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FGC #507 Kill la Kill –IF

Kill itWorking hypothesis: in the 21st century, for anyone that is privileged enough to be in a position where their creative output is capable of being excessively monetized, the scariest moments in their life were in high school.

And to the rest of the population, that’s horrifying.

Let’s state something plainly: high school sucks. It seems there was some golden age of high school that inspired Bruce Springsteen and more than a few musicals, but, as long as I have been alive, I haven’t encountered a single human being that considered high school to be the best years of their life. Scratch that, I have met people that “miss” high school, but they are, by and large, currently working at a location commonly referred to as “the sheep grindery”, and they’re generally addressed as “Crazy ol’ Gus who smells like a sheep grindery”. Modern high school is, by and large, less an educational institution for teenagers, and more of a daycare for proto-adults. The average high school student is old enough to be trusted with vehicles, voting, and vices, but they’re not trusted enough to acknowledge that the concept of “home room” is a daily waste of a precious 20 minutes of life. Study after study shows that teenagers need more freedom and more stimulating methods of learning during adolescence… so, of course, high school is little more than a graduated elementary school, only marginally different from the instructive environment that greeted these students when they were five. College at least offers the benefits of some manner of quad!

Get 'emBut it’s not the failures of the educational system that make an impact on most people. High school is often remembered as a fiercely competitive gladiatorial arena where only the strong survive… so much as “the strong” is defined as “has the right haircut”. Pop quizzes and alike may inspire a lifetime of impromptu nightmares about not being prepared, but the real horrors of high school are all social. Does Becky like me? Should I ask her out? If I ask her out, and she says no, will I be ostracized for the rest of my days? Everything in high school is magnified by having to deal with a social circle of hundreds that isn’t going anywhere for four years, so you damn well know that if you accidentally splash water on your jeans the first day, you’re going to be “Pissy Tammy” until college. And your name isn’t even Tammy! Who started calling you that!? What’s more, Tammy, is that high school seems almost designed to make you hate yourself and the things you enjoy. Like playing a music instrument? Ha ha, band geek, good luck having a social life. Loving the gymnastics of cheerleading? Well you better start loving some football players, too, because everyone is going to assume you’re sleeping with them anyway. Sci-fi club? Noxious nerd. Basketball team? Dumb jock. You literally cannot win, and even the most beloved of the quarterbacks spends his nights wondering why so many people are mean to him. Oh, did you just reflexively think, “well, yeah, people are mean to him because he shoves smaller kids into lockers”? Well then, yes, we can see why the very nature of high school leads to stereotypes and a virtual melting pot where it seems like 75% of the student body is against literally 100% of that same student body at all times.

And, yes, that can leave a mental impression.

The botsToday’s game is Kill la Kill –IF. As one might expect, this is a videogame based on the anime Kill la Kill. By and large, the game follows a truncated version of the original Kill la Kill plot, as we’re dealing with a fighting game, and we don’t have all day to wait around and figure out special moves for a cadre of incidental characters. Kill la Kill the 26 episode animated series is reduced to about ten characters and an hour or two of “story mode” so its audience can just have some fun tossing fists back and forth. And what is Kill la Kill boiled down to its most essential story beats? It’s the story of the student body president fighting random, occasionally possessed students, and eventually leading to a final confrontation with her mother. Or, you can choose the other path, where you’re the “outsider” student, and you’ve got to battle all those students and the previously featured president of the class. And that’s it for the plot of Kill la Kill –IF. It’s a fighting game based on being a high school student, and it transforms the usual “high school is a struggle between students, other students, and adults” into a literal struggle that involves weapons and sentient uniforms that may or may not represent conformity. High school is Hell, at least you have a sword.

