If there’s one thing that stands above anything else for me in a game, it’s if they achieve something unique. When focusing on the most recent releases, this is largely limited to looking at what has come before it. However, sometime later you can also start to take into account what comes after. I’d say it’s similar to the whole phrase “____ hasn’t aged well.” Yet instead of from perspective of how the ever moving bar leaves some titles behind, it’s more about about how the level of iteration dilutes the original.
(Image Source: Anison USA)
Japanese music festivals aren’t something I have much experience with or an interest in. I avoid talking about music since I honestly don’t know what to say beyond, “it good yo.” However, in an attempt to not be completely anti-social after moving across the U.S., I’ve been going to whatever local anime/video game event pops up. I have no idea what I’m doing with my life, but here I am.
This article contains significant spoilers regarding NieR and NieR: Automata.
When I played the original NieR more than half a decade ago, I don’t think I could have ever have foreseen how much it’d resonate with me or that it would be one of many titles essential in changing how I view games today. While flawed, the variety in level design, off-kilter writing, fantastic music, and its surprisingly vulgar yet compassionate cast made a huge impact on me.
I hardly expected NieR to get a proper sequel, nor could I have imagined how disappointing the final result would be.
Japanese Visual novels are nearly impenetrable without the ability to read the language. They’re essentially choose your own adventure books with music and heavily recycled 2D graphics, which often makes playing one as a foreigner feel fruitless. It’s a lot of glazing over Japanese text while characters switch between one of a handful of frames overlayed on a static background. You can attempt to read the mood of the scene based off voice acting and what little visual information you can grasp, but likely you’re missing most of the context.
Scum of the Brave isn’t too different from the above scenario. If you aren’t willing to test your observation skills, you’ll likely come out feeling quite lost. Nevertheless, it does have some quirks that make it slightly more palatable to the foreign eye than your usual visual novel.
I wouldn’t say I’m a mobile game aficionado. I dumped six months into Puzzles and Dragons, played two months of Final Fantasy: Grand Masters and experienced the riveting Hill Cliff Horse, which was like being in a Gaia Online chat room… But as a horse. I was a very tiny and pretty horse with wings. Clearly I’m the most qualified to talk about Nintendo’s mobile efforts with Fire Emblem Heroes.
The Japanese indie / doujin fighting game scene isn’t anything new or unheard of. While no Guilty Gear or BlazBlue in popularity, there are titles like Melty Blood that have gained at least some following. Inaho Town: Dynamite Bomb!! isn’t the most obscure doujin fighter either, yet it also lacks much fanfare. I generally go into doujin games expecting little, but found the title to be surprisingly accessible and competent for the genre.
Most Japanese indie games haven’t been prevalent in the industry over the last decade. A growing Steam presence is starting to bring many of these games to light, but plenty have yet to make the transition. Until recently, they were almost exclusively created for low-print runs at Japanese conventions or, in the cases of digital distribution, shoved in the obscure corners of the internet. This includes Aqua Cube, a cute puzzle platformer released for PC back in 2008.