Beichuuka

The Otoboku series is often put forward as a prime example of a sub-genre that first gained popularity about eight years ago... the 'trap protagonist in a girl's school' type.  However, there are a number of aspects that make this series a bit unique... or at least make them feel unique.
One is their protagonists... despite their differences in personality and upbringing, all three protagonists end up taking a similar role in the common route, even aside from the 'Elder' issue.  To be straight about it, the Taishou-era 'oneesama' concept, where girls in an isolated environment form half-romantic relationships with older girls, is the biggest influence on these games.  The odd irony of a trap playing the same role as one of those 'oneesama' characters often had me smiling in humor and exasperation, but for some strange reason, Takaya Aya seems to make it work every time. 
Another aspect of these games that is unique is the rather blunt way each of the games portrays the 'old wealthy families' of Japan's attitude toward their females, as well as the attitude of the 'new rich' toward them as well.  Despite skepticism on the part of some when I've mentioned this in the past, it has to be noted that the wealthy in Japan still frequently use arranged marriages to form connections and incorporate capable individuals into the top of family-run businesses.  The former kazoku families, in particular, obsessively arrange the marriages of their children due to traditions going back over a thousand years (including a tradition of ignoring commoner's 'common sense').  While the most recent game is a bit lighter on that issue, you'll still hit it in several of the paths and even in the common route (though the common route is more like a gentle manipulation to try to stick two people together). 
Last of all, in every one of these games, at some point, gossip gets out of hand and causes at least some of the characters to suffer.  This is actually a common thing in games based in girl's schools, but the way Takaya handles it is generally more interesting and emphasizes the isolated nature of the gender-restricted environment.
All of this comes together to create a game that has a deliberate atmosphere of 'isolation from societal norms', one of Takaya's favorite themes in his games (every single one of this games does this, regardless of who he is working for at the time).  For this reason, the series has a rather unique 'taste' to it that isn't quite matched by any of the other similar games I've played.

I apologize if this post seems a bit disjointed, but this game was long enough that I felt a need to write as I finished the paths.
First, Otoboku 3, as the nickname implies, is the third game in the series begun with the original Otome wa Boku ni Koishiteru. Unlike the previous two games, which were based in the same school, this is based in a sister school a few years after the original game (probably a few years after Futari no Elder, which apparently happened about a year after the events of the original). The biggest proof of this is that Shion, from the original game, is a teacher of several years experience at the school the protagonist attends (meaning that at least four, most likely five years passed, plus the several years of experience… so probably about eight years after the original).
The protagonist, Hisoka, is a young orphan who was raised by a friend of his parents to serve the game’s main heroine, Orihime. Hisoka is… one of those characters who can literally do just about everything to a certain extent. He can fight, he gets the highest grades, he can play piano (and pipe organs), he can cook (and do any other form of housework perfectly), and he can even draw.
He does have one huge personality flaw though… he is one of those protagonists who completely disregards his own needs, always putting others before himself. This is what gets him trapped into becoming Orihime’s bodyguard… while attending the girl’s academy with her.
He tries to live quietly, but that doesn’t last long (since Orihime instantly takes a liking to him). Before long, he is one of the three Elder Stars of the school (rofl, first it was one Elder, then 2, and now it is three of them… a bit obvious, isn’t it?). Being kind-hearted and perceptive, he ends up capturing the heart of just about every girl in the school, none of which know he is a guy.
Now, I should say that the common route of this game is… loooooooooong. In fact, it is even longer than that of Futari no Elder, which was pretty long itself… longer than Grisaia no Kajitsu’s common route, for that matter. As such, this isn’t a game for those looking for a quick common route followed by romance and sex galore. The sexual content in this game is actually quite low, lol.
I’m going to be straight with you… if you played Futari no Elder and enjoyed it, you’ll probably enjoy this one. The atmosphere is pretty close to identical, the protagonist’s role is identical to the previous two games, and probably the biggest difference is that this game is based somewhat later on in the same timeline. The reason this is important is because the game doesn’t ignore the real world… and as a result, the setting doesn’t allow for the kind of completely-closed environment the previous two games essentially were (in other words, far fewer of the characters are ‘ojousama’).
There is also one other thing that differs from the previous two games… this one has a much, much bigger emphasis on ‘slice-of-life as the story’. To be blunt, ninety percent of this game is Hisoka dealing with the various characters’ personal issues on one level or another while going about her daily business. While the same can be said, to an extent, about the first two games, the first two games also had a much more extensive focus on the heroines (longer individual heroine paths).
There are two main heroines in this game (well, obvious ones, anyway), Orihime and Mirei. Orihime is a pushy princess type, who has just been given a year of freedom after following orders her whole life. Mirei is your classic ‘new rich ojousama who is embarassed by/dislikes her father/parents’. She is sharp-edged, has an inferiority complex, but she nonetheless finds it impossible not to like the protagonist (there was one of these in both the previous games, lol).
Orihime’s ‘whim of steel’ is her defining trait throughout the game (partially encouraged by Hisoka). This continues into her path and is accompanied by her tendency toward ‘classical romanticism’ when it comes to falling in love (knight in shining armor BS).
Mirei’s growth during the game is perhaps the most obvious of the heroines, because she starts out as a living mass of inferiority complexes, defiance toward her position in life, and jealousy. The fact that, underneath all those negative aspects, she is actually fundamentally a good person (if somewhat dry and cynical by nature), is something that gradually comes to the surface during the course of the story. Mirei’s path is stand-alone, and it can be said that it has the strongest independent character development of all the paths in the game. There are several reasons I can think of for this, but the main one is that Mirei, due to her position at the school and as an individual, spends less time around Hisoka than the other heroines (most of the other ones aggressively seek Hisoka out or live in the same dorm).
Hana takes the same role as Kana-chan and Fumi from the previous two games, being the protagonist’s ‘imouto’ at the school. She is very devoted and innocent, but her clumsiness makes her an object of constant humor and moe for the people around her. Hana’s path splits off from somewhere just short of the midpoint of Mirei’s path. As a heroine, she is easily the weakest of the group (this can be said of her predecessors, Fumi and Kana as well), as she spends most of the game essentially being an appendage of the protagonist, her role almost exclusively involving making him look good (to be a bit overly blunt, lol). As such, she was the last heroine I chose to follow (I wrote the character intros before I actually played the paths).  This path, unlike most of the others, has little in the way of 'outer influences' to create drama.  This is because Hana is essentially a 'normal' girl.  To be honest, I don't like the way that Takaya excessively modeled certain of this path's aspects after that of Kana's from the original Otoboku (though there is no attempt to grasp for tears in this one).  It didn't really fit Hana's personality or character as a whole, though having Hana gain more confidence and take a more active role in her own life was a definite positive element.  Really, the best would have been to avoid having Hana as a heroine at all, but having the 'imouto' as a heroine has become an Otoboku tradition...
Ayame and Sumire are twins who share a route in this game. Sumire is serious and straightforward, even slightly uptight. She prefers to act on logic and have a rational basis for any action she takes. Ayame is more intuitive, an artist by nature. Sumire is the school president and Ayame is the student council secretary. Their path is a rare twin love path (one of my favorite types), but it is pretty clear from the beginning that Takaya didn’t take this path that seriously, since it is easily the weakest one in the game.
Ibara Kyouko is the protagonist’s collaborator and backup bodyguard, a young woman with a sharp tongue and a fondness for teasing Hana in particular and everyone else in general. She obviously has some kind of darkness in her past, but she is very weak to Hisoka in general, though she is good at hiding it (or at least better than everyone else, anyway). Her path splits off from Orihime’s path (literally, the two paths split off at the end, just before things spill over into romance), and the ending is fairly amusing, given the personalities of the three involved (sharp-tongued and logical Kyouko, the whimsical dreamer genius Orihime, and the natural mediator Hisoka).
Matsuri is the game’s resident yurufuwa heroine. She is a violinist in the middle of a slump, who was sent to the school (which doesn’t have a musical support program) to recover after she became unable to use her arm properly for reasons unknown. Like Ayame, she is an artist, but she is very soft-natured and slow to speak. She is also probably the ‘happiest’ heroine on the surface of things, as very little seems to get her down, at first glance (another quality she shares with Ayame from the twins). Her path is surprisingly long (of the individual paths, it is probably the third longest), and I honestly enjoyed having her as a heroine.
For the information of those who are interested, depending on which of the final choices you picked, you get a different set of scenes for summer vacation, and depending on what heroine you ‘picked’ (based on your choices as a whole), who the protagonist spends his free time with at the culture festival changes. This is pretty much the only major change made to the common route based on your choices before the heroine routes, which might bother some of you.
For the most part, the endings in this game meet my approval, showing the characters years later, as opposed to merely just after the climax of the story. This applies even to the twins, who have the weakest path in the game. This is probably because the common route ends only a few months before graduation for Hisoka and the other third year students…
The writing in this came, as is par for the course with any game written by Takaya Aya, is first-class. Despite this game mostly being slice-of-life, I can’t really all it a charage or a moege, since not one scene in this game is meaningless, for all its immense length.
Visually, this game is Caramel Box to the core. If you like Caramel Box’s visual style, you’ll like the artwork. Otherwise, you won’t.
Musically, this game reuses some tracks from the previous Otoboku games, but I honestly only noticed this because I compared it on a whim. The important thing is that the music is used quite well.
It should be noted that about 1/3 of Hisoka’s lines are voiced, which is about standard for all of the recent works from Caramel Box and is effective for helping create Hisoka’s character and give life to him.
Overall, this is a first-class game. In some ways, it falls short of Futari no Elder… but Futari no Elder was something of a miracle kamige, so that was inevitable. I do wish that they’d spent more time on the individual heroine paths, but the degree to which the characters were developed in the course of the common route really made long heroine paths unnecessary. Oh, incidentally… I wish Miimi was a heroine, since she was my favorite character. I also loved her narration during the play scene.

