An happy day to you, person lost in the web you came to read this article! But maybe this could not be so happy if you went back in an abandoned school in which all kill each other.
Well, our time machine (click here to learn more about the “Back to the future”) has begun its journey and stopped for the moment to the years elapsing from 1996 to 2014.
Why such a long time slot? Gentlemen may want to applaud the longevity of this title: Corpse Party, the story of a varied and interesting production of which we will discuss.
Corpse Party, first HOR-RPG thrown in the market
We are talking about a series of games, and already from here is difficult to navigate the many titles that have come out, but we’re here for. A series curiously identified with the current RPG Horror, which since early 1996 has flourished in the first title of RPG Maker winning a prize in the second annual competition of ASCII Entertainment, the first in a long series of successes that has seen the wider audience and expand which is observed on the fangames phenomenon, which has continued to spread for the generation to come.
Why, though, take a date so far compared to the games that will be?
We chose this game as a “pioneer” Horror RPG not only for chronological accuracy (in fact, be advised that we do not always behave well when the articles will focus on other titles) but also on the characteristics of a type of game that fully reflect what characterize the games of Generation 0: horror-experience, which we will discuss when we will go towards the ‘ “trump card” of these securities.
But for now, how did Corpse Party … Or better CORPSE-PARTY? (We’re not screaming the name of the game, it’s the actual title).
Product History
To go back to really like the title of Kedouin was created and distributed, you have to go a bit ‘back: December 17, 1992.
In this date the ASCII Media Works, a Japanese publisher, released a program called “RPG Tsukuru Dante98”.
RPG Tsukuru… Sound familiar? This was indeed a primordial version of RPG Maker for a type of “computer” exclusively for the Rising Sun, the NEC PC-9801.
This has allowed people to develop their own role-playing games and so ASCII has seen fit to create a monthly magazine called LOGIN Sofcom, where developers candidates could submit their creations.
And here we come to the main event.
It was a rainy day just like this one, that of April 22, 1996…
On the day that the sixth volume of LOGIC Sofcom magazine had in its pages a section dedicated to adventure horror of Makoto developer Kedouin…
From the magazine he took the game more and more popularity and Makoto in 1997 was the winner of the second prize at the competition ASCII Entertainment, which earned him five million yen (about 40 Euros or so).
But the story of Corpse Party does not end with the one winning: The game was destined to go forward in Japanese and also foreign market future.
In fact, we had a remake in 2007 to Mobile, named Corpse Party – NewChapter (even forgettable, it abruptly stopped in chapter 4), it is passed from one computer to another with the title closer to what we know today, which is the first version of Corpse Party: Blood Covered, published in Japan since 2008 (though speaking of remakes is no mention also of a rebuilt ’96 game CORPSE-PARTY: Rebuilded).
Here in Kedouin they add other people to the development of the game: Team GrisGris who took charge of the overall development, and XSEED Games as publisher for the export of the West title.
Makoto entered definitely (although there were signs of this already NewChapter) in the international market: this version of the game was made available on GOG, Humble Store and especially the Steam portal.
Many new characters were added (namely Seiko Shinohara, Sakutaro Morishige, Mayu Suzumoto, Yui Shishido and Kizami Yuuya) a plot that tries to be more structured with a lot ‘of “wrong ends” (of the game over much longer and dramatized).
With distribution in the West had made XSEED center. The game had already a good part of the audience, and this PC version already inspired a manga dedicated to the game, designed by the same artist. and even the drama-cd (a type of popular audio CDs in Japan usually tied to successful manga or anime).
It’s not little!
But the real boom and just came with the next ported to PSP and iOS, in the August 12, 2010 in Janpan.
The game landing on the console from Sony gave a further boost to Corpse Party: Blood Covered… Repeated Fear, which had many improvements on an artistic level, from drawings up to the addition of the CG, ever been present in the PC version of the game, along a professional voice actors for almost all the scenes in-game.
You can imagine, with such artistic quality, a market already started in the West and in general a product that works well commercially.
There were, let me take a deep breath…
Light novel, evergreen doujinshi of any kind (yes, even of that genre), web radio, an attraction at an amusement park, a live-action film, adapted from a 5-episode anime OVA and another ported to the 3DS as well as many sequels out of PSVITA the main game until you get to a Corpse Party 2!
