Zakamutt

Hello and welcome to this year’s first EVN Chronicles Steam Curator Clean-up, where I look at the games that were sent to me in the past six months through Steam’s Curator Connect, but were either too small to warrant a full review, or I simply couldn’t cover them in detail due to time constraints. When I first did this kind of posts last year (you can check them out here: Part 1, Part 2), some of the games featured there waited extremely long for being covered. Because of this, I’ve decided that from this point forward, I’ll make this a twice-a-year event, being sure that every VN given to me gets its space on the blog within a reasonable time period. As always, I’m extremely thankful to all the developers that send me their work for assessment and it saddens me whenever my impressions are negative. I hope, however, that the feedback I can offer will be valuable to them, while believe it’s my duty to my readers to warn them against buying a game I find lacking. So, setting the introductory drivel aside, I hope you enjoy this brief overview of these four interesting VNs sent to me during the first half of 2019!
 
Snowed IN

Snowed IN is an unusual yuri nukige, focusing on pair for soldiers in the distant future, where cybernetic enhancement of the human body has reached incredible levels of sophistication. The protagonist, Sigma, is an experienced spec-ops officer who has modified her body to the point where little of it remains organic. For an infiltration mission against a cell of anti-augmentation radicals, she’s assigned with a fresh, talented recruit – a full “natural” named Linde, whose presence in the military is connected with an affirmative action plan for those not augmented. The two polar-opposite individuals, both through their background and attitudes, have to work together to survive the extremely dangerous assignment – and the mission itself hides even more threats and twists then the initial setup would suggest.
                Sounds intriguing? It surely does, but the fact this is a nukige, and a very short one at that (up to an hour and a half of content), should be taken into account when setting your expectations. The game explores its main themes rather briefly, often switching to sex scenes that are only vaguely justifiable in the context of the tense plot – the writing and main intrigue are solid, but simply too rushed to provide a compelling narrative. There are also some highly-questionable elements to it, especially in the rather distasteful bad ending – that’s definitely one point at which h-content was very unnecessary, even if those scenes are the “main point” of the game. As a piece of yuri smut in an unusual setting, it's definitely not the worst thing around – just don't expect anything more than that.
Final Rating: (Cautiously) Recommended
Read the full article at evnchronicles.blogspot.com

Heya, people! It's such a long time I don't see you guys, I almost forgot my password to this forum. Guess Fuwa is still alive and kicking just like me, huh. First of all, sorry I disappeared from the face of the Earth and if I disappointed any fans I might had in this site (silly me). Since last time I posted back in February, a lot of things happened so if anyone's curious (maybe the aforementioned imaginary fans of mine) about what the hell's been happening with me, do keep reading. I talk about VNs, anime, and other disgusting weeb things, but it does include some personal shit. Well, a blog is a blog.
   1) Maybe I mentioned this a huge while ago at some point, but I'm pursuing a master's degree in the structural engineering field. All was going well and good, but now it came the time for me to write my thesis. Oof. So yeah, that's the main reason I became a ghost as my weekday free times went down the drain along with my hopes and dreams. It doesn't help my thesis requires some programming knowledge that may be more than what I can chew, sasuga me (whining aside, it's coming along fine as of now, let's hope I can keep it up).
   2) Not only my free time evaporated but also my attention spam. I'm honestly having a hard time staying focused for more than 40 minutes in the same task. When that happens, I usually take a short break to relax before going back. Except I move on to something else, oops.
   3) Related to the problem mentioned in 2, I fearfully discovered a new wonderful world that's now high in my interests list: gacha games. Their content is usually bite sized (except in events, but I don't play all that seriously... I think), I can auto play to grind, and I can play on the train going to uni. No huge time investment at once required, so what can possibly go wrong (dramatic zoom on my face)? Fortunately, I'm still keeping my two accounts (yep) free-to-play and I feel that I grew a lot on the self control department because of this www. Seriously though, never invite me to a casino trip, I may have an undiscovered gamble addiction and I don't want to open that door. But yeah, if anyone else plays Opera Omnia or Shining Live send me a friend inviteeeeeeeeeeeeee!
   4) Even with all that going on, I still find time to at least watch my anime and read my VNs, surprisingly. Thank God for weekend. Guess cutting yourself off of social media truly does wonders too, huh. Not that I check Twitter on occasion to look at art or anything... Soooo about that weeb shit...
      4.1) La Squadra was right all along
      4.2) I'm still a proud BL trash. From what I recently finished, the highlights are Sweet Pool and Nie no Machi. Both are really really amazing games, both scored higher than 9 in my book, and I definitely want to write a review for them at some point. Spread that love, Maggie!
      4.3) I'm actually a bit slow on the otomege department, sorry >.<  I did get Steam Prison and read both of the Prisoner Routes, but I'm not in the right mindset to keep going with it. I wouldn't enjoy it if I force myself through it. Eltcreed and Ulrik were striking my fancy, so I want to savor them. ......Okay, that came out wrong.
      4.4) EVN ftw, I always find some time to read them. Nanoreno gave me some nice short experiences, the highlight being Monochrome Blues despite the ending kek. Oh, and read Heart of the Woods, people. It's an order. High quality shit right there.
      4.5) Also I keep stumbling upon horror games and I'm okay with this. Recently I played Death Mark. As usual, I went without a walkthrough, solving every mystery by myself. Totally worth it. And it also have very good sound design. Mashita best boi.
      4.6) It does sounds like a lot, but there's nothing much more than what I mentioned wwwwww
      4.7) Did I mentioned La Squadra? (<-- edit that bit out, I totally did, as I should)
   5) Now, about my Fuwa life. I'll probably remain on indefinite hiatus, but every time I find the file I wrote some ideas for Dank a Ronpa, I feel sad. "How could I write such a shit story?" Jokes aside, I can try to maybe finish it at some point when Derg finished his battle royale. Such a rude, I gave him such a brutal death in my story and I didn't even debut on his smh. But yeah, I accept suggestion of what to do with it? Give it a Berserk treatment and finish it soon TM? Write all the bad ideas I had for it and let you guys fill the blanks yourselves in a very lazy way? Make each one of you write a chapter, put everything together, approve it as canon and call it a day? Decisions, decisions. Actually, I'm actually paying a homage to it in this post, as I'm not proof reading anything, hope you spot the reference.
Aaaaaaaaaaaand that's it, I guess. For all of you that reach this line without pressing page down 3 times in less than 3 seconds, a big thank you. Please smash that like button and subscribe to someone's channel that's more active than me. Love, peace, and hope to see you all eventually when I get my degree! Until them!

