CW: Murder, gun violence, child death, sexual violence, cannibalism, suicide, gore, eroticism of gore, knife violence, glorification of tragedy and crime, misogyny.
Updated version
Video version of this review

Preface

First, I would like to make abundantly clear this is a heinous work. On a surface level it is reprehensible. Digging into it makes every aspect of it worse. If it could only be played with a critical eye that would be one thing, but as I will get into this isn't just some curiosity to dissect.

The United States has had 27 school massacres since 1927. 16 of these occurred after Columbine. All but two were carried out with the use of firearms. Since 2000, there have been 388 school shootings in the United States.

Canada has had three school massacres ever (ignoring the genocide perpetrated by the Residential School system). One of these occurred after Columbine. It was carried out with a firearm. Since 2000, there have been 8 school shootings in Canada.

Japan has had one school massacre ever. It occurred on June 8, 2001. Eight children were murdered. All but one were girls. The perpetrator used a kitchen knife. There has never been a school shooting in Japan. There have been two multiple fatality shootings in Japan since 1952.

Potential

I think this is important to bring up because, from a Western and particularly an American perspective, school shootings are a dark reality that happens with shocking yet numbing frequency. The Onion's perennial publishing of their "No Way to Prevent This" article is testament to that. While it would be disingenuous to say school shootings have had no resonance in Japan, it is true that they have not happened there. The distance from tragedy lessens its emotional impact.

This is to say that, in a vacuum, Morimiya Middle School Shooting (MMSS) reads as intensely insensitive but not outright malicious. It is, in a vacuum, akin to Postal or Hatred, mimicking real world tragedy without outright reference to any specific event. An argument could even be made that there is some merit to MMSS in its commentary on the why of school shootings. The unnamed player character walked in on her mother's suicide, her father was an abusive alcoholic who disappeared. Her rage turns outward towards those who do not give her the attention she was missing from her parents. It ultimately manifests as a desire to commit murder after the game's fictionalised Japan reports on regional mass killings.

Like Super Columbine Massacre RPG, MMSS appears then to be a work which asks for a societal introspection alongside our abject horror. By not referencing a specific historical event, MMSS has the potential to make commentary without inflicting direct emotional harm. Its gamification and unnamed player character have the potential to instill a sense of being complicit with the act, as with Brenda Romero's 2009 board game Train. Even its arcade gameplay loop, high scores, and unlocks have the potential to increase engagement for some grand payoff of self-disgust that one would invest so much time into becoming good at murdering teachers and children. A part of me held out hope in my few playthroughs that there would be some message at the end of it all, that this glorification of violence would have a point. Instead, MMSS is closer to JFK: Reloaded. It teaches nothing. It has nothing to say. It exists to shock. It exists to hurt.

Play

On a technical and mechanical level, MMSS is something of a marvel. It is an RPGMaker game with gunplay. There is an undeniable element of strategy to it. Suffice it to say that every aspect of school shootings are on display here. If you have seen coverage of new schools in the United States being built to 'confuse and frustrate' school shooters, you can intuit how the prototypical Japanese school might facilitate mass murder with firearms and explosives. The player needs to slow down to increase their accuracy. I leave it to you to put two and two together. The unlocks amount to different weapons the player can use, as well as cheats. The player needs to manage the loaded ammunition between their weapons so as to not end up reloading while students wielding poles lunge at them to stop their advance. The player has a very strict time limit before the police arrive to arrest them. The player gets the most points for killing female students. None of this is particularly fun, even if it were removed from what it is depicting, but that it has been done on an engine meant for traditional JRPGs is impressive. That it is mechanically more than pointing and shooting is noteworthy. It is just barely engaging enough to warrant a couple playthroughs.

Precedent

Discussion of MMSS necessitates consideration of its creator and their niche. MMSS was developed by エリック aka erikku aka eric806359 aka kata235. They are an ero guro artist. Their depiction and obsession with the macabre is not in line with an H.R. Giger type, however. It comes across as more similar to the work of the Marquis de Sade. Reading through erikku's Twitter feed and scrolling through their Pixiv feels like trawling through The 120 Days of Sodom; it is a display of an amoral libertine.