From all these sauces in which it was proposed not hard to understand that now the saga of Corpse Party was a real media phenomenon as well as commercial: there were obviously a lot of videos on Youtube, in general much movement by the fandom and even when it comes time to Corpse Party in a period away than output per year still arouses interest.
–A comment under a video by the youtuber PewDiePie
–A comment under a video by the youtuber PewDiePie
All this because of elements highly palatable (often made such invention of the classic ’96) to the public:
A plot of the atmosphere and involving, Refined since the PC version…
–A comment under a video by the youtuber PewDiePie
…Together with the characters to which you easily grow fond.
“When I saw Seiko again I was going to burst into tears”
–A comment under a video by the italian youtuber Tsuhirito
The aforementioned improvement artistically with busts and CG vehicles in a much more “anime style”, which make it much more spectacular and splatter deaths of which are likely to die five protagonists and which perish several supporting characters.
“What ugly deaths… Poor Yoshiki- TwT”
–A comment under a video by the italian youtuber Tsuhirito about a Wrong End in the game
So in the following sections we analyze better these elements that have shaken many fans of the horror genre RPG and not putting even compare the latest version of the title with the winner of that prize ASCII in that distant 1997.
-Sources for the product’s history: Corpse Party WIKIA
We have two in particular, of aces up its sleeve. On the one hand, directed the other characters.
This is because to do a premise: in this article we will take the two different versions, CORPSE-PARTY ’96 (we played Rebuilt released in 2011) and his most significant revision commercial for PSP, Blood Covered Repeated Fear. They will be the two main chapters of the series on which we are going to make the comparison, deciding instead to ignore other securities as these are the two main hearts of the series on which the main plot is concentrated. The other titles can be considered only improvements (see the difference between the Blood and Blood Covered Covered Repeated Fear) sequel or spin-off, which give more space to the characters: the same relive a second time the same misfortunes to the abandoned school – or it will try to give more depth to the background of this supernatural place, changing the points of view and adding numerous sub-plots for new characters, especially secondary ones.
So here we are here, with CORPSE-PARTY (1996) and Corpse Party Blood Covered Repeated Fear (2011).
We begin to think about one thing: first, the first game in the series has all the hallmarks of the HOR-RPG Generation 0: intensive experience of the atmospheres.
As we will see in the future for the analyzes of the other games, during this period there was a very particular image and determining type for the production of horror titles was important to let the player by themselves and making sure that they lived on his own skin the gaming experience. Often the plot was only a starting point to give some context to what the end was more important: the immersion in the atmosphere.
Corpse Party, however, was already by that time a cutting edge title in its genre, for having made the most of the opening words that could launch from the impressive introduction that was always reprised during all other games.
We can see in this screen extrapolated from “CORPSE-PARTY”, the suggestiveness of the image in which the characters are isolated from the background and are illuminated by the light of the candle, which together with the sound of rain helps to immediately immerse the player in the atmosphere.
What we did was immediately imprinted in Corpse Party is the directing, for both titles. The directing of Blood Covered Repeated Fear it’s slow, and that of CORPSE-PARTY (1996) in the context of general and increasing tension, agitated. Accomplices also the music (we speak about the first title) to do their work, accompanying the resolution of the puzzles. Small curiosity: a lot of music that is in Corpse Party: Blood Covered … They are reprises (or remixes) of the OSTs of the ’96 title!
One thing that surprised us in CORPSE PARTY-were its characters. They had realistic facets -unlike their colleagues of 2011, of which we will talk later- and complex, with characters and designs that approach dramatically to real students that you could find every day in our daily lives.
Screenshots are a Rebuild the game of 96 made on RPG Maker XP in 2011 because it translated into Italian and English (the version for PC-98, you can have it, but only in Japanese), but it is very faithful to the original.
Back to us…
“Damn, I can’t believe it… We still have a lot to do! And the time to go home has already passed!”
The normal anger of the student: they want to go home as soon as possible, but they can’t do it.
“Why everyone gave up this job? Why there’s only us?”
“Life lesson: people suck”
Very realistic representation of defeatist students.
You see all these little situations? Well, at least you have heard students that have to do a task that anyone wants to do, but are blocked to do it because everyone else managed to skip it. So of course they also want to go home.
