Yeah. I have that problem of reading Mirai Nikki as Yume Nikki instead. Remember that article on this site (if you’ve actually been a long time reader, thanks.) that was about Yume Nikki? That was thanks to kodakami hanging with me at my house; we stayed awake at 4am theorycrafting about Madotsuki’s journey through that twisted dream world. But no, I won’t turn this entry into something about that.
It’s been a long time coming, but it’s now here. And boy am I ready for the rest of Mirai Nikki. As said in a previous post, Mirai Nikki is something I’ve been waiting for. I had read the manga a long time ago, and assumed it was going to be turned into an anime. The format just seemed prime for an adaptation, and look what I get several years later. In fact, I’ve never noticed it until recently that the manga I really end up liking get adapted. Is this a hindsight type of reaction? Maybe. But it further cements the idea that I at least certainly prefer animation.
This is an article written in the hope that it may bring new light to a question everyone is asking about Yume Nikki, the eerie-yet-endearing Japanese RPG Maker game.
“What is Yume Nikki trying to tell us?”
Our All-encompassing Theory Explained
To begin, a few important things should be addressed: 1) This series obviously contains major spoilers about the plot of Yume Nikki. It is best to finish the game completely before reading this, or to watch one of the many walk-throughs available on YouTube or NicoNico Douga. 2) Since the true nature of the game can only be speculated upon, this has been titled as a theory, rather than an explanation. These ideas are merely the observations and connections made by the staff here at maserbeam dot com and should only be taken as such, regardless of how chillingly-correct and insightful they may be. 3) If you subscribe to the theory that the game is just weird for the sake of weirditude, then you have no imagination and should not be playing Yume Nikki.
This category of games is rather filled to the brim if you know where to look. Many of these games are just like Yume Nikki, where an easy and simple platform of content generation is the main drive behind it. Yume Nikki was made with RPGMaker. It didn’t even use most of the functions that RPGMaker is for. Yume Nikki is mostly ignoring the functionality of the software it was made on, bearing no resemblance to an RPG. But the more interesting aspect of these types of games is that they are made by a very small group, if not a single person. One example today is Eskil Steenburg, the creator and sole person working on Love. Doesn’t need massive amounts of people behind it; talking to gamers about this concept would be preaching to the choir. All modern day gamers that grew up on the 8-bit era would like to think that a game only needs to be fun.
The way I use experimental might be a misnomer. But I’ll be damned if the games I mention here didn’t correctly execute some strange aspect or function that is either still not working in other games, or no one really hasn’t done it in the same scope. Here’s an old one for you all. Wait for it.
Montreuis isn’t a word. When you make post titles that have no absolute relevancy to the post, it bodes ill omen!
This podcast is brought to you by electricity and wires. Thank you workers of the past world – we can tell someone across the planet that I ate butter. But what probably concerns you, is listening to us while we talk about the CES 2010 event we never attended.
CES 2010, tablet PCs, Google, Nexus One, 3D TVs, Durarara!!, Omamori Himari, Sora no Woto, K-On!, Darksiders (not really), Bamboo Blade and more stuff make the target list.
Madotsuki (pictured to the right) is in a rather bad situation. Very bad.
No, she’s not surrounded by aliens. She’s not pitted in a deathmatch against 12 other opponents. Nor any other modern mainstream video game template of ‘main character in a strange predicament’. It’s a very real danger that potentially exists within our real lives. Madotsuki is stuck at the top of a high rise apartment. Stuck may – and probably is – subjective to us because trying to proceed through the front door gives us only one reaction: Madotsuki absolutely refuses to go outside.
The plain room. A scarce balcony. An old television. A very minimal room. The most that the standard city civilian can associate with are her filled bookshelves, a bed, a desk, and a diary. Items that most of us can imagine that might belong to a young woman. All you can do, and thus she as well, is heavily restricted to the aforementioned items. And it’s the bed where it all begins.