I’m not writing this for you. I’m writing it for myself.
今年もとある滑稽な癖に従い、伝統ありのヴァルパージス炎を観に行った。別にその滑稽な想いだけが理由でもなくが、正直な所、その想い未だ持っているだけは情けないと思う。
I met my soulmate about a week before I started the first, transitional year of elementary school. I guess that means we were like, six or seven years old? She was sitting on the swing in the playground next to an apartment complex, and for whatever reason I was drawn to her instantly – I broke off from my parents and greeted her, and we got along like a house ablaze.
The next time I saw her was at school. She was in my class, and it was only natural that we’d be inseparable from that point on. Or was it? There was another boy who by now I barely remember who used to be in the picture, but he moved away. I think at one point she – I guess I’ll call her M – told me I was actually her second choice, but that other boy had left, so she’d picked me. Looking back I find myself analyzing this interaction as heckin’ weird, but at the time I accepted this without feeling bad about it. I guess I used to be even more obviously autistic than I am now.
Soulmates, for those reading who have had the misfortune of never having had one, are a real thing. It’s hard to describe the feeling of absolute, utter 乗り, of flow, I felt in her presence. Sometimes I doubt myself – did she feel the same? – and I guess by now I’ll probably never know. But there was something there I have never felt interacting with anyone else in my life.
She and I were best friends for I think five years. For most of them, as far as I know, I was essentially a donkan eroge protagonist, going as far as openly telling other people ‘she loves me, but I don’t love her’. We were officially boyfriend and girlfriend to each other for a little while at the end, but the most intimate thing that ever happened was a hug. Technically we got best couple at a dance or something, but frankly what I did there was a performance, not *real*. So I’m left with the curious feeling that while I may have unlocked the achievement ‘kissed a girl’, though we never did do it in the French fashion, I have never done it when it truly meant something to me. I think it’s fair to say I was a late bloomer when it comes to emotional maturity, if I ever hit it.
Eventually we slid apart, gradually, seemingly as naturally as we were first joined. Different classes and different friend circles meant we rarely met. We actually did happen to join up once again after having slid apart, however, and it felt just like to old times to me as we took a walk together. But that was it; we went to different high schools, and I don’t think I’ve ever seen her since then.
今でも彼女を会いたいなぁっと想い、毎年あの炎に行く。 Mum told me she went to IT-Gymnasiet. 毎年「やっぱり居ないなぁ」って感じで炎の原始的な美しさを楽しみながらちょっとした悔しい思いも含む状態でいる。 She talks to M’s mum sometimes, I guess. 必死染みた所もあり彼女を探して失敗して、毎度悔いの有る想いを持ちながら火を観るのも飽き、家を向いて戻り始める。
今も会いたい。それだけだ。

View the full article

I’m not writing this for you. I’m writing it for myself.
今年もとある滑稽な癖に従い、伝統ありのヴァルパージス炎を観に行った。別にその滑稽な想いだけが理由でもなくが、正直な所、その想い未だ持っているだけは情けないと思う。
I met my soulmate about a week before I started the first, transitional year of elementary school. I guess that means we were like, six or seven years old? She was sitting on the swing in the playground next to an apartment complex, and for whatever reason I was drawn to her instantly – I broke off from my parents and greeted her, and we got along like a house ablaze.
The next time I saw her was at school. She was in my class, and it was only natural that we’d be inseparable from that point on. Or was it? There was another boy who by now I barely remember who used to be in the picture, but he moved away. I think at one point she – I guess I’ll call her M – told me I was actually her second choice, but that other boy had left, so she’d picked me. Looking back I find myself analyzing this interaction as heckin’ weird, but at the time I accepted this without feeling bad about it. I guess I used to be even more obviously autistic than I am now.
Soulmates, for those reading who have had the misfortune of never having had one, are a real thing. It’s hard to describe the feeling of absolute, utter 乗り, of flow, I felt in her presence. Sometimes I doubt myself – did she feel the same? – and I guess by now I’ll probably never know. But there was something there I have never felt interacting with anyone else in my life.
She and I were best friends for I think five years. For most of them, as far as I know, I was essentially a donkan eroge protagonist, going as far as openly telling other people ‘she loves me, but I don’t love her’. We were officially boyfriend and girlfriend to each other for a little while at the end, but the most intimate thing that ever happened was a hug. Technically we got best couple at a dance or something, but frankly what I did there was a performance, not *real*. So I’m left with the curious feeling that while I may have unlocked the achievement ‘kissed a girl’, though we never did do it in the French fashion, I have never done it when it truly meant something to me. I think it’s fair to say I was a late bloomer when it comes to emotional maturity, if I ever hit it.
Eventually we slid apart, gradually, seemingly as naturally as we were first joined. Different classes and different friend circles meant we rarely met. We actually did happen to join up once again after having slid apart, however, and it felt just like to old times to me as we took a walk together. But that was it; we went to different high schools, and I don’t think I’ve ever seen her since then.
今でも彼女を会いたいなぁっと想い、毎年あの炎に行く。 Mum told me she went to IT-Gymnasiet. 毎年「やっぱり居ないなぁ」って感じで炎の原始的な美しさを楽しみながらちょっとした悔しい思いも含む状態でいる。 She talks to M’s mum sometimes, I guess. 必死染みた所もあり彼女を探して失敗して、毎度悔いの有る想いを持ちながら火を観るのも飽き、家を向いて戻り始める。
今も会いたい。それだけだ。

View the full article

I’m not writing this for you. I’m writing it for myself.
今年もとある滑稽な癖に従い、伝統ありのヴァルパージス炎を観に行った。別にその滑稽な想いだけが理由でもなくが、正直な所、その想い未だ持っているだけは情けないと思う。
I met my soulmate about a week before I started the first, transitional year of elementary school. I guess that means we were like, six or seven years old? She was sitting on the swing in the playground next to an apartment complex, and for whatever reason I was drawn to her instantly – I broke off from my parents and greeted her, and we got along like a house ablaze.
The next time I saw her was at school. She was in my class, and it was only natural that we’d be inseparable from that point on. Or was it? There was another boy who by now I barely remember who used to be in the picture, but he moved away. I think at one point she – I guess I’ll call her M – told me I was actually her second choice, but that other boy had left, so she’d picked me. Looking back I find myself analyzing this interaction as heckin’ weird, but at the time I accepted this without feeling bad about it. I guess I used to be even more obviously autistic than I am now.
Soulmates, for those reading who have had the misfortune of never having had one, are a real thing. It’s hard to describe the feeling of absolute, utter 乗り, of flow, I felt in her presence. Sometimes I doubt myself – did she feel the same? – and I guess by now I’ll probably never know. But there was something there I have never felt interacting with anyone else in my life.
She and I were best friends for I think five years. For most of them, as far as I know, I was essentially a donkan eroge protagonist, going as far as openly telling other people ‘she loves me, but I don’t love her’. We were officially boyfriend and girlfriend to each other for a little while at the end, but the most intimate thing that ever happened was a hug. Technically we got best couple at a dance or something, but frankly what I did there was a performance, not *real*. So I’m left with the curious feeling that while I may have unlocked the achievement ‘kissed a girl’, though we never did do it in the French fashion, I have never done it when it truly meant something to me. I think it’s fair to say I was a late bloomer when it comes to emotional maturity, if I ever hit it.
Eventually we slid apart, gradually, seemingly as naturally as we were first joined. Different classes and different friend circles meant we rarely met. We actually did happen to join up once again after having slid apart, however, and it felt just like to old times to me as we took a walk together. But that was it; we went to different high schools, and I don’t think I’ve ever seen her since then.
今でも彼女を会いたいなぁっと想い、毎年あの炎に行く。 Mum told me she went to IT-Gymnasiet. 毎年「やっぱり居ないなぁ」って感じで炎の原始的な美しさを楽しみながらちょっとした悔しい思いも含む状態でいる。 She talks to M’s mum sometimes, I guess. 必死染みた所もあり彼女を探して失敗して、毎度悔いの有る想いを持ちながら火を観るのも飽き、家を向いて戻り始める。
今も会いたい。それだけだ。

