Clearly, people have had wildly different experiences with this game. Obviously having played Suikoden to understand what this game is trying to do helps, but even if you're intimately familiar with the Suikoden series, you may come away from this game disappointed. It suffers from an extremely noticeable lack of polish. Bugs aplenty, many cases of written dialogue not matching up with the voice acting, and many elements of the game seem suspiciously unfinished as if they ran up against time or budget constraints. There are a lot to very reasonable critiques to be made of this game.

But fuck everything I just said because this game is a masterpiece. The amount of heart you can feel in every aspect of the design makes this a very successful attempt at a love letter to the Suikoden series. The game is mostly very polished in the areas that really matter. The combat is flashy and fun with excellent art and animations. Recruiting characters is almost always a joy as each newcomer adds something new to the experience. Town development drags towards the end of the game but it's very easy to unlock the important quality of life features and important side content, with the rest being mostly for fun.

Overall, if you like the Suikoden series, you owe it to yourself to play this game. Full stop. You may not love it, but the amount of passion on display here should be enough to convince anyone that this is a genuine effort to revive one of the most beloved (and almost entirely forgotten) RPG series of all time.

I was so bad at this and getting owned so swiftly that it was actually starting to affect my mood. I can't win at Yu-Gi-Oh. Can't even get a single win. No matter how hard I try or study or practice my opponent has drawn every card necessary to summon 3 powerful Fuck You monsters to the field in a single turn. I don't understand. The training mode doesn't even come close to preparing me for this kind of Getting Owned.

I work a shitty job, am in enormous debt, I can't afford new tires or a new battery for my car, nothing works out in my favor, and I can't win at Yu-Gi-Oh. I remember when the Cleveland Browns didn't win a single game all year. I wonder how the QB, Deshone Kizer, felt during that stretch. You practice, you study, you do everything possible and yet a single win constantly eludes you. That was on a pretty grand stage, in front of millions. My torment is just in my bedroom while I watch Colorado Rockies baseball, hoping their perpetual losing and inability to play baseball with even the slightest bit of competency will give me perspective on how small my inability to win a Children's Card Game is. But it doesn't. I look at the Colorado Rockies and all I see is a mirror, it's like looking at the devil himself, mocking me for my near-constant bumbling and giving me a microcosm of my various financial woes in the form of a Blue-Eyes Ultimate Dragon being summoned to the field on the second turn just to own me.

If I were younger and still had dreams and aspirations I would probably suffer through the near constant losing just to get a glimpse at what winning a game of Yu-Gi-Oh might look like, but this shit is actually bumming me out. At least when I watch the Shitty Ass Fucking Worthless Colorado Rockies, we are divided by a screen and I am not Nolan Jones letting an easy fly-ball pop out of my glove. Actually BEING that hapless loser is too much for me to bear.

Still highly recommended as it is NOT League of Legends, though.

As an avid JRPG enthusiast, this game scratched all the itches I could have ever asked for from the spiritual successor to Suikoden. It's a bit rough around the edges at times, but it's more than charming enough, and the pacing is more than acceptable. I've heard a lot of complaints about it being too similar to Suikoden, but at the end of the day if the spiritual successor to Suikoden WASNT like Suikoden it would have been dead in the water.

It's a great experience, enjoyable story, and nostalgic throwback. All with maybe TOO much side content.

I got to play this game a few days before launch and I'm already 15 hours in, I can definitely say that this game is literally a suikoden game. There are many things you'll recognize if you're a suikoden fan like me. The difficulty has been improved A LOT which was basically the weak point of suikoden. I really like lian her conversations they're so good, tbh I don't get the translation hate I think it's really fun, don't listen to the haters they have brainrot and are actually insane about it. I don't think I'll like seign and jowa better than jowy and riou though. This might be the best looking HD2D game so far, the game doesn't have annoying filters like octopath and triangle strategy, it's easy to read what's going on the screen unlike squares HD2D games. the characters are very expressive to be a HD2D game which I really like, it does a lot to make things feel alive. The blur might be annoying sometimes especially when they blur the place you're walking to, bruh why blur the thing you're focusing on it's so annoying, it feels so uncomfortable to look at it's like having bad eyesight ( I found out I can turn it off yippie ). I will update my review when I get further

