Introduction
Today, I wanted to do something a little bit different and talk about a visual novel. Well, okay, I guess visual novels aren’t exactly anything different—my last post was literally about Danganronpa. Before that, I talked about Sakura Taisen. Coincidentally, the company that developed Sakura Taisen, Red Company, is the same company that developed the game I have in mind to discuss today.
Rewinding a few months ago, as a fan of obscure retro Japanese games, I frequently browsed blog sites, forum posts, niche YouTube channels, and online threads that discussed these lesser-known titles. Since many people my age don’t seem to care much about retro games, browsing these pages for hours was one of my only ways to really learn anything new. One site I enjoyed visiting was HardcoreGaming101, which hosts thousands of articles and regular podcasts about retro games, even to this day. While they also cover some modern games, I mostly tend to avoid that stuff.
That site is where I first found lore information about XZR 1, Popful Mail, and Langrisser. Eventually, I purchased one of their books, Japanese Video Game Obscurities, written by Kurt Kalata, the founder of HG101. The book discusses several obscure, mostly Japan-exclusive retro games, ranging from more well-known games like Sakura Taisen, Der Langrisser, Tokimeki Memorial, and Bulk Slash, to more niche titles like Hanjuku Hero, Maka Maka, Sa-Zi-Ri, Emerald Dragon, and Bokosuka Wars. Of the titles discussed in the book, the one I wish to talk about today is a humble PC Engine game called Galaxy Fräulein Yuna!
Galaxy Fräulein Yuna is a series that has been on my radar for a while. After playing both Exile and Cosmic Fantasy 2, I wanted to explore what other games the TurboGrafx/PC Engine had to offer. So, I downloaded purchased several ROMs legal copies of games for the platform, with Galaxy Fräulein Yuna being one of them, as its graphics and premise piqued my interest. I had the game sitting in my backlog for a while until I bought the aforementioned book and noticed the game was mentioned in it. On top of that, the main heroine, Yuna, was prominently featured on the book’s cover.
Despite this, I still didn’t play the game right away—it only moved a few places higher on my to-play list. Several months later, I was bored and wanted something to play that wouldn’t require a heavy time commitment. I looked through my library and said, “Fuck it, I’ll try this game out.” and beat it over the course of a week. So, you may be asking, “Did you enjoy the game?” Short answer: Yes. Long answer:
Development
Galaxy Fräulein Yuna (銀河お嬢様伝説ユナ, lit. Ginga Ojōsama Densetsu Yuna)—often shortened to "Ginjōden" (ぎんじょうでん) in Japan—is an adventure visual novel developed by Red Company and Hudson Soft, released in 1992 for the PC Engine Super CD-ROM². When talking about the title, one thing I want to bring up is the ojōsama part in the Japanese one. An ojōsama (お嬢様) is a common Japanese term referring to a woman of high social status, or at the least, a woman who resembles one who does. Women who are referred to as ojōsama are often characterized by their grace, class, sophistication, and/or charm.
Examples include Sumire Kanzaki from Sakura Taisen, L’arachel from Fire Emblem: The Sacred Stones, and Erika from the Pokémon series, whose Japanese title is literally the “Nature Loving Ojōsama.” The term is often translated as “lady,” “noblewoman,” or sometimes “princess,” but in the title of this game, it’s instead translated as the German term “Fräulein.” The term is a diminutive form of the term "Frau" and is used to refer to a young or unmarried woman, similar to Miss or Mademoiselle.
Galaxy Fräulein Yuna had an impressive development team with people who were either big names in the industry or soon-to-be big names. Among the devs was Mika Akitaka, an established artist and mechanical designer known for his work on various Gundam series. He was specifically requested to join as the game’s creator, scenario writer, and lead artist, similar to how Kazuhiro Ochi was requested to do the same for the Cosmic Fantasy series.
In addition to his work as a mechanical designer for Gundam, Akitaka was renowned for his MS Girl characters. These MS Girls (MS少女) were a form of moé anthropomorphism, depicting pretty girls wearing power armor resembling mobile weapons—usually mobile suits.
While Akitaka popularized the MS Girl, the first ever design was created by Takami Akai, who later co-founded Studio GAINAX. He posted his original design in the Monthly Animec No.25 as a parody piece poking fun at Ideon’s success.
The inebriated Gundam girl is firing her rifle at an Ideon with the text reading:
“Who do you think gave you the chance to have a movie?”
