The attempts of erasing Vedic influences from India present across other Asian countries are often rooted in deep-seated prejudice. Those who dismiss these influences frequently regard Vedic teachings as ‘inferior’, overlooking the fact that Buddhist traditions follow Vedic scriptures and philosophies. Buddhists venerate Vedic Gods under different names and adapted forms to this day. A notable example would be Shī’pó Shén (湿婆神), one of the names by which Lord Shiva is known in China. He is also referred to as Dàzìzàitiān (大自在天) in Buddhism.
This is especially noticeable within gaming communities, particularly in fandoms of Chinese games. These games typically draw from both Indian and Chinese mythologies when shaping their in-game lores, while Indian music and traditional instruments are often incorporated into their soundtracks and musical compositions as well.
Regardless of the aforementioned facts, some individuals still vehemently attempt to erase India’s cultural presence within other Asian medias.
Some even go so far as to attempt to alienate Indians from fandom spaces out of sheer prejudice. They readily seek comfort and sanctuary from our culture, yet continue to harbour and display open bigotry towards us whom these cultural influences originate.
Denying historical and cultural connections does not alter the reality that Buddhism emerged from the cultural and philosophical landscape of Ancient India, alongside traditions deeply intertwined with Hinduism.
India is referred to as the ‘Land of Gods’ in various ways across many nations for a reason. And that reason is deeply tied to the role the world’s oldest surviving civilization has played throughout history: By contributing knowledge and philosophy through spiritual frameworks, which influenced the cultural and intellectual development of numerous societies.
Hello, I’m a woman and I think it would be great if
Otome games were more inclusive and gave us the option to be a male mc. MLM romances appeal to women audiences too. 🥺
There are already distinct game genres that cater specifically to audiences who prefer MLM romance. These include BL (‘boy’s love’; Yaoi), Moegē (萌えゲ), Charagē (キャラゲ), Galgē (ギャルゲ), Bishōujo (美少女), Ichaicha (イチャイチャ), and Danseimuke (男性向け).
Seeking representation in a category specifically centered on LI x womanMC, by demanding a maleMC, ultimately risks eroding the very foundation of the genre. I would urge you to revisit my article. ‘Otome’ (乙女) is a Japanese term meaning ‘maiden’. It has always been defined by a female protagonist. And that core identity is unlikely to change.
🅰️: Otome (乙女) is a Japanese word meaning “maiden”. In gaming culture, it is commonly used as a shorthand for Otome games (乙女ゲーム / オトゲ ; Otome gēmu / Otogē), which are story-driven romance simulation video games specifically designed for women as target audience. This game genre focuses on featuring female protagonists, who develops romantic relationships with male lead-interests (LIs).
Joseimuke (女性向け ; “for women”) is a broader term used for games aimed at women audience. These games are without explicit romance, while Otome usually implies a romance-focussed core. These genres were inspired from Shōujo (少女) genre of manga/anime, where the demographic classification are women.
🅰️: It was invented by Keiko Erikawa, who’s now widely regarded as the “mother of Otome games.” A visionary in her own right, she recognized how the gaming industry was overlooking women as players. Rather than waiting for a change, she took the initiative and created ‘Angelique’, the first game designed with focus on women as players. Her persistence not only turned the ‘Angelique’ series into a major success, but also established what we now know as the Otome genre. (If anyone’s interested in her story, do let me know. I would be happy to make a post dedicated to her.)
❓ Who pioneered the Otome genre? And what inspired it’s creation?
❓ Can queer players enjoy these games?
🅰️: Of course! Everyone is free to enjoy Otome games in their own way. While queer players may not be the intended audience, they are welcome to have fanons within their own spaces. That said, there are general expectations to keep distinctions between personal fanons and canon material. Pushing fanon into canon spaces, or insisting on fundamental changes such as demanding gender-neutral or maleMC within established Otome frameworks tends to be met with resistance. These tensions often arise from differing expectations about the genre itself. Otome games are designed around a specific perspective, and seeking entirely different forms of representations within that structure leads to friction. It is worth remembering that women gamers have historically had limited spaces tailored to them, often being expected to play as male protagonists or overlooked as an audience altogether. Respecting the intent of the genre and the creators, by keeping personal interpretations in appropriate spaces, helps keeping Otome communities more balanced and welcoming for everyone.
