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The player has the option to select which group that Junpei travels with, which affects the story; several choices lead to Junpei's death.

Through various choices, Junpei learns of a previous Nonary Game, played nine years earlier, and the connections of the other characters through that, as well as studies about morphic resonance and stories of the Egyptian priestess Alice, who is frozen in ice Zero was a participant of this game, and had set up the second Nonary Game as revenge towards Ace.

The surviving players confront Ace and learn he manipulated the 9th Man to violate the rules and get himself killed in order to both cover his identity and obtain the 9th Man's bracelet.

As they find the door with the 9, Akane becomes weak. Santa watches over her while the others enter the door, leading to an incinerator, where Ace grabs Lotus and holds her at gunpoint.

Discovering the incinerator is about to activate, Snake tackles Ace, and Lotus and Seven pull Junpei out of the incinerator before it goes off, consuming Snake and Ace.

Junpei returns to Akane, finding her nearly dead. Zero says over the loudspeakers that the game's loser has been determined; Junpei acts defiant, but Zero clarifies that he is referring to himself.

Junpei investigates a nearby room, and returns to find Akane and Santa have disappeared, after which he is knocked out by a gas grenade.

In the true ending, Junpei learns that the previous Nonary Game consisted of nine pairs of kidnapped siblings separated onto the ocean-bound Gigantic and in a mock-up in Building Q in a Nevada desert.

The game was designed to explore morphic fields; the research anticipated that the stress of the game would activate the fields between siblings, allowing solutions solved by one to be sent via these fields to their counterpart at the other location.

This research was to help Ace cure his prosopagnosia. This Nonary Game went awry: Akane and her brother Santa were placed at the same location instead of being separated, and Seven discovered the kidnappings and rescued the children from the ship.

Ace grabbed Akane before they could escape, and forced her into the incinerator room, and threatened her with death were she unable to solve a puzzle.

Unable to solve the puzzle, Akane was apparently burnt to death while the other children escaped with Seven. Junpei and the others reach the incinerator; Akane disappears and Santa escapes with Ace hostage, trapping the others inside.

It is then revealed that the portion of the game's narrative portrayed on the bottom screen of the Nintendo DS is presented from a year-old Akane's point of view during the first Nonary Game.

Through morphic fields, she connected to Junpei in the future, witnessing several possible realities and directing Junpei to help him survive.

Junpei then faces the same puzzle Akane did, and relays the solution back to Akane in the past, allowing her to escape with Seven and the other children.

Junpei realizes that Akane was Zero and, with assistance from Santa, had recreated the game and all the events she had witnessed in order to ensure her survival and avoid a temporal paradox.

As Junpei and the others escape, they discover that the game had taken place in Building Q the entire time, and that Akane and Santa have fled, leaving behind a car with Ace restrained in the trunk.

In the game's epilogue, they drive away hoping to catch up to them and, shortly after, pick up a hitchhiker whom Junpei recognizes as Alice.

Uchikoshi did not join the company in time to work on , but came up with the idea to include puzzles that are integrated within a story, and need to be solved for the player to make progress: he enjoyed playing browser-based escape-the-room games, but thought that they would be more interesting if they had a larger focus on telling a story.

The theory is similar to telepathy , which answers the question of how organisms are able to simultaneously communicate ideas to each other, without physical or social interaction.

Uchikoshi used the theory to develop the concept of esper characters, which are able to either transmit or receive information from another individual.

Because of the vital role of the number 9 in the plot, each of the characters was based off one of the nine personality types from the Enneagram of Personality.

Uchikoshi started writing the script by working on the ending first. From there, he would continue to work backwards, in order to not get confused when writing the plot.

This was a theme Uchikoshi had used before, when writing the visual novel Ever The Out of Infinity The characters were originally supposed to be handcuffed to each other as they try to escape, but the idea was scrapped as it was seen as overused, with appearances in light novels such as Mahou Shoujo Riska The Escape sequences were created to appeal to players' innate desires: Uchikoshi wanted them to feel the instinctive pleasure that he described as "I found it!

Shinji Hosoe , the president of the game music production company SuperSweep, was chosen to compose the game's soundtrack for being skilled in a wide range of music genres, ensuring that he could compose music that would fit a lot of different types of moods and scenes.

