At first glance, this recently translated visual novel Valkyrie Svia by Black Lilith showed lots of promises and was accompanied by an unusual setting that piqued my curiosity. This game mainly tries utilizing Norse mythology in its characters and world. It starts with establishing this early on as soon as you first look through the eyes of a Valkyrie named Sigurd. She is tasked with protecting the city of Asgard (home to the Norse gods) from invading forces sent by the trickster god Loki. Loki seeks two keys from the Valkyrie wombs to revive the rivers that sustain the “World Tree”.
In a desperate act, these rivers have been drained to stop his uprising by the once powerful Odin, but with a terrible price. The World Tree needs this substance in order to preserve all life, and the gods would rather end the world than give control over to Loki. The valkyrie Sigurd gives all her dedication to this task, accompanied by her long time female friend Svia. Together they attempt to protect the keys from his influence, denying Loki the keys that lie within their wombs. Unfortunately, they are quickly captured, and Loki ponders creative methods to retrieve the keys from them. Legend told him those keys are deeply entrenched inside their very wombs and try to recover them by any means necessary, not wasting time raping and corrupting their minds with sexual desires.
Why do these monsters have that few tentacles? Just needs one more…
This idea of using Norse mythology by the developers isn’t a bad attempt and looks decent on the cover, although it is mostly superficial offering little insight in Norse mythology itself. It feels like a missed opportunity to develop a greater story, as most references to lore is inaccurate. I wouldn’t say it handles this premise in a bad way, but it does try its best to get the player invested in the story. The general story and longevity of the game are average compared to similar novels and offers little replay value, but the player still has several options throughout the game to unlock different scenes.
The missed opportunity for developing a good story is equally shown in regards to the game’s audio, which felt lacking from the start. The sound of female voices remain decent, but the game lacks any satisfying, juicy sounds during the vast array of scenes available.
An outstanding addition to these scenes was the quality writing that remained prominent throughout the title, and extra credit has to be given to the superbly translation of the dialogue. This game shows how translation can be done successfully and doesn’t miss its mark by establishing the characters and their motivations in a comprehensible manner.
Many of these scenes show different methods Loki uses to break will of these women, which mostly involves rape by either himself or the many beasts that reside in the dark corners of this world. The amount of these scenes are plentiful and fulfilled my personal expectations to a certain degree. Regardless, they showed decent quality of art in the scenes themselves, considering this is a relatively old game and can’t compare to the production value of modern games. Still, it has aged well, and there is plenty of fun to be had, either by reading well-written dialogue or watching the many scenes.
No pushing, please! Everyone will be able to get a taste.
This game succeeds on certain aspects of diverse good quality art alongside the amount of variety in the scenes themselves, that remain a pleasure to watch. I feel this game could have been a good addition, but the superficial story alongside the disappointing audio held it back from being a truly great game and failed to draw me in completely. That being said, I played my fair share of games. This isn’t a bad game and it still offers an enjoyable experience.