the Devil on G-string

Before getting started with today’s (at least by me much looked forward to) entry the what seems to become the usual disclaimer now of appologizing for the lack of updates recently shall not go missing this time around either. However that coevally brings me right to the focus of today’s write-up, because once for a change there was actually a pretty damn good reason which kept me (even more) neglecting my blogging than the ever-oh-so-often “too busy and too lazy” excuse. Two month passed by since this particular Soft which gained anthem througout the Bishoujo Soft world ever since its release last year arrived and despite instantly installed and started, the ride to completely (and yours truly can proudly claim 100 percent completion in this case) finish through it has taken  up ’till the very final day of the much needed vacation last week. Usually I try to refrain from putting my cards on the table already within the very beginning of such thoughts/impressions writting, but let me say that *this* was time very very well spent and with memories and impressions still strong and fresh at hand, let’s move on to an entry concerning AKABEiSOFT2 G-Senjou no Maou or as officially subtitled the Devil on G-string.

• G-Senjou no Maou
Shokai Chou Juuryou Tokutenban
Brand: AKABEiSOFT2
Release: 2008/05/29
Genre: Human Drama ADV

Art: ALPHa
Scenario: Ru-subo-I
Music: tiko-μ

-Firstpress Gengashuu
-G-Senjou no Maou Ero Ero Sousasshi
-NSFW Content sample shot

+ Basic Plot Outline / Scenario:
Azai Kyousuke seems to be a more or less ordinary student. Quite intelligent but lazy he halfheartly passes by time at school playing (literaly) good with his classmates and forstering his passion for classic music (especially Bach). However there’s a let’s call it “less conventional trade” and way of living our protagonist pursuits once the school part of his day is over. Being the adopted son of througout city respected (and feared) Yakuza boss Azai Gonzou, Kyousuke lends his father a helping hand on the business activities from the backgrounds. In fact not only his skills and intelligence comes handy to his “father”, but moreso Kyousuke manages to keep up this double lifestyle meticulously hidden / unknown to his fellow friends and classmates at school (who partwise know he’s helping his father but not about the details and backgrounds of the corporation and its leader).
However this ballanced out life soon will be unhinged with the arrival of two people that will leave huge impact on both facets of Kyousuke’s life. Newly transfer student Usami Haru – a rather eccentric young lady who upon asked for her name tells her new classmates to simply call her “hero” (!) and with her appearance in town also a ruthless gangster (and terrorist) apparently known around the globe merely as “Maou” (devil king) shows up. When the latter starts to spins his merciless hide and seek game Kyousuke finds himself soon drawn into Maou’s scenario with his friends turning into the chess pieces he aims to play with. Together with Haru, who early on proclaims to Kyousuke hunting down Maou being main reason for her transfering, the hunt for the devil commences…

Next to titles such as minori’s ef – the latter tale. or Key/Visual Art’s Little Busters! Ecstasy, AKABEiSOFT2′s G-Senjou no Maou certainly counted to the most anticipated Bishoujo Soft projects released last year even moreso with the “few” times its been pushed back last minute until the real thing was unleashed in late May ’08. One if not the crucial reason for many to look forward to this particular work  with expectations set utmost high directly relates to the writing talent in charge of scenario Ru-subo-I (on a random informative tidbit the pen name comes from Kazumi Saeki’s A Loose Boy) to whom G-Senjou no Maou represents the first new project since the highly successful Sharin no Kuni, Himawari no Shoujo. Through such previous works Ru-subo-I gained himself a status among the industry where his (pen)name tends to be mentioned in the same breath and league as Nakige giants such as Jun Maeda (Key/Visual Art’s), Maruto Fumiaki (GIGA) or Takahiro (Minatosoft) (ironically with the later two mentioned writers Tora no Ana also arranged in the heat of the pre-release phase for G-Senjou no Maou a so-titled “century scenario writer special talk”). Unfortunately for me, I’ve have to confess that prior to the spotlighted Bishoujo Soft title of today’s write-up, I haven’t been spending much attention on things concerning this writing talent hence not been among the crowds yearning for the by then forthcoming Ru-subo-I work. It’s actually been much later and admitted for huge part due to the overwhelming positive to raving reviews, comments as well as awards which G-Senjou no Maou earned past its release (plus to another prevailing part my fondness concerning the producing by AKABEiSOFT2′s artistical femme fatale ALPHa) that lastly brought me to get ahold of this title in the end. Of course that’s been pretty ignorant of me, I know, but how’s the saying? Better latter than never and actually in defense, yours truly got ahold of a few more Ru-subo-I titles in the meantime to make up for that. Therefore by heading on to the impressions and comments regarding the scenario featured, it should be noted that alongside more or less heavy spoilers to follow there is no consideration nor comparisson with previous works by this scenario writer included along the writing (though given how much people seem to agree on that Sharin no Kuni still remains inferior, I’m not sure whether that’s such a bad thing at all). As the header for this part of the write-up states, the above basic outline writing merely (should) provide a more or less loose glimpse at the early / beginning part of G-Senjou no Maou and its setting. Of course, much as everyone out there having crossed through this wonderful title will assent, there’s plenty more coming up alongside the scenario’s staging progress which I’d like to take the time and go into details from here on.
The bittersweet symphony of G-Senjou no Maou is basically told by Ru-subo-I through five acts (chapters) in total, with the above rendered outline being the start to it. Among quite several aspects contained herein which sets G-Senjou no Maou somewhat apart from the wide range of Nakige, the first to make note of and comes into the play once heading into the second chapter goes towards the method of scenario / storytelling. More precisely phrased I’m refering to how Ru-subo-I / AKABEiSOFT2 implemented the heroine specific paths included with this title. In contrast to a more commonly used formula of presenting these individual character routes as outcome of interactions, decisions as well as actions chosen througout one continous main plot strand, G-Senjou no Maou handles this aspect on a slightly more different method by “attaching” heroine specific chapters as part of the five chapters (starting with the second one) whereat it’s possible, depending on your decision, actions here as well, to debark into the girls’ story instead of continuing right away to the next chapter. This is executed on genuine and mostly smooth method which especially due to the emanating thread that becomes more and more apparant as Maou steps (or stomps) into the life of Kyousuke (btw. on random informative tidbit No. 2 it seems that Ru-subo-I’s maniac side of the Sengoku Jidai shows once again with the naming of Azai Kyousuke – see Azai Nagamasa ^_^) and his surrounding receives some additional authentic touch in my view. Of course such a system is nothing totally unheared and new of (Key/Visual Art’s projects such as AIR come to mind handling that on similar veins), but for my taste still done far too seldom and given how well this worked out all in all much appreciated. However such an overlapping scenario execution also requires much sensitiveness in order not to derogate on the plot flow or else it will leave a disconnected or worse uneven feel while crossing through, thus also raising the question how well highly acclaimed writer Ru-subo-I would excel at the execution of such aspect for G-Senjou no Maou. Well, even though all in all the result ended up more than pleasant and moreso exceeded my expecations at several parts by a fair degree, it also comes along with several flaws in these terms which at times bear a detracting effect on the overall excellent handled flow of events for the main scenario so that it doesn’t reach a througout perfectly smooth execution rating as far as I’m concerned. Trying to get myself a little bit more evident as to what I’m referring here, I’d like to continue with a short-kept break down on the seperate character routes contained within G-Senjou no Maou, after all it doesn’t happen all to often that yours truly is hooked as much in order to completely cross through each and every path and sidetrack a Visual Novel Soft offers, so even more of a reason that speaks for doing that.