The concept was expanded further by Masako Sugihara, an occasional contributor to Bandai's Mokei Joho Model Information books, through her various illustrations and model kits based on those designs. Bandai even released the model kits series "Armored Lady," designed by Koichi Tokita, based on this concept.
Art by Masako Sugihara
Akitaka started drawing his own MS Girls around the time Zeta Gundam started airing. He posted his part in several magazines such as Gundam Ace, which gained a lot of prominence amongst fans and brought the concept of MS Girls into the mainstream, or at the very least, as “mainstream” as a moé trend can be.
As Gundam Ace continued to showcase MS Girl artwork, the trend grew in popularity. This led to parody model kits and even official recognition, such as appearances in Gundam Build Fighters Try. The MS Girl trend became so popular that it not only caught Hudson Soft’s attention, prompting them to request Akitaka’s involvement in a new game project in 1992, but it also spread to other mecha anime series and even real-life combat vehicles, becoming a moé trope of its own known as Mecha Musume.
Moving back to Yuna, at an Anime Expo in 1998, Akitaka revealed that Yuna originally began as a more serious Mecha Musume shoot-'em-up game, featuring a character inspired by his design for the Gundam F91 Girl. However, this concept was later changed at the request of producer Yūji Kudō, who preferred a more light-hearted, cutesy, and silly visual novel, likely due to the platform's abundance of shooters. Despite this shift, some elements were retained, such as the main character Yuna Kagurazaka’s design, which closely resembles the F91 Girl. Furthermore, the general MS Girl aesthetic was repurposed for the power armor Yuna and several villains use throughout the series.
Additionally, Mika Akitaka would later develop a game similar to the original Yuna concept called Ginga Fukei Densetsu Sapphire (Galaxy Policewoman Legend Sapphire). This spin-off of the Yuna series became one of the rarest video games of all time, commanding exorbitant prices from resellers online. Getting your hands on one of these games will cost an arm, a leg, and the blood of your firstborn child. Hand over your entire life’s savings while you're at it too.
In Japan, Yuna was very popular upon its release and received significant praise from the PC Engine player base. It won over the hearts of many and continued to spawn sequels and remakes up until the PSX era. The series produced numerous sequels, remakes, spin-offs, and even an OVA, and it remains fondly remembered as a standout title in the PC Engine library, even to this day.
Conversely, Yuna is not very well-known in the US, as none of the original games were ever localized and released for the TurboGrafx-CD, as many visual novel-type games tended to be exclusive to Japan. Before the first game was fan-translated in 2021, the only piece of Yuna media accessible to English-speaking players was the two OVAs, which were translated and licensed by ADV Films back in the late '90s.
Fan Translation
Speaking of the first game’s fan translation, it was handled by a group called Stargood and can be downloaded here. This team also created fan translations for Chou Soujuu Mecha MG, the Game Gear version of Madou Monogatari, the Mega Drive version of Sailor Moon, and Yumimi Mix Remix, not to mention the other Yuna games. This particular patch consisted of the users Mafoo343, Supper, Cargodin, jongg-eater, Athena, Momochi, HeirTransparent, SilverLupin, and TheMajinZenki.
As far as fan translation projects go, this patch is exceptionally well done, to the point of being as good as, if not better than, an official release. There are very few errors, bugs, or mistranslations in the text, and from what little Japanese I know, everything seems to be translated faithfully. However, most of my admiration for this patch comes from its more technical aspects. I can’t even imagine how difficult it must have been to program subtitles for the FMVs. For the opening and ending themes, not only did they include English lyrics for the songs, but they also added untranslated romaji lyrics, in case you wanted to sing along.
Additionally, they also translated the game’s Instruction Manual, which is always nice to have. I’m the type of person who likes to download PDFs of older game manuals like this and read them during my playthrough, so it’s a big plus. The game’s manual can be read here.
Aside from that, they also implemented a few bug fixes and alterations. For example, they made the method for fast-forwarding text easier. The patch also allows players to skip voiced dialogue, and a bug that caused the opening song to desynchronize from the visuals was fixed. That said though, a few minor errors from the original Japanese game were left intact, like one that resulted in dialogue lines loading the wrong portrait. Or one that resulted in having lip flaps that don't start or end in sync with the voices.
Story and Gameplay
The game’s story follows a girl named Yuna Kagurazaka, an average schoolgirl who, on the surface, seems like no one special living in the 23rd century in Neo-Tokyo. This all changes when a friend secretly enters her into the 21st Miss Galaxy Fräulein competition, an intergalactic beauty pageant. After emerging victorious out of 500 contestants, she becomes an overnight pop sensation, starring in TV shows, movies, music concerts, and magazines… despite her lack of talent.
