Cosmology of Kyoto

In September 1994, a review by film critic Roger Ebert was published in Wired magazine, where he stated the "richness is almost overwhelming", noting "the resources of this game are limitless", that "no two players would have the same experience" and that he had barely "begun to scratch the surface" of the city despite exploring for two weeks. He stated it was "the most beguiling computer game I have encountered, a seamless blend of information, adventure, humor, and imagination" with "the gruesome side-by-side with the divine." He praised the "hauntingly effective" widescreen graphics, the "vivid facial characteristics" of the characters (describing them as "a cross" between "medieval Japanese art" and "modern Japanimation"), and the voices "filled with personality". He concluded it to be "a wonderful game" where there "is the sense, illusory but seductive, that one could wander this world indefinitely."[9] Later in 2010, he mentioned it in a column on whether video games can be art. After previously arguing that video games are categorically not art, he stated, "In my actual experience, I have played Cosmology of Kyoto, which I enormously enjoyed, and Myst, for which I lacked the patience."[10] Cosmology of Kyoto is the only video game that Ebert is known to have reviewed and enjoyed.[6] In October 1994, Los Angeles Times published a review by David Coller, who described it as an "adventure-cultural-historical game" that is "graphically violent at times," but a "cerebral game" that "in no way resembles Doom or Rebel Assault", stating "you have to throw away your Western ideas about game play". He stated he could not find an ending "even after many hours of play" but praised the graphics and soundscape as "beautiful" and concluded it to be "truly unsettling." Stone Bridge Press founder Peter Goodman also praised the game, stating he had "never gotten to the end of it" but "it sure is beautiful", which Coller agreed with.[4]

In issue 218 (June 1995) of Dragon magazine, it was reviewed by game designer David "Zeb" Cook in the "Eye of the Monitor" column. He described it as "a unique gaming experience" that is part "game, part history lesson, and part software toy," recommending it to players "looking for an adventure game unlike any they've ever seen" as "Cosmology of Kyoto is unlike anything else out there", noting how it departed from other adventure games, such as its lack of a clear goal other than being killed "over and over and over again" and how "you're just an ordinary person" with no special abilities. He described it as "frustrating, flawed, and fascinating", criticizing the slow pace, "limited" interaction, and slow CD-ROM loading times, yet found it "appealing", stating "the wonder of the setting and its approach outweighs these irritations" as there "are too many fascinating things to discover, from haunted houses to backgammon-playing demons" and the reincarnation mechanic gives the game "a certain freedom", enough that the player "could even use it as a resource for" their "own role-playing game" campaign. According to Cook, "Ultimately, Cosmology of Kyoto is best viewed as less a game and more a software toy, one of those things you plug in and fiddle with. Once you forget about winning and indulge your curiosity, the CD-ROM's strength truly shines."[7] At the AUUG Conference in September 1995, Cosmology of Kyoto was described as "extremely interesting and groundbreaking", for "many aspects" such as the way it presents and cross-references its fragmented narratives in a non-linear way, the Buddhist themes, the way it draws from "the art and literature of Kyoto at about 1000 AD, the simple elegance of the screen design, and the beauty of the water-colour images used throughout."[8]

Retrospectively, the game has also been critically well received. In 2008, video game journalist Jenn Frank retroactively compared it to contemporary survival horror games. She noted Cosmology of Kyoto lacks a "real plot or goal" but considered an "unfairness" to be characteristic of horror with "encounters with ghosts and demons" that are "often random, sudden, inescapable". She concluded it to be an "extremely eerie" and "Memorably frightening game."[5] In 2011, Ryan McSwain of Hardcore Gaming 101 states that it "attempts to be many things", including "a game, an educational tool, and a work of art", concluding that "it manages to be all of these and more."[6] After Ebert mentioned the game on his blog in 2010, Chris Person reviewed the game on Kotaku in 2012, where he described it as an "edu-horror" and "one of the most disturbing" games he had ever played, depicting themes such as poverty, sickness, suffering, and cruelty (such as a scene where a child is beheaded by a nobleman, and scenes depicting torture in hell), and praises the game for the way it expresses its Buddhist themes.[11] Mexican filmmaker Guillermo del Toro mentioned Cosmology of Kyoto as one of his favorite games, along with Gadget: Invention, Travel, & Adventure, Asteroids and Galaga.[12]