Category Archives: review

Miscellaneous Thoughts on 2025 VTuber Concerts

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I’ve been avidly watching VTuber concerts both online and offline this year, and I just wanted to give my brief thoughts on a variety of events from 2025 that I didn’t write about otherwise.

holoX and La+ Darknesss

holoX celebrated their anniversaries around the start of December. While we have no shortage of talented dancers now, there’s still something that stands out about La+ Darknesss’s dancing. In particular, I find the way she moves her arms to be very appealing, and I suspect it’s because she really knows how to move her arms from her torso/core, rather than from her hands.

I also have been listening to Takane Lui’s recently released album, Lapis Lazuli, and kind of regret not getting the physical release. And of course, I’m beyond excited for holoX’s first live venue concert next year!

Myth

I think Kiara can get lost in the shuffle a bit, but what I’ve come to realize is that she’s very good at fully leaning into a particular quality. Some talents are always going to be cool even when they’re trying to be cute, or vice versa, but Kiara can go 100% in being cute, cool, silly, sexy, etc. in a given situation. Her concerts throughout the year really showcased this facet. Her performance of Fake Heart with La+ is my personal highlight (see above), though I need to mention the fact that she brought Ame for a guest appearance.

I’m looking forward to seeing her March concert with Ina, who’s been improving in her own right.

Rewinding things back to the beginning of the year, I’m also glad that people showed up for Calliope Mori’s second solo live in Los Angeles, despite the deadly wildfires that were plaguing the area. Also, what I’m about to say isn’t new information at this point, but I’m glad she continues to carve out a unique sound for herself.

REM Kanashibari and Roca Rourin

I plan on writing about her more in the New Year, but REM has quickly become one of my favorite VTubers. In addition to some convention concert appearances, she also had her first online concert, called Sleepover Stage. I find myself listening to their cover of “Murder on the Dancefloor” with Roca Rourin regularly. The two sound really good as a duet, and I hope to hear more of them in the future.

Flow Glow

Flow Glow, a hip-hop and pop–themed generation from the hololive branch known as “DEV_IS,” made a hell of an impact with their 3D debuts. Isaki Riona’s probably the best in the entire company at singing and dancing. Mizumiya Su is small but has very powerful moves that literally give her the most air time in hololive when she leaps. Kikirara Vivi backs her cute movements with clear dance experience too. And while Rindo Chihaya and Koganei Niko appear to be not as skilled, they’re both quite athletic in their own right, keeping up with the others and even bringing a lot of strength in terms of singing. Even more than their direct predecessors ReGLOSS, they are focused heavily on music and performance, and it’s clear how much experience they have. 

ReGLOSS

Speaking of ReGLOSS, they had their first live concert this month, titled Flashpoint! It’s a great achievement, and you can really tell how much they worked on it. Ririka and Raden have noticeably improved in their weakest areas (dancing and singing, respectively), and while straining her voice in some places, Kanade is still the vocal center of the whole group. Hajime’s solo performance was amazing, and felt like a reminder to everyone that she’s no less amazing a dancer compared to her juniors in Flow Glow. 

I do miss Ao’s sound, though. She was the only one with a deeper voice, and it provided a nice contrast to the rest of the girls. During an encore performance of their first single, “Shunkan Heartbeat,” the current members of ReGLOSS actually left a silent space where Ao would usually sing for one line, as if to pay tribute to their friend.

Vroom Boom Duo (Baelz Hakos and Todoroki Hajime)

This year was also when we finally got to see the two marquee dancers of hololive join forces. Bae’s Non-Birthday celebration featured them doing the song “Gingiragin” together, which was followed by a performance of “Bareru” for Hajime’s own birthday. The latter was one of the most impressive things all year because they were filmed with one continuous shot. Creative camera cuts can cover up flubs, and here they were, showing the world that they didn’t need any editing magic.

HIMEHINA

Hime and Hina really make clear just how comfortable they are as veterans of this space. At their 7th Anniversary concert, their ability to just match up with each other and harmonize is maybe second to none. Also, I mistakenly thought La+ would be singing with them, but she simply did a bit of MCing.