❓ Then which categories cater to queer or non-women audiences?
🅰️: There are game categories specifically tailored for queer audiences. These include Mecha, Amare, Danjokenyou Renai (男女兼用恋愛ゲ), Bǎihé (百合), GL (‘girl’s love’; Yuri), Dānměi (耽美), BL (‘boy’s love’; Yaoi), Moegē (萌えゲ), Charagē (キャラゲ), Galgē (ギャルゲ), Bishōujo (美少女), Ichaicha (イチャイチャ), Danseimuke (男性向け), Zen-nenrei muke (全年齢向け), et cetera. Please take your time to explore, and choose whichever titles from these categories best suit your tastes.
🅰️: This largely stems from how Otome players are treated by others in the wider gaming community. Many of us are often dismissed or mocked for enjoying the romance-focussed aspects of Otomes, with the genre frequently reduced to something superficial despite it’s rich storytelling and worldbuilding. Women gamers have long faced exclusion rooted in prejudice, and the spaces created for them have been hard-won. Then there are individuals who engage in harassment and zealotry under the guise of ‘fandom police’, often spreading unfounded claims that escalate into larger conflicts. Because of these repeated experiences, Otome players can come across as protective of the genre. It’s not about hostility, but about preserving a space that many feel has been undervalued or targeted in the past.
❓ What drives the defensiveness often seen among Otome players?
I noticed some of you were curious about the accent in Valen’s English VO. It is so, as his English voice actor is the same as his Chinese one! (. ❛ ᴗ ❛.)
The LIs from “Love And Deepspace” didn’t looked polished when they were first revealed either. “Silent Whispers” is still in development, so it’s worth giving it time to refine into a finished product before drawing criticism.
As many of you know, I don’t engage in fandom conflicts. So I won’t be arguing with those who aren’t keeping up with updates from the developers. I’m including an excerpt from their note below, where they clearly state that “Silent Whispers” is still in development.
[If this piques your interest, do feel free to explore my ‘Love And Deepspace’ blog “Crimson Soul”.]
I will play the devil’s advocate here and say aside from their hair, they don’t look alike at all. While both have sharp features, Sylus’s face carries a certain softness that Alarik entirely lacks. Alarik has an icy edge, whereas Sylus appears warm. Perhaps it’s my keen eye for details, but I find very little similarities between them.
Have I mentioned that Alarik comes across as outright arrogant, unlike Sylus who seems to adopt a non-chalant facade? I’m curious to see how his character develops as the story unfolds.
[Left: Sylus from “Love And Deepspace”]
[Right: Alarik from “Silent Whispers”]
“He is a budget version of Sylus.”
And the man they are referring to dislikes the dark. He would not like the N109 Zone. He seems to enjoy cooking, whereas Sylus cannot cook to save his life. Unless it is a gourmet dish with precise instructions.
Yes, my oshi is Sylus.
Some folks clearly haven’t engaged with Otome games prior to ‘Love And Deepspace’, and it shows. Silver-haired characters with bold personalities are a well-established archetype in Eastern media. If you do not have anything nice to say, perhaps it might be best to say nothing at all.
[If this piques your interest, do feel free to explore my ‘Love And Deepspace’ blog “Crimson Soul”.]
It seems we are caught in the Cycle of Saṃsāra here. I look forward to see what the story unfolds! ⌛
The co-screenwriter is none other than Hampton Fancher, known for his work on the Blade Runner series. His involvement in shaping “Silent Whispers” world-building makes the project more promising. I’m looking forward to it’s launch! (◍•ᴗ•◍)
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