Follow TV Tropes

Following

Video Game / No Straight Roads

Go To

https://static.tvtropes.org/pmwiki/pub/images/no_straight_roads_wallpaper_art.jpg
Start a rock band... end the EDM empire.
Mayday: Red light!
Zuke: Green light!
— Before the Showstopper
Advertisement:

Vinyl City. A groovy, colorful, rocking place for music and artists everywhere literally powered by music, where you are free to express yourself however you wish—until NSR came, taking over the city with their vast financial resources and influence, doing everything it can to restrict and crush all other forms of music except for their artists and EDM.

Enter Bunk Bed Junction, an indie rock-duo comprised of guitarist/singer "Mayday" and drummer "Zuke." Outraged and frustrated by NSR's predatory practices, they vow to crash their megastars' concerts and performances and defeat them, take down their CEO, Tatiana, and free their city and its people with The Power of Rock!

No Straight Roads is a rhythm-based action-adventure video game developed by Malaysian independent studio Metronomik and published by Sold Out. The core of the gameplay revolves around its soundtrack, enemies, and attacks all timed to the beat of the music, and the protagonists fighting them by firing notes like bullets, transforming props and objects into machine-guns and useful devices by playing epic solos, or simply smacking them with their instrument.

Advertisement:

It released for the PlayStation 4, Xbox One, Nintendo Switch, and PC via Epic Games Store (as a timed exclusive) on August 25th, 2020.


This game provides examples of:

  • Abbey Road Crossing: One of the trailers has a shot of a poster for 1010 where they're in this pose against a minimalist background.
  • Absurdly Spacious Sewer: The base of operations for Bunk Bed Junction, that's large enough to hold multiple rooms that are unlocked through game progress. Most prominent besides the main room are a workshop to modify their instruments and a concert area serving as a skill shop. It also has a shaft big and empty enough to park a helicopter.
  • Aerith and Bob: You'll find names all over the place, from Barbara to Tatiana to GiGi to Zed to Zuke to Mayday.
  • All the Worlds Are a Stage: During the game's last playable segment, B2J have to revisit each of the districts they conquered to give power back to the megastars so that they can all stop the satellite from falling onto the city.
  • Advertisement:
  • An Aesop: Despite the game's initial premise being rock vs. EDM, the true central message is that no form of artistic expression should be stifled. There is no superior way to go about one's craft, and attempting to subjugate one form of art in favor of another does more harm than good.
  • Amazing Technicolor Population: Barely any of the characters have a conventional skin hue. For starters, Mayday's skin is bright orange while Zuke's is green.
  • Antagonist Title: The title refers to the record label that's put a stranglehold on Vinyl City's musical talent, NSR.
  • Art Evolution: An In-Universe example with the collectibles earned from the Sayu battle. The first is a piece of Sayu fan art created by her soon-to-be voice actress Tila, which is fairly crude and mostly seems to serve as a way for her to live out her fantasy of confessing to her crush at school. This version of Sayu is also depicted as a human and not a mermaid. The second is a drawing of Sayu by her creator and illustrator, Remi, which is obviously leagues above Tila's work, but also features a significantly different design for Sayu. The third and final collectible is another drawing by Tila, featuring the finalized design of Sayu along with her, Remi, Dodo and Sofa celebrating getting signed by NSR. While still not as good as Remi's work, she has vastly improved in the three years between her first drawing and this one.
  • Asskicking Equals Authority: Only the best musicians are granted a Platinum Record by NSR. Those records give the owner complete control over a district of Vinyl City as that district's Charter. By hijacking the Megastars' shows, Bunk Bed Junction claim the records and so take over the city one district at a time.
  • Awesome, but Impractical: Many of the melee skills and mods aren't as useful as they could be given a lack of goons to fight and the fact that most bosses keep themselves at a distance from the protagonists.
  • Big Bad: Tatiana, the CEO of NSR and prime charter of Vinyl City, is the one leading the movement against musical creativity in the city by promoting her label's top artists in any means necessary.
  • Big Blackout: One happens after the tutorial, just as Zuke says that NSR is doing a good job governing the city. The reserve energy being used for only for the megastars only inspires Mayday and Zuke to fight back. As it turns out, the blackout was going to happen anyway, but Tatiana's bias against rock only made things worse.
  • Bilingual Dialogue: Any cutscene with DK West is this, since he mostly speaks Malay when he isn't rapping, with occasional bits of English peppered in. The other characters have no trouble understanding him, so they continue to speak English while West speaks Malay.
  • Bittersweet Ending: After beating Tatiana and learning she was Kul Fyra, Kliff has the satellite crash into NSR's tower to get rid of EDM. This forces Mayday and Zuke to team up with Tatiana and return control back to NSR's megastars. After all of Vinyl City is saved, Mayday's guitar is broken and she realizes that her revolution was misguided and made her lose sight of why she wanted to play. It ends with Tatiana giving her her guitar and them continuing to play, along with NSR welcoming all forms of music.
  • Black Comedy: Neon J., an actual war vet, ends up going full Shell-Shocked Veteran after his defeat. It's all Played for Laughs as he winds up going on such a long tangent that Mayday and Zuke end up losing interest and just walk away.
  • Blatant Lies: Tatiana disqualifies Bunk Bed Junction at the Light's On audition and denounces rock music as a dead genre and useless to Vinyl City. On the walk home, Zuke and Mayday see their performance on TV which shows that their musical skill was powerful enough to nearly max out the Qwasa meter contestants are judged by. In a setting where music is used to make energy, Bunk Bed Junction's performance means they would objectively be an asset to the city.