One day, an android-like fairy character named Elner introduces herself as Yuna’s “other self.” Elner explains that long ago, a battle took place between light and darkness, and now the darkness has been spreading rapidly, conquering the galaxy. As a result, 13 of the runner-ups from the Fräulein competition were taken over by the darkness. Exploiting their jealousy, the darkness reincarnated them as the 13 Fräuleins of Darkness.
Conversely, as the contest winner, Yuna was chosen as the Savior of Light. Before Elner could explain more, one of the 13 Fräuleins attacks Yuna’s neighborhood. During this attack, Elner transforms Yuna into a magical girl—the titular Galaxy Fräulein Yuna. After stopping this attack, Yuna is tasked with finding and stopping the rest of the 13 Fräuleins across the galaxy and saving them from the darkness. She must also find the rest of her Other Selves, use the power of friendship to defeat the Queen of Darkness and save the world.
It’s not a very complex or deep story, but in its defense, it doesn’t really try to be. Instead, it presents itself as a silly romp, allowing readers to turn their brains off and relax. It’s structured as a non-serious "monster of the week"—or in this case, "maiden of the week"—styled series, with art direction very reminiscent of older ’80s OVAs like Iczer-1, Dragon Half, and Dirty Pair. It’s easy to imagine a game like this being adapted into a cutesy 13-episode OVA.
This game is also very similar to Sakura Taisen in that it follows a TV anime aesthetic, complete with an opening theme song, eyecatchers marking “commercial breaks,” and an ending song sung by Yuna’s seiyū, Chisa Yokoyama.
Accompanying this cutesy futuristic romp is a cast of cutesy futuristic characters. They’re all a hoot and fun to interact with, featuring very appealing designs—especially the main character, Yuna. She’s written somewhat similarly to Usagi Tsukino from Sailor Moon. By that, I mean she’s very clumsy, airheaded, and absent-minded. And I mean very absent-minded—this bitch is stupid as fuck.
There’s a part later in the game where you come across a door on a ceiling about 20-25 feet above the ground. Yuna proposes flying up to check what’s on the other side. Everyone is shocked, thinking she has some sort of hidden flying ability. But after preparing to take off, she ends up just pathetically jumping up and down, trying to reach the door. …She doesn’t reach the door.
Yuna’s personality bounces off the other characters very well, and I love how other characters react to her antics, especially Elner. Throughout the game, Elner serves as Yuna’s primary helper as well as her straight man. Elner alternates between being genuinely supportive and caring to outright berating Yuna for her stupidity. The Other Selves you encounter act similarly to Elner but have their own unique personalities with varying levels of tolerance for Yuna’s silliness.
Marina might be my favorite of them
The 13 Fräuleins of Darkness are also pretty enjoyable in their own right. They’re not especially deep and primarily function as mid-bosses, but you can still glean enough from their pre-battle dialogues to get a feel for what they’re like. My favorite girl was Shiori, a slow girl you meet on a jungle planet. She speaks absurdly slowly, taking ages to respond to anything. When I first talked to her, I wasn’t getting new dialogue, and the game wouldn’t let me move to the next area. I thought my ROM game was broken. Then, after about seven attempts to hit the “Move” option, she finally responded to a question I had initially asked her several dialogue boxes ago. She’s very me-coded.
When Yuna starts fighting her, she charges in, but Shiori isn’t prepared and falls to the ground. Yuna feels bad and helps her up before Shiori transforms, and then the real fight starts.
Another character I liked was a Chinese girl you meet near the end of the game named Remi. In Japanese, she ends all of her sentences with “Aru” (ある) which means “to be” or “to have” in Japanese, which gives her a funny way of speaking when translated.
You know, in my Vanguard Bandits article, I criticized Working Designs for localizing Halak into speaking like Yoda from Star Wars. However, in the case of this character, Remi, that speaking pattern would actually work here… that it would.
There are a lot of different personalities here, like, the admittingly funny, but spoiled rich girl from Roppongi who speaks with a lot of slang, the serene but short-tempered musician girl, the cultured but narcissistic bookworm, the haughty flower girl, and a fancy regal-like woman named Luminaev… who I like a lot…for no particular reason…
Many of the side characters and one-off NPCs are equally charming and do a good job of establishing that this story isn’t meant to be taken too seriously, encouraging the player to enjoy the comedy. One of the more memorable ones was Yuna’s teacher, who challenged her to a karaoke match as punishment for interrupting her class.
