The Growlanser series is one of those weird, hardly known jrpg series that died out after the ps2 era (mostly because its gameplay was too traditional, but also because the transition to 2.5D sprites failed so miserably in V and VI, along with the derivative, predictable story). However, before its death, it produced four first-class games, three of them linked in a single chronology. IV, also known as Wayfarer of Time, is the exception in the series as a whole, being the only entirely standalone game.
Growlanser IV's Western release was on the PSP (also playable on the Vita and PSTV) with a modified main route and an 'evil' route that you could access on NG+. The first four Growlanser games can be said to be very attractive to those who like player agency. This is because, depending on how you fight, how you play, and what conversation choices you make (three of the four protagonists are silent ones whose) you could not only alter your own perceptions of the main character, but you could also alter the ending and even the game flow as a whole dramatically.
Growlanser IV isn't an exception to this, but in a way it is easier. One reason is that you aren't required to get the highest rating on all story missions to get access to the 'true' ending. Rather, it uses a 'fate alteration' system which allows you to take on sidequests, take various actions in combat, and make choices in conversations that alter how the game ends, who lives, and who dies. The 'Modified Route', which is pretty much the 'good' route, pretty much requires you to alter every possible character's fate in order to create the result of ten major characters still being alive past the turning point of the story and the end. With some of these characters, it is as simple as saving them in a certain story battle, with others it requires making the right choices in conversations with them in order to change how they act, thus preventing their deaths.
In this way, I came out of Growlanser IV feeling that, for the first time in a long time, that player agency actually mattered. Hell, I never thought scolding a girl about throwing things then showing her kindness would give me an opportunity to save her soul later.
The main story itself is heavy on war politics, much like all the other games in the series. In this case, it is a war story spread across about four years (my estimate) that ends up involving the whole of the known world. The protagonist, raised in a mercenary outfit, ends up getting involved with saving the world and the nations in it... but you rarely see him being treated like a 'chosen one' outside of a few of his own companions. Rather, most reactions are based in that person's standpoint and affiliation, which made both the enemies and allies feel real to me in a way few jrpgs ever manage.
This game manages to avoid the traditional pitfalls of the average jrpg. What do I mean? I mean that tendency toward hot-blooded idealism and dew-eyed innocence about human nature that ruin 90% of JRPGs storywise. I mean, a king isn't interested in saving the world... he is interested in enriching his country. Good people in the wrong position will do bad things, and bad people who can benefit from it will do good things. The characters feel like people, and I don't feel like I'm talking to carbon copies of characters from a thousand other jrpgs like I do with most mainline jrpgs.
The battle system in this game is a combination of turn-based and real-time strategy. Generally speaking, you start out at a certain point of the map, and your characters move in real time when you aren't making choices about their next action. It is possible to alter their course, and you can block enemies' routes with your warriors' bodies. Knacks (non-magic activation skills) can be used to strike hard, slow enemies' turns,or slow their chanting of magic. Magic takes a while to chant, but in exchange you can take normal actions immediately afterward, and spells can be canceled at any time just by pressing the triangle button and going to the character in question.
Perhaps the game's biggest overt weak point gameplay-wise is the way you learn skills (passives), Knacks (instant-use attack/support/debuff/buffs), and magic. They are learned by attaching spellstones to the characters' ring weapons (three to a weapon, with the level of the stone you can attach limited by the ring's slots) and killing enemies in battle. The reason why this is a problem is simple... only the character who deals the fatal blow to an enemy gains ability points for their... abilities. A warrior who can take out five enemies at once with the use of the circle strike knack is going to find it easier to learn abilities than a mage or archer that can only strike one enemy at a time (synchronize spells later on to cast area spells utilizing multiple characters... but it still can't beat the quickness of AOE knacks).
The greatest help to the player is the fact that you can buff before going into battle using spells, thus eliminating the need to tie up magic users in buffing for the first part of a battle. Considering that most story battles have time limits, this is an issue. This game rewards clever use of the systems like the arena and buff spells and will seriously sodomize you if you go through the game without thinking or preparing.
Overall, Growlanser IV was the series' peak, and it saddens me greatly that the series was killed in the PS2 era. This game is about sixty hours long for the first playthrough (successive playthroughs are easier), and it is one of the better rpg stories I've ever played, being somewhat reminiscent of Suikoden, which is funny, considering they rose to cult popularity around the same time.
For the sake of those who haven't played the game and don't want to be spoiled, I will endeavor to keep the worst spoilers in a spoiler box, but since I can't speak of what I want to speak of without spoiling things, I'm going to say right here that if you read any further, I will spoil things for you to some degree.
First, it needs to be said that I usually present Izuna Zanshinken in a way geared to take the interest of someone without extensive experience of VNs. To be specific, I usually just call the game a 'vigilante assassin story', and it is that... However, there is more to it.
Izuna Zanshinken follows five main characters on a story heavy with moral and sociological implications and the clash of philosophies. These characters in many ways define how the story is presented and the meaning of what is going on, and, fittingly for a game that isn't romantically focused (though it has decent romance in the usual chuunige sense) the story deals with issues that are hard-hitting for any society.
The Characters
While other characters are involved peripherally, the five characters most closely involved in the story are the protagonist Kotarou (Hitokiri Izuna); the head of the Nine-headed Dragons, Suzuka; her personal servant and best friend Shinobu; Kotarou's classmate and the daughter of a detective, Hikaru; and the Nine-Headed Dragons' 'Wakagashira', Hayatsuki.
Kotarou- Kotarou is Hitokiri Izuna, the protagonist of the story, the latest generation of many to serve Suzuka's family as a weapon against the excessive evils that pop up from time to time in human society. Kotarou's clan, the Izuna, were descended from a mass murdering criminal swordsman who was captured and brought to heel by a magistrate in the early Edo era (think early to mid 1600s). For whatever reason, the perpetrator was allowed to live, and the end result was a clan of incredibly skilled and physically capable assassins who are 'kept' (in the same sense one keeps hunting dogs) by individuals or groups who have a strong sense of ethics/honor in the underworld of Japan. The Izuna are used to to remove the worst cancers from society by force, when the law and society's rules fail it. Kotarou comes from that clan to Suzuka's side as a replacement for his deceased father, and he quickly shows off his clan's incredible skill and utter mercilessness. That said, when he isn't 'working', he is very much the kind-hearted, soft-mannered type, with a tendency toward waffling when matters don't involve his duty. Kotarou has a mature and ethical approach to his own duties, understanding that he is a sinner under the law and by most human moral systems, he nonetheless accepts his duty to cut down those he law can't reach, to take on he grudges of the bereaved and kill those who brought it about.
Suzuka- Forced to take control of an extremely old-fashioned (three hundred years of tradition will do that) yakuza clan at a very young age, she was emotionally dependent to a degree on Kotarou's father, and her manner toward him is often harsh (as it is toward Hikaru, for obvious reasons). However, at heart, she is a warm-spirited, honorable person who cares deeply for others. She has very old-fashioned views on just about everything, and she only really trusts Hayatsuki and Shinobu. Her old fashioned ideas of yakuza chivalry are out of step with modern yakuza, but the presence of Izuna in her employ allows her to keep a degree of peace and freedom in the local underworld that is unseen elsewhere in Japan. She is something of an embodiment of honor and ethics, when used as a literary device, and her views are often extreme.
Shinobu- Suzuka's personal servant, best friend, and confidante. She is also the survivor of an incident where her parents were murdered by burglars and she herself was (briefly) sold into slavery later on before Tesshin, Kotarou's father rescued her. She was driven by a desire for revenge to seek Tesshin's teachings and become an Izuna, but because she lacks the bloodline, she is forced to resort to mechanical aids like an advanced powered suit, a wire gun, and a stealth cloak to make up the difference (Kotarou being something of a cross between a pure swordsman, a martial artist, and a ninja with centuries of deliberate and careful breeding). Shinobu, perhaps better than anyone in the story, is a representation of the fury, the grudges born in the spirit of the bereaved and the victimized. As such, she is the most overtly emotional of the heroines.
Hikaru- Hikaru is the daughter of a homicide detective, a clear-headed, intelligent young shota *coughs* ahem, young woman who has a bad habit of seeing through matters. She also has a very strong sense of conventional morality and is the single heroine who sees the elimination of the death penalty as a qualified positive (she thinks it was done too fast, but she doesn't believe that anyone deserves capital punishment). Her sunny disposition, kind nature, and general normality make her a distinct contrast to the other heroines at first. However, her role as a literary device in relation to the game's themes is as the 'outsider', an irony that doesn't escape me, since she is the one most in sync with society's mores and norms. She gives perspective in a game where it is very tempting to fall entirely into the viewpoint of Kotarou and the others exclusively. Without her, I honestly think that this game wouldn't have been nearly as good as it is.
Hayatsuki- Hayatsuki is the 'Wakagashira' of the Nine-headed Dragons, the yakuza organization Suzuka inherited. He was formerly a programmer and systems engineer, but became a yakuza for reasons I won't spoil here. He often takes he role of a go-between dealing both with clients seeking revenge through Izuna, mediating disputes between the other three yakuza-related characters, and generally smoothing the way for everyone. While he is easygoing on the surface, he is also someone who has seen the best and worst humanity has to offer and has nonetheless retained a degree of his humanity despite that.
The Main Themes
The main themes in his game are the clash between the rights of the accused and the convicted vs those of the victims, the ethics of vigilante-ism, a thought experiment on what would happen if you suddenly outlawed capital punishment without giving society a chance to adjust to the idea, and many other ideas, most of them relating to crime and punishment.
