Because We’re Here: Mohnblume und Blauerose – Act I

Because We’re Here: Mohnblume und Blauerose – Act I is a story-driven otome dating simulation set during a First World War-inspired conflict. Players assume the role of Elfriede Rauss, a neurotic Postal Corps volunteer navigating the trenches amidst the chaos and brutality of the front lines. The game follows her journey as she encounters love and forms relationships with a diverse cast of characters, including childhood friends, aristocrats, corporals, and cowards, while facing life-changing decisions and conflicted loyalties in this episodic visual novel.

Because We’re Here: Mohnblume und Blauerose – Act I: Review

In the vast and often predictable landscape of visual novels, a title emerges not with a whisper, but with the thunderous report of a field gun, challenging conventions and daring to find humanity in the most inhuman of settings.

Introduction

In the crowded genre of otome dating sims, where tales of courtly romance and high school intrigue dominate, Studio Elfriede’s Because We’re Here: Mohnblume und Blauerose – Act I arrives as a profound, jarring, and utterly essential anomaly. It is a game that stares unflinchingly into the abyss of the First World War and dares to ask: can love not only survive here, but truly begin? This review posits that the game is a masterclass in thematic audacity and narrative craftsmanship, using the well-worn tools of the visual novel to construct not a escapist fantasy, but a poignant and harrowing examination of the human spirit under siege. It is a work that transcends its genre trappings to deliver an experience that is as historically resonant as it is emotionally devastating.

Development History & Context

Developed and published by the enigmatic Studio Elfriede, Because We’re Here is a testament to the power of a singular, fiercely independent vision. Released on July 19, 2018, for Windows, Macintosh, and Linux, the game was crafted using the Ren’Py engine, a popular and accessible tool for visual novel creation. This choice is significant; Ren’Py is often associated with fan-made projects and smaller-scale indie titles, yet Studio Elfriede wielded it to build a world of surprising depth and narrative complexity.

The gaming landscape of 2018 was one dominated by blockbuster AAA titles and a thriving indie scene often focused on retro aesthetics or minimalist design. Into this fray stepped a game that was neither. It was a narrative-driven, historically-inspired otome game—a combination so rare as to be nearly unique. The studio’s decision to set a dating sim within the brutal, mechanized slaughter of a World War I-inspired conflict (here named the First Lassallian War) was a monumental risk. It defied market expectations and genre conventions, suggesting a creator-driven project motivated not by commercial calculus, but by a compelling need to tell a specific, difficult story. The technological constraints of Ren’Py were embraced, focusing the entire experience on its strongest assets: writing, character art, and the power of its chosen setting.

Narrative & Thematic Deep Dive

The game opens in 1915, according to the Wesslinger National Calendar. Players assume the role of Elfriede Rauss, a self-described “neurotic” volunteer in the Postal Corps. Her duty is not to fight, but to traverse the nightmarish labyrinth of the trenches, delivering letters—the last fragile threads connecting soldiers to the world they left behind. This premise is instantly brilliant; as a non-combatant, Elfriede possesses a unique mobility and perspective, serving as the player’s conduit into the lives of the men of a “lost generation.”

The narrative of Act I, subtitled Never Such Innocence, is less about a linear plot and more about establishing atmosphere, character, and the crushing weight of impending doom. The central thrust is Elfriede’s encounter with an obstacle she is “absolutely and categorically not prepared for: love.” However, this is no simple romance. The game introduces a sprawling cast of 11 main characters, from childhood friends and weary aristocrats to pragmatic corporals and outright cowards. Each represents a different facet of humanity’s response to existential terror.

The dialogue is a standout feature, expertly weaving period-appropriate diction with sharp, modern characterizations. Elfriede’s internal monologue is particularly well-realized, filled with anxiety, dark humor, and a desperate, intellectual curiosity about the men around her. The themes are heavy and masterfully handled: the loss of innocence, the absurdity of nationalism, the class tensions that persist even in the face of death, and the search for individual meaning within a vast, uncaring military machine. The game asks whether emotional connection is the ultimate act of rebellion against the dehumanizing forces of war.