After analyzing the situation better, we go to the character design. Let’s take as an example the character of Naomi (take both the design of the rebuilt to have a whole body, both that of the original version), and let’s put it in comparison with an image of a real Japanese student and its design in the PSP game.
The old game seems set in the late 90s, when it came out, and the photo is from 2007, so we are not too far from the timeline view.
Already comparing the two Naomis you may notice a difference in the attitude of their posture and expression that they have. Naomi in Repeated Fear seems more timid given the pose, if we confront her with the “tough girl” of 96. The problem is that they also wanted the Naomi of 2011 to be a “strong girl” (we are seen some dialogue that we will discuss in the future) … But the pose tells us the opposit.
Going to the physical design, Naomi’s appearance in the ‘96 title is certainly much more like that of the girl in the picture, very thin and with a few forms, unlike Repeated Fear. In addition, short and very dark hair are common in Japan, as in Germany blond ones.
(Yuka wants to help the class to clean up)
“Good! More man-force we have, the sooner we’ll get home! Let’s move!”
Even Naomi urges us to move forward. So without delay, we continue.
From their everyday, ordinary, are then transported to an “extraordinary” world, supernatural, wearing the robes of death on each tile: you often find bones and skulls in the classrooms by the brown hues, among the scenes that remember more there certainly one in which Ayumi and Yoshiki remain stuck in a corridor with a skull and scratched walls, and the player becomes a witness of their constant tension growth, feeling guilty for each object that clicks or detail that notice, seeing burst their quarrel that will get Ayumi to stare into space.
Take for example this corpse. It will look like a normal prop, but examine it is inevitable despair of finding a way out of that room because “you’re stuck there with the characters.” You have the same informations as them, regarding how to get away from that place and as a player you are fully responsible for their actions experiencing a total identification.
“You will never get out”
Also consider this sheet. Why should someone click on it?
The setting is small, the impulse of the player is to analyze everything.
If you examine more than once the sheet you will have this small change but will trigger an interesting event.
“You will NEVER get out”
Now we analyze the bones that we had considered before, but after reading this even more bad intimidation.
Yoshiki has a different reaction, he’s more afraid: the sheet and seeing the corpse makes him think that maybe they will end up like that pile of bones, maybe they will NEVER leave.
The player finds himself compulsively check (as would any human being in that situation) windows, bones, paper, boxes, bones, sheet … As long as this desperate examination did not terminate because the leaflet changes again.
This disturbs Ayumi and Yoshiki even more, who have already enough of that tiny place.
“We’re stuck! WHAT DO WE DO?!”
“SHUT UP! I’m thinking about it, goddammit!”
Yoshiki has an understandable rage shooting and especially given the nervousness.
“Don’t worry! We won’t die in this place!”
…Because you see that when he returnes to his senses, he tries to comfort Ayumi.
“BUT WE DON’T HAVE HOPE! WE TRIED EVERYTHING!”
Here returns theidentification: the player automatically says, “She’s right!” because he has controlled everything that was there.
“We’re just two other skeletons in this room!”
“And all this because we had to split! If the others were here, We could conclude something!”
“WHY?!”
“…Didn’t I tell you to SHUT UP?!”
If before Yoshiki felt (albeit poorly) to console Ayumi saying he would not die, now that he sees the same cry and complain and even blaming him for having split up (because the idea to split was Satoshi’s and Yoshiki’s) he still orders her to shut up, because Shinozaki’s complaints aren’t helping him at all.
Heck, we understand Yoshiki here! And this “understanding” on our part is thanks to the dialogues in this scene.
And there’s more.
“Tell the truth…”
“Don’t tell me you’re sad just because you’re stuck here with me and not with your beloved Satoshi!”
Ouch, that burns!
This dialogue striking because… It’s true. It’s very natural. Yoshiki’s words seem random at first, but actually when we get angry with a person become more resentful than we are, and we can also bring out issues that have nothing to do with the main topic.
“Y…Yes! WHY?! Why am I here with someone like you?!”
And the scene ends as well, with her listening to what Yoshiki pulled out and we have a change of perspective introduced by “Meanwhile …”.
The game is still more or less at this pace succession: the scenes are not overly dramatized and leave instead of the player juggle the choices that have to be made (aspect that, contrary to what we expected, it was also maintained in his more commercial alter-ego). We don’t know which of these choices could lead to better end, giving the illusion continues to be active protagonists of the story along with the characters, and we can write our fate.