View the full article

…And you probably know about it already if you know me, but anyway, my own #brand is Memeshii Translations apparently. Since you’re here, have some information on the experience of working with the paltry tools available:
*The linecount had to be the exact same or the insertion tool would crash with an unhandled exception.
*Some lines had a linebreak in the original; these were joined together engine wise so they had to be line broken no matter what. Usually this wasn’t a problem, but some lines ended up short in english but still needed a linebreak so they look wonky, and the second line in-game had two lines that wanted to be long and couldn’t be split so it was kind of hell to fit.
*Weeb quotes 「」 had to be used or the engine wouldn’t read it as a spoken line.
*One line was turned from speech to narration for flow reasons (it was like suu haa or some shit) by removing the speechtag annotation in front.
*There was no manual linebreak code I could use (mandated ones were just CRLF linebreak, and could only been used for that specific line). However, the engine does automatically line-break on a character level, and seems to be more or less monospace. So I ended up doing some of the line-breaking in this truly kami manner, checking it manually ingame over like 5 iterations:
す＠ is Sumire; あ＠ is Azami
*The extracted yscfg.ybn file had the window title at the end in plaintext. But the title seemed to be read in 2 char blocks or something which meant the title ended up as either “The world ends tomorrowA” or “The world ends tomorrowb” after insertion. I fixed this by adding a space after the name.
*The nametags were in a different script than the scenario but they were just text strings, so I could just edit them
*Same for the exit message when pressing the cross at the top right
*Since we used the “spoken line” format I had to convert this to the japanese quotation brackets. Kotlin code for you to meme at:
oh, java strings are immutable, fuck… fiiine I’ll your it your goddamn way
This is probably half the reason why any in-line quotes ingame are single quotes; I actually edited a pair of doubles because I couldn’t be arsed to clean up the script after the fixer code worked on it… or something.
Okay since you read this far some stats; I used Mediafire for the release because it gives download counts. It seems to update daily or something. First update was 63 downloads. Second was 89. I had 66 pageviews the blog release post on feb 14 and have 178 so far for feb 15. 89/244 gives us a ~36% download rate per view, not too bad. The About page seems to have gotten like, 8 views. The dedicated asuowa tl page has 7.
So uhh I guess I have to tl more shinimasu now.
fuck
 

View the full article

…And you probably know about it already if you know me, but anyway, my own #brand is Memeshii Translations apparently. Since you’re here, have some information on the experience of working with the paltry tools available:
*The linecount had to be the exact same or the insertion tool would crash with an unhandled exception.
*Some lines had a linebreak in the original; these were joined together engine wise so they had to be line broken no matter what. Usually this wasn’t a problem, but some lines ended up short in english but still needed a linebreak so they look wonky, and the second line in-game had two lines that wanted to be long and couldn’t be split so it was kind of hell to fit.
*Weeb quotes 「」 had to be used or the engine wouldn’t read it as a spoken line.
*One line was turned from speech to narration for flow reasons (it was like suu haa or some shit) by removing the speechtag annotation in front.
*There was no manual linebreak code I could use (mandated ones were just CRLF linebreak, and could only been used for that specific line). However, the engine does automatically line-break on a character level, and seems to be more or less monospace. So I ended up doing some of the line-breaking in this truly kami manner, checking it manually ingame over like 5 iterations:
す＠ is Sumire; あ＠ is Azami
*The extracted yscfg.ybn file had the window title at the end in plaintext. But the title seemed to be read in 2 char blocks or something which meant the title ended up as either “The world ends tomorrowA” or “The world ends tomorrowb” after insertion. I fixed this by adding a space after the name.
*The nametags were in a different script than the scenario but they were just text strings, so I could just edit them
*Same for the exit message when pressing the cross at the top right
*Since we used the “spoken line” format I had to convert this to the japanese quotation brackets. Kotlin code for you to meme at:
oh, java strings are immutable, fuck… fiiine I’ll your it your goddamn way
This is probably half the reason why any in-line quotes ingame are single quotes; I actually edited a pair of doubles because I couldn’t be arsed to clean up the script after the fixer code worked on it… or something.
Okay since you read this far some stats; I used Mediafire for the release because it gives download counts. It seems to update daily or something. First update was 63 downloads. Second was 89. I had 66 pageviews the blog release post on feb 14 and have 178 so far for feb 15. 89/244 gives us a ~36% download rate per view, not too bad. The About page seems to have gotten like, 8 views. The dedicated asuowa tl page has 7.
So uhh I guess I have to tl more shinimasu now.
fuck
 

View the full article

…And you probably know about it already if you know me, but anyway, my own #brand is Memeshii Translations apparently. Since you’re here, have some information on the experience of working with the paltry tools available:
*The linecount had to be the exact same or the insertion tool would crash with an unhandled exception.
*Some lines had a linebreak in the original; these were joined together engine wise so they had to be line broken no matter what. Usually this wasn’t a problem, but some lines ended up short in english but still needed a linebreak so they look wonky, and the second line in-game had two lines that wanted to be long and couldn’t be split so it was kind of hell to fit.
*Weeb quotes 「」 had to be used or the engine wouldn’t read it as a spoken line.
*One line was turned from speech to narration for flow reasons (it was like suu haa or some shit) by removing the speechtag annotation in front.
*There was no manual linebreak code I could use (mandated ones were just CRLF linebreak, and could only been used for that specific line). However, the engine does automatically line-break on a character level, and seems to be more or less monospace. So I ended up doing some of the line-breaking in this truly kami manner, checking it manually ingame over like 5 iterations:
す＠ is Sumire; あ＠ is Azami
*The extracted yscfg.ybn file had the window title at the end in plaintext. But the title seemed to be read in 2 char blocks or something which meant the title ended up as either “The world ends tomorrowA” or “The world ends tomorrowb” after insertion. I fixed this by adding a space after the name.
*The nametags were in a different script than the scenario but they were just text strings, so I could just edit them
*Same for the exit message when pressing the cross at the top right
*Since we used the “spoken line” format I had to convert this to the japanese quotation brackets. Kotlin code for you to meme at:
oh, java strings are immutable, fuck… fiiine I’ll your it your goddamn way
This is probably half the reason why any in-line quotes ingame are single quotes; I actually edited a pair of doubles because I couldn’t be arsed to clean up the script after the fixer code worked on it… or something.
Okay since you read this far some stats; I used Mediafire for the release because it gives download counts. It seems to update daily or something. First update was 63 downloads. Second was 89. I had 66 pageviews the blog release post on feb 14 and have 178 so far for feb 15. 89/244 gives us a ~36% download rate per view, not too bad. The About page seems to have gotten like, 8 views. The dedicated asuowa tl page has 7.
So uhh I guess I have to tl more shinimasu now.
fuck
 

View the full article

Wow, I actually made another entry. Nobody saw that coming.
 