And the whole “high school is Hell” concept isn’t unique to Kill la Kill by any means. In fact, that very phrase was the pitch for Buffy the Vampire Slayer, a television series from two decades ago that combined high school tropes with actual monsters every week. This week: Buffy has to care for an egg as part of that one child-rearing class that only seems to exist in fiction, and maybe the egg is set to hatch an Ancient One in the basement! It’s spooky and relatable! And, whether it was simply because Buffy was popular or writers latched onto the trope almost instinctively, the “high school is Hell” concept has been repeated across practically all media, from books to movies to videogames to whatever the hell Todd and the Book of Pure Evil was supposed to be (Jason Mewes, know that you are appreciated). And, to be clear, the “seriousness” of high school doesn’t just exist in these “hell” versions, either. Whether you’re watching an outright drama or a fluffy situation comedy, the crushing weight of the possibility of being socially embarrassed is often plumbed for pathos. Even something as silly as Sabrina the Teenage Witch (the OG, TGIF version, not the current Netflix iteration that literally involves Hell) frequently derives its 20-minutes of drama from the possibility that the titular Sabrina will be outed as an “other”. The message is clear: high school is deathly serious and vaguely traumatizing. It can and should be compared to eternal torture.

And, honestly, if high school is your idea of Hell, you’re living a pretty good life.

It's roughDoes high school suck? Yes. But you know what sucks more? Not seeing your family on a holiday because your boss explains he “needs coverage”. Getting exposed to a fatal disease because “the economy has to keep rolling”. Being strangled because you bought your groceries with the wrong bill. People are suffering in horrible ways on a daily basis. When you consider that some people live their lives under constant threat of literal death, it seems disingenuous to worry about a situation where “the prom” is the biggest problem one can encounter. The idea of issues in high school being life threatening is a fun metaphor, but for so many people, high school and beyond being death-defying is not a metaphor in the least.

But if real life is so dangerous for so many people, why has the high school cow been milked so often it is pumping out powdered dairy substitute? The answer seems obvious: if you’re privileged enough to be in a position where your story is being told to the masses, then it is likely high school really was the worst time in your life. Why? Because high school really does suck for everybody.

And that’s a good thing.

You can’t win high school. We frequently revisit the trope of “the queen bee” or “the rich kid” because it presents the comforting lie that someone was the top of the high school food chain, but, in reality, those “winners” often spent most of their time wondering why they were losers. And, while this might be an untenable situation for those of us with some combination of OCD and an unfathomable drive to be liked by all, it does mean that no one student can be the “boss” of high school. You might be first in the class, but you’re not the quarterback. You might be the star of the track team, but you’re still going to sweat more asking out your prom date. No matter how much power you have in high school, you literally will never have enough, because there is always another aspect of the experience that will be outside of your grasp. And, since humanity has something of an issue with letting things go, you’re always going to remember that feeling of powerlessness. You’re always going to remember that hell.

It sucks hereAnd when you grow into power, when you grow up, get that degree, become the boss, and become the person that has the power to have their own stories told, that’s when you’ll look back at when you were powerless. High school was the one time when power was impossible, so that was the worst time in your life. You’re in power now. You’re the man, man, but remember when you were little more than a scrappy underdog? Remember when it was you against the world? Remember when you didn’t have the power to fail repeatedly yet still succeed? That was terrible! Never mind that there are people today that will never feel that same level of excessive privilege, you have to tell your story about how Debbie always went for that cool jock, and you could do nothing. No one can deny you your prizes now, but at least you can romanticize the times you had to struggle.

And everybody else has to struggle with real life being Hell.

The wonderful thing about high school is that eventually it inevitably ends. Maybe the same thing should happen with privileged men telling stories about high school.