Being able to say that this is a real game that I’ve now finished doesn’t feel real, and definitely wasn’t something I would’ve expected a year ago

Persona 3 FES is (or was) my favourite game of all time, and the most important game to me. I won’t go into why since it’s personal but even to this day, it’s still the game that got me through one of the lowest points of my life so far and where I got the most out of its themes and message. It’s crazy, how at the time my 14 year old self spent £60 on some random PS2 game from a franchise I knew next to nothing about, only for it to have a huge impact both personally and in my taste of games (I don’t even want to imagine what I’d be playing now if it wasn’t for this), as well as showing me just how important storytelling can be to video games. If there was something I ever wanted since finishing it, it was a Persona 3 remake. Or a remaster, I even would’ve been happy with a port with no differences at all. But of course eventually we did get… P3P ports for Switch and PS4, which killed all hope of that ever happening. But some time later, a trailer for a Persona 3 remake… got leaked (You’ll never be forgotten ex-Atlus employee who is most likely locked in the Atlus dungeon 🫡). Less than a year later it finally releases, and this was everything I could’ve asked for

With the story, I mean it’s still P3. Not a “remake but it’s not actually a remake” that people feared, but the same old P3. Which thank god because I’ve always seen that ruin one main favourite of mine, I’d hate to go through that again. This is my favourite story in any game ever so I’m really glad it was left untouched. If there was one thing I was worried about, it was how SEES would be handled since they’re my favourite main cast ever, but I ended up coming out of P3R loving them even more. One new feature is the Link Episodes, a replacement for social links for male characters. And to be honest? I think going forward they should start doing these with party members instead of social links. I was originally fine with them not having social links in the original since it felt like they got enough development in the story, but these are even better. Also man I really missed how the ultimate awakenings were done… I wish they kept it like this instead of how they were done in P4/5. Speaking of social links though, they’re finally fully voiced! I went straight from Yakuza 8 to this so I wasn’t sure how I’d feel about going to non-voiced SLs after the fully voiced drink links, but this was something I’ve always wanted so it’s really good to see it here. The SLs are pretty much untouched here which I don’t mind. Whilst you can tell that P3 was their first attempt at them, I always liked them for what they were and some of my favourites in the franchise are here, so I’m glad they left them as they were instead of rewriting them. Man, it’s just going through P3’s story again and seeing how SEES all grow throughout it… no offence to P4 and P5’s cast (ok maybe P5 because of that fucking cat) but they just can’t compare for me, they just feel so different in an unexplainable way. It was also really cool seeing them add more scenes with Takaya, it definitely gave him what he always needed

Ok so if there was anything I was worried about, it was the gameplay. Well obviously the gameplay itself would be a huge improvement, but I mean more how Tartarus would be handled. It wasn’t exactly the most liked in the original but it was always something I loved, and I was worried about them making it more like the P5 palaces. But this is the same Tartarus, even better too. Two new features that come to mind were the monad doors and… the other door that I can’t remember the name of lmao, but both of these added even more challenge and were satisfying to get through. The gameplay itself is honestly Persona at its best imo. It’s pretty faithful with some new mechanics. One being Shift which is similar to the baton pass but a lot better since it doesn’t make you stupidly overpowered, although I didn’t use this a lot since I’d often forget about it. There’s also Theurgy attacks which was an interesting addition. Minato’s (you couldn’t pay me money to call him Makoto Yuki) Theurgy spells were the fusion spells from the original which was really cool to see. But these are basically ultimate attacks which are nice, and are good when you’re stuck, and can get added onto later on. I had Yukari and Koro in my main party, so by the endgame I was only using Theurgy for charge/concentrate. One interesting part is how different characters feel in terms of balancing. This was the first time I kept Koro and didn’t have Akihiko in my party, adding normal dark/light attacks really saved my life since I don’t like using instakill attacks. Tactics here did get a nerf compared to FES, I know a lot of people probably won’t care about that since not controlling your party members isn’t fun, but I did always like that in FES and it kinda sucks for people who wanted to play that way

