Analysis of Asura's Wrath

Asura's Wrath is a game made in Japan, a culture that demands total devotion to the "higher cause" of society. The Seven Deities are the government of the world, and much like our own government, they take Asura's daughter away, along with the souls of trillions of humans, to force them into a position that they don't want but feel they must take on in a grand scheme to "save the world" in which the end justifies the means, no matter the cost, reflecting the arrogance of society. The carpet bombardments and weapons of mass destruction used by the seven deities to defeat a single foe are reminiscent of the US in WWII.
All the time Asura fights to free her, his enemies try to convince him that their cause is the only way to go and there is nothing he can do to stop them, but in the end he is still "the same old Asura" and must remain true to that force within him that draws him ever forward against all that stands in its way: he remains authentic. "You do not listen to anyone."
The Seven Deities and Asura represent various sins, but in the game they are seen as forces that can be used for good, emotions we forbid in ourselves but often worship in our idols: it shows the nondualism of good and evil, and a criticism of the religion that's formed the basis of our secular society.
The battles between the demigods are a depiction of the conflict between their emotions expressed in their dialogues. The only one that is a match for Asura's wrath is its opposite, Yasha's melancholy, two human ways of dealing with pain between which we often vacillate, at one point with submission and at another with dominance, as we try to find our way either above or below it. The tide only turns when the two unite, when Yasha sees how Asura's and his own power surpasses that of all the other demigods.
In the end it is they who defeat the Gohma, not the Seven Deities' 12,000 years of tyranny. But once defeated, the Seven Deities get a taste of their own medicine, when the creator of the universe makes his appearance and tells them that the Gohma were themselves a means to an end: "The suffering this world has seen was all to choose my heir." Even now, when given the chance to rejoin his daughter, Asura resists, no matter how powerful his oppressor may be, whether a fascist government or a fascist creator: send me to the camps or to hell, I will never stop fighting, even if it means I have to overturn the whole world to defeat it. "A world that needs to be manipulated deserves to come to an end."
This is not just a game: it's an anarchist war cry in disguise, and one that will resonate in youths in Japan and worldwide.