Suisei and AZKi

As the two former members of the now-defunct INNK music group, these two have had a specific and unique connection. It almost goes without saying that these two are among the best singers in hololive and VTubing, but when they perform together, they just work so incredibly well. AZKi’s almost flawless execution and Suisei’s powerful voice balance each other out nicely. Suisei these days is more popular, but AZKi is so subtly and deceptively good to the point that I feel like it can be easy to gloss over her. However, once you pay attention, you realize how incredible she is.

Tokoyami Towa

Towa’s husky voice continues to stand out in a sea of many talented singers, and I hope she can 

Nekomata Okayu

Seeing Okayu go in so many different directions is pretty amazing. It’s one thing to get a solo live as someone who started off dedicated to making music, but to transition into it and then get a second solo live is downright astounding.

Phase Invaders Wish

I was glad to see the first gen of Phase Invaders get a group concert because they were my introduction to Phase Connect. The resulting event, First Transmission, successfully highlighted each of their strengths, even when some were clearly more practiced hands at performance than others. Lumi’s singing ability and Ember’s dancing skills made themselves apparent, and Jelly came across as comfortable on stage despite being inexperienced. Dizzy is the least stage-inclined of the four, but she found an answer in the form of sensual choreographies that took advantage of her fitness and flexibility.

Here’s to 2026!

More Ape Antics, Please: The Gorilla God’s Go-to Girl

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I was convinced to check out the anime The Gorilla God’s Go-to Girl just based on the name. Turns out that it’s not just a silly alliterative title, but also an otome game–like reverse harem where a meek girl named Sophia Riller gets the powers of a gorilla and uses them to help others out and inadvertently romance the boys. It was originally a web novel, and the title translates to the much more straightforward The Lady Blessed by the Gorilla God Is Adored by the Royal Knight in Japanese.

The silliness is welcome, as is the somewhat incongruous setting. Watching Sophia swing around and subdue bad guys with great ape strength, as well as win the hearts of the knights are exactly the things I wanted to see out of Gorilla God. However, I have a problem with the show: It doesn’t go far enough. The content is about 40% gorilla antics at best when I think it should be 80%.

If they ever make a second season, I hope it’s able to lean into the premise even further, even if it means deviating from the source material a bit.

Fake It Till They Make It: Rental Family

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It’s remarkable to me how much Rental Family feels like a Japanese film. 

That might come across as an obvious or perhaps even insulting comment, given that the director Hikaru is Japanese and the fact that it’s a Japanese/American co-production. However, to have a work with its aesthetics, storytelling, and subject matter get a wide theatrical release in the US—without being an import—feels special. A fair number of American films depict Japan or take place in them, but they don’t bring that same energy that one often finds in more contemplative dramas from Japan. 

Rental Family is about Phillip Vanderploeg (played by Brendan Fraser), a white American who has been living in Japan for seven years while trying to find work as an actor. Despite some modest successes early on, it’s been a struggle filled with rejections. Desperate for anything, he ends up working for a “rental family” business, in which he and other employees play roles for clients to fulfill some need, be it emotional or pragmatic. Phillip’s acting skills help him with this line of work, but when he begins to genuinely make emotional connections on the job, it complicates matters for everyone involved in these charades.

Phillip’s boss mentions early on that mental health issues are stigmatized in Japan, and that people find other outlets to deal with these problems, of which the rental family business is one. The film does a good job of introducing this idea to a potentially unfamiliar audience without feeling unnaturally expository, and also while feeling like a criticism of a facet of Japanese society from an insider perspective. It’s a country somewhat infamous for having a lot of places to engage in parasocial behavior (host clubs, maid cafes, brothels, idol fandom), but it depicts this behavior in a fair and even-handed fashion that highlights its benefits as much as its downsides.

For example, while Phillip never engages in adult business for his job, he does visit a sex worker, and it’s notable how this is not portrayed in a negative light. While this is a relationship fueled by the exchange of money for services and where interaction is on a timer, they actually enjoy each other’s company and think highly of each other. At the same time, they’re both well aware of the “professional” nature of it all, and they leave it at that small bit of emotional reciprocation.

