Games published by Anjin
Select a publisher to browse its games.
We provide a complete list of games published by this publisher.
Last Guardian 2: Yomi no Fūin
The Last Guardian 2: Yomi no Fūin, also known as The Last Guardian: The Seal of Yomi, is a 1996 PC-98 game developed by Sting and published by NEC Avenue. It is the sequel to The Last Guardian, which was released the previous year. The story of The Last Guardian 2 picks up where the first game left off, with the protagonist, Shun, searching for his missing sister, Kaguya.
The game is a traditional Japanese-style RPG, with turn-based battles and a top-down perspective. The Last Guardian 2 introduces a new gameplay element in the form of "Seal Cards". These cards can be collected throughout the game and used to seal away enemies, preventing them from attacking.
The Last Guardian 2 was well-received upon release, with critics praising the game's graphics, music, and gameplay. It is considered one of the best RPGs on the PC-98 platform.
Silkroad Hoshi No Shima No Monogatari
Released in 1998 for Windows, Silkroad Hoshi No Shima No Monogatari arrived with little fanfare but carried the promise of wandering beyond conventional adventure games. Its designers stitched together a tapestry of Silk Road myth and island lore, yielding a curious hybrid that felt both ancient and modern. Players slipped into a softly lit world where caravan bells echoed through mist and palm shadows gestured toward distant markets. That naming signals an odyssey across trade routes and starry nights, a journey that resists neat genre boundaries and invites patient curiosity. Its music designer crafted sparse melodies that bloom in dim corridors.
Gameplay unfolds as a measured blend of exploration and puzzle solving. The camera glides over parallax landscapes, while the interface presents inventory and dialogue choices in restrained typography. Movement is deliberate, inviting observation of textures and weather cues, and interactions hinge on timing with travelers, statues, and ruined altars. Puzzles demand pattern recognition, symbol deciphering, and subtle negotiation, often rewarding patience more than speed. Combat remains absent or minimal, replaced by a meditative rhythm where progress comes from careful mapping of routes and listening to the environment rather than pushing buttons. The interface favors discovery over combat logs.
Story and atmosphere mingle myth and memory as the traveler with scarred map eyes wanders between islands where languages drift like sails. The writing favors suggestion over exposition, allowing myths to breathe between lines and leaving space for interpretation. Visuals lean toward watercolor textures, inked outlines, and soft palettes that drift with the weather. A minimalist soundtrack glints with chimes, distant drums, and wind, stitching solitude into every shoreline. The world feels tactile, as if rain on cedar or salt spray on stone could alter mood in an instant. Small details whisper legends into the ears of attentive players there.
Although modest in budget, the work earned warmth from critics who valued atmosphere over rapidity. It remains a curiosity outside the usual retro catalog, yet insiders praise its restraint and craftsmanship. The adventure invites revisits, each pass revealing new textures and connections among characters who rarely shout their motives. In retrospective glossaries it is cited as a forgotten precursor to later indie projects that prize place and mood above metrics, a beacon for designers tempted by cross cultural palates and unhurried pacing. Preserved by enthusiasts, it endures as a quiet monument to 90s experimentation on the PC. Its mystique invites careful rereading.
