Last year — no, the year before that — I played a game called Ten no Sora Retrospect (天ノ空レトロスペクト). I actually thought it was pretty good at the time. It fizzles out late and gets muddled in the middle, but the opening was solid, it made clever use of the infinite monkey theorem for a genuinely fun premise, and a lot of the scene transitions in the prologue had a bit of a cinematic feel. But Japanese players didn’t really click with it, apparently. The reasons were the same as for a lot of games I think are good but Japan doesn’t: most of them said “what the hell is this, how could the world be made by monkeys, how could some monkey bang out Shakespeare on a typewriter, why would a god in the sky have anything to do with monkeys, it’s a mess, bad review.” So yeah, I really don’t get these Japanese players sometimes. It’s like how I thought that game about raising a Canadian goose and flying with it was good too, but they gave it bad reviews because “raising Canadian geese is a crime.” Under the infinite monkey theorem, there could be infinitely many possible worlds that monkeys banged out by pure chance. They refuse to accept that setup, but they’ll happily accept something even dumber like the world ending tens of thousands of years ago. A lot of Japanese called Ten no Sora Retrospect a “denpa game.” Honestly, go call the “Kisetsu Kururu” series a denpa game first. What I really can’t wrap my head around is that the latter outdoes the former by about 20 Chaos;Childs in both chuuni and sheer insanity, and yet it got tons of praise. Some people say Ten no Sora Retrospect reads like a chuuni kid’s embarrassing old novel. If that’s a chuuni’s embarrassing old novel, then the “Kisetsu Kururu” series is toilet paper from a psych ward.