 

Despite there being a few good editing blogs on Fuwanovel, there doesn’t seem to be much in the way of translation blogs. I think part of the reason for this is that editors in the fan translation scene are often doing things the translator could very well be doing themselves, often to the detriment of the final product. Look at, say, the “big back” entry Fred wrote. Now tell me why this issue couldn’t be avoided back at the translation stage.
There are two reasons why you would do this: one, you don’t know Japanese well enough to understand what is actually meant, so you put down whatever it says literally. In this case, the sane way to handle the issue is to ask someone who knows Japanese better than you for advice. Two, you’re just lazy. Who actually thinks “the date changed” sounds right in English? An edge case of this is prioritizing speed; Ixrec and MDZ* both prioritized speed and neither had very good results to show for it, but they did complete things. Personally I still think this is ultimately lazy; it is significantly more simple to translate literally than to try to actually write well. In this case, ask yourself if you really want to produce a shitty translation.
What I’m trying to get at is this: if you actually want to produce something good, you can’t just leave writing the thing up to the editor. Editors are not miracle workers; they have to deal with what they’re given. Furthermore, many editors working on fan translations, and well, translations period, are not very good at the job. Any time you leave something bad in, there is always the possibility of it sticking around in the final product. I’m not saying you have to be perfect. I’m saying this: for the love of visual novels, try.
If you ask me, before you hand your script to the editor, you should have already done an editing pass on it. Or two. The lines should connect with each other rather than float like islands in a sea of prose, there should be at least an attempt at character voice, and all ugly stock translations should be kawari-fucking-mashita’d, much like the 日付 at midnight, with extreme prejudice.
Sometimes you’re still going to come up short. Sometimes it just won’t sound right whatever you try. That’s when you should pray that your editor knows better than you – leave a note at the line explaining the problem, move on, and hope to hell that your editor is actually good enough to work it out. That’s what the editor is for. The editor should not be translating from weeb to English. The editor should not be doing your job.
*Its not just the fan translation scene that does this, by the way – there are companies, like Aksys, which demand its translators write a colorless literal translation to be punched up by superstar editors later. Unsurprisingly, they’ve put out some real stinkers; I have a lot of respect for Ben Bateman’s work on 999 for this reason.

