Taking the Taiyou Out of Bokura no Taiyou: Remembering the Succcesses and Failures of Lunar Knights

There's something about Cincinnati summers that make me go back to Boktai. This is a city where the trees speak for themselves. You could that my summers here put me quite at home with the series' animism; the idea that all things exist under a blessing of the life-granting sun, and that nature exists personified and intimately connected to human beings. Life in Boktai is beautiful because it is short but brilliant, and coming out of Cincinnati's six-month snows, it's easy for me to believe in that sort of thing.

Despite the best efforts of Konami USA, Boktai cannot be separated from its signature solar sensor. The franchise was founded on the idea of a game that is played at an intersection between fantasy and reality; in Boktai the player needs real sunlight in order to go on a fictional vampire hunt, and their real-world geographic location plays a role in determining the in-game weather. Sunlight is used for everything, from powering the player's solar weapon Gun del Sol, to growing the fruits and vegetables they need to survive long trips into an Immortal's dungeon.

In the later entries in the series, the sun also determines how long those perishables last, and in each game it plays a pivotal role in ultimately purifying a defeated Immortal to prevent it from regenerating. Each Boktai game requires the player's utmost attention and use of the sun to their advantage. Certain enemies can only be seen when there is no sunlight, requiring the player to strategically cover the solar sensor to prevent it from receiving the sun's rays, but those same enemies can also be destroyed by direct light, and by luring them into a skylight and then uncovering the solar sensor they can be instantly destroyed. This type of fourth wall-breaching gameplay is what makes Boktai so enjoyable, but it also made it a very hard game to sell to the general public.

The hearsay narrative for the past decade has been that Boktai is a successful action role-playing franchise in Japan that failed to attract a western audience due to the preferred climate of international gamers—basements—but saw great critical and popular success with the launch of Lunar Knights, which did not depend on the solar sensor. Shin Bokura no Taiyou: Sabata no Gyakushuu (usually translated as Boktai 3: Sabata's Counterattack, though this is far from literal) is the greatest victim amid all this, being an overwhelming financial success in Japan that failed to come overseas as a result of poor Boktai 2 sales. And in spite of its success, Lunar Knights has allegedly been denied its deserved sequel and the conclusion to its storyline by Konami's continual milking of the Metal Gear Solid franchise and staunch refusal to allow producer Hideo Kojima to return to his less profitable projects. Yet this narrative is primarily based on personal accounts; what truth, if any, is there to it?

Original image from Junker HQ

According to Famitsu magazine's top 300 for 2003, Bokura no Taiyou was the 147th bestselling game of that year, selling 87,924 units from its July 16th launch to January 1st of the next year. There is no sales data available for Boktai: The Sun is in Your Hand during the first four months after its US launch, but during those months it never made the National Purchase Diary's top 20 in video game sales. The game appears to have caught on with consumers late in its life, selling 7,773 units in June 2004; 5,982 units in July; 3,407 units in August; and 2,230 units in September. NPD data puts Konami at making an average of $11.65 per unit sold, making a gross $225,358 on these four months. VGChartz puts Boktai's cumulative US sales at a hundred thousand, which would estimate The Sun is in Your Hand's gross revenue at just over one million USD. Without the previous eight months of sales data and a knowledge of how much was spent on localization it's impossible to accurately determine what Konami's real profit on the game was, only that the profits between September 2003 and July 2004 were considered significant enough to localize the second game in the series. The four months we do have (admittedly sparse) data for point to an average 30% decrease from month to month. We can't just blanket apply that average to reverse-engineer the sales for the previous months (i.e. presume that if you go backwards from May 2004 to September 2003, each month will see a 30% increase as you turn back in time), because you'll end up with a cumulative three hundred thousand unit sales that don't match established data. But as a whole, the first Boktai game sold very well for a new IP with limited promotion.

Original image from Junker HQ

Zoku Bokura no Taiyou: Taiyou Shounen Django was 122nd out of Famitsu's top 500 for 2004, selling 105,416 units. Boktai 2: Solar Boy Django launched in the US in October of that year, but like with the original game, sales data is difficult to track down. It appears that no sales data for Boktai 2 was even collected by NPD in October 2004, while in November of that year the game only sold 2,665 units. In February 2005 Boktai 2 sold 1,044 units; 1,862 in March; 942 in April; 1,033 in June; and 1,381 in July. VGChartz put Boktai 2 at just 30,000 unit sales in its entire lifetime in the United States, less than the Nokia N-Gage. Konami USA appears to have produced more conservatively than they did when launching The Sun is in Your Hand, making $20 per every unit sold, but that obviously wasn't enough given the dire straits the game landed the company in—$60,000 means they were almost undoubtedly in the red on localizing that game. In March of 2005, Boktai 2 was barely managing to sell double the number of units that its predecessor was in the same month. When a sequel is in danger of being outsold by the original game, it is a franchise killer. 

Boktai 2's awful sales—literally one-third that of The Sun is in Your Hand's—were likely a primary motivator, but Boktai 3's international launch also had the death of the Game Boy Advance platform weighing on it. Translations of Boktai games were clearly being done simultaneous to the development of the Japanese games at the time, as they were launching two to three months after the Japanese games. Simultaneous development and translation was standard practice in the industry at the time, and had been since around 1999. Even at that pace though, Konami would be looking at launching the English Boktai 3 in September or October 2005. The Nintendo DS was already entrenched as Nintendo's new primary handheld. Boktai 3 thus also became victim to the same fate as Mother 3. It was simply too late in the system's life to be gambling on another sequel to a series that only had average to low sales, and with Boktai DS as the next logical step for Hideo Kojima's pet project, it would be better to save the company's resources for projects that needed it more and could turn a real profit.

Media Create data from August 2005 shows that in its first week Shin Bokura no Taiyou: Sabata no Gyaakushu sold 36,339 units, and by the end of the month had cumulatively sold 67,000 units since launch. By December 25th, Shinbok had sold a cumulative 85,266 units. That number put Shinbok as the 154th bestselling game of 2005 on Famitsu's top 500 chart, outselling Metal Gear Solid 3, Mega Man Zero 4, Donkey Konga, METAL GEAR AC!D, its sequel AC!D 2, and Mega Man Battle Network 5: Double Team DS. These numbers paint Zoktai as ironically the strongest-selling game in the franchise overall, despite its poor western reception, and Shinbok as the worst. And though Shinbok may have only sold 80% of what its predecessor did, as stated previously this was at the end of the Game Boy Advance's life. Konami likely anticipated that Shinbok would not do quite as well as Zoktai, leading to a smaller print run to accommodate. So while not the wild success in Japan that has sometimes been painted by the western Boktai fandom, Shinbok was definitely a financial victory for Konami, and a fairly popular game that was doing well on an end-of-life system. These factors were probably what led Konami to continue production of the series on the DS. Before addressing the sales figures of Lunar Knights though, I want to get into some of the driving forces behind the Boktai franchise's success and failure in different regions of the world.

In Japan, Boktai was a carefully marketed media management project, while Konami USA failed to account for several factors of the Japanese campaign when bringing the game to the west. You'll notice in these dates that Boktai is an annual series in which each installment launches a little later in the month of July. Boktai launched on July 16th, Zoktai on July 22nd, and Shinbok on July 28th. The games are tailored around the Japanese summer vacation season, which begins on Marine Day—July 20th—and ends on August 30th. By launching each title right in the start of summer, Konami aimed to capitalize on school children just starting their vacations that would then be outside and able to play a sun-dependent game like Boktai. The original game even came with a squirt gun modeled on the Gun del Sol.

From Hideo Kojima's Twitter

Meanwhile in the United States, Konami launched Boktai: The Sun is in Your Hand in September of 2003, completely mismanaging the timing of the game and sending it out at a point in the year when the US was predominantly under obstructive weather conditions. This timing gave the United States approximately two months of fog and rain to play Boktai in before winter set a sheet of snow over the country; it has to be kept in mind that despite the popular imagery of California as the technological center of the United States, in terms of real geography almost every location in the US sees snowfall. Florida and California are the exceptions that make the rule, while elsewhere a "great Boktai day" is realistically only going to happen between May and August. With US population centers concentrated around areas of snowfall, it would have been a smarter business decision to postpone Boktai's launch until next May. This also would have given more time to promote public interest in the game and set Boktai up as a summer-centric video game. A similar problem occurred with Boktai 2, which hit in the middle of October 2004 and exacerbated the problems surrounding the first game.

The demise of the series began to fall into place when Konami of Japan abandoned their established pattern. Bokura no Taiyou: Django & Sabata launched on November 22nd, 2006. It was the first game to break Boktai's traditional pattern, missing the summer vacation window entirely and going out in fall rather than summer, ostensibly due to the lack of a solar sensor. Yet Boktai DS deliberately retained solar sensor functionality through the Nintendo DS' SLOT-2, which could be used with original Boktai and Zoktai cartridges. Boktai is a summer series, and if the July deadline for 2006 had been met, those familiar with the franchise would have already known to look for the DS game when it hit store shelves with the same timing as every previous entry. Unlike in the west, Boktai DS was marketed as a seamless transition onto new hardware, but to make that transition truly seamless it would have to retain the familiar elements of past entries, launch date included. According to Famitsu, the game opened at 15,053 units sold in its launch week. (A count for November published by Media Create in 2008 counted 25,866 units sold.) Famitsu's top 500 for 2006 placed Django & Sabata at 266th, selling just 45,257 units between November 22nd and January 1st. Django & Sabata was outsold at launch by both Ultimate Hits reprints of Kingdom Hearts and Final Mix. In 2010 Media Create data put the game at 280th, having sold a cumulative 73,377 units between its launch and December 30th, 2007. These were the worst sales of any Japanese Boktai game. The reasons for a lack of enthusiasm among Japanese players can only be guessed at, but it is worth nothing that Lunar Knights is to Boktai what Majora's Mask is to The Legend of Zelda. Completely unforeseen shifts in gameplay, tone, and setting, alienated Boktai's mid-sized Japanese fanbase from what would have otherwise been an easy game to love.

