You wake up in darkness. You’re in a dark mansion, and a maid is standing in front of you. She calls you “the master of this mansion” and gives you a warm welcome back. You can’t remember who you are. The maid understands this, but as your servant she decides to help you recover your memories. She’ll tell you a few stories — stories about this mansion’s past. Once you’ve heard them all, you’ll naturally remember who you really are. The maid leads you to one of the mansion’s doors, opens it, and tells you what happened behind it.

Purumai Wars (プラマイウォーズ) is an Asa Project game from 2015. Its position in the Asa Project catalog is honestly kind of awkward — it landed right in the middle of a transition period, where they hadn’t fully given up on the gag humor and the crazy facial expressions yet, but were also trying to lean a bit more into pure romance. That said, the older sister’s route in the base game is still decent, and as far as I remember, Asa Project is one of those rare “conscientious porting houses” — when their games get ported to all-ages handheld platforms, they generally not only promote existing side characters to heroines but also add entirely new character routes, and the new characters’ VAs tend to be “whatever anime voice actor is hot right now.” That’s a fair amount of effort. Some examples: Renai 0 Kilometer PSP version: promotes two heroines, adds two more, voiced by Kana Asumi and Yukari Tamura respectively. Hitotsu Tobashi Renai PSV version: adds two heroines, voiced by Ayane Sakura and Sakura Tange. Which brings us to the game we’re talking about here: Puramai Wars V: promotes one heroine, adds one more, voiced by Aya Suzaki. Looking at how much effort went into these ports, you can see the official releases getting lazier and lazier — and this game is lazier still.

Usually with games like this I write a first-person piece, make up some story, and call it a day. But this game genuinely put me off doing that. If I wrote it that way, I’d end up sounding like a rapist myself. That said, even though this one looks like plain nukige, it’s the same as that earlier title from the same label — “even a nukige can have something under the surface.” So let’s focus on what’s under the surface. Games rarely touch on this kind of criminal motive / psychology stuff. The protagonist is a guy living alone in the big city. He goes to school, works part-time, and supports himself. Now and then he tutors his distant relative’s younger cousin; at school he’s polished, polite, well-mannered — by any measure, a “fine young man of the new era.” Then one day his little sister from back home shows up. She says she’s planning to take the entrance exam for a school in his city and needs a place to stay over winter break, so she wants to crash at his place. The moment he hears this, he gets angry. Every trace of the “fine young man” evaporates. He even calls home and asks why the hell they had to send this burden his way. The same thought repeats in his head: “I hate my little sister more than anything!”

A few years back, Asa Project’s games seemed to have lost their way. Their stuff used to be all about the laughs, and nearly every release had that one character with the insane facial expressions. Then something changed—no idea what they were smoking—and the games started getting more restrained, pivoting to all these “searching for pure love” themes, like the earlier 三角恋爱 and 寄宿恋爱. But no matter how they went about it, those games just felt off to me. It’s like some guy who’s normally a total goofball, never serious for a second, suddenly sits you down and gets all earnest—what even is that? Some kind of advanced dark comedy? And the two Asa Project games before this weren’t all that great either. They just threw out a premise — either a love triangle or a cohabitation setup — with nothing really noteworthy underneath. Take away that half-baked premise and I don’t think it’d change much. On top of that, the “face-meme king” that used to be the main selling point has had its presence steadily erased, and it hurts to watch a label that once had real character turn more and more into “just another face in the crowd.” And it doesn’t stop there. Asa Project’s game titles have gotten lazier and lazier too — they just slap an adjective in front of “koi” and call it a day. What kind of idiot work puts “this one’s a love triangle” and “this one’s a boarding-school romance” right in the title? Even White Album didn’t pull that. Did you guys just give up on naming things? And then 2019 rolls around and the title gets even more blatant: “恋愛、借りちゃいました.” Just look at it. Does that read like a proper “title” to you? It’s a whole sentence, and it’s got this painfully awkward punctuation mark stuffed in the middle. What the hell! Have you ever seen a work named something like I, Ate My Fill, You, Farted, or She, Crossdressed? This is one of the few games where the title alone was enough to make me not want to play it. But because I was bored out of my mind, I figured I’d give it a look anyway — and it turned out… this game is actually surprisingly good?! You could say that. Title aside from being dumb as hell, this game at least has clawed back a good chunk of the level of Renai 0 Kilometer. We’re happy Asa Project finally figured out what kind of “reinvention” it actually wanted.

CLOCKUP is back, and Kono Tatsuya is back too. After that last game about “wolves and sheep,” the two have joined forces again for a new title. Though honestly I think CLOCKUP carries more weight here… Kono Tatsuya? Who even are you? The game is called DEAD DAYS. The initial promo material reminded me of a certain well-known manga and its adaptation, “Highschool of the Dead” — my head was full of images of “zombies running wild in the streets while the protagonist and his group keep fleeing.” Then I opened the game and cleared it, and I had to slap my thigh and shout: “Damn, I got played!” Strictly speaking this isn’t a “zombie apocalypse survival game” at all. It’s more of a “petty thug goes straight” game, dressed up in a slightly sci-fi coat at most.