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This is the third game in the series that began with Chuusingura (please don't judge that particular work by the utterly shitty translation).  I do highly recommend that you play both Chuusingura and Bushi no Kodou before you play this game, because it is necessary to fully understand some of the events that occur (particularly in the true Hijikata ending).
First, a bit of background about the Bakumatsu period.  Essentially, after Admiral Perry forced open Japan with the threat of his cannons, the Bakufu (also known as the Tokugawa Shogunate), was forced to sign the usual set of unequal treaties Western nations forced on Eastern ones with less advanced tech during that period of history.  Japan's peculiar double-headed political structure at the time, with the Emperor 'lending' his authority to the Shogun of the time in order to rule Japan and the then-emperor's stated wish for the exclusion of foreigners lent anti-Tokugawa factions and ambitious feudal lords the justification they needed (mostly to convince their followers) to start moving against the Bakufu.
This was made worse when one of these factions succeeded in assassinating Chancellor Ii, who directed the political purges and authoritarian political moves of the Bakufu immediately following Perry's actions.  This gave others the idea to do similar things to anyone they saw as supporting the Bakufu, and Kyouto became the center of a bloody series of assassinations of officials and merchants who sided with the existing authority or benefited from foreign contacts. 
The Aizu Clan, which was given the authority and rather nasty job of bringing peace to Kyouto, recruited ronin (masterless samurai) in order to form a police force that would capture or execute the other ronin making trouble in the city.  This resulted in the formation of the Roushigumi, which later became the Shinsengumi seen in Hakuoki, Peacemaker Kurogane, and the Rurounin Kenshin OVAs (Saitou Hajime in the main series was also a member). 
Historically, the Shinsengumi, despite having suffered a number of internal disputes and factional splits in the years leading up to the fall of the Bakufu, were amongst the few who fought to the end against the new government, and Hijikata Toshizou's final death and his death poem are one of the most incredibly romanticized objects amongst samurai-loving weaboos of the classic stripe.  Some left-leaning history buffs in Japan blame the romanticization of the Shinsengumi and the characters from Chuusingura for the intense rise in nationalism and insane glorification of samurai culture that occurred leading up to WWII. 
Now down to business... it should be stated that this game is about fifteen times more violent than Chuusingura was.  The protagonist and other members of the Shinsengumi killed people on a daily basis with swords in broad daylight, and they don't really hold back when it comes to portraying that. 
This game is also just as long as Chusingura (maybe slightly longer) was, despite being essentially one long path for most of its length (with about a third of it devoted to individual paths).  This is because the story covers about six years worth of chaotic events, both political and personal.  Going into this game with a full knowledge of the fates of the Shinsengumi members, I couldn't help but wish some of their fates would be changed (hint: of the original membership, only Saitou Hajime and Shinpachi live to see old age), and there are a lot of characters I honestly wept for... no matter what game I see him/her in, Sakamoto Ryouma is always an admirable character and seeing the pointless deaths of a number of clear-eyed individuals with an eye toward the future is just as bad.  However, this game follows history to the end in the Hijikata path and for most of the game otherwise... and while the Shinsengumi might be cultural icons now, their lives were colored with blood and tragedy.
There are four main paths, three side-paths (paths for heroines that die or are otherwise separated from the main cast for some reason), and one true path (Hijikata Ending 2).  The main paths include Okita Souji, Kondou Isami, Hajime Saitou, and Hijikata Toshizou.  Okita's path... well, if you've seen any of the many anime (except Gintama) where he pops up, you'll know what I mean when I say it ends on a sad and somewhat empty note.  Kondou Isami's path is marginally better (if you know about Kondou's historic fate, it is nice to see it changed).  Saitou's path is significantly better and more detailed, as are the three side-paths (which is somewhat ironic).  Hijikata's paths are, of course, the most complete-feeling and satisfying, though the first one left me in tears for a solid ten minutes.
This game does have some major flaws... there was an obvious history buff's obsession with detail when it came to portraying a lot of the historical events involved, and that aspect could start to feel interminable in the space between the story's main turning point and the heroine paths.  However, I found myself willing to forgive that flaw in the end.
Overall, this was an excellent story, and it takes relatively few liberties with history (beyond feminization of historical figures), which is unusual in Shinsengumi portrayals.  The most unusual aspect of the game (the protagonist's ability) was mostly a dormant issue for the greater part of the game, so it often left me with a nice illusion that I was seeing through the eyes of a real Shinsengumi member. 
I was surprised at one revelation in the true ending, though...
 
HUGE SPOILERS
 

First, a short intro... this is the second Clock Up game where Kurashiki Tatsuya (one of Light's second team of writers) has been involved, and those who played the previous one, Maggot Baits, will recognize the atmosphere and 'flavor' of the story instantly.  This is a game devoid of salvation in any real sense.  The protagonist and the other characters are universally the scum of the Earth (Mirei being the only exception, though she is a bit screwy too), and their lifestyles and pasts range from the distasteful to the outright disgusting.
While there are relatively few of the violent h-scenes that defined Maggot Baits, they do exist, so I do feel a need to warn you that a lot of the content in this game is graphic and not for those with a weak stomach. 
The protagonist (who never reveals his true name in the entire story) is a professional killer who needs to kill people in order to sleep (it is more interesting if you read it yourself, so I won't go into detail).  One day, he gets the order to investigate/find the killer of a paparazzi killed at the love hotel at which he works most of the time.  What he finds is... Azami, a serial killer, whom he gets into combat with immediately.  The end result of the battle is them having sex... and her getting obsessed with/attached to him.  He returns the obsession in part due to the fact that, after having sex with her, he can sleep.
I'll be blunt, there is no point in this game where the characters can really be said to 'shine'.  There are three endings, two of which are different based on how the protagonist pursues his relationship with Azami.  The final path, the true path, brings their relationship to the final stage (visibly inevitable, if you get to know Azami), and you are presented by a predictably depressing ending.
This game has excellent writing, which goes without saying really, since it is done by Kurashiki Tatsuya.  However, the unending dark atmosphere that infuses the story is energy-draining in the extreme.  This is made worse by this general sense that the game is just trying to say 'humans are worthless' throughout its entire length.  While the battle scenes are excellent, there were too many points in the story where cruel turns of event occurred simply to push things forward or to titillate the reader.  This was true of Maggot Baits as well, but this game lacks the 'sort of good ending' you saw in that one, which gave you a sense of satisfaction, even if it was only in comparison to the rest of the game.

