zel's blog

Kami no Me no Aeon

Sat, 15 Jul 2023 00:00:00 GMT

I was a proud individual. Thought of as special, raised as superior to others, I looked down on people. As the closest to a chief, the strongest of my tribe, what impaired my judgement was, without a doubt, the highness of my position.
If I were to think about it now, this day could have ended differently. However on this day, finally, I learnt the absence of value of a soldier alone.

Kami no Me no Aeon (KnM) is a doujinge released by Gorichu in 2019 with absolutely 0 publicity and a DLsite page giving essentially no information about the game — in addition to being completely misleading. It larped (rightly) on the large amount of H content but forgot to mention the little 40 hours of intense action, 30+ character cast, large setting, and story of a scale unbelievable for an HRPG, let alone the first part of a trilogy.

Setting

The first part of KnM takes place in the Wise (ワイズ) complex, a large human city/region currently in tension with two neighbouring groups:

Fuusuishis (風水師): Feng shui users capable of using the natural energy in the environment to their advantage. On the surface, indistinguishable from humans.
Man-Eaters (マンイーター): Half human, half monster, they boast far greater physical abilities along with special skills comparable to that of Fuusuishis. However, their blood boils the more they strain their body and mind, accelerating their transformation into full-on monsters.

The story follows Rigel, an ex-member of the defense force against Fuusuishis who now works as a janitor. Since the invention of Mahou Shoujos—stronger than tens of soldiers combined—the human camp has focused on raising an army of them, making the old army obsolete. However, they are not yet old enough to form a competent army, so the forces are split and new tensions arise within Wise.

It is during this age of transition that Rigel meets Amon, the bridge between Man-Eaters and humanity, who rekindles his ambitions.

Characters

All of the characters are extremely well characterized from the moment they first appear on screen, all having strong introductory scenes and their time to shine in the story. Every character with a sprite gets an intense moment of action and a full character arc spanning the entire game—even if they aren’t the center of a chapter.
Those with little screentime are clearly central to the overarching setting and will likely play larger roles in future installments. Even minor appearances mark pivotal revelations or thematic shifts.

Pacing & Atmosphere

The pacing and atmosphere are on point—no scene ever feels remotely uninteresting. Even after hours of gameplay, H scenes, and breaks, the game pulls you back in like you never left.

The setting is layered with mystery, and Gorichu manages to distribute information in a compelling way—hiding core truths until dramatic reveals. Each twist feels impactful and never forced.

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Action Scenes

Arguably the most notable strength of the game—and what Gorichu is most famous for—is the action direction.
Every battle and climax follows a masterful buildup, with pacing and payoff almost unmatched in the genre. The first half in particular features a perfect combination of atsui (hot-blooded) battle writing and emotionally satisfying character resolutions.

Gameplay & Critique

The game is not without flaws.
Its gameplay loop and reliance on H content render it almost unplayable without a 100% save file and guide. The player must grind extensively and complete H scenes to unlock further progress—many of which are long and unskippable, adding up to 15+ hours of forced repetition.

However, with a save file, the game becomes a visual novel experience—since story segments are event-driven and unaffected by gameplay choices. You can easily read it like a VN from start to finish without missing anything.

Conclusion

Despite the grind and questionable H content, Kami no Me no Aeon remains one of the most ambitious and impactful indie RPGs out there. Each narrative wall hides a stronger climax, and by the final third, it’s impossible to stop.
Though technically unfinished, the story presented feels satisfying and complete in its own right.

Highly recommended to anyone looking for something epic, emotional, and larger-than-life.

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Transported In Another World To Suffer or Kokuzai o Ukerubeki Mono

Sun, 31 Jul 2022 00:00:00 GMT

“I don’t think humans are as complicated as you think, give them a cup of tea and something to laugh about and they’re all the same.” — Teruteko

Kokuzai o Ukerubeki Mono (酷罪を受けるべき者) is a 2008 NScripter doujinge fully realized by Gayoushi of Agony fame.
Let me preface this by saying that making a +1 MB game with over 80 CGs in a single year is completely insane.

Story

Kokuzai tells the tale of Bitou Ayuri (尾藤あゆり), a cruel mastermind JK behind much of the bullying in her school.
One evening, after an argument with one of her victims, she’s pushed off a bridge.
Right before hitting the ground, she’s transported to another world, one composed of only two countries — Sai and Itora.

As Ayuri struggles to survive in this strange world, she becomes entangled in the royalty and politics of Sai, eventually becoming a crucial pawn in deciding the end of the near-eternal war between the two nations.

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Tone & Themes

If I had to describe the game in as few words as possible, I would use one: “brutal.”
It sums up nearly every aspect of the work. Staying true to the circle’s name, the game constantly raises the sense of helplessness and pain to the reader — and it works.

The first half is mostly composed of worldbuilding and buildup.
The second half? A five-hour, non-stop descent into tears and screams — each scene more painful than the last, culminating in one of the most engrossing eroge experiences I’ve had in years.

Ayuri — The Heart of Kokuzai

The element tying everything together is Ayuri herself.
Her monochalant, pretentious JK attitude makes every line a joy to read. Her relationships with the rest of the cast are excellent, and despite her cruelty, her growth and introspection emanate a pure sense of humanity that makes her deeply lovable.

It also helps that the game never strips her of agency — and notably, she’s one of the few female characters without H content.

Supporting Cast & Structure

The rest of the cast is equally well-handled — full of likable, motivated characters with clear goals.
The story is tightly written, with nearly every event carrying later significance. Each character receives the right amount of screentime relative to their complexity, culminating in cathartic explosions of pure WILL.

