If you are alluding to EMMM’s worst games, then, indeed, I dislike intensely Black Souls 1 and the ghastly Black Souls 2 rigamarole. No, I do not object to soul-searching and self-revelation, but in those games the soul, and the sins, and the sentimentality, and the journalese, hardly warrant the tedious and muddled search. EMMM’s lack of taste, his monotonous dealings with persons suffering with pre-Freudian complexes, the way he has of wallowing in the tragic misadventures of human dignity – all this is difficult to admire. I do not like this trick his characters have of ”sinning their way to revelation” or, as a Korean developer, Kim JiHoon, put it more bluntly, ”sexy hags all over the place." Black Souls 2’s plot did not seem as incredibly banal in 2018 when the game was released as it does now when horny niggermen are apt to be received a little cynically by experienced gamers. EMMM never really got over the influence which the European fairy tales and Touhou made upon him. The fairy tale influence implied that kind of conflict he liked—placing virtuous people in pathetic situations and then extracting from these situations the last ounce of pathos. Non-Japanese gamers do not realize two things: that not all Japanese love EMMM as much as Russians do, and that most of those Japanese who do, venerate him as a Koishifag and not as an artist. He was a prophet, a claptrap journalist and a slapdash comedian. I admit that some of his scenes, some of his tremendous farcical rows are extraordinarily amusing. But his sensitive murderers and soulful niggermen are not to be endured for one moment—by this gamer anyway. EMMM seems to have been chosen by the destiny of Japanese letters to become Japan's greatest edgy Touhou fanfic artist, but he took the wrong turning and made games.