.
Introducing our complicating deus ex machina, a character within the story, with control over it, that wants to force the story, wants to be the one you, the player, loves. The childhood friend is only depressed because this character does not want the childhood friend to win your attention. When this doesn't work, she dials it up, making her suicidal. All for the sake of turning your affections towards herself ultimately.
What Doki Doki Literature club actually did, was to manipulate the story in order to affect the players decisions. A second-degree meta-narrative. Few if any games at all, to my knowledge, have to this extent attempted to subvert the player himself.
The first twist was predictable, almost conforming to the genre. It is exactly this predictability that the game preys upon. The game, acquired sentience (sentience of a 'real' and 'fake' world, read self-aware) through a character, explores the way in which a narrative, and its reframing, can manipulate the player. Most brilliantly it reimagines the way in which stories affect perception and choices, in an interactive sense.
A game that springs to mind is Undertale. At a late stage, the game closes itself down, a tactic used by the sentient boss of the game. In this case, it tries to stretch the limit of how the game can manipulate interaction through mechanical manipulation. Affect how the player act, by changing the mechanical field within which the game is played.
Doki-Doki Literature Club does this in a later stage as well. Its brilliance however, lies still squarely within the manipulation of the narrative. Bmw fsc code keygen generator. Here, it seduces and entices the player to make their own choices within its narrative framework. It creates a boundary, a simulacrum of its genre, underneath the façade, with the intention of luring the player into an emotional trap.
To summarize; Doki-Doki literature club proves that true manipulation of a player, the way to subvert his authority of the game, is not to deny him control of his senses, removing his control within the framework, but to manipulate him by his desires, to change the story being told itself.
More than anything else, it is proved that the story is not subject to the player, but that the player is slave to the story being told trough the narrative. Truly, no narrative is sacred, no story is without its discourses, in the form of a malevolent dictator. A game is no guide, its essence is to seduce and control. That this is the very foundation of interaction, with or without the screen, is a truly frightening concept.
Good Ending
Hint: To make this go by quicker, go to 'Settings' and go check both 'Unseen Text' and 'After Choice' under the Skip tab. This can save you from HOURS of just sitting around and using Auto, or pressing space as quick as you can. If you want though, you can just turn up the text speed and leave the entire game on Auto.
GOOD ENDING: ACT 1 – Sayori, Yuri, Natsuki, Monika
-Save at the first poem-writing segment. Write a poem for Natsuki.
She likes anime and food, as well as technology and animals.
-Show your poem in order.
-It doesn't matter what you choose on the options (Natsuki), (Yuri), and (Help me, Sayori!!).
-Write the second poem for Natsuki (again).
-Invite Natsuki to your house.
-Choose 'I love you' to Sayori to unlock the last CG for her.
Doki Doki Website
-Choose Natsuki to go to your house.
-You cannot choose Monika or Sayori.
-See Natsuki's CG, and then load the first poem-writing save. Write a poem for Sayori.
She's energetic and lazy. Basically, any leftover words that were for Natsuki is for Sayori.
-Show your poem in order.
-It doesn't matter what you choose on the options (Natsuki), (Yuri), and (Help me, Sayori!!).
-Write the second poem for Sayori.
-Choose to invite Yuri to your house.
-Choose to tell Sayori that you love her.
-Move on to the next act.
GOOD/NORMAL ENDING: ACT 2 – Yuri, Natsuki, Monika
-Just go straight for Yuri.
-By the way, it doesn't matter what you tell to Yuri's confession, since she'll stab herself either way.
Move onto the next act.
GOOD ENDING: ACT 3 – Just Monika.
-TALK TO MONIKA FOR AN HOUR (leave it on auto and do other things, because you often cannot skip her dialogue).
WAIT UNTIL DIALOGUE LOOPS BEFORE DELETING HER.
-Delete Monika's character file (monika.chr) in the 'characters' folder, and then launch a new game. All is similar to the normal ending, up until Sayori talks to you.
Doki Doki Blue Skies Endings
Doki Doki True Ending Guide Series
