The Days Without Gods

故事叙述整体不错，人设略显单薄，部分剧情存在bug。整体体验7/10分，可以入手一玩

好玩

好，除了故事是单向的（也很合理）没什么可以被吐槽的点。

The Days Without Gods is a narrative-driven fantasy adventure developed by 季森造纸工坊 and published by WindField Games. It unfolds in a world that has been abandoned by its deities for more than two centuries, a setting that serves as both the backdrop and the central metaphor for its themes of loss, faith, and human adaptation. You play as Mori Granson, a thirty-year-old mage’s apprentice living in the capital city of Tylin, a place where magic has evolved into a tool of bureaucracy and commerce rather than wonder. Without the gods to guide them, humanity has built its own system of order through the power of mages and scholars, giving the world a sense of both progress and decay. The story begins quietly, but as it unfolds, it exposes the moral and emotional fragility of a society that thrives despite having long forgotten what it means to believe in something greater than itself. From the very beginning, The Days Without Gods establishes itself as a text-heavy experience designed for players who enjoy slow, reflective storytelling. The game plays out largely through dialogue, inner monologue, and branching narrative paths, presented with visual novel-style character portraits and backgrounds. Every decision you make subtly shapes the way characters perceive one another, though the story remains largely linear in structure. The primary focus is on conversation, introspection, and world-building rather than action or strategy. The player navigates through the social and political circles of Tylin, meeting a range of personalities including Coccinea Granson, a young woman rescued by Mori who now lives under his guardianship. Their relationship, bound by both affection and an uneasy sense of ownership, forms the emotional center of the narrative. Through their interactions, the story explores questions of morality, responsibility, and what it means to “save” someone in a world that no longer recognizes divine right or wrong. The writing draws much of its strength from its setting and tone. The capital city of Tylin is described with a sense of faded grandeur—an empire that has mastered magic but lost its soul. Magic, once seen as a divine gift, has become an industry, commodified by guilds and bureaucrats. The world is rich in history, with references to past wars, ancient temples, and forgotten rituals that hint at a once vibrant spiritual tradition. Yet beneath the surface lies a quiet melancholy, as if everyone in this world is simply going through the motions. Mori himself embodies this existential fatigue: he is talented but uninspired, bound by duty but unsure of purpose. His encounters with others—mages, merchants, priests, and wanderers—paint a portrait of a civilization that continues to function even in the absence of meaning. The narrative’s introspective tone invites players to contemplate the nature of belief, authority, and the human need to fill the void left by lost gods. Gameplay in The Days Without Gods is minimal and deliberate. It primarily follows the conventions of an interactive novel, where progression comes through reading, choosing dialogue responses, and occasionally engaging in light role-playing decisions. There is no combat system or complex skill management; the experience relies entirely on storytelling and atmosphere. Choices influence certain narrative outcomes and relationships, but they don’t radically alter the plot. The design is reminiscent of tabletop role-playing sessions—there’s even a subtle Dungeons & Dragons influence in the way certain events are structured, with character interactions feeling like narrative “encounters.” While this slow pace might frustrate players seeking more traditional gameplay, it suits the story’s contemplative nature. The interface is clean and straightforward, emphasizing readability and immersion over visual spectacle. The presentation reflects the indie nature of the project. The art direction favors simplicity—static character portraits, moody backgrounds, and subdued color palettes that evoke the tone of a forgotten world. The hand-drawn art, though modest, conveys warmth and personality, while the text layout and subtle animations keep the screen from feeling static. The music is minimal but effective, using soft piano and ambient strings to reinforce the story’s somber tone. Technically, the game runs smoothly even on low-end hardware, requiring very little in terms of performance, which makes it accessible to almost any player. However, the translation quality can be inconsistent. The original Chinese writing carries a lyrical and poetic tone that doesn’t always survive the English localization, leading to moments of awkward phrasing or lost nuance. This issue occasionally disrupts the emotional flow of the dialogue but never completely undermines the story’s impact. Thematically, The Days Without Gods is strongest when it explores the contradictions of a world that has moved beyond faith but not beyond the need for it. The characters embody various responses to that absence: some cling to old rituals, others rationalize their existence through science or politics, and some simply drift. The game doesn’t judge these perspectives but instead observes them with quiet empathy. There is an underlying sadness in its depiction of progress—a sense that even as humanity masters magic and reason, it loses something fundamental in the process. The story’s title is not just literal but philosophical: “The Days Without Gods” refers to the modern condition of living without higher guidance, where morality becomes relative and meaning must be self-created. In that sense, the game succeeds as an allegory for contemporary life disguised as a fantasy narrative. While The Days Without Gods is limited in scope and presentation, its emotional resonance and thematic ambition make it stand out among indie narrative titles. Its greatest strength lies in its atmosphere—a quiet, melancholic world that feels alive even in its desolation. It doesn’t rely on spectacle or action but on reflection and tone, inviting players to slow down and listen. The shortcomings are clear: the translation could be more polished, the pacing at times drags, and the gameplay mechanics are sparse. Yet these flaws are outweighed by the sincerity of its storytelling and the richness of its world-building. It is a small game with big ideas, one that speaks softly but leaves a lasting impression. For players who appreciate literary fantasy, introspective narratives, and emotionally grounded storytelling, The Days Without Gods offers a poignant journey through a world that has lost its divine light but not its humanity. Rating: 8/10