For now, I'll focus on the ones I think have the most impact on the story:
The Victim and the Bereaved- Modern law assumes innocence. This is generally a good thing, as it, in theory, makes false convictions less frequent and puts more hurdles in the way of a prosecutor trying to prove a case, theoretically making it more difficult to railroad someone into a conviction. However, this VN primarily focuses on the failures of the system. A minor who commits a sadistic rape-murder and is getting away with it because of his youth, a serial killer enjoying the fame brought on by his actions in prison with glee, a woman who framed her husband for arson-murder so that she could divorce him and marry her rich boyfriend... the list goes on and on.
Vigilante-ism- This theme is touched on most intimately in Hikaru's path, where Hikaru's morality and Kotarou's way of life inevitably clash. Kotarou kills the worst type of criminals, often in a horrifying manner, and while he has a strong sense of ethics and honor, that doesn't whitewash the fact that he is killing people outside of the law.
Capital Punishment- Izuna's setting is a Japan where the Prime Minister suddenly and unilaterally made capital punishment illegal. As a result, many criminals are taking advantage of legal and societal loopholes and getting away with a horrifying array of crimes, often becoming more vicious in the spirit of 'well, if life in prison is the limit, that means I might as well do everything I feel like doing'. Kotarou often ends up facing the results of this policy in his work, and he once comments that 'I will kill more than even my predecessor.' Considering his predecessor was called 'Senningiri', essentially meaning that he cut down over one thousand men, that is a very heavy statement.
Conclusions
Like a lot of chuunige, Izuna Zanshinken tends to make a broad attempt at being philosophical in addition to being over he top, and, surprisingly, actually succeeds to a degree. While I think the theoretical Japan showed in this game is extreme, it is not nearly as extreme and out of this world as some of the dystopian theories I've read about in the past. Moreover, it feels possible in the visceral and logical sense, an important element in suspending disbelief, which is an absolute necessity when trying to enjoy fiction.
This is an opinion that has been a long time in forming, but I am coming around to an opinion that the more simplistic viewpoints I've possessed on the differences between American approaches to storytelling and Japanese ones are somewhat off the mark. Note: This is a rant, it should be treated as a rant, and if it doesn't make sense to you, that is because it is my brain leaking into text on this blog.
First, my original opinion:
To put it simply, it was my belief that the Japanese had a tendency to go for emotional surrealism (in other words, emotional bombardment) and visual excess (exaggeration) to tell their stories. In opposition, Americans tend to go for the 'gritty and realistic', with straight out bullet to the head realism. This was a generalization that, while based on my experiences with Japanese video games that told a story (both VNs and jrpgs) and Western games that more or less tried to do the same (Isometric RPGs, Bethesda-style games, etc), was never meant to be an absolute statement but just a general opinion of the tendencies I'd encountered.
Second, my new opinion:
First, I've come to the conclusion that American gaming companies don't know how to tell a story anymore (since Bioware has gone crappy, Obsidian is about to get absorbed/has been absorbed by a company that has no idea of what it is doing, and the Witcher was made by Polish people). Second, the Japanese seem to suffer from a similar malaise... and the source is, quite ironically, fairly similar in the cases of mainstream games.
It is the disease I call the 'MMO virus'. Yes, you who actually read my blog know my opinion on online multiplayer games and what they have done to erode storytelling games in general, but my recent conclusion is that this erosion has actually reached a critical point in the last five years. Rebellions against the progression of this disease have occurred (Tales of Berseria, Xenoblade Chronicles 2, and Nier: Automata come to mind for the Japanese, and Pillars of Eternity II: Deadfire for America), but these have been relatively minor upthrusts against the toxins released by the cloud of mission-based 'stories' you see in games nowadays. Bethesda has also contributed to this plague (fetch quests and hunt the monster quests being a common plague for them as well), and it seems like every time I turn around, I see another game trying to tell its story through an obvious mission or quest system is sitting right there. Sure, the systems had their roots in D&D games, but the way they've developed is the result of the plague that infected the world using games like WoW as its vector.
I first began to see signs of this disease back in the PS2 era, though it was mostly limited to 'high end' games at the time, like Final Fantasy (XII having essentially repurposed and altered XI's MMO battle system for a single-player model), I was honestly horrified to see how easy it was to let myself get led around by the nose from objective to objective in hopes that I'd find the story in there somewhere. The problem was, once the objectives became my reason for playing (as was inevitable, because that is the tactic they use to draw you in), I increasingly realized that I couldn't enjoy what story was being told, because I was impatient to get to the next objective, even though I didn't find any of that searching for objectives to be fun in the least.
VNs suffer from a different set of problems. While jrpgs and western games suffer from the simple fact that the current generation of makers grew up obsessing over pathetic attempts to graft stories onto multiplayer games, VNs suffer from the fact that the best and brightest of their creators are... getting old. Hell, some of them even died in between projects. Worse, no one of equal capability has replaced them, leading to an unfortunate confluence of near-universal incompetence and corporate inability to grasp the reasons for failure and fix it.
No, I'm not saying that all new VNs suck. Hell, if they all sucked, I wouldn't still be trying to go back and play them, like the burnt-out junkie I am. No, my issue is that there is a sudden dearth of developed talent within the world of VNs that has gotten horrible in the last five years. Most of the major names are retired, have moved on to 'greater' things, or are dead. Shumon Yuu is silent, Hino Wataru seems to have gone underground, Masada is probably off in his own little world, Fujisaki Ryuuta is circling in place, Kurashiki Tatsuya is off indulging his inner sadist with half-assed games, Kazuki Fumi can't seem to stick with one thing long enough to make it great since Akeiro Kaikitan, and Agobarrier is three years dead. That isn't even mentioning all the formerly major names that have just decided to retire without telling anyone or got hired away by mainstream video game companies.
What is replacing them are primarily LN writers... who, unfortunately, tend to write like middle school street kids on crack (and not in a good way). They often have great ideas, but they are fuzzy about execution and lacking in technique. As a result, you get a bunch of third-rate one-off VNs that no one really likes.
Artists aren't a problem. There will always be plenty of skilled otaku artists who can draw h-scenes. The issue is and always will be writers... because it is the writer that decides whether a VN will become remembered for years to come or be dropped back into the dung at the bottom of the latrine.
The first thing most of you are going to ask is why I didn't play Deep One first, given my tastes... but the answer is fairly simple. An a-hole spoiled the entire story on the release day to me in a PM on another site, and I read it before I realized what he was doing. As such, my enthusiasm was dampened to almost nothing, and I'm left feeling listless about everything in general. The commentary about it all over the untranslated VN community only accelerated its trip to being sealed in my archives, lol.
I picked up this game mostly because Hulotte games are generally good for cheap laughs and funny characters in slightly mystical settings. This game is unusual for them, in the fact that there is a true path and heroine. Sadly, my tolerance for happy SOL games has gone down greatly in recent years, and so don't be surprised if I'm a bit harsh at times while writing this commentary.
First, the protagonist, Yuuma (how many Yuuma protagonists have I encountered now? lol), obtains a watch that can stop time for five minutes from a clearly suspicious fortune teller named Hakua who promptly worms her way into his life, constantly encouraging him to use it for sexual reasons. Sadly for her, he gets bored of the watch inside the prologue, and the watch itself only serves as a catalyst to move the heroine relationships forward outside of the climax of some of the paths, lol.
I'll be straight with you... I love Sakura, so when her path was over, I felt like I'd been cheated greatly. Oh, there was some decent drama and incest love is always good for me, especially when her actions are so hilarious. However, this path is the one that decided my impression of all the non-true paths. I felt that there could have been some more detailed drama included in this path, and the drama that was there was mostly her being an idiot. The path took only about two hours for me to read, and I came out of it feeling cheated, somehow. *sighs*
Unfortunately, this greatly effected my feelings toward the other paths as I played them, and I became so bored by the end of Noa's path that I dropped the game outright for a week while I did other things (like work and playing random video games) before picking it up again yesterday. I forced myself through Kanon's route, enjoying some of the moments but still fuming about Sakura... and in the end, I couldn't even fully enjoy Hakua's path. Part of that is Hakua's path is nothing I haven't seen a few dozen times in games like this, but that was made worse by my lingering sourness on the game in general.
Objectively, Hakua's path is obviously better structured and written than the others... but it follows the pattern of self-sacrificing true heroines everywhere. Moreover, the exact happenings in the story were rather predictable due events in the other paths which established just what state she was in before I even headed into it. In the end, I came out of this game feeling cheated and wishing they'd just stuck with the harem formula from their previous games.
A few words before I get into this...
As my previous post spells out, I will no longer be doing the VN of the Month column, and this VN was the one that was the straw that broke the camel's back. That said, it isn't like I didn't enjoy what I played of it once I got past the sticking points (date scenes). If anything, this game is a definite increase over the quality seen in Ensemble's works since Gokigen Naname blew me away.
That said, when it comes down to it, this game is SOL all the way. The protagonist is the son of the owner of a small but stylish restaurant cafe and what amounts to the assistant cook. He has a firm grasp on what he wants out of life (to become a fully accredited cook), and he is also very responsible and good-hearted in general.
The common route is basically one typical harem-building element after another, ranging from meeting a girl who constantly gives off 'I'm sickly but trying to hide it poorly' vibes (the protagonist doesn't notice, of course) to a seemingly strong-willed and free-spirited oneesama who shows off her fragile side at odd times. By the time it was over, even though it wasn't really long, I was so happy that I wanted to thank the magic bunnies for releasing me from that cliched hell.
