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.
I haven’t had too much experience with the ‘hunter’ type of action games which pit the player against large monsters to kill in a certain amount of time. I dabbled briefly with Monster Hunter Freedom‘s PSP demo some years back and also enjoyed God(s) Eater Burst, but that’s about the extent of my involvement with such games. While twiddling my thumbs impatiently for news of a God Eater 2 Vita localization, I was gifted the game Freedom Wars by Francisco Fuentes for Christmas. I had some vague interest in the game beforehand, especially when I found out the God Eater team was involved in the production. But how does the game hold up in the end? Let’s take a look.
Freedom Wars was developed by SCE Japan Studio, who have produced a variety of PlayStation games over the years including Ico, Shadow of the Colossus, and Gravity Rush. The game was also co-developed by studio Dimps (who worked on the Sonic Advance and Dragon Ball Z Budokai games) and Shift (who worked on the God Eater franchise).
I love my healing Thorn but that green has a nasty contrast with the rest of my Sinner’s outfit.
When I first became acquainted with Francisco Garcia, he suggested that I play a certain visual novel/boys’ love dating simulator known as DRAMAtical Murder. At the time, I was more preoccupied with pestering Francisco for advice on how to set up a good team to fight the final boss in Persona 3 Portable, so I put his recommendation on the backburner. Now, after nearly two years and a rather tedious period of downloading and extracting various files to get the game to run, I can finally talk about this game in detail.
DRAMAtical Murder was developed and published in 2012 by Nitro+Chiral, the boy’s love- branch of visual novel production company Nitroplus. Nitro+Chiral was also responsible for such games as Togainu no Chi and Lamento -BEYOND THE VOID-. DRAMAtical Murder proved popular enough to warrant a sequel, re:connect, that follows up the individual character routes, anime and manga adaptations, and will get a future PS Vita port that removes the game’s sexual content.
Let’s play a game called “find the women in the CG backgrounds”.
When I initially reviewed Acquire’s Class of Heroes 2, I did a personal check of the high school dungeon crawler to see if it marked every check box on a special list. That list is called the “Francisco Fuentes Big Three”, otherwise known as a set of perimeters or elements a game is to contain to be a considered a Francisco Fuentes game. First is the setting, which has to be set in an anime high school. I’m not talking about your Project A-ko style anime high school with their gangs and mech unit fights, but one with dates and class representative meetings. Second is a usually fantasy (but science fiction can also work) world where everyone name drops specific proper-nouns and terminology and expects the player to keep up. Third is the biggest deal breaker, which is a heavy injection of boys’ romance perversion (think panty flashes and jiggling breasts). Thankfully Class of Heroes 2 well short on the third check box, but unfortunately Conception II: Children of the Seven Stars strikes that final square with gleeful abandon.
Developed by Spike Chunsoft, Conception II has you playing in a fictional-fantasy world, as the gray-haired male youth Wake Archus (you get to pick his name, but Wake seems to be the canon name), a recent transfer to an island combat academy. Each student at the academy is called a disciple, as they all share a uniform symbol on their hands called the Brand of the Star God, a mark said to have been bestowed by their god as a means to fight alien creatures that appeared decades ago. Wake learns that he is the fictional religion’s God’s Gift (a title who’s subtlety will quickly appear more Gallagher’s sledgehammer then soft messiah), a forespoken figure whose huge magical energy count allows them to successfully travel through the otherwise hazardous home of the monsters, called labyrinths.
The red-head is named Clotz, the game’s constant reminder that his life sucks simply because you are the cherished protagonist and not him.