Some choice textual excerpts from their Twitter (roughly translated):

"Drawing muscles makes me want to eat them."
"A touching coming-of-age story in which a young girl who has just lost her father gets a gun and grows up to be a splendid mass murderer."
"If I'm going to die anyways, I want the human race to perish while I'm still alive."
"I'm not a monster. Even for someone like me, I have human likes and dislikes. ...For example, what I love is 'Decapitation'"

I think you get the idea.

Their Pixiv is similarly naught but ero guro. Ero guro is not some 'release valve' for erikku, it is their sole purpose.

Perusal

Despite this, MMSS contains zero erotic elements. ConeCvltist stated in his review that MMSS probably exists for someone to get their rocks off. I think he is at once right and wrong in this assertion. Without explicit eroticism, MMSS is only a guro work, and thus cannot be said to be primarily for sexual gratification. However, it is also inextricable from its creator's main body of work. His illustrations of MMSS's main character are surrounded by nude women's stomachs being cut open, by school girls being strangled to death, of raw human flesh being consumed next to bare corpses. MMSS is not explicitly sexual, but it is implicitly erotic. The primary demographic is not you or I, but those already familiar with erikku's portfolio. And while not in the game itself, erikku has made numerous animations of the player character shooting school girls, their inflated chests jiggling, their panties digging into their crotches.

MMSS is unable to depict this level of fidelity for gore or lewdness in RPGMaker due to the rapid pace of gameplay. What illustrative art is present shows up in the introduction, endings, and when in the apartment at the start. For erikku's intended audience, however, those depictions don't need to explicitly exist within the game. One's familiarity with those short animation clips, those illustrations allows them to, in part, fill in the gaps during gameplay. In researching erikku and being exposed to the supportive art for MMSS, subsequent playthroughs have been marred by more accurate depictions of the violence and murder rendered in pixel form. Furthermore, I have seen that his illustrations and animation snippets are released in packs with other, non-MMSS related works of an ero guro nature. The mind fills in the gaps, the mind construes all of this as sexual.

Pang

In MMSS, during the news report on recent killings, one scene shows a middle school girl being escorted by police as her victims clutch their stomachs. This murderer committed their acts with a kitchen knife. They primarily targetted girls.

As mentioned at the very start, there has been one school massacre in Japanese history. It involved a kitchen knife. The perpetrator primarily targetted girls.

This is odious enough on its own, this unveiled allusion to the Osaka school massacre as tasteless as anything making light of the mass murder of children. erikku's fanbase will recognise this as a direct reference to his other game, Rouka de Onigokku (Tag in the Hallway). You sprint through hallways and stab students before you can be caught. It operates like an endless runner. The William Tell Overture plays the whole time. While MMSS references tragedy broadly, Rouka de Onigokku references it precisely. In MMSS one can even unlock use of a knife to carry out the game's mass murder in the same manner as Rouka de Onigokku's main character. It is despicable. It gets worse.

Perturbed

There is very scant documentation of MMSS on the English-speaking clearnet. I myself only came across it by chance on Backloggd. What I have found is deplorable.

Following the release of MMSS, erikku started answering fan questions on Twitter. Most of these are in Japanese, but some have been translated by erikku himself.

"Q: [...] how do you deal with negative feedback or criticism regarding the sensitive nature of 'taboo' nature of your art?
A: [...] I try not to care too much about negative feedback and so on :)"

"Q: [...] what do you use for inspiration before making a picture? Do you read about some real life murder cases?
A: I often read about real life murder cases, and watch a movie and TV series about murder. But I don't use anything for inspiration. I just draw what I want to draw."

His tweets continued in their perturbing statements. Above the aforementioned illustration of Rouka de Onigokku's main character, he writes "I was caught by the Thought Police and was temporarily suspended. It was caused by the cannibalism animation, but I think all the zombies are gone now. ...By the way, the situation in the picture is a very, very, very healthy illustration of a student playing a prank with ketchup and being taken care of by the police."

They also started answering questions on peing.net.

"I'm just painting 'imaginary violence against non-existent people.'"

"Murder, abductions, and transportation of body parts over long distances are very hard work, but it's better than repeating the incidents in a nearby area and narrowing the scope of police investigation towards you."

"I think there are various reasons why the culprit in Morimiya didn't commit suicide (including suicide by police). One of the goals is to know the suffering of the victims, including the survivors and bereaved families. It may also be the result of hatred towards the mother who took her own life. No matter how many people you kill, the hatred toward your mother, who took her own life and became a 'suicide statistic' cannot be cleared, but 'I won't die like that!' Is that the result of trying to persevere?"

