I discuss plot points and details of storylines and character arcs which could be considered minor spoilers. Also, one spoiler which could be considered a major one, the one the cover also depicts, must unavoidably be discussed, though I shall do so while revealing as little as possible.

In three volumes of Seirei Gensouki: Spirit Chronicles, by author Yuri Kitayama, we readers have been introduced to a vivid story of survival, emotional turmoil, endurance, and self-discovery painted upon a fantastical backdrop of magic, hierarchies, and strives for power. We have watched the unfolding story of Amakawa Haruto, who is born again into a new world as his soul is merged with that of the orphan Rio. And over three volumes, we have experienced this new Rio’s exciting, dramatic journeys as he crosses kingdoms and countries, meets new people, and forges lifelong bonds, all the while facing inner struggles and enduring growing pains and those of the heart.

From glimpses of Haruto’s past life before his death to the instant of his merging with Rio, we have witnessed their two souls becoming one and the progression of this new life from that fateful moment. We have watched as the new, merged Rio leaves the slums, completes his academy days, and later befriends Latifa and the Spirit Folk. And after traversing the isolated Yagumo Region and learning more about his past in this fantasy world, we are now ready to see Rio, at last, return to the Strahl region.

Yet upon his return, a world-changing event begins. A prophecy predicted ages ago has begun; individuals from Haruto’s world have been summoned as heroes to this fantasy one. Almost immediately, these heroes become affiliated with the major factions of Strahl, and will play vital roles in their politics and power struggles to come. Such a tremendous event will undoubtedly upheave the current balance of noble society and will have long lasting ripples across the kingdoms and this world.

As for Rio, he soon becomes entangled with an unforeseen consequence of this prophetic summoning of heroes. It seems three innocent bystanders were caught up in the summoning along with their companion and intended target. With that fated hero nowhere to be seen, the three find themselves alone and helpless. Soon after, they have an unfortunate encounter with slavers. Before long, Rio happens to cross paths with these slavers, who foolishly threaten him, and when hearing a call for help in Japanese, his once-native tongue, he swiftly intervenes and releases the three from their brief capture. It is soon thereafter Rio discovers that one of these individuals, beyond possibility, beyond belief, is Ayase Miharu. The very Miharu that was once Haruto’s closest friend, first and only love, and who had mysteriously disappeared shortly after starting their first year of high school. How, in all possibilities and potentialities, is Miharu, Haruto’s Miharu, standing before this version of Haruto now? And what destiny awaits her and her two companions who now must work past all tumult and begin new lives in this magical world?

Spirit Chronicles Volume 4 – Eternal You offers quite the story. Intrigue and mystery abound as this volume introduces another isekai instance, though this is a summoning rather than a rebirth into another world. Also, this summoning was predicted, observable, and immediately influential, and so poised to change many aspects of the regional political and militaristic landscapes. Despite all of that, this volume’s main storyline is mostly a microcosmic focus on Rio and his three new companions. Similar to Volume 3, in which there is a distinct focus on the orphan Rio half of the new Rio; his history, family, and relationships; Volume 4 focuses on the Haruto half. A past life full of memories, feelings, and relationships come to the forefront of Rio’s mind and his Haruto half is not making it easy for him to acclimate, process, nor reconcile. It sets up for a wonderful inner journey, as he figures out how to best take care of and prepare the three newcomers to life in a new world.

Regarding the three newcomers, we are privy to a wealth of character development as high schooler Miharu, along with middle schooler Aki and her elementary school stepbrother Masato, must now adjust to this foreign world. As Rio is the only one who speaks and understands Japanese, he begins teaching the three the common languages, and prepares them for the transition from modern day Japan to a world where magic, slavery, and medieval rules are the norm, including a harsher take on survival of the fittest. And during this time, we see the range of emotions experienced by the trio, from stress and fear, to resolve and determination for the chance of reuniting with their other summoned friends.

Overall, the story is mostly pleasant and enjoyable, if a bit predictable in the latter half, while the character development is impressive. Introducing three new characters and providing strong background and personalities is quite the task, yet author Kitayama again displays remarkable skill in doing so. Although the three do possess shades of archetypal personality traits, these traits are added to and expanded on in meaningful ways. This is mostly through their reasoning over their situation, coming to terms with it, and what goals they wish to set for themselves. As for Rio, the Haruto half of his character is also further expanded upon, as we are first reminded of why Haruto’s personality was the way it was up until now. And, presently seeing him work through old feelings and new circumstances provide praiseworthy immersion, though, I am detecting hints that his inner turmoil will be resolved and set aside quicker than I’d like. I feel there is much potential here, but I fear a resolution will be swift and lacking, so I do hope I am wrong. Regardless, what we’re offered in Volume 4 all makes for an intriguing chapter full of memories and rekindling feelings, as well as deep background and new growth. Lastly, I very much appreciate the way in which author Kitayama has the story and characters lend themselves to set a tone or inkling that this volume is the cusp of major events to come. It’s a wonderful setup for a hopeful return and continuation of those overarching storylines that we’ve seen in development since the first volume.

The achievements of Spirit Chronicles Volume 4 – Eternal You are many, mostly through a satisfactory story enhanced by notable character introduction, development, and poignancy of their emotions and feelings for one another. However, this volume is made tougher to grade due to a few standout narrative decisions. On one hand, you have the interactions between Rio and Miharu; a familiarity full of vivid feelings, as a bond between the two is slowly formed anew. We are provided wonderful moments of solid storytelling, reminiscence, and the building, or rebuilding, of a long ago relationship. On the other hand, because this storyline and its characters demand so much attention, most everyone and everything else from the previous volumes is, again, sidelined. A major complaint of mine with Volume 3, author Kitayama has chosen to marginalize too many of the storylines and characters introduced previously for a second consecutive volume. Although I can reason out and understand the decision, as there are limits to who and what receives attention in a single volume, I think adding to an already full cast and story have made things even more crowded. I understand that not every character will be crucial to the plot, and many are needed to fill story or narrative gaps. My present fear, though, is that Aki and Masato, who are already treated as side characters to Miharu, will soon receive the same treatment as so many of the other side characters – as in, we won’t hear from them for such long stretches of time that they challenge irrelevancy.

Another issue I have with Volume 4 regards the execution of what should be a significant character moment, one in which Rio shares his thought process about how he will treat relationships beyond friendship. Rio essentially makes the hard lined decision to not, at least for now, pursue any kind of romantic relationship. My issue is that I feel this needed to be expounded upon, since it’s a major decision for him going forward. The reasons, while sound, are also simplistic and come off as blunt. They lack emotions, even though the reasons themselves are fueled by emotions. Not to mention, it’s all wrapped up in a paragraph or two. It’s such a core moment for the character, yet the delivery fails to impact. Furthermore, the decision clashes with the unignorable sense of a harem eventually forming, as discussions about Rio and romance are terribly plentiful. Whether this is meant as a pause to the discussion, a red herring, or an actual resolution, the scene ultimately falls flat, leaving me with a feeling that nothing has actually been decided on at all.

A final criticism of mine relates to the speech styles of the new characters, in that they all sound, or read, far too similarly. This is due to their dialogue having been written with near identical syntax and diction, including slang, abbreviations, and such. Understandably, characters that come from similar backgrounds may sound the same; however, it’s to such an extent that it becomes difficult at times to tell who is speaking. Also the overly similar speech makes certain moments of dialogue between characters awkward and unnatural. If I were to speculate, perhaps this is a translation issue, in which the translator or editors failed to re-introduce the differences in word choices or structure. Elements like nuance and implication can be easily lost in translation, and so I do expect an effort to be made to retain them. Or, perhaps this is a misstep by author Kitagawa, failing to have each person speak in their own way. Sure, you can argue that similar characters, those who live in the same community or environment, and who share similar experiences may naturally share speech patterns. However, the extent to which this occurs is both too much of a stretch and, as a result, awkward to read. At its worst, it resulted in my loss of immersion on some occasions. Having said this, these and the issues I discuss above were thankfully not enough to stop me from having an enjoyable read overall.

Spirit Chronicles Volume 4 – Eternal You is a tough one to grade. Its strengths are praiseworthy, which include a wonderful reunion and palpable feelings between Rio and Miharu, and a pivotal plot moment, the summoning of heroes, which will hopefully bring new energy and conflicts to the storylines to come. Also, this volume offers some of the best character development seen in the series thus far. Unfortunately, its issues cannot be easily ignored. These include the neglect of previous characters and storylines, the way in which Rio makes his big decision concerning romance, the questionable decision to add even more characters, and the narrative missteps. None can be easily dismissed, and so in its entirety, I rate Volume 4 a 3.5 stars, though I will say that it only just misses a 4 star rating. This volume is an easy recommendation to those who have found enough to enjoy in this series, as well as those who, like myself, may have found themselves questioning whether or not to continue reading after the previous volume. Simply put, Spirit Chronicles Volume 4 – Eternal You has more than plenty to like, and I am hoping that the tones I’ve picked up throughout the read, those beckoning of major conflicts, reunions, and excitement foreshadowed, do indeed come to fruition in Volume 5.

Review Score
Overall

English translation of Spirit Chronicles Volume 4 – Eternal You and all volumes of Seirei Gensouki: Spirit Chronicles by J-Novel Club. Digital versions of Spirit Chronicles Volume 3, and all volumes, made available through affiliate shops like Amazon.

The post Light Novel Review: Spirit Chronicles Volume 4 – Eternal You appeared first on oprainfall.

In this review, I discuss plot points and details of storylines and character arcs which could be considered minor spoilers. No major spoilers will be revealed.

Seirei Gensouki: Spirit Chronicles, by author Yuri Kitayama, tells the tale of Haruto Amakawa, a college student who dies and is reborn into a world of magic and monarchies. His consciousness is merged with that of an orphan, named Rio, and the two personalities are now one. Through myriad circumstances and opportunities, this new Rio gains enrollment at the Royal Academy and uses the chance to prepare himself for a journey of self-discovery. Then, leaving the academy and the Beltrum Kingdom, meeting a young Spirit Folk were-fox named Latifa, and traveling with her to the Spirit Folk Village, Rio learns from and is guided by the Spirit Folk. Now, Rio is ready to depart, taking his next steps which lead into the Yagumo Region, an isolated land with its own circumstances, adventures, and revelations.

In Spirit Chronicles Volume 3 – Requiem for a Goodbye, after having made new friends, learning much from the Spirit Folk, and leaving Latifa in the best of care, Rio departs the Spirit Folk Village. He soon enters the isolated, vast lands of the Yagumo Region, where he hopes to find clues pertaining to his parents and the reasons for why they previously left their home. He will soon discover that although this region is cut off from the Strahl Region and its kingdoms, Yagumo is similarly developed, and perhaps possesses its own similar matters too. Rio will meet an assortment of new characters, many who hold memories of his parents, as well as revelations pertaining to their story and Rio’s identity. He will spend much of his time in a small farming village within the Karasuki Kingdom, where he receives the first of many of these revelations. He will also travel between this tranquil village and the capital of Karasuki, where more will be revealed and new connections will be forged. When not traveling to and from, Rio lends his vast knowledge to the villagers; from his past self, his time in Beltrum, and from the Spirit Folk; to improve the quality of life of those who have welcomed him. And even though time spent in this rural village is mostly tranquil and calm, hostility and wickedness will yet appear, triggering Rio and testing his morality. From there, Rio will need to take a deeper look within to decide how he wishes to mold himself and where he lays his moral lines.

Spirit Chronicles Volume 3 – Requiem for a Goodbye takes a different direction than the previous two volumes, in that this volume concentrates on specific aspects relating to Rio, mainly his past and the relationships he didn’t know he has. Where the first two volumes establish and develop background and character details within the framework of a grander tale of realms, social conflicts, and the like, Volume 3 essentially places all of those arching storylines and individuals on the back burner. And although this series follows Rio and his point of view, I still found it a peculiar approach to so outright sideline nearly everyone and everything else previously introduced to tell this particular, personal chapter.

Beginning with the strengths of its story, Volume 3’s storylines contribute substantially to Rio’s backstory, specifically the side of Rio native to this world. A want of Rio’s since Volume 1, he, at last, finds success in learning much more, and must now figure out what to do with his new knowledge and the resultant circumstances. We also see Rio placed in situations that further test his character, this time in ways that expose shortcomings that Rio cannot easily overcome nor dismiss. Many a self-realization and acceptance will be made, showing us that Rio does indeed have more room to grow, which I always appreciate, especially when a main character starts to feel too powerful or too capable. Lastly, I like how the details of his backstory and the particular trial he faces this volume manage to work into, and relate to, his original goals of becoming the person he wishes to be, as well as his now lesser mentioned, yet unforgotten desire for vengeance.

Aside from Rio specifically, I appreciate the world building this volume offers, and the many various aspects and elements introduced. The numerous glimpses of Yagumo, resembling historic Japan, paint a vivid picture of a land waiting for Rio to discover. I also enjoyed the fragments of history we see throughout the story pertaining to the Karasuki kingdom, where the majority of this volume takes place. I likewise enjoyed the many aspects of life depicted, such as the views into societal workings, and the differences in lifestyles between city versus rural, or commoner versus noble. Lastly, I can see how many of these more intriguing aspects, like the details of the region’s inner workings, could lend themselves as the threads for future storylines. They may yet serve as connections to the overarching storylines set up in the previous volumes, so I’m looking forward to seeing how they may connect. Overall, Volume 3 accomplishes much in developing Rio’s backstory and adding to his character, while also substantially world building with its details of the Yagumo Region, tidbits of its history, and specifics of the Karasuki Kingdom.

Although there’s much to praise within Requiem for a Goodbye, this volume’s story has its shortcomings as well. First, as I said earlier, this volume’s approach is peculiar, in that it nearly ignores everyone and everything not pertaining to Rio’s background. The overarching main story, with its many threads and characters, has been a fascinating one up to this point. So to set all of that progress aside left me feeling both a bit distracted and wanting to get back to those previous story threads. Another significant issue I had is the mundanity of many scenes. While there are some that feature memorable intensity and action, and although all of the scenes weave together for a cohesive story, a few too many of them are monotonous and dry. I found them falling short of adding any meaningful development to Rio, as well as failing to add a lasting impression on me as a reader. The story does have its moments of brilliance, such as a poignant conflict which occurs before the midpoint of the read. The stress, fear, and intensity of its climax are palpable, as are the extreme emotions throughout and soon after. However, such deep, fierce storytelling only makes the fervor-less dryness of other scenes felt all the more sharply. Even if scenes are meant to depict peace and tranquility, they lack detail and significance, and I found myself simply moving on from them. Overall, monotony in just a few too many of the scenes paired with the decision to set aside previous buildup both lessened the experience and left me wanting.

Moving on to character development, Spirit Chronicles Volume 3 – Requiem for a Goodbye progresses Rio’s depth while introducing many new characters, however the overall effort, I believe, is mixed in its execution. Rio’s mental development is, again, the highlight, mainly through the one particularly intense scene I mentioned above, as this scene triggers a breakdown of the cool, capable personality of his we are familiar with. The resultant clash of his usual personality with these once repressed, now surfaced darker feelings forces Rio to confront and accept the harsher parts of himself.  We get to see Rio again struggle internally, as he has throughout the three volumes, yet this time it involves determination, facing his naivety, and confronting his moral limits. All of this to make peace with what he will eventually need to do and how he needs to act moving forward in this cruel, imperfect world. A more pragmatic Rio is something I’m looking forward to, however the latter half of this volume sees Rio return to his cool, collected self rather quickly, and I can only hope the progress isn’t lost in later installments.

It’s not all great for Rio’s character, however, as I see two arising issues, one minor, the other rather significant. The minor issue is his charisma with nearly every female character around his age. Too often and too speedily, women are developing romantic feelings for Rio and, of course, Rio is either numb or dumb to them. This quickly developing harem cliché is a decision by the author I don’t understand, as it does nothing whatsoever for Rio’s character. It’s a tired gimmick that I wish to see moved away from in later volumes.

The more significant problem I see regarding Rio’s character is his rapidly rising power and capabilities. At this point in the series, Rio is demonstrating a strength and level of magical ability at or above the level of veterans and those considered to be masters. It reads like Rio has crossed a threshold from exceptionally capable to plain, old overpowered. For example, in this volume he spars with a veteran warrior and matches his performance until nonchalantly overwhelming him. And we the readers are supposed to readily accept the fact that Rio handily defeats this veteran samurai who, as we’re told, can apparently defeat a thousand men himself. Similarly, the narrative states, “…Rio was adept at everything.” I certainly hope not. Quick learning and mastery aside, it would be regrettable if he becomes so overpowered that he breezes through any future threat or conflict. Therefore, I will reiterate my acclaim for Rio’s challenges this volume, though limited to emotional tests, as they give the character opportunities to grow. A character shines through their overcoming of faults, conflicts, and challenges, so while I’m happy Rio was indeed challenged, there absolutely needs to be more to come, in every aspect, in the future.

As for the supporting cast, unfortunately there is little to compliment. Although there are a plethora of new characters introduced, they receive limited development. They fail to grow beyond common generalized personalities like the outgoing teen, the shy, quiet friend, or the reasonable elder. Thus, they never garner any empathy from me, save for those few more intense scenes. This is in stark contrast to the previous volumes, especially Volume 2 and Latifa’s arc. In my review of Volume 2, I deservedly praise Latifa’s development, whom I thought would continue to play a major role, given her brilliance from start to finish. It only reinforces my belief that leaving all previous characters behind was a gaffe by the author, as the shortcomings of these new characters are made more obvious. At this point, I can only say that the sooner Latifa, Cecila, and others make their return, the better.

Spirit Chronicles Volume 3 – Requiem for a Goodbye has its strong points and poignant moments, however this volume is not quite the effort I would have hoped for. I praise the challenges Rio faces, his backstory and revelations, and the sheer amount of world building this volume offers, however, I cannot overlook several of the shortcomings and decisions author Kitayama has made. The exclusion of previous characters, a new set of characters lacking genuine depth, and Rio’s rapidly increasing power and prowess are the outstanding missteps, all of which are difficult to forgive. I can only hope for Rio to face a greater range and number of challenges soon, and alongside those familiar characters I missed this time around.

Review Score
Overall

English translation of Spirit Chronicles Volume 3 – Requiem for a Goodbye and all volumes of Seirei Gensouki: Spirit Chronicles by J-Novel Club. Digital versions of Spirit Chronicles Volume 3, and all volumes, made available through affiliate shops like Amazon.

The post Light Novel Review: Spirit Chronicles Volume 3 – Requiem for a Goodbye appeared first on oprainfall.

In this review, I discuss plot points and details of storylines and character arcs which could be considered minor spoilers. No major spoilers will be revealed.

Seirei Gensouki: Spirit Chronicles, by author Yuri Kitayama tells the story of college student Haruto Amakawa, who is reborn into a medieval fantasy world by having his consciousness merge with that of an orphan named Rio. Enduring a hellish life in the slums before merging with Haruto, this remade Rio uses these memories and personality from another lifetime to navigate equally particular circumstances that see him escape the slums and enrolled at the Royal Academy. With his inner changes, as well as having gained new opportunities, knowledge, and skills, Rio finds himself driven by a desire of introspection; to understand who he is now, yet also to learn more about his past and his roots. Departing from the Beltrum Kingdom, Rio must continue to stand resolute against the unceasing schemes of the world’s kingdoms, and boldly face his many upcoming challenges on his journey of self-discovery.