FGC #507 Kill la Kill –IF

  • System: Playstation 4, Nintendo Switch, and Steam. Essentially, all the big platforms that host anime nonsense.
  • Number of players: This is a high school of two.
  • Mega Get 'emMaybe actually talk about the game for a second: It’s a fighting game that, like Dragon Ball FighterZ, is here to let an excited audience “play the cartoon”. That said, the roster is extremely limited (two angry leads, the four generals, two boss ladies, and two DLC whackjobs), and the gameplay is extremely basic. Or maybe it’s complicated? I have a hard time distinguishing how complicated fighting games are, as, if there’s a dedicated “special” button, I kind of assume it’s more simple than King of Fighters. Regardless, despite some gorgeous visuals, this game feels more like a budget release than something that will enjoy three seasons worth of DLC.
  • That old chestnut: Oh, excuse me, there are an additional two fighters on the roster: the two mains, but now they’re both dual-wielding. That’s, like, totally a different character. They play slightly differently!
  • Small Favors: Also, considering the source material, it is a minor miracle this game doesn’t employ Senran Kagura-esque clothes-plosions. Everybody stays just as half naked as normal throughout every bout. Hooray?
  • Say something nice: This is a pretty basic fighting game, but the story mode does include a few interesting fights against multiple opponents that seem… seamless? No, that isn’t quite right, but the “targeting” for quashing multiple objectives does at least feel vaguely natural. It would be cool to see this system adapted to a game that has more interesting mooks… Or at least some saibamen.
  • What’s in a name: Kill la Kill is basically a pun in Japanese, and it boils down to “dressed to kill”. In English, however, it just sounds like someone learned, like, one Spanish word, and then gave up. Localization now!
  • Let's go!Story Time: This game’s plot isn’t merely an excuse to truncate KLK to something a little more fighting game-centric, it’s a dedicated “imaginary story” about student council president Satsuki Kiryuin’s chilling daydreams about destroying the high school hierarchy and her mother. This allows the game a chance to be “canon” (within Satsuki’s mind), but still change the plot and perspective as much as can be allowed by a judgmental fandom. That said, for highlighting a completely invented playground with theoretically no limits on storytelling potential, this tale still boils down to little more than an abbreviated version of the original, so what was the point?
  • Favorite Fighter: Nonon Jakuzu is the uber-band geek drum major that attacks with classical music, so it’s kind of hard for me to say no to that. Her official biography says she’s also responsible for the gardening club, so, ya know, good for her.
  • Did you know? Erica Mendez is the voice actress for main heroine Ryuko Matoi. Laura Bailey famously played Kaine in NieR. However, hearing Mendez shout at the Kill la Kill cast for being “a bunch of dumbasses” really evokes Bailey’s opening dialogue from the boot of NieR, and, to my gentle ears, it’s difficult to tell the two women apart. I guess there are only so many ways you can shout at anime dumbasses…
  • Would I play again: No thank you. This is a fun game for two hours, but feels very slight. I won’t be revisiting this anime high school anytime soon.

What’s next? Random ROB has chosen… Chocobo Racing for the Playstation! Let us race monsters with birds that are known for outracing monsters! Please look forward to it!

Seriously

FGC #497.2 Tokyo Mirage Sessions ♯FE

Please note that this article contains distinct spoilers regarding Tokyo Mirage Sessions ♯FE. You have been warned!

Go Goku!There’s this moment in Dragon Ball Z at the end of the first significant story arc when Goku uses the Spirit Bomb. At this point, Goku has died, ventured through the afterlife, and returned from the grave when needed most to utilize a technique he could only learn from a nigh-god in another dimension. This attack, the Spirit Bomb, drains a tiny portion of power (“power” being vaguely nebulous in this case) from every living being on the planet, and combines all that strength into one focused “bomb” that he can hurl at his opponent, a giant monkey that is threatening everyone on Goku’s adopted planet (which is also Earth. You live there). In the grand scheme of narrative conceits, this is meant to be an important moment for Goku: he is the undisputed lead, the hero of this tale, but he cannot solve this problem with his own power. There is no solution here where Goku alone wins, so he must use this sacred technique, and, with the assistance of everyone on Earth, he can snatch victory from the hairy jaws of defeat. He can save the world thanks to the world. If this overarching metaphor isn’t obvious enough, Goku even whiffs his chance at pegging his opponent with this spirit ball, and requires another assist from another two fighters (one of which is best known for his propensity toward dying). Goku’s (currently) hated enemy is ultimately defeated by this spirit bomb, proving that it was not the super powerful Goku that was required to save the planet, but the strength of every person. Don’t put all of your faith in one “savior”, believe in the power of not one, but everyone.