It needs to be said that there are too many heroines in this game, and Ensemble's current art team has such a limited range of facial designs that I honestly found it hard to tell the 'normal heroine' trio (Iori, Sanae, and Misato) apart from visuals at times. This was one of the reasons that my first impression of the game was blandness, despite the characters having dynamically different personalities, for the most part.
Before I go any further, I'll say that the paths I played were the omake Nazuna path and Youko's path. This was because those were the only heroines I became interested in during the common route, which is probably the best reason possible.
Youko's path is surprisingly long (it looks like the short common route is compensated for by longer and more complex heroine routes), and it is pretty emotional. While there were some definite moments where I winced at the predictability of certain events, I did manage to enjoy it to the end... which brings up the ending, which is actually excellent, because it is a 'four years down the road' ending that sees Youko having grown past her hangups and living happily with the protagonist... a definite benefit of an epilogue that goes forward significantly in time.
Nazuna's path is an omake path, but it shouldn't have been. Nazuna is probably the cutest character in the game (other than possibly baby Minamo or a certain character who pops up in Youko's epilogue), and she is a rare yamato nadeshiko type to boot. However, she is cursed with an omake path that is short, feels forced, and ends without an epilogue. The decision not to make Nazuna a central heroine was a horrible one, and it isn't one I'm going to forgive anytime soon, lol.
First, it should be noted that I love the Silverio series, regardless of its flaws. I see those flaws, I recognize them, then I shrug as I realize I don't give a flying fart about how the critical part of myself feels.
First, lets consider the two games that have come out (so far, given that the setting is so insanely detailed that it would be sad if they didn't make more games) in the series separately.
Silverio Vendetta
Silverio Vendetta follows Zephyr Colerain, an unemployed deserter with an inordinate fondness for alcohol accompanied by an inability to handle it. Zephyr, if you take a step back and look at him, is antithetical to every other chuunige protagonist in existence. The cynicism isn't a problem. Roughly half of all chuunige protagonists are cynical on one level or another. The pessimism, while extreme, is nothing unusual. No, what makes him unique is his sheer... baseness. Zephyr, at his core, is a weak man who is perfectly willing to stain his hands with the blood of the innocent and the good to protect what he cares about... in order to protect himself. Zephyr is a coward, he is not only afraid all the time in battle, but his first impulse is to run away whenever a situation gets hard (though that fleeing takes different forms depending on the situation). When he is confronted with someone who sees him an obstacle to their ideals, he wants nothing more than to trample and spit on the glory of the person in front of him. Zephyr is essentially the embodiment of the part of us that is envious and resentful of those more capable than ourselves, with his only saving grace being that he nonetheless can at times drive himself to stand against his own nature.
In other words, in 99% of all the games I've played, he'd essentially be one of those petty minor bosses who got squished like a bug by my level 10 characters. He is also very similar to Rusalka from Dies Irae (if you have played the game, note her Creation spell's essential meaning).
Zephyr is accompanied by Vendetta, an artificially weaponized and resurrected corpse with an unknown purpose who is psychically linked with him, who constantly kicks him in the ass to get him to be a man and be a better person (which is often hilarious in and of itself, since Zephyr has no intention of doing so on his own).
On the other side is Christopher Valzeride, an undoubted hero who gives selflessly of himself, who never gives up, who moves forward with no desire for recompense. In most chuunige VNs, Valzeride would be the protagonist. His intensity of spirit, his iron will, his burning idealism... combined with a realistic understanding of the costs of his path forwar... make him an ideal archetype for a chuunige protagonist in a 'heroic style' chuunige.
However, the fundamental theme that starts out the game and resonates throughout all the paths is 'What is victory?' Zephyr is a man who has been destroyed, carved away, piece by bloody piece, by his own victories, gaining nothing but more pain and the next, even more difficult battle from anything he achieved. He is the picture of a man forced into a role by his talents and utterly unsuited to it by his essential nature. Valzeride is a man who seeks victory above all else and merely accepts the greater tribulations that await him as the price of his path.
Essentially, the two men are polar extremes of human potential that encompass both the best and worst of the two extremes. Zephyr, while capable of kindness and gentleness, is cruel in his cowardice and malicious toward those who corner him with their valor and vivid idealism. Valzeride loves human virtue but is utterly incapable of kindness or personal empathy, as his own nature rejects anything ambiguous and weak. He honestly can't empathize with the suffering others draw from their tribulations, and this is why he serves as a great antagonist, despite essentially being a truly virtuous man in addition to being a hero.
Silverio Trinity
Silverio Trinity focuses a lot more intensely on the nature of the 'Light', as embodied by Valzeride in the previous game. It portrays those who take after him as 'Zombies of Light', men and women who simply move forward because they are incapable of conceiving of any other course of action. As is said repeatedly in both games in various fashions, 'A hero of light continues forward, running over the hapless individuals who get in their way, unable to compromise, unable to consider the suffering of others except as the price for the brilliant shining future they seek to bring about.'
Ashe, the protagonist, is by nature a good and caring young man. He can be driven to anger for the sake of others, and he has a deep well of compassion that is honest in its depth... and contrasts starkly with the other characters aspected of Light, such as Gilbert, Helios, and even Dainsleif. Ashe recognizes and empathizes with the weakness of others, and his understanding of them is more than just the intellectual recognition you see out of individuals like Valzeride and Gilbert. In this fashion, Trinity is more of a contrasting of common humanity with the two extremes of human nature (darkness and light as represented by the protagonists and antagonists of Vendetta). Its narrative, while having a different locale and characters, is a direct continuation of the conversation with the reader begun with Vendetta, and its conclusion is interesting, to say the least (Edit: Though it can be said to be a typical conclusion for such 'conversation' in a Japanese VN).
Due to work and other stuff, I hadn't had time to really get into this until recently, and with friday signaling the release of October's list of VNs, at least one of which (Deep One) will play immediately, I felt that it would be fitting to go ahead and give you my initial impression of the game.
My first impression, after playing through the prologue, was that, while this game is pretty old, it is also very... familiar in an odd way. At first, I couldn't figure out where that impression was coming from... but then it struck me!
I finally figured out where Favorite stole its basic style. It always bugged the hell out of me that Favorite was able to produce such decent to great games despite essentially being a company full of lolicons and the writer basically being an unknown who produced two mediocre games before Irotoridori. The atmosphere of Meguri, Hitohira is almost identical to Irotoridori and AstralAir... which made the game feel pretty familiar as I delved into it.
However, this familiarity wasn't a bad thing, because I always liked the atmosphere of those games, even if I felt nothing but contempt for the loliconism. Say what you want about Favorite, but the atmosphere of their games is usually worth buying them for.
That said, this is a Shumon Yuu work... and Shumon Yuu is easily the best non-genre-specific writer in VNs. I was crying inside the prologue, empathizing deeply with the protagonist, his predicament, and his hangups, despite knowing that similar protagonists in other VNs have pissed me off in the past (understand, it takes a master's hand to make the suffering and self-hatred of a sensitive young man as sweet as honey, and when it goes wrong, it generally feels like I was eating aspartame in powder form afterwards). The fact that the game is very, very dated didn't hurt the presentation nearly as much as it does with some other old games (Ikusa Megami comes to mind, as does Tsukihime, despite my love for it).
Since I haven't hit an ending, I don't have a conclusion for you... but even if this game were to flop on its face later (an impossibility, given the writer) it would still be worth playing. You probably won't see my final impressions for a while, because, even though this game is engrossing and emotional, it takes actual courage get into it, since I know Shumon Yuu's habits well enough to figure out in a vague sense where he plans to go with the story (Hint: Most of Shumon Yuu's games almost border on utsuge at times, with the exception of Tenshi no Hane o Fumanaide).
First, I should mention that this VN, despite having a different writer, is in a style that is very similar to that of Oni Uta, a VN made by 130cm using the same artist back in 2009. I say 'the same style', because the character dynamics are eerily similar. First, there is the ponkotsu oneechan who is open about her desire to reverse-rape the protagonist (though she prefers it the other way around). Second, there is the stalker osananajimi, who casually steals his underwear, toothbrushes, and chopsticks. Third, there is the little oni-goddess who appears and serves as the game's true heroine.
Now, first I should say that this artist has a style that is greatly differentiated from the current industry standard... mainly because he has nothing against chubby faces, heroines who make unattractive expressions, and old art cliches like heart-mark eyes, lol.
Story-wise, this game moves back and forth between emotional scenes and old-fashioned cat-fight filled slice-of-life (the osananajimi and the oneechan are constantly at each other's throats), and the protagonist is about as dense as they get (though part of that is that he is simply numb to anything more subtle than Haruko's blatant attempts to get him into bed with her). Though the game's title proclaims that this game is about his sister's disease, the reality is that, once it goes onto the heroine paths, it generally ends up being about his personal hangups when it comes to matters of affection and family. This isn't necessarily a bad thing. His parents rank up with the ten worst monster parents I've encountered in a VN (currently the twin tops are the father of Kaito from Akatsuki no Goei and the father of Suu Sasamaru from Kitto, Sumiwataru Asairo Yori mo ), and his past experiences definitely explain why he and Haruko are so interdependent (it is actually as bad as the twins from Yosuga no Sora that way... almost worse, really).
Kohime's path is the exception to the rule... by her very nature, Kohime is a free spirit, and she easily overcomes his relationship limitations... but in exchange, the conflict in her path is definitely a tear-jerker. Of course, it is also a familiar one to those who have played numerous VNs with Shinto kami heroines. Koihime's path falls into one of the classic tropes of such heroines, but it is executed pretty much perfectly. I honestly spent the last hour crying almost constantly... which is a good thing, because that is what I wanted.
