Game Market 1983
Chapter 196: Shining Star

Special Feature: Director Kang Junhyuk, the Gift of the Gods. Who is he?

Author: Ishimoto Junpei

Before delving into the story of the Gift of the Gods, I, the author, would like to touch upon a small incident that took place in the spring of 1987.

Any gamer who enjoyed family games at that time would likely recall one game that circulated among users like an urban legend.

Yes, it was none other than Dragon Emblem.

If you were asked to name two major RPG games representing Japan today, most would mention Dragon Warrior and Final Frontier. However, if asked to name a third defining title, I would confidently choose Dragon Emblem.

Certainly, Dragon Emblem, being unconventional in the RPG genre, might divide opinions. Nevertheless, this game, by its mere existence, made a significant contribution to the current gaming market.

Compared to the five or six installments of Dragon Warrior or Final Frontier series, Dragon Emblem, excluding remake works, has only two titles. Yet, that alone assures an entirely different gaming experience from traditional games.

For those fervent fans of Pentagon games reading this, diving into detailed explanations about Dragon Emblem here might become mundane. Hence, let's set aside the discussion about Dragon Emblem at this point. (In truth, I could easily extract more than five pages just from a single Dragon Emblem column, but criticism from readers who bought this magazine to learn about the Gift of the Gods would be imminent. As an author, I do have that much awareness.)

However, the truth is that Director Kang Junhyuk's substantial impact on the gaming industry wasn't solely due to the 'Dragon Emblem' series.

Readers viewing this piece would likely have instantly caught on, realizing that the current Director Kang Junhyuk and the masterpiece that led Pentagon Soft to the pinnacle of game production was none other than 'Streets Without Me.'

Truly, this work that garnered every single superlative imaginable caused an enormous sensation, resonating even with those who had no knowledge about games, solely based on its story.

This work, successful not only as a game but also spawning an OVA, achieved significant success in animation due to its inclusion of unprecedented, remarkable systems in gaming history.

Intentionally shattering game graphics, unique sales methods by separately marketing the same game for different heroines, and a tragically unprecedented story progression, unlike what one would commonly replace in movies or dramas, caused considerable ripples in society. This game became a title etched forever in the hearts of not just gamers but the entire nation.

Here, both Dragon Emblem and Streets Without Me share a commonality.

Some readers may be scratching their heads wondering what common ground two seemingly unrelated genres could have. However, these works undeniably bear a resemblance.

That commonality lies in the fact that both were games created by Director Kang Junhyuk without revealing his identity until it was revealed that these two works were actually his.

Until the realization that he created these two works dawned upon us, all we knew of Kang Junhyuk's creations was solely 'Psych Battle.'

Emerging like a comet during the twilight of the family era, Psych Battle was a work that, with its phenomenal bullet choreography surpassing the system specifications of that time, introduced the concept of 'sexy' into games for the first time.

This work evolved into an arcade game titled 'Psych Force' later and continues to nurture numerous battle teams even today. As a director, Kang Junhyuk's skill is undoubtedly an icon of trust.

Moreover, leveraging his experience as the head of the Super Family's development team, 'Laon,' created by him, became a portable gaming console boasting the highest performance of this era.

Amidst the ascendance of next-gen consoles like NEGA Saturn and Gear Station, Laon silently maintained its position as a portable device.

At last year's CES, Director Kang Junhyuk hinted at entering the next-gen console war by announcing the 'Complete Laon' project, incorporating new versions of Dragon Emblem and Streets Without Me with full voice support.

While some gamers expressed concern about announcing a new console shortly after the release of Laon, Kang Junhyuk, now holding a position in Pentagon Soft, confidently reassured users that there would be no disappointment regarding their concerns.

"Even with the next-gen consoles, Laon will fulfill its role as the ultimate portable device. The 'Co-op' mode showcased in games like SPAR 2, Shin Sword Legend, and Dragon Emblem, crossing time and place, holds an alluring aspect that cannot be displayed on consoles. Therefore, it should never be overlooked."

This was Kang Junhyuk's response during an interview directly addressing Laon.