And then Goku goes on to defeat every other opponent through hours and hours of one-on-one grunting ‘n punching. Goku is our Superman. Goku is our Jesus. All hail Goku, the guy that singlehandedly saved the world over and over again!

This happens often in fiction: the hero is the hero, and while there might be some moment or technique that uses “everyone’s power”, it all seems to come back to the one and only luminary. This is even more prevalent in videogames, as they are single-person experiences. Everyone in the party is working together to defeat the evil god du jour, but it all comes back to you, the exceptional player, making decisions, so the moral is muddied. And when you have RPGs that all but require the player to be the center of the universe, it gets even worse. That town lives or dies according to what sidequests you choose to complete, so it’s pretty obvious the world revolves around only you. Give me a moral about teamwork or whatever, fine, but in the end you intrinsically know that you are the only person that matters.

So you can imagine my surprise when Tokyo Mirage Sessions ♯FE actually pulled off a “spirit bomb” finale without making its main character the center of the universe….

FGC #456 Asura’s Wrath

WRATH!Today’s game is Asura’s Wrath. “Asura” is, in this adventure, not a collection of demigods (though demigods are certainly involved), but one individual dude. Fair enough. Capcom is allowed to do whatever they want with religious beliefs, because being responsible for Street Fighter offers you a certain level of latitude. And there are enough guys named “Angel” in fiction anyway, right? I can name like three vampires off the top of my head. But I can only name one other Asura, and it’s this queen:

I know this deity

The last time I saw an “Asura”, she was a lady. And that got me thinking: why the hell aren’t women allowed to go crazy?

Asura’s Wrath is, for all the mythical trappings and anime-tastic explosions, little more than a “dad game”. Asura is a (super powered, maybe a robot?) general, but after a long day of battling creepy shadow monsters, he always comes home to his wife and daughter. They bring him joy, though Asura has concerns about his daughter’s divine power and eventual future as a high priestess. These concerns turn out to be well-founded when Asura’s fellow generals revolt, frame Asura for murder, kill his wife (in another, separate homicide), and kidnap his daughter. This pisses Asura right off, and leads to a quest that lasts 12,500 years (or roughly eight active hours), and sees Asura destroying entire armies and endangering the world to sate his rage. But don’t worry! It’s all justified, because Asura is a man, and his precious daughter has been kidnapped, so any damage he does to himself and others is wholly warranted. He’s a father, people! You get it!

And, frankly, we see this kind of thing all the time. It was taken to puppy-dad extremes in John Wick, but the videogame universe features a number of angry dads. From Kratos (reminder: he was a dad before the first game even started) to Mayor Mike Haggar, there are many fathers in gaming that absolutely flip the table over with righteous fury the moment their child is endangered and/or murdered. And, as ever, that’s allowed, right? Even if we’re not all parents, we all understand losing someone or something you care about. That’s universal! And, since we’ve decided to make videogame graphics startlingly realistic, it only makes sense that more and more games would find “legitimate” reasons to justify visiting violence S-WORDS!upon worlds worth of people. They can’t all be zombie games. Every once in a while, you have to honorably put down an entire city’s population for a level, and what better reason than “they took my precious daughter”. I’m pretty sure Booker threatened entire realities with that excuse.

But if this trope is so justified by parenthood, why is it always dads? Why can’t moms flip their shit, too?

