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Last edited: 23 Dec. '15 - Translated and added a long quote to the spoiler section.

This review will not discuss whether the messages and morals of the story are sound or whether I agree with them.

I said I’d write this review more than a month ago, but no matter how hard I tried, I just couldn’t find the words to do this VN justice. I’ve finally collected my thoughts after a month of letting this title simmer in my head and will now present my review, written in two parts: the first will be spoiler-free for the benefit of those who are interested in a future translation. Think of this as a show of appreciation to Nitro+, an attempt to introduce more readers to this title, and a nudge to JAST. The second will contain major spoilers and is an analysis of the message and how it's presented. Readers of the second section should keep in mind that Muramasa’s a massive, complex tale, that I’m trying to be concise, and also that this is just one possible interpretation.

Assume all comments contain spoilers.

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Soukou Akki Muramasa is an adult VN. ‘Adult’, not just in the sense that it contains sexually explicit scenes, but also in the sense that its story was created for a mature audience. On top of that, it’s specifically tuned for otaku born in the mid to late ’80s¹ . The title has an intense focus on a very particular audience, in contrast to the wide-appeal approach that most Japanime² titles pursue, and this is the source of its strength—it’s truly a feast for those it’s made for. The other side of this coin is that Muramasa's really not a VN for everyone. If you’re uncomfortable with violent, disturbing, depressing, or potentially worldview-shattering stories, either man-up and challenge yourself to the end or stay far, far away. Even if you removed every H-scene, every suggestive CG, every last drop of blood, and replaced all of the weapons with fluffy bunnies, this will still be an adult title. There can never be a non-18+ version of this story, and that's in everyone's best interest.

Without going into too much detail, the story’s extremely well thought out and constructed. It could feel a little chuuni at times³ , but even if chuuni isn’t your thing, you’ll find plenty of other redeeming features—whether it’s the realistic political mind-games, the authentic⁴ katana duels, the battle-of-wits dogfighting, the moral philosophizing, or the comedy. I realize this is an utterly underwhelming description of a story that some have put on the same level as Tolstoy’s War and Peace, but it's precisely because it’s so good that I really don’t want to risk spoiling more than needed.

One thing I really like about Muramasa’s storytelling is the ‘tell, don’t show’ policy Nitro+ has adopted for gore. Muramasa had the potential to be one of the visually gorier VNs out there, but the developers made the correct decision when they decided not to make it so, since it would overpower the message of the already morally gory story. There were times, though, when gory scenes were softened to the point where they became unrecognizable. The softening, ambiguity, and beauty of the title contrasts with the vile and violent ways of the story, giving the title a strong flavor of bushido aesthetics.

Speaking of flavor, every element of the VN’s presentation—the vertically oriented text boxes, the lack of Arabic numerals, the archaic Japanese, the right-to-left menu designs, the background music, the color palette, the background art, the character designs—all come together to achieve a feel that I'd describe as traditional mid-Showa Japan with a modern Japanime industry twist. This has worked wonderfully and has to be experienced to be understood. Special praise goes to the design of the soundtrack by ZIZZ STUDIO, which greatly enhanced the whole experience.

Minato Kageaki’s a much-needed breath of fresh air in the stale market of Japanime industry protagonists. Loyal, humble, competent, compassionate, grateful, sincere—he’s basically the personification of traditional Confucian ideals, and this story's partly about putting this ‘good’ person into a situation where he’s forced to repeatedly commit what he and society at large sees as unjustifiable evil in order to prevent a greater ‘evil’ from occurring. Kageaki's the star of this title, as protagonists should be, and I'm not exaggerating when I say that he’s the most interesting character I’ve come across in the entire Japanime industry. His voice actor did a great job of bringing him to life.

Despite all the praise for the story, its pacing can be downright horrible at times. I’m patient enough to read antiquated Japanese for many hours in one sitting, but during a certain single-strike katana duel, the narration of the motions leading up to that one strike and the strategy, tactics, and rationale behind them took about an hour to read. I left my seat out of maddening frustration about forty minutes into it. I guess I’m not cut out to be a martial artist, since I’d just rush in and die.