[h1]故事背景[/h1] 《赠与神家与谎言》是一款类 DND 西幻文字 ADV 。玩家将扮演魔法协会会长西索下属兼学徒「莫里·格兰森」，在法师之都「塔林」中与多年前救下的少女「柯希尼娅」及其他角色们相遇。在与她们一同展开冒险的同时，主角还需要帮助她们建立彼此的良好关系，尝试组建一个没有血缘关系的家庭「格兰森一家」——他最终能成功吗？ [h1]游戏特色[/h1] 众所周知，视觉小说想要吸引人，离不开美术，剧情和音乐的精妙配合，唯有三者相辅相成，才能打造出令人难忘的叙事体验，而本作恰好就做到了这点。剧情方面，男主莫里与几位“代神”女角色结下不解之缘，一起展开冒险，游玩时仿佛在看一部动漫，美中不足的是，男女主情感铺垫不足，后续多位女角色的加入又大大削弱了女主戏份，导致女主存在感不强，好在结局没有让人失望。视听方面，本作美术表现和角色配音可圈可点，人物立绘精美，西式画风很吸引人；游戏全程配音（除了主角），专业的声优老师，赋予了角色鲜明的个性，令其性格跃然“屏”上：干练负责的柯希尼亚，自由奔放的提莫，温柔可爱的布兰卡，几位女角色鲜活的性格大幅提升了游戏时的沉浸体验和情感共鸣。 [h1]结语[/h1] 本作虽标榜与 DND 有关，但更多的只是浮于表面，简单地把相关用词摘取过来；与此同时，游戏的场面特效十分简陋，音效、魔法释放只是用简单的贴图来表现。不过，本作依然是一款合格的文字 ADV，文案和剧本均保持在线水平，配音顶尖、美术优秀，热衷于冒险探索的玩家值得一试！ [table][td]欢迎关注鉴赏家[url= https://store.steampowered.com/curator/45519015/]“无趣评测”[/url][/td][/table]

游戏怎么说呢，好也说不上，差也不至于 打了大概4个小时吧，随便说一下 剧情好，游戏背景也好，选的题材也好，怎么做成游戏就不怎么好了呢 你就不能把故事写长一点吗，制作组自己玩的时候不觉得很赶吗，明明故事展开来写能写得很好，非要整这么短 dnd题材背景，不懂，玩了游戏然后百度了一下，大概知道是什么东西了，之前线下玩过有些跑团，感觉背景和我玩的一些跑团差不多，但是确实比较经典也很有意思 但写出来的东西不清不楚，从开头到结尾，交代的东西交代不全，世界观那么大，可以写的东西那么多，搞得剧情跨度大，描写少；谜语太多了，游戏结束了还解释不完 各种剧情部分展开仓促，转折突然，描写过少，体现出来的剧情观感很差，我觉得作品的大纲是不错的，可惜没写好 游戏里面每一个角色的性格，行为的表现都很不错，而且设定都很讨喜，让我很喜欢，但是角色的剧情处理很怪，突然出现，突然消失，铺垫很少，观感不佳 美术 cg，立绘，都很好，但是你不觉得有点糊吗，差了一点意思，配音没问题，老面孔了 打架和施法还有特效，但是也太粗糙了，我知道你想表达什么，但是做的太烂了，还不如不加 bgm一般，没什么感觉 ui 都2022年了，怎么还会有不能看cg回放的gal啊，这都是基本操作了，看个cg还要自己截图 操作系统还很简陋，差太多了 但凡你写长一点，写细一点，都不至于那么差 7/10

整体而言算是达到及格线的一部作品。 最让人想吐槽的是人物立绘，柯希设定上165的身高也太细长了，比163的特妮拉长了超过一个头，看起来十分违和。男主身高设定居然只有168。 背景魔幻风架空世界，剧情四平八稳没啥毛病。不过这么多女角色，营造出一股后宫氛围结果是单线剧情。 战斗演出过于贫穷了，同样贫穷的还有这系统，转场跟ppt似的，几个基础的功能都没有，属实难受。 配音演出倒是不错，很多地方配的很有意思。 cg画风不统一，也没有鉴赏画廊。 总之剧情还算挺有意思的，就是感觉制作太穷了。