![]() Also, the sweeping overhead images of Weather Vane and its surroundings are absolutely stunning. On a technical level, Da Capo III is overall superior to its predecessors, with better editing resulting in fewer typos and errors, plus the new game finally adds the ability to go back to the previous choice, by designing the backlog with the option to go back to any prior dialogue. There are also a small number of chibi-style CGs similar to those found in the Grisaia series, as well as one fully animated 3D sequence which looks like they came from the early 2000s. ![]() The new designs are somewhat more detailed, especially in the eyes and lips. The art style in Da Capo III is generally similar to that of Da Capo II, although with differences that are particularly notable in the final side story, which has CGs that feature Da Capo II characters with the new art style. As is always the case with games with Japanese voice acting, I can’t exactly comment on the quality, although I will note that Charles’ voice is somewhat an acquired taste for me. Each part and each chapter of Weather Vane also has its own opening, although each route shares the same ending theme aside from the unique ones in the side stories. The OST has been expanded to 82 tracks – up from 27 in the first game and 46 in the second – and runs the gamut from upbeat, relaxing songs such as the slightly Celtic-sounding “Blue Skies” to refined ones representative of its high-class British setting such as the theme of Weather Vane itself “Petals Fluttering in Late Afternoon” to intense tracks to accompany the high-tension missions such as “Impulse” to somber songs to go with each girl’s troubled past, such as Ricca’s slow theme “Cattleya, Blooming Alone”. Similar to Da Capo II, Da Capo III uses some music from earlier games while also having a large selection of new tracks. Good thing nobody else has thought of doing that. It was interesting to see where those specific abilities originated within the game’s world. He specializes in dream seer magic, a more sophisticated and refined form of Junichi and Yoshiyuki’s dream ability, and he also uses the sweets creation spell. However, while previous games’ protagonists Junichi and Yoshiyuki were mostly normal aside from their abilities to see other people’s dreams and create Japanese sweets from nothing, Kiyotaka Katsuragi is a talented mage. ![]() I do wish it established the ancestral relationship between characters more, and explained how the future versions are related to the past versions, but that’s more related to my personal love for lore and the connections between stories than an actual fault of the game. ![]() It also helps that the overarching plot gives a sense of mystery to the story, making it quite satisfying once the game starts to reveal its hand in “Zero” and “Da Capo”. It makes it quite easy to figure out what choices lead to what routes, since none of the important decisions are blind while the other nighttime choices just unlock side stories. The general structure in the prologue and first chapter of Weather Vane are similar to the other games, with the player choosing places to go during breaks, although setting the alarm has been replaced with selecting actions before going to bed, such as calling friends, listening to the radio or going for a walk around the dorm. However, the story is a serious departure for the series, with its new setting, its greater focus on the magic only slightly present in earlier games, and the one overarching story tying the routes together to a single ending rather than a series of independent routes with one being treated as canon – Nemu’s route in the first game, and Sakura’s in the second. After so long, we’re finally able to go back to earlier dialogue.ĭa Capo III has a lot more in common with Da Capo II than that game did with the first, in terms of art style and character design.
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