Lunar Knights launched in North America on February 6th, 2007. NPD put the game at 22,109 unit sales for that month, outsold by Diddy Kong Racing, Brain Age, three different versions of Nintendogs, Cooking Mama, as well as both Horsez and Catz. VGChartz's data, which lines up with NPD's and is likely derived from theirs, puts the game at a cumulative 95,827 units sold within its first year, and a cumulative 154,010 units by 2013. This technically makes Lunar Knights the best-selling Boktai game for North America in the long term, but the immediate sales between 2007 and 2008 are what matter for corporate purposes. Lunar Knights just barely outsold The Sun is in Your Hand within its first two years in North America, sales developed slowly, and the rebranding of the game worked as a double-edged sword for consumers, who had no existing IP to associate with.

The artwork for the international editions of the game was created by two western comic artists, drawn by Mexican artist Hector Sevilla and colored by German artist Simon Bork. The high quality of their work cannot be disputed, but these illustrations were commissioned as part of a failed attempt to rewrite the Boktai series as the type of game that would sell to Ebony Dark'ness Dementia Raven Way. While in the first place the public was only partially convinced that Lunar Knights was a new intellectual property, as many news outlets like IGN and 1Up were blatantly referring it as the next entry in Boktai, those that were convinced weren't persuaded by Hector Sevilla's illustrations. Lunar Knights was not an attractive or cool game to be playing at the time. The promotional artwork put up in Nintendo Power and Play magazine reeked of teenage edge and faux-steampunk aesthetic, giving it the appearance of a bargain bin upstart desperately trying to be the next big thing, with all the appeal of the similarly ill-fated Epic Mickey of a few years later.

What Konami USA was out of touch with was that anime really was the cool thing to be in 2007; the world was still in love with Death Note and .hack//, making this the perfect time for Ikuya Nakamura's art to shine. The choice to use Sevilla in the west alienated younger audiences, who historically have been a primary source of income for the gaming industry. At a time when it was beneficial to appeal to as diverse a group of consumers as possible, Lunar Knights' marketing team were making less than optimal decisions for their game's public image. Americans weren't really sure what a lunar knight was, but they knew it didn't put the sun in their hand.

Granted, Lunar Knights was going out onto the shelves at a time when that very industry was experiencing a shift in who the primary consumer was. The gamer community was being dragged kicking and screaming into a world where their values were not condoned, and game developers were no longer trying to appeal to them. This is the era in which Wii Fit, Brain Age, Halo, and LittleBigPlanet were the major titles the public was seeing on the front page of electronics magazines. It was the wrong time to be pushing an action RPG at all, and ironically the casual era may have been just the right timing to give "Solar Powered Fun" its second chance. Certainly playing in the sun would have greater appeal to the general population, which wasn't wrapped up in a basement-dwelling rhetoric of "The light! It burns!"

Official Lunar Knights artwork.

Cincinnati was not just the city that made me appreciate the games, but also where I saw Boktai fall apart. I followed Lunar Knights' media coverage very closely back when the fatal fourth entry in the franchise was first announced, and the game was a day one purchase for my dad me. A lot of things coincided at that time—my interest in Irish writers, early cinema, and vampire media all came together at exactly the right time for me to get pulled in by Lunar Knights' somewhat overly-informed premise.

What struck me about Lunar Knights was how decidedly un-Boktai the game was. Rather than the adventurous art of Ikuya Nakamura, the cover and manual illustrations looked like they were pulled off of a DeviantArt fanpage. The revamped artwork, the cutting of "Solar Powered Fun!/Solar Powered Action!" for promises of a "gothic world," and the (thankfully dropped) prerelease title Lunar Knights: Vampire Hunters, all seemed to bleed as much edge as Shadow the Hedgehog. Yet turn the game on, and the interior is the same brightly-colored sun-worshiping world Boktai's always been. What happened?

Illust. Hector Sevilla & Simon Bork

As a young consumer growing up in a period when censorship was the boogeyman of the day, the revelation that the cast would be renamed during the process of localization to remove any overt references to past Boktai games cast serious suspicions against Konami. Most infamous among these name changes was the franchise's mascot and elder adviser to the player, Otenko, who was forced to bear the nebulous monicker of "Toasty." Rechristening "Aaron" to his original Django and "Lucian" to Sabata is possible in-game, but Toasty plagues the game's script at every turn, and in the voice samples besides. The game's title itself went and substituted the moon for the sun.

(It's true that Otenko-sama was originally a play on words (お天気 Otenki; "weather" and お天道様 Otento-sama; "sun" as well as 子 ko "offspring/child") but Otenko-sama is not nearly as bad in Japanese as Toasty is in English.)

The fact of the matter is that if you take Taiyou "Sun" out of Bokura no Taiyou, what you have left is Bokura no "Our." The immature masculine group possessive. (Also a really grimdark anime.) Boktai without tai is just Bok; the monster mascot of the franchise, a disheveled zombie that searches for its prey blindly with its head on backwards. A perfect description of what Lunar Knights' promotion effort resulted in. From Ryan Payton, a senior member of LK's localization team also responsible for the art direction:

With Lunar Knights we're trying to create a new franchise really because, rather than calling it Boktai 4, we changed so much of the game, and it's a new story so we're totally forgetting everything that happened in the Boktai series. The character have new names, they've got new pasts, it's a completely different world and it's no longer a goth world. It's a goth/sci-fi mix. So we're doing so many different things where it just doesn't seem appropriate to call it Boktai. There's too many changes for us to call it Boktai in North America and Europe. In Japan however we are calling it Boktai DS. Boktai is rebuilt, reborn and with the Nintendo DS we're starting from scratch.

Long before Payton was a creative director on Halo 4 or the founder of Camouflaj, he worked on the localization and promotion of Lunar Knights. It's somewhat surreal to look back and see him not as Ryan Payton, but as "a member of Kojima Productions about the new DS Boktai title." His 2006 interview is the only overt source stating that Lunar Knights was a dark rebranding of Boktai, laid out just so:

It's a different feel and a lot more mature. The world's a lot darker. The world's been taken over by vampires, who enslave humans, by sucking their blood, to keep themselves alive. It's pretty desolate, the humans are living in small pockets all over the planet and are just waiting to get kidnapped and enslaved.

The myth of Lunar Knights as a revamped breakaway from Boktai was entirely fabricated by Konami USA. I don't know for certain that Payton was absolutely responsible for everything that was done in the course of marketing Lunar Knights, but he certainly seemed eager to claim responsibility for it at launch. His name does not occur anywhere in the credits of Boktai: The Sun is in Your Hand, Boktai 2: Solar Boy Django, or Boktai 3: Sabata's Counterattack. By all accounts Lunar Knights was his first experience with the series. The resulting game, when put on the store shelves, looked goofy and utterly unappealing; I remember my dad picking up the box in EBGames in 2006 and asking me "You sure you want a game like this?"

I don't mean to just harass the localization and marketing departments from my soapbox. I also want to celebrate the game, because having just finished another playthrough and looking back on it, Lunar Knights has one of the most refined gameplay system in the entire Boktai series. For all the twists it applies to Boktai's world, the core gameplay is firmly a successor to Boktai 3: Sabata's Counterattack that takes the day/night cycle, massive inventory options, weather-based item crafting, and climate-sensitive armors, and makes them all portable while removing the hassle of an obligatory solar sensor. As innovative and enjoyable as the solar sensor was—I remember the days and evenings spent playing Boktai around multiple perches on my family's mid-renovation house far better than I do any part of Mega Man X: Command Mission in that same home—it really does need to be an optional element, both to avoid placing players at a disadvantage to being able to actually play, and for it to be appreciated at all. You don't realize what the sensor brings to the table until you've played both with and without it. I can relate a specific part of my neighborhood to each boss battle in Boktai. The same goes for Boktai 2, which I initially played over the course of a trip to Salem, Massachusetts. With Lunar Knights, I didn't get a sense of spacial attachment to the game until I used a Boktai cartridge in SLOT-2 to enable the solar sensor. (I specifically remember purifying the Poe twins outside of an especially uninteresting youth group session. I hope I never set foot in Crossroads again. )

Bokura no Taiyou: Django & Sabata makes a series of trades in taking the characteristics of Django and Sabata and redistributing them among Django (DS) and Sabata (DS), the characters that would be renamed Aaron and Lucian in Lunar Knights. By reclassifying Sabata from Dark to Lunar, his game mechanics of taking damage under sunlight, charging energy under darkness, and generally inverting the traditional sun-oriented gameplay are excised entirely. Instead, Sabata (DS) becomes a moon-derived copy of Django, inheriting his entire classification of Boktai 2 melee weapons (sword, spear, and hammer) but also suffering from a lack of range and weapon diversity. All of the weapons used by Sabata (DS) are essentially the same in gameplay, with each giving up progressively more advantages in order to veneer into higher and higher power digits. Many players believe his starting sword Vanargand to also be his ultimate weapon, and they're not wrong in thinking that. Vanargand is fast, has a higher base power than almost all of Django (DS)'s solar guns, an extended combo when fully leveled up, and is easy to cancel into Sabata (DS)'s shield. The other two weapons unlocked as one progresses trade speed for range and more raw power, with the third and final weapon—the dark scythe Hel—losing the ability to combo entirely in exchange for reaching practically across the screen. Hel is also unmatched in both base and potential power. Like Sabata (DS) himself, Boktai DS' dark weapons give up progressively more game mechanics in order to stack on raw unbridled strength, crippling one's own defenses beyond repair and devoting everything to destroying a singular enemy.

