Category Archives: Video Games

Interview: Itaru Hinoue, Character Designer of Key Visual Arts

Itaru Hinoue is lead character designer and one of the founding members of Key Visual Arts, one of the most influential visual novel studios in Japan. Her moe character style has helped define entire genres of visual novels and anime, from titles starting with Kanon and continuing into Air and Clannad. Inoue also contributed to the scenario of Key’s latest visual novel, Rewrite, and has also done other artwork as collected in her art book White Clover.

This interview was conducted by Lily Huang and Michael Huang. It has been edited for clarity and conciseness.

[Michael] When you started designing characters for Key, did you imagine that it would inspire an entire approach to doing this “moe” style?

I didn’t expect it at all!

[Michael] What were you trying to capture in designing characters that way, especially girl characters?

My characters have to be cute–that’s what I was going for.

After you did Kanon and Air, which were very popular games, was there a lot of pressure to meet fans’ expectations between Kanon, Air, and Clannad

I did feel pressure to make it a better creation, to draw it better, to make better illustrations for each project I had. 

I ask because Kanon and Air were only one year apart, but there was a 4 year gap between Air and Clannad

Overall we wanted to do better because Air sold so well. We ended up taking four years because we wanted to go above and beyond.

Between Clannad and Little Busters, you worked on BL games. Do you think boys can be moe?

(Laughs) You must be really into it! I like making very handsome people…because I had been drawing girls, I wanted to draw some guys. With my style of moe, I can draw them…I like the smaller boys so I can apply it the way I like.

When I came across your BL work in White Clover I was surprised. It’s so different from what you’ve done before.

After Clannad I was trying to figure out what to do next, and I wanted to draw boys. I gathered some girls and did some [focus] testing to see what kind of drawings worked, and ended up making it at the company. That’s how it started off.

[Michael] What does moe mean to you, personally?

It means kawaii (cute).

[Michael] What do you hope the audience feels when they see one of your characters?

That’s a hard question! I want them to think–“my wife.” I want them to love them that much. I want them cute enough to say “they ARE my wife.”

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Shizuru from Rewrite.

What are your favorite character types to create–tsundere, megane, eyepatch, cool, etc.?

With Shizuru [Nakatsu, from Rewrite], I stuffed in everything I like into that chracter. That could be your base line of what I like to draw.

Are you aware that there are a lot of fans overseas of Key, and we were able to raise $500,000 for an English translation of Clannad?

I didn’t know it was overseas as much, but at Comiket, I did see some overseas users that visited.

Will Key focus on the overseas market in the future?

[producer] We’ll try!

How did you develop your special style of creating characters, with the large eyes and high noses? 

I’ve been drawing since I was little, and I’ve always liked large eyes–it’s a staple. Whenever I draw they just end up being big.

Interview: Ryukishi07, creator of Higurashi and Umineko

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Ryukishi07 of 07th Expansion is a pioneer in the visual novel scene. Best known as the original creator of Higurashi no Naku Koro ni and Umineko no Naku Koro ni, he has been plumbing the depths of suspense, horror, and mystery for many years. Recently, in a change of genre, he wrote Lucia’s route in Key Visual Arts’ most recent visual novel, Rewrite (whose head writer was Aura and Humanity Has Declined’s Romeo Tanaka).

This interview was conducted by Lily Huang, and comes courtesy of MangaGamer. It has been edited for clarity and concision.

Why do your stories revolve around the tension between natural or supernatural explanations for phenomenon? (For instance, the curse of Oyashiro-sama in Higurashi, the Red or Blue Truth in Umineko, and Lucia’s route in Rewrite.)

I like to leave it up to the audience to figure it out on their own.

Do what audiences come up with ever contradict what you imagined?

Yes, there are times when I present something, but readers take it a different way. It happens a lot. In the case of Higurashi, it took four years to make, and the readers had a lot of opinions and feedback, and I would take that and incorporate it into the next work. It’s like catching and passing a ball back and forth, an ongoing process.

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You worked on Rewrite’s Lucia route, which was a collaboration with many other people. Was it harder to write it without any feedback from fans?

In the case of Higurashi and Umineko, it was my own work so I could do whatever I wanted. In Rewrite, it was Key Visual Arts’ work so I had to respect that, and it made me really nervous to write in a very different style and thought process.

