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lead=yes is a third-person shooter developed by Cavia for the Xbox 360 and Microsoft Windows. It was released in Japan in 2006 and in Western regions in 2007; AQ Interactive published the game in Japan, while Atari SA was the publisher for other regions. A Windows version was released by Xseed Games in April 2018. Set on a post-apocalyptic Earth, the story follows the witch Alicia Claus as she hunts a powerful demon. Players control Alicia through linear levels, using her gun to fire multiple types of ammunition at humanoid and demonic enemies.
Beginning development in 2004 as Cavia's first game for seventh generation consoles, Bullet Witch was developed by the same team behind . The character and monster designs, created respectively by Satoshi Ueda and Taro Hasegawa, fused Western and Japanese sensibilities. The music was composed by Masashi Yano supervised by Nobuyoshi Sano. The game received mixed to negative reviews from Japanese and Western critics.
Combat is primarily based around using Alicia's "gun rod" weapon and magic abilities against normal enemies and during scripted boss battles. While Alicia mainly fights alone, she is joined by NPCs for later major battles. Her gun rod transforms into multiple types of guns, each with different ammunition types, firing rates and damage. When the game starts Alicia only has access to the rod's machine gun mode, but skill points acquired after completing levels can be used to unlock shotgun, canon, and Gatling gun modes. Reloading after a magazine is exhausted costs Alicia magic points. Each gun type can be augmented with additional functions or deal higher damage by using magic. Alicia can also perform a melee attack when close to enemies.
Alicia has access to magic spells, which are assigned to three rings based on their strength. Basic spells include creating a temporary shield, imbuing ammunition with elemental damage abilities, and spearing enemies from beneath; second level spells include throwing objects, summoning a hoard of ravens to attack enemies, and giving up a portion of health to revive injured allies and non-playable characters; the third level summons powerful natural phenomena such as tornadoes, meteor showers and lightning storms to destroy large groups of enemies. Using spells cost varying amounts of magic points depending on their level, and each can be upgraded using skill points. Upgrades to health, guns and magic are unlocked with skill points earned based on a ranking, which takes in damage taken, enemies killed and the length of time it took to complete a level.
Alicia accompanies the resistance forces to the location of the portal, aiding them and further survivors along the way. When she reaches the portal's location, she discovered the archeologist still alive as a prisoner of the portal. Receiving the remaining journal entries from him, Alicia discovers that she herself is the archeologist's daughter and is only alive and able to wield magic due to his actions. Alicia is forced to kill her father to close the portal, although the remaining demons still control Earth. Alicia and Maxwell return to the city and finally defeat Omega through their combined strength, liberating the city from demon control. Despite this victory, the battle is far from over, and despite Maxwell's growing attachment to her, Alicia decides to continue her mission. Newspaper articles during the credits show humanity defeating the demons and recovering from the natural disasters while Alicia continues wandering the world.
The game was produced by Toru Takahashi. The director was Yōichi Take, who co-wrote the scenario with Akira Yasui. According to Take, the scenario had a somber tone to suit its setting, and was quite brief when compared to other video game narratives. The character of Alicia was described as a combination of Japanese and Western character archetypes; while her Gothic witch appearance drew from Western fiction, her melancholy persona and ironic humor were based in Japanese traditions. The character designs and art direction were handled by Satoshi Ueda. The menus and other 2D assets were designed by Satoko Tsushima. Tsushima also designed the game's logo. The in-game cinematics were directed by Yasui, with the higher graphical power of the console enabling more character expression than in Yasui's previous work. The creature designs were handled by Taro Hasegawa. One monster he described in detail was the humanoid Geist, which he needed to redesign several times; his first draft was refused due to being overly complex to render, with later versions being created with input from other staff members. The larger monsters dubbed Megas were designed around the concept of players jumping on them during battle, but due to hardware limitations this aspect of gameplay was cut. The game's monsters, like Alicia, were a fusion of Western and Japanese design elements. Fuji Wahara was in charge of character motion, and worked hard to make character movements realistic while keeping to the exaggerated tone and style of the game. The lead artificial intelligence designer was Tomoyuki Ando.
When creating Bullet Witch, the team were pleased with the shift to high-definition graphics, but this and the game's identity as a new intellectual property meant they were taking financial risks. The move to next-generation hardware meant the team could include more destructible environments. They used 64-bit computing at a few points to speed up data exchange and improve visual effects. The game used the PhysX physics engine. Working with the next-generation hardware was both exhilarating and difficult, as the team wanted to create something new rather than rely on existing code resources. The team wanted players to be able to navigate large areas with few or no loading screens, but these ambitions were originally muted by the console's limited power, and it was only during the later stages of development that they started resolving the issues. Due to the console's limitations, some potential effects and touches such as breaking glass, bullet marks in surfaces like building walls, and having Alicia's feet adjust to the slope of terrain had to be left out to increase processing power for the large-scale environments. While the team had wanted to achieve 60 frames per second, the team needed to reduce the framerate to 30 per second so all the effects would run smoothly.
Yano and Sano were originally going to work on the score together, with Yano handling the orchestral segments and Sano in charge of percussion and bass. Take wanted the soundtrack to stand out, but when Sano added together their two styles of music, he negatively compared the result to a song from Japanese variety show Nanikore Chin Hyakkei. Sano was so distressed that he insisted Yano handle all aspects of the music. The soundtrack and soundscape were created using 5.1 surround sound, which Sano found to be a mixed experience. While this enabled a wider range and depth of sounds, it also made coordination and balance more difficult. Despite the difficulties, he found the resultant effect superior to the two-channel sound of his previous projects. The theme song "The Vanishing Sky" was composed by Yano and arranged by Sano, with lyrics and vocals performed in English by Asako Yoshihiro.
Following the game's Japanese release, Atari SA successfully pitched to publish the game outside Japan. According to Atari, the game was chosen for localization due to its unique premise, in addition to showcasing the capacities of next generation gaming hardware. In addition to localizing the game, Atari worked to improve the gameplay experience for Western players, adjusting the camera and character controls for a tighter experience, and improving enemy artificial intelligence. Another element that underwent adjustments was the Gun Rod, which was seen as overpowered in the Japanese version. The game was released in North America on February 27, 2007. In Europe, the game released on March 9, and in Australia it released on March 16.
A Microsoft Windows port was released on April 25, 2018. It was developed by Marvelous and published by Xseed Games.
Greg Mueller, writing for GameSpot, praised the destructible environments and spell casting while faulting most other aspects of the game—he concluded that "Bullet Witch shows promise, but it ultimately fails to deliver anything more than a forgettable ho-hum third-person shooter". IGN's Erik Brudvig was unimpressed by most aspects of the game and highly critical of the gameplay and lack of content, calling it "short and shallow". Lewis Cameron of Official Xbox Magazine found the gameplay dull and repetitive despite liking the variety of attack options, and faulted most other aspects including the graphics and localization. VideoGamer.com's Will Freeman enjoyed the magic system and later levels, but criticized the graphics and its "basic" content.
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