Spirit Chronicles Volume 2 – Blessing of the Spirits continues Rio’s story after Volume 1’s solid efforts of laying a strong foundation for our main character and the world he finds himself in. After his time enrolled in the Royal Academy, which included entanglements with the kingdom’s classist elite, Rio follows his own ambitions and sets off into the world, leaving the Beltrum Kingdom and this chapter of his life behind. He begins a new stage in hopes of learning more about his background and his parents; their history and their reasons for leaving their home country; as well as perhaps meeting any family he may yet have.

However, it won’t be so simple for Rio, as he must now navigate an adventurer’s life, full of its own clashes and conflicts. It also seems like Rio cannot entirely escape the reach of the Beltrum nobility, as he soon encounters a young Spirit Folk named Latifa. Latifa, a were-fox and enslaved assassin, has been sent by a dukedom to silence Rio for the sake of covering up a scheme of theirs. The story reaches a critical point with their encounter, resulting in a too-sudden life change and a reluctant concession, followed by an uneasy journey, for two. With simple acts of kindness along the way, a blossoming bond between them will grow, and fate’s involvements with be revealed.

Rio will then be further challenged by extreme prejudices and strong resistance. Trials await to test his compassion, mentality, and resolve, yet Rio will press ever forward as he continues his pursuit of understanding himself while also gaining new knowledge and insight of this truly bewildering magical world.

Similar to the first volume, Spirit Chronicles Volume 2 – Blessing of the Spirits features a story packed to the brim. The main arc sees Rio truly begin his journey of self; setting off to learn more about his past while continuing his internal examination to figure out who he is now. A new piece to this is also introduced, as Rio takes the opportunities presented to him to further add to himself and develop into the individual he ultimately wishes to become. As Rio is a young teen and Haruto was just a twenty-year-old student, the story establishes that this merged individual is one who is still growing and maturing. The story also has plenty of major events that offer readers continued insight into Rio’s depth as a character. These circumstances challenge his reasoning and display the wrestling between two personalities when decision making, and thus further develop this complex character with an equally complex story ahead of him.

We also see the introduction of Latifa, whose story will intertwine with Rio’s early this volume and have a lasting influence. She plays a direct role in Rio’s thinking and behaviors, as her own situation sees her becoming attached to him. Fortunately, she is not merely a device to simply progress Rio’s own story. Latifa very much has her own story arc, told through flashbacks that reveal a tragic depth, and, through her interactions with Rio, revealing just how lovable she can be. We get to learn of a character easy to empathize with and care for quickly, and one who has plenty of room for future growth.

Along with the main arcs, Volume 2 also provides plenty in the ways of world building, future set up, and a few stand-alone events. The most notable of these is the introduction of the Spirit Folk, non-human entities such as dwarves, elves, and were-folk. The Spirit Folk will quickly become essential to the story, offering new personalities, new knowledge, and hopefully a foundation for implied future arcs to come. For now, Rio’s initial introduction to them is hardly warm, giving us the first taste of a long, deep-seated malice between humans and Spirit Folk.

With action, depth, and plenty of emotion, Spirit Chronicles Volume 2 – Blessing of the Spirits is a thrilling and enjoyable read throughout. With the themes of discovery and journeying out into a vast world, the story takes on a noticeably more dynamic, energetic feel. In this volume, we see more unveiling and learning, meaning more mystery and suspicion, thus the tones offer feelings of revelation, as Rio and we readers learn more together. There is also more in the ways of misunderstandings, which are paralleled with prejudices and the story’s first explorations into racism. The related distrust and misdirected aggression provide a palpable edge to the many emotions felt by the characters in these scenes. Volume 2 also offers more action scenes, which depict clashes of quick thinking and even quicker displays of physical and magical combat. They’re full of intensity and force, making for moments of pure vigor. Lastly, the entirety of what the Spirit Folk bring is substantial. Emotion, backstory, magical lore, not to mention all of the future story possibilities. This addition is a significant one that easily immerses and fascinates, and I hope the Spirit Folk play as large a role later as they do here. Volume 2’s story is an excellent continuation to, and an overall improvement over Volume 1, where intriguing story arcs and scenes come together with rich doses of emotional poignancy to make for a pleasantly immersive experience.

As exceptional as the story is, with its action, the emotions that come through, and the depth of immersion it achieves, I feel the most outstanding aspects of Spirit Chronicles Volume 2 – Blessing of the Spirits are its two main characters and their development. Beginning with Rio, we get to see the progress of this already complex character, with more variations to his thinking and emotions. He’s not restricted by the noble settings in Volume 1, nor does he have to navigate that specific world, and so we see different sides to him in his many new circumstances. What stood out for me, I feel Rio shows more frustration and stress this volume. Back in Volume 1, Haruto’s influence meant Rio understood his circumstances and knew he had to be strong in his resolve, as he steadied himself against ridicule for greater advantages. He also had Celia, a teacher, friend, and, in many ways, a guardian to Rio. In Volume 2, he’s much more a lone individual who then later must step up into a guardian role himself. And so, there are these wonderful moments of inner struggle with what the mature Haruto believes is right versus the survivalist-minded Rio’s instinct of taking the best options for himself and his personal goals, thus causing more of this inner friction and frustration. And I love how these clashes feel like they are on another level, as they and his character arcs all emphasize that Rio is still a young work in progress. Now, that’s not to say we’re not treated to Rio’s exceptional rationality and decision making. These core traits are on full display, reinforcing the cool, calculated personality the merged Rio exhibited in Volume 1. In fact, he is seldom tripped up or caught off guard, making those few times in which he is particularly exciting. Truthfully, I wish there were more of them, for seeing Rio challenged or put off balance and working through it is what makes him such an engaging character. Having said this, Rio continues to be a fascinating individual, and I’m satisfied with the challenges and contemplation he works through, how he does so, and, ultimately, the progress his character receives.

Although Rio’s development in this volume impresses, I believe author Kitayama went above and beyond with Latifa. Latifa receives her own complex arc, beginning with glimpses of a brighter past that is suddenly and cruelly punctuated by an existence of sheer confusion and sadness. From what is gleamed of her life is terribly sad, making it difficult just to think about. In particular, when events reach the point in time when the series begins, Latifa’s situation becomes so sad that I genuinely don’t want to think about it. Also, parts of the flashbacks are left vague, forcing us readers to consider whatever worst we may come up with. Intentional or not, it’s as clever as it is insidious on author Kitayama’s part. What’s more, the first memories described are hallmarked by gratitude and young, innocent admiration, making the sharp, sudden contrast in Latifa’s history so much more painful. The cruelty of Latifa’s circumstances were awful enough, yet they become truly tragic with the flashbacks up to the time of the series’ start. And so, surviving her agonizing childhood, stripped of hope and affection, Latifa is molded into a weapon. Her present task of tracking down Rio results in their perilous meeting.

With the tones of heartbreak, suffering, and the author’s ability to instill our sheer want to help this poor young girl, it makes Latifa all the more precious and lovable. As readers, we want to see Rio become the person Latifa needs in her life. We want to see Rio’s feelings evolve for her sake. It’s because Latifa’s backstory is so sad, and her current self, fully exposed to Rio, is so frail and delicate, that we can’t help but adore her, and long to see her receive the affection and care she needs. It’s quite the story and character arc, running a gauntlet on us readers’ emotions. And the emotions hit hard, telling of the depth and detail, as well as the skill, in which author Kitayama achieves. With the tones of her backstory paired with the heavy mood and raw emotions running through the two, the read fully engrosses to the point where you just can’t help but root for Latifa. She has easily become my favorite character and I cannot help but look forward to her stories and scenes in the future.

There’s no question that Spirit Chronicles Volume 2 – Blessing of the Spirits impresses, however, there are some minor issues regarding its presentation that prevent my giving it a perfect score. The most obvious regard the translation. Every so often, there will be confusing choices in how sentences are phrased, making them less clear than they could have been with fewer words or simpler wording. Also, repeated words and incorrect tenses are few, but present throughout. So are instances in which characters are incorrectly referred to. This last one is a bit more problematic, as many new characters are introduced in the second half of the novel. Although none of these are enough to prevent readers from understanding or enjoying the volume, the breaks to immersion are just enough for me to comment on them.

Spirit Chronicles Volume 2 – Blessing of the Spirits is simply a fantastic read. From its story to its characters, Volume 2 is an excellent continuation of the series, praiseworthy for its exemplary ability to convey palpable energy and feelings. This volume holds nothing back, making those emotions felt by its characters both raw and vivid to its readers. And while the characters and their personal journeys are the high points of this volume, the overall story is nonetheless engaging and fascinating. The introduction of Latifa is just brilliant, and with what she and the Spirit Folk may bring in the future, it keeps me wanting for more. Powerful emotions, busts of energy, and empathy you cannot help but express, Blessing of the Spirits will draw you in and offer a wonderfully deep, immersing experience.

Review Score
Overall

English translation of Spirit Chronicles Volume 2 – Blessing of the Spirits and all volumes of Seirei Gensouki: Spirit Chronicles by J-Novel Club. Digital versions of Spirit Chronicles Volume 2, and all volumes, made available through affiliate shops like Amazon.

The post Light Novel Review: Spirit Chronicles Volume 2 – Blessing of the Spirits appeared first on oprainfall.

In this review, I discuss plot points and details of storylines and character arcs which could be considered minor spoilers. No major spoilers will be revealed.

Seirei Gensouki: Spirit Chronicles, by author Yuri Kitayama, is a medieval fantasy light novel series whose themes include self-discovery and personal growth, as well as the importance and benevolence of genuine friendships and bonds. The story begins with a college student who experiences an isekai moment, thus finding himself in a different world, full of magic, conflict, and monarchial quarrels. Then, finding his very personage merging with another, that of an orphan from the slums, their life is further drastically changed after a series of incredible events. Along with a supporting cast of charismatic individuals from all walks of life, our evolving main character forges a path forward; one new and ever changing, veiled by a desire of revenge, yet also with promise of new friends, experiences, and opportunities to grow.

Spirit Chronicles Volume 1 – Kingdom of Lies sets the foundation for an imaginative and intricate story, rife with fantasy, magic, and action, as well as challenges, from grand schemes to personal tests that life in such a disparate world entails. The overarching story follows Haruto Amakawa, a Japanese college student, whose nature is melancholic after having to leave behind his childhood friend and only love, Miharu Ayase, many years ago. A potential encounter with Miharu would appear for Haruto at the start of his first year of high school, however he hesitates, and then soon after, Miharu mysteriously vanishes, leaving Haruto empty. Years later and now in college, Haruto meets his end in a traffic accident.

Fate would intervene, as a dormant spirit within him guides Haruto’s soul, and thus his memories and personality, to a different world and merges it with that of an orphaned eight year old named Rio. Rio, on the verge of death himself, wakes and physically recovers quickly, though his mind is now a jumbled mess as the two personalities begin to coalesce.

Rio, an orphan of the Beltrum Kingdom’s slums, survives his harsh reality for the sole purpose of revenge. It was his only reason to endure his hellish life, yet now with his consciousness merged with that of Haruto’s and having Haruto’s personality, knowledge, and principles merged with his own, this new individual will soon face equally new and outstandingly peculiar circumstances. To add to his eccentric dilemma, the bandit group whom he begrudgingly associates with has kidnapped a young girl, whom Rio will shortly learn is a princess of the kingdom.

With an eccentric series of events then unfolding, we move into the crux of Kingdom of Lies, in which Rio will ultimately find himself entangled with these nobles through an offer of enrollment into their most prestigious primary school. Given his awful life in the slums and further led by Haruto’s wisdom and influence, Rio accepts the advantageous opportunity. He will spend the next several years at the academy, learning of the world around him and planning how to navigate it, all the while withstanding and overcoming conflicts fueled by classism from his aristocrat classmates and new surroundings.

Spirit Chronicles Volume 1 – Kingdom of Lies accomplishes quite a bit of development, from the introduction of Haruto and his history, to establishing both the new character born by the merge with Rio and the approach in which the combined individual will be portrayed. The series of events leading up to Rio’s enrollment and the proceeding conflicts thoroughly test Rio and further develop his character. Influenced by his evolving personality, we get to see how Rio thinks and behaves throughout new, challenging, and ever changing circumstances. Notable efforts are also made in building this world around Rio, and its society of inequality, curt attitudes, and self-interest. In all, the story sows new conflicts throughout, and ultimately lays the overarching plotlines which will extend beyond this volume. Altogether, Volume 1 – Kingdom of Lies offers unique, individual stories and events as it also breaks ground for an extensive, epic tale.

In its entirety, I am impressed with how much is packed into this single volume, with the foundational work for the series established and conjointly offering the volume’s own main plotline and set of smaller events. More importantly, the volume is a mostly entertaining read throughout. The main storyline of this volume is an engaging one, as Rio’s efforts to acclimate to his new self and grow as a capable, resilient person in this unique world are perceptible and empathetic, and thus immersive. Also, his drive to take hold of advantages presented, all in preparation for a future odyssey, is just as perceptible.

Regarding specific elements of the story, the action scenes, though few, shine with suspense and force, and each is their chapter’s highlight. They also work notably well to display Rio’s growth as he acclimates to new and particular strengths offered by Haruto’s experiences and the spirit within him. Of course, they add distinct intensity and energy, too. Then there are the many scenes between Rio interacting with the aristocracy, which are commonly peppered with hints of stinging arrogance and vitriol from the nobles’ side, whereas he demonstrates a calm tolerance, patience, and remarkable maturity. The play in tones and moods from the differing attitudes definitely helps make them felt. I also appreciate the scarce, yet poignant times in which Rio’s frustration comes through, making him more relatable, and offering another layer of individual mood. For their brighter tones, I found myself looking forward to the scenes between Rio and his teacher and only friend at the academy, Celia Claire. These scenes are heartwarming, depicting the evolution of their relationship from strangers, to teacher and pupil, to having genuine care for one another. These scenes, and their dynamic as a whole, set moods of warmth, humor, and uplift, and are a wonderful reminder that there is sincerity and light in this brusque, prejudiced world. Lastly, world building and background exposition add further touches of depth, and the details describing the extrinsic society Rio now finds himself in also add distinct tones. Overall, Kingdom of Lies’s story is an engaging one, with its portrayals of setting and character, its palpable tones and moods, and its imaginative events which all work together to satisfyingly immerse and impress.

Despite its successes of delivering intrigue, stirring the imagination, and establishing a solid foundation, Kingdom of Lies’s story has its shortcomings. The foremost issue is the author’s reliance on many common literary tropes. Popular elements and themes such as rebirth in another world, the scenario of a protagonist’s ascension from obscurity, and the commoner versus nobility device, are used to move through much of the introductory groundwork, as well as begin the volume proper. I can fully understand their need, as an impressive amount of story and setup are made concise and manageable for us readers. However, it also makes some of the events and plotlines feel a touch too familiar. For example, school scenes in particular are lacking in the ways of rivet or uniqueness and proceed in an uninspired manner. Although used well to further the feelings and tones of inequality between Rio and his classmates, these interactions, necessary as they are to set tone, are mostly predictable.

Fortunately, author Kitayama mostly uses these tropes and devices as frameworks, developing plenty of variation and creativity around them, and thus keeping the storylines fresh. The events after the princess’s rescue come to mind, as the volume offers its first touch of a much darker style. Another example, the school life trope serves a purpose of introducing characters, mindsets, and other elements of characters and the world around them. And like the school life trope, several of them are eventually moved away from once they’ve served their purposes. However, as some are let go, there is a tendency of a new one or two being picked up later. Rio’s dubiously matchless skill near the volume’s end hints at the overpowered trope, and his popularity with girls is an aspect I could see devolving into a cliché in the future. Overall, while I’ll praise their effective usage to help introduce and move the story along, and although mainly used as a step to build more unique story moments from, there are yet feelings of commonness during the read that stem from the reliance of tropes.

The only other narrative issue I could debate is the use of exposition for characters. I felt there is a reliance on explaining how Rio or others are thinking, feeling, or interacting in given moments. I would have preferred dialogue or inner monologue in many of these cases, as I see them as opportunities lost for more character development. They could have served to show, rather than tell, the whats and hows regarding emotions and reasonings. I suppose this is more a personal preference in the end as, fortunately, the exposition isn’t so overdone as to take anything away from the experience, and I would leave this saying most readers may never take issue.

Along with an engaging story and solid series start, Spirit Chronicles Volume 1 – Kingdom of Lies accomplishes much regarding the introduction and development of its main character. With the merge between Haruto’s and Rio’s souls, this new Rio is a fascinating character, whose arc includes his efforts to acclimate to his new self as he navigates what is essentially a new world, one of magic and nobility, for them both. This familiarization with his new self is mostly shown through the ways each of the two’s previous personalities influence thinking and decision making. Haruto’s intelligence, experience, and thus his adaptability and resilience shine through as Rio faces new experiences and situations. I appreciate seeing the thought processes and reasonings behind decisions and actions, making for a calculated character with noteworthy maturity. His decision to take advantage of enrollment, as well as how he handles his classmates demonstrate his acumen. Even the common aspects of this school life, like practicing self-defense and studying to familiarize himself with the knowledge of this world, all convey insight and cleverness. Although Haruto’s personality is intended to be prominent, I also like how the previous Rio’s traits, with his cautiousness and distrust, are also present and influence that reasoning. The best example is the prudence shown when Rio must decide whether to involve himself with nobles by returning the kidnapped princess. When these differences in personalities come up, though noticeably scarce, they help portray the inner workings of the character’s new, single personality. Overall, being treated to the mindset and workings of this fused college student as he processes and navigates his new story is curiously captivating, and I’m look forward to the new Rio’s continued evolution.

I also appreciate Celia’s characterization, though hers is a bit more traditional and linear. A twelve year old child prodigy and current professor at the royal academy, Celia is immediately portrayed as a kind, compassionate individual who is quick to demonstrate care and sympathy for Rio. Before even knowing him, as one never concerned with social differences, Celia shows friendliness, patience, and consideration to Rio. When their relationship grows to that of teacher and student and later as earnest friends, Celia takes particular care of him, making sure he can handle schoolwork, while also keeping keen watch over him given her full awareness of the inevitable exclusion and prejudices he faces. I think my favorite example of this is when Celia asks Rio about his future, going so far as to offer him a position to continue working together with her research.  Warm and sympathetic, with moments of pure charm, Celia is an easily lovable character.