Moving onto presentation and this is kinda where the nitpicks start to come in but there’s still a lot of good here. I’ll start by saying what definitely hasn’t been said 1000 times already but these menus are so beautiful. You can always trust Atlus to make even the pause menu look really nice. Anyway I really need to talk about the portraits. Don’t get me wrong, it’s cool to see all of these characters in the modern artstyle but… there’s just something missing? The sprites in the original P3 were full of different poses and expressions, these being lost was always a problem in P4/5 too, but it especially shows here. Characters will have maybe 2 different poses, but they’ll always be way too similar to each other. I think the only character to not get it as bad here was Junpei. I mean this is far from a major issue for me but it did slightly bug me throughout the whole thing. The lighting was a common complain and I can agree with that. You could lower the brightness to make it less of a problem I guess? But with those aside, I don’t have any other complaints since the rest of the game looked really nice. It’s hard to compare the animated scenes in both versions, I like how clean they look here but I also love how they looked in the original, which wouldn’t have been able to be replicated. Overall I’m happy with them, although Reload’s cutscenes felt kinda weak around the beginning in comparison, especially with the opening cutscene and Minato’s awakening

I’ll talk about the audio for this last part and I’ll start with the voice actors. I played the game with JP audio and the cast were amazing as always, so there isn’t much I can say about the dub, but at least what I’ve heard of it sounds good. Can I just mention how Zeno Robinson was perfect for Junpei, I’m glad he finally has an English VA after all these years. The soundtrack got a complete redo and… unlike what I thought, these ended up growing on me a ton. Hearing that Yumi Kawamura wouldn’t be returning had me worried but Azumi Takahashi did an amazing job with the vocal tracks. Tracks like Mass Destruction took a long while to grow on me, and Unavoidable Battle… yeah no I’m still not big on this new version but that’s the only one I can say that about. But then there are ones like Changing Seasons which sound so much better here imo. There are some entirely new tracks here and… I really wish there were more because these are some of my new favourites in all of Persona. Colour Your Night is easily the biggest standout here, and my favourite in the whole game. It’s Going Down Now is probably my new favourite battle theme too. Full Moon Full Life feels like Burn My Dread 2 and I mean this in a good way, Burn My Dread is still my favourite OP but it comes really close. I know I’ll be listening to all three of these a lot now. Originally I was disappointed when there was no title music, especially with how much I love the piano version of Brand New Days in FES, but after finishing it… man. I have to mention the new version of Kimi no Kioku too. It’s difficult to live up to the original, but damn the new version completely ruined me just as much as the original

So is this the ultimate replacement for FES that makes it completely irrelevant? No not at all. As much praise as I’ve given Reload, there are still things that I think FES did better, and offers its own experience that I can’t recommend enough to people that played Reload first. However, P3R is quite literally everything I could’ve asked for in a P3 Remake. I never wanted a complete replacement for FES, since it’s irreplaceable for me. What I wanted a fresh new experience on modern consoles that could coexist with it and that’s exactly what I got. Incredibly faithful, more fun to play, little to no changes in the story/writing, keeping the same magic that made P3 amazing. This was my dream game and I couldn’t be any happier with the final result. It always felt like P3 would never come to modern consoles, especially when P3P was the one to be ported first which almost made it look impossible… but then not even a year ago, this ended up not just getting announced and but also releasing. There were many times years ago where I’d imagine a P3 remake releasing, but having to wait a long time for the localisation, so it feels crazy getting it on the exact same day as the Japanese version. I hope we get The Answer as DLC eventually. I haven’t played it since my very first playthrough which was all those years ago, so it’d be nice to go back to it with better gameplay. Ok well it’s been confirmed now, I’m glad to see Sega’s shitty DLC practices continue to get even worse with my two favourite franchises 👍. Anyway this is easily my new favourite version of P3, and pretty much making it my new favourite game of all time