By contrast, Django (DS) inherits the solar aspects of Django, including each of his gun options. Rather than having a multitude of customizable gun parts, Django (DS) instead has each set of parts consolidated into one complete weapon, giving him a final total of five different guns to choose from. When this works, it's a wonder of convenience being able to quickly change from a rapid-fire dual gun set to a homing missile attack in seconds, but this really is a trade and not just a straight improvement over Boktai. The fact that grenades, once a staple of Boktai's gunplay, are relegated to being an entire class of gun with no secondary effects or utility purpose leaves veterans that remember strategizing around them crestfallen. Several of the guns in Boktai DS are outmoded long before you ever get them. The second solar gun you receive, Witch, is likely the best weapon in the entire game. Why surrender rapid fire for greater power, or power for better rapidity, when Witch exists at the optimal intersection of every property and has a unique homing ability? Django excels in the long-term compared to Sabata because of his diverse weapon lineup for dungeon exploration, but when it comes down to actually fighting he's often bootstrapped to a specific gun.

The trance mechanic is what ultimately balances the two characters out. Sabata (DS) inherits the original Django's dark trance, while Django (DS) receives his sol trance. Each of these trances is functionally identical, overriding all weapon options and assigning the Y button to a single-target homing attack and the B button to an area-of-effect spell, but where they differ is in what properties they restore. Sabata (DS)'s vampire trance drains the target of its health to restore his hit points, while Django (DS)'s sol trance deals damage but transfers that damage as energy to Django (DS).

The problem with this is that the game's level system biases Django towards having higher energy and Sabata towards lower hit points, because it costs more points per level to increase Sabata's HP and less points per level to increase Django's energy. Sol trance addresses a problem that Django doesn't have by giving him easy access to energy restoration, while dark trance covers up Sabata's weaknesses by making up for his poor HP growth with an effective free restoration skill that rewards getting into battle more often.

Trance also plays a greater role in characterization than it did in the first three Boktai games. While strictly speaking all of the primary bosses in Lunar Knights use the planet Earth's Terrennials to control an element in battle, the climax boss Dumas is the only one to use the trance mechanic to fuse with one in the same way that Sabata (DS) and Django (DS) do. Dumas' transformation builds on existing visual similarities between him and Sabata; in their base forms both characters already wear identical casket armor beneath their coats to protect themselves from the sun, but while Dumas buttons up to conceal his armor, Sabata wears his coat open and flaunts his powers. In trance Dumas and Sabata respectively take on the characteristics of their Terrenials, Perrault and Nero; Perrault's white feathered wings attach themselves to Dumas' head, while Nero's red bat wings fuse to Sabata's. Dumas becomes airborne while Sabata remains earthbound, and the vampire sheds his coat while the vampire hunter retains his. Aside from character design choices, during the actual boss battle Dumas turns the player's abilities against them, using the same moon-derived powers as Sabata through "Lunar Flare," which reflects any elemental abilities back to the player as damage, and if they attempt to use trance, Dumas will fight back harder and actively counter their killing moves. If the player tries to use Sabata's Dark Fang, Dumas will respond with his own version of the ability and suck the player's blood instead. Dumas and Sabata makes use of the same dark powers in entirely different ways, reflecting the divergent paths they follow.

Making the gameplay reflective of the characters was a very effective way to use the medium, but by making these trades Kojima Productions also made the game at times unfun to play. Sabata (DS) is boring compared to Django (DS) because of his lack of options. The player is disproportionately encouraged to use Vanargand over the optional weapons that have to be excavated. My eventual conclusion was to main Jormungandr, his spear and the middle weapon between Vanargand and Hel, because while it has restrictive speed properties like Hel it's still possible to hit an enemy twice with each thrust if your attacks are timed and spaced correctly. Ultimately Sabata (DS) is a damage-per-second character that excels at efficiently putting out numbers, and compared to the original Sabata's inverted stealth gameplay, he's uninteresting to use even when he's dominating a boss battle.

But in spite of these shortcomings, the guard mechanic was Lunar Knights' most important and most fun addition to the series. In retrospect it's difficult to see how Boktai 2 missed out on introducing something as basic as a shield in the first place. Lunar Knights rewards carefully watching enemies even as you're attacking them, in order to stop your own attacks and guard at exactly the right moment to stun them. The delay between stopping an attack and putting a shield up forces you to time your movements carefully, and think strategically about both melee and ranged combat.

Helplessness in Lunar Knights is thus a factor of skill level. Moreover, the Enchant abilities from Zoktai returns through the Terrennials. While I've encouraged readers to compare this game with Shinbok, arguably Boktai DS is more Zoktai than it is Shinbok. Each Terrennial fills a role as a messenger of their respective element and its role in the ecosystem, and can also imbue Sabata (DS) and Django (DS)'s weapons with their respective attributes of Sol, Dark, Fire, Frost, Earth, and Cloud. (The original Luna and Star elements are technically missing from Boktai DS. Luna only exists for storyline purposes and not in gameplay.) While Django in Shinbok had the ability to swap out different elemental lenses to get access to these attributes, he couldn't imbue his swords with those elements on the fly as in the preceding game. Lunar Knights bringing back the Enchant spell is what allows its equipment system to function. What's missing is that Django (DS) cannot use Nero to get the Dark element, and likewise Sabata (DS) cannot use Otenko for the Sol element. (In the Japanese edition games their use of those Terrennials was possible through the use of emblem items that were removed in the international Lunar Knights.)

Original image from Junker HQ.

The loss of effective stealth gameplay is a major blow to the game. Shinbok built itself on luring enemies around corners, going behind them and shooting the undead in the back repeatedly before ducking out to do it all over again. Instead of expanding on the stealth aspects of Boktai, making enemies smarter, harder to trick, or inventing new ways to set them up, Lunar Knights cans this aspect almost entirely. It's only applied in a few short missions spread out across the game. And one of the most noted absences is of the coffin-dragging missions and their purification battles, in which after defeating an Immortal the player would have to navigate the boss' dungeon in reverse, dragging their coffin through several stealth sections with periodic checkpoints to bring them to the Pile Driver where they can finally be purified. Throughout these missions the Immortal's coffins would periodically fight back, attempting to deal damage to the player, and escape if left to their own devices. Depending on what kind of coffin the player bought, the missions would play out in dramatically different ways; for example the silver coffin cannot be seen by the undead, preventing an Immortal's servants from rescuing it, while the solar coffin allows for teleportation between checkpoints. The purification battles effectively formed a second half to each boss battle, with the Immortal's hit points automatically decreasing as it struggled to break free of the Pile Driver, and the player was to act like a goalkeeper in preventing the Immortal from sabotaging the Pile Driver's mechanisms. These two segments were each a signature part of the Boktai series until Lunar Knights removed them, and taking them out took away one of the most memorable and strategic parts of the series.

To fill the gaps left by stealth's removal, we have the weather system, which encourages more macro-level thinking than any preceding game mechanic. Lunar Knights took full advantage of its solar sensor-free system, setting the player in the position to use the Terrennials' powers to change the climate freely before entering a stage, thereby modifying the level so that different areas become accessible and optional content can be accessed. Each weather condition also comes with its own unique events; under the balmy subtropical climate (represented by the Sol Terrennial Otenko) meteor showers will occasionally occur between 11AM and 1AM, as well as between 11PM and 1PM, increasing the drop rate on items from defeated enemies to 100% and causing enemies to always drop their rarest item. Under the tropical rainforest climate (represented by the Earth Terrennial Tove) the drop rate for items in the field from breakable objects is dramatically increased, creating an opportunity for the player to choose specific climates that suit the level they're going into, to reap the best bonuses possible. Climates with adverse weather conditions affect battle in different ways, with hail dealing continuous minor damage to both the enemy and the player, but also instantly killing Fire-attribute monsters.

Left: Lunar Knights. Right: Shin Bokura no Taiyou.

The coffin-dragging has been transformed into shooting battle sections, in which the player overcomes the artificial darkness cast over the planet by escorting a vampire's coffin into orbit, where it can be purified by the Purifex satellite cannon. This is one of those points on which the true face of Lunar Knights leaks through, and the Boktai elements rise to the surface. The element of confronting an Immortal's spirit in its raw shape as dark matter is still there, it's just been rendered non-interactive. Instead of a battle to purify the Immortal, it's an extended series of animated cutscenes through which Lunar Knights goes through the motions of purification even though it's no longer an involved use of the solar sensor. It's one of those elements that had Lunar Knights truly been a new IP entirely divorced of the Boktai heritage would never have been in the game. Why do you escort each boss' remains in a coffin past hordes of enemies in Lunar Knights? Because that's what you did in Boktai, Zoktai, and Shinbok. Why do you concentrate solar power in a massive purification ritual to remove any chance of the vampire reviving? Because that's what you did in The Sun is in Your Hand, Solar Boy Django, and Sabata's Counterattack. Why does Django (DS) turn into Sol Django when he enters a trance with Otenko? Because that's what Django (GBA) did. Even Sabata (DS)'s vampire trance with Nero has its roots in an optional dialogue from Shinbok, where Violet mentioned she wished she could trance with her black cat, Kuro.

Prominently, there is no solar forging mechanic. In Solar Boy Django and Sabata's Counterattack the player could reforge off-the-line swords and spears with accessories to create new, magically-endowed weapons, using the solar sensor to detect how much sunlight was available to charge them with. The more sun the sensor detected, the more power was available while playing a mini-game of fanning the fires of a forge and then hammering the weapon into shape. This gave way to a very unique method of item crafting exclusive to the Boktai series, where a player's local climate determined the types of weapons they could produce and what special abilities they could gain, meaning that their point of origin would be reflected in multiplayer through the weapons they fought with. Lunar Knights does not have weapons that can be found in the field, and instead replaces solar forging with straight "pay money and X number of items" upgrades to weapons automatically inherited through the storyline. While that results in more unique identities for each weapon, it also results in less individuality and free exploration on the player's part.

All these details come together to create one of the most cohesively action-oriented yet also disappointing entries in the Boktai franchise. Lunar Knights is a journey to play, but it's also far more forgettable than any of the preceding three games. Several of the boss fights are lackluster and easily steamrolled if you so much as touch the game's sidequests, so that you don't really enjoy nor are challenged by those battles until you re-fight them at higher levels in the postgame content. The game may seem challenging to a first-time player, but if you get even surface mastery over using the weather system, or dip a toe into the optional content, the storyline quickly becomes a paper tiger.