It goes something like this, at long intervals dedicated to solving puzzles precisely and ways to unlock new areas of the school to explore, with the general atmosphere that suggests taking agitated attitudes, not only by the conduct suggestions the characters but also by the music.
In summary, if we were talking about the trump card of this title, what do we conclude?
If the reader will allow us, we will close this part of the analysis with the following observation:
What distinguishes CORPSE-PARTY is the sum of the narrative incipit and its characters, which support the gameplay -so the player’s activity- that is always a constant background that determines the tone of the game.
But above all there is to recognize CORPSE PARTY-credited with being the pioneer of not only a series, but many features that have begun to characterize the HOR-RPG genre for every generation to come, joining the zero generation (the horror experience), the first (the character drama) and the second (storytelling-focus).
Well. How’s its colleague commercial, Blood Covered: Repeated Fear?
The differences are remarkable. This is because the years pass, the needs of gamers and their expectations change. We can see all the changes applied by a more substantial production team, including certainly a massive study of the background of the story, not to mention the graphical improvements and new material, thanks to the professionals who work for the realization of the game but also brings defects, of which, however, not discussed in this section.
Let’s start first on the context in which new characters are. The school that had the brown tones now has blue tones, approaching the idea of an abandoned public facility, and the story gets longer, improving what was the main flaw of the first title: the speed with which they develop the last scenes of the story. Still remembering that the heart of that title was supposed to be the gameplay, even if it was to penalize the plot. It was not among the requirements then developing a narrative structure.
Everything changes, of course, with the title of 2011 for PSP. The scenes they take all their time to illustrate the situations, enhancing the moment of anguish that you are driving along with the characters. There have been many moments of which we could speak, including the time when it is revealed the past of Sachiko (the scenic which replaces the race of the victim and the executioner), or the discovery of the truth about the three children’s murders, slow and painful not only physically but especially emotional for the players, for them and for anyone living that scene. One of the best results of the plot between directing and gameplay, or talking about real gaming directing, is certainly the part devoted to Yuka and when left alone and slowly the player must figure out how to deal with Morishige photographing corpses, even if we make a special mention of Ayumi’s possession scene, who wanders around the structure by your side as her attitudes become increasingly unstable.
Anyway back to Yuka, and talk about this moment of pure tension dedicated only to the player.
We are with Yuka, in fact, a fourteen year old girl with serious infantile regression problems of mind and body. Okay joke, just the fault of fanservice that turned the original characters. Indeed, no … Maybe it really is a more serious problem than we think because even Ayumi occasionally behaves like a child, some strange virus … I dunno, The Brattite-Virus.
Anyhow…
You are just left alone in the second wing of the school -That, I will say, talking about scenografic level we have much liked rather than the main building, after being separated from her brother, in a place of death. Even the environment has the potential to put anxiety to the player.
This also helps the piano music that brings together all the sound design of the game to enhance the tension that you should feel masterfully. Talking about sound design, the sound of a camera will move us into the room where we will meet Morishige, and the music stops.
The boy explains some facts and then asks Yuka why she’s on her own. It looks like a normal conversation, but the pictures show us something different. You see Morishige’s sprite?
Even by itself, the glasses do a good job that prevents the player to see the eyes. His shirt is unbuttoned, in opposition to the composure that has characterized the character for his first appearances and during the flashbacks, and then he’s placed in front of a corpse. We know that he did something, because it is the staging to tell us. There is no forcing of dialogue, or expressive exaggerations or excessive dramatization that normally affect the direction of narrative works.
In the game, instead, if he catches you once, he only asks why you run away, with an apparently completely natural expression.
We can continue to do the comparison here, where after the student has set out to help Yuka decides to look for her brother alone. Well, there is no particular chase scene. Morishige moves towards the player, but walking.
We are tense like Yuka, we know that Morishige has done something unpleasant and being around him will not guarantee us security. The music, which has just started to play, to take the player on a new meaning, but especially … We have to decide how much time to spend together with the mentally unbalanced guy.
Exit from the room or less, or continuously wonder if we flew from the danger since the atmosphere continues to remain constant and homogeneous, predominantly tense. All this helps to make the player fully involved and responsible for their actions. He decides how much to let go, whether to control certain elements or less, practically everyone builds his own direction, advancing at their own pace and take its decisions that could ever come across or the Wrong End Bad End.
