Love and Deepspace: cops, superheroes, worldbuilding, and why a story can’t just be ‘vibes’

Abstract: Love and Deepspace entered the market in 2024, changing the landscape of otome games with its 3D models and hybrid gameplay. Despite its attempt at constructing a story catered towards women, though, they still seem to exhibit the pitfalls of any other company concerned with capital. Capitalism is anti-feminist.

This present essay thus dissects the presentation of Hunters as law enforcement, why the decision is so insidious, and what it means for the world-building. I examine the pervasive theme of crime and punishment and the unconscious biases of both the writers and the audience towards the criminal incitement to discourse, looking at the Tomorrow’s Catch-22 banner’s presentation of a racialised society and an unquestioned carceral system reminiscent of the CCP’s discriminatory policies.

The Love and Deepspace world is not concerned with itself, only what it can be for the central six characters. Plot holes are rife, antagonism is a spectacle, and Linkon society is a monolithic machine. Their politics revolve around which way the narrative can be bent into the shape needed to enhance the romance of the present couple, and the rest of the story is therefore lacking in any genuine care.