UlasanAnime.com – The author begins by reflecting on an identity crisis within the context of “bishoujo gaming,” a term they use to encompass games with a focus on attractive female characters, exploring the genre’s attractions in terms of content and gameplay.
The author identifies “Graduation 2” as a pivotal point, not necessarily as a starting or ending point for becoming a fan, but as a midpoint where gameplay and content intersect. This intersection is crucial in determining which games they find appealing.
The author confesses to having played a number of more pornographic games within this genre, and has also seen many ripped images from such titles. This leads to a discussion about the prevalence of pornography within the bishoujo gaming genre in Japan, noting that many of these games are of poor quality.
The economic reality is that pornography sells, and it serves as a significant driver for bishoujo gaming as a content delivery system. The author points to the history of gaming, referencing a Gamasutra article from 1992 and their own recollection of playing “Knights of Xentar” in 1994, indicating the genre’s long-standing presence.
However, just as pornography drives delivery systems, these systems also evolve to produce more relevant and interesting material. Examples given include “Princess Maker 2,” which is described as one of the most widespread English-language bishoujo games and a good one, especially now that it’s essentially abandonware. Konami’s “Tokimeki Memorial” games and others like “Graduation 2” are also mentioned, alongside the variety of pornographic games that existed as the genre was still finding its identity.
The author’s personal journey diverges here. While porn games have been around for a long time, the author notes that this evolution applies to all game genres, from platformers and RPGs to tactical games, and even casino games or creative flash games. The author questions the absence of pornographic versions of major titles like “FF7” or “Starcraft,” suggesting that while they might exist, Japan’s diverse and healthy porn game industry, compared to the US, is a key factor.
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The author clarifies that they are discussing porn games primarily because bishoujo gaming is like a solitary, delicious shiitake mushroom growing from a pile of cow dung, which represents the porn game industry. This analogy is used to explain how the genre can proliferate outside of Japan: it must either coexist with its “cow-dung underpinning,” as some have done, or grow independently.
The author expresses a personal disinterest in playing porn games, stating that aside from a copy of “Tsukibako,” they will never spend money on them. Their preference lies with games that are genuinely fun.
The author lists “Graduation 2” as pretty fun, as is “Harvest Moon.” “Tokimemo” is also found amusing, particularly the later installments. “Baldr Force” is mentioned as potentially fun, despite its pornographic elements, though the author hasn’t had the chance to play it extensively. “Tsukihime” is also considered fun, but the author’s insufficient Japanese skills are a barrier. The author strongly supports the growth of the bishoujo gaming genre independently of pornography.
In this context, the author praises Insani’s “All Together” efforts for porting doujinshi games that are not only legally less ambiguous but also, for the most part, not pornographic. These games focus on the fun aspects of gameplay and unique varieties rather than catering to familiar, explicit content. The author argues that a pornographic “Super Mario” is still “Super Mario,” but a visual novel is a novel, and a dating sim is distinct from other simulation games like “Sim City” or “Sim Tower.” This definition, the author believes, should appeal to Ren’ai gaming fans, defined as those who enjoy games with romantic narrative underpinnings.
The author then turns the question back to the reader: what can be done to foster the growth of bishoujo gaming and resolve its identity crisis? They suggest open-mindedness, advocating that individuals should be free to play erogee if they wish. While this might create extra work in differentiating the gaming image (likened to anime needing to escape the “hentai taint”), it could also benefit companies financially and encourage more commercial investment in the area. The author believes that if companies are porting games that fit the niche where gameplay intersects with the bishoujo motif, they should be supported through both piracy and purchase.
The author concludes on a positive note, highlighting that with free demos like “Polyphonica” available and titles like “Ever 17” accessible at a moderate cost, it is the best time to be a bishoujo gaming fan. This sentiment holds true regardless of one’s stance on software piracy. The author encourages readers to “kick some ass with your moon powers!”