Unfortunately, character development has its flaws too, of which their impact on the story can’t be easily dismissed. One standout flaw for me is Rio’s character before the merge. I found it to be rather bare; a framework waiting to be filled by Haruto rather than one evenly subsisting alongside Haruto’s. Rio has a tragic backstory, which begins with a horrible event that plunges his existence into despair, but it ends there. The event itself, and an explanation that his life has been awful since, are all we truly get for Rio’s initial development. Also, we get tidbits of his life before the tragedy, but again, not much else of substance until the merge. I feel Rio’s personality is perhaps left intentionally sparse for the purpose of being colored in by Haruto’s. Indeed, many a times during my read, it felt as if I were reading solely about Haruto in a different world, rather than a combined individual. I’m glad for when certain aspects specific to the original Rio do come through, such as his difficulty to trust, as well as glimmers of his apathy, born from loss and a descent into a dangerous, callous life of poverty. But so far, seeing only his doubt, caution, and apathy, it feels as if the old Rio simply represents the darker attributes of the merged psyche. Perhaps more from Rio’s past, through flashbacks and reminiscences, maybe even more of those negative qualities one would ultimately pick up from such a life, could have been introduced to add greater depth to the original Rio. Ultimately, I feel he could have had a deeper characterization, one that more evenly stands with Haruto’s, and one which could have intensified the mental and emotional struggles of their shared being.

A lesser shortcoming, though it still stood out for me, is the characterization of the side characters. Yes, they are side characters, but I couldn’t get away from just how minimal they are. Many, such as the nobility, are shown to have a primary personality trait without much in the way of development. The noble male classmates, for example, all seem like the same person, sharing identical personalities and so making them forgettable. Slightly more remarked characters, such as Princesses Christina and Flora Beltrum, still only possess few character traits. Christina has an attitude and is quick to be angered by Rio’s very presence, while Flora is the meek, mostly unassuming type. Familiar, and bland at times, as side characters, they, and the rest, yet serve their purposes as foils to Rio and contrasts to Celia. Even still, I am hoping we get a bit more depth in future volumes.

A final element I wish to address is the artwork of Volume 1. The cover and illustrations within are done by artist Riv, whose depictions of our main cast are detailed and charming. Whether it’s the sweetness of Celia, the sharpness of Rio, or the intensity of conflicts, the artwork adds appreciated notes of personality, tone, and emphasis. I also like seeing a bit of artwork, as I assume author Kitayama directed how Rio and the others are depicted, so it’s a glimpse of the author’s own imagination regarding these characters. My one wish would be for more, as the number of images included this volume is few, and what we are offered is beautiful.

Spirit Chronicles Volume 1 – Kingdom of Lies is an accomplishment, setting up what is seeming to be quite the epic, full of adventures and conflicts for Rio and the individuals, even the very realms, around him. While setting up for a series which suggests plenty in the way of complexity and imagination, this volume also offers its own set of stories which I found entertaining and mostly unique. With the depth of its main hero, the cleverness of its storylines, and its ability to deliver palpable feelings through its characters and clashes, Volume 1 – Kingdom of Lies manages more than enough originality and immersion that I very much want to keep reading beyond this volume. I genuinely want to see how Rio’s journey will take shape after these first incredible, foundational steps and onto the second ones.

Review Score
Overall

English translation of Spirit Chronicles Volume 1 – Kingdom of Lies and all volumes of Seirei Gensouki: Spirit Chronicles by J-Novel Club

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It honestly doesn’t feel that long since the debut of the manga, and yet here we are, about to discuss the already wrapped up Season Three of the anime adaptation of Mairimashita! Iruma-kun. As an avid reader of the manga, I’ve had opportunity to experience the ongoing journey and growth of Iruma, a once fearful fourteen year old Japanese boy who is transported to the Netherworld, and is now discovering friendship and personal ambitions as he continues to forge a path forward in his new life. In the manga, Iruma had already overcome many trials; physical, mental, and emotional; and continues to set and achieve personal goals all the while keeping in mind his friends and loved ones when doing so. He has grown much and matured, though, unimaginable silliness, pure chaos, and unsought attention still follow him close by. As for Season Three, we rewind a bit in Iruma’s story, privy to the animated telling of the second to last event in Iruma’s first year at the demon school Bablys; the Harvest Festival. I came into this season with expectations of action, energy and tension, as I prepared to once again experience Iruma’s endeavors through what is arguably still one of his greatest trials in the demon world.

Mairimashita! Iruma-kun Season Three covers the Harvest Festival arc, which begins with the announcement that Iruma and his misfit classmates must all raise themselves to daleth, rank four, before the end of the year or face eviction from their prestigious classroom: Royal One. An impossible task on their own, they are then informed they will be assigned elite, renowned demons as tutors to refine their particular skills and traits. While the others are broken into groups of two, Iruma finds himself on the receiving end of individual attention by his tutor Bachiko, a magenta clad archer with attitude. Iruma and his classmates endure grueling training throughout the weeks before the Harvest Festival, and once the fated day arrives, they emerge pensive from their hellish training and ready to put to use those personal hells in full force.

This is certainly one of the most exciting story arcs in the series and there’s plenty to love here. In the manga, scenes are full of emotion, energy, and pressure conveying the stresses of combat-filled battles and internal struggles, as well as the joys and reliefs of reunions and successes. Regarding Iruma specifically, this is a transitional moment for him, as we see him dialed into his desires for, and truly working towards, a life in the Netherworld. Training under Bachiko and the twists and turns of Iruma’s individual route through the Harvest Festival allow for his personality to shine, and nurture his ongoing emotional growth. We get to see his selflessness towards others, and his drive to succeed and make proud those who have helped him get this far. We also get to see his genuine fears. Not the joke-like spooks he used to face at the start of his story, Iruma will realize and must endure the true depths of his fears regarding identity and place among those he has now come to love. Thus, through his desires for acceptance, wanting to remain close with his friends, and wanting to see them grow alongside him, Iruma’s character will ultimately receive praiseworthy advancement.

The other classmates have their moments too, as throughout the arc, when they encounter each other, all of their particular peculiarities come out in full, as they argue, fight, or scheme for themselves. There’s also a subplot, in which the misfits find themselves with an additional rival, Coco Orobas, adding even more tension, as Coco’s, and a mysterious companion’s, intentions go damningly beyond the scope of the Festival. It all comes together for a nice bit of storytelling and character development for several of the classmates. And with all that happens within the arc, in its entirety, the results are an appreciably immersive and satisfying experience.

As for this arc’s anime adaptation, overall, I am pleased with the outcome. I think the production does a noteworthy job of capturing similar moods and tones to character specific scenes like discussions, planning, arguments, and similar, as well as capturing all of the particulars regarding the misfits’ personalities. The raucousness of arguments, the silliness of over-the-top schemes and demands, and the heartfelt actions by friends stepping up, these are what keep the manga charming, and I believe the distinct moods and tones of those key moments are markedly recaptured here. Indeed, I think these communicative types of scenes are Season Three’s greatest strengths, as they best recapture the original natures and intentions of these scenes from the manga.

Regarding the more energetic scenes, such as battles, these have far more intensity to them compared to the manga, as expected, yet also compared to similar scenes from Seasons One and Two. I’m pleased to say that this intensity works incredibly well throughout given the nature of this story arc, delivering satisfying levels of zeal and force when called for. This is especially true for nearly all of Asmodeus’s scenes, as most of his scenes are action oriented this season. While this story arc provides growth for Iruma, it does so for Asmodeus as well with him tapping into the higher gears of resolve, power, and passion that he’s unlocked. And so, his scenes are intense, yet the purpose for said aggressiveness and emotions are not lost, keeping with his character depth from the manga. In these and similar action sequences, the higher levels of intensity work incredibly well.

Despite the overall impressive efforts, I do have some issues with Season Three. My main issue regards the action, in that several situations tote the line between authentic and cliché. As I said above, I’m mostly pleased with the action sequences however, some do drag on longer than necessary. Also some have terribly flashy moments that feel exaggerated, as if I’m watching other shounen series that also overuse these stylizings. And I get it, this production is meant to attract a wider audience who may prefer the over-the-top demonstrations of power. Yet, I cannot help but feel these instances take away from the charms of the original work and intentions of the author in favor of forced attempts at reaching more potential viewers. Personally, they broke immersion, taking me out of the experience for moments at a time. Although not an often occurrence, it’s a repeated issue that sticks out for me.

Another issue, though more a comment on my part, is that I would have liked to have seen more of the training before the Harvest Festival. In the manga, the training is not much of a focus, as we are introduced to each group’s hardships and see small snippets of their ongoing training. So I had hoped we would see more of that training here in the anime, yet this training component is treated the same way. This is one instance I wished the producers had added extra. Lastly, those musical scenes, which have become an anime staple, yet which I still do no care for in the slightest. Like with Season 2, since I knew they were inevitable, I was somewhat prepared. Personally, I can still do without. My personal feelings aside, from a professional standpoint, I will say they are fun additions for viewers that appreciate them, and they add mood and energy to the scenes in which they are featured. Perhaps it’s because they seem shorter than in previous seasons, so they add without fully taking over scenes or drastically altering tone. And, even with my biases, I can see that they are more a help than a hindrance in context. As a whole, the smaller issues will be negligible to most, and if you don’t mind the over-the-top moments of pure shounen marketing, then Season Three’s flaws are easily departed from.

Moving on to its aesthetics, Mairimashita! Iruma-kun Season Three looks as great as previous seasons. The artistic reproduction is once again remarkably accurate, capturing the styles and uniqueness of the manga. Backgrounds and environments, character designs, and character expressions all possess the unique styles, personalities, and charms of their manga counterparts. Animations are smooth and detailed, bringing new, and appreciated, vividness to interactions, struggles, and triumphs. And again, the action is mostly appropriate for this story arc, bringing expected intensity. Visually, Season Three keeps with what was done right in the first two seasons, continuing a trend of solid, expressive animation and authentic adaptation.

As for the audio, this is also a mostly strong effort. Starting with the voicing, I previously felt several of the classmates’ voices were too deep. Now that I’ve become more accustomed to this cast, I don’t find them as much of a distraction as I used to. The distractedly deep voice of newcomer Coco however, is enough for me to comment on it. Other new characters such as the tutors, have serviceable voicing that fit their personalities and never detract from the experience. I am especially impressed with popular voice actress Junko Takeuchi as she lends her talents for Bachiko’s voice, which I felt perfectly fit the character’s personality. The pink-clad, rambunctious, blunt badass that is Bachiko sounds great, with a voice amiably fitting her brand of crassness.

As for music, ignoring the main theme, which is just more shounen pandering, the soundtrack is fairly strong, with its mix of old, new, and remixed music. The tracks from previous seasons are never overused and are always fitting to the scenes in which they’re used as are the new tracks, though they are noticeably less of them in comparison. The remixes are most impressive, especially Asmodeus’s remixed theme, which perfectly matches his raging intensity in one of his particular scenes early in the Harvest Festival. This specific moment stands out as one of the best this season, made satisfyingly dynamic by the music and voicing. Voicing and music together make for a solid audio effort which mostly helps, and rarely hinders, the overall presentation. And so, the visual and audio aesthetic efforts of Season Three are thoroughly noteworthy for their abilities to capture the style and magic of the manga’s scenes while also enhancing and bringing new atmosphere to them.

Mairimashita! Iruma-kun Season Three does well by its source material, faithfully adapting one of the most exciting story arcs from the manga. The story, with all of its twists, action, interactions, and unique tones and moods, is satisfyingly portrayed throughout. Iruma and his classmates are also conscientiously adapted, accurately depicting their individual thoughts and emotions, as well as their growth through their personal trials. Add in the advantages of strong animation, authentic artistic recreation, and satisfactory sound work, and you have a viewing experience that is energetic and engaging. An easy recommendation given its equally imaginative, immersive, and entertaining as its source, Mairimashita! Iruma-kun Season Three is an absolute blast to watch.

Review Score
Overall Story
Art & Animation
Music & Voicing

Mairimashita! Iruma-kun season two is available on Crunchyroll

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I love Kirby’s Adventure. It’s my favorite Kirby title and my favorite NES title, too. I’ve played it countless times and each one has been an absolute pleasure, as I mow down enemies, wreck the bosses, unlock all of the extras, and clear stages in a blur. Kirby’s Adventure is a joy and a gem, and so back when Nightmare in Dream Land was first released, I was excited to play this reimagining of my favorite Kirby title. Strangely enough, nowadays I have very little recollection of my experience with it. Is it because the memories have mixed with those I have of Kirby’s Adventure, or have they just faded with time? Regardless, as I’m finding myself once again wanting to blitz through Adventure, I thought I would instead give Nightmare in Dream Land another go, and see if it has the same charm and magic the original unquestionably possesses.

Nightmare in Dream Land shares the simplistic plot of its predecessor, in which we see Kirby and the residents of Dream Land unable to dream anymore. Dreams have stopped flowing from the Fountain of Dreams and as Kirby sets out to find out why, he spots King DeDeDe. Upon witnessing DeDeDe taking the Star Rod from the Fountain of Dreams and handing pieces of it to his cohorts, Kirby sets out to recover the fragments and return the Star Rod to the Fountain, thus mending the flow of dreams to Dream Land. Unbeknownst to Kirby, however, a more sinister presence looms over the dreams and dreamers of Dream Land.

Like the original, Nightmare in Dream Land presents its story with a slideshow if you wait on the start screen, which means we are gifted a cute, colorful introduction to Kirby’s quest. Concise and cute, the slideshow conveys Dream Land’s current dilemma in a way for players of any age to grasp, and is adorably befitting of the Kirby style. The inviting slideshow, depicting an equally delightful story, nicely segues players towards the charm, energy, and fun this game has to offer.

As a remake of one of the most spirited titles of the series, Nightmare in Dream Land delivers exactly what one would expect regarding its gameplay. The essence of Kirby’s Adventure has been faithfully reproduced, which means making your way through cleverly designed stages full of enemies to tackle. The imaginative and diverse platforming of the original is mostly preserved here, seeing Kirby run, swim, and fly across stages that are as colorful and charming as they are perilous. Adventure’s copy ability style is also preserved, meaning we don’t see newer powers nor the additions that many abilities have received in later titles. Rather, we get the most traditional form of this iconic gameplay mechanic. The hidden secrets which unlock the mini games also return, though hidden doors and such have been made to be just a touch more visible compared to Adventure. Overall, gameplay regarding the main campaign has been pleasantly and appreciably reproduced, providing the same levels of liveliness and enjoyment.

Of course, a remake will have changes and additions, and fortunately these only add to the quality. One new inclusion is the multiplayer, in which up to four players can play the mini games, or play through the main game together. I found this addition to be an incredible idea, especially multiplayer for the main game, as it brings a new way to enjoy a familiar effort. In fact, my hopes are that this multiplayer option is retained if, or when, the game is re-released on the Nintendo eShop. Another set of changes and additions from the original comes by way of the mini games. Rather than Crane Fever and Egg Catcher, Nightmare in Dream Land features Bomb Rally and Air Grind. Certainly different than the two original mini games, both are fun and test similar skills, such as reaction speed and precision timing. Quick Draw is the only returning mini game and with a redesign, yet still tests reaction time, too. Although I found myself missing Adventure’s mini games, again, the two new offerings and the redesigned Quick Draw are each a pleasure to play.

Although Nightmare in Dream Land offers a close reproduction of Adventure’s excellent gameplay, it also possesses the very few shortcomings of the original, as well. The challenge of gameplay remains on the accessible side, meaning more veteran gamers will blaze through the game. That’s not to say there isn’t any challenge, as there are plenty of segments with clever platforming and shrewdly placed enemies to test your skills. Several of the boss fights, too, offer a pleasant challenge, yet with a bit of practice and patience, all challenges can be overcome rather quickly. The other shortcoming, really more of a wish on my part, is game length. As in, I wish the experience, as wonderful as it is, was longer. Yes, this is me wanting more of the charm and fun the game offers, but longer stages and more of them would have been magical. Other than the one minor issue and my wish for more, Nightmare in Dream Land is every bit the gameplay achievement as its predecessor.

Perhaps the most obvious difference between Adventure and Nightmare in Dream Land is the aesthetic presentation, given the GBA’s hardware. As such, the developers had much more artistic freedom, and I believe they made the most of it. Visually, Nightmare is absolutely beautiful, with more coloration and detail across backgrounds, foregrounds, and sprites. Dream Land looks incredible with the added details, making for levels and backgrounds that exude a fantastical, vivid feel. Also, each level has benefited from the new graphics by way of their style and character. For example, Vegetable Valley has become more of the lush natural haven it’s intended to be, with more to emphasize its forested foregrounds and idyllic land and riverscape backgrounds. Or, I like how Butter Building’s first stages have sections depicting clean, regal surroundings, yet also feature portrayals of lost history, past battles, and dilapidation in later ones. As for sprites, Kirby and the enemies definitely look cleaner and only benefit from the larger color palette. The hats and such that depict abilities are easy to recognize, and I appreciate that many of the powers’ attack animations have been altered or touched up for the better. The enemy sprites, especially mid and main bosses, all look as good as ever, emphasizing that creative element in each of their designs. As a whole, Nightmare’s visuals perfectly recapture the same whimsical style and feel of Adventure, with a noteworthy effort full of the same fanciful charm.

As for the audio, Nightmare updates the original tracks of Adventure, altering tones and adding to their melodies and harmonies. I felt the end results were appreciable, as most of the tracks gain a bit of pep, fitting nicely with the energy of gameplay. The few slower, calmer tracks see more in the ways of altered harmonizing, which nicely emphasizes their intended mood setting. As for sound effects, they, too, have been updated, with sharper and cleaner effects, yet maintain the styles and intentions of their 8-bit counterparts. As a whole, the audio efforts are impressive, as the altering, sharpening, and modernizing of the audio never diminishes, but rather maintains the styles, moods, and overall allure of the original’s audio.

Kirby: Nightmare in Dream Land is both a wonderful experience on its own, and a nostalgically delightful reminder of the brilliance of Kirby’s Adventure. Nightmare does a fantastic job of honoring the past, with similarly high quality gameplay. And yet, it also manages to deliver its own charm and feel through its aesthetics, as well as touches of uniqueness in its encompassing style, feel, and gameplay, as well. Overall, Nightmare is every bit as fun as its predecessor and deserving of the same degree of praise. As of this writing, unfortunately, Nightmare is not available on the Nintendo eShop, nor are there any plans to make it available. However, I do believe, at some point, we will see it again, given its quality and contributions to the Kirby series. My hopes are that a release is announced sooner rather than later and that HAL Labs is able to make its multiplayer available, perhaps via an online play option. As for me, I’ll be including Nightmare in Dream Land into the rotation when I doubtlessly get the itch to play through this chapter of Kirby in the future.

Review Score
Overall

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I feel like I can always turn to a Kirby title when I’m emotionally low. Charming, candid, and overall uplifting, the Kirby games forever deliver fun, leisurely experiences without the need to stress or exert. My last few reviews touch upon games that offer this; ones which demand very little and offer us much more. The Kirby series has taken this and made it a style of its very own, offering us a unique escape full of wonder and magic which only a lovable puffball like Kirby can take us on. In Kirby & the Amazing Mirror, this escape is more an escapade of secrets and discovery. Very much an adventure full of hidden paths to uncover and large worlds to explore, this longer Kirby installment yet has plenty of easygoing fun to swiftly brighten and uplift any mood.

