Go on, escape.
I’ll devour you. So go faster.
Otherwise, you’ll be consumed. Everything that belongs to you will.
What you hoped for; your desires; your future; your existence; your dreams – all of it.
It’s a regular old day for our hero, Konno. Once he finishes up with work he stops at the usual supermarket; greets his family on returning home, and heads to bed. He has a most pleasant dream… Although, something seems off. An unusual feeling envelops his subconscious. Once Konno rouses, to his surprise he isn’t in own his bed after all. His mattress has become the rough, dirty ground – his duvet the crisp, uninviting air. Surrounded by black body bags, once he takes his surroundings into account he notices that he has unexpectedly found himself in the long since abandoned theme park known as Kumazawa Family Land. Had he even made it home in the first place?
In a peculiar space devoid of any laws or morals, Konno and 45 others like himself lose consciousness and are transported to this sinister place. The reason? Each of them has an equal chance at obtaining fifty million yen. No fancy collars are used to keep them in check, for this game exposes a more raw and feral side where anything goes. It’s do or die time, and to get through this working alone simply won’t cut it. In order to survive, he has no other choice but to partner up with someone – or, at least that’s would should have happened. If it was any other day perhaps, but fate is a harsh mistress for in this world, Konno is very much alone.
Our first glimpse of this hollow world has a group of people standing in a circle, staring at ‘something’ lying in its center. A red colour spreads out from underneath that ‘something’, while a bear dances. From the expression clouding their features, one would assume that they were attending a funeral. Nobody moves. Someone’s time stops, while the bear continues to dance. Reality takes hold, and Konno is rudely awakened from this eerily still dream by people kicking the proverbial shit out of him. In CAGE -OPEN-, our hero had Nitta rousing him from his sleep followed by the two exchanging stunted remarks. They were in on it together, each as bewildered as the other. But Konno’s company this time around aren’t as forthright as Nitta was about not knowing a thing. They screech at Konno, aggressively asking who the hell he is before attempting to mug him. Fearing for his life, Konno thinks he has been abducted and makes his escape.
Coming across a building, he gratefully attempts to enter in a bid to flee from his supposed abductors – until Kibatarou emerges, armed with a machine gun. At this strange sight Konno is unable to reply to anything the yellow bear asks him, so it whisks him away, gun pressed to his unsuspecting back. While Konno may have escaped the thugs, who he meets next will eventually make him wish otherwise. Saiki and Ishimatsu make their ominous entrances and Konno is told (by name, no less) never to approach that place again. To get their point across, Ishimatsu fires up the network of security cameras which had been installed to observe the game’s participants and focuses in on a place that Konno is all too familiar with: his home. As his younger sister fills the screen, a voice floats into Konno’s head telling him that if he can’t adhere to the promise, someone else will have to pay the price. But, what promise? What price? Konno doesn’t really take notice of what he’s saying as the blood rushes to his head. The warning given, Konno comes across a scene out of hell. People stand in a circle, staring at ‘something’ within its center. A red colour spreads out from underneath a ‘corpse’, while a bear dances. He catches sight of each person’s expression, one by one. Kansas is a long way off, sweetheart, and his ruby slippers won’t do the trick. The only colour given to them from here on out will be from blood.
Konno takes matters into his own shaking hands. He gets in contact with the police, trying to sort this bizarre mess out. Trusting them wholeheartedly, he has no choice to unlike OPEN where he had allies to open up to about what the hell they had been thrown into from the very beginning. Thoughts of his family being harmed are all that fills his head the previous night where Saiki’s childish voice gives the rules over the intercom. The police don’t take him as seriously as they should, his puzzled family putting it all down to booze. He has to be tired. Maybe stressed. But Konno swears blind that there are cameras atop of the telephone pole, going so far as to detail everything which happened to him that fateful night before. Later on, Konno wakes up in Kumazawa, and once his eyes open his world is never the same again. Saiki and Ishimatsu know. Oh boy, do they know and to prove it, they drag the policeman Konno had been speaking to earlier and execute him without batting a single eyelid, without a single breath hitching. They mightn’t harm Konno, but it’s only fair that they get rid of everyone else who bore witness to his outlandish tale in the same fashion, right? Unless, of course, there’s something else Konno can do instead…
In case you missed the memo, this is related to LOVE&DESTROY’s CAGE – OPEN – (now to be referred to as OPEN). However, CAGE – CLOSE – (now to be referred to as CLOSE) is not so much a sequel as it is an alternate view at events with an emphasis on those pulling the strings behind the whole sordid affair down in Kumazawa Family Land. While OPEN focused on the participants and let little slip as to what was truly happening, here all the questions which were hanging over the reader’s head are finally answered. An alternate look at things this may be, it’s intended to be read after OPEN and for good reason. What happens just wouldn’t have the same effect otherwise. Like, where our protagonist is concerned.