When you did the Lucia route, did you have to write more “business” type than “passion” type than you usually do? How did it make your work with Key more or less difficult?

For me, when I could write anything I wanted, it was harder to come up with things. With Rewrite, there’s already a world and setting set up for me, as well as a character. It’s actually easier to write and expand that world. It was fun.

Did you write the route knowing the ending ahead of time, or not?

Rewrite itself is by Romeo Tanaka, and I couldn’t change that–there was already an initial setting for Lucia. But the direction of the story was up to me, as long as it was possible in that world. The ending was mine.

Overall what was your experience like as a collaborator? What did you like and what would you change?

Before Rewrite, I only wrote mystery, murders, suspense…it was the first time I wrote a love story. I found a lot of new things about my writing style. It was a good experience.

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We know you as a creator who works very closely with fans–Umineko and Higurashi had changes after fan feedback. How has your interaction with fans changed since then?

When I wrote Higurashi and Umineko, I was still young and energetic, so I could go all the way. Now I’m getting kind of old and want to settle down, and find a new way of writing to fit my current stamina.

What is it like working with fan translation groups like Witch Hunt vs official companies like MangaGamer?

I’m always surprised because my games are so long, and there’s so much text, it’s surprising someone can translate all that work. They must have so much passion over the story.

What is like working with MangaGamer?

I’m very happy that we released new artwork for Higurashi and putting things on Steam. I’m happy to see new fans try things out that way.

What are your thoughts of the future of the doujin and visual novel market in Japan vs America? Do you see fan involvement being more important in the future?

Today’s visual novels are released by commercial companies; they are such high quality, they’re almost like [professional] anime. But people like fans that are making their own sound novels for the first time, they’re unable to get to that level at the start. I’m a little worried about them. But it’s OK that there can be two separate worlds of visual novels–very high quality commercial novels as well as old-fashioned pictures and music sound novels.

Interview: Daisuke Ishiwatari, Creator of Guilty Gear

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Video game designer Daisuke Ishiwatari is best known as the creator of the fighting game series Guilty Gear. A multi-talented artist, he not only serves as a video game designer but also as a score composer, having written the score for BlazBlue. He also provided voices for characters in Guilty Gear. 

Jeremy Booth interviewed him at Anime Expo 2015. This interview was edited for clarity and concision. Question help provided by Dan Campisi.

You were born in South Africa, is that correct? What was your family doing there?

Yes, in Johannesburg. They were there for work.

How long did you and your family live there?

I’ve lived there twice: the first time when I was born, and right after that we immediately returned to Japan. Then I was there again from the fourth year of elementary school to the second year of middle school.

So are you technically South African-Japanese then?

At the time, I had dual South African/Japanese citizenship, but when I was taking my tests for college, I got a conscription notice from the South African army. I threw away my [South African] citizenship then.

How would you describe the culture in South Africa compared to Japan and here? Do you have a lot of memories?

First of all, when you hear “Africa” you don’t think “big city,” but [Johannesburg] is a very big city. We were Japanese, but since we were living mostly with Caucasian people, it felt kind of like England.

Moving on to your gaming work, you’ve done a lot of jobs from music creator, character designer, voice actor, director…what would you say your focus has been in the past few years? Which role is your favorite?

What I’m doing now hasn’t really changed much from the past, but one thing has changed: I used to do a lot of the graphics [myself], but now I hand that over to the lead artists. In terms of favorite–I like everything.

I also understand you’re a big fan of western RPGs like Diablo and Fallout. What is it that you like about them?

I love them. I haven’t been playing them too much recently, but when I first put my hands on them, one thing that really clicked with me was the sense of freedom you got from those games.

Kind of a sandbox environment where you can do a little of everything?

Yes.

Your expertise is on focusing on being the best at fighting games. Where do you see the future of fighting games heading?

For me personally, if the genre were to change anymore, it would no longer be “fighting games.” For instance, there’s Super Smash Bros, and if you were to ask me if that was a fighting game, I would say it’s not–it’s different. But, that being said, I think that within the genre, there are things that haven’t been discovered or invented yet, and discovering those things is part of our mission.

In 2012 you said in a Gamasutra interview that you wanted to see that the genre kept evolving. How has your thinking changed since then?

It’s a really difficult question,  but for a long time, I’ve really wanted to see a game where players used their own physical strength inside the game. But maybe if that kind of thing were to happen, it may no longer be the same thing.