The VN reading community likes to argue over the relative merits of so-called "literal" and "liberal" translation, with most people tending to perceive everyone else as being a hardline supporter of one or the other. While I'm sure everybody who knows my views would classify me as a proponent of liberal translation, I tend to think I'm more a proponent of being accurate to the intent of the original text. This blog post is going to outline a couple of specific uses of language which I believe show some of the weaknesses of attempting "literal translation." This isn't going to be anything like an attempt to provide an exhaustive argument against literal translation, but I'd be lying if I said I wasn't at least trying to be a little bit convincing. Still, regardless of your position on that particular argument, you might at least find the examples enlightening. Broadly, I'm going to be talking about figurative language. That's a fancy phrase encompassing a lot of common expressions and classes of expression which exist in every natural human language, as far as I know, and certainly in both Japanese and English. Idioms, similes, metaphors, hyperbole, personification, symbolism: all of these are classes of figurative language.
For starters, let's talk about idioms. The relevant definition of "idiom", per wiktionary, is, "An expression peculiar to or characteristic of a particular language, especially when the meaning is illogical or separate from the meanings of its component words." The argument pretty much writes itself, right? By definition, if you try to literally translate the words in an idiom, you're going to end up with something at best inaccurate, and at worst completely illogical. Just googling "Japanese idioms" and reading what you see is going to find you dozens of examples of cases where you have to either avoid literal translation or end up with a translation that doesn't make sense. For instance, translating 十人十色 as "ten men, ten colors" isn't going to be comprehensible to an English reader, but the venerable English idiom "different strokes for different folks," which is equivalent in meaning if not exactly in tone, is probably going to fit the bill. Idioms offer pretty much a slam dunk argument in favor of liberal translation*. That said, idioms are not that common an occurrence. However, there are also lesser examples: cases where literal translation yields something meaningful and accurate, but still less accurate than a liberal translation could manage.
My personal favorite example of a Japanese expression which is not an idiom, but which still benefits massively from a "liberal" translation, is the combination of the noun 背中 (back) and the adjective 大きい (large, big). These two words are often put together in Japanese when praising men, as a way to say a man has a certain, protoypically masculine, attractive physical characteristic. The phrase also carries a subtextual metaphor of reliability: a big back can bear a lot of weight, presumably. Once you start looking for "big backs", you'll see them popping up in literal JP->EN translations all over the place, from Little Busters! to HoshiMemo. The problem is, there's a common English expression which means exactly the same thing as that Japanese expression: "broad shoulders." Now, no dictionary is going to tell you that you can correctly translate 背中, in isolation, as "shoulders." But what's amazing about this pair of Japanese and English expressions is that they not only have the same denotation, but also the same connotation. Both expressions describe the same physical trait, and they both also imply the same personality trait of reliability: a broad pair of shoulders, also, can be trusted to carry your burden.
The expression "broad shoulders", like its Japanese cousin, sits somewhere between simple non-figurative use of language and an idiom: just knowing the definition of the individual words gets you to the correct meaning of the expression, and even the connotation of implied reliability, when present, is usually obvious. So, by definition, they aren't idioms. But even so, if translated literally in either direction, the original phrase will end up as a pale shadow of what it should be. I don't know about you, but I'd much rather be described as broad-shouldered than as big-backed.
 
*Unless you believe the purpose of a translation is to teach you Japanese idioms, in which case there isn't enough common ground to even have an argument. I personally like to read translated fiction for the same reason I like to read fiction originally written in English: to enjoy a well-crafted story.

This game is the one I've been waiting for... a mimikko nakige that doesn't ignore the setting or human nature.
At the beginning of the story, the protagonist, Kazuki takes in a puppy he finds abandoned in the park, feeds her, and then falls asleep with the half-feral cat he feeds occasionally watching.  When he wakes up, they've both transformed into mimikko, a catgirl and a doggirl...  Soon after, it becomes apparent that shortly after this event, pets around the world began turning into humanoids, resulting in the kind of mixed reactions you'd expect in the real world if that happened.  The reactions, as described, vary between fanatical religious obsession and fetishism to xenophobic psychopathy and upsurges in racism... and everything in between.
Now, this game has a really odd balance... there is almost enough H content in this game to call it a nukige, but the emotional narration, the characters' actions, and the way it is written is pure nakige fare.  Kuro and Hana (the cat and dog) are really obvious deredere characters, and Hana is the obvious main heroine.  However, Kuro and the three other heroines are not neglected in any way, shape, or form... they all have their unique story/paths. 
This game is big on the feels.  Kazuki is a young man with an intimate knowledge of loneliness and isolation and a sense of compassion that is close to saintly.  In addition, he is wise enough to do what will prepare the two girls in his care for the world they've come into, rather than simply protect them from the knowledge of what is is like (which would be typical for the average VN protag)... For the example in the prologue, he takes them along when he goes to the local animal shelter to help pick out the animals that will be taken to the place he works (a charitable organization that takes in abandoned pets and trains them for adoption, similar to organizations in 'no-kill cities' in the US, such as my own Austin), where they will be trained so as to make them more adoptable... and makes it clear to them the inevitable results for those who aren't chosen (note: I only chose to spoil this part because it is vital to understanding the difference between this and your standard moe-fuwa mimikko game). 
This is one of three games I've encountered of the type, each approaching things from a different perspective (for one thing, this one is fantasy).  Those other two are Sakura Iro Quartet and Otomimi Infinity.  Nekopara ignores human nature a bit too often to make it into that particular rarified company, lol.
Anyway, for those interested in a mimikko nakige with really good feels, this is a good choice.  This is a great emotional story.  However, don't expect extreme levels of depth or dark motives from the main characters, since they are all essentially good-hearted people.