i strive to prioritize ambition and conceptual creativity almost above anything else in the games i play and fall in love with -and to that extent, suikoden is one of the most frustrating jrpgs i've ever played. considering it was - to my understanding - arguably the first 'major' jrpg on the playstation and one of konami's first true ventures into the genre, i can absolutely see the heart and mind in tandem when considering suikoden's expressive charms. character art, soundtrack, and key animation/plot beats are handled with a care and finesse that i understand dresses most peoples' fancy of the sequel, but here it seems imbalanced and half-assed. these moments intended to be sweeping decisive battles come off more like summaries told with dioramas after the fact. and yet there are those heartfelt moments and the few things suikoden pulls that do manage to deliver legitimate shock that kept me invested.

the most difficult part of the experience is how contradictory most of the execution is to the ambition of suikoden. you offer me over a dozen pages of roster would-be's and only a handful of individuals are genuine choices. you expand my castle and terraform the entire damn place before i return each time. you incentivize me to seek out new allies but expect menial fetchquests with the off-chance i'll know to bring someone along.

look, in short, the ends justify the means. despite a second act that nearly made me give up, despite a hackneyed translation of a relatively shallow script, and despite its obvious imperfections and shortcomings - i do like and care for suikoden. all signs point to the sequel being the masterpiece another year of dev time likely could've made of this debut... let's hope the word on the wind is true.

One thing about me is that I love ambition in creative work. A lot of my favorite games, favorite movies, what have you- many have ambition that outstrips their means. This is one of those games.

Lots of people don't love how this game compares to Suikoden II. I can't really blame that. It is a fundamentally awkward game, while Suikoden II is polished and concise. You can't even control your whole party individually! The character models are pretty low-poly, low-fidelity. At a glance, there's not much about this game that is impressive. But that's only at a glance.

The ambition of this game really shines through in its scope. A long, elaborate, winding, epic story, told from five different perspectives, each with a completely different angle, each uncovering new facets. Out of all Suikoden games, III does its signature cast of 108+ unique characters the greatest service. I won't pretend that every one of them has an equally valuable role to play, but Suikoden III treats its cast as more than just a gimmick.

This is maybe the single most influential on my tastes work of art I've ever consumed. This is one of the first video games I ever played, and to this day it remains a defining work to me, defining Fantasy as a genre, defining RPGs as a form of play. This game is guaranteed a huge part of why I love RPGs with adult protagonists, rather than teenage heroes.

Specific aspects of the story are also told remarkably well by genre standards. The impacts of Harmonian imperialism on Le Buque doesn't feel like a hammed-up JRPG Evil Empire. The Zexen/Grassland Tribes conflict is never treated with any "both sides"-ism, and the Zexen racism is condemned overwhelmingly. While Suikoden I, and to a lesser extent II, had a great focus on a (very good!) Chinese-inspired fantasy setting, I absolutely adore the diversity of Suikoden III's setting also works to great effect. From the Turco-Mongolic-inspired Karaya clan and the Hanseatic Zexens to the Chisha Clan, clad in traditional Georgian and Armenian clothing, then the purely fantastical (and delightful) Duck and Lizard clans. Despite the game's ultimately fairly limited scale, the setting feels truly alive, truly lived in, truly real.

This is just a truly, truly special game. You can really feel the passion and the ambition pouring out from every part of it. I don't think I can ever have this dethroned in my mind.