In Kirby & the Amazing Mirror, a Mirror World resides above Dream Land, whose mirrors may reflect, and make reality, the wishes of those that may peer into them. One day, a malevolent force enters the Mirror World, reflecting its own evil intentions upon the mirrors, thus plunging the Mirror World into darkness. Meta Knight recognizes that this darkness threatens both the Mirror World and Dream Land, and so sets off to the Mirror World. Meanwhile, Kirby is confronted by a shadow resembling Meta Knight and is soon split into four copies of himself. The shadow takes off towards the Mirror World and the four Kirbys give chase. Upon their arrival, they see the real Meta Knight being cast into a mirror by the shadow, who then breaks said mirror, and scatters its fragments across the Mirror World. The four Kirbys must now collect the fragments, track down this shadow to save Meta Knight, and stop the threat to both the Mirror World and Dream Land.

Like most Kirby titles, we’re offered just enough story to give background and reason for the adventure Kirby is setting out upon. And although the story is not overly unique, in fact, collecting fragments of a plot device is a Kirby staple, it possesses enough charm, familiarity, and ease of understanding to make the game both attractive to its fans and easily accessible to all. Young, old, experienced, or newcomers, the story is simple and inviting. Ultimately, the pure, innocent plot serves as a perfect segue into what truly makes a Kirby game a Kirby game; its gameplay.

Like most Kirby games, Kirby & the Amazing Mirror’s gameplay offers simple, pure fun that any level of player can enjoy. And with a suitable challenge level, as well as easy-to-master controls, attention can be fully given to the experience. Starting with the familiar, Amazing Mirror is an action platformer that sees Kirby traversing colorful worlds, avoiding hazards, and mowing down loads of enemies by using them as projectiles, or by copying their abilities. The abilities Kirby can copy are plentiful, ranging from familiar favorites to several new ones, such as the Smash ability, which lets Kirby use some of his Smash Bros move set. Also, several of the well-known abilities have been expanded to give Kirby additional ways to attack with them, akin to Kirby’s Super Star. Needless to say, learning of an ability’s additions and being pleasantly surprised is a blast.

Although there are similarities aplenty to other Kirby titles, Amazing Mirror does feature a few unique changes that add a bit of variety to the classic Kirby formula. Perhaps the standout difference is the Metroidvania style implemented for this title. Rather than a linear series of worlds and stages, players must traverse an interconnected world whose many paths must be discovered, or unlocked using specific abilities to advance. Those abilities are usually nearby or near enough to a door leading back to the central hub area, so the task is never daunting. Rather, the way this style is implemented simply lets you explore spans of different worlds and rewards you when you take note and remember hints, or when you have the chance to revisit. I would say the Metroidvania style has been adapted to perfectly fit the delightful Kirby mood and feel.

Other unique additions to gameplay include the phone, which summons the other Kirbys, or a warp star, and multiplayer. With the phone, the other Kirbys can be called for simple actions like having them hold down switches to open doors, or to just cause a bit of havoc when overwhelmed by enemies. Calling the other Kirbys during a boss fight possesses its own particular brand of adorable chaos. The warp star takes you back to the central hub, either when needing a quick escape or to traverse the world quickly. As for multiplayer, on the Game Boy Advance, it allowed up to four to connect and play together. In regards to current availability and hardware, we can only wait and see if the potential Nintendo Switch release will remodel the multiplayer for local and/or online play.

Another aspect of gameplay that departs from the norm, Amazing Mirror features a slightly higher than expected challenge level. Narrow areas of play filled with enemies is a frequently used design, which may test unprepared players. Also, unique hazards and level layouts that will test your platforming add to the challenge. New, tougher enemies add to the challenge too, as these require more than one or two hits to defeat, as well as a bit of caution when approached. I appreciate the danger they add, though I found they can also slow a faster play pace. And lastly, the boss battles have their intimidating moments, though I found them far more entertaining than difficult, with a clever blend of familiar and unique. Altogether, the challenge level is, again, a bit higher than expected, along the lines of Kirby 3, yet a little patience and practice will always see you through.

Taken in its entirety, Kirby & the Amazing Mirror’s gameplay is impressive. The level designs are imaginative and various, inviting players to explore and engage. The execution of the Metroidvania style is noteworthy, as it adds much in the way of exploration and depth to play. And for those looking for the more traditional Kirby experience, worry not, as there are ample opportunities to unleash and plow through waves of enemies. Mowing them down is as fun as always, and the challenge of mid and main boss fights offers pure satisfaction when victorious. The new aspects, and the familiar, all work well together to offer an overall uniquely deep, remarkably fun experience.

The Kirby style typically means aesthetics saturated in charm, and Kirby & the Amazing Mirror offers it in spades, with its imaginative, inviting visuals and solid sound score. Starting with its visuals, this game simply looks outstanding. The backgrounds and level designs are colorful and appealing, and the spritework is equally impressive. Especially Kirby’s sprites, the depictions and effects of each of Kirby’s powers look great, showing off the cleverness behind the abilities. Enemy and boss designs are just as impressive and offer Kirby some truly unique adversaries. The overall feel of the visuals is lively and charismatic, perfectly capturing that appealing Kirby style. As for the audio, every track is fitting for its environment, adding to the charm and feel of the worlds Kirby traverses. Each piece also does well in its ability to set or emphasize the mood, bringing more immersion and energy to the experience. I also appreciate the mix of familiar and new, as some music borrows from previous works, while others are completely new to the series. A last note, the musical effort as a whole sounds like Kirby; entirely fitting and evoking that particular style and feel we come to expect from a Kirby title.

Kirby & the Amazing Mirror is a mesmerizing journey and an authentically fun romp through one of the most imaginative and deep of the Kirby titles. It’s a gem, and most definitely a must play for any fan of the series. Newcomers, too, will easily find the fun and charm of Kirby in this title, which offers hours of gameplay for those that appreciate fast, high-energy platforming or plenty of exploration. With its simple, enjoyable gameplay and engaging aesthetics, Kirby & the Amazing Mirror will never fail to entertain or brighten any mood. A final note, as of this writing, Nintendo supposedly remains intent to release Kirby & the Amazing Mirror on Nintendo Switch Online. Therefore, I wholeheartedly recommend anyone with interest to keep an eye out, for this is absolutely a Kirby game worth experiencing.

Review Score
Overall

The post TBT Review: Kirby & the Amazing Mirror appeared first on oprainfall.

In my previous TBT review, I cover Super Mario Land 1 and 2 for the Game Boy and I talk about the simplicity of their gameplay. To go a bit further, I’d say I appreciate this aspect the most in these kinds of games, for it makes them terribly easy to just pick up and play. There is no significant time commitment nor mental or emotional investment needed to get enjoyment out of them. Also, there is a particular charm these titles possess along with that simplicity. They may feature silly backstories to start us off, and incorporate seemingly ridiculous elements in their worlds and gameplay. And we hardly ever question it, we just accept it and enjoy the magic. Those are the feelings I look forward to presently, wanting to game, not having much time or the feeling to do so. So instead, I recently reached for the Game Boy versions of Adventure Island I and II, soon enjoying the simple and the silly, as well as the challenge and fun they offer.

Like with so many titles from the late ’80s and early ’90s, backstories and story development were glossed over in favor of gameplay, and Adventure Island I and II are no exceptions. In these cases, it’s the typical “save the princess” storyline as we play as Master Higgins to save a girl named Tina from a cohort of monsters in I, and Jeannie from aliens in II. And from there, gameplay takes center stage. Bare bones is all I can say, and although I chose to play and review these games specifically for the need to leave my mind and emotions behind, an additional plot point or two wouldn’t have hurt.

Anyway, we’re here for the gameplay, and that of Adventure Island I and II both have their strong points; however, they each have their flaws too. Starting with their basic gameplay, both titles are platformers that offer varied means of attack and movement. Both games see Higgins equipping a throw-able weapon, with II offering a variety of weapons with different behaviors. Both games also offer him opportunity to pair up with a dinosaur ally that may alter his movements, from running or swimming faster, to traversing dangerous terrain, or even flat out flying over most obstacles. The main objective of both games is to survive, as these titles implement a 1-hit sudden death style, while side-scrolling through each stage, or fighting a boss at the end in specific stages. Both games offer eight levels, or islands, with around five stages per level. Both also feature hidden bonuses in various forms. In II especially, alternate routes, hidden stages, and mini games will be rewarded to those keeping a sharp eye. And so, clearing enemies, dodging hazards, and collecting fruit to replenish a health bar styled timer, all the while keeping a lookout for hidden advantages, bonuses, and secret paths, make up the core of gameplay.

As for execution, gameplay is mostly solid in both titles. The play mechanics are simple and easy to master, and the overall degree of challenge is acceptable, as platforming, enemy variety, and layout all gradually increase the difficultly as the games progress. The item system, which allows you to stock and choose which weapons and companions to take before a stage is helpful, especially when you’re finding yourself stuck on a particularly difficult stage. Lastly, all of the hidden extras help to add diversity to a gameplay structure that may feel unduly familiar.

As I mentioned, the two titles also have their flaws; however, beginning with that familiarity, gameplay in both titles is nothing truly unique. Even when these titles were first released, there were already games that offered more unique play mechanics or were notably more impressive or innovative in their platforming. Gameplay can also come to feel repetitive quickly due to uninspired and terribly short stage designs. Most stages can be cleared within a minute or two with marginal skill or strategy. The increase in challenge, the bonuses, and the boss battles all help to stave off the feeling, yet with minimal effort or a touch of practice, any and all stages can be sped through, meaning that most play time is spent on these numerous short, familiar treks. I’d even suggest that if the health/ time bar were eliminated, I’d feel more inclined to spend additional time within each stage to explore or collect everything. Another, smaller complaint, is that Adventure Island I lacks the password system of II, meaning that the game must be completed in a single sitting. Hardly an issue for the experienced or veterans of platformers, rather I make comment of this as it may be a point of frustration for younger or less experienced players. My complaints aside, both games are, again, solid gameplay efforts, offering plenty of fun for those willing to demonstrate a bit of forgiveness.

Moving on to aesthetics, Adventure Island I has a satisfactory visual and audio effort, making the game look and sound as one may expect given its title. Visually, the designs of stages channel that island feel to an extent, with terrain and platforms having a primitive, untamed style. Backgrounds also have the island vibe, however many designs are a bit on the minimal side, with reused, repeating designs and long stretches of blankness. The strongest visual point is the pixel art, as Higgins, the enemies, and the dino buddies all look great. And as for the audio, the developers tried to adapt music from the NES predecessor, however, the tracks sound squeaky at their worst and are forgettable at their best. The music simply lacks impact, thus they serve as a basic alternative to silence. Too few tracks to begin with, they are also reused often, however, I will say each track does sound and feel fitting with the stage they’re paired with.

Adventure Island II has an overall better aesthetic presentation, featuring stronger pixel art, and a cleaner, less squeaking audio effort. Visually, the spritework is sharper and more detailed, bringing a bit more life to Higgins, the new and returning dino allies, and to the new enemies. The sharper spritework also gives an overall cleaner, more appealing look. Stage design and backgrounds possess the same strengths and shortcomings as I, as they, too, channel the primitive island style and feel in their designs, yet are also lacking detail and variation. Lastly, the audio effort is better, in that the music is less grating or squeaky, but again, too few tracks that lack memorableness are reused often to fill the game out. Overall, the aesthetics of both games have similar strengths and weaknesses, making for adequate efforts that merely serve their purposes, albeit failing to leave significant lasting impressions.

Adventure Island I and II are pleasant, straightforward romps across handfuls of short, vanilla platforming stages. With hints of charm and whispers of challenge, both titles offer short spurts of pure fun, yet offer experiences more familiar and plain than anything else. Depth and intrigue these titles have not, however, for those looking for experiences that will allow players to easily and readily turn their minds off, I can wholeheartedly recommend the simplicity of play and ease of distraction these titles can offer.

Note: As you may have guessed by now, I am using the numbering specific to the western releases on the original Game Boy.

Review Score
Adventure Island I
Adventure Island II

The post TBT Review: Adventure Island I and II appeared first on oprainfall.

Recently struggling to find time to game and missing it, nostalgia can be an especially powerful motivator. Remembering certain titles from my youth and how much I enjoyed them, as well as recalling that jovial ability to just play while shutting myself off to the world around me, finally got me to pick something up and play. It didn’t matter how popular or niche, nor how long or short the games were, I enjoyed them as a kid and hoped I would do so again. And so, I revisited two well-known classics, Super Mario Land and Super Mario Land 2: 6 Golden Coins, pleasantly humbled for how much enjoyment I received from two short, yet particularly charming games from my youth, and now, as I write this, trying to be as objective as I can through my waves of nostalgia.

So, classic Mario is save the princess right? Sort of. We all know how lax the Mario developers can be regarding stories, yet we are, gratefully, provided a bit of setup with these two titles, providing just enough reason for Mario to do what he does best. In Super Mario Land (SML1), Mario treks through Sarasaland in order to find and rescue a princess. But not Peach, groundbreaking, I know. It’s Daisy. Daisy has been abducted by an alien and they, along with four other unique bosses, are terrorizing Sarasaland. In Super Mario Land 2: 6 Golden Coins (SML2), a jealous rival of Mario’s past, Wario, manages to take over Mario’s island during his time saving Daisy. As to how Mario acquires or owns an island, furnished with his own castle, as a supposed humble plumber will forever nag me. I mean, did Peach just give him an island? Or did he buy it? With what money then? And did he build the castle, or hire help? Really, did Peach just finance the whole thing? Anyway, upon his return to a now spellbound island, he must recover 6 coins to re-enter his now captured castle to oust the jealous squatter, break the spell, and return his island back to its once peaceful tranquility.

Needless to say, no one is playing these titles for the blurbs included in the instruction booklets. No, we’re here for classic Mario, which is to put our platforming skills to the test, while dealing with suspiciously well placed enemies and enticing us with discoverables along the way. SML1 offers a decent, though short, challenge reminiscent of its original NES counterpart. Four worlds with three levels each, this is mostly classic platforming with a variety of enemies thrown in, and with the difficulty naturally increasing as we progress. The platforming has its moments of cleverness in its design, necessitating speed, good timing, and a daring jump or two. There are also hidden extras for those on the lookout, in the forms of pipes that lead to rooms full of coins, or invisible blocks and lifts that may also lead to coins or 1UPs. They surely help in an otherwise strictly side-scrolling style of gameplay. And then there are the two shooter-style levels, of which I wish there were more. They welcomely break up the monotony of the platforming, and only add to the fun. Fighting the final boss of the game in this style is also a pleasant departure from the norm. I feel the game would have only benefitted from more of these levels, as the strict platforming can feel one-dimensional. But let’s face it, more levels in any form would have been a boon, for it’s over all too soon. And yes, even with an expert mode to tackle after completing a full run, the experience is overall sweet, yet too short.

Then there’s SML2, which improves upon gameplay in nearly every aspect by adding a variety of different environments, adding new abilities, and bringing tons of creativity to its platforming. Perhaps the most notable aspect of gameplay is the emphasis of vertical platforming. We’re no longer constrained to a left-to-right course that simply has gaps or minimal climbing within a fixed vertical axis, but rather most levels feature ascending and dropping to their main and hidden paths. Platforming only gets better by the use of an assortment of moving platforms and the need to push abilities to their limit. The magic carrot, for instance, which gives Mario rabbit ears and the ability of slow descent, opens up the platforming by pushing the degree of challenge and making for some novel ways to reach hidden areas. And lastly, many of the more challenging platforming sequences require you to bounce off enemies. A well timed bounce may allow you to reach a seemingly out of reach area, or, paired with the rabbit ears, extend a long descent enough to reach a secret path.

As for criticisms, the only real complaint I have is that SML2 skimps on the levels that drastically alter the platforming. The Space Zone, for example, only offers two levels, plus a hidden third. I would have loved more, as Mario’s speed and jumps are affected by the different gravity levels of the moon and star courses. I find the altered gravity a clever way to change up the platforming, and so I wish we could have had more. Also, the level to reach the Space Zone, in which you need to navigate the course while floating in a bubble, and the familiar yet few underwater levels all offer variety in gameplay, and so I wish we could have had more. Honestly, not enough of the good things is, again, my complaint here, as SML2 is an absolute gem and always a fun experience.

Check out more classic Mario on page 2 ->

The post TBT REVIEW: Super Mario Land 1 & 2 appeared first on oprainfall.

It’s been appreciably easy to praise the two seasons of Ghost in the Shell: Stand Alone Complex and for many a good reason. From the story and character development to its aesthetic decisions and production, both seasons of Stand Alone Complex shined in most every aspect. And with a foundation laid from its developed characters, its detailed, intricate cyberized backdrop, and with the talent of its story writers, I imagine the creators could have told so many more stories while further intriguing and immersing us in the vivid Stand Alone Complex universe. However, the decision was made to forgo the production of any additional anime seasons and instead for Stand Alone Complex to conclude with the film, Solid State Society. Loosely based on the main storyline from the original manga, the task of the creators became one in which they would need to translate those elements that made the anime such a success into a film worthy of concluding such an amazing series.

Set two years after the events of 2nd GIG, Public Security Section 9, now led by Togusa, investigates a number of supposed suicides, all of which have occurred by a particular group of refugees. This link, which suggests a conspiracy, leads to the discovery of a virus which was used to hack the refugees and force their actions. The hacker behind the virus is dubbed the Puppeteer, who is using a vast number of kidnapped children to distribute the virus. As Section 9 investigates, Batou is reunited with Kusanagi, who is conducting her own investigation into the Puppeteer and the virus. Having her own knowledge of events and the hacker, she warns Batou not to approach the Solid State Society before continuing with her own investigation. Left on their own again, Section 9 learns of the possibility that the Puppeteer is a mechanism within this Solid State, and Batou suggests to Togusa and Section 9 an unsettling theory that Kusanagi herself may be the Puppeteer. And so, with questions regarding who or what is the Puppeteer, Section 9 must contend with this enigmatic entity whose origins and ultimate motives allude them.

Solid State Society features a mostly entertaining story effort, recapturing much of the intrigue and energy of the two anime seasons. Though with some borrowing from the manga, the writers manage a notable degree of originality and complexity with its plot, and include a few good doses of action too. Also, the conflicts and questions surrounding the Solid State and the Puppeteer, as well as watching the cast work through them, have their moments of pure mystery and immersion. Lastly, serving as both a revisit and a farewell to such amazing characters, I feel the film does an excellent job of letting us see where everyone is, how they are, and leaving us with a sense that these characters will continue being the same incredible individuals well into their futures. As it indeed feels like a final chapter to this amazing series, Solid State Society does plenty right, adapting many of the strengths of the anime to deliver one last story and gifting us a last expedition alongside these outstanding characters.

However, there are a number of issues, many of which stem from the constraints of film. As I said, the story has complexity to it, yet needed to be condensed to fit the film’s length, and so the film has moments in which plot development and details feel as if they’re unloaded on you. These moments can feel a bit overwhelming and the more subtle details presented may be missed or forgotten as the film progresses. Another issue, much of this unloading is done through straight dialogue and the result, I feel, only hobbles immersion. Yes, there are moments of raw emotion, self-reflection, pure energy, and excellent use of visual presentation, and they are each fantastic and reminiscent of the brilliance of the two seasons’ storytelling. But if the film just had more of it, and more variety to break those dialogue heavy scenes, I believe the story would have reached the anime’s level. Lastly, and more an understandable observation, there are no side stories or any world building. Again, I get it, it’s a film, yet they’re definitely missed due to how much of a noteworthy mainstay they are to the anime. Overall, although the story has its flaws due to time restraints and decisions in its presentation, the story is nevertheless engaging throughout and possesses familiar depth through its complexity.