• Miwa Tsubaki Chapter:
Class representative and president of the student council Tsubaki Miwa has a friendly and gentle attitude which makes her popular among fellow classmates. Furthermore Tsubaki living as eldest daughter together with four siblings and her parents she’s got a quite distinctive sense of family valuing needs of others sometimes more than her own. These all sound like attributes of an outstanding gentle-hearted person, which Tsubaki actually *is*, however coevally it makes her an airhead and especially Tsubaki’s inability to distrust people is what makes her soon drawn into the sinister plan of Maou as well as Kyousuke’s job-related not-so-idle intentions on regards of her family.

Having (somewhat) done my homework prior to the decision to go for G-Senjou no Maou most critics seemed to agree on that the character specific scenarios are mostly not to waste much breath on and admitted with that sentiment at the back of my mind, I entered this first route, which is available to cross over once the second chapter’s main scenario heads towards its finale, with some mixed feelings. To complicate this biased stance twoards the first strictly heroine dedicated part even more, given how utmost thrilling the events as portrayed via the main course of chapter 2 have been up to the stage where I clearly headed off into the Tsubaki arc, I feared that things would drag on from that point and maybe worse crush the climax delicately produced so far. Gladly, most of my worries were scattered in the end. In fact the chapter dedicated to Tsubaki is in retrospect what I’d rate as the best sub-heroine (read: non-Haru) scenario maintaining an engaging atmosphere from the enthralling second main act it ties-in with up ’till the conclusion. Maou’s pull-back after the nightmare he’s caused to Tsubaki and her family came rather simplified and rushed for my taste taking the diligent staging of his plans from chapter 2 into consideration and while it really came down harsh ways on Tsubaki during the whole Hiroaki incident, which made me hope things wouldn’t come to a bad end after all, the whole “I’ll teach you to be human” Maou facet making Tsubaki to go postal somewhat could have been executed slightly more peaked than how it leaves off (yeah, I know this weird little sicko admits having hoped for another chance of Yanderekko through Tsubaki ^_^). But even despite the calm-down to complete pull-back of Maou about to interfere and crush Tsubaki’s haromy later on during this chapter, there’s much left to fill in the gaps there. Gone with Tsubaki through her literal hell after Maou’s onslaught on her family, the whole Miwa clan doesn’t realize nor know about the eviction plan (connected with his father’s work) that represented to Kyousuke the first and foremost important reason to get into closer contact with Tsubaki and her family in order to speed up things. This starting out aspect which has somewhat kept low profile during the heat of Maou’s first strike arise to severe importancy within the Tsubaki arc. The delicate and overall smooth transition done for this part of the scenario is what results into a quite amazing good experience when it comes to the sub-heroine portion of plot for G-Senjou no Maou. In fact, together with the respective main scenario chapter the Tsubaki arc emerges from showcased to me for the first time during G-Senjou no Maou the amazing skills scenario writer Ru-subo-I is capable of (if given prober time and space) and back when having completely crossed through the Tsubaki route (including the absolutely cruel “Bad End”) I thought to myself that if things would end at this point, I would not have been altogether much disappointed with this Soft at all. Gladly though the story doesn’t conclude that early on though ^_~

• Azai Kanon Chapter:
Kyousuke’s “cheerful” lively (partwise truely annoying would fit the description as far as I’m concerned as well) step sister to whom he actually isn’t related by blood (which she doesn’t know about) is also an uprising figure skating talent. In fact she’s got enough skills to be considered among this branch of sports as candidate for the upcoming winter Olympics. However the road to success also means lots of hard training to Kanon who’s childhood was all about figure skating enforced by her mother. When the qualify finals are about to commence, Maou shows up to initiate the next step on his devilish plan seemingly (at first) with famed figure skating ace Kanon as next target on his list.

