A Look At – For Elise -エリーゼのために-

FE Title

Hioki is an incompetent, shiftless salaryman, stuck grinding in a thankless job at his company. He has a crush on coworker Chitose, but keeps his feelings to himself. But soon he will have a chance encounter with several women that will change his life… for the worse.

「In this CD-ROM, Justice, Love, Friendship… are nowhere to be found.
In its place, Madness, Delusion, Depression, Weirdness and Inferiority…
this is the nature of this software」 – Excerpt from the game’s package.

In a strange coincidence, I seem to have ended up writing about two VNs in a row whose main accomplishment seems to be to serve as a prototype for a more famous game down the line. The difference here being that due to the language barrier, most people are likely not familiar with the game For Elise would eventually inspire – Sayonara Wo Oshiete. Continue reading

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Berwick Saga – Fantranslation Complete


At long last, Berwick Saga has been fully translated and now available in English. As a quick refresher, BS is Kaga Shouzou’s final commercial SRPG (the original creator of the Fire Emblem series) with many unique ideas, resulting in one of the freshest games in its genre. I have written about the game in a previous post.

You can find the fantranslation patch at this link

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A Look At – Angel Halo (featuring art from Sei Shoujo)

Angel Halo Title

Set in Kyoto, Japan in December 1999 at the end of the 20th century, Angel Halo is loosely inspired on the prophecies of Nostradamus in the year 1999.

The protagonist, Kusakabe Makoto, lives an ordinary high school life. One day, an angel named Sophia and a demon named Lilith appear before him. They are the messengers of Heaven and Hell, informing him of the approaching end of the world.

The day of Lucifer’s judgement is approaching. Continue reading

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Game Spotlight – The Dungeon of Lulu Farea


One of the more interesting developments in the RPGMaker community is people realizing that they don’t have to use the default built-in Dragon Quest battle system. At first, this generally meant replacing it with the “ATB system” of the SNES Final Fantasies that was in vogue at the time (an era I’m glad is now over), but eventually people have started getting so creative with RPGMaker’s engine that games entirely without combat that just use the engine for its tertiary features such as tileset mapping / menu / dialog systems such as To The Moon. This game happens to be somewhere in the middle, I suppose.

The Dungeon of Lulu Farea is a “Monstergirl”-themed resource management puzzle game originally released in Japanese in 2014 but received a Steam English version in 2019.
Continue reading

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Dead and Buried – Kongai

(Dead and Buried is a series where I look at defunct online games and ramble on my experiences and thoughts on them.)

Kongai Title


David Sirlin – those who know that name probably remember it from his work on Super Strip Fighter 2 Rainbow Accent Core George Lucas Special Edition, but like most people who aren’t Super Robot Wars fangame creators, being defined by modifying the works of others was not where he would like the end point to be. Sort of.

Nowadays, Sirlin is more active in tabletop game design, but he has had several stints in creating videogame IPs – such as Kongai, his very first foray into the market.

For better or for worse, Sirlin is, how shall I put it, not very original as a creator. This isn’t really meant to be a criticism – you could say nothing in the world is original when you get down to it and the main reason that something appears as such is usually because of ignorance of the works that influenced it such as with the case of hit 90s Anime of all time – Tom and Jerry.

Image result for chess 2

No, really

Most of Sirlin’s works generally involve taking a solid base game and putting his own spin on things, generally aimed towards the more competitive angle of things – this man made a game named “Chess 2” for cripe’s sake. But the particular base game chosen for this exercise is… interesting.


Competitive Pokemon


Some aspects of Kongai should be familiar to those with experience with its inspiration – for example, the game involves teams of either 3 or 5 characters, each with a movepool of 4 abilities, but the battles are one on one despite the team setup with free (but risky) switches.

Where Sirlin added his touch is taking inspiration from fighting games with mechanics such as distance/range, where each attack can either be used at close or long range (sometimes both) with characters able to spend their energy at the start of a turn in an effort to manipulate the distance between the combatants, though in practice I find the particular implementation of the idea tends to heavily penalize long-range focused characters.

The other thing Sirlin did for the game is remove all the “RPG elements” (in the time investment sense) by having each character be prebuilt from the getgo, fair enough as most competitive Pokemon player would consider the grind to level 100 / perfect EV + IV a chore even with the many tools Gamefreak have added to lower said investment over the years.

He also cut down on all the “perceived complexity” that he saw in mechanics such as Pokemon’s elemental / dual typing charts, which, balance issues aside, would work fine for an exploratory focused casual RPG but forcing players to look up a chart every time they perform an action would be a bit bonkers in any form of quick competitive play, so out it goes replaced with a fairly simple “3 attack elements vs their corresponding elemental defenses per character” system.