Another funny moment I remember was on the mechanical planet, where I ran into a guard protecting a restricted area. When you meet her, you have the option to smile, cry, or sing. To progress, you have to select "cry," and then "sing," at which point she admits that she’s a fan of your music and loves the way you sing.
However, if you had chosen to sing first, she tells you that your singing sucks and loops you back to the initial choice. It was pretty funny, but probably only to me—I couldn’t help but laugh at the sudden shift in her opinion, not to mention her dumb smile when telling you how bad your singing is.
Another moment that caught me off guard was when I entered the water planet. There’s a portion where you have to enter Yuna into a swimsuit contest to progress in the game. During the contest, the three judges are different versions of White Bomber from the Bomberman series, and the main theme from Bomberman plays. I guess it’s not too crazy since this game was also made by Hudson Soft, but I still wasn’t expecting that cameo.
I didn’t win the contest 😔
The game plays very similarly to your average visual novel adventure game, similar to Snatcher, but is dummied down quite a lot. There are no puzzles, item inventories, point-and-click mechanics, free exploration, or anything like that. Your only options are to Look, Speak, and Move to the location that the game tells you to. There are a few choices here and there, but that only gives you brief bonus dialogue or CGs before looping you back to the previous option until you select the correct choice. The few “adventure” aspects that are included in the game almost feel like they were tacked on out of obligation more than anything else.
Occasionally, when you encounter one of the 13 Fräuleins, you’ll enter an RPG-styled battle sequence against them. Though calling them actual “battles” is a bit of an overstatement, they’re very barebones and are almost just more dialogue interactions. In battles, you have two types of attacks, a standard attack and a verbal attack. A standard attack allows you to attack with either your sword, gun, or any upgrade you currently have when fused with one of your Other Selves. These attacks do decent damage, but whether they hit or not is determined by a pure coin flip.
Verbal attacks, on the other hand, are essentially your magic attacks; you sling an insult at your opponent, and a lot of them react in funny ways while also taking a modest amount of damage.
When I played this battle, I almost spit out my drink after I verbally attacked Alephtina,
only for her to suddenly let out a Pepe Scream. She’s even green like a frog.
Verbal attacks never miss, but are offset by requiring Fräulein points, which is essentially your MP. When you’re out of Fräulein points, you can no longer use Verbal Attacks. To regain Fräulein points, you can select the Regain Dignity option, which allows the player to take a turn and restore some of their Fräulein points. There’s also a Defend option, which just let’s you dodge an incoming attack. Lastly, there’s an Escape option…which does nothing.
Aside from HP and FP, there are no viewable stats. There is also no EXP or Leveling system, it would kind of be useless anyway since the only battles that exist are pre-set boss fights, and the only thing that really changes between fights is your HP and FP get higher. As your HP gets higher though, these battles tend to take longer and longer. And as nice as the animations are, they take forever and really drag out the fights. When you win a fight, you get a brief animated cutscene featuring whatever Fräulein you just defeated, with their armor and clothes broken and torn—your standard light ecchi content.
If you somehow manage to lose a fight, nothing really happens, you just start the fight over again like nothing happened. Before long, you’ll realize that these battles require next to no strategy, and you essentially just resort to mashing buttons. …Sadly, they’re better designed than Cosmic Fantasy 2’s battles.
Like Cosmic Fantasy 2, a lot of this game’s appeal comes from the aesthetics. Having a popular anime artist at the steering wheel and including FMVs back when they weren’t as common gives this game an edge over other games at the time. All that’s to say, I like the sprite art in this game quite a lot. The overall aesthetics are very PC-98, in that the sprite art is pretty and vibrant, the game is decorated with a beautiful border, and the sound effects are very nostalgic to me. Most of these points of praise actually apply to Exile, Cosmic Fantasy 2, and even Popful Mail as well.
Even though a lot of these games on the PC Engine and Sega CD aimed to be similar to interactive anime series, their hardware limitations—like the limited color palette, the use of pixel art over hand-drawn animations, lower frame rates, and lower screen resolutions—had to be worked around. As a result, it gave a lot of these games a unique vibe aesthetically compared to the anime you’d see on TV. They had their own brand of animation, which made them feel more expressive, lively, and energetic.