In CAGE’s first half, Konno was introduced as being a fairly normal guy. He was wary given the circumstances, got a little dirty when he had to, but still managed to retain his optimism. We had a pretty good idea of who he was, and that was something which shouldn’t have changed here – right? The thing about OPEN is that his character was never fully explored, and considering the narrative that was perfectly fine. It was more about the overarching mystery of what was happening to the participants, and the reasoning behind them. The emphasis protagonist-wise simply wasn’t there and was never meant to be. For what he was, Konno’s character was enough. But CLOSE is a different ballgame altogether with him undergoing drastic changes – changes that quite often, we can grimly agree are for the worst.
This time around, he has quite literally no one that he’s able to rely on and this makes everything seem a little more dangerous, a little more unwelcoming than before. His being alone isn’t just something that niggles at his psyche: it’s something that he is acutely aware of no matter the circumstance. People may offer him seemingly kind words, but they make him think twice, for listening to them once brought the guillotine to rise ever so delicately over his family’s head. Due to a careless action, our hero must face becoming a criminal – despite said action having the best and warmest of intentions at heart. Will Konno be able to protect his family? Could the guy we saw in OPEN really become a fully-fledged murderer? There’s no one for him to turn to, nothing to face save for a dinner long since gone cold laid out by his sister. As he eats such meals, he has to face the reality of his situation – how will he be able to kill someone? Not even the reader knows.
This game the characters are involved in is an adult’s thing. Real grown-up stuff with the most dangerous of toys involved. But in this barbed playpen, Konno encounters a child with eyes more severe than simper-inducing. The little brat’s name is Saiki, and he has more to do with Kumazawa than what would one would initially imagine. A brat, though? In a place like that…? Not that anyone would further question it upon meeting him for Saiki is able to carry himself a certain way. He comes off more adult than child with sharp suits and a constant slur of abuse lacking an intonation that one would expect of his age. He’s all logical, far beyond his years. In OPEN one of our previous heroes even manages to peel his nails off, and he just takes it whereas people twice, thrice his age would howl in agony.
But unlike all those who respect and see Saiki as an equal, to Konno he is more like a demon having risen from hell. He lacks sympathy, and forever holds the sort of expression that seems to be sneering at people, the kind that tramples on humanity as a whole. He may brashly stamp about, sure, but his footsteps are light. He gives vicious orders to off someone, in a voice that has not yet broken. All these inconsistencies continue to pile up, making Konno wonder about what must have happened to him.
Looming over our hero like a final boss all bleached hair paired with a perpetual grimace is Ishiamtsu. Wherever Saiki is to be found Ishimatsu isn’t far, for he’s his right hand man – to put it nicely. What he really does is carry out all his dirty work, giving monosyllabic, cold answers all the while with his trusty katana resting on his hip. But he does despite what his gruff appearance may otherwise indicate, take his job seriously. This half French bodyguard carries each task that’s been set of him out with military-like precision no matter who his mark has the misfortune of being. Perhaps, he’s able to do that because he’s so disconnected. Ishimatsu holds a pragmatic approach towards his line of work – it’s something that just has to be done. “Work is work”, he answers when Konno asks him if killing is tough.
Despite being a man of few words, he is deeper than he looks. One might have trouble understanding him… Konno quietly thinks, with fascinating contrasts defining their relationship. In a way, they are too similar.
Saiki and Ishimatsu are mysterious in their own ways, but the one who poses the most questions is Maki. A smooth fellow with the scent of costly aftershave and tobacco wafting from him, he speaks like he knows more than what he nonchalantly lets on. Stranger still is that he doesn’t seem to be part of the shadowy management running the whole show down at Kumazawa, despite donning a suit and showing up wherever and whenever he pleases. He’s a wild one, that’s for sure and it frustrates Konno not knowing which side of the fence he stands on. With how he acts he must he part of what’s going on, right?