There’s also a single energy meter for each character shared between all attacks rather than individual attacks having its own “number of uses”, which works for a game in which long dungeon treks and thus long-term resource management are a thing, but not for the equivalent of a game that’s only focused on a single burst trainer fight.


Something else that stands out to me is the fairly strong itemization – like Pokemon, each character can equip a single item. This holds true in Kongai with a small twist – characters can pick their one item from either a set of generic items or from their own faction based – for example, Pirates can equip Cursed Doubloons which slowly sap their opponent’s health and energy, Vampires can equip Necromantic Tomes that grant their Dark element attacks and the Villagers can add poison to their attacks or shore up their defenses with evasion chance or just pure armor bulk. The items in Kongai are generally design to help the character push a particular playstyle rather than add an arbitrary numbers inflation like in most other games.

At its core, Kongai does seem like a fairly solid idea…

Anyway the game is real dead now.


To understand why Kongai failed, we need to understand the context Kongai was released in. Kongai was released on the platform “Kongregate”, a casual site containing many flash games, usually with f2p monetization elements (a bit of a precursor to the social games we have today).

Kongai was meant to be the lynchpin of the site – how did they go about this? Well, each week, Kongregate would run a special “challenge” in a non-Kongai game – challenge being in quotes being all it takes to accomplish most of the challenges is a bit of time investment and its actual intent would be to act as “soft advertisement” for the game in question.

The reward for completing these challenges would be a “card” – a representation of either a single character or equippable item (I should mention that this game does not use “cardgame” concepts like deck-building, drawing/discarding and so on – it’s purely a visual element to represent collectible items)

So characters would play those games and then return to Kongai to test out their newly earned cards, creating a perpetual loop. So what’s the problem?

Kongai Rumiko

Starring Taki from the Soul Calibur series

The first thing that would probably look like a very obvious mistake in hindsight – the majority demographic of Kongregate would be the casual audience who just want to burn some time at work instead of getting highly invested into a game that’s almost purely competitive in its appeal. While its character designs (done by UDON, a company that has worked on the visuals of many promotional artwork for Capcom) could likely draw in some curious onlookers, the general “low budget” visuals (the attack animations are about as sparse as Pokemon Netbattle!), lack of single-player support (campaign or special game modes such as randomized dungeons in games like Hearthstone) or story/lore to keep the waifu/husbando crowd around for the long run meant that Kongai just bled out players as time passed.

The particular method of unlocking new characters also led to some wonky issues with the balance – with the way it’s designed like a fighting game, different characters have their own strengths and weaknesses. Ideally they should all be balanced, but in practice this is of course an impossible task so there are of course good and bad matchups, like in a fighting game.


The issue about being beholden to the scheduled unlocks is that depending on when you start playing the game, you might not have a good team that can take on the “meta” characters – the two characters pictured above happened to be very popular characters who are very hard to handle if the player doesn’t have the tools available (even though they’re very reasonable if you do have said tools) and I can only imagine the frustration of many players who quit when constantly matched up against them. Kongai does offer the ability to pay real money to purchase the cards you want directly, but they’re extremely overpriced and the value of spending money definitely plummeted as the playerbase became leaner and leaner (amusingly enough, the designer himself believed the prices were “reasonable”).

Also when the game became too unpopular to upkeep any longer (based on monetary income), the challenges stopped, cutting off the supply of free cards and dooming the game entirely.

The last factor in Kongai’s demise is a bit of a subjective one. The higher level players would probably argue otherwise and I have no strong feelings on the validity of the statement to be presented…

But Kongai has a reputation of being too “luck-based” for the average player.

As a general observation, competitive videogame players are highly risk-averse. You could probably spend an entire essay trying to psychoanalyze why this is the case – perhaps they feel that if the purpose of a competitive game is to figure out who is superior then luck would only obfuscate who the “most skilled” is. Simply take a gander at something like the Smash community where tripping is considered one of the biggest mechanical blunders of the series while competitive play tends to consist of all items turned off with stage selected as Final Destination – a completely featureless plain, all in an attempt to minimize the effect of luck.


The Satan Clause

So it is that in competitive Pokemon, evasion modifying effects are banned from use as a general rule. On the player’s end, when setting up a Pokemon’s movesets, 100% base accuracy moves are almost always preferred to the less accurate but higher base power moves, such as Thunderbolt to Thunder. There are very rare exceptions such as Weather based teams (Rain based teams for example erase the accuracy disadvantage of Thunder) or if you desperately need elemental coverage in a Pokemon that doesn’t have access to the usual bread and butter moves but in general, Pokemon competitive battlers do not want to miss.