The third act truely brought events within G-Senjou no Maou to a whole new stage on the excitement scale with the whole tag game staged by Maou moving even moreso into direct exchange of blows between the master of terror and his persecutor / vendetta Haru than it’s been the case back during the Hiroaki incident. Adorned with some quite memorable moments alongside the events (the way Haru initially approached Gonzou with was truely priceless ^_^) not only brought me to adore and respect ruling girl Haru and her intelligence with which she goes into combat even more than before, but furthermore this act within the bittersweet G-string symphony here partwise even raised the level of greatness as set via the events of the enganging previous chapter. Maou demonstrating that his plans are never rushed or sloppy worked out through the whole usage of Mephistopheles to distract “the mob” from his real intentions / target coevally showing his capabilities to manipulate people at his will yet also utlimately brought forth Gonzou having reached his position and reckoning amongst the Yakuza not merely through his rough looks. Therefore even despite the “subtle hinted” dislike of mine when it comes to Kanon among the cast (mainly because of her hyper-lively attitude..”Non-chan these, Non-chan that…”), I moved into her route expecting at least something of the likes as Ru-subo-I acchieved to create for Tsubaki earlier. This time around though I firstly had to understand what people were referring to with “weak sub-plots” in context with G-Senjou no Maou. Actually the focus spent on Kanon’s inner feeling lead early on to more tolerance towards this girl as dramatis personae during this particular part of the scenario while the Nagike moments Tsubaki’s story inherited to a healthy degree were not represented or at least these didn’t have such effect on me utlimately. While it was nice to see where the writer is heading with another family aspect been taken care of with Kanon’s arc, the execution of this scenario felt lacking the same well developed transition in comparison with the great chapter it moves on from. Once again Maou goes missing in action and Kanon and her difficult relationship with her mother takes the center stage of the story. However while there certainly *was* potential hidden within from that this sub-arc would have benefited as much to at least appear in similar fashion as the Tsubaki story (i.e. the relationship more precisely not truely existing family bound between Kyouske and Kanon been such an opportunity in my view), Kyousuke is actually kept low profile within this stage as well and pretty much *all* of the focus goes to his step sister, her rough time as child in training and the relationship with her mother. Well, at least from the “different family aspect portrayed through this chapter” perspective this scenario is saved from being bad, but in comparisson with the quite amazing handled previous such route and especially the goodness of chapter 3 iteself, I found that Kanon’s story had some flaws included that brought more or less grave inequality to the overall utmost enjoyable scenario so far and made it feel slightly disconnected at times. Not bad at all though with admitted some touching moments whereat  greatness of its own breaching out (i.e. the tournament final), but Kanon’s story ultimately just doesn’t hold a candle to the Tsubaki arc in my opinion.

• Shiratori Mizuha Chapter:
Through the fourth chapter among G-Senjou no Maou lastly the opportunity to delve deeper into the backstory and scenario of the school’s icey princess Shiratori Mizuha comes along. Seriously even after the tone-down of brilliancy during Kanon’s chapter, I had approached this particular sub-heroine plot by expecting something that would outmatch all of them so far. Reason for that mainly relating to my stance on the girl in focus in fact. From the very beginning of G-Senjou no Maou Shiratori Mizuha impressed with her indifferent strictly rejecting approach to Kyousuke in contrast to most other classmates and even on random attempts to befriend or exchange some words with her, Mizuha makes it plain to Kyousuke that such doesn’t belong to her interests. In fact also quite contrary to the others, Mizuha is arguable acting upfront honest with Kyousuke about her opinion when she confronts him by asking whether there’s anything else of importancy in his life than money. Short but absolutely accurate analysis of Kyousuke, at least during the earlier parts of G-Senjou no Maou, and with that almost aiming to lead to some interesting developments for her part of the road I thought back then, hence anticipating the spotlight handed over to this girl probably the most out of all the female sub-characters.