Overall, this VN was highly emotionally satisfying, even if some aspects (such as Haruko's apathy toward anyone and everyone outside her small circle of people she met through Haruto and her insane jealousy... not to mention Haruto's denseness) were annoying as hell. At times, this game feels really 'old' to someone who has played most of the good VNs made in the last ten years (because it uses tropes like the constant catfights), but it was generally an enjoyable read.
First, I should say this VN isn't like Purple Soft's last few works. The common route is straight comedy and heart-warming antics combined with some minor drama and with a bit of personal growth for the protagonist on the side. It is good comedy and the personal growth is actually quite nice, since the protagonist as he started out would have driven me insane inside two hours. It is also relatively short, as are the heroine routes so far. I managed to finish the common route and one heroine route in around seven and a half hours...
Makoto
Makoto is a very straightforward girl, the daughter of a local yakuza group who has been ordered to live as a normal girl by her family. The funny thing is, she isn't one of those template heroines who dislikes her criminal family, but rather respects and loves them. This results in a rather hilarious personality that comes out a great deal in her route. This VN's route structure is really unusual, in that there is literally no H in the routes themselves, though there are a few nude scenes. As a result, this route passes by with relatively little ichaicha and most of its focus on the drama, which is one of the reasons why it is so short... there is no time wasted whatsoever.
Michiru
Aaah... Michiru is probably the most blatant example of the 'adoring little sister' I've seen recently... and combined with her being a total yamato nadeshiko and blind, this makes her the standout amongst the four heroines available at the beginning of the VN. One of her most hilarious aspects is how she sounds like a 'niisama-cultist' when talking to others, and how aggressive she is in her pursuit of her older brother... so naturally you'd expect a 'oh, I'm not sure if I can cross the line!' kind of route, right? Fortunately, my expectations were betrayed quite nicely on this, and the route itself is highly emotional, following a track I can guarantee you won't guess without spoilers. That said, it is mostly heart-warming and tear-jerking stuff, and that is one of its biggest draws.
Because of the policy they are using for this VN - no H in the actual routes - it is really easy to focus on the plot flow, and there is none of that sense of 'you interrupted the story for a pink-colored scene?!' that comes so frequently with many VNs of the type. To be honest, I'm really surprised that no one has done this before, as having the choice as to whether to pursue the H in the extras section rather than go through it in the main game makes it a lot easier to enjoy the character interactions and story in general.
Edit: Adding Misaki
Misaki
Ummm... I'll be frank, I was disappointed with Misaki's route... but that's because I went for the two most unique heroines - and least annoying - amongst the four starter heroines first. It isn't that it is a bad route. Indeed, if you go by the standards of your average VN (cutting the low and high ends off the curve) I'd say that it was in the upper ranks as individual heroine routes go... but after Michiru it just lacked impact. Misaki is one of those heroines who is a lot better as comic relief than as a heroine... or at least, that is how it felt to me. A big issue is that they reused Alice's face and voice (from Hapymaher) for her, and I was always a bit frustrated that Alice was the true/main for that one (I liked her the least, though I still liked her). Cutting out those emotions, her struggles are actually interesting, if a bit overly familiar for those who have seen (this really is a spoiler, though indirectly)
That said, the theme for this particular one has been touched on so often in VNs lately that it seems overly dull...
That said, if you weren't me, you'd probably be able to enjoy this route just fine - actually, you'd probably enjoy it a great deal - as long as you made sure to play it first or second (I'm not really interested in the annoying foreign girl heroine, since her speech patterns make me want to punch her).
Recently, @Dreamysyu liked one of my older posts, and I felt it was worth revisiting three years later, simply because it has become an even more valid post in light of current events.
At the time I wrote this post, I was pretty angry. Why? I'd had the misfortune to see several fellow otakus who happened to be female being subtly (and not so subtly) denigrated by other male otakus at a small gathering at a local gaming event. The girls were obviously enjoying their cosplay (it was a cosplay-allowed private event for jrpg-lovers of various ages without about fifty people), and they were discussing their favorite games as heatedly as you would expect from the obsessed types that show up at such events (I'm just as bad, obviously). Unfortunately, about halfway through, several male members of the conversation turned the discussion to eroge, and sexual innuendos started flying at the girls mixed in with various poorly-used Japanese phrases that would have made me wince even if I hadn't hated the content of their statements.
This was disgusting in and of itself, but it was obvious that the males in question were losing their grasp on the line between reality and eroge (exactly how is that possible, really?). They started fantasizing openly about what would happen to the character versions of the girls' cosplay if they were put in an eroge... and things just got out of hand from there.
Now, this is just one event that I attended on a whim (under my real name) because I got an invite from an old friend. However, I had to wonder afterwards... how many of us fail to understand just how warped the sexual viewpoints in VNs are? I've always been well-aware of it, but I got the impression that those males (listed as 'kids' in my mind, due to my extreme old age of 34 at the time) had no understanding of just how warped those viewpoints are.
I've always understood that most of the Japanese VNs I've read are fundamentally sexist on some level (some weren't, but most were), but I felt like I was listening to someone born in a different universe at that moment. Perhaps it is because I really don't see rl women as subjects of sexual attraction anymore, but I honestly couldn't comprehend on a gut level falling into that kind of pattern of behavior with someone I was conversing with in a congenial manner only moments before. It bothered me then and it bothers me now that others could.
Let's be clear... I have no reason to try to be fair to charage anymore. This might sound like a terrible statement to make, but the fact is, I've been a lot nicer than I wanted to be for years when it came to charage. I went out of my way to look for positive aspects, and when I found one, I deliberately put it in as positive a light I could without overdoing it. This was because the sensation I got coming out of most charage was fatigue. SOL, in small doses, is enjoyable and even relaxing... in the kind of doses I experienced over the last five years, it is downright toxic.
Now, down to the game... CharaBration is what is termed a 'thematic charage'. This is a type of VN with a preset theme that all the heroines and possibly the protagonist all adhere to to one degree or another. In this case, it is the duality of the heroines/protagonist's character types. Each of the characters presents one face to the world and another in private... and in the case of this game, the gap between them is massive.
The heroine who starts as the initial focus is Hai, the protagonist's cousin whom he thought was a sickly ojousama that he had to take care of... and is really the kind of tomboy who dominates all the males around her, with a coarse manner and foul language. Yukia, who is pretending to be her sister Mirei, presents herself normally as an arrogant leader who always dominates the room, but in private, she is shy and has trouble talking at all. Himeme is normally acts in a false male role, but she really prefers to act like the girl she really is. All the heroines are like this to one degree or another, and Rikka (the protagonist) ends up splitting his life between pretending to be a maid and attending school in his male form.
Now... this is a game with a lot of potentially fun elements, and it would have been great if the 'hidden' character traits for Hai, who was presented as the main heroine at first, weren't so grating. Starting out with a positive hatred for Hai that never really faded even after I got into the heroine routes (her ojousama act just made me more irritated, due to that fake cough) was a huge drag on the experience for me, and it is the reason why I took so long to finish even the paths I did. Hai is annoying, to be straight about it. While her presence is necessary to create the situation going in, her persona (both of them) drove me up the wall.
The fact that I actually liked the other heroines only made it worse, because whenever she came onto the scene, I just wanted to delete her character. I'm sure some will love her (there is someone for everyone, supposedly), but she isn't for me.
Common Route
Tbh, the common route spent so much time on Hai and stuff related to her that I'm tempted to erase it from my brain. However, it needs to be said that it does a good job of introducing the heroines and creating their relationships with Yuki/Rikka. Rikka is a standard 'I protest dressing up like a girl but I subconsciously am coming to love it' trap protagonist, and that creates a few moderately amusing scenes... However, I can't really said this did a good job of anything but introducing the heroines and creating those basic relationships. It is a pretty short common route, and the heroine routes afterward aren't long either, so it feels like more time and effort could have been spent deepening the relationships before they headed off into the romantic wilds.
Yukia
Yukia is easy to like, at least for me. Her helpful, kind nature is prevalent throughout much of the VN, and her other persona is mostly amusing (some of the ways she strings together lines to hold a conversation together make me laugh). Her relationship with her sister, Mirei, which comes out in her path, is amusing on several levels, and I like the way she grows as a character during the course of her path. That said, her ending is somewhat disappointing, as I would have liked to see what she and Rikka were like after graduation.
Corona
I chose Corona as the second heroine mostly because she is Yukia's opposite in so many ways... and because I rolled a pair of dice to decide which would be the second and final heroine I would play (I can't bring myself to play all the heroines in this type of game anymore). Umm... I really like her character, if only because it makes me laugh (an easily-embarrassed prime personality and a secondary personality that strips without a hint of hesitation and is obsessed with other women's breasts... definitely worth a laugh). In fact, this path is nicely weird, especially because of how those twin personalities interact with the romance. If Yukia's path was par for the course (predictable and staid as trap protagonist and ojousama heroines go), Corona's went pretty far out there. The epilogue and after story was also too close to the ending in chronology though, *sighs*.
Conclusions
Despite some high points, this game is pretty average as charage go. Like a lot of thematic charage, it makes the mistake of assuming that the theme is all-powerful, and, as a result, it falls short on a lot of minor points. I was particularly irritated at the way they handled the endings/epilogues, and I felt that the writer didn't really do Corona or Yukia justice, when it came down to it. Given more detail and time spent deepening character relationships in a believable fashion, it would have been much easier to engross myself in the setting. Unfortunately, that never happened here (the good parts of Yukia's and Corona's paths stand out so much precisely because they are the best parts of the VN by far). It felt like the writer wrote his favorite scenes first then sort of created a bare-bones framework to support it using the theme.