“The youth wields his swords with the same immediacy as drawing breath. The youth wields his swords as if they were the meaning of life itself. The youth wields his swords, seeking the moon far above this changing world—”

This is a bit of a generous or maybe guilty 5* on my part, but F/SR was just such a highly anticipated delight from start to finish and I feel the need to express my affections adequately. A Koei Tecmo musou-like grounded in the mysticism and historical reverence of the Fate franchise with a sprinkle of setting-significant morality. This writer is not entirely unfamiliar with Fate properties, admittedly I intended to finish at least the Saber route of F/SN prior to F/SR’s launch though time slipped away. While it’s fair to say the moment to moment fetchquest-iness of the mission based narrative quickly becomes somewhat meandering long before one can confidently skip through content for the sake of completion, F/SR excels in the development of its storied cast and all creative endeavours (visual cohesion and aesthetics, score, and design), with the highlight being the bond formed between a troubled man and the Servant at his side.

A little warning, there will be some spoiler material below to better discuss one of my new favourite characters, particularly a full spoiler description of his arc and one of the game’s endings. This writing is mainly directed towards either those who have played to completion already or those who don’t intend to play at all to freely infodump to.

To admittedly brush over a highly significant chapter of history, F/SR seats itself firmly within blossoming Edo period Japan some time after the bloody Shimabara Rebellion capping off the Sengoku era, a time of societal stability and peace after years of conflict. We follow Miyamoto Iori, a diligent swordsman making ends meet through odd jobs while further perfecting the teachings of his late master of which he is the sole disciple, and being doted on by fellow local Kaya, a bright young girl raised alongside him and adopted into another family. Destiny calls when Iori is chosen to play a role in the Waxing Moon Ritual, a battle far greater than himself in which magically adept Mages clamour at a chance for a wish to be granted, each paired with a Servant of a predestined class; historical legends with such influence and strength in life, they are given a chance in death to fulfil the ideals of another. Though this is typical Fate preamble, it’s the background setting and the Waxing Moon itself that creates such a fantastic contextual narrative to an age of pacifism.

It’s when Iori is almost slain and he makes a fervent wish to live that Saber is summoned forth, and his peaceful days are tainted forever.

“Perhaps that child knew his fate, that he would be just another corpse by dawn.”

For an action game sourced from what can arguably be said by many to be the most iconic visual novel written, its narrative presentation is grounded in its influence with dialogue delivered alongside portrait illustration cut-ins interspersed with shockingly well animated full motion cutscenes. I understand many “anime” games follow this typical formula, but the skill of the voice cast and textured quality of artist Rei Wataru’s artwork on display keeps F/SR engaging. Hibiku Yamamura brings an energetic and competitive voice with the ability to express a most gentle sadness as Saber, though the standout role has to be Nobuhiko Okamoto’s as the tragic Chiemon, Iori’s mirror and Master of Lancer in the Ritual. I cannot praise his talent enough, bringing to life a man consumed by flames desperate to burn the world himself, his low and graveled tone impeccably matched to his appearance and personal story.

On the note of other cast members, the Masters and Servants debuting in this work are compelling at best and apathetic at worst, falling along a spectrum of quality from the level of Iori, Saber, Chiemon, Caster, and Shousetsu, to underdeveloped and poorly utilised characters like Dorothea Coyett, Zheng Chenggong, and Rider. The latter three, to remain somewhat spoiler free, remain aimless at best or take on incredibly out of character streaks at worst, kind of middling around the sides of the other characters without ever achieving the same agency or depth; Zheng is particularly guilty of this as he ping pongs in several directions yet doesn’t develop nor reach a satisfying conclusion, which was particularly disappointing as I had high hopes for his own arc from previews before release.