  • Both Order and Chaos Are Dangerous: Absolute Order corrupts absolutely, as NSR has cracked down on freedom of individuality (especially Rock music) in favor of mass-produced crap, it has had constant infrastructure problems that have lasted for years, and its leaders vomit out content while ignoring their growing mental baggage and how it negatively affects their fans. But at the end of the game, Bunk Bed Junction's unrestricted chaos allows the Loony Fans to riot en-masse and nearly tear down the city by destroying its infrastructure because it happens to be made by a megacorporation - in this case, one angry Kliff decides to take his revenge with a Colony Drop, ignoring the collateral damage in Vinyl City itself.
  • Both Sides Have a Point: On one hand, NSR not only put a ban on all rock music, stifling any creativity, individuality, and self-expression, but they also made it so that only their elites get backup power during any city-wide blackouts. On the other hand, Bunk Bed Junction instigates their 'musical revolution' by hijacking other artists' concerts and beating them up, as well as venting their personal grievances against EDM. Not only do Tatiana and Mayday bring these points up before their fight, but Tatiana also regards how hundreds of NSR employees will be put out of work after the revolution, not to mention all their revolution will do is alienate all the people who genuinely love EDM. However, Mayday also calls Tatiana out on how she banned rock music just to make her Kul Fyra persona that much easier to forget.
  • Boy Band: 1010, composed of five androids with K-pop style haircuts.
  • Breather Episode: The battle with 1010 is noticeably much more comedic in tone compared to the more dramatic narratives running through the previous battle with Yinu and the subsequent battle with Eve. Even Neon J.'s breakdown at the end is Played for Laughs.
  • Brick Joke: When Mayday and Zuke first crash DJ Subatomic Supernova's concert, he proceeds to compare their "uselessness" to former planet Pluto. Later, after the boss fight ends with Mayday and Zuke literally sending DJSS flying...
    Mayday: And Pluto is still relevant! You hear me?! (Beat; to Zuke) What's a Pluto, anyway?
    • And then later on, at the very end of the game, for the final district returned to the megastars:
    DJ Subatomic Supernova: You Plutonians are not so bad, after all.
  • But Thou Must!: After defeating a boss, the sewers exits will be blocked until the player goes to the briefing room to learn about the next NSR artist they need to take down.
  • Chekhov's Gun: Before the fight with DJ Subatomic Supernova, he's berating a subordinate for failing to launch a satellite. The satellite makes several more appearances, showing the rankings for various artists in Vinyl City and how Bunk Bed Junction is climbing up the charts. It ends up being the central piece to Kliff's revenge scheme.
  • Colony Drop: During the climax, Kliff tries to drop a satellite onto Vinyl City, which could've killed thousands had Bunk Bed Junction and the NSR artists not stopped it.
  • Crosshair Aware: Crosshairs appear on the ground whenever an airborne attack is about to land. What you need to do varies on color. If red, dodge. If pink, you can parry it.
  • Cyberspace: Fittingly for a Virtual Celebrity, Sayu's concert is set in a virtual stage complete with Tron Lines when her creative team's editor cranks down the darkness.
  • Dark Reprise: The final level of the game features darker, rock versions of the Megastars' theme music, as Mayday and Zuke race against time to give control of the districts back to the Megastars before a satellite crashes into Vinyl City and kills everyone.
  • Double Jump: Unlike most games, the player doesn't have this as part of the default moveset and has to unlock it via upgrades.
  • The Dragon: Eve serves as Tatiana's right-hand woman.
  • Easy Levels, Hard Bosses: Most bosses have a section where B2J go up against a bunch of NSR robot mooks, and there's usually some platforming involved, and both the enemies and the platforming are timed to a beat. These sections are usually pretty simple and don't take too long to get through, but the bosses are the star of the show, with multiple phases, multiple tracks, and they really test the player's skills on timing and parrying.
  • Evil Overlooker: The cover art for the game has silhouettes of Tatiana and her megastars (and DK West) looming over Bunk Bed Junction.
  • Experience Points: The closest thing, being used as currency to purchase skills, is the fanbase of Bunk Bed Junction. Fans are earned after successfully completing concert hijackings, pirate radio broadcasts, or restoring power to various fixtures throughout the districts. As more fans are acquired, higher-tier skills become available.
  • Five-Second Foreshadowing: The whole confrontation against Tatiana qualifies as this.
    • When Kliff briefs Bunk Bed Junction about Tatiana, he tells them that her weakness is her past. Considering that Kliff had met Tatiana (or more accurately, Kul Fyra) personally before unlike Mayday and Zuke, it can't be any more accurate.
    • As her HP drops, the murals of the NSR artists fall down and the music becomes more and more rock-like. When her HP drops to a low level, the background becomes a rock stage with "The Ghoolings" printed on its monitor and during her final phase, she becomes coated in magma in a way similar to Kul Fyra's poster.