This time around though I should not only face the biggest leftdown G-Senjou no Maou carries along but moreso the Shiratori Mizuha chapter gave me vibes of being the flawed result of totally rushed writting. Things yet didn’t start out all that bad still back within the fourth chapter of the main act being anything else but setting a bad start for it at all. While not necessarily taking up directly where the big bang of Maou’s previous strike ended at the 3rd chapter, it goes on by shedding more light on the new girl in town that showed up during the last act: Tokida Yuki. While the revelation on regards of Yuki’s connection with Mizuha stroke me as a little bit unexpected to simple handled, the events to follow on from there where rather nice and clearly aimed to give Mizuha the much anticipated focus. In contrast to all of the chara sub-routes presented along G-Senjou no Maou so far, the method to sneak into the Mizuha chapter came up extremely quick and felt like giving the main grit followed so far a much too rushed and once again simplified end. From there on sadly anything else but improvement is showcased and in retrospect it not only hurts thinking about the wasted potential herein but moreso going through my feelings and impressions concerning this particular part among the scenario while trying to specify the up- and downsides included, brings me to much more of the later category than the former one. Firstly it frustrates me to no end how “off-character” (and that feeling given through the mere few times she appeared during the story’s previous chapters!) the portrayal and more importantly turnaround Mizuha takes on that soon within the chapter (heck, to me it seemed like Kyousuke just had to show her one particular thing *his fondness of classic music* in life aside of money being of equal importancy to make her loosen up her approach on the guy she treated with quite passionate coldness before). Once Mizuha takes that sweep she turns from Tsunderekko to absolutely lovestruck over Kyousuke and the reasoning which *should* provide an explanation for her acting up to this point was rather silly and made me scratch my head multiple times. And how about Maou you ask? Well, he is completely written out of Mizuha’s route and you’ll merely get to see in what form he’s got his fingers in this part of the pie through the Bad End of Mizuha’s chapter or by chosing on the *much* more recommended way of continuing straight with the fourth chapter instead of debarking into this weak story strand altogether. Maybe I make things here sound much worse than they actually are, because after I finished with this subplot and overcame the huge disappointing feel it left me with, I found that the scenario itself here would not necessarily be bad altoghether if it would have been part of a let’s say more typical love adventure than something as this “Human Drama” presented itself as thus far. Maybe the family aspect of Mizuha and Yuki made up for some minor flaws, but altogether this *is* a rushed (I do think this was one of the things Ru-subo-I didn’t manage to fully work out in the end…maybe due to the deadline constraints?) and almost fully improper stage within G-Senjou no Maou that it’s just not worthy to come along as part of the awe the main thing is. Ironically once finished with the Mizuha chapter and moving back and forth with the main plot instead, I though that I would be done with this character and that she’s been ruined for no good reason, but then the events as portrayed later on (actually, those simply bypassed by tracking off into the character path) in chapter 4 made totally up for the disappointment and to me saving grace from just writing off Mizuha as character. Because actually I felt that the main scenario of the fourth act provides a much better job for Mizuha character development than the chapter focusing on her.

• Usami Haru Chapter:
Lastly the next heroine chapter through which G-Senjou no Maou coevally heads into the grand conclusion goes to her highness Usami Haru. Even despite the rather botched chapter devoted on Mizuha, I entered this part of the story without any fears or doubts that it would end up being the same disappointment at all, because of a mere feel I had since her first appearance within the scenario that the outcome of once spotlight moved over to this girl is destined to be made of major awe. Of course that somewhat similar feeling I approached Mizuha’s center stage with didn’t help either, but the case of Haru is rather indifferent here with her having had much more apperance and focus througout the main strand of scenario so far already and each time she came into the play there’s been meticulously care and attention spent on her contribution to this. Hence that, as well as the fanboy’s raving over this girl among the cast, had me reassured not to give up on Ru-subo-I lastly bringing on something of the utmost memorable kind with her backstory right around the end.

So even though my confidence regarding this scenario writer’s skills has been put to the test last time around, the thrilling transition from the previous (fourth) chapter to this fifth and final one already made all the effort invested in order to cross through to this stage completely worth it. Events following through the Usami Haru chapter later on and continuing with the epilogue catapulted G-Senjou no Maou not only onto my overall favorite list when it comes to Bishoujo / Visual Novel ADVs, but more importantly the brilliant writing showcased herein made this AKABEiSOFT2 project outdo classics such as AIR when it comes to Nakige moments and atsmophere on quite some mileage and you may take into account this coming from a Key/Visual Art’s addict to whom G-Senjou no Maou represents the first encounter with an AKABEiSOFT2 title! I know it possibly is rather ironic given the spoilers contained within the above writing so far already, but seriously I do resile from including heavy spoilers at this part of the road because that is something I wholeheartly recommend each and everyone out there wanting to experience what the Softbrand and scenario writer in charge here were referring to with the “Human Drama ADV” categorization for G-Senjou no Maou to experience on their own! Admitted some of the revelations the fifth chapter finally brought up were not of the totally unprepaired or complicated sort (i.e. the ture identity of Maou in contrast to what has been hinted and forced to make one believe during previous parts of the scenario there), but on the other hand that’s not saying Ru-subo-I didn’t prepair some major surprises along the road leading to the conclusion and especially one of the later turningpoints (between ending and epilogue should give those having experienced G-Senjou no Maou the right hint as to what I’m referring here – now *that* was a slap in the face I thought!) makes up for those that seemed a bit too obvious at first. I also found myslef in disagree with those critisizing certain aspects of Haru’s backstory revelation been much too uninspired or also simplified to begin with, because the hints towards her connection with Kyousuke has been delicately handed out at rare moments alongside the previous four chapters already, therefore making total sense and came across touching as far as I’m concerened. Overall I must though agree with others that the true epic galore that G-Senjou no Maou inherits goes to the eccentric but oh-so-adoreable hero Usami Haru.