As technology advanced with hardware like the PC-FX and PSX, many of these FMVs had fewer limitations and were more in line with TV anime—which was the goal, yes—it also made the unique sprite animations and aesthetics of the 16-bit era much rarer. In many FMVs from games in the 32-bit era, while they were more impressive, they also felt a lot grittier and more muted.
Look at all the pretty pixels.
Compared to the more dully colored screenshot from the OVA
While I liked the animations, designs, and artwork overall, a few designs and scenes stood out to me as looking a little goofy—like the first time you meet the rival character, Lia.
She’s been in a hairy situation or two.
While I’m at it, I wanted to mention one disclaimer for anyone planning to play this game. There are a few cutscenes during the game—specifically, the ones where you meet your Other Selves: Gina, Marina, and Erina—that feature heavy flashing effects ala Electric Soldier Porygon. So, be mindful of that.
The game’s soundtrack has a lot of catchy songs that range from earworms to genuine bangers. To make room for all the voice acting the game has, many of the themes are mainly chiptune themes. If you’re a fan of the PC Engine’s soundfont or just chiptune in general, you’ve struck melodic gold with this game. Some of my absolute favorite themes are the location themes that play for the water planet and the jungle planet. They’re both very soothing and relaxing, and I could easily imagine listening to them on a plane ride, or a boat ride, or something like that.
The only real issue is that these songs are about a minute long and loop repeatedly, and each planet only has one dedicated theme. If you’re a slow reader, like me, you’ll end up hearing the same song loop several times before anything new comes on.
As for bonus content, there’s quite a few interesting debug and unused assets that were discovered during this game’s fan translation. To access this debug menu, at the title screen, you have to input the following button combination: Right+II, Left+I, Right+II, Left+I, Left+II, Right+I, Left+II, Right+I. If done correctly, you’ll enter the debug menu which is luckily translated in the fan translation.
As you can hopefully read in the image above, in this mode, you can view Events, Course Data (Level Select), listen to Music—though the Bomberman theme is notably missing from this mode—look at the in-game CGs, and enter a Battle Test. In Events, you can watch several of the in-game cutscenes, but there are a few unnamed Events in this mode that crash the game when selected. Additionally, the Image option is insanely buggy, featuring a lot of glitched CGs, options that crash the game, and more Electric Soldier Porygon references.
Notice the fucked up background.
Oh, this is Macchan by the way. Say “Hi.”
There are also several unused little aspects in this game, like unused cutscenes, events, and scripts, but I won’t go over all of them here. They’re interesting in their own right, but if you want to learn more, I recommend checking out the detailed readme file that comes with the English patch, you won’t find this info on TCRF. What I did want to discuss though are some unused names and characters. One character you meet near the end of the game is called Emily of Culture, the bookworm I mentioned before. However, in the sound test mode, her theme is labeled as “Elize (エリーゼ) of Culture.” What’s up with that?
In the sound test mode, there are also two themes called “Shera the Horserider” and “Tanya,” two characters who do not appear in the final game. Tanya’s theme is quite somber and has a bit of a regal or religious vibe to it, making me assume she would have been some sort of nun, princess, or something along those lines. Meanwhile, Shera’s theme has a strong Cowboy Western vibe going on, implying she was likely going to be some sort of cowgirl.
Sequels, Spin-Offs, and Supplemental Media
The sequel, Galaxy Fräulein Yuna II: Eternal Princess, was released for the PC Engine Super CD-ROM² in 1995. The fan translation of this game was handled by the same team, stargood, shortly after the release of the first game’s patch. This follows Yuna after the events of the first game as she is put in the driver’s seat of another adventure against a new group called the Erika 7. From what I’ve heard, the story has greatly improved from the first game, but I’ve also heard that the battles have not. Rather than being pseudo-RPG-style fights, battles follow a card system where you’re dealt four cards, which can include physical attack cards, verbal debuff cards, heal cards, defend cards, partner cards, stun cards, and wild cards. After you use one card, you’re dealt a new random card.
I’ve heard that the execution of this mechanic isn’t very good, as it’s heavily luck-based. However, it looks really interesting to me and seems like a unique take on the traditional battle formula. There’s still some strategy required, like playing around your deck and saving certain cards, in addition to luck, similar to any tabletop card game. But without having played the game myself, I can’t say much more.
Furthermore, Galaxy Fräulein Yuna FX was released for the PC-FX in 1996. This game follows the OVAs quite closely and is made up of just watching scenes from the OVA, a few VN sections like the first two games, and a collection of minigames.