Regarding its characters, Solid State Society focuses on the main three; Kusanagi, Batou, and Togusa, presenting them in a way that mostly maintains their personalities and growth from the anime. Especially Kusanagi and Batou, they very much feel like the same characters, with all of their previous depth and individuality on full display here. We also get those moments of particular humor and snark during calmer scenes that allow for it, and we also see their raw emotions and intensity when called for. One observation, and again due to film constraints, is that there isn’t much room for further character development. We do see some change regarding Togusa through his handling of his new leadership role, however, he is shown as less of the detective he was and has less of his personality shine through. Instead, he is curt, annoyed, and while he does demonstrate emotion, with displays of stress, frustration, and fear, I struggle to call it genuine development. And, all of this is ultimately moved on from once Kusanagi retakes the central role in the film. Similarly, another observation concerns the supporting cast, for although present and several are given some screen time, it feels as if their roles and presences are relegated to the background. Yet, I’m just glad they’re all included in some way and not completely forgotten about. Overall, the main characters remain the personable individuals we have come to know and love, and I appreciate this opportunity to see them all once more.

Along with its notable story effort, Solid State Society features as impressive an aesthetics effort as the two anime seasons, which means strong visuals and fantastic audio. Starting with the audio, Solid State Society sounds every bit as amazing as the anime, from its soundtrack and sound effects to its voicing in both Japanese and English. The soundtrack is fitting, bringing additional energy to action scenes, and instilling the proper moods for the more moderate scenes. It was nice to hear familiar songs from the anime, as this soundtrack borrows several pieces, and these tracks sound just as amazing while feeling every bit as fitting here, too. The new tracks are equally praiseworthy, as Yoko Kanno delivers at the same high level she’s known for. My one comment would be that I would have loved more new music, as I am thoroughly impressed by Stand Alone Complex’s music every time I hear it. Regarding the voicing, since they are the same actors as the anime, both the Japanese and English voicing remains stellar. As I’ve said in my reviews of the anime, this is how these characters sound when I think of them.

Concerning its visuals, Solid State Society keeps with the styles and quality of the anime seasons, making for a familiar, excellent presentation. The characters continue to look great and the backdrops convincingly channel the feel of this cyberized world. The animations are impressive, conveying mood and tone through subtlety in the slower scenes, offering pure energy during combat, and depicting those few, yet powerful emotional moments with impressive authenticity. The overall effect of the visuals are remarkable, as they noticeably emphasize story elements and add to the overall immersion of the experience. Together, the audio and visual aesthetics are incredible, making it clear to me and to any viewer that this is a production made with the highest of care and worthy of the highest praise I can give.

Ghost in the Shell: Stand Alone Complex – Solid State Society is praiseworthy, serving as a revisit to such an outstanding cast and to a deep, detailed world, as well as a poignant conclusion to this absolutely awesome series. Although its story isn’t quite as exemplary as the two anime seasons, the film manages an engaging, entertaining story nonetheless, and maintains and expresses the brilliance of the characters so profoundly developed previously. The voice acting is as stellar as it always is, the soundtrack is full of feeling, the art style remains bold and distinct, and the animations are smooth and never fail to add tone or energy. As a whole, Solid State Society provides that familiar degree of imagination, emotion, and immersion as the anime, reminding us why Stand Alone Complex persists as one of the best animation efforts ever.

Review Score
Overall Story
Art & Animation
Music

The post TBT Anime Review: Ghost in the Shell: Stand Alone Complex – Solid State Society appeared first on oprainfall.

Stand Alone Complex is one of the few works that never fails to impress me. I continue to regard it as nothing short of an accomplishment, with its exceptional degree of story and character depth, elements which I can never praise enough. I even used the word quintessential in my review of its first season, again, believing that the label is wholly deserved for its consistently remarkable level of quality across its storytelling, animation, music, and voicing. Ghost in the Shell has always sought to intrigue its viewers; to encourage them to question, imagine, consider, and, at its best, to even empathize. The first season of S.A.C does all of this effortlessly, remaining an engaging and entertaining watch all the while. Fortunately, that quality and those aspects that make the first season so outstanding are present in Ghost in the Shell: S.A.C. 2nd GIG. A second season full of action, curiosity, and emotion, 2nd GIG only reaffirms my feelings of praise for the series.

2nd GIG takes place two years after the first season, where Kusanagi and Section 9 continue acting as a spec-ops unit that investigates and opposes real-world and cyber terrorism. This season focuses on a present national unrest due to past conflicts. After World Wars III and IV, countless refugees became displaced all throughout Asia, many of which were later welcomed into Japan for the country’s own reconstruction. Seen as cheap labor, these refugees would be treated as second-class and forced into refugee districts, while denied the same quality of life standards as native Japanese. Meanwhile, natives face rising taxes and unemployment, and are quick to blame the refugees. With the two sides clashing, and with the largest of these refugee districts, Dejima, requesting their independence from Japan, the unrest comes to a head when a radical group of refugees, The Individual Eleven, attempt to commit high-profile acts of terror. These acts are foiled by Kusanagi and Section 9, yet the intended flame-fanning is successful, as are the intentions for a refugee leader to arise. An idealist named Hideo Kuze rises as a champion for the refugees, and through his ideology and actions, the refugees become emboldened in their fight for independence. As Section 9 investigates Kuze and The Individual Eleven, a member of the Cabinet Intelligence Service, Kazundo Gouda, offers his aid. However, his particular knowledge of recent events and later involvements cause Section 9 to suspect Gouda and other government entities of a deeper connection with the current national unrest.

Similar to season 1, 2nd GIG has its episodes grouped by Dividual (and Dual), those telling the main storyline, and Individual, those which offer a deeper look into a particular character, event, or side-story, and provide a bit of color or backstory. Starting with the Individual episodes, these are again as fantastic as the Stand Alone episodes of season 1, in which they not only provide those back stories for characters and the world, they do so exceedingly well. Each of the Individual episodes is intriguing and entertaining, and always emphasizes the tones and shades of the world they occur within. Also like Season 1, they are noteworthy for proposing topics, issues, and conflicts that would potentially arise in this cyberized, technologically advanced setting.

Then there are the Dividual episodes and the main storyline told through them, and I believe it’s here that 2nd GIG differs the most compared to Season 1. Rather than the complex web of Season 1’s story, in which its characters, story points, and events are ultimately weaved together, 2nd GIG features a more linear story, drawn out by history and taking its time to disclose its major plot points through a saturation of detail. History is the key word, as past events, from the international and national levels down to the individual histories of participants, and the ways they connect to present affairs are what drive this season’s story.

As for its execution, 2nd GIG’s main story is a mostly intriguing experience, successful in its ability to bridge and bring to life an intense past and a volatile present. It’s presented with plenty of detail and that hallmark Ghost in the Shell style and feel that kept me mostly engaged throughout. Also of note, there is a slight, yet noticeable decrease in violence and conversely an increase in vocal and emotional confrontation. Although the methods are different, the levels of energy and fierceness are nonetheless as high as Season 1. I found this to be an excellent alternative to the more traditional violence while maintaining the franchise’s trademark fervor. Not to say there is none, there is still plenty in the forms of martial arts, gunfights, and military level altercations. A last note, the only shortcomings regarding the story that I experienced are the seldom occasions in which the story felt bogged down by its own pace and excessive detail. These moments, perhaps oversaturated in detail and exposition, felt as if they droned on. Fortunately, these feelings were seldom, as the story is overall amusing and its progression has plenty of dynamic scenes that helped me to quickly reengage. Overall, the stories are thought-provoking and captivating, different from Season 1, yet recapturing the brilliance.

Regarding its characters, we get to see as much in the ways of development and backstory in 2nd GIG, in similar style and quality seen in Season 1. The standout accomplishment in this season is Kusanagi’s development, as we are offered a more internal view, as in how her memories, thoughts, and emotions are influencing her. We get to see moments of her childhood during which she struggles with loss and the painful process, both physically and mentally, of her adapting to a prosthetic body. We see flashes of the earlier years of her career, when she works with Batou for the first time, as well as her first meeting with Saito. Of course, other characters, too, have their moments to shine like Saito, Batou, and the Tachikomas. Yet, this is very much Kusanagi’s arc. We get to witness her transformation from a calculating military head to something so much more. We are again treated to her brand of humor, glimpses of her playful sides, and the compassion that makes her so much more than a stoic major. Yet, we are now granted even deeper insight. We see Kusanagi questioning her purpose, revisiting events that shaped her, and rediscovering the myriad of emotions felt through her memories. It’s a stunning arc of self-discovery and transformation, and its execution is impressive, making Kusanagi a truly genuine character whose development alone is nothing short of a creative achievement.

Moving on to its aesthetics, 2nd GIG highlights the successes of season 1 and the series as whole, with stellar music, appreciable voice casting, and in the case of season 2, a stronger overall visual production. Starting with its audio, 2nd GIG features an equally stellar soundtrack as season 1, taking influences from rock, metal, techno, jazz, and more to create truly outstanding works. And each featured track elevates the scenes they are paired with, accentuating events on-screen with substantial emotion and depth. Also as impressive as season 1 is the voice work and, again, my praise is equally high for both the Japanese and English actors. They capture the essences of these characters. Never does an emotional outburst, a melancholy dialogue, nor a reaction made ever feel disingenuous. Rather, the casts bring unparalleled vividness and authenticity. It’s one of the many reasons why I consider the S.A.C version of these characters to be the best versions in any Ghost in the Shell production. With the outstanding voice acting and the amazing soundtrack, 2nd GIG’s audio efforts are an achievement all on their own.

2nd GIG also features an impressive visual effort, matching the high points of season 1 and addressing its few flaws. The overall artistic quality is still as impressive as ever, depicting expressive characters in a believably cyberized world. The art style is bold and sharp, bringing added life to the product and further defining S.A.C.’s particular, remarkable aesthetic. The animations are also as noteworthy for their boldness, as they never fail to convey the energy or tones of the scenes. They are as smooth, detailed, and fluid as season 1 and remain a highlight of the series as a whole. Lastly, I had mentions a few flaws in my review of season 1 and I am happy to say that most have been addressed. However, I did still notice occasional drops in artistic quality and this mainly occurred when needing to show depth. In seldom cases, the details of facial features would diminish to the point of feeling like laziness on the artists’ parts. Though, this is a far less frequent occurrence than seen in season 1. Other than this, the visuals of 2nd GIG are just fantastic, once again demonstrating the masterful efforts of the series’ artists.

Most everything done right in its first season is reproduced in Ghost in the Shell: S.A.C. 2nd GIG. Its storyline, one full of strife and intrigue, will entertain throughout. Kusanagi’s character development will never fail to awe and draw out my emotions and empathy. 2nd GIG delivers impressively, not shying away from real conflicts and issues, from a global level down to the personal and intimate, and at the same time offering ideas and proposing questions that stir our curiosity and challenge our perspectives. It truly is every bit an accomplishment as season 1 and I cannot praise nor recommend it enough. This is indeed quintessential Ghost in the Shell; captivating and immersive, ever stirring our emotions and imagination.

Review Score
Overall Story
Art & Animation
Music

The post TBT Anime Review: Ghost in the Shell: S.A.C. 2nd GIG appeared first on oprainfall.

Ghost in the Shell: Stand Alone Complex is quintessential Ghost in the Shell; a mesmerizing, thought-provoking exploration of humanity and its unceasing metamorphosis through conflict and crusade, from the individual level to the global, amidst a vivid backdrop of cyberpunk. It’s likewise the kind of anime experience that makes me love anime, for it’s relentless in its brilliance. Effortlessly immersive, compels one to imagine, and thoroughly entertaining, I regard Stand Alone Complex exemplary of what makes a work such as this truly exceptional. With its striking story, bold characters, gratifying animation, and amazing soundtrack, Stand Alone Complex is an achievement which continues to impress and outshine, even beyond the sci-fi and cyberpunk genres. And my most recent viewing only served to reaffirm my adoration and respect for such an exceptional series.

Major Motoko Kusanagi leads Public Security Section 9, a special operations team that investigates and neutralizes digital and real-world crimes. From digital theft and manipulation, to terroristic insurgency, corporate corruption, and even internal affairs, Section 9 is designed to expose and counter any threat on any level of the nation’s infrastructure. In this season, Kusanagi and Section 9 investigate a series of occurrences all having ties to an event labeled “The Laughing Man” incident. This particular incident involved a genius hacker-turned-activist kidnapping an owner of one of the largest nanotechnology companies in Japan. This hacktivist uncovered evidence of corporate manipulation, with possible links to several government officials, regarding the medical treatment of a rare, yet impairing disease onset by cyberization. His intent was to force a confession out of his hostage over live stream, hacking the cameras and the eyes of onlookers to protect his own identity with a Laughing icon over his face. This Laughing Man, having become a popular topic of online communities, would seemingly inspire copycats and similar grand-scale cases both over the net and in the real world. When Kusanagi and Section 9 investigate and connect the ensuing crimes and occurrences, a deeper story of buried secrets, espionage, and collusion on a national level begins to emerge, and the culpable parties show a willingness to do anything in their power to remain undisclosed.

Ghost in the Shell: Stand Alone Complex has such great stories, and its ability to tell them is just as outstanding. The series is divided into two types of episodes; Stand Alone and Complex. Stand Alone episodes typically focus on a particular character or two and offer a more in-depth look, such as an event from a character’s past, exploring more of a character’s personality, or something more exclusive to a character, like relationships, individual viewpoints, opinions, or personal struggles. I can only praise the idea and execution of these Stand Alone episodes, as they’re such a fantastic way to develop its characters. We get to see personal opinions, thoughts, and problems that not only further flesh out these characters, but make them vastly more relatable. Although not every character has opportunity to shine, the main characters; Kusanagi, Batou, Togusa; all benefit from the opportunities the Stand Alone episodes provide.

Staying with its characters a bit more, I want to point out just how strong the character development is in this series. These are the versions of the Ghost in the Shell cast that come to mind when I think of them. Kusanagi is a total badass in this series, as expected, yet we get to see so many more sides of her, too. She has a subtle sense of humor that adds just enough sarcasm and snark to her which perfectly complements her personality. She’s also much warmer and approachable as a person, aspects shown, to a degree, in the original manga, yet shine here, feeling totally natural and authentic. She shows care, flirtatiousness, even vulnerability, which all contribute to her appeal. I could go on and on about her. Furthermore, we get to see Togusa as more than a conversation partner, as we see so much more of his investigative skill, as well as how he conveys empathy and compassion, traits a good husband and father would have, through his thinking, efforts, and behaviors. And, we get to see Batou as so much more than a soldier. He’s definitely not the blunt tanker, nor the dull response giver he was in those films. He, too, demonstrates genuine feelings, has a willingness to show vulnerability, has his own sense of humor, and possesses and shares his own personal thoughts and opinions. Regarding them all, the depth and uniqueness of these main characters is just remarkable, and I’m so impressed that I believe they make for one of the most likable and memorable set of characters across all anime.

Coming back to the Stand Alone episodes, these episodes also provide further opportunities to explore the issues, themes, and possible conflicts outside of the main storyline that may yet arise and exist in the everyday of this world. The more philosophical themes Ghost in the Shell is known for are present, such as ghosts, or souls, and their roles within a cyberized world. Artificial intelligence, individuality, and questions of what constitutes life are recurring themes as well, especially through the Tachikoma tanks and their various discussions and escapades. Additional topics include the unequal availability of cyberization to individuals, and the mental and emotional tolls on young patients requiring major body modification and prosthetics. Even the impacts cyberization has on peripheral aspects of society like sport, leisure, or organized crime are examined. It all serves to develop and explore this world and the results are engagingly immersive and thought-provoking. Overall, with the wealth of character development, backstory, and world building, the Stand Alone episodes are a pleasure to watch and raise the experience to a masterful level.

Then there are the Complex episodes which introduce and develop The Laughing Man plotline. Throughout these episodes, a web is weaved connecting the many facets of a major conspiracy, from the aspects of the original Laughing Man event, to the subsequent crimes, sabotage, and copycat activities, as well as the investigative aspects into the guilty parties’ attempted defamations and cover-ups. And as more revelations are made and the truths become clearer, the attempts to prevent further truths from coming out are ramped up, making for a storyline that remains intense and captivating throughout.

The efforts are praiseworthy, for the main storyline is striking and detailed, and it does an excellent job of taking its viewers through its multi-faceted web. We are offered a variety of perspectives through the cast of investigators like Kusanagi and Togusa, as well as opposing characters, and those that are seemingly benign at first. We also see limited glimpses, perhaps intentionally, of the perspectives of the victims whose voices have been actively and tragically silenced. And in true Ghost in the Shell fashion, there is plenty told through the many action scenes, whether it’s an attempted assassination, planned civil unrest, or the many hostilities that can only be solved through munitions and brawling.

Although framed within a futuristic world, the ideas conveyed, the actions taken, and the consequential victims, damages, and follow-up conflicts are all very relatable. It’s actually quite easy to see many of these very proceedings as possibilities in real life, making their employment and development in this story all the more impactful. We see it in our every day the entitled actions of the powerful; in business, in politics; and we witness, too, the corollary oppression upon its victims. The main cast also reacts with the same anger, disappointment, and moments of helplessness as we may in similar situations, adding to their appeal all the more. The Complex episodes, with their deep relate-able stories, make for an uncommonly exceptional effort, one that continues to impress me every time I watch.

The one criticism I would offer regarding the main story is that, yes, it’s complex, in that finer details and more intricate connections tying together all of the mysteries, crimes, and wrongdoers may be missed during a first viewing. There’s a lot happening within each episode and subtler details like tips or musings said in passing are bound to be missed or simply forgotten. For a story so detailed, this tendency of over-subtlety doesn’t do it any favors. The worst it does, though, is it may seem like how connections are made and how later events play out do so in a rough or abrupt manner, as if the buildup to said discoveries or events was thin. Having said that, it’s not an immersion-breaking issue by any means, nor will it greatly impact viewers’ overall understanding of subsequent events. And with this being the only notable issue with its story, I can confidently say that this season of Stand Alone Complex remains an absolute joy to watch.

Equally as impressive as its story, Ghost in the Shell: Stand Alone Complex possesses a truly outstanding aesthetic effort. Perhaps both the strongest, as well as my personal favorite, aspect is the musical score for this season. Yoko Kanno’s talents are on full display with her composition of this dynamic, atmospheric soundtrack. Each piece of music has genuine feeling to them, lending their impressions to developing events and to the emotions and moods felt by the characters they’re paired with. The results are simply incredible, as the moods and depth added by the music to those character moments or to those particular scenes always make for even more memorable of an impact. Kanno, Tim Jensen, Origa, all that contributed to the musical score of Stand Alone Complex have earned every bit of praise they receive.