Much as stated prior to heading into this split-up of thoughts concerning the heroine specific scenario parts, I’m sure that my wording could possible not capture the essence of what makes G-Senjou no Maou such a wonderful “Human Drama”. However still hopefully I managed to provide some impressions concerning the scenario-wise up and downsides contained along the road. Sumarizing my feelings in this department I guess I made myself also clear in that this first encounter with Ru-subo-I created awe made me jump onto the bandwagon, because G-Senjou no Maou despite being not flawless altogehter is due to the highly enganging, worthwhile and wonderfully staged and good executed story flow definitely deserving all the hype, praise and awards given to it througout the last year. Another strength that may has not stuck out so much within the above cited impressions of mine being the characters themself. Not necessarily restricted to those among the cast that received coverage through a chapter devoted to them, but througout the extensive list of characters appearing and playing a more or less important role most of them were not given stereotype or clichéd portrayal instead even those of minor importancy for the main focus within G-Senjou no Maou received enough development and detailed facets to truely represent *supporting* characters. On a concluding note regarding the plot/scenario and its execution as featured for G-Senjou no Maou I must say that while this project truely shines in a lot of other aspects as well (which I’ll go into details later on), merely viewed from that perspective it fully lived up to my expectations and at certain parts definitely surpassed these by a margin. Seriously if I had gone for this wonderful title earlier I wouldn’t even had spent much consideration on what particular one to nominate for myself out of last year’s Bishoujo / Visual Novel AVG releases that have struck me in regards of outstanding scenario. Even though there’ve been plenty of good ones brought out in 2008 (ef – the latter tale. or 11eyes coming to mind in that category) AKABEiSOFT2 came up with a gem among the genre with G-Senjou no Maou. The only rant I’m left with goes to that I had partwise wished them to leave scenario writer Ru-subo-I a little more time in order to properly work out some of the rushed appearing few stages *cough* Mizuha’s story *cough* along the scenario, but the main course as well as the predominantly part of the sub-heroine and moreso heroine routes ended up to my utmost delight. Moreso by finally having cleared through G-Senjou no Maou made me realize (apparently less to my financial’s relieve though) that there’s now absolutely no more excuse left that would speak against Sharin no Kuni, Himawari no Shoujo as soon as within reach (but as noted before, I actually do have more goodness by this writer at hand that will keep me tied over ’till I find a good offer for the firstpress ltd. of that).

+ Graphics / Visuals:
Before heading on to this category of the write-up I must warn you that in case this hasn’t been apparent enough through previous blogging as conducted for N-Field before, that I do consider the artistical genius in charge here to inherit a top spot on my (admitted large) personal listing of favorite talent within Japan’s art scene. Therefore when it comes to ALPHa you should take into account that it’s almost impossible to yours truly to observe things with a clear and non-biased view, after all one of the deciding reasons that tempted me to go for G-Senjou no Maou in the first place related to ALPHa’s involvement. But even with  an unclouded approach I could imagine the result of her work on the art to be utmost pleasant. Seriously, ALPHa is an outstanding talent and the work done by her on the visual presentation for this project got me hooked and furthermore drooling througout the whole progress of clearing through G-Senjou no Maou with there been no single time or moment which I could think of disappointment in these fields at all. Actually if minori wouldn’t have altoghether gone beyond new realms of visual presentation as a whole through their last (and hopefully forthcoming) project, the effort AKABEiSOFT2 produced for this work of theirs would have also received the title of best visual experience brought out in 2008 in my humble but biased opinion. With there being so much wonderful as well as impressive stuff contained for this aspect of G-Senjou no Maou, it’s admitted not that easy to find a start and an end whereas to specify / name all the factors turning the visual, graphical presentation contained herein of such amazingly well status. ALPHa’s designs are quite gorgeous to begin with but I think she really has outdone herself this time around for the shining cast of G-Senjou no Maou. Naturaly I could continue with some more raving over Haru being what I quite frankly consider the essence of the artists style, given that a very distinctive element of that actually *is* (amongst others) the unique hair style and so it doesn’t require one to share a similar fetish than Eiichi to loose oneself just gazing at the beauty that is Usami Haru. But gladly the fascination of artistical quality showcased for G-Senjou no Maou doesn’t stop at this one winning heroine, but moreso the rest of the cast is crafted of and carries along similar droolworthy elements of that kind (let alone the fashion ALPHa spends much consideration on). While I can hear people sighing at my weird taste in men with the upcoming statement, I can’t help but feel ALPHa is capable to create some truely manly men with people like Azai Gonzou (okay sometimes he really has much of a gorilla like brutal aura that goes well with the characteristics, but that strong fearsome charisma made my legs turn to jelly on multiple occasions as well ^_^”). Another noteworthy ingredient speaking of designs comes up with the high amount of Tachi-e expressions contained within G-Senjou no Maou, these fitting each and every moment also giving some hilarious times during the not-so-serious parts (read: everyday school life) quite perfectly. Best example there (next to Haru’s wonderful expressions) being green-heared troll Eiichi who’s showing his nasty little scandalmonger face in all its disguisting facets to Kyousuke when he (Eiichi) thinks no-one would notice. On concerns towards Event CG admitted I thought to myself (without actually a good logical reason I may add here!) that in terms of sheer number there wouldn’t be all that much contained at first while going through the seven pages long by then still mostly empty gallery. However having accomplished to fully unlock and fill that part of the system up with all of them, there actually *are* about enough contained along the road. Numerative there is a total of 129 Event CG’s capturable while going through G-Senjou no Maou and if that’s still not a high enough number for one, it should be taken into consideration that many among these or actually the most are not simple one-shot art frames but portraying multiple events and actions which increases the total number quite a bit. In short the effort which ALPHa and noteworthy also the rest of the graphical staff at AKABEiSOFT2 (Asami Asami and credits also list Aotsuki Shinobu amongst the “Special thanks” category) invested on G-Senjou no Maou is visable from the very beginning ’till the end resulting in that this project not only is plot-wise a top-notch release but also representing toughest competition in these fields for getting a spot amongst most impressive Bishoujo Soft titles put out last year, hence here’s joining those fans claiming that also when it comes to the visual presentation G-Senjou no Maou is made of highest quality, I’d say the taken screencaps should showcase that well enough.

