A Status Update (or: in the name of all that’s holy, I swear nothing is cancelled.)

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“Some people who don’t know about your Twitter might think all your projects are dead, though.”

“any chance of a blog post on how the EP translation is going along?”

“Is it alright to ask how the Devil Children translation is going though? (Also good luck with CCC)”
“e p p s p w h e n (actually did debisama happen? I’m out of the loop. I assume not yet)”

“Hi cj, is fate extra CCC english patch coming out?”

“Quick Question, is the Eternal Punishment project beeing cancelled or do you continue it? There has not been any update in quite a while”

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You. get. the. idea.

So first things first, since I could fill the grand canyon with the requests for this and give E.T. a run for his money.

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Yes, I know.

 

Fate/Extra CCC (PSP)

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Unchanged. Not cancelled. Full stop. Do not pass go. Do not cut off Gilgamesh’s arm.

Actually, totally do that.

 

THIS SCRIPT IS MASSIVE AND WILL LIKELY TAKE MANY MORE WEEKS IF NOT MONTHS TO PROPERLY ORGANIZE AND FORMAT. Once this hurdle is passed, you’ll be the first to know. Give or take.

Persona 2: Eternal Punishment (PSP)

Moving along nicely! Making solid progress with the remainder of the editing. I can’t say a 2017 release is a given, but it’s damn possible, at least based on the text progress.

Devil Summoner (PSP)

Well, I’m not involved in this, but as an intermediary for Esper, I can assure you it’s happening.

Devil Children: Red & Black Book (PS1)

I am involved in this! Well, as a tester and the editor. And EsperKnight is too. I can’t wait, and you best believe as a proud member of the Cult of Mirai, I will not let this go unreleased.

Sakura Wars (PC)

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Translation is maybe 40% done. Stay tuned.

Shadowrun (Sega CD)

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Just kidding. I have to keep lighting a fire under Esper for this one. It’s a bitch, let’s put it that way. But we’ll get there.

That’s all I got for now, hit me up on twitter or something if you’d like to know more, but probably not much to share  that isn’t here already, unless you want excerpts of Shikigami lore or EP PSP’s script or some junk.

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Back to Disgaea 2. Ciao.

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PSA: BlazBlue’s dub is quietly being killed off.

 

 

I’ve made the rounds with this as much as I can; to several forums I visit, twitter, and even Reddit. Not really picking up any steam. Doubt a little blog post will make a difference, but the least I can do is try.

 

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So Guilty Gear Xrd had a dub. No one really expected it, but no one complained much either(to my knowledge, anyway). No game before it had a dub. And apparently Xrd will be the last: Revelator did not receive a dub at all. So in a way, it was back to the status quo.

BlazBlue is a COMPLETELY different story.


For FIVE releases now(CT, CS, CSE, CP, CPE), each game has been fully dubbed, and as the above video hopefully shows, very well.

However, there’s been no word about the forthcoming Central Fiction console release having a dub. Not only is this the last game in the series, it also sends two bad messages: one, that the dub is no longer important.

And much worse, that neither Aksys(https://twitter.com/aksysgames) nor Arc System Works(https://twitter.com/ArcSystemWorksU) care to comment. Nor will the localization company they’ve outsourced to, Strangely Compelling(https://twitter.com/itscompelling).

I’ve asked them all for comment repeatedly, as have fans, to no avail.

I was flat-out told that Aksys no longer oversee the BB localizations. It’s all up to Arc System Works, who in turn outsourced it. So we’ve had nothing but silence to go by… until Patrick Seitz himself, the voice of Ragna, finally chimed in.

Cristina Vee(the voice of Noel) joined in as well, adding another nail to the CF dub coffin.

Not looking good, is it?

So there’s one of two things that can happen. Well, three, but I’d say the third is about as likely as Yoko Taro securing the Democratic Nomination.

