True Love Story (トゥルー・ラブストーリー?) is a series of four dating sims (as distinct from the similar but unrelated title True Love). True Love Story and True Love Story 2 were released by ASCII for the PlayStation. True Love Story 3 and True Love Story: Summer Days, and yet... were released by Enterbrain for the PlayStation 2.
The True Love Story land are notable for their gekō (下校), or walk-home system. When the player asks a girl to walk home with him from school, the game enters a special conversation mode. In this mode, in addition to the usual long-term, strategic "love meter", the girl you are conversing with has a short-term, tactical "heartthrob meter" representing her level of immediate interest in the conversation with you. The player is given the choice of approximately 30 topics of conversation to choose from, and the heartthrob meter will increase or decrease based on the appropriateness of his selections. High heartthrob can then be leveraged to ask the girl out on a date, or simply to effect a permanent increase in her love meter.
Later True Love Story games added further complexity to this system, such as a "combo" system measuring the number of consecutive good choices of conversation topics. In large part because of this system, True Love Story is one of the most gameplay-rich dating sims.
An OVA based on the True Love Story; Summer Days, and yet... story was released in 2003. It was 3 episodes long.
Read more about True Love Story: Games
Famous quotes containing the words true, love and/or story:
“Though it is very important for man as an individual that his religion should be true, that is not the case for society. Society has nothing to fear or hope from another life; what is most important for it is not that all citizens profess the true religion but that they should profess religion.”
—Alexis de Tocqueville (1805–1859)
“If with love thy heart has burned;
If thy love is unreturned;
Hide thy grief within thy breast,
Though it tear thee unexpressed.”
—Ralph Waldo Emerson (1803–1882)
“The child ... stands upon a place apart, a little spectator of the world, before whom men and women come and go, events fall out, years open their slow story and are noted or let go as his mood chances to serve them. The play touches him not. He but looks on, thinks his own thought, and turns away, not even expecting his cue to enter the plot and speak. He waits,—he knows not for what.”
—Woodrow Wilson (1856–1924)