    • Last but not least, after defeating Tatiana, the crown used to power her battlefield is actually Kul Fyra's guitar. Sure enough, much to Mayday's shock, Tatiana was Kul Fyra, she's just left bewildered since she had not met Kul Fyra personally before she took over the city with an iron fist as Tatiana.
  • Flashy Protagonists, Bland Extras: Many of the major castmembers have very distinctive designs and silhouettes, from Bunk Bed Junction to the Megastars, with quite a few NPCs having identifiable designs as well, while crowd shots tend to favor silhouetted or gray individuals.
  • Foreshadowing:
    • Tatiana angrily puts down Mayday in the end of the tutorial after Mayday accuses her of not knowing anything about rock. Notably, it's Mayday accusing her of never holding a guitar in her life that prompts said speech. Tatiana is later revealed to know quite a bit about rock, due to being Kul Fyra.
    • After beating DJ Subatomic Supernova, Mayday states to Tatiana that their fight is to claim their fame and bring back rock. Zuke has to remind her that they're trying to fix the system. It's the first clue that Mayday's Idiot Hero tendencies would almost cause a Full-Circle Revolution.
    • When Mayday is first contacted by Kliff via phone, Zuke wonders how he got her phone number. This both hints at Kliff's ability with hacking, and the fact he's not what he seems.
    • When discussing Kul Fyra, Kliff makes a comment how she didn't need to change. Hinting that Kul Fyra is still around as a different person. It's also hints at his inability to accept what Kul Fyra became.
    • As you beat more and more of NSR's Megastars, you can see that their districts have been vandalized in Bunk Bed Junction's name. Turns out, their "fans" do more harm than good in the Final Showdown, having taken control of NSR's mechs and blocking most of the districts to keep NSR out, even while a flaming satellite is crashing into NSR's tower.
    • During the news report after Bunk Bed Junction defeat Sayu, one of the news ribbons includes a mention of Tatiana denying rumors that the energy output is only at 47 percent. Which really is the case, as the climax reveals.
    • Doubling as Meaningful Foreground Event, during the first battle with DK West, one of his lines is about a girl called Nadia he and Zuke knew in college. His attacks the first time he mentions her conspicuously spell "EVE", hinting at the connection between them way before the actual reveal.
      • On that note, the fact Tatiana was aware DK West and Zuke were brothers when she summons the former to hinder Bunk Bed Junction's progress indicates someone she knows is acquainted with them. DK West remarks when seeing Eve that he hasn't forgotten about her.
    • After beating every Megastar and reaching the number 1 spot on Vinyl City's Top Chart, the NSR satellite's monitor suddenly changes into "ROCK RULES!" It's Kliff hijacking it for his Colony Drop plan.
  • Friendly Enemy: Most of the time, Mayday heckles the NSR artists that she and Zuke go up against, although there are two that she becomes fond of.
    • Mayday becomes a fan of Sayu in the process of fighting her, wanting to pinch her cheeks, calling her cute, and even reciting one of her own catchphrases. After it's revealed that Sayu's creative team consists of four kids, she really admires their talent and tells them to stay out of the fight and stay in school. And to never have Sayu take the reverse mermaid form ever again.
    • Mayday then goes utterly gaga for 1010, fangirling over them after they flirt with her. She's then distressed once their chassis are blown apart revealing their metal skeletons, but at the end, she's still reluctant to use their Showstopper on them.
  • Full-Circle Revolution: No matter how you slice it, Mayday's impulsive crusade against NSR by pushing out its megastars mirrors how NSR rejected Bunk Bed Junction's performance in the first place. She realizes how dangerously close Bunk Bed Junction was to becoming the new NSR when Kliff has NSR's satellite fall on NSR's tower in order to establish rock's dominance over Vinyl City.
    Mayday: Wait-We're the new NSR!? Holy crap why didn't I see this sooner!?
  • Gainax Ending: While its stakes, symbolism, and overall narrative are rather clear, the cavalcade of weirdness that occurs during the final act including Tatiana inexplicably having the power to manipulate time, a helicopter being piloted by an alligator, the NSR artists becoming giants after getting their districts back, and the NSR tower functioning as both a giant metronome and an enormous robot fist all happens with little explanation or comment.
  • Game Within a Game: In the sewer base, Mayday and Zuke have an arcade machine that can actually be played called Master Wolfe, which is a rhythm based shoot 'em up kind of game.
  • Gatling Good: Mayday is able to turn the stage props into gatling turrets by playing music near them.