The battle system is genuinely enjoyable once you're using fully upgraded weapons and equipment against high-level enemies, but the problem is that Lunar Knights makes you work for between twelve and twenty hours to get to the really fun parts of the game. The first three Boktai games always have you on the verge of death, encouraging stealth even when they veer towards action, rewarding the player for purifying the undead without ever actually being seen or heard. The fourth Boktai is a raw action game with all the pitfalls of one. It is telling that the most enjoyable and Boktai-like segments of Lunar Knights exist on a macro level, in the huge number of perishable items and different ways to enhance or combine them through manipulating the weather. In the frigid arctic climate the temperature is just low enough for Magical Drinks to freeze over into Miracle Ice Pops instead of spoiling; in the arid desert climate the precipitation falls into the right threshold for Delicious Meat to become Dried Meat instead of rotting. Ordinarily spoiled chocolate becomes Melted Chocolate with reduced recovery properties, but if two pieces of chocolate are allowed to melt on top of one another, they'll become Deluxe Chocolate with doubled properties. There are also a vast number of (redundant) treasure items to be collected in the game and sold off for funds, including a whole line of photographs featuring the core cast, and broken versions of solar guns from previous Boktai games. Bizarrely, the most action-oriented entry in the Boktai franchise shines brightest when one looks at its creative inventory.

The localization for Lunar Knights is a strange beast. One front on which the game is markedly different is how cinematic it is, with fully emotive portrait busts for every character, and periodic anime cutscenes interspersed that were never to be found in the first three games. One consequence of this is a more involved translation than past games needed. The Sun is in Your Hand was very freeform, dungeon-oriented, and sparse on narrative sequences. Solar Boy Django had more text, but no cinematic approach. In Lunar Knights there are the requisite "dang it/darn/that jerk" moments that adults will roll their eyes at, but peppered alongside these are instances of gratuitous swearing—"damn/you bastard/shit"—that one gets the impression were introduced purely to try and grab a T rating and swing over the emo crowd. (If this was the case, the localization team was unsuccessful.)

Sartana, Illust. Ikuya Nakamura

The question of name changes, when removed from the marketing context, comes down to storyline issues. Phonetically Sabata is the more sensible name when you consider that his original identity is Sartana. The name Lucian does reflect more of Sartana's character during the game than Sabata does, implying his lunar properties and status as the dark reflection of Sartana's hatred. But what significance does Aaron hold? Django's name follows logically from his father when you consider that Trinity is supposed to be naming his son in honor of the hero that inspired him to become a gunslinger in Shinbok. There are no narrative parallels to the biblical Aaron. Etymologically it's possible the localization staff chose Aaron for its meaning as "bearer of martyrs," for how Aaron carries the weight of completing Trinity's mission while also redeeming Lucian. It's a weak connection though.

As far as the Japanese names go, this Django and Sabata are not exactly the same as the originals from the Game Boy Advance series; yet in light of the alternate timeline that Lunar Knights exists in, parallel to Shinbok's timeline, it's clear that they are the successors to those two in as much as Link and Princess Zelda are to their own predecessors. In the timeline where the Immortal Ratatosk succeeded in awakening the Beast of Destruction Vanargand, and Dumas took over after his reign ended, these characters are Django and Sabata's second chances to renew their promise with the sun and earth. "Reincarnation" is perhaps too loaded a word to describe how Django (DS) and Sabata (DS) are connected to their GBA counterparts, especially with Sabata already being a direct reincarnation of another character. Boktai has always had a recurrent theme of light coming through no matter how deep the darkness gets, nor how long the night goes on. On a narrative level it would be entirely correct to say that Django (DS) and Sabata (DS) are to Django and Sabata as one sunrise is to the previous sunrise. It's still the sun you're seeing, but each day is new, and the sun never rises exactly the same as before.

The attempts to divorce Lunar Knights of its origins were ill-conceived. Past several key story points in Lunar Knights, it's possible to return to major dungeons and explore past the boss room, deep into a series of underground chambers that the vampires were excavating prior to their defeat. The earliest of these is Margrave Rymer's mansion, which at its terminal point contains an elevator shaft leading to a series of tunnels that open onto the ruins of "San Miguel," though the actual section explored is from a part of Istrakan featured in Boktai: The Sun is in Your Hand.

Istrakan's Firetop Mountain is reproduced pixel for pixel beneath Rymer's mansion. While over the years certain areas have been blocked off by solidified lava floes, the central cauldron around which the player primarily navigates from is unchanged. I felt a very specific nostalgia when I first stepped back into Firetop Mountain. The developers for Lunar Knights reproduced the sights and sounds of the area perfectly; it's only when the player steps onto a rock platform over the lava that they hear the churning boil of molten rock underneath, just as in the The Sun is in Your Hand, and the heavy thud of the platform crashing from one end of the level to another. The timing of it is exactly as it was on the original hardware. No one forgets those sounds.

Much like San Miguel and Istrakan to Old and New Culiacan, Boktai is a force that cannot be buried by Lunar Knights. It is constantly lurking beneath the surface of the game, ever on the verge of pouring out at every seam and overwhelming its world. Anyone familiar with Shinbok's storyline will recognize Lunar Knights as a direct sequel, not a "spiritual successor" or whatever other distancing monicker Konami USA felt comfortable with. You can't try to mold a world into something it's not, without the artist's vision biting back at you.

In November 2014 Kojima stated that there were no plans for a fourth Boktai, and his departure from Konami has seemingly closed off all hopes of a future installment. But for diehard Boktai fans, there is always one recourse;

「明日もまた陽は昇る！」

"The sun will rise tomorrow!"

—Master Otenko

The Four Year Mortuary Anniversary of Legends 3

Four years ago today on July 19th Japanese time, Capcom announced the cancellation Mega Man Legends 3. Most games have a launch date; far fewer a cancellation date. Legends 3's legendary cancellation came as a shock to the world precisely because production wasn't troubled leading up to the moment the plug was pulled. Fan participation in the project devroom was strong, the game was getting press coverage around the world, and the worst roadblock the game had encountered was its prototype being delayed to not be a launch title for the 3DS eShop. One day Legends 3 was the most anticipated Nintendo title of 2011, and the next it was an article on Unseen 64.

While many jokes have been told this past year about imagining hating any man as much as Konami hates Hideo Kojima, hating people is one of the few fronts Capcom can proudly claim to be a pioneer on. The cancellation of Legends 3 was preempted by Keiji Inafune's departure from the company, despite his repeatedly stated willingness to continue working on the project. That hate was seemingly turned on fans as the company stopped the complete Legends 3 demo from reaching the Nintendo eShop. (To date, the prototype has only been played by one man not working for Capcom, former Nintendo Power editor Chris Hoffman.) The cancellation of Mega Man Universe, and the launch of Rockman Xover--possibly the worst Flash game not blammed by Newgrounds--to celebrate the Mega Man franchise's 25th anniversary marked the lowest point with Capcom since Star Force 2.

The company continued to drag the Legends' corpse through the mud up through 2014, including supporting character Aero in their Otoranger rhythm game to sell copies despite canceling anything and everything else related to Legends. And while not coming from Capcom themselves, it certainly added insult to injury that singer Reika Morishita claimed Legends 3 could be revived if her 2012 digital-only album Another Sun 2012 sold more than 20,000 copies. Yet on this anniversary, it's not false hope that I'm here to observe.

This announcement of Red Ash: The Indelible Legend, Inafune's bid to retake control of Legends while filing off the serial numbers, was doubtless made with this specific month in mind. Today the legend died; what better time to revive the dream? Looking at the initial concept material and pitch video, it's clear that Inafune's overarching vision for Red Ash is to use the ideas that Capcom won't.

Unlike his previous Mighty No. 9, the Red Ash kickstarter has been plagued by funding problems throughout, suspicions of foul play, and questions as to whether it's really ethical for Inafune to use ideas from Mega Man at all. Inafune helped create the Mega Man character, but is reinvisioning him as Beck for No. 9, or for that matter reinvisioning Rockman DASH as Red Ash ethical? Some would go so far as to accuse Inafune of infringing on Capcom's intellectual property, while others would argue that since Inafune created those properties in the first place, he has every right to take his ball with him over to Comcept. The decision to launch Red Ash now was sensible from a business perspective, as in the lead-up to No. 9's release this September, Comcept needs to keep making use of its resources--they can't pay their employees to do nothing for three months. But Red Ash has also been a promotional nightmare because of the timing of the kickstarter, when as the first real opportunity to revive Legends 3 since its death, the game ought to have been an overnight success. Why?

The Hideki Kamiya echochamber would have it that Inafune is a conman lurking on the Osaka backstreets, selling fake Rolexes and discount condoms while lying about his taxes to protect his offshore Swiss bank accounts. The buzzword of the month is "businessman;" he's a businessman, not a game developer. Inafune doesn't really make games, he's just a sellout. Not one of "us;" an "other," outsider, unwanted, no better than Capcom. Get out of the industry and go make smartphone games.

Kamiya himself clarified that he wasn't attacking Inafune when he first called him a businessman back in 2012, and that he respects Inafune's work as a businessman, but this isn't convenient for a quick tumblr post. Notice the disparity? At this time there's nearly three hundred favorites on the businessman tweet and three on the respect tweet. The gamer community wants Inafune to be a conman, and cherrypicked Kamiya's old tweet to support the narrative of a beloved childhood creator betraying fans, selling out, and making T-shirts.

Keiji Inafune is an illustrator.