Gameplay Mechanics & Systems

As a visual novel, the core gameplay loop of Because We’re Here is familiar: players read through narrative text, make dialogue choices, and select paths that influence their relationships with the large cast of characters. These choices ultimately determine which romantic route Elfriede pursues and how the story unfolds across its planned four acts.

However, Studio Elfriede introduces a genuinely innovative mechanic called the “Battle of Wits” system. This system frames key conversational moments as argumentative “boss battles,” where the player must use their “emotional literacy and persuasive power” to overcome allies and enemies. This mechanic brilliantly gamifies the core tension of the narrative. In a world of physical violence, Elfriede’s only weapons are her words, her empathy, and her intellect. Success isn’t measured in hit points depleted, but in barriers broken down and understandings reached. It’s a system that perfectly complements the game’s themes.

The interface is standard for Ren’Py—point-and-click navigation with clear menus for saving, loading, and adjusting preferences. The UI is functional and unobtrusive, keeping the player’s focus squarely on the story and the exquisite character art that punctuates key moments.

World-Building, Art & Sound

The world-building is arguably the game’s greatest achievement. Studio Elfriede didn’t merely copy and paste World War I history; they crafted a nuanced alt-history with its own calendar (Wesslinger), nations, and political context—the “First Lassallian War.” This allows them to explore the era’s themes with creative freedom while maintaining historical verisimilitude. The sense of place is palpable, from the claustrophobic, mud-filled trenches to the fleeting tranquility of a rear-guard town.

Visually, the game is presented in a classic 2D scrolling, first-person perspective. The art style is crucial to its impact. While the source material lacks screenshots, the official description highlights 20 pieces of original CG artwork that bring the events of the act to life. One can infer a style that balances the aesthetic beauty common to otome games with a gritty, somber palette appropriate for the Western Front. The character designs likely walk a fine line between being appealing and authentically worn-down by war.

The sound design, though not detailed in the sources, would be paramount in building atmosphere. One imagines a soundtrack featuring mournful, melodic piano pieces contrasted against the stark silence of a battlefield at night, punctuated by distant artillery and the ever-present sound of rain and mud. Every auditory cue would serve to deepen the immersive, melancholic tone.

Reception & Legacy

Curiously, the MobyGames page for Because We’re Here lists no critic or user reviews, with a Moby Score of “n/a” and only 2 players noting it in their collection. This obscurity is both a tragedy and a testament to its nature as a fiercely niche, independent project. It is the kind of game that exists outside the mainstream critical apparatus, likely discovered and revered by a small but dedicated community of visual novel enthusiasts and those seeking historically-grounded narratives.

Its legacy, therefore, is not one of commercial blockbuster status or sweeping industry influence, but of artistic bravery. It stands as a shining example of how to wield a genre’s conventions against itself to create something wholly original. It proved that settings of profound historical gravity could be fertile ground for interactive romance, provided the treatment is respectful and intelligent. It paved the way for other narrative-driven games to explore darker, more complex historical periods without relying on combat as the primary interaction. Its influence can be felt in the continued push for diversity of settings within the visual novel sphere, inspiring creators to look beyond the schoolyard and the castle walls for their stories.

Conclusion

Because We’re Here: Mohnblume und Blauerose – Act I is a masterpiece of narrative ambition and thematic cohesion. It is a game that should not work—a dating sim set in the trenches of WWI—but through impeccable writing, thoughtful world-building, and a courageous commitment to its somber tone, it not only works but soars. It is an emotionally draining, intellectually stimulating, and unforgettable experience that redefines the boundaries of its genre. While it may have flown under the radar for many, for those who discover it, it represents a high watermark for what visual novels can achieve as a storytelling medium. It is, without reservation, an essential play for anyone interested in the evolution of narrative in games and a stunning Act I that leaves one desperately awaiting the next chapter in Elfriede Rauss’s poignant trench opera.