  • Gimmick Level:
    • DK West's boss fights are more straightforward rhythm game segments, with Bunk Bed Junction being able to attack DK West after passing a verse.
    • The final level of the game features Mayday and Zuke having to turn the meter to EDM rather than rock, to give control of the sectors back to the Megastars to help them stop the satellite.
  • Gray-and-Grey Morality: Bunk Bed Junction were wrongly snubbed at Light's Up Audition, and believe that NSR is responsible for the city wide blackouts, which makes their plight sympathetic, but they're also effectively staging a coup against an important part of the city partially due to disagreeing with their music choices. NSR itself is what's keeping the city running, and the Megastars aren't particularly bad people, but the company also hogs resources and is incredibly restrictive to up-and-coming artists. NSR is also genuinely trying to stop the blackouts, but can't, mainly due to Tatiana's restrictive nature stemmed from the fallout of her past mistakes. The finale of the game ultimately involves Bunk Bed Junction and NSR deciding to put aside their differences to stop Kliff from killing potentially thousands of people due to his fanaticism, which also allows both sides to realize that it was wrong to vilify the other over their musical preferences.
  • Heel Realization: After defeating her, Zuke apologizes to Nadia for leaving her without breaking up with her face-to-face, acknowledging he was a coward for running away.
  • Homing Projectile: The player character picks up notes off the level and is then able to shoot them. These projectiles will then home in on the closest target.
  • Hong Kong Dub: The Japanese dub notably struggles to match the mouth movements (and occasionally body language) of the characters during in-engine cutscenes.
  • Leaning on the Fourth Wall: Observing the Radio (Siren) Tower explains that they were built for citywide announcements. Now they only play NSR promos and music day and night. Zuke remarks that they're practically background noise to him now.
  • Long Song, Short Scene: Yinu's final phase has its own unique remix of her battle theme, not included on the soundtrack either as part of her full theme or by itself. It's about a minute long, but the phase it plays during is only about thirty seconds, and due to the fact that running towards the goal is done automatically during that phase, there's no way to wait around to let it play for longer.
  • Loony Fan: As you claim more districts from NSR and provide more power to areas that need it, more and more fans will join your cause by defacing NSR-owned territories in the name of The Power of Rock. That's not a good thing, as it foreshadows how far the rock fans are willing to go to bring down NSR and their EDM empire, even if it means getting in the way of the only means of stopping a satellite from crashing into the city.
  • Made of Iron: Everyone. The aftermath cutscenes of the various bosses tends to show them as well as the player characters beat up, bruised, and even cut all over, and DJ Subatomic Supernova is hit so hard that he's launched into orbit while at one point Mayday and Zuke crash onto the ground after what seems like a 300-foot fall. Yet all that damage just leaves them annoyed or frustrated more than anything if that much, no hospital visits or even rest stops needed afterwards. This includes Yinu, a nine-year old, who's just distressed about her broken piano instead of the bruises on her face. Neon J gets his cyborg face monitor broken but it's quickly shown that his death throes is just him being purposefully melodramatic after he cuts the act to get mad at Bunk Bed Junction. The closest thing to a lasting injury that the victim actually cares about is Kliff getting a broken nose which persists later on, and even that's all he got after landing on his head from a hit that sent him flying. Physical damage seems to be only a minor annoyance in the game's world although an orbital satellite crashing down on everyone probably exceeds that tolerance.
  • Magic Music: Possibly the source of everyone's unexplained supernatural abilities. Maybe.
  • Magical Realism: The game starts with a rather digestible science-fiction conceit of a city powered by music. Then bosses start spontaneously transforming into singularities and giant spiders without much comment.
  • Medium Blending: The media broadcasts are done in 2D animation, while the rest of the cutscenes are animated using the in-game models.
  • Memetic Hand Gesture: In-Universe. After defeating DJ Subatomic Supernova, Mayday tells Tatiana that Bunk Bed Junction now fights "for the little guy!", symbolized by holding her fist up with her pinkie finger extended. As B2J takes back more and more of the city, graffiti of the hand gesture starts appearing all over from fans of the band.
  • Mickey Mousing: Enemy attacks follow the beat of the music.