Unfortunately, the direction is not one of the elements that most impressed the general public. Following the more superficial approaches the fandom, to be left in the memory of the spectators are not scenes especially from the game-except of course the most iconic, such as the aforementioned reveal on Sachiko-, but its characters and deaths collections that they face.
However, having to talk about this game in the series could not ignore this aspect.
The direction of Corpse Party Repeated Fear was the mainstay of the game as well as his trump card that allowed players to become attached to the characters- I venture to say that the characters lived off their income in this version–.
In it you have an important recognition line, making an unforgettable gaming experience and filling defects caused -and probably to some readers this will be a surprise… Drums please… The writing! It turns out to be deficient in some places, there are some questions that are not answered not only volunteered to play other titles to fans, but also to involuntary level; not to mention the unnecessary presence of some characters who have not had enough screentime to have a development. Consider, for example, Prof. Yui Shishido, a character that appears only in the second and last chapter, left behind by writers, unlike her students.
Professionalism Meter
So here we come to the second part of the article. And here comes the fun!
Remember the introduction of this article? How do we tell if its games dress of mantles of amateurish? How do ooze a professional line of a series of games so long-lived?!
So. To begin with we have accomplished a task of synthesis and took two reference samples, CORPSE-PARTY and Corpse Party:Blood Covered Repeated Fear. To make concrete observations would be taken then consider two related points: items such as packaging and the author-work ratio are all observations and deeply intertwined analysis, in the case of Corpse Party, with the history of the product that we have summarized in first part of the article. It may be difficult to talk about this because we have to keep the two titles both on the scales.
Surely you can see that there was a great change also in the distribution and presentation of the game from ’96 to 2011, also because of the context in which both have been developed.
The title of ’96 had been created for a contest, So there was great commitment for sponsoring it and / or distribute it, because to do so was already LOGIC Sofcom, so it was only known by the public because of its successors.
It was so because the successors of CORPSE-PARTY was already picked up by majors, such as the aforementioned XSEED for the foreign market, a real development and production team with professionals manage the release on the market because the game was already thought to be distributed to the general public.
Because of this, the hand of the people in the industry can be seen from the point of view of distribution from Blood Covered until the last title (sequel) out of the series.
Like many authors of HOR-RPG genre, but also many personalities who work in the big production houses, Kedouin (we talk about it being the principal conductor of the series) also on social is a fairly aloof author, for example, prefers to re-tweet post updates to the one that works (not Corpse Party, moved to another) without post anything personal or even that it can outsource most of its personality. Even during the interviews he answers questions, says some background … But has never shown particular aspects or work attachments.
Because of this we can guess that, sadly, he has probably sold in a total way his story to the market, and unfortunately what we see, even given some flaws that will be listed below.
Well, in the end we even got to this point. We can say for sure that the defects of these two titles consistently reflect their production environment.
Both have to do with problems with narrative development. Similarly both they have in common, as positive points, their unique styles and the ability to better enjoy the atmosphere that we propose (a valid directing).
On the one hand we have a hasty and poor development of the events, which is seen especially with the approach of the final acts. All this in a period in which he played a video game when you were not there, by those who played, the same claims to have a complex narrative structure as there are nowadays.
Excluding the other endings, we can make a reference scene. The mid-point.
At this particular point in the game we can for example notice a considerable accumulation of information about the past of Sachiko and the reason that made her decide to bring the people in the other dimension. As director has tried to make an intense scene we must consider that the limit imposed by the writing is unfortunately too wide for it to be filled from the atmosphere.
It goes from frantic atmosphere, since Ayumi and Yoshiki have been reported in the real world until they discover that the parallel dimension is still behind them, at an incredibly slow one which is facing the accumulation of information that focuses all at one time. During the rest of the game, before this point we don’t even have clues that could have been left to assimilate gradually the with past events and that we are told in this scene
This defect was filled instead by his alter ego, Corpse Party Blood Covered Repeated Fear.
This title presents all the defects that a major (or just a production company formed by a group of professionals) could encounter during the production of a title.
We’re certainly talking about just the fanservice which affected considerably the characters, but the writing flaws that come out when you add too much meat to cook.
