Next month on MoeGamer is all about Gal*Gun 2, but in the meantime I couldn’t resist sneaking a peek in the shiny new limited edition box.
Publisher PQube and its partners at Rice Digital have put out some really nice (and affordable) limited editions over the last couple of years, so I was more than happy to stump up the extra cash for the “Free Hugs” edition of Gal*Gun 2.
Thankfully the new game doesn’t come in quite as obscenely large a box as its predecessor — that had a big wallscroll in it, so it was understandable — but still has a rather tasty set of goodies to enjoy.
Continue reading What’s in the Box: Gal*Gun 2 “Free Hugs” Edition
With Omega Labyrinth Z being the first game to be refused classification in the UK for a decade — the last was Rockstar’s ultra-violent Manhunt 2 — there has been a lot of discussion surrounding the title.
With that in mind, I felt it important to express my own feelings on the matter directly to the Video Standards Council (VSC), the body responsible for refusing to allow the game to be sold in the United Kingdom, despite it already having successfully attained a PEGI 18 rating elsewhere in Europe.
If you feel similarly, I encourage you to reach out to the VSC yourself using the contact details on their website. I shouldn’t have to say this, but I will anyway: if you choose to do so, please keep your messages polite and respectful, whatever you may think of the decision. And whether or not anything changes as a result of feedback from consumers like this, we can at least say we tried to get our voices heard.
The letter I sent directly to the VSC follows after the jump.
Continue reading An Open Letter to the Video Standards Council
It was announced earlier today that the upcoming dungeon crawler Omega Labyrinth Z would be refused classification by the Video Standards Council in the UK, despite the game already having successfully attained a PEGI 18 rating.
The VSC’s comments on the matter note that the game’s “style is such that it will attract an audience below the age of 18” and that “there is a serious danger that impressionable people, i.e. children and young people viewing the game, would conclude that the sexual activity [in the game] represented normal sexual behaviour.” It concluded by noting that the game “has the potential to be significantly harmful in terms of social and moral development of younger people in particular”.
Okay. Omega Labyrinth Z is a game with a significant lewd component. And, as with many Japanese games, visual novels and anime — including those with lewd components — it is set in a school-like environment, which is where the majority of the VSC’s complaints come from. But, as ever, what essentially amounts to “ban this sick filth” represents an oversimplification of the issue.
Continue reading The Case for “Adults Only” Ratings
This week, Destructoid’s Jed Whitaker posted a review of Valkyrie Drive Bhikkuni, a PC port of a Vita game produced by Senran Kagura creator Kenichiro Takaki’s new studio Honey Parade Games.
The review, such as it was, angered a lot of people — and with good reason, since it began with the headline “Dynasty Warriors for paedophiles” (later edited to “Dynasty Warriors for aspiring paedophiles” and finally “Dynasty Warriors for aspiring paedobears”) and didn’t improve from there, demonstrating throughout that Whitaker was unwilling to engage with the game in good faith and raising serious questions about his professional rigour in covering a title.
Whitaker’s article isn’t the first to follow this mould; it’s just the latest. But it’s a problem. It’s more than just “bad games journalism” — something that can be laughed off. It’s a problem that needs to be tackled.
Continue reading Destructoid’s Valkyrie Drive Review is More Than Just “Bad Games Journalism”
Kadokawa Games’ Root Letter, first in their new Kadokawa Games Mystery series, quietly snuck out onto the market at the end of October, just four months after its Japanese release.
The proposed series is set to be a collection of visual novel-cum-adventure game hybrids for PlayStation platforms that feature real-world locations, artwork from Love Plus character designer Mino Taro and a cast of fictional actresses who will play different roles in each game. The plan, presumably, is to create a series of adventures that, while distinct in their own right in terms of story, will have numerous thematic and stylistic similarities throughout that make them feel like “part of a set”.
So far, all we have to judge the series on is its inaugural installment Root Letter, but fortunately it’s a very strong start indeed, eminently worthy of your time if you’ve ever enjoyed the Ace Attorney or Danganronpa games.
Continue reading Root Letter: Eleven Letters, Eight People, One Truth
Gal*Gun Double Peace is memorable for a whole lot of different reasons: its contribution to the revival of rail shooters, its silly but touching plot and its striking audio-visual aesthetic.
Unlike many other anime-inspired games, the art and music of Gal*Gun are not the work of particularly well-known or established names — but there’s some decent pedigree there if you take the time to look into things a bit more deeply.
So let’s do just that, shall we?
Continue reading Gal*Gun: Sights and Sounds
Gal*Gun Double Peace is about much more than just shooting pretty girls until they fall over in quasi-orgasmic states: it’s actually got a pretty decent narrative, too.
Technically, it’s got several narrative threads, and in true dating sim/visual novel tradition, it’s only by playing them all that you’ll get a full understanding of everything that is going on and the context of each of the characters.
As you might expect from the general tone of the game as a whole, Gal*Gun’s narrative errs on the lighter side of things, but that certainly doesn’t preclude it from exploring a variety of interesting themes along the way.
Let’s dive in and take a look.
Continue reading Gal*Gun: Narrative, Themes and Characterisation