Aoi Tori is Purple Soft's latest project, a VN based in a girls' school in the mountains, where the protagonist, a priest (I'm assuming Episcopalian/Anglican for various reasons), goes to school as an exception, as he cannot live outside of the school without being taken by demons.
Ritsu, the protagonist, possesses the power to take others' negative emotions, thus enhancing their feelings of happiness and joy, and this power works best when he has sex with them.  Now, given that he is a young man, you'd think from this description that he was going around finding girls that were in trouble and 'saving' them that way... given eroge culture.  However, if anything, it is the reverse... girls that are desperate to escape their personal reality come to him, seeking the happiness he can give, and he has reduced himself to something like an automatic mechanism for giving them what they want.  To be blunt, his point of view seems very close to that of a lifelong prostitute, save for the miraculous ability he possesses... moreover, a prostitute who didn't choose the work (his first experiences were all oneshota, apparently).
One day, his monotonous days of sex and quiet prayer (it sounds odd, but outside of school, that is pretty much what it was like), a century-old vampire named Mary Harker appears before him, having intruded into his home behind the chapel, and he lets her stay out of kindness.  At the same time, a voice (referred to as the 'demon on the phone') tells him over the phone that he has a rather dark fate awaiting him and his power isn't what he thinks it is. 
This night is closely followed by a number of meetings and reunions... a devout girl with a self-destructive streak a mile wide (Akari), the young teacher who stole his virginity (Risa), and the twin sister he never knew he had (Sayo).  In addition, you have Mikako, who is Risa's sister and Ritsu's only friend... and who is a genius as well as a pragmatist.  Overall, it is an interesting cast of characters, even for a Purple Soft game.
I'm going to be blunt, the part that will put off at least some of you is the sheer amount of sex in the first part of the VN.  The game begins with two h-scenes, neither of which involves affection or love, and, while this is a good intro into Ritsu's situation, it also will probably drive the romantics amongst you a bit crazy, judging by my previous experiences.  So... if you can't stand a protagonist who doesn't bother refusing sex from women and is used to having sex with girls he doesn't know, you probably won't like this game.
That said, there are relatively few similar h-scenes after this, probably in order to keep you from getting too swallowed up by his attitude toward sexual activity.
Ritsu is a rather strange young man, even setting aside his destined role as the Prince of Darkness (Mary's term for it).  As the demon on the phone puts it, 'You are a madman who can only be satisfied by saving others.'  That fits him perfectly, and that part of his personality never really goes away.  He is fundamentally a giver, above all other things.  Even if he can be convinced by the heroines to be selfish in the now, when things come to a climax, he always falls back on that nature.  He is also a natural S and a hedonist (though he is not conscious of this most of the time), and he doesn't have it in him to become paranoid or maintain his anger for long.   That said, once he decides on the result he wants, he will literally do anything to achieve it.
Mary Harker
Mary Harker, in any other game, would be the true heroine.  I don't mean to be mean about Akari... she is creepy has hell sometimes, despite her apparent normality (you'll see what I mean if you actually read the first two h-scenes), but if I began this game without a walkthrough or seeing the cover of the game package, I probably would have assumed she was the true heroine.  The reason is very simple... she is the catalyst that sparks the game's engine at the beginning, and, given eroge custom, that heroine usually is the true one. 
Now, her personality... Mary is probably the most cheerful and normal vampire I've seen outside of a 'nerfed' vampire setting (this one isn't, since just a bite is enough to turn someone and she takes injuries from her own prayers and the sun).  Nonetheless, she has lived a century, and that has had various effects on her psyche, though the biggest one is a growing awareness that maintaining her humanity and human persona is becoming harder and harder.  It is only because of Ritsu that she is able to have some kind of a hope for the future, and she is pretty dependent on him during the story.  Despite that, she is also sort-of an oneesan character outside of her own path.  She does have a lot of experience under her belt, and her attitude toward him at some times skirts the motherly.
Her own path is... a clash of two people destined to live in darkness, her and Ritsu.  They are both people who don't understand romantic love at the beginning, so seeing them change is somewhat amusing, but the bigger issue is that their natures press down on them, making a happy romance difficult.  Overall, it was a highly emotional experience that I enjoyed thoroughly.  I do wish - as I almost always do - that she had a nice long epilogue after story, but I have resigned myself to not receiving what I wish for most of the time, when it comes to that.
Akasabi Risa and Akasabi Mikako
Akasabi Risa was the protagonist's first sexual partner.  Like all the girls who had sex with him in the past, she was seeking escape from reality by having him give her happiness, but she, unlike the others, was actually in love with him from the beginning.  Risa is a consummate actress, hiding her true intentions behind her feelings, a technique she apparently developed in the years she was away from Risa.  She is also essentially a 'giver' type, willingly giving everything for those she cares about.
Mikako is a pretty unusual character.  If it weren't for her fondness for Ritsu and her love for Risa, I would be tempted to call her an emotionless sociopath, based on her surface actions.  I called her a pragmatist above, but this isn't despite her emotional reactions... it is her natural state of being.  Pragmatism is usually a product of socialization and rationality being prioritized over emotion.  However, in Mikako's case, she is able to (and does so automatically) completely analyze and render meaningless her emotions before they reach the surface.  Her love for Risa is pretty much the only exception, and it is that emotion that renders her as almost human (her fondness for Ritsu exists because she loves Risa and Risa loves him). 
Now, the demon on the phone takes on a rather more direct role in this story than in Mary's, where he/she is merely speaking to the characters.  In fact, the demon's interference is what brings this path's conflict to the surface, and overall, it made this path more interesting than it otherwise would have been.  To be blunt, without the demon's 'help', it is highly unlikely that Risa, Mikako, and Ritsu would get together, based on the revelations in this path.  There are a number of reasons, but the biggest one lies with the fact that Ritsu quite simply doesn't have strong emotions toward his sexual partners normally (once he actually loves them, it is different)... not even remnant lust.
Kurosaki Sayo
Kurosaki Sayo is Ritsu's twin, separated from him at birth.  She is a cynical, emotionally twisted young girl whose only love is Ritsu (though she does have affection for others based on whether they make Ritsu happy or not) and whose hobby is toying with him and Mary.  She appears on the scene shortly after Mary's arrival, guided by the demon on the phone.  She is also a part of the demons' plans for him, and that plan is the center of her path.
This path is an utsuge-style path... don't expect a happy ending.  There is a good reason why Sayo was given to a different orphanage by their mother, and that reason becomes apparent fairly early after Ritsu chooses her.  I enjoyed this path and it has some really good cathartic moments... but I honestly thought they were a bit excessively obvious in foreshadowing this one.
 