Offering a kind word or two, he captures Konno’s heart without really trying. And you get the impression that it’s just something he happens to be skilled at, for he’s a right lady-killer. Even if he does happen to be the kind who’d chew them, right up, before spitting them out again without a single glance back. Around Maki one best be on their guard.
With Konno encountering so many anomalies in the almost double life he’s living, at least there are people in his everyday life he can sort of let his guard down around. One happens to be Kurusu, his fellow workmate at Kuroinu Transport. While he comes off as a delinquent of sorts, he can be rather awkward and bashful when it comes to certain things. But he is a nice guy… Considering, anyway. Out of the rest of the cast, Kurusu’s fangs are the least sharp. But that’s not to say that they aren’t as poisonous.
He mostly shares a route with…
…Oohira, Konno’s best friend throughout his school days. They used to skip class and lounge around banks on days where colourless skies loomed over them. The odd time, the pair would even get into playful sort of fights. Despite not talking with each other often (and how, given that Konno failed to mention him all through OPEN; funny, that LOVE&DESTROY), they’re still good friends to the point Oohira gels with Konno’s family smoothly and effortlessly. He’s the type that can be feverishly devoted, offering Konno his aid no matter what situation he’s facing. Oohira is the type who can promise to Konno that if he happened to turn to a life of crime, he’d still be his dear friend without a single breath’s hesitation.
He’d do absolutely anything for him. It naturally comes with the territory. But Oohira’s view of what that means, exactly, is a touch slanted. Damaging.
Whereas OPEN dealt more with a united front, CLOSE throws Konno right into the deep end with water as thick as the one he struggled through in an almost prophetic dream. The narrative shifts from a bunch of guys on the verge of slipping off of society’s totem pole to a thoroughly compelling personal struggle. And all too quickly, the game seems much more dangerous than it already was. In OPEN there was the prospect of Konno losing his own life. Here, we get a little more development to the welcome degree that CLOSE actually feels more Konno focused than hero focused. And as a result, it feels much tighter. Whereas OPEN lacked any real defining moments, CLOSE reaches its emotional climaxes much earlier and more often. Things become more cohesive this time around, where we get a proper glimpse into the psyche of our hero.
It’s about going against your own ideals, and just what will it take. Nothing new when it comes to media, granted, but stirring all the same. With most otaku orientated series, for convenience’s sake the protagonist is made live on their own so they’ll have easier access to shit like magical girl/boyfriends coming to live with them or having haremettes all but slobbering over their tasteless selves to cook their lunch. The same may apply for BL, where more often than not the setting thrives off the protagonist being a lone wolf. Konno is an anomaly in this sense, as despite being in his early twenties he lives with his family and has no desire to leave them. He cares so much about them, that he can’t bear the thought of anything else. So from this you can gather that he’s a traditional, sort of backwards guy. He doesn’t care too much about harm coming to himself, per say, but when he’s told that his family may be the subject of it, it makes him seriously sit up and fucking listen. He has no particular dream – he just wants to live a regular life with them. And while this may also be a trope worn to the core and then some, with Konno you can believe it. Such a predictable, common thing. Who needs money, or success in life as long as his family are there?
His desperation is palpable. Konno could lose what holds the foundation of his life together in six, seven, eight minutes as Kibatarou closely keeps track of time sliding by. Everything hurts; he finds it difficult to breathe. The choice is obvious… right? Through very human decisions he’s crippled with ripping his reality asunder and it’s those scenes that are so very affecting. Causality is at play here, and it’s seriously fucking fascinating. Just how much can someone’s life be changed by going to buy milk that day, or going to a different store than usual? The butterfly beats its wings resulting in a tumultuous, devastating storm brewing within Konno. It’s amazing just how much everything completely alters by who gets to him first, or where he’s placed within Kumazawa on that first day.
What’s most reflective of this change is when Konno comes into contact with the OPEN guys. With a CG showing all four of them gazing listlessly at the reader, it’s a clever sort of visual move showing just how apart from them he is. Here Konno is not part of their alliance. With fate having guided him elsewhere he never had the chance to, really. It marks a turning point, for he thinks it’s a game one should play on their own. With a sad smile he’s still the old Konno that they originally got to know, and could have known here… But our hero realizes it himself. He’s not their companion, and he doesn’t belong with them. Of course he wants a friend to share his troubles with; of course he wants to be part of a group. But he realizes that kind of thing is irrelevant where his family’s welfare is concerned. So he’ll have to become crueler, and slap away the kindness of those who dare who outstretch their hands in such an unforgiving world. There are a lot of gloomy scenes in CLOSE, but that is one of the worst for all its implications.
