interestingly enough, the complete tonal shift and philosophical backtrack that Drakengard 2 establishes in comparison to its predecessor has been vindicated by time as Yoko Taro's worldview as expressed through his games has shifted over the years – whereas Drakengard's origins are rooted in violent, rabid nihilism its ethos has slowly blossomed into one of begrudging, reluctant optimism and steadfast determination. the original Drakengard might insist that wise men choose not to be born, but the latest installment in the series insists that choosing to live is always the right answer – no matter the cost or how much of a mistake your life may be.

even with Yoko Taro's minimal involvement with this game and how it's mostly been ignored by further additions to the canon over the years, it was nevertheless a sign of the direction the series would be going in. on its own merits, I like this mostly for the closure it provides Caim and Angelus and how it develops the former into a genuinely fascinating character as opposed to the caricature and emblematic entity he was in the original game. Hanch and Manah are pretty cool too.