The notion of hiring someone to pretend to be your friend or husband (or even a journalist to make your aging thespian father still feel special) can sound pathetic. “What, you need to pay someone to spend time with you?” There are limits to playing “pretend,” and it can go terribly wrong. However, the film emphasizes the idea that this charade might very well be the catalyst that brings a person out of their rut or their crushing social situation, and a major part of Phillip’s development throughout Rental Family is the joy he experiences seeing his clients and/or their families healing psychological wounds to an extent. The job is both fulfilling and taxing on his mental wellbeing, and as the plot progresses, it can show how challenging it is for Phillip to navigate that balance.

I highly recommend Rental Family, but I actually want to end off by talking about a completely different example of a white actor who became a symbol of parasocial dynamics.

Billy Herrington was a gay porn actor who became a meme on the Japanese video site Nico Nico Douga before tragically passing away in a car accident. In one of his adult films, he wrestled another performer in a locker room while wearing very little clothing, and this became the endless subject of music videos, remixes, and parodies. There are many reasons this could be considered controversial or perhaps even offensive, but Billy became a minor celebrity in Japan as a result, and he even got to meet his fans at an offline event in Japan. While I don’t have a link to the original story anymore, I recall reports that some fans actually cried meeting Billy, and even told him how much he had helped them in darker times. 

Ever since then, when I think about something being seen as silly or vapid, I wonder if it might still help someone overcome their own personal challenges. And while Phillip’s circumstances and means of changing people’s lives are not the same as Billy’s, I see his character (and the work of a rental family business) in a similar capacity, turning the “fake” into the “real enough.” 

PS: At the very beginning of Rental Family, the film has a series of establishing shots of Tokyo, and in one of the shots is, I believe, an image of a Saber from Type Moon’s Fate franchise (though if you ask me which one, I wouldn’t be able to tell you). In Fate/stay night, the protagonist Shirou famously has a line saying, “Who says a copy can’t surpass the original?” in response to the notion that his replicated weapons are inherently inferior to his opponent, Gilgamesh the King of Heroes.

It might very well be a coincidence, but I can’t help wondering if that brief appearance was on purpose.

Fine Dudes, Posing Dramatically: Legendary Armor Samurai Troopers

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When I was a kid and Ronin Warriors first popped up on TV, it was one of the most incredible things I’d ever seen. The cool armor, the awesome villains, it just stood out against standard cartoon fare of the time. I even tried to make my own Ronin Warriors card game using a standard 52-card deck! No, the rules didn’t make any sense.

But while Ronin Warriors was something I look back on fondly, I’d never really experienced the Japanese version, Legendary Armor Samurai Troopers. The closest I got was the fact that I’ve often listened to the second opening, “Samurai Heart,” by the amazing Moriguchi Hiroko of Zeta Gundam and Gundam F91 fame. The original was always something I wanted to check out eventually, but I had it forever in the backlog.

What finally got me off my ass to watch it was the surprise announcement that Samurai Troopers is getting a sequel. While I’m sure Yoroi Shin Den Samurai Troopers won’t require viewers to remember everything about the first series, I figured it was as good a time as any to check this one off the list. And with a few decades between my first experience with Ronin Warriors and now, I wondered how I’d feel about this anime without the nostalgia goggles.

It’s Boys in Armor, All Right 

The plot of Samurai Troopers focuses on five young warriors who can each summon a special armor with a unique elemental power. Together, they fight the evil forces of the Netherworld and their leader, the disembodied demon spirit Arago.

With its cadre of fiery yet angsty heroes clad in armor, the series is pretty much built in the image of Saint Seiya. I was completely unaware of that influence as a kid, but now, the fingerprints of Kurumada’s title (particularly its anime TV series) are all over Samurai Troopers. The series swings between its characters yelling as they launch attacks and give passionate speeches, and then having them yelling and moaning while being hit by enemy attacks—especially when it comes to protagonist Sanada Ryo of Wildfire. It’s a familiar combination of cool action stuff and dudes suffering handsomely, trying to appeal to both the kids eager to live vicariously through them and the older fans gushing over the characters and their popular voice actors, much like the whole multimedia experience we still see today.