Bridget

In Guilty Gear, there is a character called Bridget. Bridget is considered one of the first transgender character in games. What was the process of creating Bridget, and what inspired you to make the character transgender?

I guess I couldn’t pin the inspiration for the character on any one thing. But when we are making new characters, we are always looking for some new element to add to the character to make it interesting and fun, and while we were making Bridget, that was the element.

Did you realize it was a milestone when you did it?

I wasn’t thinking about; I didn’t realize.

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There’s a fan debate on how to pronounce “BlazBlue.” What is the correct way to pronounce it?

So in Japan, we pronounce it “Blay-Blue.” In other countries, the pronunciation is “Blaze Blue.” Mori [Toshimichi], the gentleman who worked on BlazBlue, he really liked the sound of “Blay-Blue”, but when it came time to localize to other countries, he was told there was no way that would work.

Interview: Kazutaka Kodaka, creator of Danganronpa

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Kazutaka Kodaka is a writer and director of video games at Spike Chunsoft. He is best known as the creator of the Danganronpa series, which features elements of mystery, survival horror, and anime-styled whimsy. He has also been involved in localizing non-Japanese games for Chunsoft such as Hotline: Miami. We spoke to him at length about his influences and inspirations for the unique series and approach he takes to gaming.

This interview was conducted by Jeremy Booth at Anime Expo 2015.

First of all, how was your trip to LA?

I loved Hooters! I just went straight there.

What inspired you to get into the gaming industry? What was the moment you knew you wanted to go into designing and making games?

I was originally going to write scenarios for films, but I was asked if I wanted to join the game industry instead. So that is how I got in.

So you went from just telling stories to making more interactive stories?

Yes, interactive.

You’ve said you are a fan of movies like Cube, Saw, and other survival horror. Are you interested in any other horror movies or films, and have they influenced your mindset?

I like Twin Peaks.  I like sequels…I wanted to create games where once the first chapter ends, you’d want to see the second [installment].

You mentioned Twin Peaks. What other David Lynch films do you like?

Mulholland Drive, Wild at Heart….all of them!

Illbleed

You also said you were influenced by a game called Illbleed. Anything stand out from that game that really stood out to you?

It’s very particular, but I like the fact that the healing items will disappear if you don’t use them.  

Any other games you are inspired by now or in the past?

Conker’s Bad Fur Day, which was made by Rare. A squirrel has a gun and just starts shooting…I think the comedy and parodies are awesome. It’s cute but it has a very aggressive and violent tone…one of the characters [a piece of poo] even sings opera! I can never see what’s coming next.

Are you familiar with Five Nights at Freddy’s? It feels like an American take on something similar to Danganronpa.

Yes, it’s true, the concept and a lot of things do seem similar. Even though it’s similar, it still has its own different individual character.

What do you remember most about working for the Konami Group?

The company is really strict. I was debugging games part-time.

What impressed you about Hotline: Miami? 

I liked how cruelty is turned into entertainment through 8-bit art styles…I also like how the music and soundtrack, and the fact that the game is only written by two people. There are games that are so famous or big that you don’t know who’s creating them. I prefer games where there’s a small group of people making it so I can see what kind of people they are.

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What do you look for when you want to bring American games to a Japanese audience? How do you localize a game like Hotline: Miami?

I didn’t want to change that much…I don’t mind if not that many people buy it, only the few people who would love that game who would be entertained by it. Same goes with Danganronpa.

 

Your company is also well-known for the 999 series [of room puzzle type games]. What draws you to that genre?

It’s an interactive story, as interactive as possible. The situation is similar in Dangonronpa where you have to kill a character at a time. Instead of showing you a character to kill, you make the player choose who to kill.

What direction can we expect for the Dangonronpa series?

When I release something to the public, I want to surprise the audience. I don’t just want to release the same old thing, rather something where you say “you’re doing that?” Still, the core component is mystery.

More insanity?

Yes! Awesome.

 

Interview: Voltage Games

Voltage Games is a prominent Japanese publisher of mobile otome games (i.e., dating sims featuring several men to choose from, aimed at young women) such as My Forged Wedding, Kissed by the Baddest Bidder, and more. We had the chance to speak to company founder Yuzi Tsutani as well as VP Kentaro Kitajima at their booth at this year’s Anime Expo about their games, the challenges of adapting to an American market, and more.