Other complaints that I have: using the affection point system to get to the route you want is a messy task; the skip function's way too slow for such a massive VN, which makes it even more frustrating to get to the route you want; the high-speed skip mode is cumbersome to use and sometimes feels slower than the regular skip mode; and there's a piece of really random gameplay that could be removed.

As for the H-scenes, almost every scene is 'Fan Disservice' in many ways (situation, length, characterization, descriptions, etc.). I think this is a case where the developer is giving the finger to those who read their VNs for porn. Executed very well.

Muramasa has to be the most ‘Japanese’ experience I’ve had. While Muv Luv Alternative’s an emotionally impactful story, Muramasa’s the most well designed and constructed journey I’ve had the pleasure of experiencing. It’s fiery, it’s disturbing, it’s introspective, it’s poignant—most of all, it’s hauntingly beautiful in a uniquely Japanese way. While I may or may not agree with its message, I’m in awe at how well it's presented. This is, without a doubt, my new #1 VN: a testament to the storytelling power of VNs. It’s a shame that its merchandise makes it look bad.

^1. The Tachikoma-like design of Muramasa, the Kamen Rider elements (police-affiliated protagonist with a hidden transformation identity, slightly goofy enemy designs, everything about Ichijou), the chapter on racing (with a Tamiya parody), the motifs in certain BGMs, etc. Nitro+ has managed to skillfully blend these elements together, which, along with everything else, make this title a feast for otaku born in the mid-to-late ’80s.

^2. In this review and elsewhere, I use ‘Japanime’ as an umbrella term for Japanese mediums that otaku consume, which include LNs, manga, anime, video games, VNs, and tokusatsu (such as Kamen Rider and Ultraman).

^3. Fun fact: Kageaki’s angsty transformation pose is parodied in Majikoi S through a character with severe chuunibyou.

^4. As /u/Conjueror has noted in his review, Narahara Ittetsu, the writer, is a certified master of Japanese martial arts, and it really shows in his insanely detailed narrations of duels. I’ve read elsewhere that he’s a real sword fanatic who's been regularly spotted sharpening his katana in his office.

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There are stories that deliver messages, then there are stories that teach you lessons. While a message that’s merely delivered can be ignored, a lesson that’s properly taught cannot. When I say ‘teach’, I don’t mean that it sits you down, shows you a nifty PowerPoint, lectures you, gives you a multiple choice quiz, then rewards you with porn. I mean that it skillfully makes you understand why the message exists through experiencing meaningful, impactful events. Muramasa's a story that doesn’t just deliver a message, and this is the biggest point that separates it from all of the many other Japanime products I've consumed.

Muramasa fully takes advantage of the medium and the expectations of its audience to teach its lesson, and the shining star here is how the affection system is used. Most readers would pick choices that increase their affection points towards their favorite heroine, all while murdering friendlies like Yuuhi, Fuki, and Funa alongside enemies. Black ops 2 patch download. They may or may not feel the protagonist’s pain, as these friendlies are characters that the author has decided that Kageaki likes. The story eventually makes emotionally invested readers truly experience what it means to be bound by Muramasa’s curse by making them murder the heroine that the readers themselves like. All of this comes before revealing what Muramasa’s curse is and why it exists, which magnifies its emotional impact and memorability. Anyone who has paid attention will not only remember, but also have a deeper understanding of Muramasa’s core message, regardless of whether they agree with it or not. This is the most brilliant aspect of this VN.

The story also uses the more traditional method of teaching—storytelling. It skillfully forces readers to examine the motivations behind its characters’ pursuit of justice, revenge, and peace, revealing their selfish intentions in doing so. Here, ‘to justify’ and its variations are better understood as a derivative of ‘justice’—to make right; to make just. For Ichijou, her unwavering pursuit of ‘justice’ is the result of justifying her pathologically straight-laced father’s way of life, his downfall, and her role in his suicide. For Kanae, who finds pleasure in murder and sadism, revenge is merely justification for her pursuit of pleasure. The tyrannical Rokuhara justifies pillaging its own country as protecting it, while GHQ acts nobly so it can justify the military intervention it wants. Then there are Chachamaru, Hikaru, and the Green Dragon Society, who act without justifying their desires, making them seem hopelessly and dangerously insane. The story summarizes its stance on justice, revenge, and other moral concepts very candidly and succinctly when Kanae quips, “Morals are just decorations of the heart” (wordplay emphasis added). ‘Grey and Gray Morality’ seems to be a staple of the Japanime industry, but Muramasa’s story, combined with its storytelling, gives it the most powerful execution of this trope.