A Focus on Style

I find Samurai Troopers to be good and fun, but not particularly great. The series is very spectacle-forward and reminiscent of soap operas in its dramatic moments: Plot twists, lore reveals, and even fight scenes are often more about vibes than trying to create a coherent narrative. Part of this definitely has to do with the fact that the series changed directors halfway through (over disagreements related to shilling of toys, apparently), but even without that, Samurai Troopers often seems to fly by the seat of its pants. 

Some developments feel like they were probably planned to a degree, while others feel like course changes in the interest of playing to the audience and/or throwing stuff at the wall to see what sticks. The reveal about the true origins of the armors and the lead-up to the Inferno Armor that defines the first half are fairly coherent and overall entertaining, but the second half of the series comes across as stopping and starting every few episodes as if it’s in search of the right storyline to continue.

For example, after the midway point, they devote a handful of episodes to focusing individually on each Trooper. This is a welcome thing, but it’s strange to do this so late into the series. Also, for whatever reason, the episode focused on Shu of Stone is unusually well animated compared to the rest of the series. Elsewhere, Shu leans slightly more towards a comedic role, but here, he’s the biggest badass. And then, he and two other Troopers are kidnapped and basically out of sight for like six episodes as Samurai Troopers pushes Toma of Heaven into the spotlight with Ryo. 

That said, the series has an undeniable cool factor that it keeps up well overall. When everything lines up, it does make for some really satisfying storytelling. The villainous warlord Shutendoji (known as Anubis in Ronin Warriors, where he was also the best) is probably the most compelling character in the entire anime because of his story arc and role as an honorable villain, and it often feels like later antagonists are attempts to replicate his success with mixed results. Incidentally, there’s a different character named Anubis in Ronin Warriors, which isn’t confusing at all.

Other Things

Speaking of Ronin Warriors, I was thinking about the localization choices, and while the changes are fairly substantial, they really are perfect for a 90s show for American kids. Arago’s Youja forces are subtitled in Samurai Troopers using phrases involving “Doom” or “Nether,” but it’s basically a combination of you (spirit, supernatural) and ja (demonic, malicious). However, in Ronin Warriors they’re Talpa’s Dynasty, which sounds awesome and menacing in English, even if the show definitely likes to conflate Japanese and Chinese culture. The fact that Samurai Troopers is basically Saint Seiya but hyper Japanese makes this funnier.

There are a couple recurring noncombatant characters whose main purpose is just to be the kid sidekick (Yamano Shu) and the female companion (Yagyu Nasté). Aside from some later plot relevance, they feel like audience inserts for their respective demographics. But Nasté is interesting to me because she’s kind of a prototype of Relena from Gundam Wing, which the first director Ikeda would go on to direct (and also leave). She’s not as forceful as Relena for most of the series, but in the sequel OVAs of Samurai Troopers, Nasté does get portrayed as a more strong-willed character.

Regarding the OVAs, they are much more fully out of the realm of toy commercial. The first two OVA series really pretty up the boys, double the angst, and give them lots of fashionable outfits to wear. The third, titled The Message, seems to interrogate the nature of trying to use evil objects to do good, but in a way that involves 50% existing footage and an overwhelming amount of narration by individual Troopers. While arguably being the most interesting in terms of ideas it presents, the format is a complete slog to get through. 

Final Thoughts 

Samurai Troopers occupies a kind of transitional space between different standard approaches to anime: It’s not primarily episodic, but it also isn’t committed to serialized long-form storytelling. The show wants to sell the toys to the boys and the guys to the ladies, but the ratio of its appeal shifts all over the place until the OVAs. All this is not so unusual; Samurai Troopers is hardly the first case of a work trying to find itself as it’s going, and even the Saint Seiya manga apparently went this way. However, I think this incongruity is more noticeable because the series doesn’t always follow through with its choices. 

This might seem like I’m down on Samurai Troopers, but I’m really not. The way it clearly tries to navigate different audiences is fascinating to watch, and the excitement the title brings is undeniable. I think if I were a kid watching week to week, the way it swings between episodic and serial would make the latter parts feel that much more special.