I've gotta live up to the name of the blog, ya know?
Actually I recently found about about the Hoshi Ori patch that's being worked on right now, and that made me want to revisit Ginharu. I was considering just reading it on my own without updating the blog but that felt wrong. I'll probably end up disappearing for another year after a few entries, but we'll see. In the meantime, I'll probably have fewer screenshots and more summarization because I'm lazy.
Also it turns out that I never even published the previous entry in September of 2017, so here it is I guess
 
Now onto the stuff I read recently and not over a year ago
 

Welcome to the second and last part of my 2018 Curator Connect Clean-up (if you missed the first half, check it out here)! The horror themes were strong in the VNs sent to me this year and while it will be less explicit in this part, they’re not completely gone either, mostly represented by Perseverance – an episodic, postapocalyptic game which strives to prove that story-driven experience featuring zombies is still not passée in 2018 (and, possibly, that the Telltale storytelling formula is not as dead as the studio that created it). Other than that, we’ll get to experience an ominous sci-fi mystery Event-D and two low-budget, simple romance VNs, all of them holding some surprises… Not always positive ones, though.
 
The Wilting Amaranth

I have pretty complicated feelings about Reine Works’ visual novels – on one hand, they show genuine effort, have decent visuals and are not cynically exploitative even when implementing sexual content. On the other, they always struggle when it goes writing and characterisation, to the point they always short of being genuinely good and compelling. The Wilting Amaranth showcases these problems especially well – while the set-up protagonist’s personality and her backstory are all simple (a lesbian-in-denial princess, pressured by her parents into an arranged marriage, is accidentally summoned by a witch to her remote tower), they’re interesting enough to carry a simple, romantic plot.
            Where it pretty much falls apart is the heroines and how their characters are developed: the witch is shy and stuttering to the point she’s barely able to hold a conversation at any point of the plot and her quirks grow tiring very fast. The other possible love interest, a prisoner of the witch who tried to assassinate her for a bounty, is a first-class sociopath who can do all kinds of despicable things if it makes her some money, but switching her attitude in certain scenarios for no clear reason. Even with how short the game is (around 3-4 hours of reading) there’s no real justification for how these characters are developed and sadly, it takes away quite a lot of fun from the experience, with contains not-awful production values and some fairly cool ideas. While reading it is not a complete waste of time, it’s also not something I would ever strongly recommend, even for yuri fans.
Final rating: (Cautiously) Recommended
Read the full article at evnchronicles.blogspot.com

I recommend reading this one on my blog as forum formatting makes tables look like shite. Your choice though.
I’ve mentioned earlier that I think one of the reasons there haven’t been a lot of translation blogs on Fuwanovel is that a lot of advice the editing blogs are peddling could equally well be applied when translating. But how would that look? In this blog (and maybe series, but me and regular effort don’t tend to get along), I’ll try to show you the process of translating with an eye to using the structure of English writing rather than following the Japanese.
The great thing about being the translator rather than the editor (or editing while knowing Japanese, but that’s a luxury) is that you don’t have to go ask the translator if the structure of the Japanese prose, when copied, looks weird. You can just make the adjustment yourself, without worrying that you’re distorting the original meaning too much.
This post is primarily aimed at translators, but should hopefully be useful for editors as well. It is probable that some of the patterns shown here could just as well have been picked up by an editing blog; the main difference will be that I can also show how it looks in Japanese.
I am by no means perfect, and any comments or suggestions are appreciated.
In the spirit of leading by example, I’ll be quoting my in-occasional-progress translation of 私は今日ここで死にます (Watashi wa Kyou Koko de Shinimasu; ‘This is where I die today’). Me and Asonn have settled on the shorthand “shinimasu”, but the author’s comments actually use わた死 (“Watashi” with the last syllable using the kanji for ‘death’ that appears in “Shinimasu”). Thus the title.
Let’s start with three lines from the very beginning of the novel. Our protagonist 京介 (Kyousuke) has just seen a girl jump off a bridge, gone after her by jumping himself, and managed to get her out of the river and onto land. The reader doesn’t know this yet, however – the start just talks about what you’d do if you saw someone about to kill themselves.
Japanese Literalish translation Adapted translation 「入水自殺、か」 “Suicide by drowning, huh.” “Tried to drown yourself, huh…” ぽつりと呟きつつ、腕の中でぐったりとしている“それ”を見る。 While mumbling a few words in a staccato manner, I look at “that” resting limply in my arms. I look at the girl resting limply in my arms. まだあどけない顔をした少女だ。 It is a girl with a face that is yet cherubic*. Face innocent as a newborn babe’s. The adaptated first line is based on trying to get nuance right. While I mostly did it on instinct, we can motivate it more logically. In English, the literal version feels like something you’d say when starting to talk about a topic – I’d expect Kyou-boi to expound on the subject of suicide by drowning afterward. But in context he’s commenting on the specific act the girl in his arms has attempted. Another consideration is brought by the second line, which shows that Kyousuke is looking at said girl while saying this. So we’re looking for a line that sounds reasonable spoken to a person that can’t hear it. Which is a weird category now that I think of it, but not entirely uncommon. The ellipsis is questionable, especially when cutting ellipses is something editors do all the time in j>e translation, but I have a reason; it’ll be in the next line analysis.
The second line features a thing frequently found in Japanese visual novel writing that doesn’t really agree with English style conventions at all: describing speech after it’s already been said. Frequently this is entirely redundant information in a visual novel due to speaker tags, but in some cases it will contain some kind of judgement or opinion of the viewpoint character that you might want to preserve. These kinds of redundant lines is a good reason to ask whoever’s doing technical work on your translation if you can just plain remove lines (for example, they might be able to program something that detects the translated line being exactly “SKIP” and cuts those lines.) However, it should be noted that cutting these redundant lines will change the flow of a text. If it’s frequently used in a passage, you may end up with a very different feel than the Japanese ― perhaps this is worth it, but it’s something to take into consideration. わた死 doesn’t do this that frequently, however, so we probably don’t need to worry.
This gives a bit of motivation for adding the ellipsis in line #1; it makes the line more mutter-y in a way that doesn’t make it look weird. This is one strategy for dealing with structural incompatibility: move the piece of information where it does fit.
There’s more. The line doesn’t mention “that” being a girl, revealing this in the next line. I’m not sure why the author did this －maybe the lines read better in Japanese that way, and Japanese lines in succession often depend on each other － but the technique just looks weird in English. Thus, we move the information from line 3 to line 2 in our adaptation.
The third line is annoying because while we technically do have a word that fits あどけない fairly well, cherubic － angelic, innocent, and youthful － few people are likely to know it and it doesn’t really fit the register the Japanese word uses. As such I’ve tried to reword it, though honestly I’m not really satisfied. I’m also not entirely sure if I’m missing a nuance of まだ (yet in the literalish translation) I should be getting; it’s probably just consonant with あどけない as “still looking young”, but it could also be referring to her state of unconsciousness causing it or something. The next line that I’m not showing talks about her looking young for her age though, so we can at least use that. The other thing of structural interest is that we’ve moved the “girl” piece of information to the second line, as mentioned.
…Man this took a while and I only did three lines. I think I’m just going to post. Like, comment, watch the Shinimasu translation progress here, design a double-sided daki with both Yukas on it for me if you’re feeling generous.
As a bonus, have a few other examples of describing things after-the-fact and how I’ve currently handled them:

As you can see the pattern isn’t limited to just speech. Here I decide to go IN and use context to write a line half new.

