Visual novels, by design, feature little interactivity incomparison to mainstream games and are engaging as far as their stories piqueinterests. Immersion could become an issue if the protagonist is someone thatplayers simply couldn’t identify with. This was the issue I had come across inmy time with Hakuoki: Demon of theFleeting Blossom. For the first time, I found gender to be a factor in mygaming.
Set in Japan, Hakuokifollows Chizuru Yukimura on her quest to find her father, who has been lost inthe dangerous city of Kyoto. Upon her arrival, she runs into the Shinsengumi, agroup of samurai whose mission were to protect the shogun. Eventually, theytake her in and begin to become quite acquainted with her. As part of the otome genre in Japan, this game was made for females and will be ahard sell to a majority of male gamers. Despite this, the story should equallydraw in and repel history buffs for its inclusion of Japanese historicalfigures and liberties with them.
The art in this game is done superbly well, with thedisproportionate figures of low budget visual novels nowhere to be seen. Inaddition, the costume designs are appropriate and true, reminding players of a Kyotoand Shinsengumi that is consistent with that of other Japanese media, likeclassic shounen anime Rurouni Kenshin. Of course, this isprobably aided by the game’s own roots in anime. It all leads to an atmospherethat will take players back to Japan’s Edo period. The one exception is thewriting, which frequently features the casual tones and words modern speakersare used to, hardly ringing true to the same period’s formal speech patterns. Aksysloyalists will appreciate their usual brand of localization that includesliberal use of casual words and expletives. Though this makes the game moreaccessible, it also takes away from its credibility.
For the most of the game, players will spend it pressingaway at the X button and skipping dialogue that involves little interactivityfrom the player. Only at pivotal points will the game ask for input fromplayers, which, surprisingly, offered very different events for players toparticipate in. Not only do these give players different views on Chizuru’spossible adventures, but also chances to build relationships with differentcharacters. However, these are few and far in between, leaving much to bedesired.
As an introduction to Japan’s otome genre, Hakuokidefinitely eases the west into it by providing a rich background story alongwith the romance. Its anime heritage and quality production provides for someof the best art that US players have ever laid eyes upon and, combined with itscharacter and costume designs, is a 2D visual treat. While general anime fanswill want to pick this one up, those pining for more otome and visual novel games should definitely do so to tell gamepublishers what they want in the future.
Available on: PSP; Publisher: Aksys Games; Developer: Idea Factor; Players: 1; Released: February 14, 2012; ESRB: Mature; Official Site
Note: A retail copy was provided to Denkiphile for review purposes by the publisher.
Back in the days of cartridge converters and illegal modifications all for the purpose of playing imported games, most American gamers only heard about the elusive Japanese games and could only find out about them from rare magazine articles or word of mouth. With the internet and a greater interest in gaming, not only is there more information making it to western gamers by way of individual user created videos, but there is a greater number of games making their way to western shores as well. Although that is the case, people still import games – and for good reason. Here are at least five reasons why to import a game instead of waiting for it to come overseas.
Japanese Voice Acting
This isn’t much of a knock against English voice acting, really. It has been done successfully before and games like the Metal Gear Solid series (which originally has Japanese voice acting) and many American games, since it is the game’s native language. However, let’s not forget the horrible translations that make it over without any Japanese audio option: Final Fantasy, the Dynasty Warrior series (before the free godsend DLC), and many others that I have probably blocked out from my memory. Just like with movies, lackluster acting can easily take the audience out of the experience and turn any potential blockbuster product into a dud. Here’s to those of you lucky enough to understand Japanese – your Final Fantasy experience will be infinitely better than others who are subjected to emotionless cries of characters’ names as they fall in battle.
Cultural Differences
While this may not apply as much to general gaming as much as it applies to any work that is translated. Anyone who’s familiar with more than one culture knows what I’m talking about. Some phrases and aspects of culture just can’t be translated. Cultural ideas like saying “gochisoosama” after a meal and speaking to employers or older classmates in the honorific speech, keego, that Japanese people use would be awkward if translated directly into English. Of course, there are acceptable replacements for the most part that localizers manage to think of, but purists can never be satisfied. But hey, that’s on them and they’re perfectly justified in spending about 50% more for an import copy!
Withheld Content
This is an odd one. Some games, despite being brought over, are not given to western gamers in their entirety. As much as I loved Dynasty Warriors: Gundam 3and will ooze everytime I destroy entire squads of Zakus, it will always sting knowing that I won’t be doing that to tracks like “Unicorn” or “Turn A Turn.” InYakuza 3, fans were unable to take part in the hostess clubs or Japanese history trivia in the domestic release. Of course, this is a small price to pay compared to not having the game published at all, but it does take part of the experience away, which is a shame.
Waiting is Not an Option
I’m not talking about getting the jitters to play the latest niche RPG just so you can show off and tell others about it. I’m not talking about running through Final Fantasy XIII-2 with a complete disregard for the story just to be able to troll the internet with a spoiler screenshot. I’m talking about competitive gamers who can’t lose the edge to the competition and needs to get any release on day one. For some games, it’s a minor problem. BlazBlue: Continuum Shift’s Japanese release was only about a month before the US release but a full five months before the European one. Arcana Heart 3 took about three months to hit the US and another seven before European gamers got a chance at it. This isn’t only a dilemma for fans of niche genres – Super Smash Bros. Brawl came out in Japan a good two months before it did in the US and five before Europe. That’s a lot of practice and tournament time for a competitive player to give up.
It Won’t Go to Your Country. Ever.
Many times, those niche games just won’t make it to countries outside of Japan. As hardcore as some of the games’ followers might be, the Super Robot Wars series simply requires too much licensing to be considered a viable release in the states. Due to the original anime’s lack of popularity in the US, the upcoming Saint Seiya Sanctuary Battle will likely never make it to America – although it will still have a European release. Let’s not even get ourselves started on the obscure releases that westerners are unlikely to take to, such as dating simulator Love Plus+, and games that failed the one time a publisher brought it over, like the Taiko series. If you like these games, your options look grim and bank account empty. Yeah. You’re going to have to buy it.
