Humor in video games often feels hit or miss. Like most fiction, humor shows up at least occasionally in all kinds of games. For example, the Uncharted games try and fail at humor by thinking that having each of their characters quip back and forth (or even to themselves) is funny and endearing. Possibly worse is when you have games, like the otherwise enjoyable Guacamelee!, where a lot of its humor was using super dated (even at the time) internet reaction memes. There are parody games, but parody can only go so far. Honestly, outside of Okage: Shadow King and its humor centered on how goofy a lot of JRPGs plots are, the only other true comedy game I can think of is the visual novel Pizza Game.
Developed mostly by writer and programmer Plasterbrain, with help by her brother JelloApocalypse who designed the characters and directed the voice acting, Pizza Game is described by Plasterbrain as “a shit-post game, but a fully sustainable shit-post game”. Basically, what if someone made a full-length nonsensical otome visual novel, with none of the nonsense of games like the hour-long KFC dating sim? Pizza Game prides itself on its intentionally misspelled sentences and its parade of pretty unpleasant smoochable men. From the top, there is passive aggressive coffee shop owner with a dark past named Chris, rude tech billionaire who is almost definitely a serial killer named Mr. Arimnaes, an ironic and twisted skater named Warped Lamp, a bland but otherwise harmless pizza shop owner named Keenarnor, and whatever the hell Sensei is.
This entire exchange is magical.
The Longing, developed by German animation and video game developers Studio Seufz, centers on a rock king’s last-ditch effort to stay in control. The king does so by reserving the last of his energy to create a tiny Shade creature (who will be simply addressed as Shade from now on) to wake him up in 400 days once his power has been restored. Shade is not given much instruction beyond some reminders about how they shouldn’t wonder to far from their underground palace, so Shade must find something to preoccupy the wait. Or better yet, preoccupy the longing.
Looking like a cute combination of a Heartless from Kingdom Hearts and Mr. Burns from The Simpsons, but drawn by Edward Gorey, Shade’s average day follows the same few patterns. They can explore an area to look for either an escape from their role as a living alarm clock or locate items to make their living space cozier. These items range from classical literature to read, paper to draw dark but occasionally deeply metaphorical pictures, and enormous decorative crystals. This early exploration lasts for about an hour or so before Shade comes up against a few key obstacles, like a stalactite that won’t fall for a week or moss that hasn’t grown yet. Shade also walks slowly. Like super slowly. And so, The Longing reveals itself as an idle game.
Shade is a mood. Example 1
103 is a Kickstarted walking simulator and puzzle game developed by Australian group Dystopia Interactive. First person seems to be Dystopia Interactive’s marmite and toast (hacky Australian joke is hacky), as both 103 and their only other game, Make A Killing, share this predilection for protagonists without faces. Mystery should be 103’s real title, because solving said mystery is half of playing 103. Lily is an overly imaginative individual whose night out with friends ends abruptly and the player must piece together what went on, and potentially what went wrong (I went into 103 narratively blind of this premise and now you know more than I).
Playing 103 involves walking through a cozy house, filled with stylish 1910’s Alphonse Mucha posters and adverts with drinking skeletons, in order to find…something? From the beginning, after quickly turning down the camera’s sensitivity because it was giving me motion sickness, 103 does not inform the player of anything. A blonde mannequin is present, often found finding value in staring at mirrors or enjoying the rain visible through the house’s sole window (which is honestly rather calming), and only she and the game’s patchwork bear mascot are the navigational devices. Those arrows drawn on the carpet? Totally worthless.
Have they been here long?
Muse Dash was originally released in 2018 by Peropero Games, an independent game development group from Guangzhou, China. According to an in-game loading screen tip, the game has seven devs. The game is available for mobile phones, the Nintendo Switch, and the PC through Steam.
Muse Dash is a rhythm game that borrows a few cues from action and platforming titles. One of the game’s playable girls – punkish Rin, mischievous Buro, and elegant Marija – runs through a stage while punting enemies and dodging obstacles that fly down the two on-screen lanes. The objective is simple: punt enemies, collect notes and hearts and try not to die from spikes, all to the beat of a song. If this sounds an awful lot like Game Freak’s 2013 3DS game Harmoknight, well, it is, but with more electronic music, faster gameplay and the ability to play as an anime girl in a maid outfit.
Somehow I didn’t break my combo while taking this screencap.
Maggie’s Apartment is a point and click adventure game from 2017 by designer and animator Anatola Howard and programmer Duncan Cross. The game centers on the titular Maggie Mallowne, an underwear-clad young women whose claim to fame is being the president of famous singer Randy Rosebud’s fan club. Maggie would argue her true biggest claim to fame is being Randy’s girlfriend, but she is not allowed to tell anyone this but her talking radish roommate Beauty. Over the course of Maggie’s Apartment’s short length, Maggie finds herself locked down in her 2000 story apartment, a bomb scare forcing her to really dwell on her relationship with her boyfriend Randy.
Maggie’s Apartment’s big draw is that it’s a point-and-click-adventure where the character stays in the same room for the entire game (Maggie does go out onto her patio a few times, but it could be argued that it is technically not leaving her apartment). Maggie lacks the usual point and click standard by not having a pocket/void world inventory system. Any object Maggie would normally collect instead stays fixed to the apartment floor until the plot decides, for example, Maggie no longer, requires two T.V. antenna to perform a puzzle. However, the game maintains the genre standard wherein most of the puzzles involve combining X item with Y item to make some combination solution.