This is a list of next month's releases that I'm not playing (that aren't nukige) and my thoughts on each, based on the Getchu and official pages, as well as my experience with the writers and companies involved.
Raspberry Cube
This is from the makers of Wagamama High Spec, one of the most average charage in existence *Clephas sticks out his tongue defiantly at the inevitable protestors, accidentally allowing several demons he was eating to escape* First, the good signs... this game's initial presentation is that of a comedy charage. The heroine character profiles are wacky, the initial description is also goofy, and the CGs presented are not 100% h-scene material. On the negative side, however, they rather blatantly avoid any real description of the protagonist beyond his position as a 'former delinquent'. It is generally not a good sign that the heroines have about the equivalent of three paragraphs of detailed info and the protagonist has one short one. In addition, there is a general sense I get from the official site that they are trying to impress you with their moe-moe atmosphere... but they did that with Wagamama High Spec and their other games as well. As such, my initial impression of this game goes in is a 'probable 6, maybe 6.5'.
Hime to Otome no Yakimochi Love
I'm going to be blunt, the company and its obsession with princess/ojousama-themed games doesn't really do much for me. Oh, I do have a fondness for ojousama-ge, but this company never hits the right notes and it tends to go for the 'standard' themes with its paths for the rich girls involved, regardless of the writer. The writer, in this case, is the same person who wrote Primal Hearts and Primal Hearts 2, so there is hope for the comedy aspect. However, he is also very inconsistent as a writer, sometimes showing flashes of sheer genius, at others stumbling over his own feet in attempts to make poorly-chosen tropes work. The heroine descriptions are all a standard templates for various princess and ojousama heroine types, so it is hard to get up much of an interest in them, at least for me. The protagonist in this one is described well and seems like he might be a strong presence... at first glance. Unfortunately, it is rather evident just from the material available that he is probably going to spend much of the game being as dense as the lead used to shield nuclear reactors and stumble at all the right moments to make him seem like an idiot despite being supposedly a highly intelligent jock. I'd probably predict a similar rating to the game above, if for different reasons.
Another thought about the two above
It is never a good sign when two charage come out in one month using the same writer.
Sono Hana ga Saitara, Mata Boku wa Kimi ni Deau
This is the latest game in Campus's now-massive series of kinetic novels based in its two-faced school of normals and hidden magical beings. I'm going to be a bit blunt... if you played Hatsukoi Syndrome, you will figure out from just the character description of the heroine exactly what is going on. Magicians/sorcerers in this setting have one serious peculiarity that plays a role in their love lives (curses them, pretty much), and it is pretty clear what is going to happen based on that fact. While Campus has yet to make a bad game in this setting, it is something of a buzzkill (at least to me), that they went out of their way to pick a mage heroine and immediately gave you big rotting fish of a hint before you even play the game as to the central conflict.
This is the newest game by Sweet & Tea, the makers of the near-kamige (kamige in my heart) Karenai Sekai to Owaru Hana. This has a different set of writers, with Ban'ya of Kuroinu and Mugen Renkan handling the sweaty H-scenes and NYAON, the writer of Moshimo Ashita ga Harenaraba (and a few charage and nakige besides that) as the main writer.
Now, this is a kinetic 3P lovey-dovey nakige about a girl named Iroha who, after spending ten years trapped in a divine realm by accident with a wolf god, is returned to that realm... with wolf-ears! (lol) I say it is about Iroha mostly because of my fetish, but it is really about her, the protagonist Shuuji, his girlfriend Kana, and the people around them.
Now, a few things to get out of the way before I put down my own feelings and impressions... for those who don't like cheater protagonists, I'm going to come out with it straight up. He cheats on Kana with Iroha. The fact that this is mostly a comedic element is because of Iroha's animalistic/innocent manner (she's actually just aggressive about what she wants and more knowledgeable than her speech patterns indicate), and the fact that Kana has pretty much been the seducer/brainwasher side of the relationship with Shuuji, who tends to be the type to give in to the girls he cares about in just about everything.
Now, this game never goes really dark. It has some bad moments for the characters emotionally (the protagonist has his own issues and ten years is a LONG time), but that is all properly resolved in a cathartic way, as is the way with nakige. Unlike Karenai Hana, there is no aura of terrible suffering and despair, and the protagonist is mostly about compassion and love rather than self-sacrificing love and guilt.
While this game is pretty short (think about four hours for me, six to seven hours for the average reader), it doesn't feel unsatisfying for what it is. I did want a more extensive epilogue, but the one I got was hilariously H, so I came out of this feeling mostly satisfied.
Perhaps my sole real reservation is the fact that this didn't become a 4P with Chihiro, who is obviously interested in Shuuji (even moreso by the end). I'm thinking that they will eventually make a followup, sequel, or fandisc to advance the whole story more. However, with the immediate issues all resolved, the game doesn't feel as truncated as I usually feel with games setting up for sequels or fandiscs from the beginning.
First, apologies to those who actually want to read about some of August's releases. I went on vacation (vacation being a word open to interpretation when it comes to sleeping in unfamiliar beds and helping with my brother's kids), and when I got back, I found I had absolutely no urge whatsoever to pick up a VN. I guess that taking a true break from VNs for the first time in almost a decade (no VNs for five days straight) was enough to free me from the spell of my obsession.
That said, Jinkou Bato was pretty amusing, so I had every intention of getting back to it, eventually.
This game is based fifty years in the future, fifteen years after a disaster caused by technology (deliberately) gone wrong wiped out the global internet and reduced people to using wires and letters to communicate. This disaster was caused by artificial lifeforms based on the pigeon that originally served as self-replicating flying antennas. The maker of these 'artificial pigeons' made them begin to 'eat' radio and electromagnetic waves, literally stopping all signals not passed through a wire. This resulted in innumerable deaths, and it was such a huge economic and technological blow that the characters of the story are quite aware of how they live in a much-reduced world.
Sora, the protagonist, is an orphan who hates the artificial pigeons more than anyone, as he lost his parents the day of the disaster. Living with this adopted family, he succeeds in building a set of radios that can communicate with one another without being stopped by the pigeons, and from there the story begins.
Mmm... I'm going to be straight about my feelings on this game. First, I like the character dynamics. There is a lot to laugh about early on, and the intensity of Sora and friends when they make a certain discovery is pleasing to me, as I'm a bit tired of characters living without a sense of purpose in my VNs, lol. That Sora and the others are college students at a vocational university rather than high schoolers is nice as well... and an adult heroine who is bisexual is also nice, hahaha.
That said, both Mizuki's and Akina's paths are weaker than the Tsubaki and Kaguya paths due to the fact that only Tsubaki's and Kaguya's paths actually confront the central issues head on. Mizuki's and Akina's paths both stink of escapism, and while that is fine on its own... it left me feeling a sense of distaste for the characters involved (yes, I want my characters to be better or stronger people than me).
Tsubaki and Kaguya's paths are the true path. No, I'm not saying that they are separately the true path... rather, together they form a single path, in a really weird (if familiar from other otaku media) way. The path is... extremely emotional, and I honestly felt that Sora, from beginning to end, fulfilled his potential as a character... something that is pretty unusual for VN protagonists in general.
Lets be clear, this isn't a kamige or even VN of the Year material. This is a nakige with a great main path and two so-so side paths. I say 'great', but the game's pace is really fast after the initial, lighter stages of the story. That said, there is no sense of choppiness to the pacing, and it feels like the events actually occur in the time you see them happen in the game (less than two months), as there are no excess SOL scenes whatsoever.
If you want a relatively quick nakige with some amusement early on, this is a good choice. I honestly can't recommend it for someone who wants a grand and sweeping opera, though.
Well, essentially the above poll came down to a tie vote between Random Chuunige and Meguri, Hitohira.
I'll give you a quick run down on the two choices that is a bit more detailed than the post above.
Meguri, Hitohira
Essentially, the protagonist of this story is a loner with the ability to see non-humans and other mystical beings. He has lived much of his adult life in despair, blaming himself for the death of his little sister, who was the only person who understood him and accepted his ability... and whom he believes died as a result. The protagonist is an artist, and when he goes to a small town with a run-down Shinto Shrine (no human dwellers), he encounters a loli goddess, who subsequently grants his wish... to meet his little sister again.
I played the prologue of this game a while back to see whether it was something I'd want to sit down and play at length later, and my first impression is that the game is set up to be a mix of 'hohoemashii' warm-heartedness, catharsis, and a generally somber atmosphere.
Random Chuunige
The current candidates for this are Kaziklu Bey, Bullet Butlers, ExE, Master Re:Master, Muramasa, Jingai Makyou, Ayakashibito, and Tokyo Necro. Due to a number of requests, I've also added: Soranica Ele, Paradise Lost, Abyss Homicide Club, and an Ayakashibito>Bullet Butlers>Chrono Belt marathon.
The most requested was Paradise Lost, and I had four separate people request that I do the marathon of the three related Propeller games. Since they all fit the bill, I decided to shrug and just add them in as options... in fact, I think I'll cut out the individual options for Ayakashibito and Bullet Butlers, just to make it fair when it comes to the random choice.
Ok, I know some of you are going to wonder why I bothered with this game. As the remake of Iinchou wa Shounin-sezu, this game exists as a reboot of a game that wasn't interesting in the first place. So, why did I decide to play this, despite having stopped VN of the Month? Pure perversity and contrariness, probably.