The interview was conducted by Michael Huang, with question help by Linda Yau. Their games are available in the US in the Google Play Store and the Apple App Store.

You are primarily a mobile game company. What is your take on being a mobile company vs PC games?

When we started the company in Japan, we started with Japanese cell phones (keitai). We never thought about doing PC or console games.

What’s your opinion about crowdsourcing funding, like with Kickstarter? Do you think you might pursue any games at Voltage that are crowdfunded as opposed to traditionally funded?

I don’t think so. Our budgets are much bigger than what crowdfunding sites get. People use crowdfunding when they are starting their business…but for us, it’s more like an investment. We are listed already [on the stock market].

Tell us about your best selling game, My Forged Wedding.Why do you think it’s so popular?

We feel that marriage and weddings are popular with women, an important part of their lives. We feel like using that as the main topic for the app, and so it’s become very popular.

Most of your games are aimed at young women. Do you see yourselves as role models? What do you hope to bring to them?

There is that aspect, but our number one goal is to create apps women will enjoy first and foremost.

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In many of the games, you have to buy the routes a la carte. What types of routes are most popular?

Usually we have 5 characters in a game. The most popular one is the bossy character, then the cool character. The younger character is not as popular.

Have you had any opportunities to collaborate with other companies or brands, and is that something you would like to do in the future?

In Japan, we are working on releasing an app based on Hana Yori Dangowhich is a very popular anime/manga series. If that does well, we’d consider more of them in the future.

You were adapting a very popular title in that case. Has it worked the other way around, adapting some of your games?

Some TV companies are considering making a program based on one of our stories. We can’t say which title. But some have already been made as a manga–our very first title was made into a manga.

Since you’re bringing these very Japanese games to an American audience, are there things you have to change or emphasize differently to appeal to a different culture?

Sometimes in Japanese games, things happen that wouldn’t make any difference there, but directly translated into English may be offensive. We have to be extra careful when we are localizing those aspects.

[Also] in Japan, a very quiet and [introspective] character is a norm, but that’s not the case in America. People prefer a much stronger, more self-aware character, so sometimes we have to adapt them.

astoria

What kind of games do you hope to release in this country?

Our next step is Labyrinths of AstoriaThis is kind of between Japanese and US characters. It’s the first in our new series of Amemix titles, which aim to blend what’s great about Japan and America. We use anime style art, but with stories based on western concepts like Greek mythologies, with a very diverse cast. So we hope to create a new market with a new series of apps.

Was “Pokémon Omega Ruby” & “Alpha Sapphire” Announced Too Soon?

On Monday morning, Nintendo shocked the web by announcing the all new Pokémon Omega Ruby and Pokémon Alpha Sapphire game, scheduled to release worldwide for the 2DS & 3DS in November.

The result? Social media explosion. News outlets were on it, Twitter couldn’t get enough of it, the Pokémon Facebook fanpage acquired over 19,000 “shares,” and the teaser received over 1 millions views.

Continue reading Was “Pokémon Omega Ruby” & “Alpha Sapphire” Announced Too Soon?

Audio Review: Atelier Escha & Logy ~Alchemists of the Dusk Sky~ (PS3)

Atelier Escha & Logy_Final Box Art

Atelier: Escha & Logy ~Alchemists of the Dusk Sky~ was recently released in English by Tecmo Koei Games for the Playstation 3. Ray played through more than 60 hours of this Japanese RPG, and Mike sat down with him to talk about what he thought of the game. Is it enough to just create items, be kawaii, or is something more exciting and consequential necessary to keep up the player’s interest? Find out what Ray liked and didn’t like so much in this audio review!

Here are some screenshots and artwork from the game, which is available at most major outlets, including Amazon. (Full disclosure: we do get a little bit back if you buy it through this link. Support the site!)

Sony Entertainment rocks E3, declared the winner by the Internet

Editorial

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After Microsoft’s spectacular blunder of a press conference last month, people were already saying that the PlayStation 4 was going to blow away the Xbox One.  And even after Microsoft tried to claw its way back from the hole they dug themselves into, with a decent showing of new games earlier today, Sony took full advantage of their competition’s previous stumble and blasted even further ahead, leaving Microsoft to eat their dust… Gran Turismo style.

And all with just three simple announcements.

1)      PlayStation 4 will play used games with no restrictions.