Another thinking version.

And here’s one with 返す. Also this has mixed speech and narration, which I’ve tried to work into the English as well. Though I’m going to go change this to present tense now since I picked that later, fuck.
 
View the full article
 

I recommend reading this one on my blog as forum formatting makes tables look like shite. Your choice though.
I’ve mentioned earlier that I think one of the reasons there haven’t been a lot of translation blogs on Fuwanovel is that a lot of advice the editing blogs are peddling could equally well be applied when translating. But how would that look? In this blog (and maybe series, but me and regular effort don’t tend to get along), I’ll try to show you the process of translating with an eye to using the structure of English writing rather than following the Japanese.
The great thing about being the translator rather than the editor (or editing while knowing Japanese, but that’s a luxury) is that you don’t have to go ask the translator if the structure of the Japanese prose, when copied, looks weird. You can just make the adjustment yourself, without worrying that you’re distorting the original meaning too much.
This post is primarily aimed at translators, but should hopefully be useful for editors as well. It is probable that some of the patterns shown here could just as well have been picked up by an editing blog; the main difference will be that I can also show how it looks in Japanese.
I am by no means perfect, and any comments or suggestions are appreciated.
In the spirit of leading by example, I’ll be quoting my in-occasional-progress translation of 私は今日ここで死にます (Watashi wa Kyou Koko de Shinimasu; ‘This is where I die today’). Me and Asonn have settled on the shorthand “shinimasu”, but the author’s comments actually use わた死 (“Watashi” with the last syllable using the kanji for ‘death’ that appears in “Shinimasu”). Thus the title.
Let’s start with three lines from the very beginning of the novel. Our protagonist 京介 (Kyousuke) has just seen a girl jump off a bridge, gone after her by jumping himself, and managed to get her out of the river and onto land. The reader doesn’t know this yet, however – the start just talks about what you’d do if you saw someone about to kill themselves.
Japanese Literalish translation Adapted translation 「入水自殺、か」 “Suicide by drowning, huh.” “Tried to drown yourself, huh…” ぽつりと呟きつつ、腕の中でぐったりとしている“それ”を見る。 While mumbling a few words in a staccato manner, I look at “that” resting limply in my arms. I look at the girl resting limply in my arms. まだあどけない顔をした少女だ。 It is a girl with a face that is yet cherubic*. Face innocent as a newborn babe’s. The adaptated first line is based on trying to get nuance right. While I mostly did it on instinct, we can motivate it more logically. In English, the literal version feels like something you’d say when starting to talk about a topic – I’d expect Kyou-boi to expound on the subject of suicide by drowning afterward. But in context he’s commenting on the specific act the girl in his arms has attempted. Another consideration is brought by the second line, which shows that Kyousuke is looking at said girl while saying this. So we’re looking for a line that sounds reasonable spoken to a person that can’t hear it. Which is a weird category now that I think of it, but not entirely uncommon. The ellipsis is questionable, especially when cutting ellipses is something editors do all the time in j>e translation, but I have a reason; it’ll be in the next line analysis.
The second line features a thing frequently found in Japanese visual novel writing that doesn’t really agree with English style conventions at all: describing speech after it’s already been said. Frequently this is entirely redundant information in a visual novel due to speaker tags, but in some cases it will contain some kind of judgement or opinion of the viewpoint character that you might want to preserve. These kinds of redundant lines is a good reason to ask whoever’s doing technical work on your translation if you can just plain remove lines (for example, they might be able to program something that detects the translated line being exactly “SKIP” and cuts those lines.) However, it should be noted that cutting these redundant lines will change the flow of a text. If it’s frequently used in a passage, you may end up with a very different feel than the Japanese ― perhaps this is worth it, but it’s something to take into consideration. わた死 doesn’t do this that frequently, however, so we probably don’t need to worry.
This gives a bit of motivation for adding the ellipsis in line #1; it makes the line more mutter-y in a way that doesn’t make it look weird. This is one strategy for dealing with structural incompatibility: move the piece of information where it does fit.
There’s more. The line doesn’t mention “that” being a girl, revealing this in the next line. I’m not sure why the author did this －maybe the lines read better in Japanese that way, and Japanese lines in succession often depend on each other － but the technique just looks weird in English. Thus, we move the information from line 3 to line 2 in our adaptation.
The third line is annoying because while we technically do have a word that fits あどけない fairly well, cherubic － angelic, innocent, and youthful － few people are likely to know it and it doesn’t really fit the register the Japanese word uses. As such I’ve tried to reword it, though honestly I’m not really satisfied. I’m also not entirely sure if I’m missing a nuance of まだ (yet in the literalish translation) I should be getting; it’s probably just consonant with あどけない as “still looking young”, but it could also be referring to her state of unconsciousness causing it or something. The next line that I’m not showing talks about her looking young for her age though, so we can at least use that. The other thing of structural interest is that we’ve moved the “girl” piece of information to the second line, as mentioned.
…Man this took a while and I only did three lines. I think I’m just going to post. Like, comment, watch the Shinimasu translation progress here, design a double-sided daki with both Yukas on it for me if you’re feeling generous.
As a bonus, have a few other examples of describing things after-the-fact and how I’ve currently handled them:

As you can see the pattern isn’t limited to just speech. Here I decide to go IN and use context to write a line half new.

Another thinking version.

And here’s one with 返す. Also this has mixed speech and narration, which I’ve tried to work into the English as well. Though I’m going to go change this to present tense now since I picked that later, fuck.
 