Really wish the developers opened an Etsy shop just to sell this poster.
This review contains both extensive discussion on the topic of sexual assault as it relates to both plot progression, character interaction and an untypical increase in profanity for this writer. If such topics are considered unpleasant, please consider sitting this one out, dear reader.
I have a love/hate relationship with visual novels, and while I have a ton of games I like, visual novels as a whole can leave me lacking. Visual novels as a medium have this cool way of letting the player reside inside the characters’ heads and shared experiences. But they often feel narratively padded or suffer, as I like to call it, Otome game cover boy syndrome, a pushed canon relationship. In other words, any visual novel with a dating factor really has a steep hill to climb with me. That hill is even steeper when it comes to the relationships in Nitro+chiral’s Sweet Pool.
High school second year Youji Sakiyama has spent years in and out of the hospital. He doesn’t eat much, has a sleep problem, and if it wasn’t for the fact that all the character designs make every character marble white, Youji’s also looking awfully pale. Plot summaries in visual novel reviews feel like giving boss tips in the middle of a review of a character-action game, so I will keep it brief with things aren’t going great for Youji in his super Christian Japanese high school besides is failing health. Youji’s currently lives alone in an apartment he use to share with his adult sister, because his parents are dead because plot. This provides appeal alone/kidnap time with Youji’s lovely classmates/love interests: wholesome hungry boy Makoto Mita, quite to a genuinely annoying fault Tetsuo Shironuma, and beer can licker and shit head son of a Yakuza Zenya Okinaga. What fun merriment will befall these boys?
Really strange how this game got the license to play Duran Duran’s Hungry like the Wolf just for this burger shop scene.
Riding off the tailcoats of Francisco’s recent article, one of the more import-friendly genres for curious gaijin is rhythm games. There are the occasional titles that do require knowledge of Japanese, like Uta Kumi 575, but most can be played easily enough after you’ve learned to fumble through menus. On this note, I decided to take my first plunge into import gaming with IA/VT Colorful.
IA/VT Colorful was released in 2015 for the PS Vita after experiencing delays for nearly a year. The game was directed by Kenichiro Takaki, best known for directing the Senran Kagura titles, and published by Marvelous. As the title suggests, the game’s songs were composed using 1st Place Co.’s Vocaloid IA, whose voicebank is provided by Japanese singer Lia.
SeleP could make a song about a yandere knitting club & I’d probably still love it.
My personal experience with RPGs isn’t a particularly complicated history. It started when I played Harry Potter and the Chamber of Secrets for the Game Boy Color in elementary school. At the time, I was pretty clueless about how exactly the game worked, which unintentionally made the game harder as a result, but I wasn’t deterred away from the genre. I’ve indulged in many different RPG titles since then and I’ve found it interesting how certain games manage to keep their mechanics distinctive. For example, both Dragon Quest VI and Final Fantasy VI have the core of turn-based RPGs, but manage to play out in completely different ways. Final Fantasy VI emphasizes using magic and characters’ special abilities in fights while Dragon Quest VI encourages players to keep a balanced party with the usage of job classes. On this topic of game mechanics, I took a look at Contact, a lesser-known RPG awash in its own variety of mechanics.
Contact was developed by Grasshopper Manufactures, best known for their action titles such as No More Heroes, Shadows of the Damned and Killer is Dead, for the Nintendo DS in 2006. However, Contact was not directed by Grasshopper Manufacture’s iconic CEO Goichi Suda (aka Suda51) but instead directed by Akira Ueda, who had previously worked on games such as Secret of Mana and Shining Soul.
Not like you’re gonna give me another choice…
Fate/stay night and its associated franchise seem to be pretty iconic among anime and Japanese video game fans. I’ve known about the series for quite some time, but didn’t engage with it until late 2011, when I watched the godawful 2006 anime adaptation. My interest in Fate waned for some time after until I watched the Fate/Zero anime adaptation, which rekindled my attention to the series. A year later, I noticed that fellow writer Franklin Raines had gotten his hands on a copy of the PSP game Fate/Extra; he expressed little interest in playing it at the time, but allowed me to borrow it in his stead. I was intrigued by this ditty of a PSP game, but how did it unfold in the end? We’ll see.
Fate/Extra was developed by Type-Moon and Imageepoch, and was originally released in North America in late 2011. Type-Moon is known for the visual novels and games they produce, including Tsukihime and Melty Blood. Imageepoch developed several RPG series since 2005, such as Luminous Arc and 7th Dragon, before filing for bankruptcy earlier this year.
…isn’t that what I’ve already been doing, though?
I have a system when it comes to playing video games in my personal backlog wherein I break up playing long games with shorter games. This system helps me to recover from potential burnout after playing lengthy games, and lets me pace myself. After recently finishing two Ace Attorney games back-to-back, I was in desperate need for a short “buffer” game, so I could later transition to something else. Luckily, fortune smiled upon me, and Steam put the Hateful Days pair of games on sale. Were the games actually as good I hoped? Today, we’re going to find out.
The Hateful Days pair of games were written and developed from 2012 to 2013 by Christine Love, an indie developer from Canada. Love has created multiple visual novel games since 2007, including Digital: A Love Story (which is considered a spiritual predecessor to the Hateful Days games), don’t take it personally babe, it just ain’t your story, and her (as of this writing) currently in-progress work Ladykiller in Love.
By ‘assistance’ she means giving you the archive files to actually read. That’s really it.