He's a producer now, but Inafune started out as and remains an illustrator. By his admission, the original design for Mega Man already existed, and Inafune simply took over for creating the series' artwork. Creating Zero in the Mega Man X franchise was where he was able to get the creative freedom to not base his work on an existing design. Why should he need to prove himself again? We know that trying to exclude him from this boys' club of gamers and game developers is ridiculous. Inafune's made on-the-ground contributions to the industry before. His current work is in coordinating and directing the production of games. No, it's not as exciting as Iwata debugging Melee in three weeks; but I'd remind you all that at the end Iwata chose to pursue a very similar path to Inafune in helping set up funding and development staff for games rather than being a hands-on developer. This industry needs more Inafunes and Iwatas. Producers that have experience working very closely with developers. The producer is in a macro position, but that doesn't make their work any less essential to the creation of video games.

Hyde has been set up as a developer incapable of tackling the project; I'm referring to one post in particular, originally from the man behind loltaku, what the gamer community would like to be the Jon Stewart of games journalism. The problem with this is that Hyde has contributed to major titles and is respected in the Japanese game development sphere--the company's been around since 2005--but those titles are not listed on the page the original poster linked because the company is contractually blocked from listing them. Hyde is a shadow developer for other companies, including Atlus, Konami, Square Enix, SEGA, Nippon Ichi, and Namco Bandai. All of these companies have outsourced development to Hyde under the conditions of a nondisclosure agreement, in exchange for a bigger check. Catastrophically mismanaged kickstarter or no, what Comcept is doing is positively noble by comparison--actually letting Hyde take credit for working on Red Ash. Other companies refuse to admit Hyde contributed anything, only letting low-exposure smartphone titles reach their list of past works, despite several triple-A developers all being in on the Hyde bicycle.

As for the franchising of Mighty No. 9, none of the money from the kickstarter went towards the TV series. Digital Frontier secured their own line of funding for the animated series, and will have to pay royalties to Comcept for the intellectual property like any other television show. (Think ABC and Agents of S.H.I.E.L.D. Marvel doesn't pay ABC to produce the show!) The talks of a live action film have some eyebrows raised, as historically live action adaptations of video games have have a poor track record. Even the fanmade Mega Man film from 2010 was subject to poor critical reception, and the diamond in the rough is Ace Attorney, which went over far better with existing fans than with new viewers. What could Inafune be thinking? A Kamen Rider version of Mighty No. 9? More likely, he has his eye on the issue of branding and funding. Having another studio making a Mighty No. 9 product will boost sales of the game through better public recognition, as well as secure another line of funding for Comcept to ensure they won't follow the same fate as Love-de-Lic or other small-time companies. Again, the studio pays the IP owner. These deals may feel slimy, but they're no different from Nintendo's T-shirt or lunchbox deals. Ruthless product coordination is necessary to stay in the business.

Let's assume for a moment that everything bad said about Inafune is true. He's a deeply corrupt, apocalyptic incarnation of Mammon hellbent on amassing a pile of gold to sit on, and would take the fillings out of his own mother's teeth for the secondary silver market. He'd sell your soul to Satan for one corn chip.

He's still using that money to a better purpose than Capcom.

Left: Mega Man Legends. Right: Mega Man 64.

I first experienced Legends in its more polished form as Mega Man 64, so the announcement of Legends 3 was one of my premiere reasons to own a 3DS. 64 made a few trades for quality's sake; downsampled audio and a lower draw distance, in exchange for anti-aliasing and analog control. (One of the most frustrating aspects of Legends on the PlayStation is the tank controls. It predated the DualShock, and it was only after Legends 2 launched that the original game was ported to the Nintendo 64 and the controls developed for Legends 2 were applied to the port.) While there have been occasional complaints about the quality of the voice files compared to the PlayStation edition, given the hardware of the time it's difficult to tell the difference while playing. The things 64 gave up resulted in dramatically greater returns on everything it gained. Certainly we'd love the technical improvements of both systems, but that just wasn't possible at the time. You don't get to have your cake and eat it too. Any grown-up can deal with that.

Perhaps we ought to take a leaf from 64's booklet, and be more willing to make compromises. No, Inafune isn't Satoru Iwata. Nobody is! But he's not a mustachio-twirling cartoon villain either. He's a human being with aspirations, dreams, goals, and yes, flaws. He's also willing to make Legends 3, something which Capcom is decidedly against and has blocked at every level since Inafune's departure. I would take the devil we know in this case. Inafune's cash demands are predictable, mundane, and beneficial compared to Capcom's. Yet truthfully speaking, this is a false comparison--because Capcom isn't going to magically touch the Legends franchise if Red Ash fails. We're not choosing between one developer and another. Either the community funds Red Ash, or the legend stays dead. Within my lifetime, Inafune will expire; I for one don't want the one game he most consistently expressed interest in making happen, to be left unmade by that time.

Pokémon Card GB

I have generated more booster packs in ten hours than most players will in their entire game.

Pokémon Card GB is a game that I have always wanted to do a Let's Play of. There has only been once playthrough of it that I thought approached the game as it deserved to be, and that LP died years ago. It would suffice to say that I've read more strategy guides for it than is healthy, and through continual years of replays have become intimately familiar with the Base Set/Jungle/Fossil metagame that it's built around. So I was naturally ecstatic to pick it up off the 3DS eShop, and a little disappointed to see that the screenshot function was not enabled for the game. I think that Card GB has the essential structure that every TCG game should aspire to; it gives you just enough access to the different booster sets without arbitrary restrictions like the Yu-Gi-Oh! games, but doesn't give you so much leeway that you can simply snap the game balance in half in a day. Early on your deck is constantly changing as you acquire more and more staple cards, and even at the midpoint of the game you're still modifying the occasional card as you pick them up.

The 3DS version has followed the unfortunate practice of removing multiplayer features rather than accommodating them--the Cable Club ladies will be forever rendered mute in this port--but the introduction of built-in save states has proved to be a vital amenity for simplifying the grinding from the original game. In the process of opening the virtual equivalent of a 36-pack box via save states, I established that either the packs are not truly random or if they are, the RNG is so poor that it manages to simulate fixed distribution.

Part of the appeal of the game is that the plot is intrinsically what you're already trying to do coming into it. Mark's story is every kid's story; you collected the cards, but now there's something out of your reach, a chase card you can only get by playing the game, and suddenly your objective to collect has been littered with sub-objectives of overcoming your rival, becoming a grandmaster and defeating opponents that will qualify you to inherit a set of exclusive promotional cards. Nintendo seemed keenly aware of the playground phenomena surrounding the TCG--every kid's story is of having a binder full of Pokémon cards and no knowledge of how to play the game. The player is thus just as unfamiliar going in as Mark or Mint is. Ronald is the archetypal rival every child butts heads with, the club masters are benchmarks for the player's progress and knowledge of the game, and the legendary cards are the end goal of one's collection, a unique set of cards printed in limited quantity and available only to a select few. In the postgame, the Phantom Cards take over as that unattainable point of perfection. Hence the plot necessitates very little elaboration; the player wants to complete their collection and rise to the challenge of the game's best opponents, who act as both evaluators of their skill and mentors. It's like talking about breathing.

In the transition to 3DS, several aspects were removed; most all references to the Phantom Cards are gone, and as a result Ishihara never explains where he's going after you finish your trades with him. (In fact, it's possible for him to never leave; if you don't talk to one of the three Ishihara NPCs after defeating the grandmasters, he'll stay in his house forever.) Several books were removed from Ishihara's house, as were NPCs that referred to the Phantom Cards, and yet this has an unintentional aspect of increasing the mystique surrounding them. You reach the final room in the game, the resting chamber of the four legendary cards, peek at the autodeck machine behind them--and lo, a decklist for the Mysterious Pokémon deck appears, with a 227th and 228th card that you've never seen. Ultimately the game would have been better off giving you the Phantom Cards through SpotPass or StreetPass, but what's done is done.

I finished the game in about a week, with a final playtime of around thirteen hours to get the standard 226 collection complete, shifting between Haymaker and Rain Dance decks throughout. (Real playtime was probably 20 hours with all the save state manipulation I did.) It's always fun to play through Pokémon Card GB again because across the years the music stays fresh, the gameplay is always worth a second look, and every time you come back to it you seem to understand its structure a little better. The spritework is some of the best of the era. It's also a good look back into the culture of '98~'00, and gets you the whole experience of being a collector and competitive player, but for $6 instead of $6000. (If anybody has the original US commercial for this game with the kid training to beat his older brother, I'll be eternally grateful to watch it again. The last time I saw it was on my parents' Magnavox.)

I suppose the game's never really done until you've caught 'em all.

Megaten and Shugendō: Let's Play Shin Megami Tensei iOS Part 3

Shin Megami Tensei is a series uniquely effective at giving the player time to reflect. Other role-playing games do this, but not nearly as often nor as strongly. The player is lead to the climax of an event, typically involving an alignment choice that she has chosen to support, and the devastation of that one moment is punctuated by a long stretch of white noise gameplay that gives her an opportunity to meditate on why she chose to support that alignment. It's a sublime use of the dungeon crawler genre, turning the long and complex dungeons into a space to think. Moreover, the games follow these meditative moments with critical looks at the alignment options, promoting a better understanding of what the player should do in the future.

This paragraph alone will contain spoilers for Shin Megami Tensei IV and Strange Journey, so highlight at your own discretion: I find the Diamond Realm sequence very much comparable to the first visit to the Yamato Perpetual Reactor and the events with Jack's Squad during the exploration of sector Grus. The climactic events involve the player being hurried into a free-for-all between the respective Law and Chaos forces of each game, culminating in the respective nuclear bombardment of Tokyo, appearance in Blasted Tokyo and the deaths of either Jack's Squad or the demons they experimented on. In IV, the player is intended to believe that their actions (killing Tayama and opening the gate to the Expanse in the Chaos route, or assisting Jonathon to uphold the rule of law against the Black Samurai in the Law route) would create a world not unlike Infernal and Blasted Tokyo. With so few clues provided to them, these routes come to resemble the distant future rather than alternate presents as they are intended, and that inculcates the player with a sense that she would prefer one of the other options. In Strange Journey, the horror at either killing Jack's Squad or murdering the demons with Zelenin's song pushes the player to the option they did not choose, or to look for an alternative solution.