So now I’m ready for the new show. It’ll be interesting to see how much the series leans into more recent tropes and how much it’ll try to match the feel of the original.

A Story of Pin Pals (?): Turkey! Time to Strike

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Sometimes, there’s this exchange that happens when introducing an anime:

“Have you seen this show? It is wild.”

“What’s it about?”

“Y-you’ll just have to see.”

And the above doesn’t happen because you were trying to prank them, or because the show was simply about shocking plot twists. Rather, it’s because the show in question just keeps throwing one curve ball after another, and whatever conception you had of the series at the start gets tossed out the window.

Anyway, have you seen Turkey? It is wild.

Turkey! Time to Strike (as it’s called in English) centers around the five girls of a high school bowling club who, while dealing with some drama that threatens to tear the team apart, end up in a situation none of them could have ever expected. If that’s enough to convince you, go watch it now, because there’s a major spoiler in Episode 1 that kicks the series off for real.

For those who’ve decided to stick around: An intense match between two members suddenly goes awry when lightning strikes, one of the bowling balls glows, and the girls all get sent hundreds of years back in time. Surprise! It’s actually a time travel story. After rescuing a young and handsome warrior from the battlefield they find themselves on (through the power of bowling, of course), they end up living with his family. Now, they have to adjust to living in a world without electricity while trying to figure out how to return back to the modern day, and in the process learn about the family of siblings that are taking care of them?

(Turkey, by the way, is the term for when you get three strikes in a row. Time to Strike was possibly added to the English release because while having just the word Turkey written out makes an impact in Japanese, it would not have the same effect in English).

If this series were simply about time displacement hijinks that swap a DeLorean for a bowling ball, the show would be pretty bizarre and memorable already. But what pushes it far past the line is the fact that it actually puts some serious thought into the execution of its premise. “No, really—What if a bowling team wound up in feudal Japan?” Some of it is about teaching a generation past about the joy of bowling or learning the basic politics of the period, but then the show will get starkly serious at times. It’ll go from teenage girls using the thundering sound of bowling balls as an enemy distraction, to discussions about tragic loss of family and deep personal feelings of guilt, to the moral differences in the act of killing between eras, back to wacky bowling fun. Tonal whiplash doesn’t even begin to describe what’s going on here.

But somehow, the team behind Turkey managed to pull it off and create an emotionally powerful show that uses bowling as an unlikely conduit for healing and therapy across time. Across 12 episodes, the anime never stops surprising, and it even ends in both a satisfying and unexpected manner. It takes the “girls doing a specific activity” concept so perennially popular in anime, and hits on both the slice-of-life and drama levels in ways that feel incongruous, yet ultimately harmonize.

I Went to “Chronicles of hololive Nexus Gate: Act 1” and Then Ate Mall Curry

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I didn’t know what to expect from “Chronicles of hololive Nexus Gate: Act 1.” Sure I’ve been to booths and events centered around hololive, but this seemed…different.  It wasn’t a cross-promotion with a restaurant or anything. It was held at the American Dream Mall in New Jersey, the second largest mall in the United States after the Mall of America. And from what I heard, it was supposed to be in some ways similar to the online hololive role-playing event series ENigmatic Recollection.

The description was bizarre enough that I wasn’t sure I would make the trip in the first place, but I went just to see what the deal was. What I got was a multipurpose pop-up booth that provided five different forms of interaction. 

First, it was a shop where you could buy both general hololive merch and stuff directly related to this whole Nexus Gate thing. I bought a little Nexus Gate–themed passport-style stamp booklet.

Second, it was an exhibition of fan works (art, cosplay), as well as a place to leave a record by adding a sticky note to a wall.

Third, it featured a series of brain-teasing puzzles that netted a prize in the form of a hololive STAGE ‘25 card for the hololive TCG. 

Fourth, it was a gallery of the Nexus Gate concept, which was about the girls of hololive English entering a mysterious and mostly barren world.