That said, the game isn’t flawless.
The first half suffers from some doujin jank, and one major character borders on meme-tier.
Certain parts of the ending are questionable, and the H content can be rough to stomach.

Still, the sheer emotional momentum of the second half makes all of that fade away.
This is the sort of raw, unpredictable experience I go doujin diving for — starting something obscure and watching it unfold into an unforgettable epic that could never be made commercially.

Final Thoughts

Kokuzai o Ukerubeki Mono is not an easy read, but it’s a powerful one.
A brutal, unfiltered narrative about punishment, consequence, and survival — anchored by one of the most memorable heroines in doujin history.

Recommended for readers unbothered by dark content, who crave a deeply emotional, twisted, and unforgettable journey.

Word Piece and Peace, or how the horror of humanities depicts its beauty

Sat, 11 Dec 2021 00:00:00 GMT

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Many people come here: travellers, runaways, soldiers and very rarely…witches. I like to drink, talk, laugh and cry with my customers. After our drinks, most of them leave, never to be seen again. That’s especially why I want to spend those precious minutes with them. I would like for this place to become the home of their heart, the place where they can go home and rest when their hearts are tired. Inaccessible to others, their one truly special place….Customer, would you like to have a drink ?

A few months ago, I finished Word Piece and Peace (WPP). The game has stuck with me and I still think about parts of it daily. Despite how much I enjoyed it, the game remains hard to recommend for many reasons.

For context, WPP is a furige fully written and realized by TFTA (also known for Time Logic, Egg Heart, and Lilian Kuu). Published in 2016, it’s dense, spanning over 70 hours of content without filler, and well-known in the community.

The game is set in a world of humans and witches, the latter being secluded from human society after a long-ended war. We follow Tress, a witch specializing in medicinal herbs, living at the border between the human and witch worlds. She sells to anyone regardless of race, hoping to foster understanding. Upon discovering the schemes of Burhalista, ruler of the witches’ world, she sets out to warn her human friend Lize of the impending danger.

Joined by a broom who cannot fly—appropriately named Broom—and a bat named Crow, Tress embarks on a journey that rapidly expands in scope, introducing over 50 characters and spanning the entire world.

Gameplay

The game features three distinct gameplay systems:

Turn-based RPG: Progression uses ICS (Irregular, Cards, Skill). Actions can trigger bonus turns, forcing players to adapt strategies.
SRPG battles: Story-driven encounters with fixed characters. Challenging for newcomers but memorable.
ARPG sections: Impressive for RPG2K, with minor issues like respawning enemies and labyrinthine maps. Offers a fun break from other systems.

A dungeon skip option allows players to bypass nearly all gameplay, leaving only scaled boss battles.

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Many dialogues span hours. The narrative is heavy, often with one character speaking while others listen. The world is soul-crushingly dark, full of despair, pain, and sadness, with no comedic relief. The story connects every character, linking pasts and backstories in surprising ways, delivering frequent “oh shit” moments.

The four main antagonists are comically evil, while many other characters commit morally dubious acts. The game portrays humanity’s horrors alongside paths for redemption. Even imperfect characters attempt to do good, leaving a lasting emotional impact on the player.

The presentation is polished: sprites are detailed, maps well-designed, and music is generally effective. Narration styles change, enhancing immersion, and color-coded text gives each character a distinct presence. Some minor design quirks exist (e.g., looping music), but these rarely detract.

Conclusion

I may sound overly positive, but the game’s story structure and overarching themes are some of my favorites. Many elements may put new players off, and chapter 10 usually reveals if it’s a good fit.
The experience is unforgettable, and I would play it again only once the remake project is complete.

Transit – An Extrasolar Human

Mon, 15 Nov 2021 00:00:00 GMT

5, 10, 50, 100, a million — no matter how numerous we may be, the core of our actions stays virtually the same. There is a disconnection between our lives and the greater world. We may be 7 billion, but the core of our lives only revolves around a few select individuals, with a sense of the world only brought by media and factual information disconnected from our actual perception.

Have you ever slept outside with friends on a fresh summer night, felt a disconnection between yourself and the rest of the world, a strange feeling of solitude creeping in despite the unusual excitement, until only silence remains and you’re left wondering about your relationship with life and the world?

Probably not. But these are the sorts of feelings that Transit – An Extrasolar Human tries to capture. We follow the lives of a small subset of students at the Third School of Mitsuba, focusing on Nanahara Miyabi, the protagonist. Every student has an “Introspection Factor,” affected by their mental states and social interactions. If it falls too low, it can lead to insanity, suicide, or murder (think Psycho-Pass). This makes characters more averse to social interactions and careful not to express their feelings, up to a certain point. The plot is largely character-centered; big developments occur in small bursts that shift the story’s focus.

Characters

The game’s strength lies in its characters. All are very likable and suffer from issues directly relating to the main themes. Each character gets one or two climax moments to resolve their arc.

However, midway through the story, a significant plot twist drastically shifts the narrative’s direction. While this could have been an opportunity to bring together all character arcs in a satisfying finale, it instead slows the pacing and handles important developments off-screen. Many events could have occurred without the twist, rendering it somewhat irrelevant. Side routes (~40 mins each) are fun, but the main story never fully comes together.

One notable example is Leila, an American non-Japanese speaking girl who gradually learns Japanese. Her arc could have been a compelling contrast to the themes of disconnection, but it doesn’t reach a satisfying conclusion, despite her introduction in the first scene.

Transit is an interesting game with cool moments, but its pacing and lack of focus in the second half prevent it from being fully memorable. The author shows potential, and improvements in story construction and pacing could result in a very strong future release.