Whether or not you’re like me and couldn’t care less about the various works under Type Moon’s banner, you have to admit the same thing I do: The Fate series under Type Moon is the most successful visual novel ever made. What counts as success? It’s when a product’s fan effect is so strong that all they have to do is keep reheating leftovers to keep raking in money—where even some slapped-together spinoff with no real connection to anything is a cash-printing machine. If that’s not success, I don’t know what is. From 2004 to 2018, the Fate series has gone through two anime adaptations, a prequel novel adaptation, countless movie adaptations, and all sorts of spinoff games, spinoff manga, spinoff anime, and so on—all the way up to the current mobile game Fate/Grand Order, which still gets hordes of otaku throwing money at it by the fistful. Sure, the Fate brand has now spread into every corner imaginable, but I wonder how many people still remember that the Fate series started as a game—a visual novel, and an 18+ one at that. I know the thing was originally a novel by scenario writer Kinoko Nasu, and it got turned into a visual novel out of necessity to get it to market, but its debut was, in fact, in visual novel form. A whole world expanded out of a single visual novel, reaching the point it has now—if that’s not massive success, what is?

I’ve played a lot of games with interesting premises, and the one that left the biggest impression on me is definitely the one where a heroine turns into an alpaca. That game was actually pretty touching. The moe girl you love most turns into an alpaca—that’s the moment that tests whether your love is real. It’s worth recommending, too. Besides heroines transforming, there’s also the protagonist-transforms genre. The famous recent one is that game where the protagonist becomes a black cat. It even got an anime, so I won’t go on about it. This kind of game always produces a lot of comedy. It’s a comedy-grade absurd premise to begin with—the protagonist suddenly turns into another species, so of course there’ll be plenty of laughs. So this genre has a new member. More, the well-known rhythm game developer, has a subsidiary of a subsidiary of a subsidiary whose brand got renamed—and that renamed brand, KATE, released its latest work: Koi wa Mofumofu! Love Me Teddy (恋はもふもふ!ラブ・ミー・テディ). Literally, “Love is Fluffy, Love Me Teddy!” Don’t bitch about why it isn’t “Love my teddy” yet—I looked it up, and “love me teddy” seems to be a reference to something. The premise is easy enough to explain: the protagonist turns into a teddy bear, gets taken home by several girls, and gets rubbed all over.

Growing up, every one of us ends up watching some… physiological, health-oriented, body-art, stimulating, videotapes. And among those… physiological, health-oriented, body-art, stimulating, videotapes, the most famous ones besides the female teacher, the flight attendant, and the OL are probably the prosecutor series. Most prosecutor-series films are about a female cop who, to fight the evil forces of darkness, infiltrates the enemy’s ranks, gets caught, gets tortured and humiliated… oh, sorry, disgraced, and then our unyielding heroine defeats the evil forces and completes her mission or whatever… Of course, this kind of educational plot isn’t only something you can see performed by Matsushita Saeko on videotape. We’ve also got the so-called “2D version” in the visual novel sphere.

Some guy with a screw loose once laid out the whole “old school” vs. “new school” thing. Of course, a guy with a screw loose doesn’t talk like a human being, so what he meant was Old School and New School. Put bluntly: “new type” and “retro type.” You see this pattern in other games, you see it in music genres, so naturally you also see it in the eroge space. Remember what the earliest eroge were like? You’d have a male lead meet a pretty girl, and after about two lines they’d start fucking, and then it was over. Same as what Carmack the Great said about FPS games: “The game is the porn, the story is superfluous.” The subtext: games exist to make you feel good, so why the hell bother with plot and authorship? If it doesn’t get you off, why the hell are you playing it? Normal games are already pigeonholed that clearly, so what about eroge? What’s an eroge for? So you can watch it like porn! So why the hell go through all that asinine setup and payoff? Just drop the pants and get to it!

Personally, I really like ClockUp’s games, because I always feel they’re very “real.” Yes, real — the kind of game that’s genuinely 18+ for adults, not one of those “it’s 18+ only because they bolted on some sex scenes” games. Honestly, if you stripped the optional HCGs out of a lot of 18+ games, the age rating would suit thirteen-year-olds better. ClockUp’s games are the opposite: even if you deleted every HCG, they still wouldn’t be okay for anyone under eighteen. It comes down to the content and the emotions the game expresses — stuff that’s hard for minors to stomach. Most of it delivers shocking gore and violence, and through those shocking images, thoughts about life and human nature. I always praise ClockUp’s games as insane, but not every ClockUp game is like that — it mostly depends on the scenario writer. Some bring in Light’s lead writer, like Nemurenu Hitsuji to Kodoku na Ookami and Maggot baits. Others are the series of small, deep works by Asa Ei, like Natsu no Kusari and euphoria. And this time Asa Ei took the pen again, teaming up with ClockUP on a new title: Erewhon.