  1. Sit back and let the dub quietly die, which I’m sure fans if not Aksys will quietly confirm at launch.
  2. Give them hell. Blitz Aksys and ArcSys’ twitter and send every media contact you know an email. No media sites have covered this, and I’ve emailed just about every major one of note. Here’s a few!  siliconera@gmail.com,  editor@gematsu.com, bashcraft@kotaku.com, jason@kotaku.com. I’ve emailed all four, and none of those three sites have covered the story. Maybe if enough people make noise, they will. Not bloody likely, but hey, we tried.
  3. The dub actually happens, whether it was planned all along or we change their minds(ha). Again, not counting on this at all.

So hopefully this was enlightening at worst, causes you to take some action at best. Don’t let the dub die without a fight.

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Tsubaki is counting on you.

The Art of Grasshopper Manufacture: Suda51 on industry limitations & creative freedom

First off, you should buy this for the artwork. There is some brilliant artistry on display.

From Killer Is Dead to Shadows of the Damned to Sine Mora to Lollipop Chainsaw to No More Heroes to Killer7 to Flower, Sun, & Rain to The Silver Case and back again, this has something for everyone.

You can easily get it at Amazon.jp for around $40, with shipping,and with a full English translation included.

(Image credit to Neogaf’s Eolz)

What REALLY makes this fascinating is Suda’s personal tidbits on every game in the book. Not just the mainstream stuff, he even comments on projects that he merely oversaw or assisted on like Contact, Evangelion: 3nd Impact, and the iOS game Frog Minutes.

Here’s some fascinating excerpts.

On Shadows of the Damned, and EA making him do FIVE DRAFTS:

They[EA] told us that ‘westerners are about guns, so give him a gun’, and the direction of the project turned 180 degrees. EA is a really macho company, and we argued with them as we developed it. Their demands were really strong. WE ended up drafting the scenario five times before it was completed. In the end, each was so unique that it felt like I had basically written five different games.

In the very final(fifth) draft, it turned into a love story. EA informed us, “There’s this thing called an ‘elevator draft’, and if you can’t tell your story in the length of an elevator ride, Hollywood won’t use it.” All their stories fall into one of four categories.

On Sine Mora.

The scenario was written entirely by Digital Reality’s director at the time, Theodore Reiker. He was also a Hungarian, and was thinking of basing the story off of Hungary’s war history. Hungary has a history of constantly losing in battle, so the sadness of those wartime events made its way into the game. Some very powerful emotions went into this project. I had a mostly hands-off approach with this project, doing little more than play testing.

On Killer Is Dead, Lollipop Chainsaw, and Kadokawa Games being all about the bottom dollar.

There was a strong request from our publisher, Kadokawa Games, to include sexy female characters, so although we originally only had Vivienne and Mika, we started to add even more to the game. We added a “gigolo mission” in order to boost sales. As for the female character designs, Kadokawa’s demands became very overwhelming, to the point that there wasn’t room for my own ideas.

We had just finished an earlier project, Lollipop Chainsaw, and I really didn’t want there to be this image of “Grasshopper = erotic”. Lollipop’s backstory wasn’t supposed to be erotic at all, but it turned out that way because we added the shell bikini costume(among others)later in development.

However, that was done because the publisher, Kadokawa Games, had a solid idea of what sells, and that became a good learning experience. The development was hard, but in the end, we had fun making this game.

On No More Heroes & No More Heroes 2: Desperate Struggle:

With No More Heroes, we wrote the story first. We made it based on my scenario, but for 2, it was the opposite and we did the characters first. If I had to say, the story was rather thin. That’s the difference between 1 and 2.

On Killer7, and Shinji Mikami providing complete creative freedom.

Killer7 was a game that I designed and checked practically by myself. I originally wasn’t going to do it alone, but Mikami wouldn’t hear of it. That was ultra-Spartan, but I absolutely had to do it all myself.

I really liked the scenario, but I had to ask someone else to substitute for some of the work. When Mikami read it, he asked,”This isn’t your scenario, is it?” When I said, “Ah,I left this to some other staff because of the workload,” He replied, “No, it’s no good. Please write it all.” Then, I supposed, if he really liked it that much, I need to meet his expectations, and wrote every last word and phrase. I don’t think I could make a game like that again.

At that point, Mikami entrusted the making of the entire game to me. I think I was probably protected by him(even from Capcom) when the release date was pushed back. He provided an environment that let me create everything I wanted to create. That kind of development is really rare. I haven’t had an experience like that since, a project like Killer7 that I practically made with my own hands.