View the full article
 

I recommend reading this one on my blog as forum formatting makes tables look like shite. Your choice though.
I’ve mentioned earlier that I think one of the reasons there haven’t been a lot of translation blogs on Fuwanovel is that a lot of advice the editing blogs are peddling could equally well be applied when translating. But how would that look? In this blog (and maybe series, but me and regular effort don’t tend to get along), I’ll try to show you the process of translating with an eye to using the structure of English writing rather than following the Japanese.
The great thing about being the translator rather than the editor (or editing while knowing Japanese, but that’s a luxury) is that you don’t have to go ask the translator if the structure of the Japanese prose, when copied, looks weird. You can just make the adjustment yourself, without worrying that you’re distorting the original meaning too much.
This post is primarily aimed at translators, but should hopefully be useful for editors as well. It is probable that some of the patterns shown here could just as well have been picked up by an editing blog; the main difference will be that I can also show how it looks in Japanese.
I am by no means perfect, and any comments or suggestions are appreciated.
In the spirit of leading by example, I’ll be quoting my in-occasional-progress translation of 私は今日ここで死にます (Watashi wa Kyou Koko de Shinimasu; ‘This is where I die today’). Me and Asonn have settled on the shorthand “shinimasu”, but the author’s comments actually use わた死 (“Watashi” with the last syllable using the kanji for ‘death’ that appears in “Shinimasu”). Thus the title.
Let’s start with three lines from the very beginning of the novel. Our protagonist 京介 (Kyousuke) has just seen a girl jump off a bridge, gone after her by jumping himself, and managed to get her out of the river and onto land. The reader doesn’t know this yet, however – the start just talks about what you’d do if you saw someone about to kill themselves.
Japanese Literalish translation Adapted translation 「入水自殺、か」 “Suicide by drowning, huh.” “Tried to drown yourself, huh…” ぽつりと呟きつつ、腕の中でぐったりとしている“それ”を見る。 While mumbling a few words in a staccato manner, I look at “that” resting limply in my arms. I look at the girl resting limply in my arms. まだあどけない顔をした少女だ。 It is a girl with a face that is yet cherubic*. Face innocent as a newborn babe’s. The adaptated first line is based on trying to get nuance right. While I mostly did it on instinct, we can motivate it more logically. In English, the literal version feels like something you’d say when starting to talk about a topic – I’d expect Kyou-boi to expound on the subject of suicide by drowning afterward. But in context he’s commenting on the specific act the girl in his arms has attempted. Another consideration is brought by the second line, which shows that Kyousuke is looking at said girl while saying this. So we’re looking for a line that sounds reasonable spoken to a person that can’t hear it. Which is a weird category now that I think of it, but not entirely uncommon. The ellipsis is questionable, especially when cutting ellipses is something editors do all the time in j>e translation, but I have a reason; it’ll be in the next line analysis.
The second line features a thing frequently found in Japanese visual novel writing that doesn’t really agree with English style conventions at all: describing speech after it’s already been said. Frequently this is entirely redundant information in a visual novel due to speaker tags, but in some cases it will contain some kind of judgement or opinion of the viewpoint character that you might want to preserve. These kinds of redundant lines is a good reason to ask whoever’s doing technical work on your translation if you can just plain remove lines (for example, they might be able to program something that detects the translated line being exactly “SKIP” and cuts those lines.) However, it should be noted that cutting these redundant lines will change the flow of a text. If it’s frequently used in a passage, you may end up with a very different feel than the Japanese ― perhaps this is worth it, but it’s something to take into consideration. わた死 doesn’t do this that frequently, however, so we probably don’t need to worry.
This gives a bit of motivation for adding the ellipsis in line #1; it makes the line more mutter-y in a way that doesn’t make it look weird. This is one strategy for dealing with structural incompatibility: move the piece of information where it does fit.
There’s more. The line doesn’t mention “that” being a girl, revealing this in the next line. I’m not sure why the author did this －maybe the lines read better in Japanese that way, and Japanese lines in succession often depend on each other － but the technique just looks weird in English. Thus, we move the information from line 3 to line 2 in our adaptation.
The third line is annoying because while we technically do have a word that fits あどけない fairly well, cherubic － angelic, innocent, and youthful － few people are likely to know it and it doesn’t really fit the register the Japanese word uses. As such I’ve tried to reword it, though honestly I’m not really satisfied. I’m also not entirely sure if I’m missing a nuance of まだ (yet in the literalish translation) I should be getting; it’s probably just consonant with あどけない as “still looking young”, but it could also be referring to her state of unconsciousness causing it or something. The next line that I’m not showing talks about her looking young for her age though, so we can at least use that. The other thing of structural interest is that we’ve moved the “girl” piece of information to the second line, as mentioned.
…Man this took a while and I only did three lines. I think I’m just going to post. Like, comment, watch the Shinimasu translation progress here, design a double-sided daki with both Yukas on it for me if you’re feeling generous.
As a bonus, have a few other examples of describing things after-the-fact and how I’ve currently handled them:

As you can see the pattern isn’t limited to just speech. Here I decide to go IN and use context to write a line half new.

Another thinking version.

And here’s one with 返す. Also this has mixed speech and narration, which I’ve tried to work into the English as well. Though I’m going to go change this to present tense now since I picked that later, fuck.
 
View the full article
 

I recommend reading this one on my blog as forum formatting makes tables look like shite. Your choice though.
I’ve mentioned earlier that I think one of the reasons there haven’t been a lot of translation blogs on Fuwanovel is that a lot of advice the editing blogs are peddling could equally well be applied when translating. But how would that look? In this blog (and maybe series, but me and regular effort don’t tend to get along), I’ll try to show you the process of translating with an eye to using the structure of English writing rather than following the Japanese.
The great thing about being the translator rather than the editor (or editing while knowing Japanese, but that’s a luxury) is that you don’t have to go ask the translator if the structure of the Japanese prose, when copied, looks weird. You can just make the adjustment yourself, without worrying that you’re distorting the original meaning too much.
This post is primarily aimed at translators, but should hopefully be useful for editors as well. It is probable that some of the patterns shown here could just as well have been picked up by an editing blog; the main difference will be that I can also show how it looks in Japanese.
I am by no means perfect, and any comments or suggestions are appreciated.
In the spirit of leading by example, I’ll be quoting my in-occasional-progress translation of 私は今日ここで死にます (Watashi wa Kyou Koko de Shinimasu; ‘This is where I die today’). Me and Asonn have settled on the shorthand “shinimasu”, but the author’s comments actually use わた死 (“Watashi” with the last syllable using the kanji for ‘death’ that appears in “Shinimasu”). Thus the title.
Let’s start with three lines from the very beginning of the novel. Our protagonist 京介 (Kyousuke) has just seen a girl jump off a bridge, gone after her by jumping himself, and managed to get her out of the river and onto land. The reader doesn’t know this yet, however – the start just talks about what you’d do if you saw someone about to kill themselves.
Japanese Literalish translation Adapted translation 「入水自殺、か」 “Suicide by drowning, huh.” “Tried to drown yourself, huh…” ぽつりと呟きつつ、腕の中でぐったりとしている“それ”を見る。 While mumbling a few words in a staccato manner, I look at “that” resting limply in my arms. I look at the girl resting limply in my arms. まだあどけない顔をした少女だ。 It is a girl with a face that is yet cherubic*. Face innocent as a newborn babe’s. The adaptated first line is based on trying to get nuance right. While I mostly did it on instinct, we can motivate it more logically. In English, the literal version feels like something you’d say when starting to talk about a topic – I’d expect Kyou-boi to expound on the subject of suicide by drowning afterward. But in context he’s commenting on the specific act the girl in his arms has attempted. Another consideration is brought by the second line, which shows that Kyousuke is looking at said girl while saying this. So we’re looking for a line that sounds reasonable spoken to a person that can’t hear it. Which is a weird category now that I think of it, but not entirely uncommon. The ellipsis is questionable, especially when cutting ellipses is something editors do all the time in j>e translation, but I have a reason; it’ll be in the next line analysis.
The second line features a thing frequently found in Japanese visual novel writing that doesn’t really agree with English style conventions at all: describing speech after it’s already been said. Frequently this is entirely redundant information in a visual novel due to speaker tags, but in some cases it will contain some kind of judgement or opinion of the viewpoint character that you might want to preserve. These kinds of redundant lines is a good reason to ask whoever’s doing technical work on your translation if you can just plain remove lines (for example, they might be able to program something that detects the translated line being exactly “SKIP” and cuts those lines.) However, it should be noted that cutting these redundant lines will change the flow of a text. If it’s frequently used in a passage, you may end up with a very different feel than the Japanese ― perhaps this is worth it, but it’s something to take into consideration. わた死 doesn’t do this that frequently, however, so we probably don’t need to worry.
This gives a bit of motivation for adding the ellipsis in line #1; it makes the line more mutter-y in a way that doesn’t make it look weird. This is one strategy for dealing with structural incompatibility: move the piece of information where it does fit.
There’s more. The line doesn’t mention “that” being a girl, revealing this in the next line. I’m not sure why the author did this －maybe the lines read better in Japanese that way, and Japanese lines in succession often depend on each other － but the technique just looks weird in English. Thus, we move the information from line 3 to line 2 in our adaptation.
The third line is annoying because while we technically do have a word that fits あどけない fairly well, cherubic － angelic, innocent, and youthful － few people are likely to know it and it doesn’t really fit the register the Japanese word uses. As such I’ve tried to reword it, though honestly I’m not really satisfied. I’m also not entirely sure if I’m missing a nuance of まだ (yet in the literalish translation) I should be getting; it’s probably just consonant with あどけない as “still looking young”, but it could also be referring to her state of unconsciousness causing it or something. The next line that I’m not showing talks about her looking young for her age though, so we can at least use that. The other thing of structural interest is that we’ve moved the “girl” piece of information to the second line, as mentioned.
…Man this took a while and I only did three lines. I think I’m just going to post. Like, comment, watch the Shinimasu translation progress here, design a double-sided daki with both Yukas on it for me if you’re feeling generous.
As a bonus, have a few other examples of describing things after-the-fact and how I’ve currently handled them:

