Preface: Game Criticism (ゲーム批評) was not particularly devoted to a single genre, but as general magazines wound down their coverage of eroge towards the end of the 1990s, relegating the genre to the thriving market of bishojo magazines (Bug Bug, Dengeki Hime, Colorful PUREGIRL, etc.), Game Criticism stood out for its continued writing on the … Continue reading Game Criticism: Eroge Timeline
Despite being a pioneering influence within the Japanese video game industry, in the Anglosphere, the extent of Kanno's influence largely remains undocumented.
While YU-NO is understood to be a masterpiece, this overview provides a few concrete reasons as to why.
For Elemental Gearbolt, Shibamura penned a sprawling tale of a kingdom gone to ruin and of the people who were swept by the tides of war.
First, is the nature of RPG-like games. These games are experimental if not playful with genre conventions.
Faust arrived at a watershed moment for both Japanese literary culture and otaku culture.
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).
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.
While Azuma's book concerns itself with otaku, there is indeed room for the application of Azuma's theories beyond the otaku subject.
