It's just a good kinda-spooky urban fantasy character-driven mystery-ish plot set in an unnamed but very atmospheric 1980s Japanese town.

All that aside, I really can't recommend Witch on the Holy Night enough, because it's basically the best visual novel TYPE-MOON has ever produced, and is also a great introduction to its setting, taking all the best elements of it without the early-installment weirdness *or* all the Fate bullshit

I fully believe that with enough money, a massive setpiece space battle can absolutely be done in a VN (provided there is a lot of talented people working for you, and provided there is good art direction).

It has so many variations on sprites and backgrounds to spice things up, and also incredible setpieces that lovingly render and animate a schoolgirl firing a magical laser at an evil moon monster in a spooky abandoned amusement park come to life as a twisted fairytale version of itself.

TBF, while I don't know the exact costs thatwl went into it, I think VNs like Witch on the Holy Night show that the genre can be *incredibly* high production (provided you have access to a lot of artists and animators, banger art direction, and willingness to go ham on compositing)

He's not above exploiting that archetype, though, including his charming habit of reminding people he's annoyed with he could just shoot them. The man contains multitudes!

At the same time, the contrast between Cain's approach to his job and Literally Any Other Comissar's is never not hilarious. Mostly because, as you have pointed out, he is aware of how stupid the classic archetype of a 40k comissar is.

Literally every gaming CEO seems to be showing his entire ass on the topic of AI.

In other words, crossovers from tge point of view of a fan versus from the perspective of a suit.

In one case, it's wanting to see aspecta of stories imteract. In another, it's an IP licensing deal.