Boku no Popo

Kongai, on the other hand, absolutely revels in its luck-based aspects. Your average Kongai move hovers around the 90% accuracy rate – a rate which would cause your average Pokemon player to convulse on the spot in agony. There are also characters intentionally built around luck-based elements, such as Popo, a character with an innate dodge chance with his signature slingshot attack being worthless half of the time with the chance of randomly critting for triple damage.

Adding to this, there is a little change to how switching works that heightens the luck element in Kongai – where in Pokemon, an attack would still hit a unit switching in, only in this case the new Pokemon instead of the one that was just switched out, in Kongai, an attack on a switching character will whiff entirely costing the attacker valuable energy, a resource that is significantly less adundant than move PP in Pokemon.

Instead there is a new command named Intercept – when used on the turn the opponent switches, it will prevent them from switching AND deal 35 damage, which on most opponents is roughly half of their HP. This action does absolutely nothing if the opposing player doesn’t switch, of course.


Mighty No. Ryu

It’s a very powerful action if you guess right and high level players can supposedly make these guesses accurately through sheer intuition more often, but for most players it definitely just felt like a game of chicken. One of the most popular characters in the game, Yoshiro, is notable solely for a single attack with a 100% hit chance that can hit fleeing opponents, removing a large amount of the guessing game that usually follows the process. The fact that he’s so commonly used by players seeking to bypass an entire mechanic of the game might speak something of how well it’s received.

Some competitive Pokemon players have tried to argue in recent times that the accuracy/evasion rules are relics of an ancient time and the meta has shifted drastically since Red / Blue and thus should be allowed. I wonder if they would in fact feel the same way after playing Kongai?

Either way, the perceived element of being too luck heavy likely chased off a significant segment of the competitive market – perhaps its for this reason that Sirlin primarily moved into tabletop game design, as tabletop players tend to be much more tolerant of such elements due to the medium’s roots.


Mou Oni-chan!

What’s the final legacy of Kongai? Not much, I’m afraid. The game is currently languishing on its original platform, half broken with bugged card images. No one has shown any interest in porting the games to other platforms, whether its original creator or fans. I guess Pokemon having a massive marketing multimedia juggernaut is just too much of an advantage for an IP in having a constantly fresh stream of new players that Kongai could never achieve but I feel like this game could probably get a fresh new start with a rerelease that just unlocked all available characters for free.

Strangely enough, the one thing that did make a jump out of this game is the character of Onimaru – the Hannya Samurai big guy has shown up in just about every other game in the Sirlin’s Cinematic Universe (TM), yet none of Kongai’s other characters have made the leap. Why was he chosen for the very important role of being the brand’s mascot? Beats me.

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Vestaria Saga I – English Localization Release

Image result for vesteria saga"

Heads up! The first part of Vesteria Saga is now available in English on Steam.

Long story short – this is a Fire Emblem-like created by the original creator of Fire Emblem himself Kaga Shouzou (who asks whether Happiness can be achieved without Sacrifice), who was essentially reduced to the equivalent of making fangames due to his financial ruination at the hands of a Nintendo lawsuit when he left the company to pursue his own path.

While I have not personally delved too deeply into the game, from my early experiences, Vesteria Saga should appeal highly to fans of Kaga’s later SNES era works and those looking for more “classic” Fire Emblem experiences.

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Ramble Ral – Succubus Puttel

(Articles in the Ramble Ral section are presented “as is” with minor editing. For more information please see its section page. They will probably contain spoilers for the game in question)


“It is Cinderella I love”
“Wow, thanks for using the slave name my evil stepmother gave me, asshole!”

SP is 62Studio latest game – it’s an indie dev that makes RPGMaker Monstergirl games with fairytale symbolism being their thing. The last game I’ve played from them is their first, “Lust Grimm” since it had an English translation done. There’s like technically 3 games before SP in the 62Studio Cinematic Universe but I guess I’m waiting to see if anyone translates them so I don’t have to play them in Nipponese and this one isn’t supposed to have continuity with the previous games.

Azreth lives in a village where everyone poops on him because some time ago, there was a succubi attack which left him an orphan that the villagers blamed on his father’s research into the subject. The sole exception being Ella, his elder sister figure (is that concept even translatable outside of Japanese culture) who showed up to take care of him after his parents’ death.