In the same year, Galaxy Fräulein Yuna Remix was released for the Sega Saturn. This game was a remaster of the original 1992 game. This version featured both redrawn graphics and new animated cutscenes, as well as some bonus content.
Also on the Sega Saturn, Galaxy Fräulein Yuna III: Lightning Angel was released in 1997. In this game, Yuna follows a new foe, the Machinate Empire, and must once again use the power of friendship to save the world! This game was actually one of the reasons why I wanted to get into the Yuna series, in addition to being a VN, it’s also a Strategy-RPG similar to Sakura Taisen. In fact, it looks very similar to Sakura Taisen graphically.
This game was also ported to the PSX in 1998 and christened Galaxy Fräulein Yuna III: Final Edition. Which had some enhanced graphics and added a decent amount of bonus content. This version of the game was fan-translated by stargood translations, so if you’re interested, it can be downloaded here.
Lastly, in 2008, the PSP received ports of the first two Galaxy Fräulein Yuna games, along with Ginga Fukei Densetsu Sapphire on a single disc. These ports included an image gallery, but no further improvements compared to the original PC Engine versions.
While not directly connected, I mentioned briefly that many of the same people who worked on Yuna also worked on Ginga Fukei Densetsu Sapphire. Ginga Fukei Densetsu Sapphire, commonly abbreviated to just Sapphire in English, is a shoot 'em up developed by CAProduction for the PC Engine CD-ROM² System. The game follows an all-women police force in the year 2092 traveling through time to stop terrorists from committing crimes.
The Sega Saturn also got two discs called "Mika Akitaka Illust. Works," volumes 1 and 2, in 1996 and 1997 respectively. Despite being released for the Sega Saturn, these were not actual video games, rather they were essentially digital artworks featuring cute art of the characters, music, and various omake content.
This post will probably go up in late December, so Happy Holidays to anyone reading, lol
Also released in 1997 were two computer software packages: Galaxy Fräulein Yuna Hybrid Collection and Galaxy Fräulein Yuna Visual Soundtrack. The former was a collection of PC-related omake such as desktop wallpaper, custom cursors, and screensavers. The latter contained a few music clips with slide-show-style videos.
There were also two Yuna anime series, the first one called Galaxy Fräulein Yuna: Siren's Sadness. It was a two-episode OVA which was later dubbed and released in the West as Galaxy Fräulein Yuna. The plot overlaps with the story seen in the Yuna FX game.
The second anime, Galaxy Fräulein Yuna: The Abyssal Fairy, was a three-episode OVA released in the West as Galaxy Fräulein Yuna Returns or Galaxy Fräulein Yuna: Dawn of the Dark Sisters, which takes place after the first OVA but before Yuna III.
In addition to all that, Yuna Kagurazaka also makes a cameo as a secret unlockable character in Saturn Bomberman. Which is Bomberman for the Sega Saturn, just in case you needed clarification. To unlock Yuna, you need to hold the L and R buttons on the first screen of the Battle Game settings until a confirmation jingle plays. When you start the match, she spawns with an extra speed powerup already equipped.
Yuna sprite from Saturn Bomberman.
She kinda looks like Alex Kidd.
Additionally, Yuna can also be seen behind in the background, during the Bomber Catcher minigame amongst other mascot characters like Bonk from Bonk’s Adventure.
Sadly, I couldn’t find an image that doesn’t include a big fucking arrow covering Yuna’s face.
Conclusion
I know this post was shorter than what I usually write on this site, but as much as I enjoyed the first Yuna game, it doesn’t offer a great amount of content for me to discuss. Like I said before, it’s a very short and simple moege with light adventure aspects. It’s a game you can relax to and turn your brain off for, and while there is some cool lore and worldbuilding, it’s nowhere near as complex or thought-provoking as something like Danganronpa, Fate/Stay Night, or Dōkyūsei.
Similarly, I don’t have a lot to say in terms of concluding thoughts, since everything I had to say was already stated above. In any case, I hope you enjoyed this little read and learned something new about what I’d consider an influential but niche title in the PC Engine’s library. If this post piqued your interest, that would make me happy, but if it didn’t, I don’t really care that much. Likewise, any feedback is appreciated; if you liked this post, let me know what you liked about it, and if you didn’t, tell me what you didn’t like about it.
That’s all I have to say for now, so thank you for reading, and please join me next time as I talk about something else. Until next time…
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