And that feeling of guilt extends to you, too. When Konno kills someone the OPEN guys are there, silently judging him. They are moral guardians in a way, letting Konno not forget for a single moment the dark, unwelcoming path he’s found himself having stumbled upon. Conflict and regret continue to bloom in its shade. While OPEN contained plenty of scenes which were brutal as hell, it still managed to feel more like the ‘love’ aspect of CAGE whereas this deals with the ‘destroy’. At least, there were shades of tenderness.
“I don’t really have any interest in the coin. What I have more of an interest in, is you. Say, what does it feel like to be a murderer?”
– says Nitta at one point. While Konno goes up against all the OPEN guys at least once, it’s Nitta who he sees more of. While (most of) the heroes in CAGE are given equal standing when it comes to emphasis and endings, it’s Nitta who starkly stands out to the reader throughout this. His merciless, malicious words further bruise Konno’s malleable mindset, and Nitta spits them out with every intention. What he makes sure to rub in is how he has companions through it all, whereas Konno doesn’t. After all, he has been reduced to a 2-bit thug. He’s no longer a regular guy who’s been pulled off the street, but a goon involved with what he had previously struggled against. A smile growing on Konno’s face, it’s rather shocking, unbelievable even that he can go after the OPEN characters with the intent to kill but the reader has long since realized that what they’re dealing with is a villain. When the hero goes down laughing, it’s not the protagonist you’re siding with.
Through Konno’s blank eyes and vacant smile, Nitta asks him is he feeling alright, bro – and it’s all so incredibly disturbing and not at all what one would have expected from the protagonist originally introduced in OPEN with silly food dreams. Yagasaki comments that his appearance changes as the days wear on. Gazing into a car mirror with clothes stained in blood that isn’t his own, Konno catches sight of Nitta. And Nitta laughs. When you’re backed against the wall, you have two options. Smash it, or refuse to move. Konno’s mindset shifts between the two sporadically as a result. Who’s he doing all of it for, really? He does want to kill people, and realizes that if he must, will. The numbers of his nameless, faceless victims escalate and he faces having no tomorrow, future, or allies. Elements of his younger sister scowling at him over something trivial and hearing his dad snorting through his sleep drift in from a different world. Konno boxes himself in, and accepts the role of a villain to do what he must. To save who he must. But in the end, it might just be Konno who really needs to be saved here…
Even with the welcome characterization, CLOSE regretfully falls apart when it comes to the latter routes becoming a chore to read through. I originally saw it as a far-reaching personal struggle with Konno shakily toeing the line between normality and abnormality: the lives of those nearest and dearest to him at stake. But once it shifts away from that, any spark CLOSE had fades into the gloomy shadows of the path Konno finds himself on. LOVE&DESTROY had two writers working on this series. One drafts out the general gist, and the other pads it out. If I didn’t know any better, I would have been convinced that it had several writers working on it because the overall tone is just so dissimilar compared to what was earlier presented and CLOSE suffers greatly for it. Oohira’s route in particular was a joke – more or less literally, for half of his endings were silly throwaway things. Him and Kurusu weren’t necessary, and their routes are noticeably the weakest out of the entire series.
One aspect I had previously praised OPEN for was how casually it handled some of the characters being into dudes. With this I was made eat my words and then some, for it featured the hallmarks of the genre I detest in spades. ‘O-oh he’s a boy, but I love him!’ our heroine- sorry, hero – all but dreamily professes; starry-eyed; chin in hand. In CLOSE Konno constantly feels the need to bring to the reader’s attention that he’s like, totally straight man even after getting with another guy. Now, with BL this sort of shite is practically a given and can even be masterfully played for comedic effect when the situation allows (see Hadaka Shitsuji‘s Tomoaki). But when something makes what seems like a careful effort to avoid it and only to revert later, you really have to question what the writers were thinking. Those words leave a bitter aftertaste.