And fifth, it was also a screening of a drama that played out like a series of visual novel chapters, all exploring how each EN member approached the element most core to their beings. Also, because I went on the last two days, we also got to see an Episode 0 that showed how everyone ended up there.

The main drama, titled “Act 1: The Portal Awakens,” consisted of script readings not unlike the audio dramas they sometimes sell on their online store, it didn’t quite have the off-the-cuff feel of something like ENReco. It was likely another alternate world where facets of them remain, blending kayfabe lore with aspects of the EN girls’ personalities established through their streams. This lasted a lot longer than I anticipated, but it was probably the highlight of the trip. I do have to say that the special miniature lawn (?) chairs set up for viewing were comfortable at first, but being on them too long was not entirely pleasant for my crotch area.

Perhaps the most interesting things were the way this other world seemed to be connected to three girls in particular: Baelz Hakos and Ouro Kronii of the old hololive Council generation, as well as Koseki Bijou. The former two seemed to recognize the world beyond the gate as being either in some primordial state of creation or nearing the end of its life. Bae and Kronii’s lines gave a lot of hints that both the rest of Council departing over the years and everyone’s desire to step back from essentially godhood would affect things significantly. As for Biboo, she seemed to hear something he others couldn’t, perhaps tying into her backstory as a sentient jewel who has a strong connection to emotions.

The biggest question to me about Nexus Gate is that if this was Act 1, where and what will Act 2 be? Are booths going to show up all over the US and perhaps the world, all situated in malls? How many will there be? What is the ultimate purpose of all this? I found it all to be pretty cool, but I can’t help but wonder what the overall goal is.

As for the curry, it was definitely Japanese curry from a mall food court

Practically Perfect Play—Chrono Gear: Warden of Time

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Chrono Gear: Warden of Time combines two of my favorite things: action platformers and hololive. As implied by its title, the game centers around the sardonic and leggy Ouro Kronii from the English 2nd generation, Promise. Her official backstory positions her as an overseer of time itself, and her role in Chrono Gear sees her recovering the stolen pieces of a temporal device of her own making through sword slashes, time manipulation, and other techniques. 

While using the popular VTuber company as a basis doesn’t guarantee quality, I found Chrono Gear immensely satisfying to play. The basic controls can be kind of clunky at first, but it doesn’t take long for Kronii to control smoothly and comfortably in multiple scenarios and gameplay modes. And unlike a lot of platformers that basically demand precision from its players, Chrono Gear is fair and lenient even in the hardest difficulty without feeling like handholding. The stages are creative and meant to have multiple paths without being focused on exploration, similar to 2D Sonic the Hedgehog games. And as a fan of good boss fights, I’m happy this one has them in spades. It doesn’t hurt that La+ and the girls of holoX are among them.

I’m never a fan of games that make you use all four shoulder buttons, but I know that’s just common these days.

Much like the bullet heaven game HoloCure, Chrono Gear doesn’t waste its use of popular source material. It’s clearly made by fans who love hololive, and they incorporate its lore and history in creative ways that often add to the gameplay instead of just being there for flavor and fanservice. Other hololive members (notably the rest of the full hololive Promise roster) make appearances—and whether they’re friend or foe, their personalities come through in dialogue, animations, and actions. One of my favorite examples is how the time-traveling Amelia Watson (a mere human among supernatural beings and cosmic deities) has four smaller health bars instead of a single big one. There’s just a great fusion of various elements with a lot of care put into the whole package.

The funniest thing about this game is that it’s basically an extremely intricate and interactive piece of TimeRyS fanfiction, pairing Kronii with her genmate IRyS in not-so-subtle ways. But even if you don’t care about this ship or shipping in general, there’s more than enough to make playing Chrono Gear a worthwhile experience. It doesn’t demand your attention, yet it’s easy to sink in more and more hours—to beat the game, relive your favorite parts, improve your stage times/scores, or even just bask in its beautiful world.

I Went to My First Pat Metheny Concert

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In 2023, I went to the first hololive English concert, Connect the World. In my review, I ended off with some idle thoughts:

And now that I’ve gone to a concert for virtual idols, who knows what’s next? Maybe I’ll attend some concerts by 100% flesh-and-blood musicians as well. Ironically, the VTuber rabbit hole might just lead me back to the real world.