2)      PlayStation 4 does not have to be online.  Ever.

3)      PlayStation 4 will be $399.99.

It was the first two of these announcements where Microsoft epically opened their mouth and inserted their foot last month.  At today’s conference, they tiptoed around these issues and (smartly) focused on games to try not to raise the ire of the blogosphere.  Sony, on the other hand, while not giving a perfect conference, unveiled the PS4 and ended it with a three punch TKO sending Xbox One to the mat.

The conference started slow, with CEO Jack Tretton pushing the PSVita and PS3. While I appreciate that the PS3 is not being flatlined right away, I found it odd there was no announced price cut for the Vita.  Sony’s handheld is really suffering in sales at the moment, and a price cut would be a push in the right direction.  Also, for a system that has no killer app, the new games announced for it just didn’t excite me, or anyone else in the audience from what I could tell.  Instead, we are told how great Skype looks on Vita.  I don’t want to buy a handheld game system to use Skype.  My phone, laptop, PC, and toaster oven all have Skype on it.  I want killer games. I loved my PSP. I want to love Vita too. Give me a reason to love it, Sony.

After Vita, we were treated to a few fun announcements for PS3.  Puppeteer looks great.  Rain’s design has me intrigued.  And Gran Turismo 6? It’s for PS3, not PS4? Ok. Looks pretty, I suppose.

On to the meat and potatoes of the conference, where we finally got to meet the new Sony Parallelogram… er PS4.  First impressions (other than the parallelogram gag) were it looks kind of like the Xbox One.  It’s a black box.  Maybe the designers of both systems went to the same screening of 2001: A Space Odyssey before they went to the drawing board?  Also did you know the PS4 will play movies, does networking apps, and will do other movie things and blah, blah, blah, blah… SHOW ME GAMES!

Then the clouds parted and a beam of light shined through.  Someone was listening to me.  First out of the gate was what appeared to be a Steampunk infused Zombie/Monster game called The Order 1886.  Just the trailer was shown, not gameplay, but I definitely got a “Left 4 Dead in a Steampunk Victorian Era” vibe from it.  Also, airships.  Airships are cool.  The Order 1886 is part of a reported 20 new Sony IPs to be released within the first year of the PS4’s lifespan.  Some others include Killzone, Driveclub, Infamous, and Knack.

Moving on to the independent scene, Sony smartly announced that indie developers will be able to self-publish their games on PSN. They then proceeded to knock it out of the park showcasing a ton of these smaller titles, each with its own individual quirks and eye catching gimmicks. I will definitely be keeping my eyes on these, in particular Transistor and Mercenary Kings.

Now for third parties, where better to start off than with the current kings of disappointment, Square-Enix.  Director Tetsuya Nomura appears on screen to talk about Final Fantasy Versus 13, yet again.  How many years has it been since they announced this?  I mean seriously, Square.  Fool me once, shame on you. Fool me twice, shame on me.  Fool me three times… wow, that game looks amazing.  Is that actual game play footage?  Holy shit, is that Leviathan!?  No, no, no, there is no way it’s going to be this good.  It’s too good to be true.  Wait, what?! It’s not Final Fantasy Versus 13 anymore?  It’s Final Fantasy 15?!

Ahem.  Sorry about that.  Slight geek-out.  I promise it won’t happen again– Holy shit, Kingdom Hearts 3?!

And that’s when I blacked out for a few minutes.  I have been a die-hard Final Fantasy fan since I began gaming as a wee little Daniel, but it’s no secret Square’s recent endeavors have left me cold.  These trailers awakened my sleeping inner Square fan and made me feel all tingly and strange, as I’m sure it did to many of my fellow disenchanted FF franchise lovers.

After this, things were kind of a euphoric blur.  There was something about Assassin’s Creed, Watch Dog, and Mad Max I think.   All very exciting, especially Watch Dog.  Then Jack Tretton returned to the stage with his “Eat it, Microsoft” speech.  PS4 will have no DRM and fully supports used and rent/lent games.  The PS4 does not have to be online at all in order to work properly.  There was one minor hiccup, where it was implied that you would have to subscribe to PlayStation Plus to play multi-player games online, but I think we can forgive that.  Besides, Microsoft has done that from day one on the Xbox360, but still, it’s a small step backwards for Sony.