While they often don’t express themselves well with the 3D models that are reminiscent of F/SR’s seventh gen predecessors, artist and designer Rei Wataru’s illustrated portraits absolutely carry the game’s presentation. The brightly designed cast I see is commonly agreed to be the title’s highlight, each character being rendered in a traditional textured art style with bold splashes of colour. Wataru has improved much since providing a character design for Fate/Grand Order, as well as working concurrently alongside F/SN’s development on an ongoing manga adaptation of an arc from the aforementioned mobile release, boasting some of the most beautiful cover illustrations I’ve seen in the industry. Their artwork feels right at home married to Fate imagery and its intricately designed Servants, and I’ve been overjoyed to see them share some additional sketches of F/SN’s cast over on twitter. If you’re a fan I really recommend checking out a gallery of the design works as well as the famitsu artist interview which includes some behind the scenes concept artwork; I really love how unique Iori appeared once upon a time!

“Honour in taking others’ lives ended in my time. No more war, only the path of peace remains. The battle fever has broken.”

While F/SR carries the legacy of bread and butter Normal Attack Into Heavy Attack combo structure of most musou, the implementation of the narratively significant sword styles of Niten Ichi-ryū adds some seasoning as well as the way it motivates the player to carefully consider which heavy attack to use; choosing an anti-personnel AOE finisher can be an embarrassment at worst and a waste of time at best when faced against a single target. The organic realisation of each sword style over the course of the storyline reflects protagonist Iori’s honing of his posthumous master’s teachings, as well as his own personal journey and realisation of his ideals, though even I admit this does add little to the overall enjoyment of combat.

I see a common criticism of the sword styles is that you’re funnelled into using what is the most broken combination, that being padding your HP with the ridiculous amount of rations you’re provided to optimise the Void style and abusing the riposte reactions. I can’t deny this, as I really only bounced around between Wind, Void, and Earth styles for shielded opponents, crowd control, and encounters which demanded defensive play (battle recollections in which you face stronger past opponents get really cruel later on) respectively. Something I feel goes unmentioned though is the Afterglow effect, which grants Iori a certain effect when transitioning from one stance to another after some time of synergy, rewarding deft no-damage play with a small contextual buff. The system encourages jumping between postures to receive their effects, enhancing what could be your favourite into something greater.

It’s true that at times combat can feel quite mindless though, and I feel what keeps me engaged more often than not is the enemy design and quality of general battle animations, though the real star is the incredible score. The soundscape is romantic and heroic, accompanying Iori with both the violence he faces and the few quiet moments of peace he experiences. Some of my standouts have to be “Every Day is a Good Day”, the theme of his own Mage’s domicile, and the swelling “Swords and Confidants”, a pinpoint pang straight to my heart.

“He was so upstanding, so willing to listen. But at times, he’d suddenly go silent.”

I’ve talked a bit about Iori but elaborated little, so let’s get into that now. Another warning that spoilers will be present regarding both him and Saber as well as one of the endings available on a second playthrough.

From our first impression of Iori, we see a magically unskilled rōnin pursued for his life by a samurai of some nobility and an undoubtedly supernatural armoured entity, painting him as somewhat defenceless, crossing swords with forces way outside both his own realm of possibility and level of skill. This is the only moment where we see Iori utterly outclassed, later encounters see him weakened by external circumstances such as Assassin’s toxin, otherwise he matches the blows delivered to him every single time; I had read criticism online regarding F/SN’s presentation of Iori’s strength disputed with Kinoko Nasu’s claim that Masters were stronger the further into history one travels, though I cannot confirm the veracity of that tidbit myself. My point is that Iori remains symbolically stronger for having summoned forth Saber to save his life, for reasons other than the obvious.

He remains a straight-laced stern man for a majority of social encounters, really only breaking his frown in the presence of Kaya or in the face of Saber’s more playful antics. He instead pours all his effort and attention into the practice of his swordplay to the point of starving himself, forever pursuing an impossible ideal and being left wanting. This is a fantastic early game window into his true nature as both a person and fighter, a subtlety Saber begins to cotton on to following his mastery of the Fire stance; one that pointedly gains more power once Iori is at critically low health. It’s through Saber expressing interest at studying the Niten Ichi-ryū style and Iori admiring, or rather scrutinising, Saber’s own swordplay that we see their relationship deepen and an intimacy between them grow, sharing their pasts and memories through dreams in addition to spending almost every waking moment beside each other. Alongside the visual direction, their bond is definitely what makes this game so special, and I’ve seen them skyrocket to the top of Type Moon tierlists among friends.