Obviously (and sadly), the first explanation is that videogames are assumed to be for almost exclusively men, and thus fathers are more featured than mothers. Even when rampages don’t happen, there are any number of dad games out there where daddy dearest must protect dear daughter from dangers. And, if we’re already assuming boys play videogames more than girls, then we’re also including the added benefit of your daughter character could be a sex object to your heteronormative younger set of gamers. Teenagers are certainly okay with having sex with sexy teenagers, but, flip the genders, and the boys are left to have sex with… their mom? No! Nobody wants that! (Sit down, Freud.) Sex sells, appealing to straight men sells, and appealing to even an imaginary paternal instinct sells. Think about how many reviews will identify your dad game as mature if you’re rescuing a daughter instead of a princess! This is a real world problem!

WRATH!But, if we’re just pandering to clichés, why can’t we indulge in other clichés? For better or worse (almost entirely worse), there are any number of cants regarding “crazy” women. The “crazy ex-girlfriend” or “crazy bitch” tropes are so pervasive they’ve inspired entire songs and television series (that include songs); but consider the trope of the “unstoppable” mother. “My baby is in danger, and I will do anything to protect them!” is the rallying cry of many stories about mothers lifting cars or pushing buses out of the way. And you know who else does that? The Incredible Hulk. But even when you look to the comics, you’ll find that The Hulk is The Friggen’ Hulk, while his female counterpart, She-Hulk, is a character defined by the fact that she doesn’t experience Hulk’s heightened emotions every time she steps on a Lego. We have multiple insulting clichés regarding women going crazy, but only a handful of stories where “crazy women” use that power to do something heroic. We can hear about Karen wrecking a Starbucks over a mislabeled latte, but we can’t find a videogame where that same rage is focused on non-barista based monsters?

But we all know where we do see women in videogames. Asura’s Wrath, could you show us your woman?

This broad

Olga is the only woman in Asura’s Wrath. Excuse me, that’s a bit of an error. There are other women in Asura’s Wrath. There’s Asura’s wife, who is killed so Asura (and his brother-in-law) can experience man pain. There’s Asura’s daughter, who we’re told is super-powerful, but is only ever an object that Asura must rescue. And there’s Unnamed Villager Girl (who marginally has a name if you pay attention to developer interviews and gibberish cutscenes), who exists to remind Asura of his daughter, and then die, thus causing further man pain. Which neatly brings us back to Olga, what with Olga killing Unnamed Villager Girl an’ all…

So Olga is the only woman in the cast that is not simply there to make Asura feel bad. She is also the only lady on team bad guy. Not coincidentally, she is also supposed to embody the deadly sin of lust. Does she effectively display this during the story? No. At best, she is shown to be wholly dedicated to the (male) leader of the baddies, so maybe she’s at least sleeping with him between scenes? Obviously, “lust” is the kind of thing that is hard to work into a story. It’s not like you could just have some character hanging out in a hot spring with concubines while talking about his sexual conquests…

Seriously, guy?

Or maybe you can do exactly that.

So Olga is the supposed personification of lust, but she’s shown up by a dirty old man that embodies greed. Whatever. She can at least prove herself in combat, though, right? No, that isn’t right, as she’s apparently the one “boss” that Asura never fights. In fact, if she didn’t appear in the “secret ending” coda, you’d be forgiven for assuming the writers literally forgot she existed about 80% through the game. And her final fate after that cameo of a reappearance? She’s the only one of the Seven Deities to not be killed by Asura. She’s there to be a sacrifice on the altar of “boy, this final boss is gonna be really tough”.

But don’t worry! She is eventually reincarnated… as a secretary. One of the other generals is reincarnated as a movie star. I wonder if he ever has to make someone coffee…

WRATH!A number of videogames have problems with women. A number of videogames feature berserker male characters. Asura’s Wrath is both. Can these problems be fixed? Of course. Was there ever even an attempt to sponge some of the testosterone off Asura’s Wrath? Of course not. The women of the title are forgettable (and Asura’s own daughter could be replaced with a particularly sympathetic set of AA batteries), and not a single one gets to join in the fun. Asura shares the spotlight with another hero for a few chapters, but, guess what? He’s a dude, too. The message of Asura’s Wrath (and many other games) is clear: women aren’t allowed to be raging warriors. They can be moms. They can be daughters. They can be administrative assistants. But they can’t be The Hulk. That isn’t allowed.