Two years later, I finally made good on this by seeing Pat Metheny at Carnegie Hall on his Dream Box/MoonDial Tour. Given how more and more of my favorite creators and artists have been shuffling off this mortal coil, I considered him a top priority, and I’m glad I finally got the chance.

While Metheny does have a connection to anime thanks to “Last Train Home” being used as a JoJo’s Bizarre Adventure ending theme, my fondness for his music goes all the way back to my early childhood, when I first heard in a commercial what I would later learn was “It’s For You.” I watched the film Fandango earlier this year specifically because I knew that song was featured in it.

I’m the definition of casual fan—I didn’t even realize quite how much music Metheny has made, or that he’s a 20-time Grammy winner, or that he still puts out songs on a fairly regular basis. I knew he was a beloved musician, but not that he’s in the running for greatest jazz guitarist of all time. Though in hindsight, I don’t think anything could have prepared me for the live experience. 

Metheny just seems fundamentally different from most musicians I’m familiar with—he seems to be less focused on making individual songs and more about exploring music and sound itself. It might be because I’m not very familiar with his very extensive discography, but it felt like I never knew where he was going or what he was going to try next. At one point, he mentioned a guitar maker he works with often, and how she takes his ideas for instruments and makes them a reality. In fact, this entire concert was dedicated primarily to his recent decision to use the baritone guitar more, and this included his custom designs. In his last few songs, Metheny used a bunch of contraptions to record his own guitars on the spot and then played them back to become a kind of one-man band while colorful meters flashed and shined. It was an aural and visual cornucopia.

Helpfully for a newbie like myself, he actually took time to delve into his life and history. Metheny explained how he came from a family of trumpet players, but that he didn’t take to the instrument nearly as well. It was seeing the Beatles on the Ed Sullivan Show that exposed him to electric guitars and changed his life forever, despite his family’s initial dislike of the newfangled instrument. At a young age, he started playing at famous spots in his home state of Missouri. Metheny mentioned that he rarely ever talks this much during concerts, so I consider myself fortunate in this regard.

This was both a culmination of a journey as a listener and the start of something new. I wonder where I might go next.

Unlike Other RPGs, This One Is About the Characters: Phantasy Star (Sega Ages)

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Phantasy Star is a series whose name has always floated around in the background of gaming history for me, yet was something I never engaged with directly. I knew it was significant without really knowing why. However, I watched Jeremy Parish’s Segaiden episode where he covers the original Phantasy Star. That’s where I learned that it’s basically the first JRPG to focus completely on defined characters and an established narrative (as opposed to customizable characters and an emphasis on player choice), and that it features the first female protagonist in the genre. Knowing this and seeing the Sega Ages remaster on sale, I decided to give it a try.

Unlike many RPGs of the time, Phantasy Star includes a science fiction aspect alongside the more standard swords and sorcery. The heroine is Alis Landale, a girl who sets out to avenge her dead brother after he’s killed by the oppressive forces of Emperor Lassic. Her adventures take her across planets, where she encounters allies who join Alis on her quest.

The game is gorgeous even today, and while I don’t have a firm tack on the general aesthetics of the Sega Master System, the graphics blow its contemporaries on the NES out of the water. The faux-3D of the dungeons, the excellent music, the look and feel of the environments (especially from planet to planet), and the detailed enemy sprites all contribute to an immersive experience. Little hints or story points that crop up at the beginning don’t pay off until much later, making figuring out various mysteries very rewarding. It’s no wonder that Phantasy Star is generally regarded as one of the best titles of the Master System. 

Phantasy Star is very much of its time, and it reminds me of a conversation I saw on social media recently. A younger person was trying out older Pokémon games (pre–Black and White), and they were puzzled by the fact that “important NPCs” weren’t always obvious. They questioned the need to arbitrarily talk to literally everyone in the game, but others pointed out that this is what RPGs used to be like. You were expected to approach the game as an explorer and check out every nook and cranny to find hints on how to move forward. In the context of Phantasy Star, I did feel stymied by this at times despite my familiarity with this type of gameplay, like when I couldn’t remember the names of individual random towns, making backtracking much more tedious.

