[Vague spoilers for Higurashi also included]

A pretty solid intro! I still need to read the tea party (and potentially anything that might unlock after that), but overall this is a fantastic start. The only thing that I didn’t particularly like is that there is a bit too much exposition, although this was an issue in Higurashi as well. I don’t think it held the experience back by any significant margin, but it’s a bit of a pain to click through a narrative that’s just over-explaining itself.

Otherwise, GOSH THIS IS SO GOOD!! The references, both blatant and subtle, to Higurashi are masterfully done (e.g. discussions of miracles; rolling die to illustrate the concepts of fate and the perception of miracles; turning into a demon in order to protect a loved one; similarities between Maria and Onikakushi!Keiichi’s letters; and so on). All of it is incredible, and feels very rewarding for people that are familiar with the series.

This is also my first time playing with CGs and updated sprites/backgrounds (and ofc the voice mod), and MAN is it good! I think Higurashi is far better played using original assets (save for the voice mod), but there’s no contest here — Umi needs to be played using updated assets. I was truly terrified of Maria every time she jumped on screen, and don’t even get me started on how much I loved Natsuhi and Eva’s showdown!!! Once the plot started rolling, it just didn’t stop, and things were always tense and I loved it.

The only complaints I have in terms of characters would be George (watching him basically force Shannon into accept his proposal was VERY uncomfortable, although I’m waiting to see if this is played more as a character flaw instead of fanservice), and Krauss (although we didn’t get to see much of him, and I imagine there’s a LOT to his character, I just think he’s sleazy and I wanna kiss Natsuhi instead). Other than that, my favorite character is definitely Natsuhi, and watching her gradually come to put her role as a mother before her family name was SO good to see!

But yeah! Great start! Can’t wait to see where this goes :)

As minhas expectativas para umineko ainda estavam muito altas e, de certa forma, altas até demais. Eu ainda estou jogando, mas sem duvidas eu me decepcionei bastante com esse primeiro ep do jogo. Apesar de eu gostar dos personagens e de como cada um se mostra quanto mais fodida a situação fica, não posso negar que o mistério pouco me divertiu ou me fez ficar pensando. Motivo? Simples: Eu já sabia quem era a Beatrice e também já tinha deduzido meses antes de jogar que ela estava dentro da história do jogo e nos eventos(isto por causa do sprite dela existir). O que me segurou de não dropar fora dois motivos: já me era gigante o tempo gasto, então eu nem fodendo que vou parar agora. Segundo: O cast, tirando a maria que é uma wannabe do cacete da beatrice, é realmente muito legal. Eu duvidava que iria gostar, mas o Battler é um cara muito legal e isso serve para todos os outros personagens. Enfim, talvez se eu não soubesse muito sobre o jogo por ter ouvido sobre eu não teria me decepcionado tanto assim.

Before anything else, I believe its appropriate to briefly discuss the soundtrack and what it accomplishes. From lighthearted moments shared between the cousins to the tense air surrounding the family’s inheritance affairs, EP1’s OST serves as the ideal companion to the story’s gradually shifting atmosphere, with goldenslaughter executing the episodes tone shift just as effectively as the first time I read it. It may not have the tracks Umineko is most remembered for, but it achieves what it sets out to do to perfection.

Moving onto the actual writing, its important to acknowledge what first impressions mean in Umineko. The airport scene is the audience’s first encounter with most of the Ushiromiya family, who make up a large portion of Umineko’s cast. More importantly, it is the last time Eva, Rudolf and Rosa will collectively be portrayed as the ‘likable’ siblings. Rosa is a charitable woman and the ideal mother. Eva/Rudolf are a fun, playful pair that a number of brothers and sisters will likely find themselves identifying with. The more chapters we progress through, the more we understand our first impression deceived us. Once the story moves onto mansion, a different face appears on these characters. We soon find one of those playful siblings repeatedly tormenting an already sympathetic Natsuhi for reasons the audience are not yet aware of. Shortly after, Maria's loving mother is seen mercilessly beating her daughter in front of the cousins. However, the episode continues to dig into their characters by giving us a small portion of their depth that would later be expanded on in the following episodes.