Afterwards (read this if you don't mind a bit of spoilers)
 
Remember, this is a spoiler.
As techniques go, it is interesting, and I felt the need to mention it before Akari's path because of how it leads into it.
Umino Akari
Akari is... the girl whose outer personality and inner desires are most in conflict.  Akari is a devout Christian (Ritsu's assessment), kind-hearted, gentle, and takes pleasure in giving of herself to others.  However, she is also strongly driven to seek out danger, corruption, and self-destruction in every way, shape, and form.  As one of the milder examples... she is afraid of heights but she willingly participates in the school swim club's high dive competition.  A more extreme version is the one you run into at the beginning, in the first scene, where, after watching her friend have sex with Ritsu, she is drawn to him and has sex with him as well. 
Akari's path is... interesting.  Actually, the beginning of the path is slow, because the story refrains from going to the extremes you saw in the common route and the other paths.  However, that slow build up is a near-perfect lead into the solid drama leading up to the ending.  There is actually very little I can say about this path without spoiling it, but I can say that I liked the ending.  I cried numerous times throughout the path, and the ending itself satisfied me completely, a rare event in and of itself.
One thing I should note is that there is a distinct Chrono Clock reference in this path, which startled me a bit.  It was actually a stronger link than the mention of the kotodama-users early in the common route.  For those who are interested, I'll respond in a PM, but I'm unwilling to spoil this.  I did laugh though.  I'm unsure if this is an affectation or not, but it is interesting. 
Overall
I'm seriously tempted to scream 'kamige!!!' to the sky... but in retrospect, they game does have some distinct flaws.  The main one of these is the somewhat haphazard approach to the beginning of Risa's path (it felt kind of like they were shoving things along a little too forcefully in that one). However, even so this is one of the better games that have come out this year, and, in its own way, keeps the Purple Soft fantasy nakige tradition started with Mirai Nostalgia alive and kicking.  Where Chrono Clock fizzled and Amatsutsumi committed the sin of using the ladder-style progression system, this game manages to both satisfy and feel like it treats the non-true heroines well. 
 

This is a test post, based on the results of the poll I posted a few weeks back.  The win was borderline, so if I don't get a reasonably large response, I won't continue to post about my conventional reading.
The Black Jewels Trilogy, by Anne Bishop is one of my favorite book series of all time.  It is a dark, sensual fantasy based in a unique universe, where a race of magic aristocrats called the Blood rule three worlds, Tereille, Kaeleer, and Hell.  The main characters of the story are a triangle surrounding one young girl whose very existence is their every hope and dream... for she is 'Dreams Made Flesh', Witch, the Queen of the Darkness.  Those main characters are: Daemon Sadi, a male pleasure slave that has been twisted by over seventeen hundred years of abuse at the hands of the women of Terreille, protecting himself from madness only by the prophecy given to him seven hundred years before, that Witch was coming;  Lucivar Yaslana, a slave and member of the winged Eyrien race, who has lived his entire life being called a half-breed bastard; Saetan SaDiablo, the High Lord of Hell, the High Priest of the Hourglass, who became a half-undead Guardian fifty thousand years before so that he would one day be given the opportunity to serve and protect the 'daughter of his soul'... and the father of Lucivar and Daemon; and last of all, the point around which the three revolve, Jaenalle, dreams made flesh, Witch, a kind-hearted young girl who wanders the Realms and is destined to one day rule from Ebon Askavi.
First, I should note that the Blood are matriarchal, forming circles of obligation centered around natural-born Queens (a cast based on a genetic quirk that isn't tied to magical power but rather the nature of the female), who in turn form circles of males who serve to form a court.  The highest rank of male are the Warlord Princes, primal individuals who possess sharp, murderous tempers and an intense need to protect.  Ideally, the Queens hold their leashes lightly, and the first rule of Blood Protocol is to 'protect', then 'serve', and third to 'obey'. 
Unfortunately, due to the influence of two ambitious Priestesses from the long-lived Hayllian race, the Blood in Terreille have become twisted and corrupt, the good Queens vanishing over the course of generations, leaving only twisted monstrosities of the human spirit in their place, women who know only how to use and enslave men... resulting in the men in their districts becoming ever more twisted themselves, as their experiences warp their reactions to their instincts, breaking them a little more with each generation. 
It is into this Terreille that Jaenalle is born and Daemon and Lucivar have lived.  Saetan, bound by his personal honor, has not been able to protect his sons, and when the daughter of his soul, already wounded by the corruption in Terreille first appears before him, it is only his long experience and iron will that keep him from crossing the final line he has held to for over fifty thousand years.
This series is a story of the trials and travails of the circle of relations that orbit the four points of the triangle, as the outer points try to protect the center, Jaenalle, so that the dream might one day become a salvation to them all. 
Honestly, Anne Bishop's brilliance lies in her ability to intimately portray the emotional travails of the characters, the subtle and not so subtle dance of Protocol and power, and the unique nature of the Blood make this one of the single richest experiences out there for dark fantasy.  In a culture where murder is legal but rape is punishable by death, but where the rules are breaking down, the central characters are a bastion of sanity in a world rapidly heading toward horror and despair beyond imagining. 
As Anne Bishop says in the forward in the omnibus edition, 'I started this world with Daemon, Jaenalle, and Lucivar, but it was Saetan who brought it to life.' She started out imagining a world where Darkness was, from the beginning to end, the dominant force, and in that darkness were both a vicious edge of violence, a terrible gentleness, and a primal, deep sort of love.
The characters in this series are passionate, with deep wells of potential violence and compassion both.  Saetan, Lucivar, Daemon, and Jaenalle are all individuals possessing a near-infinite capacity for both love and violence... and above all, they strive to protect.