That should make a lot of women mad as hell.

And I’d like to play their videogames.

FGC #456 Asura’s Wrath

  • System: Playstation 3 and Xbox 360. The general sentiment surrounding Asura’s Wrath was that it was kind of a sales bomb, so I wouldn’t expect a remaster anytime soon.
  • Number of players: Two heroes eventually pop out of this story, but only one player at a time.
  • STUFF GONNA EXPLODE100% Completion: For the sake of pedantry, I want to note that there are plenty of great action women in videogames. Heroines like Bayonetta, Samus Aran, and even Juliet of Lollipop Chainsaw are all great, murderous female protagonists… just they’re not really all that mad. They’re more cool or professional (or occasionally bubbly) than anything. The only berserker lady that immediately seems to fit Asura’s mold is Zero of Drakengard 3, and even that is tempered by Yoko Tarro’s traditional commentary on violence and loss. But thank you to everyone on Twitter who offered suggestions! I’ll get to Darksiders 3 and Ronin soon enough!
  • How badly does this game want to be an anime? Very. Very badly. Practically everything in Asura’s Wrath is organized like a 22 minute anime episode, complete with middle of the episode “bumpers” and a cryptic “episode preview” between chapters. It also commits the sin of repeating exactly what happened before and after the commercial break, even though there are no real commercials breaks. That’s just wasting my time, guys!
  • Favorite Eight Guardian Generals general: I don’t really like, like, any of the characters in this game… though that may be the point. I’ll take Wyzen, though, as he’s the great big guy that is destined to die/fail early in the story, but at least he has the good sense to turn into a planet-sized deity and attempt to crush the hero with a meteoric finger. He still bombs, but it seemed like a plan that could have come together nicely.
  • Favorite incidental weapon: Nunchuks connected together by lightning seems like the kind of thing that should be included in more games. Has that ever been seen in Soulcalibur? Or with the Ninja Turtles? Slam dunk, right there for the taking.
  • ANIME!Horse Armor: Technically, you could claim the “true ending” of Asura’s Wrath is only available through paid-DLC. However, the reality of it is that the DLC is much more akin to a (much smaller) sequel than a “pay-to-play” ending for the real game. Also, given the nature of the game, Youtube is right over there, so there’s really no reason to be upset about Capcom being a bunch of money-grubbing hogs (this time).
  • Mind Blowing: Oh, there’s a spider motif recurring through this game because Asura often has six arms, thus giving him an arachnid-esque 8 limbs. Just got that.
  • Did you know? You can’t actually pause the game during those fake commercial break moments. Now I’m going to rampage!
  • Would I play again: Oh yeah, I barely talked about the gameplay itself. It’s basically paced like a playable movie, with very little “filler”, and absolutely no exploration. Which basically means that, after the visceral feeling of playing the game once “for real”, it’s time to move on. Maybe I’ll rewatch it in the gallery player while I’m playing another, more active game.

What’s next? Random ROB has chosen… Blazing Dragons starring Cheech Marin! Hey, it’s entry #420 somewhere (no it’s not). Please look forward to it!

DEM GODS

FGC #443 Castlevania: Order of Ecclesia

NOTE: This article contains spoilers for Bloodstained: Ritual of the Night and Castlevania: Order of Ecclesia. I’ll be light on the spoilers for Bloodstained… but I will have to reveal the identity of the final boss/finale. You’ve been warned!

Here she comes!Now let us compare the feminist themes of Bloodstained: Ritual of the Night and Castlevania: Order of Ecclesia.