He described his work on the game as the most straightforward music project he had had, due to receiving concise reference material that answered all his questions about the game; he made a few test tracks, after which everything went smoothly.

The music was written using the Nintendo DS's internal synth, and Hosoe worked together with fellow SuperSweep composer Yousuke Yasui to make this less obvious.

The North American localization of the game was handled by Aksys Games ; Chunsoft was introduced to Aksys by Spike while looking for a company that could publish the game in North America.

When Aksys evaluated Nine Hours, Nine Persons, Nine Doors , many at the company did not believe in its commercial viability and at first turned it down; as many of the people who evaluate games at Aksys do not speak Japanese, it was difficult for them to gauge whether a game was good or not.

In the end they decided to localize it, which was considered a big risk for the company. The localization was done by the philosophy of keeping true to the spirit of the original Japanese, making dialogue sound like what a native speaker of English would say instead of strictly adhering the original's exact wording.

The localization editor, Ben Bateman, did this by looking at the writing from a wider view, line by line or scene by scene rather than word by word or sentence by sentence, and thinking about how to convey the same ideas in English.

Most parts of the game that include a joke in the localization also have a joke in the Japanese version, but a different one; Bateman did however try to make similar types of jokes, with similar contents and ideas.

During the localization, Bateman had to keep track of the numerous plot points throughout the game, as the script had not been written in chronological order due to the numerous endings.

Another challenge was getting the localization done in time: Nobara Nakayama, the game's translator, worked on it for 30 days, and the editing process took two months.

Because of this, Bateman had to do most of the work "on the fly". Nakayama had started playing the game prior to starting work on the localization, but did not finish playing it until she was more than halfway through translating it; after learning that the plot hinged on a Japanese pun, they had to halt the localization to discuss it with Uchikoshi and come up with a solution, after which they went through the whole game to make sure that it still made sense.

A plot twist regarding the narration relied on the use of gender-specific first person pronouns at specific points in the story. As this would not work in English, the narration was made to instead be in the third person, and the twist's effect was replicated by shifting from third to first person at a specific story point.

However, Bateman admits that the twist is "more mindblowing in Japanese". During a scene related to an abstract painting of a dog, one of the localized answers for what the painting depicts is "Funyarinpa", a nonsense word , and picking it prompts a humorous exchange between Junpei and Lotus.

This became a highly popular meme within Zero Escape circles, to the point where the Nonary Games remaster included the joke in the Japanese dub.

The game's soundtrack was published by SuperSweep on December 23, It was released in Japan on May 29, , [39] and worldwide in English on March 17, This version lacks the Escape sections of the Nintendo DS version, and features high resolution graphics and an added flowchart that helps players keep track of which narrative paths they have experienced; additionally, dialogue is presented through speech bubbles , [40] [41] and an extra ending is included.

Reviewers enjoyed the writing and narrative, [3] [6] [7] [49] with Andy Goergen of Nintendo World Report labeling it as "a strong argument for video games as a new medium of storytelling".

Thomas at IGN felt that the urgency portrayed in the game's story sometimes was at odds with the tone or timing of the dialogue, such as lengthy conversations while trapped inside a freezer, or lighthearted dialogue and jokes.

A Famitsu writer said that they enjoyed solving puzzles, and that it gave them a sense of accomplishment; [1] similarly, Goergen, Petit, Schilling and Arendt called the puzzles satisfying to solve.

He applauded the large amount of content, saying that even someone only buying the game for the puzzles would be satisfied. Goergen found the sound designs to be unmemorable, saying that the music does not add much and that players would be likely to mute the game after hearing the "beeping" sound effect used for dialogue for too long.

She was unimpressed with the environments, but said that they were clear and easy to look at. She liked the character portraits, calling them expressive and, paired with the dialogue, enough to make the player not care about the lack of voice acting.

He felt that the way the game favored textual narration over animated cutscenes made it more immersive, allowing the player to imagine the scenes.

Nine Hours, Nine Persons, Nine Doors is the first game in the Zero Escape series, and was originally intended to be a stand-alone game.

The development for the sequel began after the first game got positive reviews. From Wikipedia, the free encyclopedia. December 10, Famitsu in Japanese.

Archived from the original on January 22, Retrieved January 22, Gizmodo Media Group.

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