The Sega Ages version comes with a mode that has a few quality-of-life changes: fewer enemies, faster leveling, more gold earned per battle, faster walk speed, and auto-drawn maps. I felt two ways about this, as I often don’t like having extra hand holding for older games, but what ultimately tilted me in favor of the Sega Ages version were the maps. If I were playing this back in the day, I would have to bust out the graph paper and make them myself, and that is something I don’t enjoy. The faster leveling also helped speed up the game and allowed me to fit it into my schedule, but I definitely think I was overleveled for most of the game in a way that allowed me to accomplish things I wouldn’t have otherwise. As a result, I’m not sure I necessarily got an entirely authentic Phantasy Star experience, even if I enjoyed the game.

From what I understand, the Phantasy Star franchise only got more elaborate and complex over time. This first game acts as an introduction to the ideas and feel that would help define Sega RPGs as a whole, but I do think it’s fun as a standalone title. It also took me back to my younger days, almost like I was experiencing an alternate timeline of how my taste in games could have gone if a few circumstances had changed. Perhaps I would have been the world’s biggest Phantasy Star fan, talking about how I never tried any Final Fantasy games.

Going Unsteady: Call of the Night Full Review

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Back in 2019, manga artist Kotoyama was just coming off of his snack-themed comedy series, Dagashi Kashi. So when a new series of his launched, I wondered what it would be like. Would it also be a kind of silly comedy fueled by character interactions related to a specific gimmick and a dash of romance? Or would it be something more standard for a shounen manga, with superpowers and greater drama?

The answer turned out to be “Yes, and also yes.”

Call of the Night (Yofukashi no Uta in Japanese) is the story of Yamori Ko, a boy who has stopped going to middle school and is suffering from insomnia. One night, he decides to leave his apartment to see what his town is like around in the late hours. There, he encounters an eccentric girl named Nanakusa Nazuna, who seems older than she looks, and offers to help him sleep. Ko agrees to try out her services, but soon discovers that she’s actually a vampire. Rather than being scared for his life, however, he gets an idea: If life right now sucks, why not become a vampire? The only problem: In order to turn, one must fall in love with the vampire first, and Ko has no idea what love is supposed to feel like.

Unlike the eight-volume Dagashi Kashi, which is largely short and episodic vignettes, Call of the Night has a serial narrative over a whopping 20 volumes. The relationship between Ko and Nazuna somewhat resembles the dynamic between Kokonotsu and Hotaru in Dagashi Kashi, but it’s really its own thing—a dynamic geared towards momentum and development, rather than stasis.

While Call of the Night initially feels it can go on forever at a pace reminiscent of another favorite series in Mysterious Girlfriend X, it then proceeds to break its own “rules” time and again. As it adds interesting twists and wrinkles to its story, the manga achieves a nice balance between genres and the emotions it invokes. Because the series keeps adding ingredients and formulating new recipes in itself, I find it to be a very Shounen Sunday manga. This is historically the magazine of Touch!, Inuyasha, Detective Conan, etc., and Call of the Night feels like it exists in the space between these and other iconic Sunday series. 

The everyday hijinks make way for a genuine friendship, and the answer to whether it will turn into romantic love always feels like it’s right around the corner yet also somehow far in the distance. And as the story progresses, the cast of characters expands and details about how vampires like (and unlike) Nazuna move through human society help to expand the world and create new stakes. There are even some supernatural brawls straight out of a battle manga. And through all these events, Call of the Night still manages to feel grounded and low-key, and also still tapped into that initial malaise that plagues Ko. 

Silly yet serious, simple yet full of intriguing little complexities—Call of the Night is worth a read. I think it has something even for those who aren’t fans of vampires and the supernatural. It’s ultimately the story of a boy and a girl who come from very different circumstances who find common ground in the late evening hours, and the world that unfolds before them.

PS: It really is awesome that the anime version got the ending theme to be its namesake, “Yofukashi no Uta” by Creepy Nuts.