+ Music / CV:
Moving on to the next category of this review-intended write-up makes me commence things with about the same praising as done right before so it seems. Also when it comes to music G-Senjou no Maou sets itself apart by following a quite unique trail for that. AKABEiSOFT2 regular composer tiko-μ also returned for this major project by the Softbrand to craft and equip it with a memorable score. And that without being the original composer for the majority out of the music which the Soundtrack of G-Senjou no Maou consists of! Sounds strange but that just the way it is, because the BGM tiko-μ chose for this Soft does almost througoutly use classic music by J.S. Bach, Wagner, Schubert and so on as its basic melody. But anything else like lazy, each of the tracks undergone arrangement by tiko-μ and this musician knows how to handle his basics quite amazingly well. The result of a formula like that used for the score not only suits most of the situations played at quite smooth containing some truely atmospheric pieces, like the theme of Azai Gonzou which send shivers down my spine the first time this fearsome Yakuza entered the stage with his stomp-like theme introducing him, furthermore the concept behind quite brilliantly fits G-Senjou no Maou as I believe anything (read: original tracks) else could have. And how about those tracks which had no tiko-μ in charge? Well, these few would be the vocal songs contributed for this project namely the opening, insert and ending. Starting with the beginning one the theme “Answer” performed by fan-favorite vocalist Rekka Katakiri and featuring arrangement as well as composition by Junpei Fujita of Elements Garden fame. Honestly during the first demo and commercials for G-Senjou no Maou which used “Answer” as sort of pompous music to impress people, this song so totally failed on me. That even though I’m deeply addicted to Katakiri songs and loving Elements Garden arranged music as well. But once the song made its appearance within the Soft itself as closing and coevally change over to the second chapter, whatever was wrong with me there that lead to my initial dislike of “Answer” got cured in an instant. Even more drastic I must now note that it represents one of the most persuasive reasons that will bring me to pick up the newly released Soundtrack for G-Senjou no Maou. The whole atmosphere captured through “Answer” makes it such a ruling piece among Katakiri sung goodness (that said, I read she performed it at a Live last winter so I really hope moreso than already before we’re going to get some recording of that presented pretty soon p~lease!). Next the Insert “Yuki no Hane Toki no Kaze” by rightfully beloved Sound label Barbarian On The Groove feat. Chata (lastly known through CLANNAD). This been an instant catchy and equally atmospheric song there, but BotG is always standing for great sounds as far as I’m concerend. For the final outro theme to G-Senjou no Maou AKABEiSOFT2 managed to get themself a third party known amongst the scene quite well to contribute here. “Close Your Eyes” a song which has performance by Ayane (oh-so-many themes, the last one I still have up my sleeves being “Lunatic Tears” for Lass’ 11eyes) and got Toshimichi Isoe of ZIZZ STUDIO (known to Nitro+ fans) as arranger while Chiyomaru Shikura (5pb.) was in charge of lyrics and composition. I found that theme to be a rather sad ballad on stand alone listening already, but if you have gone through G-Senjou no Maou and *then* go back listening to “Close Your Eyes” again, it’s recommended to prepair some tissues as there’s no way around this will bring up memories of the moment it’s been used for. So with a score of the grand likes as AKABEiSOFT2 composer tiko-μ pulled-off here also the few vocal pieces that were not coming from him had talents en masse behind them which guaranteed not to stand behind the high quality of the main score at all.
As usual and actually noted within the header to this part of the write-up also some words concerning the voice talents shall not go missing either. Even though this makes me sound like a broken record on repeat loop AKABEiSOFT2 definitely made all in all the most fitting choices for the Seiyuu lending their voices to the characters of G-Senjou no Maou. Biggest plus in my book, which made silly me actually aware of this high-profile talent in the first place, goes to Kawashima Rino as Haru. Of course most attention gone towards the fact that Maou’s voice is handled by Houdentei Rappa which marks the latest “in disguise” Eroge acting for Jun Fukuyama (Lelouch – btw. for those interested *informative tidbit No. 3 I guess ^_~* G-Senjou no Maou marks the second time Fukuyama took on this pen name having worked on several other projects under different names..including BL titles like Togainu no Chi) and the mention and praising of it certainly is justified for a damn good reason as he does a great job for Maou. But as overall most outstanding performance to me it all comes down again to the irresistible charm eminating from Usami Haru (Kawashima Rino). Through that of course I don’t intend to say the rest among the cast would not be memorable though! While not altogether stricking me on same outstanding scales as Haru, I’d say that quite the contrary to be precise is the case here with the mere exception in terms of voices which partwise has gone on my nerves was Kanon and that aspect of hers ultimately didn’t help much to my liking for this girl out of the cast. Yet it felt somewhat suiting her Genki attitude rather well and lastly once I had to stick around with her during the chara route in chapter 2 I’ve gotten used to it. That aside and back to repeat praising mode in all aspects of audio presentation, G-Senjou no Maou keeps up the high quality formula as visable and conducted on other fields already here as well.