Perhaps the single most fascinating character showcased in EP1 is somebody we meet in the story’s very first scene, the family head himself: Kinzo Ushiromiya. There is virtually no consistency within Kinzo's characterization. In his first appearance, we see a sympathetic old man breaking down under past regrets, wanting nothing but to see a certain woman’s smile. A similar scene is shown a few chapters after, however, there is a notable difference. Rather than portraying him sympathetically, the words beneath his weeping hold a far more possessive, disturbing implication behind them. Unless we’re to pay close attention, this difference is very easy to overlook. Few chapters later, this is no longer the case. Kinzo's weeping is replaced by optimism and his fascination with magic finally makes itself known. This is built on in our next meeting with him as he shows a more competitive persona that is confident in his capability to snatch the aforementioned woman’s smile. Before his death, we’re shown Kinzo one last time with arguably the most jarring portrayal of his character yet. In front of Natsuhi, Kinzo is shown as the proud head of the Ushiromiya family. While his stance toward the siblings is unchanging, the tone of his speech is far more composed. We see his first act of kindness as he allows the suffering Natsuhi to regain her lost self-esteem with the implication that she, more so than any of his children, is worthy of becoming head of the family. Based off these scenes, making out who Kinzo is meant to be is nigh impossible. It is only at the very end of EP1 that we receive more insight on his character through his servants and the cousin's interpretation of their words.

The significance behind these scenes not only forces us to contemplate who Kinzo is, but it also adds intrigue behind the woman whose smile he yearned for, Beatrice. Until the tea party, Beatrice is not a character. We have no idea who or what Beatrice is supposed to be. The cousins theorize who this Beatrice could possibly, with guesses ranging all over the place. That in itself is the force that drives the narrative forward.

Along with Kinzo and Beatrice, a third character who heavily contributes to the plot of EP1 is Maria. Unlike the former two names mentioned, she is consistently present throughout the episode. What distinguishes her from the rest of the cast is she does not abide by conventional logic. Early on, her belief in magic is viewed innocently as something several girls her age might be interested in. It is not long after when we’re reminded yet again that first impressions in Umineko are not reliable. We begin to see the nature of how Maria operates as she stubbornly stands outside in the middle of a harsh rainstorm after being abandoned by Rosa. Her fixation on a single rose seen earlier that day tells us that they (Battler and the cousins) are not dealing with a regular girl, and that becomes even more apparent directly after the first twilight when the first 6 victims are killed. Fortunately, George gives the cousins, as well as the audience, an understanding for Maria’s disturbing speech and indifference to everyone’s deaths. We’re led to believe that this knowledge in mind would protect her strange behavior from their judgement. It is because of this belief that the slowly growing intolerance toward her becomes especially effective in showcasing how their predicament is impacting them. Despite how conflicted the cousin’s feel at the sight of Rosa beating Maria, they begin to share in her frustration after a certain point. Maria’s stubbornness and inability to cooperate with others drives the remaining cast into madness as everybody in the mansion is dying. until the boiling point is reached when Natsuhi points her gun at Maria and she’s forced outside, where its presumed the killer is waiting for them. Oh yeah and Natsuhi is pretty good here too I guess.

The last thing I’ll mention is how well this sets up the mysteries for the rest of the story. As Ryukishi dubs it, the concept of Anti-Mystery vs Anti-Fantasy is an innovative approach to the genre that is fascinating off its premise alone. The EP1 tea party only solidifies this as we’re given a new layer of depth to look at when determining what kind of mystery story Umineko truly is.

tl;dr EP1 is good as fuck

Empezamos con este primer capitulo de Umineko, mi única experiencia con Ryukishi07 es de haber visto todo el anime de Higurashi y de haber jugado el capitulo 1 de la VN en cuestión.

De Umineko no tenía mucho conocimiento así que me he lanzado a ver que tal esta obra, antes de entrar en más detalle tengo que decir que me lo he pasado muy bien con este capitulo excepto por un par de partes.

Lo primero de todo, el capitulo empieza introduciéndonos a los personajes, aunque va muy lento durante el desarrollo de algunos y hay algunas escenas que me han hecho que me caigan muy mal algunos, como la escena de la herencia o la escena de Rosa pegando a su propia hija solo por gritar uuu (Rosa, que tiene 9 años, que sigue siendo una niña pedazo de asquerosa).

A pesar de todo eso a mitad del capitulo se empieza a liar y empiezan a ocurrir asesinatos de toda la familia y cerca del final ocurre para mi la mejor escena de todas que es la de la pared y luego al final me he quedado con más dudas que respuestas.

Con todo esto a pesar de las partes pesadas me ha molado mucho el capitulo y tengo muchas ganas de continuar y ver que acaba pasando en los demás.