“Tomodachi ijou, koibito miman” — more than friends, less than lovers — is a pretty common phrase in Japanese, and a handy way of describing a vague sort of romantic relationship. Most people know what it means: the two of you are past being friends but haven’t quite reached lovers yet. And of course, once you do reach “lovers,” there’s the same kind of transitional gap before you become an actual married couple, so you’d figure “more than lovers, less than married” ought to exist too. Which is why SMEE went and used that exact name for their recent fandisc: “Sugar*Style: Koibito Ijou, Fuufu Miman.” It fits what the fandisc actually is, honestly — most of it is afterstory, so naturally it’s all stuff that happens after they’ve become a couple.

As the Japanese visual novel industry keeps sliding downhill, more and more people have set their sights on Steam, looking to break into overseas markets. The first to take the plunge was probably WillPlus, with If My Heart Had Wings, but that game caught a ton of criticism, because to satisfy Steam’s review requirements and appeal to Western players, it got heavily cut and altered—lots of the porn was removed, and the story itself even ended up different from the original. That move got a ton of pushback and criticism from weeaboos; some people even made “restore the original” patches to make the game look less “sanitized.” Oh, right—maybe some of you don’t know what a weeaboo is. According to the internet: “Weeaboo is a mostly derogatory slang term for a Western person who is obsessed with Japanese culture.” In Chinese it’s even simpler: weeaboo = the otaku of the Western races.

その昔、深野市には、外つ国から来た魔法使いが住んでいたという もちろん、それを本気にするものは少ない。 けど、もし旅人がこの地を訪れたなら、きっと平地にはない異郷の香りを嗅ぐことだろう。 ここは、かつてヒトとヒトならざる者が共に暮らしたと伝わる幽玄の地。 四方を山に囲まれ、独自の自然観をはぐくんできた深野の町には どこか、そんなこともあるかもしれないと信じたくなる霊気が漂っている。 They say that long, long ago, a witch from a foreign land lived in Fukano City. Of course, hardly anyone takes that rumor seriously. But any traveler who visits will surely catch a whiff of something foreign, different from the usual. This is a legendary place of mystery, where humans and all sorts of non-human beings live together. In this small town of Fukano, surrounded by mountains on all sides and nurturing its own unique natural scenery, a faint spiritual presence drifts about, and there exist things that may or may not be there—yet you can’t help but believe in them… This passage isn’t something I wrote — it’s from the game Tamayura Mirai (タマユラミライ). If you’ve played it, the words will be burned into your memory, because the game repeats them at least 20 times. If you haven’t played it and plan to, then once you’re done you’ll probably be able to recite it from memory just like I can… Before I get into Tamanura Mirai (タマユラミライ), let’s talk about something else first — something game-related, of course. I know none of you want to read those intros that have nothing to do with the game, so I’ll skip them.

No idea how many years ago, there was a novel-based anime called Humanity Has Declined (人類は衰退しました). The premise: humanity has declined for unknown reasons, the world is overrun by “fairies,” and the female protagonist, a human, observes and interacts with them. Your standard anecdotal setup. I never read the original, so I can only talk about the anime, and honestly the anime was pretty good. After watching it I was left with three impressions: fun, sci-fi, and what-the-hell-did-I-just-watch. That last one sticks with you the most. You always get the sense the show is “hinting” at or “allegorizing” something, but you can never find the exact parallel, so it’s hard to pin down the author’s stance or viewpoint, what the story is trying to say, blah blah blah. But that’s exactly the appeal of Humanity Has Declined—if it stated its position too clearly, it’d feel like force-feeding you opinions, and it’d be harder to provoke thought. That half-hidden, “still holding the pipa behind the curtain” feeling is just right. And what’s worth noting: the author of Humanity Has Declined is Tanaka Romeo. This was the first and only time I’d encountered his work. I had no interest in what he wrote afterward and didn’t follow him much. Then a while back, a game called Waka-sama no Zasu Sekai (和香様の座する世界) came out, and I saw that familiar name in the script credits again: Tanaka Romeo. And it reminded me of Humanity Has Declined.

From what I can dig up, the earliest visual novel goes back to 1982 — roughly 30-odd years of history at this point. Over that long haul, under the core premise of “attract male players with cute girls,” the art and styles have changed again and again, and the elements have piled up, but one thing has never changed: the big-breasted character always shows up. You could say that for today’s eroge, “no CV? Fine. No OP? Fine. No systems? Fine. But no big breasts? Unthinkable.” Big breasts have become the last-resort trump card for plenty of visual novel makers on the verge of going under, as if whipping out the big-breast element alone will bring them back from the dead. So what exactly is the appeal of big breasts? Why must a visual novel have a big-breasted character? Today let’s grab a recently released game and spend 7-plus-7 minutes figuring out why.