First, is the nature of RPG-like games. These games are experimental if not playful with genre conventions.
Author: Ogre Run
No Longer Human: Tokyo Babylon 1999
Iida's best material deals with both the innocent and damned finding themselves in hellish circumstances.
A Brief Rumination on r/JRPG’s Best RPG of 1997
These series of polls are a good demonstration of the limits of knowledge production when it comes to the JRPG, and that these discourses developed differently throughout the world as they were based on what was available.
Neon Genesis Evangelion 2 and the Essence of Role-Playing
Evangelion games offered two points of attraction: first, they allowed fans of Evangelion an opportunity to re-immerse themselves within the world of the anime and re-experience their favorite moments within a novel medium.
Faust Magazine: Hiroki Azuma, Katsushi Ōta, and and the Otaku Avant-Garde
Faust arrived at a watershed moment for both Japanese literary culture and otaku culture.
The Critical Point of Bishōjo Games +1: Table of Contents
Azuma gathered together a group of writers and published two doujins to be sold at Comiket that year: The Critical Point of Bishōjo Games (美少女ゲームの臨界点), and The Critical Point of Bishōjo Games +1 (美少女ゲームの臨界点+1).
Gunparade MarchーThe Year’s Biggest Dark Horse. An Interview with a Video Games Retail Manager
On September 28, 2000, Sony Computer Entertainment (SCE) released Alfa System's simulation video game, Gunparade March. Given the game's experimental nature and that it was a PlayStation One title being released six months after the PlayStation Two's launch, SCE reportedly had little faith in the game and spent virtually nothing on advertising.
Sega Saturn Magazine: Desire Review
Reviews of the Sega Saturn version of Desire would perhaps unfavorably compare the game to EVE, the latter having the more experimental game mechanics that Kanno would expand upon as his career developed.
Fantasienne: Desire Review
Desire represents a turning point for Kanno where despite being writer working on erotic games, his stories would earn a reputation for being engaging works of mystery and science-fiction.
Two Seasons, Two Strangers: Crossing Borders, Crossing Language
Together, the three stories form a triptych that inform of not only Li’s creative process—the construction of her inner-world—but also of Li’s own subjectivity—her awkwardness, her wanderlust, and her position on the social margins.