Actually writing this title is not to be thrown away at all. It appreciates the commitment to the story that was meant to build on the school. The writers wanted to ask the company to build a true world-building, demanding operation that is normally endeavored by writers for fantasy, in which you need to know before the story to tell the story of the places where the events are placed. All this certainly makes honor to the team of writers…
… If only not many outstanding issues had been left (as the “construction of the new Sachiko) just for pushing fans to play other games in the series! Not to mention some stories of secondary characters-as those of other schools- not thorough enough in the main storyline.
However, when you take into consideration the idea of developing a plot so complex it must be very careful not to lose details in the street.
For this we will focus on two points in particular: the development of the characters, an issue that Ele will deepen better later, and the dissolution of the plot.
By this point we can talk about, for example, of these points:
A) The hierarchical system of spirits, undermined the narrative presence of Naho, unique spirit to be neither a fatuous and even a spirit with fluorescent body. We thought in fact that the only exception to the rule was Sachiko.
B) The relationship that objects have in various dimensions. The candles had to be only save points, but the idea of being able to share some objects between the various dimensions could do to take the initiative to the characters to be able to connect? We take the luxury to consider this only as a distraction given by a need for gameplay on which we do not linger long.
Let us return instead to their own spirits, and look how the mid-point was treated in this version, the one in which Ayumi and Yoshiki discover the truth about the deaths of the three ghosts (in the ’96 version was directly on Sachiko’s death, while here they elongate the broth preferring tell hereinafter this part).
Well, we had to mention this scene. The whole story is told in poetic slowness, poetic, not only for text that is read but because of the tone with which a story is told in a so cruel manner: we have a great combination between music, reflection on the emotional state of those children and the parallel scene the other characters are listening to the tape and complete at the same time sums up the sad event. But we are not here to appreciate the direction, which we have already discussed in the previous section, but a small example that might expose the flaws of logic.
Here, Yuki says something very interesting about the spirit children who make a pivot to the closed spaces, we speak of the theme of double medalist ghost.
“And where is the problem?” you say. Yuki’s right, we see twice as Sachiko face.
“Exactly”, it’s my answer. “Sachiko’s double faces. And the three ghosts?”
Very trivially we are talking about an example in which the information exposed by the mouth of a character isn’t found in reality. Probably, the way the scene was structured, this was supposed to be a question that would have to put more anxiety to the player and the characters themselves. At that moment it had to be added an additional obstacle to overcome to make the success of the protagonists in their efforts to save everyone seemingly impossible.
The problem could have been avoided easily if, after having pacified the souls of children, we could have seen the bad sides of their spirits anyway, or if from the beginning of the game you could see two copies of the same children.
Maybe they mean that spirits returned vindictive whenever the structure was rebuilt after the pacification of Sachiko because Yuki remained a good spirit from then until the end of the game! It can be considered fatal error has already been implemented in exposing the information that way. Her words were: “I will return at any moment a vengeful spirit, run if you will see me.”
This could make more sense instead CORPSE-PARTY, where it was the same Sachiko-good to tell his own death and warn that the evil spirit of her alter-ego was getting stronger.
Unfortunately, for what concerns Repeated Fear and new features added to the whole background of the story, it is a detail forgotten by both writers and the player, who will leave by events that begin to occur one after another at the mercy the “ending climax.”
A special mention before concluding this part also goes to the tone in which the final ends and returns, thanks also to the photograph which prefers light tones and golden hues, hope and serenity to the player who has immersed for 9 hours in closed spaces, darkness and death.
The characters have more screentime available (stage presence time), and we have not been forgotten by the writers, maintain stable and homogeneous properties throughout the work. In fact, apart from a few minor exceptions, we can’t say that Corpse Party Repeated Fear present real development arcs of the characters.
Of course, some have their own peculiarities and it is a pleasure to discover their positive and negative sides, in fact, we see the difference in the mirror Ayumi / Yoshiki –the first regressed to infantile state in several parts of the game and each other that we rediscover a character very patiently and Naomi / Satoshi –the first “strong outside but inside fragile” and the other is rediscovering the total opposite-. However the facades in everyday life clashed with those of horror context are often too different and sudden changes from one context to another. Or again there is the case of Yuka, who got moments when he could have the opportunity to obtain a development that there has not been from the moment he has re-met her with the others.
