Nintendo has a habit of showcasing gorgeous games in its Direct Presentations that will never be made available outside of Japan. This is understandable, some titles are intended for certain regional audiences and simply won’t stand a chance at success otherwise.
But when it comes to Shin-chan: Me and the Professor on Summer Vacation, the gorgeously idyllic adventure captured our imaginations and refused to let go. It looked wonderful, following the iconic character as he explores a wholesome rural town to catch bugs, go fishing, spend time with his family, and just take in the unparalleled vibes.
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It looked welcoming in a way few games do, and many hearts were broken when Nintendo made it clear there were no plans to release it outside of Japan. But things have changed, with this past week seeing the announcement of a full localisation and international versions of the game coming our way for both PS4 and Switch. We can rest easy and look forward to reliving our childhood memories from the perspective of a crayon-addled adolescent.
But why are people so excited about an innocent game with no mention of guns, violence, or bloodshed? You can only walk around Japanese fields doing odd jobs for so long until the thirst for murder returns, because this medium’s obsession with death is never going to subside. I think part of it comes down to the aesthetic, with Shin-chan capturing the iconic property’s visual identity with such masterful effect, like the animated series or manga has been brought to life, and we’re free to bend it to our whims however we see fit.
I grew up watching the series on Fox Kids, even if the localisation sought to turn its titular character into a
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