Along with a strong sound score, Stand Alone Complex features a voicing effort of which I can easily give my highest praise toward, and this praise is for both the Japanese and English voice casts. When I think of how these characters sound, these are the voices that come to mind, and it’s not simply because these actors have been used in other Ghost in the Shell media. No, these voice actors do a remarkable job of capturing these characters’ personalities and conveying their emotions. Whether it’s Atsuko Tanaka or Mary McGlynn, Kusanagi sounds authentic. Her consoling, her joking, her rage; Kusanagi is brought alive with unmatched genuineness. And the efforts put in for Togusa, Batou, and the others across both languages are similarly commendable. So whether you choose to watch with the original Japanese voices or the English dub, the experience will be equally satisfying.

Lastly, Stand Alone Complex’s visual production is adequate overall, as it has both its brilliance and less flattering attributes. For the most part, the presentation of characters and backdrops, as well as the animation quality are all excellent. The details that went into each character’s design are distinguishing and exemplary. Similarly to how these characters act and sound, these are the versions that I visualize when thinking of them. As for the world, each environment is detailed and expressive, perfectly fitting and adding further style and mood to the events playing within them. From the clean, advanced aesthetics of Section 9’s headquarters and similar locales, to the grim, dark, and weathered stylings of places forgotten or used illicitly, the backdrops have been designed with palpable care and skill. And with that level of detail, I find myself most impressed with the contrast of backgrounds, further instilling the feel that this a vast and varied world shaped by its spectrum of advancement and opportunity. As for the animation, it’s impressive overall, channeling the sheer energy of combat, the stress and tenseness of covert movements, or instilling the calmness of a night’s drive or a walking conversation. And, it’s smooth throughout without ever an awkward moment. As a whole, when at their best, the visuals are excellent, which only makes me wish this level of excellence had been consistent.

This brings me to the visual flaws, which mainly pertain to dips in artistic and production quality. Throughout the series, there are these noticeable drops in the level of detail of the characters. Facial creases, shadowing, and other finer details will be absent, making the characters look strange and leave impressions of shoddiness. A similar issue, though not as frequent, there are moments when the positioning of facial features, such as eye placement, looks a bit off. Fortunately, these are always temporary, mostly during conversations or combat, and are quickly corrected or moved on from as the scene changes focus. An even rarer issue, yet one I did notice, there are also seldom transparency issues, in which the background will bleed through the edges of the characters. They’re another minor issue, but again, one which demonstrates this inconsistency in quality. Taken as whole, the visuals are more than satisfactory, yet as a fan, of course I would have loved to have seen a production closer to perfect.

Ghost in the Shell: Stand Alone Complex never fails to impress me, persisting as one of the most remarkable and profound series I’ve experienced. It continues to offer an imaginative and fresh vision of the future as it proposes and delves into themes and ideas that intrigue and ignite our imaginations. Its story is deep and thrilling, its cast captivating and vivid, and with the creators’ willingness to explore an array of possibilities, the experience overall is acutely immersive and entertaining. An easy recommendation for fans of cyberpunk, I would also recommend it to anyone who seeks an anime with spades of story and character development, and with good doses of action throughout. I have and I shall continue to adore and respect the accomplishment that is Stand Alone Complex, and I will always look forward to my next viewing of this amazing series.

Review Score
Overall Story
Art & Animation
Music

The post TBT Anime Review: Ghost in the Shell: Stand Alone Complex appeared first on oprainfall.

Unlike Ghost in the Shell (1995), of which I had fond memories wholly colored by pure nostalgia, my recollection of Ghost in the Shell 2: Innocence is starkly different. Having only watched the film after experiencing the brilliant revitalization of the franchise through Stand Alone Complex, I remember Ghost in the Shell 2 being a convoluted, poorly developed examination of the series’ common themes framed around a storyline that received the absolute minimal of effort by its writers. In fact, what I remember most vividly is my own feeling of disappointment when contrasting the success of Stand Alone Complex’s fantastic stories, character development, and world building with the clash of Ghost in the Shell 2’s struggle to engage and immerse me throughout the film. Nostalgia again may be playing a role regarding my feelings and memories here, as I have fond ones innumerable for S.A.C. With that in mind, I’ve decided to revisit Ghost in the Shell 2: Innocence in the hopes that I discover new charms, new depth, and a perhaps an appreciation for a film I have since felt unfavorably towards all those years ago.

Taking place after the first film, Ghost in the Shell 2 begins with Public Security Section 9’s Batou and Togusa investigating a string of killings by supposed malfunctioning gynoids. Due to the frequency and specificity of the particular types of robots involved, the investigative tone transitions from hardware failure to premeditated murder, yet with no clear motives in view. The investigation takes an umbral turn when the remnants of a ghost, a human consciousness, are found in one of the gynoids. Soon after, a Yakuza hit involving an employee of LOCUS SOLUS, the manufacturer of these specific gynoids, provides a step towards a far deeper conspiracy. And so what began as a probe of possible hardware malfunction turns into a vastly more sinister narrative of corporate malfeasance, organized crime, trafficking, and the exploitation of both body and soul.

After my rewatch, Ghost in the Shell 2 remains in my eyes a mishmash of philosophical themes, droning dialogue, and sequences that try, but fail, to set mood, all bearing over a poorly constructed story. Beginning with its story, it’s a spotty, fragmented drama, whose key points are nearly buried by the producers’ attempts to jam as much existentialism and implicitness into every scene. The story is so hollow, it comes off as if the writers made a list of points to cover from the manga chapters this film is based on without any desire whatsoever to flesh them out. The result is a wisp of a plotline, unable to hold one’s attention, let alone begin to immerse.

A glaring example of this lack of detail is the scene where the dead LOCUS SOLUS employee is discovered. This should be a major turning point, as this is when the story begins its transformation from murder investigation to the realization that something deeper is unfolding. The scene is portrayed in a nebulous manner, however, in which viewers may miss the connections that, later on, tie all of the pieces of the mystery together. Instead, the connections and final resolution feel anything but, too far stretched thin and buried under stylized allegory by the time they occur. Perhaps the writers realized they had taken their reliance on implication and metaphor too far, as towards the end of the film, one of the characters provides a short expositive monologue for Batou’s sake, yet more likely for ours. Needless to say, I would have preferred substance throughout rather then failed profundity and a summary at the end.

Alternatively to a deep story, Ghost in the Shell 2 focuses on introducing existential and philosophical themes framed around its trademark backdrops of technological and digital advancement. Ideas concerning constituents of life, and questions pertaining to consciousness, their origins and what may possess them, are some of the themes the film presents. Can a shell, in any of its robotic iterations, be considered living if having possession of a consciousness? Does the method of how that consciousness came about play into the answer? Similar to Ghost in the Shell (1995), these themes and resultant questions are proposed to make its audience think; to consider possibilities that may arise as the lines between life and technology blur.

Unfortunately, just like its predecessor, Ghost in the Shell 2 only vaguely attempts to prompt said discussions, as there is hardly any depth offered to keep the discussion going. Rather, these themes are brought up haphazardly throughout a wash of convoluted conversations, silent implications, and attempts at tone-instilling symbolism. These methods of narration are partly to blame, most notably the dialogue, as it’s uninspired and quote heavy, purely to serve as a means to pack in as many references to philosophy, religion, and symbolism as possible. A passing quote or mention of a philosophical topic before firing off the next only serves to exemplify the detached style of narrative. The results are interactions full of indifference rather than the implications and allusions the writers are trying for. And those attempts to encourage the audience to contemplate those existential themes fail in the end, as no room is left for further exploration through narration, nor time for viewers to consider the deeper meanings. I, personally, kept having to adjust my attention and train of thought as I tried to make sense of the detached strings of theoretical verbiage. In the end, the reliance on themes through brute force and implication simply doesn’t hold up. Pairing all of this with its shallow storyline and you have a film that’s just downright plodding.

Ghost in the Shell 2’s characters don’t fare much better than the story, again being treated as an afterthought rather than receiving any kind of investment by its writers. Batou is the ever gruff tank and Togusa takes Batou’s place from the first film as the discussion partner. And similar to the first film, character development is also nearly nonexistent. All we learn of Togusa is that he was recruited when he was a police detective and is your stereotypical family man. As for Batou, he’s still the blank-faced tough guy, but now with the smallest of hints of sentimentality for the missing Kusanagi, and a soft spot for his pet basset hound. However, there is one stand out moment for Batou; a single, burst of emotion where he shows anger and sympathy for the dolls involved. Normally, I love these emotional moments and would have loved to have seen more emotion by the characters throughout the film. Regrettably, the emotions Batou displays in this instant only make me feel downright uncomfortable and leave me with a poor impression of him. How the scene plays, overall, comes off as ill-fitted to the rest of the film, simply because of the lack of emotion throughout. But what ultimately will stick with me, the one defining moment of this film, is Batou losing his cool to a child; a trapped, desperate victim. That, to me, is the stand out scene, for it turns Batou into a complete ass. And that’s it; Batou’s an ass, Togusa exists, and regarding the rest of the cast, there’s so little to them that I just won’t bother.

Whereas the story and its parts only leave subpar impressions and a feeling of exasperation, which you may now be feeling after having read that top half of this review, the aesthetics of Ghost in the Shell 2 leave a better impression. Starting with its animation, the quality is excellent, with its characters and their actions rendered fluidly and adding much needed mood and spirit to help draw in its viewers. The small actions like opening a can of beer or lighting a cigarette stand out, as they all feel authentic to the point of relatable. The equally subtle play on lighting throughout the film, such as the orange glow of holograms or the shifts in lighting when characters walk or drive under lights, also impresses and never fails to contribute to the moods of their featured scenes. Of course the complex animation sequences, such as the adrenaline-pumping action scenes where we see sprays of bullets, raucous melee, and brutal physical destruction, are all outstanding and captivating. They inject plenty of energy and instill that intensity we’ve come to expect from the franchise. My one issue in relation to those more complex animation sequences would be their noticeable scarcity, as heavy action and combat are secondary to the more moody, implicit scenes of mundane inaction and stoicism.

As for its art style, the film implements a mostly 2D endeavor with 3D CGI, similar to its predecessor film. The 2D style is, of course, saturated in digital and hardware advancement with also quite a bit of holographic portrayal. The quality is high, with detailed illustration across its characters, animation, and backdrops, making for a plausible depiction of a cyberized future. Regarding the implementation of 3D CGI, there’s certainly more than the first film, ranging from static adornments within a 2D backdrop, to fully 3D and animated environments, too. The results definitely stand out, as one would expect when having 2D characters moving about a 3D CGI world. And so, the two styles tend to clash, making for a few awkward sequences here and there, though I do give credit to the times when the two styles work well together.

Lastly, Ghost in the Shell 2’s audio is a mixed bag, in that it possesses some excellent sound effect usage and competent voice acting, however also features a limited and forgettable soundtrack. The sound effects played during wordless scenes and moments that call for ambience are notable, further helping to set moods along with its paired imagery. Solemn scenes of routine or wordless stretches of reason and reflection all contribute to the feel that something deeper awaits. But too much of a good thing can hurt, as these scenes of ambience and silent thought are used far too often, taking away from their impact and leaving me bored at times. The opposites of these scenes, the ones full of gunfire and brutality, are only enhanced by the exquisite accompanying sounds of chaos and destruction one would expect.

The voice acting, both the original Japanese and the English dub, is also fairly strong, as this is the only real source of life the characters receive throughout the film. Most of the voice actors that lent their talents to the first film and S.A.C. return here, a huge plus given their abilities.

Then there’s the soundtrack, whose music never adds to the moods or tones on screen, and never quite caught my attention. The tracks just fade into the background of the scenes they’re used for without making any lasting impression. Many of the tracks also sound curiously similar, and that could have been a contributing factor as to why I find the music so unmemorable. Thus with sound effects that have their successful moments of impact versus a sound score soon forgotten, the audio aesthetic is adequate at best.

So it seems my impression of Ghost in the Shell 2: Innocence has not changed much between my initial viewing of the film years ago and this rewatch. It remains an unimpressive attempt to delve into the franchise’s common themes without the needed depth and development to nurture any kind of lasting intrigue. Its story is a framework at best, a collection of plot points easily lost between stretches of inaction and convoluted scenes filled with philosophic verbal logorrhea. Although the film looks impressive and possesses an audio effort that deserves merit, aesthetics alone are not enough to cover up the film’s glaring flaws. Bottom line, the film just isn’t entertaining. And so, whether it be fans of the genre or the franchise, this is nonetheless a hard pass for most. If curiosity gets the better of anyone, I would only suggest that one prepares themself for a slow, uninteresting drudge through attempted profoundness.

Review Score
Overall Story
Art & Animation
Music & Audio

The post TBT Anime Review: Ghost in the Shell 2: Innocence appeared first on oprainfall.

Ghost in the Shell has been a mainstay in the cyberpunk genre for decades, defined by its distinct themes of physical augmentation, as well as the inter-connectivity and interweaving of the mind with a digital landscape, and the emphases regarding the soul that the series’ many interpretations introduce. Captivating and intriguing, to think Ghost in the Shell has been igniting our imaginations and continues to have us ponder those more philosophical questions posed since the debut manga back in 1989, is nothing short of extraordinary. The manga managed to lay a foundation of profound concepts and thought, along with plenty of style, action, and tone that defines Ghost in the Shell’s particular brand of cyberpunk. And from the manga came the franchise’s first animation in the form of the 1995 film adaption of the same name. Whether it was my previous knowledge and interactions with the franchise, or perhaps it was purely nostalgia, I had regarded Ghost in the Shell (1995) rather highly. Years later, I find myself wanting to know if this film adaptation remains as truly magnificent as I once believed it to be.

Major Motoko Kusanagi leads the task force for special operations Public Security Section 9, a department that handles digital and traditional national security and counter-terrorism. From digital theft and manipulation, to espionage, to military level incursions, Section 9 is responsible for investigating and neutralizing the most dangerous of digital and real-world threats. An entity only known as The Puppet Master is one such threat, and one that captures Kusanagi’s intrigue. Considered to be a genius hacker, The Puppet Master is able to hack the very ghosts of individuals and through these “ghost-hacks,” controls several individuals to commit digital and real-world crimes on their behalf. However, what starts as a string of crimes leads to a hostile discourse regarding the definitions and purposes of life and existence in this digitally amalgamated world.

This series has always excelled at posing questions and making its audience think through its core themes, and Ghost in the Shell (1995) is no exception, as the philosophical play here is in full force. The concepts surrounding technological augmentation of the body and mind definitely spur the imagination, as do the possibilities that arise when blurring the lines of what constitutes life. Those overlaying themes all serve to engage, which they do so capably.

Having said that, the actual delivery of these themes through the film’s story, as well as its participating characters, is surprisingly weak; weaker than I recalled. In truth, there is little in the way of plot development. Putting my prior knowledge and experience with the series aside, I came to realize that plot points are more thrown at you throughout the film rather than given proper introduction and depth. Details regarding those themes, too, are actually quite limited and receive hardly any genuine development. It’s mostly left up to the viewer to extract the deeper meanings behind what’s being portrayed. On top of that, there are a number of wordless scenes that depict reflection into oneself and other symbolism that, again, is left entirely up to the viewer to interpret.

What I believe is the fatal flaw here is that the film fails to ever establish a proper foundation for its story. Right from the start, the film begins with a hardly-pertinent discussion between different parties and soon spirals into a gun fight. Then it’s just action sequences and inner-reflection on Motoko’s part with story fragments, in the form of bits of dialogue, banter and leaps in logic, haphazardly jammed in between. The result is an incoherent, vague story, unable to spark interest or bring together the themes and animation the film inarguably prioritized and relies upon instead. Lastly, for those completely unfamiliar with the series, given all of the shortcomings I’ve discussed, I can certainly see the film failing to provide enough immersion or coherence for newcomer viewers to consider it an appealing watch.

Character development is also lacking, as we never receive much more than each character’s base personalities. Kusanagi is the overly-capable heroine with an existential crisis. Batou is the partner and a dialogue partner. The rest of the cast simply serve to move the story along to its next objective and that’s it. As far as actual development, we get glimmers of Kusanagi’s and Batou’s personalities through a half-philosophical conversation, but really nothing more. None of the humorous banter that’s in the manga. None of the personal conversations. Zero opening up. There isn’t even any fleshing out of the existential crisis Kusanagi supposedly has throughout the film.

In fact, what should be the driving force for Kusanagi’s character; an individual who questions her own existence due to her augmentations, inter-weaved with the Puppet Master’s own existence and his outlooks over what constitutes life and its purposes; is never directly addressed nor developed accordingly. Instead, Kusanagi remains a person of few words, idly staring at her reflection at times, until the latter twenty minutes of the film. Then, Kusanagi’s personality sees a rapid, dramatic change towards obsession. I realize that her fascination, perhaps to a point of obsession, crossed with her own existential crisis, is what drives her actions late in the film. Yet, to say she becomes obsessed is just too much of a stretch, as that aspect of her character is never developed to a believable point. Similar are her actions, as her style transforms from calculated to full-on reckless too quickly, contrasting with her behaviors and character seen in the majority of the film. To put it simply, in the final acts, her character is jarringly, and poorly, rewritten from capable and cool-headed to a reckless idiot. And this is all to convince the viewers, that she now, suddenly, must feed an obsession-laced need to find something that only her counterpart in the film supposedly can offer her. Without any real details or development, Kusanagi ultimately comes off as nothing more than a plot device to move the film to its end. Therefore, and as brusque as it is to say, the story is a resultant novelty at best, let down by its overly-convenient heroine and one-dimensional supporting cast. I am fully aware that this is not only a striking departure from the majority opinion of the film, but is also a significant change to my own opinion when I first watched it so long ago.

Leaving story and characters behind, Ghost in the Shell (1995) possessed many aesthetic strengths that still hold up today. Starting with perhaps its greatest pro, the film’s animation remains strong, even after all this time. It’s still fluid and energetic, able to hook and hold any viewer. From the big, attention-grabbers like the fight sequences and the destruction, to the more subtle, yet complex sequences, such as Kusanagi altering parts in her rifle, the animation remains the most praiseworthy contribution to the overall experience. Equally impressive is the artistry of the backgrounds and supplemental scenes, depicting a convincing clash between technological advancement and the gritty, worn-down aspects of the locations and people that have suffered or been left behind by that prosperity. That dismal style in the art only helps to bring much needed mood to the film. Similarly strong are the sound effects that further contribute to establishing the tones and moods of its scenes. Those sound effects, as well as the ambient noises throughout the B-roll, are exceptional, bringing plenty of needed immersion with them.

Unfortunately, time has taken its toll on Ghost in the Shell (1995), making certain flaws more evident and interpretations feel more dated. The visuals aren’t sharp, given the limitations to animation technology back then, and this has only become more apparent now. The scenes are grainy and the upscale efforts can only do so much. Having said that, most of the visual’s subtle details, thankfully, haven’t been lost. Another victim of time, however, are the depictions of the film world’s futuristic, fictional technologies. They simply haven’t aged well, which I suppose is an inevitability for most interpretations of fictional technology given enough time. Lastly, yet not a fault of time, I found the soundtrack to be rather underwhelming. For one, there aren’t many tracks to begin with, which may have been a wise choice, given the strength of the ambience and sound effects. What music is there, though, is grating at its worst, unmemorable at its best. Perhaps it’s because I really can’t say I found the music to benefit any particular scene. I would notice a new track playing for a time, but I found myself naturally dismissing it as the scenes went on. If anything, this soundtrack makes me appreciate Yoko Kanno’s contributions to S.A.C just a bit more now. Taken in their entirety, the aesthetics have their strengths, which remain praiseworthy for what they continue to offer, however the shortcomings, I fear, will only become more perceivable as time goes on.