As you can see the pattern isn’t limited to just speech. Here I decide to go IN and use context to write a line half new.

Another thinking version.

And here’s one with 返す. Also this has mixed speech and narration, which I’ve tried to work into the English as well. Though I’m going to go change this to present tense now since I picked that later, fuck.
 
View the full article
 

I recommend reading this one on my blog as forum formatting makes tables look like shite. Your choice though.
I’ve mentioned earlier that I think one of the reasons there haven’t been a lot of translation blogs on Fuwanovel is that a lot of advice the editing blogs are peddling could equally well be applied when translating. But how would that look? In this blog (and maybe series, but me and regular effort don’t tend to get along), I’ll try to show you the process of translating with an eye to using the structure of English writing rather than following the Japanese.
The great thing about being the translator rather than the editor (or editing while knowing Japanese, but that’s a luxury) is that you don’t have to go ask the translator if the structure of the Japanese prose, when copied, looks weird. You can just make the adjustment yourself, without worrying that you’re distorting the original meaning too much.
This post is primarily aimed at translators, but should hopefully be useful for editors as well. It is probable that some of the patterns shown here could just as well have been picked up by an editing blog; the main difference will be that I can also show how it looks in Japanese.
I am by no means perfect, and any comments or suggestions are appreciated.
In the spirit of leading by example, I’ll be quoting my in-occasional-progress translation of 私は今日ここで死にます (Watashi wa Kyou Koko de Shinimasu; ‘This is where I die today’). Me and Asonn have settled on the shorthand “shinimasu”, but the author’s comments actually use わた死 (“Watashi” with the last syllable using the kanji for ‘death’ that appears in “Shinimasu”). Thus the title.
Let’s start with three lines from the very beginning of the novel. Our protagonist 京介 (Kyousuke) has just seen a girl jump off a bridge, gone after her by jumping himself, and managed to get her out of the river and onto land. The reader doesn’t know this yet, however – the start just talks about what you’d do if you saw someone about to kill themselves.
Japanese Literalish translation Adapted translation 「入水自殺、か」 “Suicide by drowning, huh.” “Tried to drown yourself, huh…” ぽつりと呟きつつ、腕の中でぐったりとしている“それ”を見る。 While mumbling a few words in a staccato manner, I look at “that” resting limply in my arms. I look at the girl resting limply in my arms. まだあどけない顔をした少女だ。 It is a girl with a face that is yet cherubic*. Face innocent as a newborn babe’s. The adaptated first line is based on trying to get nuance right. While I mostly did it on instinct, we can motivate it more logically. In English, the literal version feels like something you’d say when starting to talk about a topic – I’d expect Kyou-boi to expound on the subject of suicide by drowning afterward. But in context he’s commenting on the specific act the girl in his arms has attempted. Another consideration is brought by the second line, which shows that Kyousuke is looking at said girl while saying this. So we’re looking for a line that sounds reasonable spoken to a person that can’t hear it. Which is a weird category now that I think of it, but not entirely uncommon. The ellipsis is questionable, especially when cutting ellipses is something editors do all the time in j>e translation, but I have a reason; it’ll be in the next line analysis.
The second line features a thing frequently found in Japanese visual novel writing that doesn’t really agree with English style conventions at all: describing speech after it’s already been said. Frequently this is entirely redundant information in a visual novel due to speaker tags, but in some cases it will contain some kind of judgement or opinion of the viewpoint character that you might want to preserve. These kinds of redundant lines is a good reason to ask whoever’s doing technical work on your translation if you can just plain remove lines (for example, they might be able to program something that detects the translated line being exactly “SKIP” and cuts those lines.) However, it should be noted that cutting these redundant lines will change the flow of a text. If it’s frequently used in a passage, you may end up with a very different feel than the Japanese ― perhaps this is worth it, but it’s something to take into consideration. わた死 doesn’t do this that frequently, however, so we probably don’t need to worry.
This gives a bit of motivation for adding the ellipsis in line #1; it makes the line more mutter-y in a way that doesn’t make it look weird. This is one strategy for dealing with structural incompatibility: move the piece of information where it does fit.
There’s more. The line doesn’t mention “that” being a girl, revealing this in the next line. I’m not sure why the author did this －maybe the lines read better in Japanese that way, and Japanese lines in succession often depend on each other － but the technique just looks weird in English. Thus, we move the information from line 3 to line 2 in our adaptation.
The third line is annoying because while we technically do have a word that fits あどけない fairly well, cherubic － angelic, innocent, and youthful － few people are likely to know it and it doesn’t really fit the register the Japanese word uses. As such I’ve tried to reword it, though honestly I’m not really satisfied. I’m also not entirely sure if I’m missing a nuance of まだ (yet in the literalish translation) I should be getting; it’s probably just consonant with あどけない as “still looking young”, but it could also be referring to her state of unconsciousness causing it or something. The next line that I’m not showing talks about her looking young for her age though, so we can at least use that. The other thing of structural interest is that we’ve moved the “girl” piece of information to the second line, as mentioned.
…Man this took a while and I only did three lines. I think I’m just going to post. Like, comment, watch the Shinimasu translation progress here, design a double-sided daki with both Yukas on it for me if you’re feeling generous.
As a bonus, have a few other examples of describing things after-the-fact and how I’ve currently handled them:

As you can see the pattern isn’t limited to just speech. Here I decide to go IN and use context to write a line half new.