  • Mission Control Is Off Its Meds: In the final level Kliff desperately tries to convince you to not to destroy the generators, at one point even attempting to convince you to stand in the enemies' attacks.
  • Mohs Scale of Rock and Metal Hardness: The soundtrack goes from a 4 at its lowest ("Four Plus") to a hard 7 ("vs. Yinu") at its highest.
  • Nightmare Face: Bunk Bed Junction's fans try to make giant, metal totem poles in the likeness of Mayday and Zuke. Despite their best intentions, they're not at all flattering, and their idols wind up having to fight them to stop Kliff during the finale.
  • No-Gear Level: The "Parry" difficulty modes remove all transformable items in boss fights and restrict certain skills such as the ones that provide musical note ammunition to force the player to rely on melee attacks and parries exclusively.
  • Not So Different: Rock and EDM are revealed to be this in regards to the power they wield. After spending most of the game convinced that rock is superior, Mayday finds out to her shock that the energy they produced during their fight against Tatiana is the exact same amount that Tatiana made. It's the first clue to the game's true message of music.
  • Obvious Beta: The XBox One and Nintendo Switch versions of the game were ported to those consoles by a second party developer, and in addition to degraded graphics and much poorer performance, were clearly made with a much earlier version of the game than the one used in the PC and Playstation 4 ports as certain voice lines and environmental assets in those aren't present. Worst of all, the healing items in the DK West fights are outright missing from those ports, making them exponentially more difficult to beat.
  • Our Mermaids Are Different: Sayu, the virtual idol, is a mermaid. In her boss fight, her creators end up turning her into a reverse mermaid, that is, a fish head on top and human legs on the bottom. It doesn't last though.
  • The Power of Rock: Literally, one of the early cutscenes indicates that part of the reason music is such Serious Business in Vinyl City is because they use devices called "Qwasas" that convert sound vibrations into electricity. One of Mayday's first clues there was something wrong at the audition was that they were disqualified despite powering the Qwasa to almost full capacity. It turns out that it was because of Tatiana's personal bias against rock that she disqualified them. Unlike most examples of this trope, it also turns out that rock and EDM are actually completely equal in power output rather that rock being a superior form of power.
  • Propaganda Piece: Invoked by the Boss trailers, which are styled as NSR commercials presenting the artists in a good light: for instance, they make Yinu look like an Innocent Prodigy, show DJ Subatomic Supernova giving a rousing speech about music, and even have 1010 host a vlog where they give a tour of Vinyl City.
  • The Revolution Will Not Be Civilized: Bunk Bed Junction's idea of "fighting back" against NSR is by crashing into their megastars' performances and beat them up with The Power of Rock, which amasses quite a number of fans, as shown with the graffiti all over. This is deconstructed, as during "The Final Showdown", as you race back to give district control back to NSR's megastars, Bunk Bed Junction's fans will have completely taken over the district, building weapons that look like Mayday and Zuke, NSR robots graffitied to have their colors, and blocking the way with signs of worship. This is all bad, as it shows the dark side of Loony Fans and their "dedication" to an artist's work, even when there's a satellite about to crash into an "oppressive empire". Kliff was right when he said that their fans would stop them.
  • Rule of Cool: In the finale, Ellie, B2J's pet alligator, is somehow capable of flying a helicopter, and carries the two to the various districts to give power back to the megastars. Said megastars also turn giant for some reason, and NSR tower turns into a giant metronome and robot hand to swat away the falling satellite. None of this is given any explanation, but it's just freakin' cool.
  • Rule of Symbolism: There are so much in the boss fight against Yinu. During the portions when Mayday and Zuke have to fight, Yinu's piano is suspended over them by strings via Yinu's mother. When the battle escalates, the mother's dubstep theme overshadows Yinu's classic piano music, as the former takes over for the latter. Finally, there's the size of Yinu's mother. Throughout the fight, she's a looming giantess who hardly pays any attention to her own daughter's pleas. After the fight, when her daughter's sad piano music calms her down, the mother shrinks down to the size of a normal woman and starts playing. This signifies she's now humbled and has decided to play alongside her daughter as an equal and a mother.
  • Serious Business: Music is this due to it literally powering the setting via devices that absorb sound vibrations called Qwasas. The Big Blackout is revealed to have been the unintentional result of Tatiana limiting the music that can be played to EDM due to her personal bias against rock.