This isn’t a story of heroes—nobody can be a hero. Even then, everybody’s fighting.

Because of its traditional Japanese setting, its focus on eastern philosophy, and the outcomes of its main heroines, who receive punishments befitting their ‘crimes’, this story reads like a lengthy Buddhist parable (that features flying, talking robots). Ichijou, who couldn’t stray from her path of ‘justice’ when confronted with evidence that she’s wrong and even after acknowledging that she may be wrong, was forced to don Muramasa and live on as ‘evil’. Poetically, the girl with a horrible sense of direction, whose name means ‘one path’, found herself lost while following what she believed to be her one true path. Kanae, who understood how empty revenge is after she interacted with Kageaki and finally murdered Shishiku, found herself so attached to her bloodlust that she fought the man she fell for to ‘avenge Yuuhi’, dying an empty death as a victim of the infinite cycle of revenge. On the other hand, Chachamaru, who candidly followed her heart, attained the peace and quiet that she so desperately sought, even if she was only able to briefly enjoy it, while Hikaru, who was even more candid, met a similar fate when she finally experienced Kageaki’s fatherly love. The two paid with their lives to achieve what they selfishly, but openly desired, but were able to blissfully enjoy their hard-earned rewards in their final moments. They may be dead, but they’re the only ‘winners’ of their stories.

• If Luka didn't have sex with Alice, Luka will remark to Granberia on how the Four Bandits look up to her and her fellow Heavenly Knights, and Granberia then decides to spar with Luka only using Cursed Sword Skills, leaving her once again impressed at how Luka is an even match for her when he only uses his Cursed Sword Skills, even without help from the Four Spirits. • With Granberia, the scenario plays out in two different ways: • If Luka had sex with Alice, she will still refuse Luka's company. • Tamamo comments on how 'cute' the bandits are, and laments that the group can't bring them along on the journey. Mgq full download.

When we put everything together, the main message of the story seems to be: “There is no evil or justice; morals are just the unwanted decorations of the heart. Whatever your desires, pursue them candidly and wholeheartedly.” It’s a message dripping with nihilism that fits the story’s postwar setting and strongly appeals to its intended audience. With this in mind, Sorimachi, the hyena-like gangster who consistently plays a key role in character and plot development, is not only the author’s agent, but also his voice.

Everybody lives doing what they want. That’s right—no matter who they are, they can only know themselves. They don’t really understand others or their circumstances, so they do as they will. They think for themselves, follow their own decisions—that’s what everyone’s doing, and they’re all living to their fullest. Thanks to them, it’s an interesting world out there. When times are tough like the way it is now, everybody gets seriously into it, you see. I’ve met some folks, fought some, and they’ve all been great—ain’t a single one living a half-assed life. Entertaining fellas, all of them.

All, except you.

You’re the only joker who had to go and live like a fucking fool by doing stuff you don’t even want to. You’re ruining the view! Your mere existence is a real eyesore, ya know!?

If I had to reduce the core message of the story down to a single image, it would be the [yin-yang symbol] (https://upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Yin_and_Yang.svg/1024px-Yin_and_Yang.svg.png), where each half contains a piece of the opposing half—nothing’s truly yin, nothing’s truly yang; there’s no pure black, there’s no pure white; there’s ‘evil’ in ‘good’, there’s ‘good’ in ‘evil’; slaying ‘evil’ entails slaying ‘good’, slaying ‘good’ entails slaying ‘evil’; murdering an individual entails slaying both ‘good’ and ‘evil’; 善悪相殺

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Special thanks to /u/hakimiru, /u/chronopolize, and /u/nogaku for helping with the translation.

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