Truly, I feel like Mikami really protected me all the way.

On Flower, Sun, and Rain:


There were many fans who said this was their favorite game. It’s a mysterious game. If I look back on it now, I think, “So I was able to make a game like this?” It’s an adventure game that’s difficult to explain. I was originally from the very bottom of the game company Human Inc., but the other staff had different origins, so I probably seemed like a stray dog to some of them. In any case, I still wanted to create something new, even if we argued all the time.

On The Silver Case:

This is an illustration from Parade, the third episode. During the original draft, Miyamoto’s illustration cut schedule was packed, so I only asked him for all the cuts for the third episode.

When we ported Silver Case for the DS, Miyamoto took a break from the illustration that he was doing on Ward 25 at the time and started on all the cuts for this parade. In the end, we finished the port to the DS but weren’t able to distribute it, so this illustration hasn’t been distbruted either. Now I want to remake The Silver Case, not just port it.

Silver Case is something I’d like to release outside of Japan someday. I have been getting some offers from a Spanish company to localize it along with some other titles. This was my first original title and the debut for Grasshopper, so it’s really important to us.

I wanted to make a game that can’t be deciphered in just a single glance. It was difficult to get the staff to understand that. I guess I really did look like a doubtful character, a “stray dog”. But if I have to say, I think I really wanted to go down the path of making a game in a way that no one had ever achieved before.

The Silver Case is like the history of that battle.

Post-Mortem: Demon Gaze

I really wanted to like this game. It had a lot going for it. Developed by Experience Inc., the sadists behind everyone’s favorite cyberpunk dungeon crawling(DC) RPG, Generation Xth: Code Hazard.

It’s not even a bad game! It has good combat, great music, an ‘okay’ story, and a lot of innovative steps for a DC.

What brings it down, you ask?

Tripe like that. Let’s be real: it’s fricking creepy. If a game is on a handheld, odds are, I’m playing it in public. More likely still, I’m playing it at work.

Would you want to see someone wondering why a half-naked girl is plastered all over your screen? Then you best not play Demon Gaze out in the open, because you’ll get a LOT of that.

It’s not just Ms. Underwear Fanatic there, either. Frequently throughout the game there’s lots of awkward content. Barely-dressed hotel managers lounging around in come-hither poses, mercenaries who wear next to nothing, even a basement-dwelling mortician who wears little more than a hoodie and undergarments.

Though in Prometh’s defense, she at least gets some of the most hilarious dialogue in the game, such as her deadpan ‘I’m so excited’ when you bring her quest items.

Fanservice gripes aside, Demon Gaze is a solid DC. Battles are lightning fast, the dungeons have a lot of colorful variety, and best of all, they get music. That might seem like a no-brainer, but a lot of DCs outside of Etrian Odyssey overlook the most important of features. If you’re gonna spend hours in a dungeon, at least have good music. Hell, have SOME music. (Looking at you, Class of Heroes.)

Also, the post-game and end-game bosses are the stuff of nightmares. So the game is worth a shot for the gameplay, if nothing else.

Just play it at home whenever a story beat hits.

A Beginner’s Guide To Kanji Tables

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Oh wait, wrong Kanji.

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There we go!

Kanji tables are integral to fan translations. This is currently the obstacle for Shadowrun. In a nutshell, they’re image-format depictions of Japanese characters that have to be transcribed into text to make facilitate the process of replacing Japanese text with English text.

That’s the Kanji table for Shadowrun Scenario 2. There’s one for each scenario.

We’re hacking away at it, so stay tuned.

It includes some hiragana and katakana as well, but mostly kanji. Hiragana & katakana are simpler characters, often used to spell out kanji for ease of pronunciation or saying non-Japanese words, such as “Ku-Ri-Su’ for Chris(see: Steins;Gate).

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(She prefers Christina, I’m told. It’s not that she likes it or anything, though.)

If you’d like to know more about kanji tables, read here.

http://www.romhacking.net/documents/56/

If you’d like to know more about Kanji hitting people with tables, play Persona 4 Arena.

-cj