The speech was followed by a long-ish demo detour through Bungie’s new game, Destiny, and then they announced the PS4 price. $399.99. And internet exploded. It was the final KO punch of E3, with Sony knocking Microsoft (who had earlier announced an Xbox One price of $499.99) down for the count.

And that was it.  The execs dropped the mic and left the stage.  Sony was declared the winner of E3 by… pretty much everyone.

But wait… hey guys come back. You didn’t say when the system was coming out?  Later this year, but when exactly?  Guys?  Hey guys?

Oh well, I’m sure we will find that out soon enough.

So, fellow otaku and gamers, what do you think?  Decisive win for Sony?  Or is it still up in the air?  Let us know.  Anime Diet wants to hear your impressions so far.

 

Daniel is also very excited about the announced sequel to Mirror’s Edge, but since it wasn’t part of the Sony Press conference there was nowhere to mention it.

Review Symphonica: Grand Maestro

Happy Holidays… and Yay! This is a game for a classical music fan, and for people who love Taiko no Tatsujin, Dance Dance Revolution, Project Diva, or any other rhythm type game, should definitely try out this Square Enix product on the iOS market.

Before you purchase the full game of Spymphonica though, people can try the Prologue and 1st two chapters for free.

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You play as upcoming conductor, Takt who leads the struggling Fayhormonica orchestra to overtake the musical town of Einsatz. You get to practice or move to advance your score. So as with other touch games, pretty much getting a good score is how accurate you are with completing the motions.

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The story is pretty short with only three side stores, and 13 chapters, which I played in a short amount of time. As you score higher, meaning being more beloved by audience, the levels get quicker and harder.

As a player you get to see an SD form of the orchestra, or images of the game in these type of photos that would happen as you play through an episode. Chroma.cc is attributed to being the artist company that illustrates Symphonica. There has been a recent update and the ability to add more music to the game play, but sadly no story with those updates. But for the chance to listen to famous classical pieces, and have fun.. is there any other option?

Introducing: Anime Diet Games

Play it right.

I’m pleased to announce the official opening of Anime Diet Games, a dedicated branch of the site dedicated to video games of all kinds! While we’ll always have a special focus on Japanese pop culture, we’ll be expanding into the rest of the gaming universe too with this new section. Of course, if you go to the section now, you’ll see that we’ve always talked about games every once in a while. But now we’ve decided to pick up our controllers and mash some buttons, so we can cover gaming with the same professionalism and brio that we’ve done with conventions, anime, and manga.

As for me—I wrote years ago that it was JRPGs that actually brought me into anime fandom, not the other way around. Perhaps some of you have had the same experience. We’ve already written about games like Final Fantasy XIII, Eternal Sonata, Alteil, and Skullgirls, and even have footage of Final Fantasy composer Nobuo Uematsu. The gaming culture is tightly linked to the rest of things we’ve always covered, and it’ll give us a chance to talk in depth about things that matter to fans and otaku outside of just the shows and the cons we watch and attend. (And those cons: the gaming cons, from E3 to PAX, are now on our radars!)

So visit our gaming section at the following links:

http://gaming.animediet.net

http://animediet.net/gaming

Stay tuned folks. We’re about to get busier. As an ill-localized anime title put it: asobi ni iku yo (let’s play)! *

 

A Valentine’s Gift from Skullgirls

Yesterday was Valentine’s Day and the nice people over at Autumn Games and Reverge Labs have sent over a special treat for all you Anime Dieters eagerly anticipating the release of their fighting opus, Skullgirls …

Here comes a new challenger!

Valentine is the newest character revealed for Skullgirls.  She’s a deadly ninja nurse, and the lone survivor of a group of Anti-Skullgirl lab operatives.  However, don’t let her benevolent nurse appearance fool you.  Valentine has switched sides and now serves the Skullgirl willingly, carrying out her master’s duties and striking at her foes from the shadows.  Not much is known about this secretive fighter, only that she is as deadly as she is beautiful.

A long rumored character that has now officially been added to the roster for this highly anticipated game, Valentine is sure to become a fan favorite in this epic 2D fighter.   How many more characters will we see before the official release later this year?

Skullgirls releases early 2012 for PS3 and XBOX360.

You can find more news, sneak peeks, and exciting announcements at the official Skullgirls and Reverge Labs websites.

Publisher: Autumn Games
Studio: Reverge Labs
Genre: 2D Fighting