Viewing Ghost in the Shell (1995) on its own, while pushing aside all of my previous experiences with the series, most definitely changed my opinion. As a film, it interests and entertains to an extent, but fails to satisfyingly immerse. Its themes and aesthetics are its strong points, yet not so strong as to carry it. Its story is shallow and its characters are unmemorable, cons that are far too detrimental to the overall production. As an adaptation, it truly lets down its source material, especially since its manga source succeeds in these very areas. I will admit that previous fanboying and nostalgia had kept Ghost in the Shell (1995) high on my favorites list, yet having come back with a clear mind and the resolve to review this impartially, I must rate this lower than I had ever expected. Does it still intrigue and make you think? Yes. Is it still an action-packed lark across an interlaced scape of flesh, code, and hardware? Of course. Will I probably return to it, being the cyberpunk and Ghost in the Shell fanboy that I am? Probably. As an entry point into the franchise, it’s just too difficult of a recommendation. However, if one were to read the original manga or watch Stand Alone Complex, which I would recommend as an entry point, and then return to this film, you may then come to appreciate the few, yet brilliant, charms of this film.

Review Score
Overall Story
Art & Animation
Music

The post TBT ANIME REVIEW: Ghost in the Shell (1995) appeared first on oprainfall.

After having reviewed several of KEMCO’s JRPGs, I’ve noticed consistencies regarding most of the releases I’ve played. Strong visuals, from its art to its sprite work, and solid, if at times unduly, familiar combat mechanics. Then there’s a story or set of characters that show great potential, yet through lack of depth or narrative shortcomings, never quite reach their full potential. And repeated missteps, including overused or downright vexing gameplay practices. The outcomes typically result in a satisfactory, yet unextraordinary, overall experience. The pieces are consistently there for something brilliant, and so there’s always hope for a title which can right the wrongs and put all those pieces together. Justice Chronicles is my most recent foray into KEMCO’s continued releases, and I’m once again hoping for a title that leaves a genuine lasting impression, and which can stand out within the JRPG genre.

Justice Chronicles tells the story of an impending all-out war between two societies, the Earth-Surface kingdom of Illumica, and Laft, the Earth-Depths. Illumica concludes that Laft is to blame for a sharp rise in monster activity and the resultant upset of peace in their kingdom, and so plans for war are underway. A scouting party of High-Beast Knights, individuals capable of partnering with and fighting alongside a High-Beast companion, are preliminarily sent to Laft, including our hero, Kline. Kline is kindhearted, if simpleminded, and when he sees a group of Laft citizens, including the young Battle Maiden, Alia, being attacked by a rival clan and a supernatural force, he does not hesitate to intervene. Though he manages to separate himself and Alia from the attacking dark entity, Alia is gravely wounded. He then meets Rooselevy, a Guardian and a similar entity to a High Beast, who offers to save Alia in exchange for a partnership of sorts with Kline. Kline accepts, and soon he and a recovered Alia take their first steps in revealing a dark plot, not by Laft, but by a far more sinister antagonist whose influences reach far wider and deeper than any could imagine.

Justice Chronicles features an overall amusing story, as it possesses enough hints of conflict and mystery to carry the game, with a few twists along the way. And, similar to other KEMCO titles, the story has the makings of something more. However, the potential for anything memorable is either squandered just as soon as it’s presented or never given any proper depth and detail. This, I feel, is due in part to how the story unveils itself. It struggles to establish a coherent flow, for it’s presented more like a collection of subsequent events loosely tied together by sudden, and many times overly convenient, occurrences. For example, Kline finds himself on death’s doorstep, then a pink-haired witch, whom we only see once previously, shows up, half heals him, and also provides the next task for the plot to move forward. There is no build-up, detail, or depth in between. We, the players, are just moved along from one event or request to the next.

Another issue with the story is its pacing, in regards to how conflict, twists, and plot details are presented or resolved. Referring to the above example, once the fetch quest for Kline is finished, and after an explanation, everyone just moves on from it to the next event. The main character was near death, due to his contract with his Guardian Beast, but it’s flatly explained away and resolved, just like that. It’s blunt, curt, and lacks any kind of depth or development, nor any hints at lingering fear, conflict, or buildup for something greater later on. Another example are the revelations around mid-game regarding the Beast Knights and the Sect, their priest counterparts. This revelation should have been built up to make for a major impact, as it pertains to the main antagonist. What should have been a hard-hitting reveal is instead a batch of details and emotionless exposition that’s unloaded before moving on. And this, unfortunately, is the norm. What should be big, poignant moments of conflict, plot twist, betrayal, and grand revelation, are all just as soon resolved, reducing them to brief, passive moments in the plot. Those moments are all there; they’re curious, enticing, and very nearly immersive. Yet, it all amounts to a story effort that only manages to take us on an interest-piquing journey, one full of unrealized potential.

As for its cast, each character has a distinct personality that manages to stand out and individualize them, and for this, I’m impressed. Although their personalities may fall into familiar types, there’s enough within their thoughts, banter, and actions that their individuality is made clear, making for a more memorable cast. Regarding these familiar character types, Kline is very much like Goku from the Dragon Ball franchise, given his simple-mindedness, his over-willingness to always step in and help, and his tendency to ignore risks. Alia is resolute, yet still a teenage girl who can be rough around the edges and a bit innocent with her growing affections. Familiar, yes, yet their personalities do shine through, as there is plenty in the way of interaction. Interactions like the others teasing Alia for her attention towards Kline, or Alia and the others calling out Kline for his lack of caution, as well as his obsession with meal time. Lastly, I am particularly impressed with Fred’s character, who must speak his mind through his High Beast. Fred speaking through an interpreter is a clever idea, as I tended to focus even more on his dialogue and his portrait art to grasp his emotions. Overall, each character is distinct and are given those opportunities for their individual personalities to shine.

Having said all of that, the narrative takes away from these character developing efforts, among other things. Dialogues can be explanatory at times, especially when covering major plot points, and so some of that personality is lost. Had they been presented more as a discussion; shorter lines, questions, interruptions; it would have provided even more opportunity for the characters’ uniqueness to show. Also, regarding narrative, everyone is written in the same exact style, using identical slang like “wanna,” “gonna,” and “yeah.” It makes older characters, as well as the more regal authoritative characters, sound completely off and it breaks immersion. Concerning the main cast, the portrait art definitely helps distinguish exactly who is speaking during the less personal conversations, but this single style of speaking is ultimately unavoidable as you read. It takes minimal effort to alter a character’s diction and sentence structure, and goes a long way to further individualize them. Here, they all speak with the same voice; zero differentiation. Pair this with my previous complaint of how major story points are dumped on you in exposition, and you have a narrative effort that leaves me frustrated.

Leaving its writing behind, Justice Chronicles possesses an adequate gameplay effort, utilizing many commonplace JRPG mechanics. Starting with its strengths, gameplay sports a combat mechanic that is solid and easy to navigate. Combat is your traditional random encounter turn-based affair, in which attacks, magic spells, skills, and items are all selected through menu choices. There are several characters to choose for your three-person team, and each character has their particular strengths and unique skills, so trying different combinations may yield surprising results. Each character can also partner with a Guardian or High Beast, who can grant stat boosts, heal, or attack, and can easily turn the tide of any battle. Regarding magic, any character can equip Meteorites, items that allow the use of particular magic spells; elemental, healing, or stat based; and skill proficiency can be increased through repeated use. With the number of team, Beast, and magic combinations, gameplay gains quite a bit of variety.

Outside of combat, there’s a crafting system which allows for the upgrade of weapons and armor with materials found throughout the adventure. Nothing revolutionary, yet easy to master, crafting becomes a necessity, especially for mid-boss and boss encounters. Also, the game features Help menus which explain nearly every aspect of play, as well as story recaps to keep players informed. Lastly, navigating through every aspect of gameplay is easy, as the designs are clean, clear, and simple to understand.

Unfortunately, there are several flaws in gameplay, which will disrupt both play flow and overall immersion, and I found that many of these shortcomings are quality of life related. Firstly, gameplay possesses an aggravatingly high encounter rate. You cannot go more than ten steps before having an encounter. It completely discourages exploration and slows play. Also, it causes combat to lose its appeal outside of those more intense mid-boss and boss battles. The fast-battle option helps, but is not a fix, nor is the item that temporarily stops all encounters. Retreating is an unreliable option, especially with its chance of failing which occurred too often for me, and even against far weaker foes. Another experience issue is not having any kind of progress indication for spell and skill proficiency, which is unfortunate. As I mentioned, using skills and spells improve proficiency, in turn increasing their power. A visual or numerical indication would have helped, and its absence feels like a lack of developer foresight.

More Justice on page 2 ->

The post REVIEW: Justice Chronicles appeared first on oprainfall.

The overwhelming popularity of Mairimashita! Iruma-kun comes as no surprise, as it continues its creative trend as one of the most charming and intriguing shounen manga out there. A smashup of isekai and school life with a willingness to include themes and elements from other genres, Mairimashita! Iruma-kun remains uncommonly entertaining. The first season of the anime mostly captures the same magic that makes the manga so widely captivating, yet it has its flaws, too. An over-dependence on current shounen anime trends compromises the distinctiveness the manga possesses while at times also overly amping up the intended moods to grating levels. Despite these drawbacks, the first season is largely a successful adaptation. But now that we’re past Iruma’s introduction to the demon world, we see his adventures become more intertwined with the world and people around him. So let’s see how well Mairimashita! Iruma-kun season two does in adapting these moments in Iruma’s demon school life.

For those unfamiliar, Mairimashita! Iruma-kun, or Welcome to Demon School! Iruma-kun, chronicles the amiably turbulent adventures of Suzuki Iruma, a 14-year-old human boy who finds himself living the life of a doted over grandson in the Netherworld. And as any good grandparent does, Iruma is loved, pampered, and also soon enrolled into Bablys, the best demon school around. A far cry from his former life as a neglected, exploited adolescent in the human world, Iruma will make new demon friends and learn the nuances of both demon school and the Netherworld as he becomes accustomed to his new life. And whether it be his friends, the staff, or a product of the fantastical world he is now part of, he will often and unwillingly be dragged into mostly jovial mischievousness, with touches of genuine threat and terror thrown in.

Now that Iruma and his supporting cast have been introduced and established, along with their preliminary school life struggles and the first seeds of antagonism sown, the proceeding story arcs place Iruma in more familiar scenarios for a typical high schooler. And, of course, nothing is actually familiar nor predictable for the wide-eyed Iruma given his misfit teenage demon classmates and the various Netherworld peculiarities. A flamboyant student council election with a mystery behind it, a petition for the misfits to move from their rickety old classroom to one built for a king, a trip to a demon amusement park, and Iruma’s first ever date. Iruma, wishing to avoid drawing attention to himself being the only human amongst demons, fails miserably as he once again takes the spotlight throughout these events that become nothing short of full-on escapades.

Simply put, Mairimashita! Iruma-kun season two is a fun watch. The high-level of the manga through its corresponding chapters, I feel, are adapted well, holding as true to its source material compared to the efforts of season one. While there are again, liberties taken depicting the storylines that at times trend a bit too close to shounen clichés, the allures of the stories and its characters throughout these arcs remain wholly intact in the anime. Perhaps it’s because these arcs possess numerous more flamboyant, jovial, and battle-stricken moments to begin with that I found the more energetic scenes feeling less forced into the production. Also, I feel the anime does a fantastic job of adapting all of the humorous moments throughout these arcs. The lightheartedness and humor that comes with these scenes of character interaction and personal development remain impressive in the adaptation, and are an absolute pleasure to watch. I believe this is the greatest strength of Mairimashita! Iruma-kun season two; these moments of pure whimsy, whether it be individual characters working through their emotions, or the close-knit interactions among two or three of them that lead to adorable chaos.

Unfortunately, there are missteps along the way, the main culprits of which are some of the extra scenes not found in the original manga. Many serve the purpose of better tying together personal story arcs or better transitioning from one major arc to the next, and for that, I applaud the effort. However many are completely unnecessary, failing to add anything genuine to the episode. Examples include extra battle scenes throughout the season like the one during Iruma’s and Asmodeus’s visit to Clara’s home. Not in the manga and only loosely tying to a personal struggle Asmodeus is working through, this scene is entirely shoe-horned in and the tiny bit regarding Asmodeus could have been addressed elsewhere, even being held off until later chapters are adapted and when it becomes relevant again.

Another example are the extra bits and elongated scenes throughout the episode with Iruma’s and Amelie’s date. The misstep that stands out for me here is the moment between the two in which Amelie bashfully requests Iruma to carry her. In the manga, it’s a short, sweet moment as he agrees and steps up by simply saying a spell that lets him carry her, making for a perfect lovey-dovey moment. In the anime however, the emphasis is more on the spell casting, as it depicts Iruma glowing and charging up for a time before finally lifting her. Forced and obnoxious, choosing to emphasize the powering up shifts the focus completely away from the relationship building, utterly ruining the mood and moment. A last example is Iruma’s exposition that he spouts a few scenes previously in the same episode. The handling of the scene in the manga is concise and moves the interaction along, but in the anime, it drags to the point where I’m left wondering why this kid is just standing around and one-sidedly droning on. Overall, while not a common enough occurrence to mar the season as a whole, the use of extras, those that trend towards shounen clichés, and particularly the extras and elongations in this date episode that negatively alter mood and tone, hurt just enough to leave an impression.

Moving on to aesthetics, Mairimashita! Iruma-kun season two’s adaptation of the manga’s visuals is satisfactory. The animation sees improvement over season one, with a smoother effort throughout. My small complaint with season one was a just-noticeable occurrence of unintentional janky animations that looked like low frame count animated .gifs, but this season, I never once noticed any issues of the kind. I also applaud the effort that went into the action sequences. The manga’s action scenes were plenty throughout the corresponding chapters and thus the animators had opportunity to go all out, which they expectedly did. The end result, when appropriate and called for, were remarkable. I could have done without the exaggeration when inappropriate, as they, again, altered the moods of scenes that had no business being tampered with.

As for the adaptation of the manga’s art style, it’s a mostly strong effort. The Netherworld and all of its locales look vivid and imaginative, staying true to the source material. The characters are once again depicted with similar style to the manga, maintaining their outstanding uniqueness and favorably contributing to their personas. My one wish, though, would have been to see more detail when it comes to the more emotionally driven scenes. More vividness in expressions, such as detail depicting facial features and body language, in those close-up, personal moments, would have raised the art production from great to amazing.

Regarding for the audio, I’ll start with the Japanese voice acting, which remains unchanged in its quality compared to season one. The voicing of Iruma, Sullivan, and a number of the side characters is as strong and as fitting to their personalities as ever. Some new characters, such as Balam-sensai, have been cast with equal care, as his creepy, yet caring demeanor shines through his voicing. The voicing of Ronove is particularly outstanding, as his over-the-top energy and pure self-absorption are only raises to new heights through the impressive voice work. Altogether, the casting choices that I feel can be called successes further contribute to the personalities, interactions, and humor on-screen. However, my previous complaints regarding certain voice acting choices remains too, though at this point, I suppose it’s now a simple matter of me needing to become accustomed to these castings.

As for the music, the background music featured throughout the season is fitting, matching the higher energy and joviality of the scenes they’re paired with. Each track also possesses that element of minor tonality that matches well with the Netherworld setting. The few musical numbers featured are as ridiculous as ever, though they don’t offend as much as last season. Perhaps that’s only because this time around I was prepared for them to steal the show. The music helps set the mood when not in the spotlight, and when meant to drive a scene, does so notably without feeling overly forced or foreign this season.

Mairimashita! Iruma-kun season two is an impressive adaptation, mostly succeeding in maintaining the high level of quality of its source chapters. The humor, character growth, and all of the wonderful interactions and emotions seen throughout the corresponding manga chapters are well reproduced here. However, similar to season one, the production will get in its own way at times, with extra or elongated scenes that don’t quite flow, and missteps that diminish or outright alter the intended tones and moods of the source material. The artistry continues to earnestly recreate the imaginative qualities of the manga, as well as continue to respectably bring its characters to life. The audio, both the voicing and music, remains satisfactory, as the audio efforts never truly take anything away from the overall production, while its pros contribute admirably. In its entirety, Mairimashita! Iruma-kun season two is fun and entertaining, and an easy recommendation for any Iruma-kun fan.

Review Score
Overall Story
Art & Animation
Music

Mairimashita! Iruma-kun season two is available on Crunchyroll

The post ANIME REVIEW: Mairimashita! Iruma-kun Season Two appeared first on oprainfall.

It certainly doesn’t feel like it, but it’s been five years since I joined the Operation Rainfall team. And during my time here, I’ve had the pleasure to play some outstanding hidden gems that I wouldn’t otherwise have discovered, and talk about titles that have moved me in ways I could never have predicted. I’ve also been given this platform in which I could draw new attention to past greats and other titles that I, personally, felt had gone relatively unnoticed or underappreciated. oprainfall has given me the opportunity to voice my personal opinions in an industry that I am passionate about and which has brought me tremendous joy. It has, and hopefully continues to be, a welcome presence that reminds me that there are those, like myself, who have an adoration for the niche, and that it’s perfectly okay to enjoy any style or genre however one likes. Looking back and thinking about it, it’s been pretty awesome.

And so, I’ll be taking a look back at some of the hidden gems I’ve discovered, old favorites that I’ve reviewed, and mention a few other titles that I’ve played, watched, or read, yet haven’t had the chance to talk about here during these past five years. Or, more simply, this is all about me geeking out about a bunch of stuff.

In the Beginning…

First, I’d like to do a bit of reminiscing regarding my entry point as an oprainfall writer: the TBT Review. Retro reviews by any name are always something I enjoy as they often remind me of my best gaming memories, regardless of when I actually played them. Those games of the 90’s, and many from the 00’s too, possess a unique charm that never fails to draw me in. So much so, that I still revisit them fairly frequently. Really, if anyone were to just mention certain game titles, I start daydreaming and soon start thinking, “I should replay that.” To have the ability to revisit that library of games, talk about why I so love them, and why they should never be forgotten is something that I find truly worthwhile. These are the games that made me a gamer, so yes, I shall geek out over them as often as I can.

Kirby’s Adventure

Strangely enough, it’s not Chrono Trigger, Secret of Mana, or one of the many other masterpieces that I find myself revisiting the most, but rather it’s Kirby’s Adventure. Not only was this the game that introduced Kirby’s now iconic copy ability, but this has to be one of the most fun and engaging games I’ve played from the early 90’s era. Even for an NES era game, it still looks and sounds amazing and, best of all, its pure action. Plowing through enemies using their own powers, unlocking all of the secrets, and completing the game to 100% remains a satisfyingly fun escapade from start to finish. Video games are meant to be fun and Kirby’s Adventure delivers that aplenty. Actually, I don’t think I’ve ever been able to tell myself, “no,” when thinking about replaying it.