Given that you are reading this review I’ll presume that you’re familiar with OPEN and by extension, how rubbish it looks. Taking that into account, you will have noticed that CLOSE’s has undergone a shiftily swift shift. One towards the better, you may think. While the art still looks crappy it has become tolerable. You could almost recommend it without tensely starting your sweat-drenched sale off with a ‘I know it looks shit, but…’. While it has superficially improved, upon further study the pieces don’t fit together so well. CLOSE was released just over a year after OPEN, so you’ve to hand it to the artist for revamping her style so much in such a short period. Marks are deducted for it looking like they spent their time on an aspect they really shouldn’t have. Not at this point in time, for one of OPEN’s major art problems was present here with how wonky the anatomy looks. Legs don’t work like that! His waist shouldn’t bend that way! His neck has got to be broken by now! – etc. It’s all well and good to try and make the characters look closer to the average anime character and less like the vomited up remains of a Captain Tsubasa team member having been dragged through a BL manga dominated by yaoi hands, but there are more important things to keep note off.
It’s like the artist was searching through the tutorial tag on Pixiv and came across a holy grail to novice colourists detailing how to work layers over everything to make them almost anime-like. The artist has taken to abusing filters, slapping ’em over everything to give off that anime effect I’ve seen many artists on Pixiv do. Many CGs even play off that infamously overused teal/orange combination.
You may fall into their heavily filtered trap for a route or two, but on looking through the CG gallery I realized that a lot of them look suspiciously similar using the same tricks, doubtlessly trying to fob them off as being a stylistic quirk. Let’s take a look at the CG I used of Konno up above. Despite CLOSE having five routes, there were less CGs here than OPEN. With so little of them as there is, there are enough of them with white backgrounds for it to be noticeable and as the routes wear on, distracting. For OPEN’s backgrounds, most of the CGs had the badly photoshopped photos which while crappy, at least didn’t look as bad as just having nothing there. Fucking hell LOVE&DESTROY.
The soundtrack mostly consists of what OPEN had, although there are some nice additions. ‘life2’ is a cheerful piano track, celebrating scenes where things end up turning out (surprisingly) well for the characters. When that plays the reader knows that things won’t end up going bad – at least, for a while. Sounding softly familiar, but certainly not unwelcome is ‘pianosabi’. ‘kibataro’ is sort of trippy with a random vocal sampling of children ringing over space-like beats. Both ‘piano_oti’ and ‘piano_otisabi’ are the most memorable out of the instrumental tracks offered, each containing a quiet melancholy which instills an oddly soothing feeling.
For the new vocal tracks, ‘visualizer’ gives strong Leet Street Boys vibes (if you don’t know who they are, you are a fortunate person deserving of my envy) leaving me scramble for the mute button whenever its unpleasantly cheesy beeps invaded my ears. ‘live’ is of the same ilk, warbling vocals with plastic riffs. But for each of those disasters compensation is sufficiently dished out in the form of the tremendously heartrending ‘紺と茜が交叉する’. Composed by P.F Audio with vocals from Kiyono (best known for performing World End Economica‘s ED), it plays during certain bad endings, as well as the most crucial scene in the entire common route where Konno has to make the agonizing decisions of choosing a lesser of two evils. Lyrics such as ‘on a broken utility pole, was a god of death’ hark back to the earlier situation with Konno and the policeman, bringing it all to a head. It’s a marvelous composition featuring Kiyono’s airy vocals carrying over a somber guitar before leading us into a massive shoegazish riff; upon first hearing it it’s difficult to concentrate on what you’re trying to read when you can’t help but stop and listen. It all meshes together powerfully and pulls such tragic scenes to the emotional heights they deserve. It’s one of those songs you never get sick of either, quietly. The regular ED unfortunately was the same one that appeared in OPEN, as was the OP.
CLOSE was significantly longer than OPEN, but I blazed through its early stages much quicker, mostly due to how intense everything felt. Instead of casually spacing it out over several months like I did with OPEN, there was something about CLOSE which made me finish route after route. If you were so pressed to, you could finish it in its entirety within a matter of days. I finished both the common route and Saiki’s who I first selected over the space of two days. For route order, I didn’t go with whoever took my fancy first as I did with OPEN. Instead, I went according to their spaces in the ending/CG slots which meant going in the order of Saiki -> Ishimatsu -> Maki -> Kurusu -> Oohira. I was more or less content with the order, especially with leaving both Kurusu and Oohira’s routes ‘til last as yes, they seriously were just that bad. I wonder if LOVE&DESTROY aligned the routes in order of quality like that on purpose.
