Omega Quintet (Idea Factory International, 2014), a role-playing video game released for the Sony PlayStation 4, centers around the concept of weaponizing musical entities and apparatuses to combat threats in a dystopian universe. Omega Quintet weaponizes music literally, supernaturally, and economically, both inside and outside of the game narrative. In this article, we interpret these types of weaponization as an extended allegory for consumption. On one level, the surface narrative denotes sound as a murder tool, on another level the player enables violent consumption of these tools, and yet another level reveals the weaponization of agency within a gendered labor market.
The story of Omega Quintet is set in a dystopian Japan overrun by monsters known as the BEEP. Protagonist Takt and his childhood friend, Otoha, join an organization that develops special idols known as Verse Maidens to fight the BEEP. Surviving members of humanity provide the fan base for the Verse Maidens. The Verse Maidens depend on fan support to fuel their powers. Battles in Omega Quintet feature an assortment of musical weaponization. Examples include Sound Weapons as the main conduit for physical attacks, Verse Maidens’ unique songs to play during extended attack sequences known as Live Mode, and special joint attacks known as Harmonic Chains. The battles take the commodification of idols to such an extreme that they are simultaneously consumed and used as weapons. Presented as a duality of fragility and strength, beauty and brutality, art and war, the Verse Maidens are consumed in a complex system of cultural and narrative implications.
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