Terranigma

Of course, there’s plenty of SNES games worth replaying, many of those titles coming from Enix, and for me, Terranigma is at the top of my favorites list. Many Enix RPGs distinctly possess deeper stories and have this reputation of embracing tragedy and the bittersweet. They teach us that not everything or everyone gets a happy ending, or the type of closure we may feel a particular story or character deserves. It can be eye-opening or even humbling; most definitely profound, given that such diversity in a story and the emotional depth that accompanies it can be achieved in a video game. Terranigma is, to me, the pinnacle example of this, given the hardships and ultimate conclusions that the main character, Ark, must endure. And holy crap, the plot twists. Even though I know what’s to come, there’s always such an impact, every single time. That’s the mark of a fantastic story; that it can continue to deliver and instill such an incredible emotional impact each and every time you experience it.

The Well Known Classics

Although bringing attention to niche and lesser known titles is one of the best aspects of writing for this site, having the opportunity to share my own thoughts on some of the most well-known classics of the past few decades has been equally enjoyable. Not only do I get to share my own experiences regarding some of the best games ever, I get to revisit those moments that have forged deep, lasting memories within me. The first time you hear Frog’s Theme or experience the showdown against Magus in Chrono Trigger. The moment you step into the Forest Temple and get drawn in by the music and atmosphere in Ocarina of Time. Drawing out a rusted sword that causes your exile from home, yet leads you to meeting powerful friends that will shape your being and your destiny, slowly but surely coming to the realization that you can indeed achieve greatness enough to save the world. Yeah, pretty much all of Secret of Mana is one big, fantastic memory for me. Those are the moments I live for as a gamer, and getting to share that with even just one reader is a phenomenal feeling.

Metroid Prime Series

My attention will always be grabbed whenever a developer succeeds in trying something new and drastic. Hence the reason why I can never say enough about the Metroid Prime series. This series continues to impress me with just how well Retro Studios manages to adapt the classic 2D Metroid style to 3D. To have captured that feel, that Metroid charm, so accurately is simply amazing. In fact, I find myself wanting to replay the Prime series far more often than any of the 2D titles. Don’t get me wrong, as a fan, I absolutely love Super, Fusion, and the others. But, the Prime titles offer so much more. Deeper stories, tons of detail and depth through the scanning of nearly everything you encounter, the more complex combat and platforming, I could go on and on. The element that sticks out to me the most, though, will always be the point of view. To be able to see exactly what Samus sees through her visor is still the coolest aspect of the Prime series for me. And while platforming and playing as a sprite in 3rd-person will always have its allure, here we are in the suit, seeing through the visor, and getting right behind her iconic weaponry. Because of that first-person style, we get blood-pumping moments like having to look upwards to take in the sheer scale of the Omega Pirate or Meta Ridley, or the faster-paced battles against Dark Samus where it often dashes out of view to launch attacks in your blind spots. Oh, and to bundle or categorize all of that magnificence with an overtly simple term like FPS would be a sin. The perspective, combined with capturing that Metroid magic, allowed the developers to add new degrees of pace, energy, and fierceness that you just can’t quite get from the 2D titles.

Remakes of Classics

The trend of remaking classics is looking like it will continue into the foreseeable future and, for now, I remain a mix of both hopeful and leery. My personal experience regarding remade classics is a bit limited, yet the two titles I’ve reviewed each left profound feelings. I love the Seiken Densetsu 3: Trials of Mana remake. This 3D remake did not lose nor sacrifice any of the charms of its 2D counterpart regarding story, characters, or gameplay. The visuals kept with that distinguished Mana style, and the remade soundtrack is nothing short of masterful. But then there’s the Secret of Mana remake. While the story and gameplay remain true to their source, I felt the aesthetic decisions nearly ruined the game. Using an overly cartoonish visual style clashed with the many story elements that possess a sad, fearful, or tragic tone and also too often clashed with the moods set by the characters’ feelings. A touch more realism, akin to the visual decisions made for Trials of Mana‘s cast, I feel, would have helped better deliver the emotional impacts of the narrative. The worst of failures, however, remains that egregious soundtrack. The sheer brilliance of the original’s sound score is utterly lost, replaced with an insult of a remix. Just thinking about it upsets me. Well, needless to say, my feelings regarding these remakes are strong. One was an overall success, the other, while satisfactory, had unforgivable mistakes. And those are just the two I’ve reviewed here. So while I can appreciate the fact that a remake or remaster can bring new attention and new fans to these games and series, I shall simply hope that any revisit-efforts do their originals justice.

A Slew of Personal Favorites

From the start, oprainfall has enabled me to review many of my all-time favorites, giving me the opportunity to say exactly why I love these particular games and, hopefully, convince a reader or two to try them themselves. I find it to be fulfilling, in that I get to draw new attention to titles that I feel deserve it. Whether it’s the fun had, the memories made, or the emotional impact left, many of my favorites are ones I find I can talk about endlessly and be easily convinced to play again and again. For example, Supergiant’s Bastion, Transistor, and Pyre, come to mind, as each title has a wealth of action, yet immerses you in deep story and introduce characters that become easy to care for. Also, each of their stories has their moments of joy and melancholy, thoroughly playing with your emotions throughout. To go a bit further, my favorite of the group, Transistor, remains a gaming fixture for me due to its exceptional, clever gameplay, badass main heroine, and its breathtaking aesthetics.

Whereas Supergiant titles are fairly new in my repertoire, reviewing several of the Mana titles brought me back to my childhood, in which I enjoyed these epic journeys across colorful, imaginative worlds teeming with life. Epic hardly begins to explain such experiences, and getting wrapped up in the backstories and the personal reasons for why these characters are willing to travel the world and confront the fiercest of foes is something I take great pleasure in when playing. And of course, there are plenty others, too, that are outstanding in my memory; Darksiders, Bayonetta, Ocarina of Time, and the many SNES classics I’ve gotten to share with this community.

What I hadn’t expected, however, is the bittersweet feeling I sometimes perceive when playing, reviewing, or just thinking about lesser known games. I find myself lingering on the thought of how so many games, and manga and anime too, whether they were once popular, or only had a niche following, have slowly fallen into obscurity. I find myself thinking that my discussing a long-ago released game might be the last time in who knows how long that particular title will receive any kind of attention from the gaming world. Again, the hope would be to bring renewed attention to such games, to encourage conversation, to reignite dormant memories or feelings others may have once had. Yet, it’s a shame that many games will ultimately remain distant memories. For me in particular, I was recently reminiscing about Baten Kaitos. I mean, seriously, when was the last time anyone brought up that game in any kind of conversation, with its fantastical world, card based battle system, and its terrible English dub? Or how about Arc Rise Fantasia, Eternal Sonata, Baroque, and Parasite Eve? My goodness, when was the last time anyone brought up The Last Story or Pandora’s Tower? Remember those? Again, it’s not just games, either. Witch Hunter Robin, .hack//SIGN, Black Cat, Trinity Blood, Claymore, I could keep going. Not every title is a masterpiece, but whether it’s me, or you, or someone out there, any particular title has the ability to become something more to an individual. It’s exactly this fact which causes that bittersweet feeling. It’s a realization that it’s up to us to carry on the conversations, to revisit old favorites, and to hold onto those wonderful memories we’ve been gifted by experiencing them.

New Discoveries

Along with fanboying over old favorites, oprainfall has introduced me to a plethora of new games, many of which I previously never heard about and would have completely missed out on. If it weren’t for the access to developers and their works that this position provides, I would have missed out on titles that I have since called hidden gems in my reviews. Necrobarista is the best example I can think of regarding this, for I had not heard anything about it previously, yet playing it yielded such a deep, heartfelt impression that I’m truly grateful I didn’t miss out. For those unfamiliar, Necrobarista is a visual novel that explores the many topics surrounding death, such as trauma, regret, and the processes of coming to terms with it and, ultimately, letting go. Funny, charming, yet incredibly thought provoking, this is a game I’m glad to have experienced. And I can even say that it’s now a favorite of mine. Virgo Versus the Zodiac is another example of nearly missing out, yet instead I got the chance to discover this fantastic 8-bit stylized RPG. Its story is deceptively deep, Virgo as a main character brings unabated energy, rage, and feistiness, and the consequences of your actions could affect all of creation. Pretty darn epic and again, one I am wholly glad I got to play.

There are plenty of other examples too. Ghost 1.0, for its Metroid-esque platforming and combat, along with an excellent story and tons of humor delivered through impressive voice acting. The Vagrant, for its tragic heroine, ferocious hack-and-slash combat, and its striking visual style that combines destitute with touches of macabre. And, When the Past was Around, for its enrapturing soundtrack and sound effects, as well as its immersive point-and-click gameplay within an artistically charismatic world. These are all games that left that powerful, lasting impression on me that we seek as gamers; those feelings that make you want to replay them time and again. I am grateful that I’ve had the chance to play them.

Drew’s thoughts on other media on page 2 ->

The post Looking Back: Drew’s First Five Years at oprainfall appeared first on oprainfall.

Whenever The 7th Saga comes to mind, it’s always a vexing thing for me, for when I think about this particular title, it stirs a number of conflicting emotions within me. At times, I love it, for the sheer epic-ness of the adventure, and for its distinguished aesthetics, which still impress me today. Other times, I downright loathe it, lesser for its lacking narrative, more for its notably unforgiving gameplay. This game is an endeavor, not to be challenged casually, for this game does not test skill so much as it tests patience and endurance. To say The 7th Saga is a tough game wouldn’t be wrong, but rather, I think a better term to describe it would be a trek. This game is a trek; one for only the most devoted of JPRG enthusiast; one that, personally, ever challenges my patience and drains my endurance.

The 7th Saga takes place in a land called Ticondera, where Lemele, the current king and son of legendary hero, Saro, has recruited seven individuals to become his apprentices. After five years of training at his palace, Lemele tasks these seven to seek out the seven runes that are hidden across the world. These runes contain immense power, and whomever acquires all seven will become Lemele’s heir. And so, the seven individuals set out into the world; surviving, competing against one another, and battling the evil forces who have come to possess the runes. However, the legend of Saro, the secrets of the runes, and the evil which once haunted this land in the distant past will all play their parts in the fates of the apprentices.

The 7th Saga possesses a fairly serviceable story, in that what seems like a straightforward plot hides a few twists and turns along the way. During play, we learn more about the history of Saro and his epic battle with an evil being named Gorsia. We also receive hints of the individual reasons as to why these apprentices wish to obtain the runes, along with how those reasons influence the thinking and actions of these characters. Throughout play, the simplistic, overarching plot point of finding the runes gains a touch of depth through these inclusions of history and, though to a lesser extent, character background. It all serves to create just enough intrigue to carry the story to its conclusion.

However, those minimal touches of depth also expose the glaring flaws of the story. Simply put, there needed to be more: More dialogue, more character development, and more depth and details. Especially among the characters, I wish we could see more emotion in their actions and interactions. Instead, it’s a dry, uninspired effort. And, the shortcomings are only made more apparent by the pacing of gameplay, for there will be terribly long stretches where hardly any story tidbits are offered. The narrative doesn’t help things either, as many of the most critical story points are delivered by exposition or long, emotionless rants. Lastly, what little appeal the story possesses during a first playthrough is lost upon its conclusion. There just isn’t enough offered by the story for a revisit. The story has its moments of intrigue, with the few plot twists that may entice committed players to see the journey to its end, but the story falls short in its ability to offer any more beyond that.

As I mentioned, there is an unfortunate lack of character development that also hurts the overall story performance. Perhaps having seven characters was a stretch, for they all tend to blend together regardless of who you choose to play as. There are hints at individuality, with some characters receiving more than others, like Lejes the demon, not hiding his arrogance nor shying away regarding his desire for power. Or Esuna the elf, treating the task as an amusement at first. Yet, despite these glimmers of individuality, ultimately, they all tend to behave more similarly than not throughout the campaign. Those initial reasons as to why they seek the runes are the only outstanding distinctions they receive. Add to this the severe lack of any genuine growth or development and you have a set of characters that are terribly forgettable. If the journey wasn’t worth the emotional investment, the characters certainly aren’t either.

Leaving its story behind, The 7th Saga’s gameplay is perhaps the most memorable aspect of the game, for both its strengths and its weaknesses. Starting with the good, at its core The 7th Saga features gameplay mechanics that would presently be considered traditional, in that play utilizes many of the aspects that we now consider part of the classic RPG style. Roaming from one town to the next, clearing dungeons in between, and, most notably, a model of menu-based interactions, including the use of menus for its archetype turn-based combat. At the time of the game’s debut, this game’s turn-based mechanic was exemplar with its clean, simple to use design, which would ultimately help pave the way for this style to be recognized as a standard within the genre.

Another strength to gameplay is the randomizing feature that alters the behaviors of the other apprentices. During the campaign, the other apprentices will suggest joining up with you or challenge you for your collected runes at certain points. Also, early in the game, it will be revealed that one apprentice wishes to eliminate the others through the hiring of a mercenary. This traitor, as well as where and when specific apprentices are available to team up with, or challenge, are all varied with each playthrough. This adds a bit of variety to gameplay and may force players to rethink their strategy during play.

Despite these few achievements, The 7th Saga possesses some major gameplay missteps, and due to a combination of these different flaws and quirks, the game has ultimately gained a reputation for being unforgiving in its approachability, especially for new players. Firstly, the game is tough. Common enemies will hit hard and can take a beating while every single boss battle can easily result in your swift defeat. The only way to stand a chance is to grind. And the grind is real. If you try to progress into new areas without first amply grinding, you will fail. Even after grinding, you will often only achieve a sense of adequacy in level against enemies in each area. And so, gameplay quickly becomes a test of patience as you’re forced to grind when reaching any new location, every time. New town; grind. New dungeon; grind. Rinse, repeat, all to have enough of a fighting chance to proceed. It’s a slow process, to say the least.

Another standout issue is the high encounter rate. Battles occur far too often, breaking any kind of play flow and dragging play down to a crawl. Despite a radar that shows enemy positions, they are faster than you, meaning you can’t exactly outrun them. Also, the maps of the game are large and have a bit of complexity to them, and so with that high encounter rate comes an ultimate snail’s pace for progress, along with pure dissuasion when it comes to exploration. There will also be necessary backtracking, as the need to recoup at a town and restock supplies will be significantly often. Due to the difficulty, after a major fight, like a mid-boss or boss fight, you’ll need to retreat regardless of level. Fortunately, the wind rune, which can be obtained early in the game, allows you to warp, but not always within a dungeon, so more battles are an inevitability even when a fast getaway is needed. Lastly, for those playing blindly, the encounters become a far worse issue as the time spent finding the right paths or roaming the overworld are compounded by the constant interruptions. Battle after battle, gameplay wears thin real fast.

The last aspect I wish to address are the overall imbalance issues that plague the game. I’ve already spoken of the difficulty of enemies and the like, however, depending on how you progress in the game and in what order you choose to collect the runes, you may inadvertently set yourself up for failure later. Some of the runes must be taken from the other apprentices, who are always at the same level as your main character, and so they may possess a combination of stats and spells that make for a virtually unwinnable scenario. Speaking of the apprentices, they too suffer from imbalance. Some of them are clearly better choices to play as or team up with than others due to their spells, equips, or growth potentials. Olvan the dwarf will nearly always be a lesser choice than Kamil the knight due to his lacking speed and magic. Lux the Tetujin robot will hardly ever receive new equipment, forcing a reliance on leveling for stat boosts, so he too is rarely an optimal choice, especially as you approach mid game. Truly, the imbalance makes some of these apprentices so unappealing that you may never want to use them ever, unless you purposely want to make things harder than they already are. Taken in its entirety, imbalance plus the overly frequent battles, the need for grinding, the need to recover and restock often; all of it adds up to an experience that’s far more obnoxious than fun and challenges temper and patience above all else.

Counter to the flawed story and the tedious gameplay, The 7th Saga features some truly remarkable aesthetics. Visually, this game is beautiful, and I’m impressed with its uncommon level of detail. The towns and nature locales of the overworld are vivid and colorful. I also admire the spritework throughout, especially the enemy designs. They are detailed and intimidating, and some are so well designed that they’re downright horrifying in a good way. The bosses in particular have some fantastic designs, matching looks with their sheer power and ferocity. This is the one positive of the game that genuinely sticks with me; just how well the visuals convey the liveliness of the world, as well as the danger of the journey.

The soundtrack is also noteworthy, for each piece fits its intended purpose or locale well. While not the most memorable of sound scores, I do appreciate each track for their ability bring much needed mood and a touch of depth to the world and its events. Perhaps it’s because of the shortcomings of the story I notice how supportive this soundtrack can be to the overall experience. Taken altogether, the visuals and audio breathe life into an experience shrouded in stress and ennui.

The 7th Saga is a difficult recommendation. This is not a JRPG for those looking for an emotionally immersive experience, or those wanting more complex, intriguing gameplay mechanics that other titles of the genre can offer. While its aesthetics remain impressive, its average story helps not, and the lack of character development hurts. However, its harsh gameplay will remain the biggest aversion for newcomers. Truly, I would only recommend the game to players seeking that straining, rough, old school level of challenge that thoroughly tests a player’s patience and mental endurance. Finally, unless you know exactly what you’re doing or closely following a guide, this game will take a serious time commitment. As I said, the grind is immense, and with its lopsided difficulty, slow combat, and high encounter rate, veteran players may still take up to 30+ hours to complete a playthrough, whereas first time players going in blindly can easily approach the 50 hour mark. The 7th Saga has glimmers of magic, but they are buried beneath a play effort whose demand is nigh hopeless to justify.

Review Score
Overall

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During their E3 2021 presentation, Nintendo announced Metroid Dread, a new 2D entry and the first original 2D Metroid in roughly 19 years. Also dubbed Metroid 5, from the few minutes of footage provided, this title takes place after Metroid Fusion and will once again push Samus to her limits as she faces off against near impossible odds.

Samus must endure a new enemy, the E.M.M.I. seemingly impervious robots gone rampant and forcing Samus to use abilities and terrain to outrun them and hide. The throwback to Metroid Fusion is alluded to with some heart-pounding platforming, and looks to be improved upon with the brief showing of a new ability which allows Samus to camouflage herself from an E.M.M.I’s detection.

But of course, it’s not just about running and hiding, it looks like there will be plenty of old school blasting of baddies with an ever growing arsenal of weapons and abilities. Newer additions, such as the melee dash and free aim seen in the Metroid 2 remake, look like they’re also making a return.

With gameplay footage packed with fast-paced action and some serious platforming, Metroid Dread looks like it’s shaping up to be every bit as innovative and frantically epic as it’s predecessors.

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Capcom announced during E3 2021 that, “by popular demand,” Resident Evil: Village will receive DLC. No date was given and the only solid information provided was that development only just started. In their words, “More info later.”

Gameplay for Resident Evil Re:Verse was also shown and is slated for a July 2021 release. Although initially planned for release alongside Village, Re:Verse will still be available for free to those who purchased Village.

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