Man: I am En no Ozuno. Now then...it seems two others have also made it here. Two that you know well. Go and find them. I shall explain once you are all gathered. If you need rest, my familiars Zenki and Goki in the next rooms shall see to you.
En no Ozuno is a semi-historical seventh century mystic who founded the Shugendou ("Way of Studious Trial") religion, an esoteric hybrid of Shinto, Buddhism and Taoism that proposes the attainment of enlightenment through unity with the gods of the land (kami.) Whether En no Ozuno genuinely existed or not, the predominant form of Shugendō arose much later. In the twelfth and thirteenth centuries the doctrine of "inherent enlightenment" (本覚思想 hongaku shisou lit. "real awakening thought") became popular with the Tendai school of Mahayana Buddhism, and the doctrine then disseminated down from Mt. Hiei to become the foundation for the other religious movements of Kamakura period. (Miyake 12) According to hongaku shisou, all things from the grass to human beings hold the innate qualities of Buddhahood. Eminent Buddhist scholar Miyake Hitoshi came up with the apropos description of inherent enlightenment being "animism in Buddhist garb." The Shinto notion that there are kami in all things, and the Tendai idea of enlightenment in all things have an obvious parallel line of thought. Shugendou adapts both ideas.

The fundamental principle of Shugendou is that all human beings have the same character as the cosmic Buddha Dainichi Nyorai, and his manifestations. Through becoming aware of this and practicing ascetism, humans attain buddhahood. Practitioners may attain supernatural powers, but they are supposed to use these powers positively to cast salvation rites for others. (Miyake 124) The powers granted through practicing within sacred mountains are part of the appeal. You could say that the history of Shugendou is a biography of different mountains.

En no Ozuno was said to have practiced at Mt. Yamato Katsuragi in Nara prefecture, but from the very beginning in the eighth century the different branches of Shugendou ultimately came to settle on other sacred mountains. The common thread between all the branches is Kumano Shugen, the form of Shugendou based out of the three mountains of Kumano. (Miyake 14) The case can be made that irregardless of the size of the different branches, Kumano is ultimately the cradle of Shugendou. The first branch is Hozanha, which is the sect sprung directly from Kumano Shugen. The second major branch is Touzanha, which Miyake identifies with Sanboin temple in Kyoto. Among the many other smaller branches is Kinbusen Shugen Honshuu, based in Yoshino prefecture off of Mt. Kinbu. At Mt. Kinbu, the object of worship was Kongou Zaou-Gongen, who was venerated by Ozuno, and who should be familiar to long-time Megaten fans. The creation deities Izanami and Izanagi were also said to have descended from Mt. Katsuragi according to Shugendou tradition. (Miyake 137)

Today Hozanha is known as Honzan Shugenshuu, and Touzanha is Shingonshuu Daigoha. Sanboin is a subtemple to Daigo-ji, which is currently Shingon Buddhist but pays respects to its Shugendou heritage. The reason for the new names is that in Meiji 1/1868 CE the government officially mandated a Buddhist-Shinto split as part of its reforms, and the worship of any Gongen was prohibited because it expressed the syncretic idea that a Shinto deity was also an incarnation of a bodhisattva. (Miyake 33) Then in Meiji 5/1872 CE Shugendou was formally outlawed, forcing the different branches to adopt either a wholly Shinto or wholly Buddhist face. Honzanha and the Kinbu sect both folded into the Tendai school of Buddhism, while Touzanha joined the Shingon school. Each of the three Gongen shrines, including Kumano Gongen, converted to being Shinto shrines. In the postwar period, the Religious Corporation Ordinance was passed, which allowed the establishment of a religious organization by way of government notification; through this law, the major Shugendou branches resurged under the names Honzan Shugenshuu, Shingonsuu Daigoha and Shingoshuu Daigoha.

(The reason for the Shinto-Buddhist split is not given in Miyake's work, but we can presume that it was part of the Meiji government's greater agenda to cultivate a strong national identity; state Shinto was informally adopted through many different religious reforms that upheld the sanctity of the emperor and encouraged the public to adopt Shinto as a "pure" Japanese religion. I've never seen a history of how well received these reforms with the general public.)

Kumano Nachi Taisha shrine, a Shugendou pilgrimage site. Image credit.

Kumano is identified in the Kojiki as the burial ground for Izanami, and was repeatedly identified as an otherworld by Japanese folk religion. The three chief Shinto shrines in Kumano are each enshrined with each other's kami, which together are the Kumano Sansho Gongen, "three avatars of Kumano." (Miyake 18) What's interesting about these deities is that they are each identified by twelfth-century documentation as foreign deities that flew to Japan from across the sea. This particular myth is unique to Shugendou; Kumano's Shugen practitioners maintained that Ketsumiko no Kami (one of the original three avatars, a tree deity representative of Honguu shrine) was the alien god Jihi Daiken Ou, from the Magadha kingdom in India. (Miyake 36) Kumano Gongen's traditions maintain that Jihi Daiken Ou was the fifth descendant of the father of Buddha as well as descended from Amaterasu Oumikami, and that he became Kumano Gongen in the Kii peninsula and Zaou Gongen in Yamato province after flying to Japan to save the Japanese people. (Miyake 45) Kumano/Zaou Gongen received permission from both Amaterasu at Ise shrine and then-reigning Emperor Jinmu. Jihi Daken Ou's vassal Gaken Chouja had been ordered into training by Jihi Daiken Ou at this time, conducting his studying and training at Mt. Ryouju and Mt. Dantoku. (Miyake 44) Across seven lives and twelve hundred years, Gaken completed his training and attained enlightenment in his seventh existence as En no Ozuno, who would found Shugendou. (Miyake 45) This version of history was popular with shugenja, and contained in at least four related twelfth to fourteenth century works about Kumano Gongen's flight to Japan. It should be noted though that in the oldest versions of the Ketsumiko story, Ketsumiko was an indigenous tree deity, and that the India explanation only arose after Kumano came to be associated with foreign religions. (Miyake 47)

After Kumano became a center of ascetic activity in the eighth century, it attracted a huge number of healers and famous persons that would later be venerated as bodhisattvas. (Miyake 18) In subsequent centuries Kumano was an important pilgrimage site; those familiar with the Tales of the Heike will be surprised to find that retired emperor Go-Shirakawa was an especially devout Shugendou practitioner and made the pilgrimage to Kumano 34 times. (Miyake 19) The three avatars of Kumano were enshrined by his order at the imperial palace sanctuary Hojujiden in 1160 CE, after which the sanctuary was renamed Imakumano (new Kumano.) By the mid twelfth century the three avatars had grown to become the twelve avatars of Kumano, Kumano Juunisho Gongen. The popularity of the religion was such that during the twelfth century, Kumano rivaled Ise shrine in importance. (Miyake 36)

Relevant to our discussion is that one esoteric Buddhist school of thought maintained that Kumano was the taizoukai (womb realm) while Mt. Kinbu was the kongoukai (diamond realm). (Miyake 36) The twelve deities of Kumano were thus the manifestations of taizoukai deities. Others posited the idea that Ise and Kumano actually enshrined the same deities in different forms, and that the two were equatable. But in Shugendou cosmology as a whole, the northern (Yoshino) side of the Oumine mountain range is considered the diamond realm, and the southern (Kumano) side the womb realm. (Miyake 114) If I have my geography right, then Mt. Katsuragi where En no Ozuno was said to reside does fall within this cosmological view of the diamond realm. One mandala from Yoshino province also states that En no Ozuno's guardian deity was Zaou Gongen. Zaou Gongen himself was the characteristic deity for Shugendou. (Miyake 116)

The belief in the spiritual properties of mountains goes back to ancient Japan, where both the mountains and the ocean were viewed as a type of otherworld in which all forms of spirits and gods would dwell. (Miyake 114) Shugendou merely expanded on the idea through the adaptation of Buddhist thinking. En no Ozuno was a magician from the Katsuragi region that lived at the end of the Asuka period (c. 700 CE) who later lived in exile on Izu Island. (Miyake 117) Shugendou did not take on the properties of a religious order until the Kamakura period in the twelfth century, and En no Ozuno was retroactively identified as its founder. Numerous biographies were produced identifying him as an incarnation of Acala, a Myou-ou and primary object of worship in Shugendou. (Note that Acala is a Vajrayana Buddhist deity, but Japan is a Mahayana Buddhist country; Shugendou took the idea of being a "foreign" religion with "alien" deities and ran with it.) En no Ozuno's original Buddhist form was identified as the bodhisattva Hokki, and he was said to be conceived during a dream in which his mother swallowed a vajra. (Miyake does not take note of this, but observe that En no Ozuno was implicitly conceived without sexual intercourse--a virgin birth.) As an adult En no Ozuno then practiced ascetism in the mountains. In his travels he commanded the god Hitokoto-Nushi to build a stone bridge between the Katsuragi and Oumine mountains, but when Hitokoto-Nushi disobeyed his commands and slandered him instead Ozuno bound him by magic. (Miyake 119) After his exile Ozuno was said to have been allowed to return, and later on flew to China with his mother magically contained in a Budhist alms-bowl. His Touzanha counterpart was Shoubou, also called Rigen Daishi, who founded Daigo temple and the Touzan sect with it. The two were not contemporaneous; after Ozuno's time a dragon came to block the Oumine mountains to prevent people from becoming ascetics, and Shoubou destroyed the dragon. Afterwards he received guidance from Ozuno and refounded asceticism at Oumine.

En no Ozuno's middle path between the different religions and emphasis on the testing or trial on the path makes him ideal for a Neutral representative equivalent to Gotou and Thorman, which finally provides the player with a strong guiding force for any third path that they might seek. In Shingon Buddhism the image of the Diamond Realm mandala is meant to be the symbolization of the final realization of the cosmic Buddha, Dainichi Nyorai (Vairocana outside of Japan.) It is within the Diamond Realm that the training ascetic finds their enlightenment, and accordingly the player is meant to come to their own awakening through En no Ozuno's training.