As a professional director, he was already aware of the concerns users held. Even with the release of next-gen consoles, one might anticipate Laon maintaining its position as the top-tier portable device.

Additionally, according to Director Kang Junhyuk, having both the next-gen console and portable Laon simultaneously would bring about a 'synchronization effect.' This aspect alone raises considerable expectations.

Well then, let's conclude this lengthy prelude and delve into a comprehensive review of the 'Gift of the Gods.'

To briefly share my impressions of the Gift of the Gods, this game presented the most beautiful prologue in gaming history.

Even someone like myself, not well-versed in classics, ended up purchasing Chopin's Nocturne from a nearby record store right after playing. How could one resist?

The Gift of the Gods expanded the players' realm of knowledge by briefly showcasing classical music and the life of a pianist, revealing another potential aspect of gaming.

Could it be because of the recent success of the Gift of the Gods? I couldn't help but chuckle upon hearing news of shortages of classical music records featured in the game at record stores.

The game has come so close to the masses, shedding its former self where missiles were the go-to solution with those cute sound effects. As a "game specialist" journalist, it's quite a prideful thing to witness.

The Gift of the Gods isn't just about the protagonist but also about four heroines, each handling different instruments as professional musicians. They engage in various collaborations with the protagonist, affecting their likability. The unique aspect is how these collaborations lead to branching scenarios.

However, as the upcoming content contains spoilers, it's advisable for those who wish to experience the story firsthand without prior knowledge to clear the game first and then read this.

Even I, before the game's release, merely glimpsed at the provided illustrations of the heroines and thought of something along the lines of "The Street Without Me" or "Exciting Memories."

But... after experiencing two endings before composing this review, my honest impression of this game is that it's closer to a thriller.

Especially the betrayal of the one who topped the pre-release popularity polls still sends shivers down my spine.

Can loving someone really make a person so cruel?

As the game delves deeper into its latter parts, it almost feels like a movie playing in my head. It reminded me of the insane woman depicted in the novel "Miseri," who imprisoned a novelist in her home, forcing them to write.

The protagonist's life shattered by one person's madness.

It all began with intermittent, unidentified sound effects heard throughout the game.

Since the release of The Gift of the Gods, the buzz in the online community about this sound was something I couldn't perceive during my initial playthrough. But on my second try, it became distinct. And now, as I progress through the third story, the sound resonates even clearer.

The chilling sensation I felt upon realizing the meaning behind that sound made me involuntarily clutch my controller and shiver.

"The culprit is Yukinojo Kaori."

As the protagonist plays their instrument, the flow of memories felt like they all pointed accusingly at her, the mastermind behind everything.

Each time, I found myself shaking my head, repeating, "No, it can't be, it shouldn't be." But...

With each additional recollection event, my profound trust in her shattered into pieces.

I wished someone would tell me it's not true. Even after the third playthrough - one year repeating three cycles - every event related to Yukinojo Kaori in The Gift of the Gods links her to the culprit.

"Split personality."

No, would it be more apt to say she has multiple personalities?

The only solace is when I asked Director Kang Junhyuk directly if she was the culprit. He just gave a gentle smile, saying that if I manage to achieve an S-rank in every performance, I'd uncover the secret collaboration enabling me to play. (Honestly, upon hearing his response, I wanted to throw my controller at his face and tell him to try it himself.)

Unfortunately, among the strategy guides available, there's no one who has cleared every performance with an S-rank.

If any reader who comes across this has achieved S-rank in all performances, please contact the editorial department of the strategy guide immediately.

And please, say just one thing to me...

"That Yukinojo Kaori isn't the culprit..."

&

"How was it? Fun?"

I waited for Mayumi at the nearby café until her shift ended, handing back the magazine Nakamura gave me.

"Seems like the person who wrote this review is quite a fan of Kaori."

"Of course. She's a big topic in the online community... 'Don't be fooled, it's that X-year-old.' Something like that."

I responded to Nakamura's words with a chuckle.

"Don't worry. It's not her."

"Huh...? What do you mean?"

"I mean, she's not the culprit."

"How can you be so sure?"

"Well, I've cleared it with an S-rank."

>

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