+ Ero Content:
Okay maybe by reaching *this* part of today’s write-up, lastly some not througout ravings comments are to follow. Details first though, we’ve got a normal share as well as usage of adultish situations between Kyousuke and the girls of the G-string drama here, which more precisely means along each heroines’ chapter there were two “normal” sexual encounters contained (as reward I’m tempted to add here) as well as one H scene which mostly were reserved to the Bad End road within the girls’ chapters. Mere exception to that rule, which somewhat can be considered the first rant in this department, is that Haru has been “put off” with only two Ero scenes in contrast to the other heroines. Of course there’s the argument that in case of Bishoujo Soft out of the league where G-Senjou no Maou plays at, this element shouldn’t be spent too much importancy but if that’s the truth AKABEiSOFT2 could have made this all-ages suitable to begin with I’d say. And the scenes themself are far from really bad or cheesy, but at the same time I must refrain from calling them to be made of the same indifferent and therefore mighty fine partwise unique waters as executed for G-Senjou no Maou in so many other aspects that far. I mean, here they’ve  (AKABEiSOFT2) got ALPHa who’s considered by many *myself included* the queen among Ero Doujins and showcased how outstanding such could be produced lastly through her famed Expert series and on the other hand there’s a scenario writer in charge who truely knows his job like few others out there, yet the Ero content within G-Senjou no Maou mostly ended up on so quite commonly done ways that it just didn’t strike me with the same vibes of love invested as on other parts of its scenario…some of them really felt more like they’re included for the sake of it rather than been granted importancy to the relationship development. The scenes themself while artistically top-notch hotness as only ALPHa could produce, most of the times just didn’t contain that certain whimsical special grab which would make them really sticking out as exceptional or memorable there (so as far as what concerns my personal ’08 ranking in these fields, the utmost enjoyable remains to be Studio Ryokucha’s magic a ride). To be fair and as noted before, the special attributes I found G-Senjou no Maou to miss out in terms of Ero scenes does not fully apply to all of them and at their base they are *all* okay but just nothing of the special / outstanding sort I would have hoped this Soft to also reach out in these regards as well. There were several contained which turned out as neat experiences of these fields (yeah, again the glory goes to Haru here ^_~). Furthermore the noted lack of originality for that section at parts, definitely is made up through ALPHa top-notch and hot artistical presentation executed.

+ System:
For the System neither cost nor effort were spared by AKABEiSOFT2. Aside of basic functions you’d expect a Visual Novel Soft to come along with the whole preparation of such essential functions was done through quite some attention and love spend on details. Little but fine extras I’m talking about here for example being the neat violin icon instead of sticking to a normal one or one of the most impressive features in these terms being the method the main menu alters alongside your progress taken by crossing through G-Senjou no Maou. Starting out with a silent background cello tune at the very beginning and bit by bit and chapter by chapter more instrumental tunes are added to the menu up until the conclusion / completion of G-Senjou no Maou where alongside the “advanced” image for the menu screen itself, a fully fledged “G-Senjou no Aria” by Bach resounds and hits one in all its beauty (yeah, call me philistine but it lastly were due to G-Senjou no Maou and its beautiful usage of it as score that turned me into appreciating classical music much more then before). Honestly, *that* extra acchieved to send shivers down my spine when I was returned to the main menu after the affect and impact of the grand final still sat pretty deep on me! Besides these additional features AKABEiSOFT2 equipped G-Senjou no Maou with, there’s much as noted all elements represented which one would need and expect from a release of its kind, therefore I can’t name anything which I found lacking or went missing altogehter in this category. While the “Extras” menu point is available from the very start on, the sections contained within as well as their content is still locked or naturally incomplete (CG gallery for example). Upon completion that of course changes with the “Sound Mode” unlocked that contains the complete score of 67 tracks in total including short version of the theme “Answer” plus apparently full version of the Insert and “Close Your Eyes“. Quite an extensive Soundtrack available there but still the record of most tracks within a score for a Bishoujo ADV has been set by AKABEiSOFT2 much later through their W.L.O. Sekai Renai Kikou. Other features at the “Extras” include the obligatory “Cg Mode”, “Event Mode” that of course referring to the H scenes replay and another quite handy for replay and therefore much appreciated extra comes up with the unlockable “Chapter Jump” which enables one to directly start at the stage the scenario could be followed into the heroine routes / sub-chapters along the main arc. Hence also a mighty fine job AKABEiSOFT2 did for this cateogry of G-Senjou no Maou.