In so much as a videogame can have a central “visionary”, we’re going to blame Koji Igarashi for a number of games for which he was writer, director, producer, or all of the above. So let’s produce a list of games credited to IGA…

  • Castlevania: Symphony of the Night
  • Castlevania: Harmony of Dissonance
  • Castlevania: Aria of Sorrow
  • Castlevania: Lament of Innocence
  • Castlevania: Dawn of Sorrow
  • Castlevania: Curse of Darkness
  • Castlevania: Portrait of Ruin
  • Castlevania: Order of Ecclesia
  • Castlevania: The Adventure ReBirth
  • Otomedius Excellent: For Some Reason
  • Bloodstained: Ritual of the Night

That’s a lot of Castlevania! And, of all those Castlevania games, exactly one game had a solo playable female character. Other than that? Yoko got to stretch her legs in Castlevania: Dawn of Sorrow, but she was permanently tied to an amnesiac and a dhampir. Charlotte was half of the duo of Castlevania: Portrait of Ruin, but there was still no Charlotte (“Charlotte!”) without Jonathan (“Jonathan!”). And what of every other woman in IGA’s Castlevania universe? Well, they’re all either shopkeeps, damsels to be distressed, or literal monsters. The final boss is never a woman (okay, it’s always Dracula, but it’s always a man summoning Dracula), the rival character is never a woman, and a lot of Wallachian women don’t even have walking animations. And that’s pretty depressing, particularly given we were coming off Rondo of Blood, where Maria kicked unholy amounts of ass before being relegated to crushing on Alucard in its (IGA-penned) sequel.

So, suffice to say, one might be forgiven for not having much hope for Shanoa, star of Castlevania: Order of Ecclesia or Miriam, lead of Bloodstained: Ritual of the Night. In fact, it’s entirely possible both of those games are rather disgusting from a feminist (or even just human) perspective, as… Can we take a minute to review how these characters gain new abilities? The stars of many Igavanias simply collected equipment (incidentally, all of these stars were male). Soma of the Sorrow duology gathered souls from defeated monsters, but these souls were happy little wisps that Soma “devoured” while light-headedly puttering around. And the anti-hero of Curse of Darkness forged his own monsters in a proactive manner. Meanwhile, our female leads have to stand around and absorb magical glyphs into their exposed backs (and there’s an odd emphasis in the dialogue on the word “flesh”), or, we’ve got Bloodstained’s…

That stings

And, just in case you though that little flourish was there for some “horror” graphical curlicue, Miriam elaborates on the feeling of absorbing a shard:

Owie

So, congratulations, player! Every time you gain a new skill to advance Miriam on her quest, you are literally torturing her.

That’s… not a great thing to see happen to your female protagonist. It’s an even worse thing when not a single male in the “horror” series suffered violent repercussions for, ya know, amassing powerups.

And, yes, we’re also dealing with worlds where literally every other woman involved in the plot is either a monster or… nonexistent. Shanoa has three other important people in her life: the guy fighting Dracula, the guy reviving Dracula, and Dracula. Miriam at least has one other (adult) woman in the plot, but the finale reveals that she was Dracula (at least She-Dracula) all along. In both cases, there are random female NPCs standing around and dispensing sidequests (so we’re at least on better footing than the first six Star Wars films), but it’s still pretty noticeable that there’s an unmistakable testosterone cloud floating around every character that is actually relevant.

But at least there are catgirl monsters skulking about! There are always catgirl monsters for some reason!

Add it all up, and you would likely expect Order of Ecclesia and Ritual of the Night to be equally abhorrent when it comes to portraying a healthy 51% of the population. But what if I told you that Ritual of the Night is a significant improvement over Order of Ecclesia? Koji Igarashi actually learned something in ten years!

This is offensiveOn the surface level, Shanoa of OoE and Miriam of RotN are remarkably similar…