My core source for this chapter is Earhart's edition of Miyake Hitoshi's Shugendō: Essays on the Structure of Japanese Folk Religion. I came across it through my university library's catalog. I had fifteen minutes before my last literature classes of the semester, and tracked Miyake down by the book's call number at the Langsam Library stacks. It was a little too perfect, finding the book like that; no one had touched it since the university first acquired a copy fourteen years ago. Hard cover editions are going for $300 now, and this copy was so thoroughly caked with dust that the title was illegible. You absolutely had to look by call number or not at all.

(Interestingly, in the few weeks I spent with the book I've noticed that its price has fluctuated quite a bit. The out of print market seems quite fickle, but I'm a total outsider to it.)

The Diamond Realm is a time for reflection and meditation, not just for the player morally but also from a gameplay perspective. The moment we're cast into it our demons are all banished from our COMP and have to be either retrieved within the Diamond Realm itself, or be abandoned here. Thus far my fusions have not been very focused and have mostly consisted of making whatever I can from the materials available, going out of my way to research obscure or interesting paths to develop my demons along, but about this time we need to really focus on what party to develop now that we're more familiar with the game. I barely scraped through the Thor fight after all, I had to exhaust Cyak's MP and a serious curveball was thrown at me when it turned out he couldn't be charmed like in the SNES release, which made Rusalka dead weight outside of her healing spells.

The most effective use of demons that we've observed thus far is the use of buff spells, which stack with no upper limit and increase damage exponentially. Charm would be the runner up, but a lot of things can't be charmed in iOS that could be before. Strong physical attacks and the trinity of Wall skills have also been useful. That said, we can currently only have three demons summoned at a time and I see a need for three particular roles; a buff/healing support demon, a physical/Extra Skill demon, and a magical attacker. Normally the magic attack role would be replaced by Nadeshiko and that third demon could be a mixed attacker or another phys demon, but we won't have access to her for a while so the role needs to be filled. Zio-series spells are preferred because most things don't resist paralysis, but Bufu can work as well. Wall skills are best set up on physical attackers so that the buff demons can do their job and the magic attackers can start hitting weaknesses for extra damage right away.

The Diamond Realm's encounter list is pretty diverse, bringing back Brute Azumi from Camp Ichigaya, and introducing Yoma Kimnari, Jirae Tsuchigumi, Yoma Apsaras, Fairy Gandharva, Beast Tan-ki, Beast Nekomata, Wilder Nue and Jirae Bugaboo. The easy access to two Beast and two Yoma demons should also give us easy access to Flaemis and Aeros, but the Yoma race is Law-aligned and impossible for Chaotic summoners to recruit. Having no demons makes certain problems for exploring the Diamond Realm. Most of the enemies here are in the range of level 15~19 and come in large groups with freezing, paralysis and poison effects that can cripple our lone protagonist.

Fortunately, iOS makes the gameplay concession of including a lifesaving auto-quicksave feature, so death often ends in just restarting in the hallway we were in prior to the random encounter wiping the floor with us.

>Allow Rusalka to join you again?
>YES
Rusalka: It's nice working with you again.
Our demons are scattered throughout the Diamond Realm in specific rooms, with up to eight of them appearing in different parts of the map. Initially we're confined to a small 8x8 square on the map with the north and south entrances sealed, where along the outer area bordering the sealed doors the first four of our demons are available.

In here I recover Rusalka, Bugaboo, Ghoul and Cyak. Bugaboo is purely fusion fodder at this point though, because my alignment has swung so hard towards Chaos that I can't summon him. Lawful demons can still be fused and stored in the COMP, but it would take a lot of trips to the church or Neutral Ashram to even out the alignment to summon them.

I've stated that this is a time for meditation, so what are my thoughts? The bombing of Tokyo was not something that could be avoided. Killing Gotou would only open us up to Thor's hammer regardless. Ambassador Thorman never intended to do anything less than let this end in fire, and at this point we don't even know if his solution worked. If we went through all that only to arrive in a Tokyo still filled with demons, then what was the point of sacrificing so many people's lives? Thorman was no greater than the demons that he opposed. On the other hand, Gotou was colluding with the same demons that tried to operate on us and turn us into mindless soldiers. How much of that is the will of his followers versus his own orders? The demons are at the root of the problem--mom would still be alive if not for Gotou seizing control of the demon summoning program--but it's also questionable if the demons can ever be removed or not. We may have entered a new period of coexistence, regardless of whether or not we desire it. If the ICBMs didn't wipe out the demons, nothing will. In that case, while Gotou was the source of the invasion, once they were already here he was also right to try to use the demons in the way that he did. This is a complex situation. The demons (probably) never should have been brought to Earth, but if there's no way to actually get rid of them then asserting human control of the demons is preferable to bowing down to a big one like Thor. Stopping the ICBM strike, if possible, would minimize human casualties. The SDF were doing a very effective job at maintaining the barricades around Tokyo and keeping the demon population under control, and Gotou was evidently able to use the demons for air defense. No matter how one goes about this, I don't see an outcome where Thor can be justified unless his actions genuinely eliminated the demon population. But in that case, Thorman and his angels (yet another group of demons) are still around.

Something to consider: is Thor's Hammer really a commentary on Hiroshima and Nagasaki? The ultimate weapon didn't stop all war. It stopped a war, but immediately gave rise to another--the Cold War, and all its proxy wars within. A Japanese surrender was already being worked on prior to the bombings because of imminent fear that the Soviet Union was about to invade, and the entire battle plan for the empire going into the war was to force the United States to sue for peace in the same way the empire of Japan had forced the Russian empire to sue for peace forty years earlier. The Little Boy and Fat Man were not what ended the Pacific War, just as Thor's Hammer was not what eliminated the demons. The ultimate (as opposed to proximal) cause of the war was the entire practice of colonialism. That certainly hasn't ended. To truly resolve the situation, we have to address the ultimate causes rather than pussyfoot around with whatever's in proximity. Trying to put down one instance of demon summoning won't stop demonic invasions for all of time. To do that, you have to institute a fundamental change that will stop people from summoning demons at all. Preferably that's by eliminating the motive to summon demons, as simply blocking off the Expanse will bait people to find ways around that.

Gentleman: Who's there...!?

Gentleman: What is this place...? I was looking for Nadeshiko and suddenly found myself covered in white light. Then when I came to, here I was. Look, we need to get out of here.
>Gentleman has joined your party!
As En no Ozuno implied, we can seek out Gentleman and Champion to fill out the party slots and act as support to compensate for the lost of our demons. They'll only be sticking around through three fourths of the Diamond Realm, so once we have our bearings and demons back it'll be time to get fusing.

Champion: H-help me...Someone help...Touya!? Is that you? Oh, man...I'm saved.

Champion: Anyway, I stand no chance against the demons alone. I'm coming with you again.
>Champion has joined your party!
My impression at this point is that the player is not supposed to have an alignment consistent with what they chose pre-Thro's hammer, but that their decision and subsequent failure combined with the lack of easy access to good new demons of each alignment is intended to frustrate them into wanting to switch alignments or pursue Neutral. In a grass-is-always-greener effect, each alignment has trouble securing good demons of its own alignment while in the early 20s, compelling the player to look at alternative options.

As the automap isn't really sufficient for conveying the complexity of the Diamond Realm, and Gentleman's Mapper spell isn't with us the whole way though, I went ahead and copied the rooms down on paper as I went to mark the place up. The Diamond Realm has superficial similarities to the actual Kongokai mandala painting, divided into square sections radiating outward from En no Ozuno/Dainichi Nyorai. The portion sectioned off in blue is all we can access initially, sealed at both exits until we bring Gentleman (L) and Champion (C) to En no Ozuno (E) at the center. G and Z are his demons Goki and Zenki, who act as save points and healing points for this dungeon. (The scratched-off pieces are mistakes in me not measuring out the right number of squares.) Lost demons are marked as D1, D2 etc. The purple portion is the last area we'll get access to in the course of this dungeon, while the exit at the far right side of the map is technically accessible before it but is sealed off.

En no Ozuno: This is the Diamond Realm. You know it more commonly as the Expanse. You must know that the world you lived in has been utterly destroyed.
Gentleman: What do you mean!? What has happened on Earth!?
En no Ozuno: Do not worry. Not all humans have perished.
Champion: Then send us back!
En no Ozuno: You will gain nothing by going back. The wasteland may indeed be worse off than the Expanse.
Gentleman: That's all the more reason to return! We must drive out the demons!
En no Ozuno: If you wish to return, might you be willing to do me a favor?
>YES
En no Ozuno: There is a spring deep in the Diamond Realm. You must collect the Soma that flows there. If I miss this chance, the next one will not come for a long, long time...The door to the south is now unlocked. I am counting on you.
In AE's translation the Diamond Realm is compared to the Expanse/Abyss but not stated to be a part of it, and En no Ozuno's description of the destruction has been embellished; AE introduces the idea of "worldwide nuclear holocaust" which doesn't exist in the original script.

The quest for the Soma is a quintessential trial set on the characters to train them and prepare them for the return to their world. Soma is imported from Vedic mythology, it's a divine drink that bestows immortality and strength to the gods.

There are three doors sealed within the Diamond Realm, the southern exit to the initial area, northern exit and the gate to the human world on the far eastern side of the outer area. The Realm is actually very easy to navigate once you figure out how its layout is divided, and its geography operates on regular geometry that becomes easily predictable once you've been down a couple passages.

En no Ozuno: Though you bend demons to your will, the ones you control affect your alignment.
Ozuno's spirit appears in four rooms at the far corners of the map to give advice on devil summoning. His lectures are on how summoning demons affect our alignment, the need for us to make our own decisions about how to reshape the world and how killing demons also affects alignment.