Anime, if you limit it to Japanese animation (the actual word in Japanese refers to all animated shows, but I'm limiting the definition to J-animation), has been around since 1917, but anime as we know it, in its earliest distinct form, was born in the 1960's.  My personal experience with anime (where I understood it to be anime, as opposed to my Voltron experience in the mid eighties as a kid) began in 1992, with Record of Lodoss War (the OVA series, not the TV series), drawing me in and making me a fan instantly. 
At the time, certain anime were considered to be 'icons' of the medium... Astro Boy, Dragonball, Ranma, Mobile Suit Gundam, etc.  After becoming a fan of anime, I was introduced to them, and by the time I moved to Austin in 1998, I'd already seen three of my old favorites achieve 'icon' status (The Slayers, Tenchi Muyo, and Yuyu Hakusho).  Now, it is really, really weird to see something you watched almost as it came out being referred to as 'iconic'.  Moreover, seeing something you liked become referred to as genre-defining (Noir, Love Hina, Ai Yori Aoshi) can leave you with complicated feelings... it tends for me to be an odd mix of pride and embarrassment.  
Now, most of the time in the US, TV shows are generally only considered iconic when they've run for many seasons or won a number of academy awards... but most of the time, anime that are considered iconic are made so by fan acclaim, and the line where famous ends and iconic begins tends to be rather murky. 
I doubt many with a strong knowledge of the last forty years of anime would fail to consider Legend of the Galactic Heroes or Tenchi Muyo to be iconic.  However, if you were to ask one who had lived through those times at what point they became so, you would probably just get a helpless shrug  in return.  Legend of the Galactic Heroes is considered by many to be the peak of the now-deceased anime space opera sub-genre (since only a few have been made since and none even came close to it in scale or quality).  The fact that it manages to maintain a massive fanbase amongst sci-fi anime fans despite its dated visuals says everything that needs to be said about the artistic value of the series.  Tenchi Muyo, on the other hand, is considered a genre-definer.  It combined one old and time-honored anime genre - science fantasy - with at home slice-of-life antics with a spice of romance, essentially pioneering the idea that action science-fantasy series could also have a strong basis in daily life comedy and romance (If you can't figure out how that has effected things to this day, then you aren't looking hard enough at the trends in otaku media over the last twenty years). 
These are just two examples... even in the last ten years, I've seen anime that I watched out of boredom suddenly become idolized a few years after their release as genre pioneers or an example of what is best in a genre...
In other words, this whole post is just a ramble about how I'm starting to feel old when I look back at how long my otaku live has been, hahaha.
Edit: To be clear, anime was my first entryway into the otaku life as I knew it.  I love anime to this day, and while I'm sad at how the medium has stagnated (like most otaku media have stagnated in the last ten years or so) I have faith it will eventually recover.  After all, I find at least one new anime worth adoring with each year that passes.
Edit2: A few more things... I've also seen treatment of anime fans by society change dramatically since I was a kid.  I don't remember the last time I heard the question 'Are you watching cartoons?' and if you shake three people in an urban area, at least one of them regularly watches the newest stuff on crunchyroll.  It is odd not to be an extreme minority in an extremely niche community, considered to be childish or strange for watching a gory fantasy anime rather than a sitcom, lol.

First, I should mention that this VN, despite having a different writer, is in a style that is very similar to that of Oni Uta, a VN made by 130cm using the same artist back in 2009.  I say 'the same style', because the character dynamics are eerily similar.  First, there is the ponkotsu oneechan who is open about her desire to reverse-rape the protagonist (though she prefers it the other way around).  Second, there is the stalker osananajimi, who casually steals his underwear, toothbrushes, and chopsticks.  Third, there is the little oni-goddess who appears and serves as the game's true heroine.
Now, first I should say that this artist has a style that is greatly differentiated from the current industry standard... mainly because he has nothing against chubby faces, heroines who make unattractive expressions, and old art cliches like heart-mark eyes, lol. 
Story-wise, this game moves back and forth between emotional scenes and old-fashioned cat-fight filled slice-of-life (the osananajimi and the oneechan are constantly at each other's throats), and the protagonist is about as dense as they get (though part of that is that he is simply numb to anything more subtle than Haruko's blatant attempts to get him into bed with her).  Though the game's title proclaims that this game is about his sister's disease, the reality is that, once it goes onto the heroine paths, it generally ends up being about his personal hangups when it comes to matters of affection and family.  This isn't necessarily a bad thing.  His parents rank up with the ten worst monster parents I've encountered in a VN (currently the twin tops are the father of Kaito from Akatsuki no Goei and the father of Suu Sasamaru from Kitto, Sumiwataru Asairo Yori mo ), and his past experiences definitely explain why he and Haruko are so interdependent (it is actually as bad as the twins from Yosuga no Sora that way... almost worse, really). 
Kohime's path is the exception to the rule... by her very nature, Kohime is a free spirit, and she easily overcomes his relationship limitations... but in exchange, the conflict in her path is definitely a tear-jerker.  Of course, it is also a familiar one to those who have played numerous VNs with Shinto kami heroines.  Koihime's path falls into one of the classic tropes of such heroines, but it is executed pretty much perfectly.  I honestly spent the last hour crying almost constantly... which is a good thing, because that is what I wanted.
Overall, this VN was highly emotionally satisfying, even if some aspects (such as Haruko's apathy toward anyone and everyone outside her small circle of people she met through Haruto and her insane jealousy... not to mention Haruto's denseness) were annoying as hell.  At times, this game feels really 'old' to someone who has played most of the good VNs made in the last ten years (because it uses tropes like the constant catfights), but it was generally an enjoyable read. 