  • Ship Tease: When confronting Sayu and stating she isn't real, Sayu claims to be as real "as [their] love for each other" to Bunk Bed Junction's shock. When Sayu insists she can tell their feelings and encourages Zuke to embrace his, Zuke starts rambling about "many factors to consider" before Mayday changes the subject. While it should be noted Sayu's a self-admitted Love Freak, Zuke doesn't outright deny Sayu's claim either.
  • Shoot the Television: Both Mayday and Tatiana punch their TVs at one point, usually whenever one sees the other on the news. Both even have their partners saying, "Great, you owe me a new TV."
  • Shout-Out:
    • During Sayu's boss fight, she'll sometimes declare "In the name of love, I'll punish you!"
    • Neon J. lets you know after his boss fight that "he's got soul, and he's a soldier"
    • Inside one of the stores in the Akasuka district on the shelves is a video game titled "Doki Doki Mermaid Club".
    • Outside Sayu's concert hall is a display of masks in the likeness of Gene Simmons.
    • The collectibles earned from beating Sayu show a website called Lukisanart, the color scheme of which strongly resembles classic DeviantArt. The final image even features a different, darker color scheme, reflecting DeviantArt's change in visual layout called "Eclipse".
    • The cutscene that plays after Bunk Bed Junction's first and second encounter with DK West ends with a To Be Continued screen nearly identical to that of Jojos Bizarre Adventure. The third cutscene changes the tag to a rectangle with "Brotherly Love" written in it.
    • The tune that plays before the battle with 1010 begins is called "Backstreet Sync".
    • Plenty of the trophies/achievements are music and pop culture references.
    • The scene in which The NSR megastars assist Bunk Bed Junction in halting the falling satellite is visually similar to the sequence in The Legend of Zelda: Majora's Mask, in which the four Giants stop the moon from crashing into the planet.
    • Azma laments his love life and asks May and Zuke, "What is love, anyway?" which leaves Bunk Bed Junction Waxing Lyrical.
    Mayday: Baby don't hurt me?
    Zuke: No more...
  • Systematic Villain Takedown: The game's story format follows the heroes taking down the 5 Megastars one by one before taking on Tatiana.
  • This Ain't Rocket Surgery: Said by DJ Subatomic Supernova when he needs to correct the actual rocket scientists that are working for him. Supernova admits it is literal rocket science, but still.
  • T-Word Euphemism: When facing the Virtual Celebrity Sayu, Mayday gets fed up trying to talk to the digital mermaid because she's not real. Zuke quickly says you're not supposed to use "the R-Word" around Sayu as pointing out she isn't real is a taboo subject in the Akusuka District. Mayday promptly does so anyway.
  • Variable Mix: As indicated by a tuner at the top center of the HUD, the boss music will switch between a Rock and EDM variant depending on the player's performance and other factors. The intensity of the music also increases with each phase.
    • The Rock mix also emphasizes the guitar or drums based on what character is being controlled at the moment.
  • Virtual Celebrity:
  • Wham Line: Throughout the game, we're led to believe that rock was in fact superior to EDM, but when Zuke checks how much juice they produced during the fight against Tatiana, he says 47%, the exact amount as Tatiana made.
  • What the Hell, Hero?: Bunk Bed Junction comes off as this in many instances throughout the game, the worst offenders being Yinu and 1010
    • Imagine just crashing a little girl's piano recital, booing at her while she is playing & fight her mom. Even worse when you get into the end of the last phase where the fight almost makes Yinu fall to her death, break her piano (which is heavily implied to be her deceased father's), and walk away silently. Luckily, When you give back the Natura district to Yinu, the piano has been repaired somehow, and Yinu herself thanks you for it.
    • Triggering Neon J's war flashbacks by taking out 1010, and just leaving him to wallow in his misery was not the best idea. But to be fair, most players did not know about Neon J's backstory beforehand.
  • Where the Hell Is Springfield?: Vinyl City might be in Malaysia, but Malay is shown to be distinct from whatever everyone else is speaking to each other. In addition, Vinyl City doesn't have an airforce whereas Malaysia actually does. Then there's K-Pop manager Neon J, a veteran of the "Border Wars", a clear allegory to North and South Korean animosity, and he speaks as if the safety of Vinyl City hinged on the outcome of those wars.
  • You Are Better Than You Think You Are: After their fight with Eve, Zuke finds it in his heart to help her see she doesn't need to be with him to be worthwhile. In fact, he wisely tells her she completes herself, and should learn to love herself despite her insecurities.

Top

How well does it match the trope?

Example of:

/

Media sources:

/

Report