Shinjuku's Gaean and Messian representatives also appear as spirits within the Diamond Realm, but as far as I can tell talking to them repeatedly doesn't actually affect alignment.

More food for thought: is Gotou a parody? I addressed him in the previous chapter as being directly based on the novelist Yukio Mishima, but this portrayal may not be intended to be as respectful as I framed it. After all, Gotou is introduced with a corny and halting speech about creating a utopian world, but it's his doomed utopia that sets in motion all the tragedies of the game. His aspirations are too big for himself, he's an underwhelming boss fight, and if the player sides with him they don't even get a satisfying conclusion to his story arc. The only good way for Gotou to go out is by killing him, and in retrospect no matter what you do he's doomed from the start.

>The Soma is flowing. Draw some?
>YES
>Touya obtained Soma.
If you'll recall, this spring is the same one that Yuriko was bathing in during the opening chapter. We know by now that Yuriko is someone like Ozuno, an individual of the Expanse.

Nadeshiko: Huh? Dream? I didn't have any dreams.
The Diamond Realm is populated entirely with the dead. En no Ozuno himself departed over a thousand years ago.

>Touya handed over the Soma. En no Ozuno drank the Soma.
En no Ozuno: Hmm...I need more. Get me some more...I'm counting on you.
The repetition isn't just baseless fetch-questing. Repetition of a task is a key motif in Buddhist education, like in the repetition of the nenbutsu ("thoughts of Buddha") prayer for Japan's Pure Land Buddhism. The nenbutsu is a practice of repeating the name of the Amitabha Buddha in order to meditate on his nature. It's appropriate for the theme of the Diamond Realm, as it lets the player sit back and reflect on the bombing of Tokyo while they traverse the Realm. A modern game (or really anything post-Shadow of the Colossus) would probably use a scenery-rich area for the same purpose.

I finally fuse Rusalka and the useless Bugaboo into Brute Momunofu, then use Gandharva and Cyak to create a new Rusalka. Momunofu is one of the best physical attackers I currently have access to, and he comes with the trinity of Sukunda, Tarukaja and Tetraja. So, reduce enemy accuracy, raise party attack, and block Energy Drain. (We'll define this in a moment.) Momunofu's gameplan is to pick a buff and then go to town with physical attacks, at least in major boss battles. He's weak to Gun and Electric damage, neither of which are particularly bad weaknesses for this point in the game.

A dark fusion of Ghost Ghoul and Brute Bogle yields Ghost Man-Eater, who's really fun to use. She only has a third of Momunofu's HP but close to the same Vi, so she could easily get two-shotted by most demons, but she comes with Stun Claw, Sexy Dance and Demon's Kiss; respectively they deal damage with paralysis, charm, or an Energy Drain effect. Energy Drain functions in a weird way. On the first use it inflicts paralysis on an opposing demon, and then on the second use it drains their level (and stats with them.) The level drain only works on humanoid demons, but I believe you can bypass the paralysis part of the skill and jump straight to its Energy Drain properties by using Demon's Kiss on an already-paralyzed demon. The catch is that Man-Eater is weak to Fire and Expel, but resists Gun and Nerve skills. So she's pretty fragile on the whole, but has access to multiple status skills and has a functional St stat to back up the paralysis and charm effects. Not really a boss killer, but an interesting tool for trash mobs.

En no Ozuno: Ahh, you've brought me more Soma. Thank you...Good work. I don't need any more Soma now. You can have it. There are two beings which dwell within the Diamond Realm. Each carries a weapon of the finest craftsmanship. Your task is to go and get them. Do you understand?
>YES
NO
En no Ozuno: I have unlocked the door to the north. However, only Touya will go. Gentleman and Champion have another task.
This opens up another section of the Diamond Realm map, in which I'm able to reclaim Nekomata.

Nadeshiko: You have to survive!

I think that the most significant part of these characters' appearances is their relevance to the protagonist. The Diamond Realm is one of the few times that we get characterization of him, indirect though it may be. We know that the Ring of Gaea and Order of Messiah both weigh heavily on his thoughts, but as the player progresses more intimate characters appear. The protagonist's mother is the final spirit he meets while traveling the mandala.

I recruit Beast Tan-ki and Fairy Gandharva, then fuse them into Holy Unicorn. Unicorn is a Strength-oriented demon with Hama and Penpatra for support and a mean Extra skill. He also reflects Expel and nulls Curse, but as Mido observes the Law-aligned demon won't be usable without shifting my alignment. He's really here as an intermediary step in the fusion process.

Holy Unicorn is fused with Night Imp to create Therian Werecat, who has no qualms about fighting alongside a boat of Marxists. Werecat comes with Hapirma (induces the Happy status on all enemies), Tarukaja and the Extra skill Feral Claw, a multitarget physical skill that lets her put that St stat to special use. Her best property is one inherent to the whole Therian race; she resists all attacks and nulls Expel.

>YES

Blue Phantom: Hey...You think the same as me.
The trick to the phantoms is that their colors are the reverse of the alignments they represent. The Blue Phantom is Chaos, the Red Phantom is Law.

>Touya obtained Headsman Axe.
Aeon Genesis translated this as the Guillotine Axe, which was a literal translation from the katakana ギロチンアクス Girochin Akusu. Their version of the Blue Phantom's line is "Let us walk the path of chaos, from which everything is born! Here, take this!"

The Headsman Axe is essentially a weapon for the Chaos Hero alone. Since our alignment matches, we can use it as well, but that really doesn't fit the hero's in-battle role as our resident item chucker.

Red Phantom: Who are you...?

The function of the phantoms is quite interesting. We can get a preview of the future forms of some characters, but only if we are of the same alignment as their respective phantoms. Is this a hint at who our future allies will be? What are the phantoms, precisely? The Diamond Realm thus far has been populated by demons and the ghosts of the past. We can speculate that the phantoms are ghosts of the future, which serve to reinforce the Law-Chaos divide of the previous chapter and prepare the player for future alignment-based confrontations, but there's little in the way of real answers as to their nature. In Japanese the phantoms are called 怪人 kaijin "mysterious persons," but phantom is a perfectly accurate translation. (As an aside, when I was doing translation work for Digimon Story Cyber Sleuth, 怪 was used in the context of a "phantom digital space.") What I think we glean from the Japanese text is that the phantoms are certainly people, but they seem to be gameplay devices that foreshadow later events for the player than they are real characters within the world of Shin Megami Tensei. This is really an issue of personal trial and growth, akin to Luke Skywalker going into the cave of evil.

The Red Phantom has three skills; Zanma, Mazanma and Diarama. So Wind is a priority issue for this fight, as is keeping up with his healing abilities. My strategy for the Red Phantom is to tuck the protagonist in back with Momunofu as a living shield, raise our attack with double Tarukajas from Momunofu and Werecat, and then use gun damage from the protagonist along with Momunofu and Werecat's physicals to mow him down while Rusalka keeps us alive with Media and Diarama. A note on the usage of Werecat, Feral Claw is slightly weaker than her base attack stat and so should only be used on multiple enemies, not against singular parties like this one. The Red Phantom gives ¥1536 and 640 MAG when defeated, as well as the Light Sword. AE specified that this was the "Kodachi of Light;" a kodachi is a type of shorter companion sword that was historically paired with a larger weapon in the same style as the wakizashi and katana. (The original text does call it Hikari no Kodachi.) Just as the Headsman Axe can only be used by someone of the Chaos alignment, the Light Sword can only be used by Law-aligned persons.

En no Ozuno: So, Touya, you have returned.

Champion: Yo. You're late.
En no Ozuno: Very good work. Take this, Touya.
>Touya obtained CRESCENT
En no Ozuno: The time has come to send you back to your world. I have unlocked the door to the east. Go when you are ready.
An important difference in translation. AGTP called the Crescent, Mikazuchi's Tachi--a tachi is a sword design that preceded the katana, pre-sixteenth century. It seems they weren't aware of how to read 三日月 which phonetically is read as mikazuki, and so Aeon's team misread it as mikazuchi and then thought they were dealing with Takemikazuchi. This is completely wrong. Mikazuki is the new moon or crescent moon phase, so rather than the sword of Takemikazuchi, what En no Ozuno handed us is the "Sword of the New/Crescent Moon." (It's also presumably a Japanese straight sword given that it's identified as a tachi.)

With Gentleman and Champion back in their party, I equip them with the Headsman Axe (+40 Attack) and Light Sword (+35 Attack +30 Accuracy.) The protagonist can't use the Crescent (+30 Attack +20 Accuracy hits one to three times), and it's questionable how much good it would do him even if he could. After all, he's really a gun-and-item character that doesn't have much business getting up close.

Goki: But you'll have to get through us first!

The most notable thing that happens to these guys is that somewhere along the line, Gentleman gets punked. This is mostly a consequence of his low HP, as while Gentleman actually has more Vi than Champion, his low St also contributes to having less hit points. Their strategy works like this; Zenki is their side's physical attacker and Goki is their magic support. Zenki has huge St and subpar Ma, but has the second-tier spell Zionga that can induce paralysis. So he can paralyze you with Zionga, then go in with the Extra skill Critical to take advantage of his own 23 St. Meanwhile Goki seals our magic with Makajama, raise Goki's attack with Tarukaja and keeps both their health up with Media.

But they only get two actions per turn, and we get six. Momunofu and Werecat quickly stack Tarukajas that cause Champion (and each other) to hit like a truck, and Gentleman aside there's no way Zenki and Goki are going to take us out while Rusalka is doing Media spam. For beating Zenki and Goki we get ¥3072 and 1280 MAG, as well as the visionary item Goki Claw. Everybody except Gentleman picks up two levels off of this, while he gets five.

En no Ozuno: You are ready. Return to your world...but do not be shocked to see how it has changed.

Touya: +4 Vi
Champion: +3 St
Gentleman: +7 Vi +1 Ma

References

Miyake, Hitoshi. Shugendō: Essays on the Structure of Japanese Folk Religion. Ann Arbor: Center for Japanese Studies, 2001.