I've come here
From beyond the bounds of science
I didn't come with a leek
But I wouldn't mind having one


I love virtual singers. My favorite composers and songwriters all use them, and I'd like to say I'm very well versed when it comes to this kind of music. As artistic tools and instruments, it's kind of overwhelming how much potential these voicebanks have. The same song put in two different people's hands can wind up having insanely different reflections, if tuned right. I've heard vocals that sound near identical to a humans, I've also seen them sound so rough and robotic that words are barely legible. Which producers I like, the songs I enjoy, tracks that make me cry, I can talk about those all day if you let me. The history of Vocaloid in general is a very interesting and pervasive one. Does this game do a good job of upholding it?

Kind of. As a game, its incredibly fun. More of a rhythm game than Project Diva, which SEGA has long since chucked into a ditch. I know this style of mobile rhythm game has been done many times in other places, but it works perfectly well. Its all dependant on your ability to follow the beat of a song and tap the notes in tune, unlike in Project Diva where it was more of a battle against the controller (hit x + y + b? What the fuck are you talking about?) since of course, being originally develeoped for an arcade cabinet, it was never going to feel especially good on consoles. This however, being made for mobile, makes the experience leagues better. And the tracklist is insane. Such good picks, a huge range of styles and producers to chose from that doesnt just rely on the classics. Modern Vocaloid producers are insanely talented so I'm more than happy that Sekai keeps up with the current music.

My biggest complaint with this game is how they treat the overall legacy and dignity of the songs they chose, as well as Vocaloid in general. The plot of this game is that of these 5 (human) groups, each supposedly representing a style common in Vocaloid music. Their lives are a wreck but one day their phone flashes and theyre teleported to Miku World, where Miku herself helps these wayward teens through whatever it is they are going through on that particular day. I understand that this game is marketed to young adults, they have to keep Vocaloid relevant, and they also have to sell marketable characters for gacha. But man. I dont give a single shit about any of these people. Some of them are ok, even sweet!- like leo/need is cute. The writing for their stories isnt bad or anything, but the problem arises when they shoehorn these (fake) characters into songs made by real people, with real problems, making it seem like the song is about the characters. Some ditzy idol MitchieM song, ok whatever, but a lot of Vocaloid music tends to be very personal, philosophical even. I feel like its INSANELY disrespectful to overwrite the intentions of the artist to shoehorn in your gacha ocs. Especially with the "depressed" idol group, which they couldnt even be bothered to tackle social issues or anything important besides "my mom makes me do stuff" or "I'm an artist and my brother is annoying" or, confusingly, "my dad is in a Music Coma and its ALL MY FAULT" (relatable, to someone, surely). When a great deal of these songs are about real people's sadness and feelings, I cant help but feel gross seeing Purple Anime Girl #1 cover something like Hated by Life Itself. And they dont just make these people cover these historically important songs, they also create whole new music videos with the Sekai characters pasted over whatever was originally happening? What? How is that right? Even just historically, those original and Project Diva MVs are very important to the culture and rise of the artform. Why paste fucking Mizuki over the video for Hello Worker? She cant even fucking work shes a CHILD. HOW does she relate to the song at all? If you cant properly tackle why a teenager would want to jump off a bridge (as a few producers have wound up ending their lives or passing away otherwise) maybe dont make your bimbo gacha teehee heehaw teen sing a whole song about it. Even regular tracks, if you're already making music FOR the game anyways just keep them out of it.

It makes me a little sad seeing as how this is a lot of children's/young adult's first impression of virtual singers, since I've already heard tales of people playing this game and not knowing what Vocaloid is, somehow. The relevance of Vocaloid, CeViOs, UTAUs, you name it- has been going strong since it's inception two decades ago. All thanks to the very talented and beautiful people who continue to make music utilizing them, and disregarding Sekai, that is not going to change for a long while. If this stupid little app won't celebrate Miku like she DESERVES, well then... I guess its up to me. I fucking love you girl, keep on bein your twin-tailed self. No one can take your spotlight.


I understand that you still can't see what I look like
But I'm alive.
I talk with you.
So across the wall of virtual reality
Inside the flood of information,
I want to go on evolving,
you and I together.

while sf6 is lacking and had a subpar patch almost a year into its life, tekken already had a solid balance patch barely even a month after release that nerfed the excessively broken stuff and made the game feel more like tekken. always good to see. hopefully the next patch (where they claim to focus more on buffing movement/defense) will ground the series even more into its roots of letting a player escape guessing situations with proper applications of knowledge and awareness. the more i dive into tekken, the more i realize how much i love that kind of stuff.

there is some pretty scrubby stuff shoe-horned into the tekken ecosystem, but it really doesn't seem as bad as most modern fighting games. the love given to legacy players here still remains pretty strong. hope we get some actually cool dlc soon though... and please stop buffing asuka's offense, just give her a normal backdash :(

Yeah, it's good. I love the characters and the little world it builds for itself. There's a very somber yet comforting feel to it all, especially the Refuge, my favorite part of the game. I also found that it handles its metanarrative elements with much more tact and grace than other similar indie games of the time, such as, say, Stanley Parable with its pompousness, or DDLC with its banality and overall shit quality. I'm glad to find something that gets these things right every once in a while, at least in my own eyes.

Knocked this out in roughly 5 hours total while waiting for my Twitter account to get unlocked. Not a long game at all, would definitely recommend giving it a try, especially for fans of other RPG Maker titles.