The villains have just as much chemistry as the main cast, and play a more active role in the story than the villains did in mk2. Once the doppelganging cast is filled out, the havoc that Plutia and Neptune can wreak together is successfully offset by the less ridiculous supporting cast-including Nepgear who returns in the tradition of Rico in Killzone 3: simply to be chided and bullied so as to appease fans who found her to be something of a bore in mk2 (while also poking light fun at the fans’ criticism). This means that Neptune, much to her simultaneous amusement and horror, mistakes the alternate dimension’s games for highly accurate indie darlings: successful pastiches of old school aesthetics-minus the irony. Luckily-in the tradition of Tatsunoko-much of the cast of Victory remains the same, despite Victory being set in an alternate dimension some twenty years in the past.
Perhaps not engaging as erotica, but certainly engaging as a brain dead soap opera. The jealous, overly affectionate interaction between the all female cast is not only humorous as a parody of some of Japan’s more bizarre erotic tastes, but also effectively engaging in and of itself. Victory, like the rest of the series, manages to successfully satirise the things it parodies, meaning that the story can be enjoyed as a ridiculous, completely vapid (reverse) Otome, just as much as it can as a humorous criticism of one.
Though many of the characters can be almost insufferable in their comical, over the top childish vocal tones and constricted reasonings, if one has had adequate exposure to some of the more relatively obscure Japanese cultural oddities that (almost) disturbingly exist, then Victory’s accurate and ridiculous parody of myriad Japanese conventions becomes highly amusing and even addictive.Īddictive because, though unbelievably over the top, the series’ stories and characterisations are more than simply a parody.
#Neptunia reverse true ending series#
Before other characters enter the fray and balance the conversations, and before one acclimates to the dialled up craziness of the interactions, the lengthy conversations are more intrusive than entertaining-of course, they can be skipped.īut to skip the cutscenes early on would result in less appreciation of the characters when the balance has settled, and thus to make one of the greatest aspects of the Hyperdimension Neptunia series incomplete. Plutia is just as dim-witted, selfish and incompetent (and bizarrely likeable) as Neptune, which makes it very hard for poor Noire and the miniaturised Histoire to play the straight men when confronted by two characters who, on the vastly superior Japanese dub, have a combined age and IQ of twenty six (as opposed to the English dub where everybody does).
To make matters worse, Neptune has been sucked into an alternate dimension where she lands on a doppelganger Noire and subsequently meets the Planeptune CPU from this alternative universe, Plutia. Unfortunately, after this brief scene, the beginning devolves into a quagmire thick and suffocating with verbosity, overdrawn visual novel-style cutscenes, tutorials and fetch quests. It sets the tone of humour for newcomers to the series, while also reassuring returning fans that very little has changed. But it turns out-naturally-that Neptune and her four fellow CPU Goddesses were merely engaging in virtual combat in a videogame. Neptune, in the tradition of the Hyperdimension series, loses with consummate ease: as is befitting for a character that is the personification of SEGA as a console maker, not a pachinko parlour empire. The four CPU Goddesses are engaged in a brutal battle royale. The very, very beginning of Hyperdimension Neptunia Victory is a classic bait and switch.
0 kommentar(er)