"I have been drawing pictures of killing people since I was a child, but it was when I was a teenager that I start having interest in killing (anime) girls."

MMSS and Rouka de Onigokku are not just gamified depictions of perturbed minds. They are the machinations of a fucked up pervert. It gets worse.

Perverse

When looking up MMSS, one of the only results is the RPGMaker Fandom wiki. It provides the Google Drive link I got the game from. Far above that download link lies a link to the 'Official Discord,' with the blessing of erikku.

The rules for the 'Morityu Community Server' notably state the following:

"Rule 3. Don't be a weirdo. Keep edgelording to a minimum. If it's TMI, don't post it.
You can love seeing girls suffer all you want, just don't tell everyone, because nobody wants to hear about it.
Don't be that guy who idolizes mass shooters. It's cringe as hell and a sign that you should probably go outside for once."

"Rule 5. Do not talk about planning any mass murders or crimes of any form.
You may talk about previous cases of mass murder, but do not talk about the possibility of yourself or others committing crimes.
Even if you're not going to do it and are just posting it as a "what if", it is punishable by a ban.
This is the one rule you don't want to break."

The server is a cesspool of racism, homophobia, sexism, and generally making light of school shootings as a topic. Users have /k/ommando avatars and names and banners. They share gameplay clips and compete for high scores. They share links to movie clips of school shootings, they share DOOM WADs for school levels. They pontificate about whether or not women get aroused during shootings. They cheer for Russia's invasion of Ukraine, for police murdering black people. They hide behind the thinnest veneer of respecting Discord's ToS.

Searching for MMSS information led me to a danbooru post making light of the Christchurch mosque shootings. The artist's commentary notes the inefficacy of focusing on the victims of mass murder rather than the perpetrators themselves, particularly when those criminals understand how to effectively use the memetic nature of modern media.

It was also on that Fandom wiki I learned that the art room in MMSS has portraits of several school shooters. Real school shooters. If this is not glorification, I don't know what is.

The citation for that art room tidbit took me further still. A forum dedicated to Columbine and other school shootings and crimes. A thread titled Video games about Mass Murder. Users laud MMSS as one of the best games about mass murder. Avatars depict children holding guns threateningly. The Similar topics at the bottom of the thread ask what games school shooters played.

It's then I decided I had had enough.

Perpetuity

I wish there was a conclusion I could make here. Some hopeful message about erikku realising this is fucked beyond belief. That Discord being banned. The host of the Columbine forum shutting down.

There is no conclusion. There is no takeaway. This is revolting. Researching put knots in my gut. Writing evoked constant self-doubt.

I believe there is room for societal introspection on serious, challenging topics through games. But when the act of playing tragedy is not contextualised, is not condemned, then those games will function as just that, games. Tools for amusement, not for learning. Something to strategise about, not think critically about. A pedestal for amorality, not a mirror reflecting it.

Irredeemable.

Adastra is such a curious case. A project spearheaded by the writer of Echo, joined by Haps' wonderful art and Anthemics' utterly beautiful musical prowess, that somehow manages to fumble the ball over and over. Adastra is interesting in that it serves a fiery romance and a dramatic plot weaving between complex in-universe politics that are incredible as long as you don't look at it for more than 5 seconds.

I'm sure every furry has dreamed of a large, muscular, protective wolf man (or whatever species you fancy) whisking them away from their exhausting, monotonous life to shower them in unconditional love and care for your every need. Who wouldn't want that LMAO. It's all fun and games, however, until said wolf man is kidnapping you to make you his (sex) slave in an imperial colonial empire. I cannot understate how miserable this premise is to an Indigenous person playing this game, let alone a reasonable human being.

And interestingly enough, I find that this premise actually embodies the core of this visual novel's structural issues which are visible in every facet of its creation: Adastra wants wish fulfillment without actually thinking about the logistics required to create it.

You can easily look at every decision written and find that it was done for arousal first, coherence second. Adastra wants the reader to be surrounded by hot, half-naked furry men, so we're going to have a setting reminiscent of ancient Rome where men wear loincloths, communal nudity is common, and women's societal oppression allows them to be irrelevant in this story. To have this version of Rome, it'll be located in outer space where alien societies resemble human cultures. And to have that work, we'll say that every culture on Earth was actually the result of all these aliens colonizing humans at some point and teaching them how to be civilized. Yup, the aliens taught people how to make the pyramids; surely that's an interesting and not at all racially insensitive trope that's been historically used to diminish Black and Indigenous people's intelligence! The main character being designated as a slave (or, "pet," as it's referred to) is similarly just to indulge in a submissive vs dominant power fantasy.