Let’s talk about a particular case…
In fact, the brother of the little girl (which, remember, isn’t so “little”) has a big problem from the point of view of the characterization, but what makes the lack more visible is how the fandom has taken this character.
The boy fact it seems that in the course of the game has a double personality. Discounted Unfortunately Satoshi splits in “Class Satoshi” (during classroom situations, such as the introduction of the entire game) and the “supernatural Satoshi” (when he is in Heavenly Host).
During everyday situations he or comic gimmick, or a love interest. He’s a classic kind guy, wimp, what girls want because of their Nurse Syndrome, to keep it short.
…One thing that bothers even superficially are many ridiculous skits that especially with Naomi.
Unfortunately, because of these types of scenes, Satoshi is seen generally by the fandom just like this kind of character, and that makes disappear all of his efforts and the values that he shows in Heavenly Host, where he is above all very patient (to keep a child like Yuka …), and he brings some common sense and not being tarnished from every horror that sees at Heavenly Host, without even cry (…for every little thing like someone).
Even in the most desperate situations like when he lost Yuka in the fourth chapter he has always rightly raised thinking: “If I mourn I don’t solve anything”, and that’s not a thing everyone thinks in this game.
But remember that while managing to get up, and then even help Naomi all the time, Satoshi had the perennial doubt that his sister had died at the hands of some ghost, some insane photographer , or someone who wants to replace Satoshi as a brother because Satoshi himself has left Yuka alone. In addition to the possibility that a loved one has been killed, the sense of guilt most likely comes from the fact that it is as if he “collaborated” in doing so.
He could use other phrases to comfort her, for example one of his classics “It’s all right”, or “Thank God you’re alive”, as Naomi says after …
Instead he apologizes. In this scene, he takes both weights off his shoulders, knowing that Yuka is alive and does not think that he is complicit in her hypothetical death. This reasoning arose more than anything else for the choice of words that has been made.
So, he has always shown a strong stomach and heart and that does him honor from a certain point of view, compared to other characters that we meet in the game.
For many it is definitely a boring character (some are a lot bothered by Satoshi although there is much, much worse out there) because let’s face it, he is also fairly flat, but even if it is not the real problem with him and the question of which I would like to talk.
Unfortunately, a good number of fans for this sees him only as a coward “good guy” in that we very, very dull everyday scenes because, unfortunately, is treated well in those scenes! It was like they didn’t knew where to end up with him, whether to go for the stereotypical “uneasy boy” or to “main strong character that saves everyone.”
The point is that his change, as we have mentioned before, does not seem to be gradual but very sudden. Since the introduction of the first chapter we see a person, then in the second chapter (where it appears for the first time to Heavenly Host) we have another one, and this “passage” is not caused by events that have made him change in some way , because Satoshi is strong right from the start as soon as he enters the school, so his is not even a character development … It is simply another personality not justified in any way.
So unfortunately Satoshi Mochida is an inconsistent character.
In short, the bilinearity of the characters (both in their natures and in the combinations of the couples that are seen in the various chapters) is useful to create a basic conflict for the staging, but we do not actually have a real awareness of their identity and the contexts in which they are inserted.
Conclusion…
This was the first time machine stop. As the first article in here it proved difficult to deal with, given the numerous data that you have to research in order to speak to the best of a series that has had such a long history.
Corpse Party, a bunch of corpses but also good ideas, some successful and others scattered on the street. A series not yet abandoned by the producers (see the release date of Corpse Party 2: Dead Patient, April 2019), which probably will not have lost sight of their dream: that of a big commercial behemoth. And all this, started only by a HOR-RPG developed, in 1996, with RPG Maker (Dante98), affable tool for everyone, but not by everyone appreciated.
The title screen is in black and white with the monster on the side, it looks almost merged with the black background.
Aside from my (Ele) not exact understanding of the third point… The rest may seem normal, can’t it? Graphic improvements, better playability, relocated gems…
Yes, you have seen clearly: once again we have a thermometer of professionalism low or at least … Which reaches almost half.
Perhaps having the thermometer at this level will seem quite obvious to you. Let’s take a closer look at everything …
And being left hanging with a reference to the aura speech on mechanical reproduction and the “depersonalization of art” we reflect for a moment again on the intent of “
In its simplicity reveals an unparalleled elegance: the labyrinth as a logo and title of the game prevail over pink little frame that contains the start of the game functions, continuous and output.