First, I should mention that this review is split into two parts.  One covers the free prequel VN released back in May and the second covers the main game, which was released last week.  My personal advice is that you play the prequel first.  Both games are written in a really odd fashion (multiple narrators with the prequel and third-person with no insight into the protagonist for the main game). 
Prequel
The prequel covers the events eight years before the main game, filling you in on how Juri and Masashi (portrayed as the child, Koma) met as children and how Juri ended up on the path that led her to head up the Yoshioka Corporation.  To be blunt... this game is kind of frustrating.  The story is actually pretty fascinating, beginning as it does with a guy being asked to have sex with his best friend's beautiful wife (said guy being Koma's father, a vicious yakuza with an excessive fondness for fighting and drinking).  The story is told with varying characters being interviewed by a reporter serving as narrators, and they are, quite naturally, non-omniscient, knowing only their own viewpoints on what happened.  The biggest similarity in style between this and the main game is that you are never treated to the protagonist's stream of consciousness in either.  Both protagonists are the silent type, only rarely speaking their minds. 
There is some violence in this one, and it deliberately skirts around the edges of the yakuza activities involved.  However, this, quite oddly, did not detract from the experience for m.  I can say quite honestly that the main game would be a lot less comprehensible if I hadn't read this.
Main game
Omokage Railback's main game is set eight years after the incident portrayed in the prequel, and Koma (Shimizu Masashi Jr) has become Yoshioka Masashi, having been adopted into Juri's family and made CEO of the company (though because of the unique structure of the conglomerate, the real power lies in the hands of some really warped older people and Juri).  His first job as CEO is to make a deal for development of the resources of Yagurana Village, a small town that once faced off against the exploitative tactics of the Yoshioka corporation and won.  
I'm going to be blunt... the storytelling style of the main game is uncharacteristic for the VN medium in that it gives you almost no insight into the protagonist's inner workings or feelings.  The fact that I still found the game enjoyable is a measure of the writer's skill, but it was kind of weird playing a VN where the viewpoint kept switching between heroines and side characters rather than primarily revolving around the protagonist's point of view. 
This game is kind of short... and, in my mind, this harmed the game's quality somewhat.  This game could have used a far more extensive stretch of slice-of-life character development, but, instead the game hurries things along in a way that felt a bit hasty. 
Surprisingly, this game tackles some concepts that otaku media tends to avoid, such as transgender (non-comedic) and homosexuality (non-idealized), though obliquely through the acceptance of the said characters for who they are.  I did rofl repeatedly at the fact that the two hulking African-American bodyguards Juri has along with her were in love with Masashi.  The fact that you never get to know whether Masashi is actually aware of the fact that they've been stalking him (on Juri's orders) since he was taken in by the Yoshioka family was one of the many mysteries of the rather warped human relationships in this VN.  More serious is Asuka, the transgender maid who appears midway through the story.  Apparently, Masashi's reaction (or lacking of it) when finding out she was transgender was one of the major factors that led to her infatuation with him.  I don't call her a trap because she doesn't really fall into that 'moe-moe' characterization.
Getting back to warped relationships... there are very few relationships in this VN that aren't warped.  Juri is obsessed with Masashi to the point of psychosis, Lemon gets high on housecleaning (not housecleaning products, but the actual act of cleaning the house), Juri's mother... well, let's avoid spoiling that one.   Even the seemingly innocent Iroha has Aya (another heroine) as her 'poison taster' (who is also required by Yagurana custom to 'test' a prospective lover first). 
Overall, it is impossible to fit this VN into a single genre.  It also breaks Japanese VN conventions in about every way possible without abandoning the otaku style entirely.  That said, I enjoyed this VN, despite the isseus I also had with it. 

Shuffle Essence! + is the definitive version of Shuffle, which was originally released in 2004.  Shuffle was also the first game where Agobarrier, the now-deceased writer of the Tiny Dungeon series, made a claim to fame. 
First, I should note that I originally played Shuffle in English and was not in any way satisfied with the results.  My primary reasons were the low quality of the localization (though it was better than what MG had done up to that point) and certain differences with the anime involving Kaede.  To be blunt, the Kaede portrayed in the anime is a solid yandere, so I was kind of disappointed that she was only mildly yandere in the game, lol.
Anyway, now to the obvious differences between the two versions of Shuffle... Well, the biggest one is the doubling of the number of heroines.  Kareha, her sister Tsubomi, Mayumi, Sakura, the teacher Nadeshiko, and the new divine race girl, Daisy are the new heroines.  In realistic terms, they actually consist four separate arcs... Tsubomi, Kareha, and Nadeshiko are connected loosely, with the remaining three routes standing on their own with extensive amounts of new text.  This is in addition, to adding a second ending onto Shia's path and extensively re-writing it in the particulars.  All in all, the length of the game is more than doubled, since the three heroine arcs are very long.
Anyway, the new routes show off something that was only touched on lightly in the anime and the original version of the game... Agobarrier's obsession with harems.  Basically, the result of each of the paths is that the 'main wife' of the harem gets picked, and the girls basically make the decision to create a harem without seriously consulting Rin, since he isn't good at refusing them in the first place.  If you hate harem situations, this game is pure poison, but if you like your harems, this is good stuff.
Now, to the difference between the English and Japanese versions... it does make a difference, obviously.  Actually, there is a glaring difference in style between the new routes and the ones made for the original game.  While the original routes were decent and tear-jerking, it seems like the popularity of Shuffle in Japan essentially gave Agobarrier license to do what he wanted with the new routes.  More detail is given (including in the original heroine routes) and more loose ends are closed up.  Each of the routes has a number of non-ero CGs unthinkable in a modern charage, and they are all of about as good of quality as could be produced ten years ago, lol. 
Overall, the end result of this is a vastly-improved game with a much more solid cast of characters.  The holdovers from the original version (abandoned stylistic issues like random cameo scenes) are sometimes jarring because of the remade aspects, but the game doesn't suffer too much from that.  Daisy's route, which comes across as a 'true' route (since all the might-have-been-fatal heroine issues are resolved) seems to have been specifically designed to satisfy fans of the original who didn't like the feeling that you were 'abandoning' certain of the heroines (such as Primula or Shia) to their fates by picking another.  Agobarrier loved his happy harems, lol.  May he rest in peace.

Well, the fourth anniversary of my VN of the Month series of posts is coming in another week or so... and to be honest, I'm a bit amazed at how long I've kept this going.  Four years of playing most of the non-nukige VNs that came out each month, writing something on them, then picking one to be VN of the Month (or not, if none met my standards)... to be honest, my opinion hasn't changed much since the last time this time of year came around.  VN of the Month is one of the single most grueling tasks I've ever set myself outside of work, and I can honestly say that there are a lot of times when I just want to put it all aside. 
However, I inevitably find myself coming back and playing more VNs.  If I take a week off from VNs, I inevitably tear back into my addiction with insane glee, and it usually at least takes three or four bad VNs before I finally run down and need a recharge. 
I thought about making a poll asking if I should stop, like I did the other years... but the results - and the suggestions - are always the same, so I'm really more interested in what people have to say about this whole thing.