Talk:Visual novel/GA1

GA review

Article (edit | visual edit | history) · Article talk (edit | history) · Watch

Nominator: Andrzejbanas (talk · contribs) 19:58, 15 June 2026 (UTC)

Reviewer: Monathephantom (talk · contribs) 09:24, 12 August 2026 (UTC)

My third good article review, here we gooooo!!! Monathephantom (talk) 09:24, 12 August 2026 (UTC)

Spotcheck

This table lists 16 random passages from throughout the article (9.8% of 163 total passages). These passages contain 18 inline citations (8.9% of 203 in the article). Reference numbers refer to this revision. Generated with the Veracity user script. Monathephantom (talk) 12:08, 12 August 2026 (UTC)

Reference #	Letter	Source	Archive	Status	Notes
The visual novel video game genre originated in Japan.
4	a	Camingue, Carstendottir & Melcer 2021, p. 1.		⏳
They said that games presenting themselves as visual novels which did not feature these core features would likely confuse players or violate their expectations.
16		Camingue, Carstendottir & Melcer 2021, pp. 12–13.		⏳
Nine definitions did not specify an art-style to the genre, which the Camingue, Cartendottir and Melcer attributed to the genres growth in development outside of Japan.
25		Camingue, Carstendottir & Melcer 2021, p. 8.		⏳
Ishii said that Japanese adventure games like Jesus (1987) and Snatcher (1988) may appear to be novel games, but were too were too linear, concluding that when one breaks down the systems of gameplay mechanics, the differences become more apparent.
30	b	Taitai 2013.		⏳
Koyama wrote that despite it being easier, many visual novels made by small companies for personal computers (PCs) often had inadequate of debugging during development.
9	c	Koyama 2023, p. 146.		⏳
Visual novels sometimes break general common definitions of the genre, according to Uchikoshi at the 2013 conference.
34	b	Arai 2013.		⏳
this was brought about by Key's titles, particularly Kanon (1999) and Air (2000),
44	b	Pear & Shin 2021.		⏳
46		Visual Arts.		⏳
47		Visual Arts 2014.		⏳
They feature no happy endings and have few interactive choices.
52	b	Sousa 2020, p. 74.		⏳
Fukuyama said that by 1983, the number of Japanese adventure games "exploded" with several Japanese versions of American adventure games being released.
5	j	Iwai 2019.		⏳
The two games combined elements of the two Chunsoft game and the bishōjo games to create what Fukuyama described as a new genre in Japan called the visual novel.
5	o	Iwai 2019.		⏳
Koyama wrote that the demand from players to concentrate on narratives and the motivations from game developers to create inexpensive and easier to design games led to the novel-styled games to dominate the Japanese market over similar genres like dating sims.
61	d	Koyama 2023, p. 147.		⏳
A significant amount of the doujin games are pornographic in nature.
68	c	Fiadotau 2024a, p. 605.		⏳
By 2016, the genre had its own category on Steam.
79		Lamers 2016.		⏳
In 2019, gamebusiness.jp described a contemporary trend for visual novels in China. Fukuyama said while there were earlier predecessors, he described the turning point for the genre was the release of Renai Simulation Tkool 2 in 2004, which sparked a surge in visual novel production in China and Taiwan.
5	p	Iwai 2019.		⏳
In Tokyo Kronos, text is displayed in front of the player like traditional visual novels while the characters are life-sized and move and interact with each other. An overview of the style from CNET found that characters movements are were generally modest, with as an emphasis still placed on either reading text or listening to a character's voice.
90		Taishō Saito 2021.		⏳
Sousa similarly wrote that visual novels, remained an overlooked subject in the study of Japanese pop culture and videogames alike.
52	d	Sousa 2020, p. 74.		⏳