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Capcom, Metal Slug 5, and Samurai Shodown 5. As for SNK NeoGeo USA Consumer Corporation (man, that's a lengthy name)--company president Ben Herman was proud to announce the impending release of the King of Fighters 2000/2001 double pack for the PlayStation 2, as well as the intention to release home versions of Metal Slug 3 and SVC Chaos later on. The King of Fighters 2000/2001 pack is out now, but Metal Slug 3 has met with resistance from Sony Computer Entertainment America's concept approval department. SCEA has a long history of denying licenses on 2D-based games. Goemon, Dodonpachi, and Soul Hackers are but a few of the many games denied a US release by the company's approval department, despite the fact that these and the majority of other rejected titles were released in Japan without incident. SVC Chaos for the MVS. Counterfeit. As of February 2004, SNK hadn't yet manufactured an MVS version of the game. With SNK back on the scene in North America, Playmore's legal counsel also set its sights on counterfeiters. Going back to 1998, a number of companies had been running lucrative businesses selling liner artwork and rare AES games to hungry NeoGeo fans. The problem is, many of these liners were "custom" reproductions, and some of the rare AES games these companies were selling were not actually manufactured or sanctioned by SNK.Now, my speculation here is not to be taken for verbatim. However, there is little else that could explain the bizarre sexualization and characterization inside the series. Minenami Ryou has dabbled in ecchi in the past but to place nudity within Shounen no Abyss to the point where it dabbles on the line of ecchi/fan-service is a bizarre choice to say the least. Now, sex and romance (or lack thereof) is most certainly apart of Coming of Age and a massive causation of depression worldwide and of course most importantly, within Japan. Though, in no good mind can I find the reason for the female characters to be one minute rendering their soul apart in double page spreads of pure outbursts of sorrow, anguish and rage to the next issue be throwing themselves on our main character as if he was lathered in aphrodisiac. In order to justify these rapid moodswings and sudden appearances of intense thirst, Minenami Ryou has to apply rather tired character archetypes in order to placate the Young Jump crowd and editorial staff. Particuarly of note is the disillussionment of the teacher character, one that as previously noted, has a legitimate reason to be involved with Reiji Kurose and has a genuine feeling of sadness about them but is then degraded to having a far too familiar trope seemingly forced onto them in order to remain prominent in the series and satisfy some weird neccessity that far too much Seinen seems determined to have.
As for the other aspects of the manga, the art retains the familiarlity of the rest of Minenami Ryou's work, not exceptional but acceptable, except for some occurrences where there are mild flexes that show impressive talent. It can also be said that the character designs are unique to the point of everyone being instantly identifiable whilst still maintaining utter believability. Not easy by any means. The pacing of the manga is generally quite good and leads to an overall easy read (darkly humorous considering the subject matter isn't meant to be digestable), this could be consumed in one afternoon quite comfortably and the little plot hooks laid towards the end of chapters are firm enough to drag "just one more issue" out of you.