Honestly, my life before high school was nothing like the cushy existence kids have now. I had zero pocket money. Not “very little” — literally none. Picture my elementary and middle school years. My parents weren’t completely against giving me money, but occasionally handing me one or five yuan was already the biggest concession. Going out to buy a shaobing or a youtiao egg pancake counted as a fancy purchase. I had no money of my own to buy what I wanted. I used to envy friends who had their own wallets and allowances, who could just buy stuff. Me? Anything I wanted had to go through parental approval. Sure, I only wanted things like Mini 4WD cars, but obviously my parents weren’t going to buy them on a whim. Back then a pirated “Auldey” car cost 10 yuan, and I only had 1-2 yuan in coins. Out of reach. “Man, if only I had ten yuan.” That was my wish. Simple, direct, pure.

Butterfly Seeker came out early this year, so naturally in the back half of the year they put out Butterfly Seeker: Chaos Nightmare, billed as its fan disc. Usually a game that sells well gets an FD, and sometimes a game that sells like shit gets one too — making a visual novel isn’t expensive, the worst that happens is the voice actors get tired, everything else is copy-paste. Why not squeeze some money out? Going by the other titles from this brand… (yes, I’m looking at you, Kage no Umi no Apeiria), the FD should just be a little slice-of-life sideshow with no real connection to the main plot, lower quality than the main story, maybe giving a route to a heroine who didn’t get one, maybe just shooting the shit. In short, a cash-grab riding on nostalgia. No reason to expect much. But Butterfly Seeker: Chaos Nightmare genuinely brings a lot of surprises.

Everybody has some contradictions in them… Some people love spicy food, but hate the fiery ring of death the next morning. Some people are scared of yokai, but can’t stop themselves from reading ghost stories anyway. Some people love games, yet spend every day watching someone else play on video and shouting “insane” along with the crowd. Some people love eroge, yet never actually play them—they just hang around 5ch and forums while other people argue about the plot, nodding along to things they don’t understand. Like me: I love mystery and exploration stories, but I absolutely hate detective novels…

Butterfly Seeker (バタフライシーカー) came out back in March, and I only just finished it recently. The main reason I didn’t want to touch it at first was the scenario writer: Nozomu Kaihara (海原望). Kaihara is, I believe, a Liar-soft person. I’ve played a few things he worked on. I wouldn’t call them bad — it’s just that they always leave me with this strong sense of discomfort. Not from the art or the setting, more from the way the script and dialogue are written. So when I saw his name on Butterfly Seeker, I immediately didn’t want anything to do with it. But I had literally nothing to play. I don’t like moege, I don’t like the stuff everyone else hypes to the heavens, and what I actually want is traditional mystery / puzzle-solving / story. Looking around, the only thing left from the first half of the year was Butterfly Seeker. So I played it. And since there was nothing else I wanted to play, I played it pretty seriously. After clearing everything, my impression was: actually pretty good. This might be the first Kaihara game I’ve been able to get through? Some people say Kaihara is a pen name of Meteo Hoshizora… but I’m not familiar with Meteo Hoshizora so whatever, lol.

Japanese works love to bring up “four-leaf clovers” all the time. Most of the time it’s the hero and heroine finding one in the grass—the kind that supposedly symbolizes “luck.” One use of that trope would’ve been plenty, but unfortunately it’s everywhere now, played out to death. It goes back to games like Clover Hearts in 2003, and from then until now the four-leaf clover legend just keeps multiplying. Sometimes I honestly wonder if Japan is covered in the damn things. Four-leaf clovers are supposed to mean luck because they’re rare, so why can the protagonist and heroine always, without fail, stumble onto one? I wrote a post complaining about this a long time ago too: if four-leaf clovers stand for luck, then what does the ordinary three-leaf clover stand for? Does that mean three-leaf clovers are unlucky compared to four-leaf ones? Of course, a three-leaf clover isn’t unlucky. But if you actually use three-leaf and four-leaf clovers as a metaphor for people, the happiness a four-leaf clover gets really isn’t something everyone has. For me, I read it as “the three-leaf clover stands for the ordinary and the mediocre.” Last year More launched a sub-brand, DOLCE, and put out its first game, “カサブランカの蕾” — that is, “The Buds of Casablanca.” I rated that one pretty highly, because it gave me a lot to chew on: its take on desire and true love is “realist,” and the ending, paired with an old song redone as something new, really shines. DOLCE put out a new one again this year. Given how More has a habit of spinning up brands for no real reason, this label’s whole deal seems to be cranking out the same type of game over and over. The new one’s called Shamrock no Hanakotoba — “the language of flowers, shamrock edition,” basically. My guess is it follows the same route as Casablanca no Tsubomi before it: grounded, leaning dark. At least that’s what I figured when I stumbled onto one of the promo CGs — a big ol’ 3P shot staring me in the face… Before I got into this game, I didn’t even know there was a word “Shamrock” that specifically means “clover” — I’d always thought it was just Clover. Naturally I also looked up the language of flowers for clover, and after reading up on it, I get why everyone says the four-leaf one stands for luck. The language of the shamrock: one leaf stands for prayer, one leaf stands for hope, one leaf stands for love, and the last leaf stands for happiness. If you can find a four-leaf clover, you will find happiness. And of course, if you didn’t find that fourth leaf… you have everything, except happiness. Yes, this game is the story of four girls who had everything except happiness.