I must give credit that the Roman-era setting, with all its societal misgivings and issues, makes for a fantastic drama that Howly makes excellent use of to keep you on your toes as you read. The political intrigue and tension throughout this story brought on by the issues in this world, issues that are far too great for any one person or group of people can even hope to stand a chance against, is downright enthralling. The interpersonal politics driving every character's actions are so powerful they would bring telenovelas on their knees. This is part of what made Echo so great and is honestly what makes Adastra memorable moreso than its romantic aspects. This sort of conflict between societal norms and personal desires is what Howly does best in my opinion. If Adastra weren't a romance, and instead solely a political drama around queer men in ancient Rome, then I think this story wouldn't have given me the distaste it did.

Now, to be honest, I think I could look past this story's many... many........... MANY misgivings if the romance was actually good. But it just isn't. I despise Amicus, and I'm not sure how I couldn't given how he's written! He's a selfish, entitled brat who can't think for himself, dodges any sort of responsibility, and is just a whiney baby that you're supposedly head over heels in love with because at the end of the day he's just a big dumb puppy :3. Your heckin' doggo is committing human rights violations and upholding the status quo, Johnathan.

From the start to the end, Amicus is downright unpleasant to be around at best and a literal manipulator at worst. The main character is less of a lover to Amicus and more a mother, having to care for his every need, comfort his every tantrum (and there are a lot of them), and clean up every one of his messes. In the story's biggest climax, it's the protagonist who takes the biggest fall for what is ultimately Amicus's problem and it's the protagonist who has to save himself while Amicus sits there and cries. Zero character development with zero redeeming traits. Genuinely what am I supposed to like about this guy. If Amicus broke into my home in the dead of night I'd have beat him with hammers I can tell you that much.

Shoutout to Neferu, though, he's a real one.

Now, with all that said, i think the background behind Adastra's development offers some explanation for why it is the way it is. I remember being a Patreon supporter back in 2018 and reading that the writer was experiencing difficulties and burnout with writing. Adastra was that oil to the rusting door, a place to let loose and get the rhythm going. In that regard, I'm thankful that Adastra had to take the bullet as Echo just got better and better from this point on. It's unfortunate, then, that Adastra became such a wild hit, dwarfing Echo in attention and becoming what Echo Project would be known for to most people for the next several years. The precedents set by Adastra's success would go on to irreparably change the furry visual novel scene, for better or for worse, and open up the wider furry community into its second big visual novel boom.

I was never booksmart
I'm money smart
Makes me more intelligent
Call me Mr. Rock Festival
I got hella bands
Shawty cute
And her circle to
Told her get a friend
She gon make me slide
With my dog
Like I'm Mega Man

I had planned to properly review this, but I ended up having so much to say and a lot of ideas for how to convey those thoughts visually that I'd rather turn those thoughts into a more formal video essay. Still, given that it's the site's shared enthusiasm for the game that got me to sit down and play it after The Silver Case kind of knocked me for six with how exhausting it was to play, I just want it on the record that this game fucking slaps.

Running pedometer-measured circles around almost every other self-professed absurdist satire of the medium, Flower, Sun, and Rain is a genuinely hilarious, supremely confident piece that is so good and so ahead of its time that it kind of makes me look less fondly on a lot of games that clearly followed in its wake. It's got more going on than just insular commentary on the medium, but one of my major takeaways was just how much more accomplished and nuanced FSR is in this regard than much of its siblings. In taking video games apart, reducing them to their most fundamental elements, laying bare their sheer, unbridled, artifice, FSR doesn't bring video games down, it shows us why we love them in the first place. Spellbinding.

Clearly a project made by an adoring fan, love the details like the menu interactivity and variations on the classic schnoz!
A small number of microgames, some of which don't flow very well, and a couple that feel almost out-of-place generic... a couple actually look like they came from WarioWare: D.I.Y.! The majority of the music is ripped straight from the games, with varying sound qualities and the Boss music not looping properly, haha...!
Overall cute and neat and a couple minutes of WW-inspired fun! Nice!