So, I’ve spent the majority of my evening playing Idea Factory and Compile Heart’s first PlayStation 4 title Omega Quintet. And I’m absolutely in love with it.

Omega Quintet, lest you don’t follow Japanese games with the same borderline obsessiveness as I do, is a role-playing game in which you take on the role of Takt, a rather sullen young man who occasionally has trouble with demonstrating the personality trait that he shares his name with. He has fairly good reason to be sullen, however; he lives in a dystopian future in which some sort of lurking unpleasantness called the Blare keeps showing up, driving people mad and turning animals into monsters. (Aside: In the Japanese original, it was called the Beep; I kind of wish they’d kept that name, particularly as the Japanese voices still use it!)

So far, so post-apocalyptic. It wouldn’t be a post-apocalyptic JRPG without a band of plucky heroic types to save the day, however, so enter the Verse Maidens: young women who have the power to drive back the Blare with the power of their songs. Takt and his childhood friend Otoha get swept up in the world of the Verse Maidens as the “ever-17 Momoka” (who is actually 37, and starting to feel it) stumbles across them after exhausting herself clearing out a particularly nasty batch of Blare. Through a series of unfortunate circumstances, Otoha awakens to her potential power as a Verse Maiden, leading Momoka to reluctantly retire and make way for Otoha and two other young, inexperienced Verse Maidens called Kana and Nene.

Idea Factory and Compile Heart have proven themselves to be talented at satirical games with the Hyperdimension Neptunia series, which pokes fun at the video game industry and video games in general. Omega Quintet, meanwhile, tackles the Japanese idol industry, a subject that Idea Factory has previously explored in Hyperdimension Neptunia: Producing Perfection, and something we don’t have an exact analogue to in the West. The closest equivalent we have is the phenomenon of “manufactured pop groups” like the boy bands of the ’90s and the few examples of groups that have made successes of themselves following talent shows such as The X-Factor and its ilk, but neither of these go anywhere near as far as the Japanese idol industry.

Japanese idols have to contend not only with the most crazy, obsessive fans, but also with their management pretty much taking control of their entire life — including personal relationships, socialising and all the sorts of things that young girls should probably discover and explore for themselves in order to grow up as well-adjusted individuals. Omega Quintet reflects this through Takt gradually being trained up to become the Verse Maidens’ manager and sternly told in no uncertain terms at regular intervals that he absolutely, positively must not do anything inappropriate with any of these girls, lest he tarnish their pure image and anger the fans — because Verse Maidens draw their power from their fanbase.

The character of Momoka is also used as a means of reflecting the falseness of the idols’ lifestyles. We’re initially introduced to Momoka as a young, beautiful, heroic woman whom everyone looks up to and depends upon, but as we see her exhausting herself on what turns out to be her last mission and subsequently revealing her true, rather abrasive personality, we come to understand that she’s been playing a part — for twenty years, in her case. It will be interesting to see how the titular Quintet, once they assemble, will come to terms with this existence, and I suspect it will be an important part of the overall narrative.

Mechanically, Omega Quintet is fairly similar to other Compile Heart titles: there’s a lot of standing around talking with some well-written, witty dialogue, punctuated with dungeon-crawling and snappy combat. Rather than repurposing the Neptunia combat system, however, Omega Quintet has its own rather deep and complex system that encourages you to be as flashy as you can while maintaining control of your characters’ resources. There are some really interesting mechanics in there, such as characters being able to obtain bonus actions for their next turn by fulfilling particular conditions, and a Final Fantasy X-style “turn delay” mechanic allowing you to manipulate the turn order to your advantage. The protagonist also plays an interesting role by not directly participating in combat, instead offering passive support effects to the party and having a limited number of action points to be used throughout the fight either for follow-up “Pursuit” attacks after his current partner has performed an action, or stepping in to soak some of the incoming damage on his partner.

There’s also a frighteningly deep-looking character customisation and advancement system that involves unlocking abilities on a “disc” that works a little like Final Fantasy X’s Sphere Grid, choosing abilities carefully for a limited number of slots, weapon proficiencies, equipment, outfits with upgradeable durability and “amp” slots for bonus effects, formations, chain skills and all manner of other things. I’m only about 5 hours or so into the game so far and it’s clear there’s a lot of systems I haven’t been introduced to yet; it looks like the complete picture will be quite complex, but the game has proven very accessible so far, gradually introducing concepts and giving you ample time to familiarise yourself with them in practical situations before throwing something new into the mix.

Oh, and the soundtrack is amazing. Which you’d sort of hope for a game ostensibly “about” music. And, as usual for the genre, it’s the battle theme that presents one of the best examples, featuring a distinctly Final Fantasy XIII-esque feel with its use of solo violin over driving rhythms. So what better way to wrap up these first impressions with said piece? Here you go.