The big problem with this game, saying it outright from the first, is that it uses a style that has more or less vanished due to its massive unpopularity with the target audience. Generally speaking, a comedy game that isn't really funny and a charage that spends a ridiculously low amount of time getting to know the heroines is going to be considered a failure, don't you think? Moreover, it kept the 'brief scene swaps' technique of yesteryear, where choices leading to heroine paths only switch out the scenes related to the heroine and the ending.
There are six heroines in this game, and some of them actually get close to being interesting. Unfortunately, the heroines never step past their initial impressions as characters, and they all have the same clingy side once they get close to the protagonist. While I like clingy heroines, there are ones where that particular personality trait didn't make that much sense, and the actual process of turning from 'acquaintance' to 'lover' is so abrupt that it feels unnatural. This is especially true since character development in the common route is almost nonexistent and there is relatively little in the paths themselves.
In other words, this game is pure amateur hour, from a writer who rarely does anything but nukige.
First, I should say that the last part of this game was actually worthy of Eushully in terms of dramatic flair. For those who probably think I was bashing this game out of hand, let me also say that there were lots of hints of what is best about Eushully. There are great characters/companions, some truly excellent character interactions, and even a few really stand-out scenes scattered throughout the first three fourths of the game... but the problem is that they are spaced out with a ridiculous amount of map-grinding for very small gain and a definite feeling that you are screwed by hitting maps too early (since you want to grab as many companions as you can before you hit the extra/optional ones, in most cases).
I can't help but praise the way they do their best to immerse you in the previously only hinted at animalistic demi-human races and hints of their culture, and there are also plenty of references to the ongoing themes of this particular world (such as the unending conflict between the Living Gods of Light and Darkness and the results of it amongst the mortals and not-so-mortal denizens of the world). At the same time, there is so much more that could have been done with this. Rather than wasting all those maps as story-free, they should have made an effort to add side-events specifically for those maps, filling in the gaps of why we should care about this region and what happens to it, rather than assuming that we do. This speaks to a laziness that is characteristic of many of their games outside the main IM series, in that they have a tendency to only really go into depth in games like Zero, Genrin, and Verita. I absolutely loathe place-holders for when a company just wants to milk the setting rather than really going through the effort to birth a new saga in the same world. The sheer lack of ambition that is represented by this game is a bit ridiculous, considering the amount of development cash that had to have gone into that battle system. Another three months with this, adding in more story events and expanding the cultural and religious elements, would have gone a long way to making this game feel like a worthy companion to the IM series.
Needless to say, I found this game to be a disappointment, especially considering this was put out in place of the IM2 remake I was hoping for this year. So much wasted potential in a single game... it reminds me of what I felt about Kamidori after playing Zero.
I probably won't go through a second playthrough of this anytime soon. That is primarily because of overplay-related exhaustion, though there is also a definite feeling that I'd be wasting my time if I bothered to continue, at this point.
Hopefully, this poll will work out better than Minikui Mojika did (sadly, my opinion on it has only gotten worse in hindsight), but I thought I'd give you all a chance to pick out which Random VN I will play after my current one.
First, the VN I'm currently playing... Honoguraki Toki no Hate yori. I just started this one, and I probably won't finish it until I've played whatever I choose to from August's releases (there aren't enough releases for a poll this time around, lol). My interest in this one was resparked by Dergonu asking about it and recalling that it has a link setting-wise to Sakura no Mori Dreamers. Where Sakura no Mori only touches on the Cthulhu stuff in a very indirect way (it is never actually said outright and the only serious hint is in the sequel/FD), Honoguraki gives you hints almost from the beginning that something is a bit screwed up (I could feel my SAN points being shaved away after the first creepy scene, lol).
Now... this is a list of VNs that I will either replay at some point or that have been floating around in my backlog for some time.
Meguri, Hitohira- One of Shumon Yuu's 'classic' games, it is so old that it still uses the NVL system 100%, rather than the ADV system. Anything Shumon Yuu writes has the flavor of greatness... the only question is whether it is a greatness you can appreciate fully or not.
Racial Merge- Random AXL game I pulled out of my hat because I remember liking how it dealt with certain social issues. It is one of AXL's sword fantasy series of games.
Houkago no Futekikakusha- Hard utsuge that I can't really talk about without spoiling. This game has some serious issues that stop it short of being a kamige (primarily setting-related), but emotionally it is like getting smashed repeatedly in the gut with a bat wrapped with barbed wire. If I were to post on this, I would be doing so primarily for those who have already played it or been spoiled for it (since I've already blogged on it once before), so I don't expect this to win.
Full Uso plus the original Uso series- This is a bit iffier... a marathon run of the Uso games followed by the after stories and extra stories provided in the fan/append disc. The Uso series follows a protagonist who can detect lies at a school with a hidden magical side through four different potential romances (all of them twisted or strange on some level).
Draculius- This is actually a request that came up from someone after I mentioned it as my favorite harem story (despite the fact that I have outright reviewed this on two occasions). If you want to know where all the ideas in Libra came from, and where they were actually executed properly (without the protagonist being a worthless dip and the heroines being mostly boring), this is where.
Random Chuunige- Yes, this is actually what it sounds like. If this option is picked, I will toss a sticky dart at a paper with squares of names of several chuunige I have not played within the last eighteen months (basic requirement in order to do a VN replay in most cases is eighteen months to two years) or have not played before, and I then play the one that it sticks to. Either that or I will roll dice, lol. Currently, the list includes Ayakashibito (Japanese version), Bullet Butlers, ExE, Master Re:Master, Muramasa, Jingai Makyou, Tokyo Necro, or Dies Irae Interview with Kaziklu Bey.
Bloody Rondo is 3rdEye's first and arguably their worst game. By chuunige standards it is very much 'yesteryear' even by the standards of the year it came out, being a 'half-gakuen' type where the protagonist splits his life between school during the day and other stuff at night. What it comes down to in the end is that this game was, from the very beginning, apologetically derivative and something of a failure primarily due to an attempt to draw on the relative success of Draculius several years before.
First, I'll explain why I say the game attempts to draw on Draculius. Draculius is probably the best vampire fantasy chuunige/slice-of-life hybrid in existence. I say this because it doesn't in any way nerf vampiric nature or power, and it also has a rather unique atmosphere that draws on the fantasy familial aspects of the non-undead type of vampire (a vampire that is a lifeform, as opposed to being a dead being forcibly kept alive by magic or evil forces, lol). The combination of intimacy and hedonistic behavior that you see in that game, as well as the veiled potential for violence and moral ambiguity are subtly presented to the reader interspersed between humorous slice of life and often brutal action scenes.
Bloody Rondo (and Libra) attempt something similar... but fail dramatically in that sense. Luna, the canon heroine of the game, is a clumsy true vampire (as in trips over her own feet clumsy) with a nonexistent work ethic but a deep capacity for love combined with an incredibly dependent personality. This in itself wouldn't be a negative and it indeed bears some similarities to Draculius's approach to the cast of characters, but the biggest issue is the utter failure to shift from the humorous elements to the more serious ones properly. Luna generally only maintains something like dignity for a few minutes at a time before stumbling, and her attempts to maintain it are... spectacularly bad, often lightening the atmosphere at the worst time for the story.
The path that actually succeeds in reminding the reader of what is best about Draculius is Lynette's path, where the somewhat twisted relationship between her, Luna, and Shinkurou is the focus of things. Lynette is modeled on Zeno from Draculius in a blatantly obvious fashion (werewolf turned into a hybrid vampire with incredible physical abilities and absolute devotion), and she also serves as an excellent catalyst to turn the three into something resembling a family in her own path. The unfortunate aspect of this is that it waves the flaws in the 'canon' path in front of the reader so blatantly that you have to wonder why a short path that completely ignores the background story and Shinkurou's own issues works out so much better.
I will not say this is a bad game... but it stumbles because it never quite manages anything like individuality, despite a good cast of characters and a decent setting. Anyone who plays this after Sorcery Jokers will instantly get how the writer used his failures with Bloody Rondo to grow and build up the setting he eventually used. In that sense, this game provides an excellent study in 'before and after' for someone interested in the history of VN writers.
Shinkurou is actually a great protagonist, but he is damned by a weakness of motivation and a general lack of emotional filling in of the blanks by the writer. He is skilled, he is intelligent, and he is pragmatic... but the writer fails to capitalize on his personality the way he did with Senri's personality in Sorcery Jokers. Going back to play this, it is blatantly obvious that Egami Shinkurou is the prototype for Senri... a rough bare-bones character archetype to Senri's full-fleshed individuality.
Needless to say, this is one of those rare times where I went back and actually felt the game failed in comparison to my distant, years-ago impressions. Most of the chuunige I go back and play years later have new discoveries waiting for me... but this game is an exception, unfortunately. Lynette's path is still great, but the weakness of Luna and her failure as a canon/true heroine is painful to read.
Right now, in order to 'clean my palate' before playing Mojika, I'm replaying Bloody Rondo, 3rdEye's first (and arguably worst) VN. A thought came to my mind that has been bothering me since I finished Oratorio Phantasm.
Are Shinkurou and Luna still alive at the time this VN occurs within the setting? The reason I ask is because
Now that we are finished establishing my hypothesis about why things in Oratorio Phantasm played out as they did, I thought I'd consider Shinigami no Testament.
Shinigami no Testament, Bloody Rondo, and Oratorio Phantasm share the same world (Sorcery Jokers didn't show a recognizable connection to the other games, so I'm viewing it as a completely independent setting). The events in Bloody Rondo apparently occur at least a few years before Shinigami no Testament, and at least a century and a half have passed since the events in Bloody Rondo when Oratorio Phantasm has occurred.