Unlike the avalanche of bugs OPEN’s system frustratingly bombarded the reader with, there were none to be found in CLOSE. No sudden crashes and more importantly, no data losses! There is a pretty sizable patch up, so that probably had something to do with it. The system in general hadn’t changed, which is something I wouldn’t have had a problem with if CLOSE had stayed the same as OPEN all throughout. But with new songs and a newish art style, they could have at least improved the backlog, which still blends into dark backgrounds and only goes line-by-line.
At times CLOSE felt like a work concerned with moral integrity rather than a strict BL game, coming close to softly critiquing the genre and its loose, almost flippant portrayal of pairing up dudes through its usage of the ‘love’ and ‘destroy’ routes. In the world of BL, settings where there’s an element of danger are as exasperatingly common as stories taking place within high school. Such settings are so popular because they allow writers to conjure up oh so evil guys who’d spend their free time kicking puppies if they could without much much thought or effort thrown into them. These brooding bad boys end up being tragically misjudged until our glorious protagonist comes along, halo shining atop of his finely groomed hair, curing them of their pesky evil ways (kyAHH!!♥♥♥♥). Those love/destroy routes quietly dismiss all that. Even if Konno does happen to be on a character’s ‘good’ route, it doesn’t mean that he has ‘won’ their love or that he can change them so easily, let alone feasibly be with them. Konno being together with his chosen target may prove to be the worst thing for him, and LOVE&DESTROY have no qualms about showing that. What it ultimately boils down to is a clash of morals. How far will Konno go for the sake of his family? And, what will be the cost of it? If he’s so far gone already, then what’s another few kills, right?
The more he struggles, the more he sinks. When Konno ruefully threatens to kill someone, you think that he just fucking might. It’s certainly unusual for the protagonist to end up being the only character worthy of any praise, but the rest of the CLOSE guys weren’t at that same level of inducing tl;dritis. From OPEN I knew that Saiki, Ishimatsu, and Maki would be involved in some seriously shady shit, and my expectations weren’t betrayed. But without warning, Konno’s very nature took such a shift that it even came as a shock to me that he steadily became the real star of CLOSE, if not the entire series. Now, Saiki was a great character, as was Ishimatsu. Towards Maki I’m neutral, but I wonder what happened in the production process to have those latter routes with Kurusu and Oohira so wildly diverge. CLOSE contains the best and worst of the entire series, with that pair being garish blights on an otherwise even canvas.
Their routes serve as irrelevant padding, real last minute things considering neither of them were even mentioned in OPEN! I carefully watched the OP frame-by-frame recently, and couldn’t find a shred of evidence hinting at their existence. But I did see something related to a brief ending in Maki’s route showing that not all of CLOSE’s routes were written on a whim. Some parts felt suspiciously unfinished, with Ishimatsu’s in particular not really telling the reader what they wanted to know, instead throwing in a cheap ‘to be continued…’.
Since I’ve reached the end, for the hell of it my personal hero ranking goes Nitta > Saiki > Yoshimoto > Kujo > Ishimatsu > Kurusu > Yagasaki > Maki > Oohira. Nitta comfortably secures the top spot for being the most unapologetically assholish in such an oddly endearing fashion, as well as feeling like he had the most normal relationship with our protagonist – considering! He was vitriolic without resorting to pantomime performances; awkward as hell, with the basis for his manner having amusingly taken inspiration from Kodocha’s Akito. Nitta is a complicated character and one that is worthy of consideration and fascination. Saiki, Yoshimoto, and Kujo are other characters I look favourably upon. Not so much everyone else.
Despite having my fair share of issues with the series, it has mostly been an enjoyable experience. I won’t be giddily rambling about it the way I so easily would with other BL titles any time soon, but both OPEN and CLOSE managed to cement my status as a fan of LOVE&DESTROY. For what the group are currently whipping up, there’s Psychedelic slated for next summer which they’re being rather coy about. What we do know about it is that it’ll be voiced which spells good things for how well received CAGE was (L&D have also expressed interest on having CAGE voiced, which hopefully points to a remake at some point in the future). CAGE-specific, L&D continue to answer any questions fans have on their Q&A section, and are working on a fandisc of sorts entitled CAGE –ANOTHER– which, like Psychedelic, hardly anything is known about. I’m not yet finished with the company either, for I plan to read each of them, as well as covering a pair of April fool releases along with the company’s ridiculously melodramatic debut title, Rakka Ten.
Personal Enjoyment: 3/5
Overall score: 66%