Yeah, this is some good stuff. One of those things that you’re giddy just to see in action.
It bears mentioning that this massive update would not have been possible without the support of the Visual Novel Umineko Community at Reddit, and some amazing volunteers who will be credited in the final release.
As Miss Virgilia was kind enough to demonstrate, we’ve got the menu text translated AND implemented. We need to line it up and clean up some things, and insert some extraneous stuff, but by and large the worst is over!
The insertion process was kind of haphazard, as we basically just translated the Japanese graphics to English, tossed them in, and watched the fireworks.
As you’ll see here, it’s kind of an involving process.
Oh, but the results were worth it.
But wait, there’s more!
In-game moves will be translated as well, and…
We’ve added hard subs into the opening video too, since I’m sure you actually like to know what’s being sung in these things.
Final Cut Pro works wonders.
So in case you like hard numbers:
In-Game Text: 100%
As Ange would say… “have a nice day, see you again.”
It’s been hard to be a Suda 51 fan over the past few years. Since Killer7, Suda’s works have either been pawned off on other directors with him being given headline status for whatever reason(Shadows of the Damned, Lollipop Chainsaw) or his crazier notions for a game being subdued by higher interests(Shadows of the Damned).
Since finishing Soul Hackers, I decided to take on another raw Japanese game that has no chance of getting localized.
(Yeah, Soul Hackers actually happened, like I knew that was going to happen when I bought the Saturn version…)
I really enjoy Suda 51’s warped outlook on stories and gaming in general. The psychotic Killer7 was my first initiation into his works, and i was a fast fan after that.
Problem is, ‘Suda 51’ doesn’t really carry that same meaning anymore. As of late, since Grasshopper has hit it big, you see less works of art like Killer7 and more simple(r) mainstream-oriented titles like Lollipop Chainsaw and Shadows of the Damned(which I liked, mind you).
The era of the Silver Case and Killer7 aren’t nearly as accessible. The plots are obtuse, mature, and frequently expect the player to put thought into what they’re being exposed to. (Suda once said he had a similar, darker theme in mind for SotD, but naturally, EA made him simplify it.)
The Silver Case don’t play that. This was from Suda in his prime, firing on all creative and sanity-questionable cylinders.
In a city called the 24 Districts, a notorious serial killer is leaving death and horror in his wake.
Only a special team of police have a prayer of putting him away for good. Hopefully.
Much like Killer7, The Silver Case tries a lot of new things. The player experiments 3d environments and then interacts with them to find clues, bodies, and occasionally puzzles.
All backed up by some fantastic art design, and the compositions of the peerless Masafumi Takada.
The Silver Case most certainly is not for everyone. Also, it has a very steep language barrier. But if you want a taste of when A Suda 51 Trip really meant something, this is the bus to ride.