Shinigami no Testament has the weakest connection of the three, simply because if the inherently self-contained nature of its main storyline. To tell you why, [spoilers for those who haven't played it]
The difference between Shinigami no Testament and Oratorio Phantasm is that Oratorio Phantasm actually has a direct link, whereas Shinigami no Testament just has a few pieces of info that tie it to Bloody Rondo.
Moving on... it is always interesting to see whether and how a writer or company will link its games together. Kinagusa Shougo's Akagoei and Reminiscence series are directly linked together in an obvious way:
However, it has never clearly been stated whether there is a canon for the two series (whether Kinagusa actually intended for the result that created Reminscence's setting to be absolute). Personally, I would prefer that it wasn't, because:
Other games that possess a link are Ayakashibito and Bullet Butlers, through the Chrono Belt FD. In the Chrono Belt FD, Kuki-sensei is sent to the Bullet Butlers world along with a particularly nasty villain from Ayakashibito, and Alfred Arrowsmith is sent to the Ayakashibito world, where he, for the first time, confronts his own demons due to the essential peacefulness of the world he finds himself in (keep in mind that this is post-Ayakashibito's events). This link is a more peculiar one, in that I normally wouldn't have liked it... but Higashide Yuuichirou somehow made it work (seriously, I sometimes think Chrono Belt has more impact than the original games...).
Now, I just gave you a bunch of examples of games where the 'setting link' actually works out pretty well... but as anyone who has stumbled onto a 'bad sequel' knows, the 'setting link' is a sword that cuts both ways.
A more negative link would be the direct sequel to Hachimyoujin by Light... Bansenjin. Now, one of the problems with even thinking of making a sequel to Hachimyoujin is that the main characters had been stretched about as much as they could possibly be in the original. They had pretty much used up what made them interesting (which wasn't much in some cases), and Masada had pretty much played up their flaws and virtues as far as they could be... in other words, Bansenjin essentially revived a cast that had nothing new to add. There literally weren't any new angles within the existing cast that could be played on, and that resulted in a game that felt stale, perhaps precisely because Hachimyoujin was so self-contained. The new characters weren't that good in the first place, and Masada was really heavy-handed about how he screwed with the setting. As such, Bansenjin most definitely suffered from the 'sequel disease'.
It makes me wonder... why do some writers, regardless of their skill, seem to always want to make a bad sequel to an excellent game? Oh, Dies Irae far surpassed Paradise Lost, its predecessor in the trilogy of Shinza main-series games. However, that was more of a result of Masada peaking with Dies Irae than anything else.
Shimantogawa Seiryuu, 3rdEye's main writer, has obviously (seriously) grown since he wrote Bloody Rondo. Shinigami no Testament was immensely greater than Bloody Rondo, Oratorio Phantasm benefited from his realization that he wrote one-path stories better than multi-path ones, and Sorcery Jokers pretty much showed the peak of what he was capable of. Masada definitely grew after writing Paradise Lost and through the versions of Dies Irae (the first few of which sucked compared to the two final versions, Fabula and Amantes). However, he also peaked at that point, and the expectations created by the final versions of Dies Irae were impossible to fulfill... Higashide got out while the getting was good, recognizing that Tokyo Babel's financial failure meant bad things in the future (so quite naturally, he signed on with Type Moon). Shumon Yuu only ever seems to write when he has a masterpiece in mind...
This post was all over the place... but then, it was never intended to be coherent, since I was writing things as I thought of them. It is hard to make a VN sequel or reuse a VN setting... the adjustments necessary to keep expectations from ruining things for the reader are delicate, and few writers or companies can manage to do it well. 3rdEye did it by mostly keeping the setting links light, Masada failed with Bansenjin because he misjudged the quality of his own characters and setting, and Higashide managed to pull a masterpiece out of what should have been a massive failure...
This is the latest VN by AXL, and it is also the latest in its 'swords fantasy' (there is very little magic in these games) series (I say series, but they are just a line of similarly-designed games). The previous games in this series include Princess Frontier, Hyakka Ryouran Elixir, Racial Merge, and Ou no Mimi ni wa Todokanai. This is also AXL's fifteenth game, making it one of the most prolific companies (ignoring subsidiaries) still active.
Like all the games in this series, it is based in a world whose tech level is medieval with bits and pieces of higher levels of technological development here and there. This one falls in an area similar to Ou no Mimi, rather than Princess Frontier or Hyakka Ryouran, meaning it has a somewhat more violent turn almost from the beginning. The protagonist is an antique dealer (thus the game's name) named Rowan who, due to the loss of his parents during an adventure at the highest levels of the tower, has had to deal with an aversion to the tower that is at the center of the town that serves as the center of the game's story. This changes when a young girl bearing a greatsword named Linaria comes into the picture, and he finds himself guiding a young group of adventurers through the lower levels of the tower.
Rowan is not only an antique dealer but an exceptionally talented dagger-user and toolmaker. He is also the only individual in the town that can repair the various machines that come down from the tower. If I were to pick his class, I'd consider him to be a cross between an engineer and a rogue, with excellent crowd-control techniques and stuns. Like a lot of mature protagonists, there is a disconnect between his emotions and rational behavior, and as a result, he will often take the logical path, even when it conflicts with what his heart wants, thus leading to him being a bit dense about emotions in general.
The tower is much like a lot of roguelike rpg towers (though this game isn't an rpg) where people climb the tower to gather treasure, fighting monsters and robot-like Guardians as they do so. The power gems taken from the Guardians can be used in various devices made from parts taken from the tower, and this is the source of most of the setting's higher technology. The tower itself is self-repairing and self-defending, deploying seemingly endless numbers of Guardians and monsters. No one knows how high it goes.
The three heroines are the young princess Karin, the protagonist's adoptive sister Mira, and the newbie adventurer girl Linaria. Karin is a sort-of tsundere who very obviously is in love with Rowan from the beginning. Her father is the second King of the country (that consists of the tower, the town, and the land around it), but she only realized she was a princess at a relatively late age due to the closeness of the royal family to the people. Mira is a responsible girl who takes care of most of the chores and the account books at Rowan's shop... and has an unnatural attachment to the spiky ball and chain she uses as a weapon (the first time you see her flushing after squashing an enemy says everything). Linaria is the daughter of a deceased adventurer who came to find out why her father abandoned his family in order to seek fame and wealth in the tower. Though she resents adventurers as a profession, she is too kind-hearted to actually take it out on anyone.
Common Route
The common route mostly accounts the trials and tribulations of Rowan and company as they rise through the lower levels of the tower to be acknowledged as full-fledged adventurers (novices are called 'virgins' until they reach town on the Twentieth Floor). If you like AXL games' style of character interaction, you'll like the slice-of-life elements, and the battles are actually tactically interesting (something that is unusual for AXL). There are a few emotional moments dealing with Rowan's past, but the common route mostly serves to familiarize you with the characters.
Normal Ending
This is an ending you get if you fail to pick one of the three main heroines. It is basically a joke ending where the results of his actions in the common route come home to roost, lol.
Karin
Karin's path starts out with a lot of light ichaicha and a somewhat annoying get-together sequence. However, at roughly the halfway point, it suddenly turns dark and violent... and outright bloody. The violence in this path startled me a bit, as it is out of character for AXL (AXL generally restricts violence to one or two scenes in a given path, and never on this kind of scale). However, the story was interesting, and I left the path feeling satisfied. The actual progression from lighter atmosphere to darker one is common on AXL's games, and anyone who has played one will probably recognize the pattern... That didn't bother me, though, since it was interesting in and of itself.
Linaria
I recommend that anyone that plays this game play this path last. The reason is is that this is the only path that deals with the tower itself and climbing to the top as its subject matter. It is also the only path where certain major issues involving the protagonist are completely and finally resolved in a direct manner. This is perhaps not surprising, seeing as Linaria was being presented as the 'main heroine' almost from the beginning. However, it is a situation where anyone who plays this path will be a bit displeased with the other two if they played it first. The path itself is a lot less bloody than Karin's (to be blunt, Karin's path is the only one that gets bloody and serious to that degree), but it is still a good path, with a more emotional focus than Karin's.
Mira
Mira is my favorite of the three heroines, so I left her for last this time. She is the protagonist's adoptive little sister, and she falls under the archetype of the 'imouto who scolds her beloved oniichan but adores him'. Mira is a serious girl who cares deeply about the antique shop they are running, and as a result, most of her path deals with the economic issues of the city and the tower. It was when I finished this path that I came to the conclusion that Mira's path is the 'merchant' path, Karin's is the 'nation' path, and Linaria's is the 'adventurer' path.
Mira's path is full of secrets and conspiracies, and it has some really good moments for Verbena (who is incidentally my favorite character in this game). It is also frequently humorous in ways the other two paths didn't manage, which was a plus for me.
Some thoughts
A few thoughts/complaints about this game. I honestly liked this game a great deal... but it seriously needed a grand route to put the themes of the other paths into a single one. The issues in each path weren't going to go away just because they weren't dealt with in those individual paths, and it bugs the hell out of me that there was no single path that brought them all to a resolution.
I also think Verbena should have had a path other than the normal ending. Sure, she is a slut, a heavy drinker, and takes pleasure in unleashing her spiky weapons (ranging from morning stars to kusarikama)... but her personality is just awesome. Seeing that kind of character go all deredere is one of my favorite AXL events (AXL does really good 'haraguro' heroines).
Conclusion
If you liked any of the other 'swords fantasy' AXL games, you'll like this one. It has all the elements that make those games great, such as the protagonist being equally or more important than the heroines, decent action without being focused on the action, and a mix of light humor and serious story that keeps slice of life from getting out of hand. I'll be the first to admit that AXL doesn't change its art style or character archetypes, but that never seems to effect whether their games are good or not.