+ Packaging:
Shokai Chou Juuryou Tokutenban or First press super heavyweight special edition. Never before was a labeling for an edition so telling the truth as in case of G-Senjou no Maou. A packaging that was announced by shops to come with a bonus art collection of Comiket catalogue-esque dimensions that would result to make it weight approx. 1.8 kg this firstpress definitely represents the most goodie-laden release among my collection. First of all the Sharin no Kuni, Himawari no Shoujo / Sharin no Kuni, Yuukyuu no Shounen / Sono Yokogao wo Mitsumete Shimau ~ A profile Kanzen-ban Gengashuu consisting of 514 pages therefore almost in size as the print version of a Comiket catalogue and brimfull of Genga for all three AKABEiSOFT2 (Ru-subo-I) projects ranging from Event CG line art to line and rough art for promotion usage (poster art, cover art, etc.) and that being a bonus the fan can’t help but take a deep bow before this Softbrand for ideas like that. Alongside other stuff such as a G-Senjou no Maou calendar (which I didn’t take pictures of I just realized while writing this ^_^) there’s on top of it shop and pre-order campaign goods that were added here as well. As for the shop exclusive side of things, it naturally depends on where you’ve placed an order for this title but personally I was utmost pleased with the Getchu Telecard (since Yuki didn’t get *such* attention anyways the Telecard art is a quite lovely extra in my view) and Tsubaki Clearfile as taken photos of. The pre-order campaign comprised a booklet of the same concept as AKABEiSOFT2 carried on and already conducted for previous/follow-up projects which means a G-Senjou no Maou Ero Ero Sousasshi (booklet) is among this kind of goodies. Consisting of roughly 18 full color pages with the settings and posing contained truely making up for some of the not so througoutly hooking adult aspect of the Soft itself. Starting with four pages which features suggestive to clearly Ero labeled G-Senjou no Maou illustrated goodnes contributed by head artist ALPHa herself (that said, I really wish she would present us addicts with a similar awesome G-Senjou no Maou ALPHa to Yukaina Nakamatchi publication like recently done for W.L.O.) from which also the NSFW content sample shot of maid Haru originates from. Follow-up illustrations for this Ero Ero Sousasshi were done by fellow AKABEiSOFT2 colorists and talents also having worked on the graphical presentation for the Soft like Asami Asami’s (lastly raised to co-artist status through the W.L.O. project) take on Kanon or the lovely adultish Yuki illustration by Ekisupaato / Expert (known to fellow ALPHa addicts through “in-house” joint Doujin releases). Starting from page twelve onwards, the remaining part of this pre-order campaign booklet contains guest art with contributors among the line-up once again directly catering to the art freaks. Let me provide you with a short kept overview of this exceptional and lovely guest list:
- Tsubaki by Odawara Hakone (Concerto Note)
- Haru by Cle Masahiro
- Kanon by CyoCyo
- Mizuha (mhmm..carrots) by Tomose Shunsaku (Akatsuki no Goei)
- Mizuha by Nanami Ayane
- Tsubaki by Naruse Mamoru
- Haru by Hagure Yu-ki (lastly known through the upcoming debut project by AKABEiSOFT2 Sisterbrand WHEEL’s  Dai Uchuu no Hokori)
As probably can bee gathered from this listing, most of them have or had some sort of connection with the Softbrand in charge. Through and through each contained contribution ties-in with the eyecandy the main staff members of ALPHa and company (pun somewhat intended btw. ^_~) delivered for the beginning of this pre-order campaign goodie. My favorite amongst the guest art being Shunsaku Tomose’s lovely ecchi Mizuha artwork, while the take on Haru by Hagure Yu-ki as well as Cle Masahiro reach in very close there, than though I must say that I’m very fond of Odawara’s Tsubaki rendition of Tsubaki here as well. But before l lose the plot, what I’m trying to express is that this additional external bonus addded nicely rounds up the already high dosage of art galore AKABEiSOFT2 granted us fans via the thick Genga collection for the firstpress edition. As if this wouldn’t be already enough to satisfy yours truly, some more pieces of extras like the trial disc labeled as “AKABEiSOFT2 and Sister Brands trial” plus the in context totally unrelated Tayutama (Lump of Sugar) trial were thrown into the pack as well. Therefore this section of the write-up ended up just as unusual extensive as the load of goods AKABEiSOFT2 adorend this initial edition of G-Senjou no Maou with. Kudos to them for conducting so much awe also on this aspect of the release.

+ Overall Impression:
Since completing this entry took already longer than initially expected, keeping this part short should be fine, I voiced my impressions and feelings this Soft left on me already on countless occassions along the write-up anyways. Admitted, I’m pretty much aware of “sometimes” falling victim to much praising and/or biased writting when it comes to thoughts and impressions entries for this blog of mine and therefore most likely some of you will allege this write-up of not being construeded much different either. But frankly, even if you normally don’t give a fart on my opinion, there’s no way around to look at things this way: G-Senjou no Maou is an essential experience for everyone out there seeking a great to partwise amazing while not througoutly tight written and moreso set into motion journey and therefore it’s to be noted that this truely comes down to a highly emotional Human Drama of the extraordinary kind. Therefore the mere only desire G-Senjou no Maou leaves off with goes towards wish that Ru-subo-I / AKABEiSOFT2 will bless us with a Fandisc (instead of continuing on the Drama CD releases…) in near future.