The same system builds into the more complex structure of the 'whodunnit' at the heart of the game - not just 'what' and 'why', but 'who' and 'how', sending you around London to ask just who would have the motive to do such a thing (surely not primary suspect and housemate Archie? Who somehow always has a crush on me even if I call his mother an interfering old bag?) As you talk to people, they provide potential prompts to add to the board, letting you refine and reiterate. Here's a Mask of the Rose gameplay trailer to show it in motion. It's spiritually a notecard-and-red-thread conspiracy board, where an unknown motive - or unknown reaction - populates the world with questions to ask until you have your answer. Other than showing up in places to chat, the primary way you interact with Mask of the Rose is its storycrafting system, which you're introduced to as a way to unpeel the mysterious Masters of the Bazaar's incentives. If he hasn't decided to trust me with those details yet, then she isn't going to divulge them behind his back. When the murder victim's sister refuses to discuss the grisly details, it isn't about our relationship, but that of the siblings. There's far more not-romance to do than romancing - but complex relationship dynamics underpin everything. The bookends of the game, the character creator and the epilogue, say 'dating sim', but it's London's mysteries that lead you through. While the systems are intertwined, it's difficult not to think of the murder mystery and the dating sim as separate ideas within Mask of the Rose.
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