Rarely does a game come along that so utterly immerses you into its world through the tone of both its visual and aural elements. Sega and From Software’s Otogi: Myth of Demons is a near-perfect example of how atmosphere and mood, when done convincingly, can practically wipe away any imperfections in gameplay or game design. And the fact that Otogi is a fantastic game despite the way its personality captivates you doesn’t hurt either. Released on the same day as the blockbuster titles Soul Calibur II and F-Zero GX, it may be easy to overlook Otogi for these more highly publicized games. However, doing so would cause you to miss out on one of the better releases of the year.



Otogi, which translate roughly to “fairy tale”, is based deep in ancient Japanese history and myth, combining the two for a compelling storyline; especially for what on the surface appears to be a simple hack n’ slash game. The main character, Raikoh, was once a member of the Imperial Court charged with carrying out death sentences issued by the court. After refusing to deal out the death sentence cast upon his father, Raikoh fled the court, which collapsed soon afterwards when the seal between the spirit and human world was broken. A princess held Raikoh in limbo and has given him the chance to redeem the past wrongdoings of his clan by finishing various quests.

Most quests involve “purifying” souls possessed with some evil malady or another, which basically boils down to “kill everything in sight”. The strength and appeal of Otogi’s gameplay is not only the ability to destroy nearly everything in your path, but also the way in which the game encourages you to do so. At the end of each level, you’ll receive a letter rank based on how much you destroyed, the number of enemies you’ve defeated, how many spirits you’ve rescued, and even cooler, your highest combo.

Though the game is drenched in story and mood, it’s essentially a pure action game at heart. From Software has masked this fact somewhat by adding almost RPG-like elements to the mix. Throughout each level, you’ll gather gold to use between levels to shop for new weapons, accessories, or magic. Essential to success in the game is also the option to restore your weapon’s vitality. The more you use your sword in the game – and you’ll use it a lot – the less effective your weapon will become. Luckily, if you’re having trouble clearing a stage and don’t have enough cash to either repair or upgrade your weapon, you can revisit past stages. This option also allows you to attempt to best your old score in cleared stages.

The magic meter in Otogi is another great example of how the game encourages to purify the hell out of everything that moves. The magic meter slowly drains throughout the levels and drains even faster by using magic or dashing. The only way to keep it filled is by collecting the spirits of defeated enemies, similarly to the way Legacy of Kain: Soul Reaver operates. Think of the magic meter as your vitality. When it drains, so does Raikoh’s life.

Raikoh is one bad ass fighting machine. As mentioned earlier, equipped with his sword and the proper attack, entire walls and buildings can be demolished with one fell swoop. Using the B button will cause Raikoh to perform a standard slash with his sword, while the Y button will result in a large, overhead slash. Experimenting with combinations of the two will produce combos that will clear hordes of crowding enemies. The X button casts selected spells that have been purchased at the shop or acquired throughout the game. Holding it down will charge the spell to maximize its effectiveness. The trigger buttons are used to lock on enemies and dash forward quickly, either on the ground of in midair. This is extremely effective in battle, allowing you to either escape a group of attacking enemies, or to catch up with quicker ones.

The only problem with the control lies in the jump. To a certain extent, the way Raikoh jumps and floats back down to the ground is cool and an element that adds a lot to the gameplay. However, his “floatiness” makes it difficult in areas with platforming aspects where precision is the key to success. This is the cause of great frustration at certain points of the game, but is by no means a game-killer. Patience, and getting accustomed to the way Raikoh moves, is essential to avoid pulling all your hair out.

Another point of contention is the camera, which operates automatically but can be adjusted by using the right thumbstick or clicking the left thumbstick to swing it forward. When left alone, the camera seems a bit slow in following the action, resulting in often being blindsided by unseen enemies or missing a jump. While having to restart an entire level because the camera didn’t catch up to the action in time is a rare occurrence, it is extremely frustrating and may at times cause you to put the game down.



The world of Otogi is simply gorgeous and like something out of a great mythological Akira Kurosawa film. The ground rolls with fog, out of which come wave after wave of superbly designed mythological beings. And while some objects have the occasional jagged edge, you’ll be hard pressed to find a game that looks as beautiful as Otogi.

Aesthetically, Otogi does not stray from the ancient Japanese theme in a single way. From the bamboo forests to the paper huts, everything is represented in spectacular fashion. The levels are huge, sprawling, and objects in the far distance can be seen clear as a bell. Again, the way in which the game immerses you in the action due to the outstanding visual achievement is nothing short of amazing.

Put in plain words, the music in Otogi is not only the most impressive I’ve seen in years, but also the most well-suited I’ve seen; ever. The presence of classical Japanese instruments including the Koto, Taiko Drums, bamboo flutes, and more are the icing on the cake when it comes to creating a convincing environment and plunging the gamer deep into the realm of Otogi’s fantasy world. In short, the soundtrack selection is incredibly appropriate for both the subject matter and the landscape the developers have tried to create.

On the other hand, while performed well, the voice acting seems to be a bit overdramatic and having a somewhat halting effect on the game’s flow. If not for the desire to experience the unfolding storyline, one might just skip through the pre-level segments where the princess is explaining the quest and its background. Again, the problem lies not with how it was performed, but its actual design. On one hand, the gravity and seriousness is appreciated, but on the other, it seems overdone and contrived.

I know I’ve already mentioned this several times, but the way From and Sega have created a game which convincingly pits the gamer in an immersive and aesthetically perfect setting cannot be overemphasized. The soundtrack alone is a major selling point for this game and graphically, it ranks up there with the best of what’s on the Xbox.

Otogi will draw a lot of comparisons to Sega’s earlier PS2 effort, Shinobi, and in many ways, that’s justifiable. Both games feature sword-wielding warriors and both are neck deep in action. However, Otogi surpasses the quality and experience of Shinobi in nearly every way, from presentation to execution.

In its own right, Otogi stands as one of the best third-person action games released in recent memory. The unprecedented ability to destroy nearly every onscreen object, including the ability to pound craters into the ground with devastating attacks, will keep gamers looking for action more than satisfied. And fortunately, those looking for a bit of depth out of their action games can’t go wrong with the options presented by Otogi. Not without it’s control flaws, the game still manages to overcome these issues and be a must-buy for Xbox owners.



Article By: John Luedtke