In the ending to one’s first playthrough (following an insanely cool last boss encounter that massively overshadows another) and additional dialogue available in playing through once again, more light is shed on Iori’s inner disquiet. The Ritual is over and the sun rises as he ferries Kaya home safely in his arms, yet he remains ultimately unsatisfied with this outcome. If such a tranquil scene displeases him, what more could he possibly desire?

“I once saw a sword that reminded me of the moon. There is no other reason.”

Musashi talks offhand of something dwelling inside our protagonist, and as more light is shed on Iori’s truth Saber notes how his blood churns when faced against stronger opponents, and grows concerned with his attachment to combat during what should be an era of peace. There are times where they’re even tainted by Iori’s orders, returning pleased to have eradicated many in his stead and praised for doing so. It all culminates in the mastery of the Fire stance once more, in which Iori spiritually sheds what he perceives as his excess. He reveals that his kindness and consideration for others is all just a facade, a mere strategy to better fight and even kill with.

It’s through this transcendence shown to us only through a second playthrough that ties together F/SN’s compelling character narrative. His encounter with both the Ritual and Saber themself grants him a window to something beyond what he’s been taught, a fated event which could only climax in a heartbreaking duel bathed in moonlight. Outpacing his master with a rival’s iconic technique and claiming the Waxing Moon for himself, Saber draws their sword against him upon learning of his terrifying ideal: to continue the Ritual for ages to come, drawing warriors of great strength so he might slay them himself and stand atop a mound of their corpses. For Iori, surviving the Ritual was never the goal, and what he truly wished for was endless bloodshed in his wake.

His life ends with a sword demon wearing his face having been outwitted by his closest companion, dying a foolish rōnin born between eras chasing a past of historically informed glorified slaughter that was forever out of his reach. I really do just love Iori’s pretence as the do-good protagonist betrayed entirely by what has slowly been blossoming deep within his soul since he was a child, and how Saber’s own past is this beautifully poetic reply to his argument.

“As a sword, I could go no further… But haven’t I been blessed with a true friend?”

I could go on waxing poetic about ludonarrative harmony and how the player is just as unsatisfied with the NG ending as Iori which pushes him further over the brink of destruction, but I wager I’ve already looked far too much into this game already. To touch on something I couldn’t find space for, I liked the way F/SN challenged pre established narrative tropes and themes present across the Fate franchise, and how the property’s own perception of those from history and myth can taint the truth. I warmly anticipate how these additions to the large pool of characters might be utilised in future appearances, and though I vowed to never take a gacha seriously again, I remain terrified that I may break my self-imposed F/GO ban if Saber makes an appearance. If you like Musashi you’ll like this game, though her appearances got kind of annoying towards the end.

Crazy Edo period gay sex!

The monolithic undertaking of re-imagining such an industry cornerstone as 月姫 was clearly a daunting task, but the results so far are clearly worth the effort. This remake serves as something a victory lap and conclusive entry in the long-spanning growth and evolution of Nasu Kinoko as both a storyteller and a person; the former ambiance and desperation of the original now succeeded by triumphant, bombastic and sweeping re-contextualization. This is no simple retelling of the 2000 original, but a statement on what these 20-odd years have taught its creative team, and in turn, the approach to the remake feels almost like an "answer" to the original piece. Arguably some of the identity of the original 月姫 gets lost in translation - this is something I would agree with - but it also stands to show that this should not be considered to be, nor is it, properly a "replacement" for some "outdated" source material. It is a heartfelt reflection, an homage to humble beginnings, and likely upon its completion, a farewell to a massive, massive creative era in the life of Nasu Kinoko.