This is the latest game released by Akabeisoft3, the bastard company made by Akabeisoft2 to take in all the subsidiaries of its parent company other than itself, Applique, and Akatsuki Works. The game was written by Nakajima Taiga, who first made his name as the writer of Dekinai Watashi ga, Kurikaesu and gained yet more fame with the utsuge Inochi no Spare.
This game is a nakige, though it is one that leaves a lot more bitter in with the sweet than is normal. It is based in a Japanese inn called Yuki, where ghosts can interact with the physical world in order to complete the desire that keeps them in the world. In order to hide the fact that they are ghosts from the normal customers, the employees wear cosplay to make the unusual or out of season clothing the ghosts are often wearing not stand out.
The protagonist, Haruto is the bantou, the male in charge of greeting customers arriving and taking reservations. He has been there for ten years and is seen as a reliable employee by the younger staff. He is very much a workaholic, performing his duties with absolute devotion and no real hesitation... it is just that those duties involve arranging the things that 'non-reservation customers' (the ghosts) need to fulfill their last desires. These desires are often simple things like wanting to say something or leave a message for a loved one, but can also be somewhat crazy things like wanting to get into a swordfight to the death. Haruto takes on all these requests without hesitation or any real emotional disturbance. Nonetheless, he does care.
The partings in this game are probably the most vivid aspect... naturally, you come to know the ghosts' stories, and when the time for parting comes, it is always sad, even if you know they are going away happy and satisfied. I cried repeatedly during these scenes.
There are four heroines in this game: Neko, the ghost of a girl who wanted to live freely but was unable to when alive; San, a cheery girl who gets along with everyone and enjoys her work; Kohane, a nervous otaku girl whose dream is to become a professional cook; and Sakine, a somewhat gloomy woman in her mid to late twenties who decided to work at the inn on impulse.
Neko
Neko was the first heroine I pursued, mostly because I have a thing for girls who say ~nyaa. Neko is a seemingly whimsical girl who loves to hang around the protagonist and constantly makes false attempts to play hooky from her work... but never really does so. Her path starts out as a soft romance between two souls with a lot in common...
... but the fact is that Neko is a ghost, and there was no way it was going to have a purely happy ending. Neko's path is full of small happiness and frequent sorrow, and the desire that binds her to the world is heartbreaking in and of itself. I honestly found myself crying for the entirety of the last hour of the path, to the point where I developed a sinus headache.
Kohane
Kohane is the assistant to Makoto, the fake homosexual cook (the story behind how that happened is hilarious in retrospect but it is part of a sad scene). She is shy and is very negative about herself, but there is enough iron in her core that she has managed to stay for one year under Makoto's extremely harsh tutelage. Kohane is a living heroine (as opposed to Neko, who was a ghost), and her path differs accordingly.
Kohane's personal issues were actually fairly interesting... enough so that I was honestly able to empathize with the last scene and cry my eyes out (again). The last scenes in this path are all highly emotional, but there is a lot less bitter in with the sweet than Neko's ending, which feels more bitter. One issue that is common to both this one and Neko's path is that the protagonist's own issues aren't addressed, sadly for him, though it doesn't seem to bother him much (which is understandable once you know about him). It isn't a negative issue, since it makes sense within the context of the story.
Sakina
Sakina is the only full adult heroine in this VN (by the story, I'm guessing 27 or 28). Having quit her job previous to coming to stay at the inn, she decides to work there soon after the game begins. She is quiet, shy, and a bit gloomy at times. However, she is also kind and thoughtful. Unlike the other heroines, you will only rarely see her smile, but those few smiles are the ones that get you.
Sakina's path is... tied up with the protagonist's past. The way this route turns out is different from the previous two (though I can't tell you why without spoiling), but it was interesting in and of itself. I didn't end up crying my way through the whole later part of the game, but the ending was uplifting and bright.
San
San is the game's central heroine. Her personality is bright and sunny, generous and giving by nature with a strong spirit. San is a student as well as one of the inn's hostesses (a job shared by Neko and Sakina), and her favored cosplay are a dog-girl, a maid, and a new wafuu (Japanese style) idol.
Her path, like many central heroine paths, is the only one where all the major character issues are resolved (though only speculatively based on the epilogue in a few cases), and it is also the only one where the protagonist's own major issue is resolved. Like Neko's path, this one is very bittersweet, and like many cases in this VN, the partings here had me in tears for long periods of time, leading to sinus headaches (this game took me longer than it would have otherwise because I kept having to stop playing after I cried myself into a headache). I will say that I consider the ending to be a happy one, but, thinking of how San had to feel in the time between the ending and the epilogue breaks my heart even now...
Overall
Overall, this is an excellent nakige by a writer who seems to be able to write across all the genres and involving characters of all types and ages. For those who want a lot of catharsis, this is a great choice, but be prepared for a bit more 'bitter' in with the 'sweet' than is normal with a nakige (though it is still a nakige, rather than an utsuge). Despite my remarks on how bittersweet this game is as a whole, it should be noted that the atmosphere at Yuki, the ryokan (Japanese-style inn) that serves the setting, is very warm, welcoming, and downright familial to the point that I found myself wanting to jump into the game and stay a night there. I liked all the characters, including the side-ones, like Sentarou (the night security guard and exorcist that bears a passing resemblance to Archer from FSN), Toki (the century and a half hold ghost owner of the inn), and Makoto (the macho fake homosexual head cook). This isn't a kamige, though I'm tempted to call it one based on my general level of satisfaction, but it comes pretty damned close.
Umm... it really isn't worth it to make a post for this, but I went ahead and played Phantom Trigger vol 5 in Japanese.
My impression of this one was that it was very much like the 'flashback episodes' that pop up in so many urban fantasy anime of the nineties and two thousands... It is all about Haruto and Murasaki's past (how they got acquainted, Saki's sister, etc), and, while that is in itself interesting, I felt cheated at the end.
I'm going to be blunt. They should be putting a lot more content into these releases, considering how long the gap between each one is and the cost. I would much rather pay forty or fifty dollars for a half-length VN than dish out fifteen dollars every six months for what amounts to a tenth of an average VN's length of content. While I do like what is put out, I am always left feeling like there should have been more to it. I pay less for books on Kindle and get a lot more out of them. *sighs*
Anyway, like all the entries in this serial VN, this 'episode' is interesting... but I'm starting to get 'repetition fatigue' due to the way the series is constructed. Each episode is, of course, self-contained but contiguous with the previous one and the one after. However, the way each one starts is exactly the same (structurally), and you hear almost identical speeches out of Haruto (internal or external) throughout their lengths, the only difference being the subject.
If this were bundled as three episodes per installment, I probably wouldn't be feeling so irritated. However, the amount of content given by a single entry in this series is very, very low. Yeah, now I know all the main characters' backgrounds intimately except Haruto himself... but I also feel cheated because I'm finishing each installment in under an hour and a half... and fifteen bucks is a bit much to pay for an hour and a half of entertainment, in my mind.
... in the end, I couldn't stop complaining. The real problem here is that I love what is there, but there just isn't enough of it to satisfy me with any individual installment.
I've decided to start a new column called Reader's Choice of the Month. The concept is simple. I will post a poll of end of the month releases I don't intend to play, and the readers of my blog will have a chance to pick which one I will play and review. This column will take the place of VN of the Month in the sense that I will still be playing something for the sake of the readers, but this time I won't be going out of my way to play every obscure charage/moege I find.
This is about picking out the VN in the poll you most want to know about before playing yourself, so keep that in mind while voting.
July Release choices:
Erewhon
Shukusei no Girlfriend
Minikui Mojika no Ko
Games I will play:
Shin Koihime Musou Kakumei
Haru to Yuki
Now, anyone who has seen pictures or videos from Hapymaher will have noticed the VN's resident loli, Maia.
For various reasons, Maia is easily the character who leaves the strongest impression in the VN, hands-down. She is the center of the VN's obvious conflict, and she easily has the greatest variety of character poses and non-H CGs. If there is drama of some sort throughout the common route, Saki's route, Keiko's route, or Yayoi's route, she is somehow involved or the cause of it. In a game that is focused around dreams, she is the devil's whisper, always giving people that last push they need to cross a line or jump off a cliff. If Tohru, the protagonist, is the picture of the human capacity for self-control, she is apparently a representative of the part of the human psyche that denies that same control.
However, that is only a small part of who she is. In fact, that surface appearance and her symbolic role are actually less important than what lies at the core... a person who's motivations are neither inscrutable or incomprehensible (though she lies like a rug when it suits her). In fact, she repeats her motivation verbally throughout the VN, mixed in with the lies and half-truths she tells habitually just to see the look on other people's faces. She hides nothing of her nature or personality, but she is quite capable of using that truth to deceive. In fact, in a regular chuunige, she really would be the ideal antagonist, as that combination of lies, half-truths, and truth that defines her makes for precisely the kind of antagonist chuunige-makers love.
Heck, just listen to her theme song.
That is precisely the kind of music they'd normally give to the last-boss type protagonist in another game...
Nonetheless, at the core of her is a deep and abiding love and devotion that surpasses all barriers, allows her to bear anything... except that emotion itself. To be honest, she even makes the yandere-ish Saki (she really seems like it sometimes) seem mild in terms of her degree of emotion. That love contains everything that love should contain, including the fundamental duality of human nature... what we want for ourselves and what we want for others (I'm not saying anymore on this, as going any farther would be a real spoiler).
