Almost amusing is a character’s suggestion of watching the OVA for context these shinobi certainly know how to shill. Be warned that Estival Versus makes little effort to bring newcomers up to speed, with academy allegiances and backstory often going unexplained. Naturally, these puckish qualities seep into gameplay, tempting gamers with the prospect of a panty-eating competition. Instead, the title works best when it’s mischievous, playing to each girl’s personality- whether it’s Ryōna’s blend of exhibitionism and masochistic tendencies or Murakumo’s insistence of wearing on oni mask to hide her insecurities. It’s a stimulating concept and one that certainly deserves exploration, but one that largely squandered here. An animated cinematic sets up Estival Versus, discussing the discontent of a shinobi in the afterworld.
Less effective is the game’s longing to combine an emotive story with impish cavorting. Sure, some might argue that Senran Karuga is the epitome of objectification, but the divergence from traditional harem fantasy gives the property a transgressive twist. The realm’s leaders are elder women, almost everyone is an independent, capable fighter without need for macho protector, and when the shinobi do flirt with the prospect of sensuality, it’s strictly yuri-driven. Step into the title’s main campaign, entitled the Kagura Millennium Festival, and you’ll find a world that’s completely devoid of men. But here’s the thing- it’s hard to find fault in Estival Versus’ approach. Such a fetishism of the female form should probably send sensitive social-justice warrior types into seizures. Both body parts demonstrate developer Tamsoft’s mastery of physics as the game’s cast of nudist ninjas pull a scroll from between one of their nether-regions. Butt cheeks bounce hypnotically, as the game’s camera lithely coils around for a playful peek. Breasts bounce pendulously, whether confined in clothing or are almost completely uncovered. Load up Senran Kagura Estival Versus, the franchise’s latest entry, and you can’t help but notice a persistent parade of jiggle.
Indisputably, Senran Kagura creator and producer Kenichiro Takaki adapts a similar approach.
No matter how bad the plot is, our eyes are continually transfixed by the unremitting on-screen activity. Bay is known for dynamic shots that keep the camera constantly moving. But there’s no debating the director’s talent for visual sophistication. Critics assail Michael Bay’s films for their daft dialog and preference for bombastic special effects over subtle storytelling.
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