One day, the succubi return, capturing the inhabitants of the village (or in their words, “inviting them to a huge party at the castle”), but leaving Azreth behind because of a barrier set up around his house. He wakes up finding it strange that Ella is missing and discovering the empty village. Two talking chickens (it makes sense in context) attempt to persuade him to stay inside for his own safety, but he insists on investigating the disappearance of Ella, discovering a world where the succubi have now become the dominant species (somewhat mundanely, since they grow crops, run shops and mostly goof off.)

Plot set-up done, my one comment is that while the story has a strong start and final confrontation, the middle is pretty dire. One problem is likely that the game now has a non-linear gimmick which poses unique challenges when it comes to storytelling but the whole “mystery” element is kind of deflated once you know exactly which fairytale it’s based on but just in case you missed all the subtle hints, the last dungeon is named “Cinderella Castle”

(FUN FACT: Because I like bringing up how Disney has Arabwashed Aladdin so hard that no one remembers that he’s originally Chinese, Cinderella isn’t supposed to be the character’s actual name in the original “Aschenputtel”, which would literately translate to “Ash Fool” – because she was always dirty from being forced to do slave labour, so yes, thanks Disney for codifying her slave name into mainstream consciousness……..)

The complete lack of mystery aside, I thought it was a pretty decent reinterpretation. The huge headscratcher is that the part between the start of the game and the finale involves defeating the 7 bosses located all over the world, each one being themed around the Seven Deadly Sins (Greed, Envy, Anger etc). I don’t know about you guys but I don’t think I’ve ever heard of that ever being part of the Cinderella Mythology but perhaps that’s just a new addition to the Ultimates Cinderella AU Universe (616)

Whoo boy.

So the thing they were experimenting with in this game is a more non-linear approach to things – there’s no metaphorical Snorlaxes blocking the road that the original more traditional game uses so you can go anywhere you want…

…except the huge problem is that the battle system is so simplistic it might as well just be a comparison between your level and the enemies, so there’s not really a point to just doing the areas by the order of their level difficulty because there’s no opportunity to be clever and defeat enemies higher level than you – you’ll just get pulverized.

…well, except that the least painful / grindy way of playing the game is to run into all the high level areas avoiding fights while collecting chests to get gold and level up eggs so you can just buy high end gear right off the bat and chow the eggs down to get a 30 level headstart on the enemy – then you grind but it’ll be a lot easier now.

There’s probably something to be said about the complete lack of direction given to you outside of your given end goal – it’s almost entirely meta knowledge where the endgame is going to take place and it’s quite possibly the only main game area that does have a “broken bridge block”, with the removal trigger being the defeat of the bosses, but there’s no real logical reason as to why the road finally opens once you’re done with that other than videogame logic.

I would like to note that the original release version was clearly rushed to the point that you wonder if anyone playtested it – it took significantly longer to level, enemies would stunlock you often and love inflicting a permanent status effect that’s extremely lethal and costed like 5000 gold to cure, which took hours of grinding to reach at lower levels. It’s much better now (at least under my methods of play) though the post-game is extremely grindy and funny enough I think the creator is still dropping the difficulty with every new patch. There’s something weird about hobbyist project pushing things out too early.

Finally, by the end of the game I also collected a bunch of material-like items (e.g ores) that I honestly didn’t find a use for and I’m kinda wondering if I somehow accidentally missed a crafting mechanics somewhere.

In the last game, I said that they did really well in using freeware music for maximum emotional effect and I think it sorta still applies here, but on the other hand there’s also a bunch of music reuse from their previous game for no real reason and I think that does hurt a game when you go “oh yeah I kinda heard this ditty before” and it’s not intentionally a callback at several points

That being said I want to point out the final boss music is way too ebin for an RPGMaker game.

Monstergirl variety
I kinda feel like the 1st game was better – it’s starting to run into the common issue of the “genre” where they use multiple artists and some of them are clearly less skilled than the other and it felt like the latter are just more prominent here. At least the important story characters have pretty good designs even if you have to wait until the very end of the game to actually see it.

Despite me objectively thinking it has a lot of issues, I’m still fond of it for some reason – maybe the particular setup just appeals to me. I think it’s also the only handling I know of this particular folklore with a pretty grim take on things where all the endings are bittersweet at best, which is funny because the original tale is one of the Grimm fairytales that has a happy ending (unless you happen to be an evil :steplesssister:).

Oh well, the creator dude’s already moving on to new things so this slight stumbling probably isn’t going to put him down – his next game is supposedly Alice in Wonderland themed with the main heroine being named Lewis, which makes me wonder why the heck he didn’t just go for Caroll because that would actually fit as a girl’s name.

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