Ever since Key got acquired by Tencent, their direction changed completely—they shifted to a weird… but also very modern approach. On one hand they ride the heat of old IPs to squeeze out the remaining value; on the other they push a series of small, quick, cheap titles, using fast iteration to boost overall sales. Take the new “Kinetic Novel” line, for example: no-choice visual novels focused on story and presentation for a more three-dimensional experience. Honestly, you can see the logic. Games—visual novels especially—are a one-time development cost with essentially zero cost to copy afterward. As long as you have enough titles and keep throwing sales, you’ll move some units, and you can even count on passive income later. For a traditional galgame company, that’s not a bad thing. So from last year to now we’ve seen Key pump out new title after new title, and this one is Rainbow City.

Earlier this year I read a business plan from Visual Arts, Key’s parent company. The president, Baba Takahiro, turned out to have a surprisingly complete read on the industry—he knows how huge the overseas market is, especially the Chinese-speaking one, and he’s been actively registering local trademarks there, looking for local agents and partners. He also gets that the traditional “galgame” era is basically over, that selling on sex appeal alone can’t grow the market anymore, so the only way forward is all-ages. Raise the quality of the games themselves, and build IP across anime, manga, novels, and music. Rather than making games, make IP—that’s how you actually milk the 2D girls for money. At the end he said he’s extremely interested in the “metaverse,” and if they have the means, he’d like to explore whether the company can get in early on it. Reading this plan actually surprised me. My impression of Japanese companies, especially ones that got their start making Galgame, was that most of them are hopelessly stuck in their ways, utterly immune to reason, clinging to the same ancient engine until the day they die, at best peddling overpriced merch to scam people, and just shutting down outright when they can’t keep going. But Visual Arts is surprisingly clear-headed about the fact that the core of the “2D character” market is “IP” and “characters.” Be it story, music, games, or novels, every medium exists mainly to build the IP, and that IP then gets sold worldwide. That really is the kind of marketing strategy a cultural/creative company ought to have. Whether that roadmap is just bullshit or not, I honestly don’t know — but I did for sure notice this one thing: 『終のステラ』, the final chapter of the robot trilogy that began with 『planetarian』 and 『Harmonia』, written by Tanaka Romeo, scheduled for a spring 2022 release, aiming for a theatrical-film scale… And as you can all see, it’s already autumn and the game only just showed up. As for the “anime adaptation”—yeah, nobody brings that up anymore. Anyway, back to the game itself.

I know who Matsuyama Takeshi is, because I read his novel Kimi Shinitamou Ryuuseigun. I’m still not sure whether that series is actually finished—it stopped at volume five, and I got stuck on volume three. The official line is that it’s complete. The plot of that novel is pretty simple: the protagonist’s childhood friend dies, and he spends the entire book getting over it. One idea from that novel stood out to me as genuinely novel: the heroine isn’t actually a “Earthling” in the usual sense—she’s a “space-born,” born in space to a mother who gave birth to her up there. That’s the bit that stuck with me the most. Honestly, I think that novel should have ended after volume one. The whole first volume is already overflowing with inspirational chicken soup, and the protagonist does manage to move past the heroine’s death. But then—surprise—the story pulls a sudden twist and reveals there might be a way to save her. And that’s where I checked out. If I had to guess, the rest of the story involves the protagonist using some supernatural ability (time travel, space hopping, whatever) to bring the heroine back… Lame. So lame.

Lately Key seems to have lost its mind, suddenly dropping a bunch of projects, mostly short and quick little pieces. And the weird thing is, Jun Maeda — Key’s star player — is nowhere to be seen. After his latest anime blew up in his face, maybe his ass really did split in half and he retired for good. Either way, this is a good thing for Key. I’ve been sick of Maeda for a while now. Every story he writes follows the exact same pattern: set up something super compelling, some really interesting premise, then once the premise is laid out he starts padding the daily-life scenes, and finally he realizes he’s running out of time and can’t hold it together, so he slams the accelerator on a roller-coaster super-twist, wraps it up in a hurry, and leaves the Key fans who watched it shit the bed screaming impotently into the void. Anyone who’s seen Angel Beats and Charlotte knows exactly what I’m talking about. Good news is, none of Key’s recent projects have that dumbass Maeda in them～ Fantastic. This month they even released the first one, and I was instantly hyped. It’s called Loopers, and the scenario is by Ryukishi07. I don’t particularly like Ryukishi either, but hey, better than that dumbass Maeda! Plus the artist for this game is seriously good, so I dove right in. And then… after playing it, I’ve got a bone stuck in my throat. I have to talk about this.