Plot
Makoto was born in Kazune city, but was forced to move away with his sister Hinata and Minamo’s family after his father’s death. As children, the three played together. When his family moves for the second time, he entrusted to Minamo a harmonica. The two pinky-swore to meet again and marry some day.
The game begins ten years later. Makoto and Hinata are returning to Kazune via train and enroll at High School where he is reunited with Minamo. He learns that many people of the city have special powers which only they can do. For example, Hinata can jump higher than most 2-story buildings, Minamo can control the wind, Nozomi can create shockwaves with edged weapons, and Wakaba can cure wounds and slow down diseases. The town is also home to a long series of murders and mysterious disappearances.
When Minamo’s father Professor Akihito tries to research the city’s mysteries to understand what caused these powers to develop, a chain of events begins and in the game it is the player’s goal to help Makoto uncover these mysteries while forging bonds with one of the five girls.
Read more about this topic: Wind: A Breath Of Heart
Famous quotes containing the word plot:
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)