Another thinking version.

And here’s one with 返す. Also this has mixed speech and narration, which I’ve tried to work into the English as well. Though I’m going to go change this to present tense now since I picked that later, fuck.
 
View the full article
 

Live footage of rare JOPs hearing the bimonthly autistic EOP scream over some license
Today I got to know that my blog's reader base has been very sad that my blog has been so quiet for a long time so I decided to do a little update. This time I'm gonna list you some reasons why you might want to learn Japanese! (Start it today or you will never start it just like this blog post)
These reasons are not in any order (are)
Can play Idol M@ster Shiny Colors (or any other idol game but Shiny Colors is the best one)

  Number 2: Kotose. Can become a true believer of the true god
Can get all the Yuuko goodness (get cucked!!) Have a meme I made earlier this week but got deleted for """derailing""" CoC


  Get to know the difference between Keyakizaka46 and Keyakizaka46!! There is a difference trust me.
  Other idols in general such as Nogizaka46 and AKB48
  Can watch all the idol bingos. Always wanted your favorite anime to have 10 seasons??? Well idolbingos do have more than 10 seasons and are of the same size as anime seasons!
  No more shitty scans or subs. Only godtier real source material. (Eats all your money but who the fuck cares just work a little and be rich xD)
  Make bad memes

  Get vampire GF

  Can make shit lists like this  
Did this motivate any of you my lovely readers? I hope it did! Now smart ones of you might have noticed where is all the eroge!??? Well to be honest eroge is not worth it. It fucking sucks and so does the community. Idols, soshage, anything, is better than eroge. Don't do eroge kids. Peace out!

I'm sure there are legitimate complaints to be had about the biman 1 translation that cummed out today, but who has time for that shit when you see THIS?
PLEASE IGNORE THE FACT THAT THIS IS A MEME PATCH WITH THE NAMES WRONG RIGHT (thanks @HMN), THE OTHER TEXT BITS WILL BE THE SAME OKAY.
YES THAT'S RIGHT, THAT IS THE MOTHERFUCKING DOUBLE HYPHEN STANDIN FOR A PROPER EM DASH. THIS IS POSSIBLY THE UGLIEST PUNCTUATION SHORTCUT IN EXISTENCE. WHO IN THEIR RIGHT MIND WOULD USE THIS MONSTROSITY RATHER THAN EVEN A TECHNICALLY NOT APPROVED BY LIKE ANY STYLE GUIDE SPACED DASH?
THE BIMAN 1 TL IS CONFIRMED SHIT. THANKS FOR COMING TO MY TED TALK ON LIVING IN A MOTHERFUCKING SOCIETY
BOTTOM TEXT:
UPDATE: MORE CRIMES AGAINST TYPOGRAPHY HAVE BEEN FOUND: BEHOLD THIS RIDICULOUS DOUBLE SPACING:

I'm sure there are legitimate complaints to be had about the biman 1 translation that cummed out today, but who has time for that shit when you see THIS?
PLEASE IGNORE THE FACT THAT THIS IS A MEME PATCH WITH THE NAMES WRONG RIGHT (thanks @HMN), THE OTHER TEXT BITS WILL BE THE SAME OKAY.
YES THAT'S RIGHT, THAT IS THE MOTHERFUCKING DOUBLE HYPHEN STANDIN FOR A PROPER EM DASH. THIS IS POSSIBLY THE UGLIEST PUNCTUATION SHORTCUT IN EXISTENCE. WHO IN THEIR RIGHT MIND WOULD USE THIS MONSTROSITY RATHER THAN EVEN A TECHNICALLY NOT APPROVED BY LIKE ANY STYLE GUIDE SPACED DASH?
THE BIMAN 1 TL IS CONFIRMED SHIT. THANKS FOR COMING TO MY TED TALK ON LIVING IN A MOTHERFUCKING SOCIETY
BOTTOM TEXT:
UPDATE: MORE CRIMES AGAINST TYPOGRAPHY HAVE BEEN FOUND: BEHOLD THIS RIDICULOUS DOUBLE SPACING:

I'm sure there are legitimate complaints to be had about the biman 1 translation that cummed out today, but who has time for that shit when you see THIS?
PLEASE IGNORE THE FACT THAT THIS IS A MEME PATCH WITH THE NAMES WRONG RIGHT (thanks @HMN), THE OTHER TEXT BITS WILL BE THE SAME OKAY.
YES THAT'S RIGHT, THAT IS THE MOTHERFUCKING DOUBLE HYPHEN STANDIN FOR A PROPER EM DASH. THIS IS POSSIBLY THE UGLIEST PUNCTUATION SHORTCUT IN EXISTENCE. WHO IN THEIR RIGHT MIND WOULD USE THIS MONSTROSITY RATHER THAN EVEN A TECHNICALLY NOT APPROVED BY LIKE ANY STYLE GUIDE SPACED DASH?
THE BIMAN 1 TL IS CONFIRMED SHIT. THANKS FOR COMING TO MY TED TALK ON LIVING IN A MOTHERFUCKING SOCIETY
BOTTOM TEXT:
UPDATE: MORE CRIMES AGAINST TYPOGRAPHY HAVE BEEN FOUND: BEHOLD THIS RIDICULOUS DOUBLE SPACING:

I'm sure there are legitimate complaints to be had about the biman 1 translation that cummed out today, but who has time for that shit when you see THIS?
PLEASE IGNORE THE FACT THAT THIS IS A MEME PATCH WITH THE NAMES WRONG RIGHT (thanks @HMN), THE OTHER TEXT BITS WILL BE THE SAME OKAY.
YES THAT'S RIGHT, THAT IS THE MOTHERFUCKING DOUBLE HYPHEN STANDIN FOR A PROPER EM DASH. THIS IS POSSIBLY THE UGLIEST PUNCTUATION SHORTCUT IN EXISTENCE. WHO IN THEIR RIGHT MIND WOULD USE THIS MONSTROSITY RATHER THAN EVEN A TECHNICALLY NOT APPROVED BY LIKE ANY STYLE GUIDE SPACED DASH?
THE BIMAN 1 TL IS CONFIRMED SHIT. THANKS FOR COMING TO MY TED TALK ON LIVING IN A MOTHERFUCKING SOCIETY
BOTTOM TEXT:
UPDATE: MORE CRIMES AGAINST TYPOGRAPHY HAVE BEEN FOUND: BEHOLD THIS RIDICULOUS DOUBLE SPACING:

I'm sure there are legitimate complaints to be had about the biman 1 translation that cummed out today, but who has time for that shit when you see THIS?
PLEASE IGNORE THE FACT THAT THIS IS A MEME PATCH WITH THE NAMES WRONG RIGHT (thanks @HMN), THE OTHER TEXT BITS WILL BE THE SAME OKAY.
YES THAT'S RIGHT, THAT IS THE MOTHERFUCKING DOUBLE HYPHEN STANDIN FOR A PROPER EM DASH. THIS IS POSSIBLY THE UGLIEST PUNCTUATION SHORTCUT IN EXISTENCE. WHO IN THEIR RIGHT MIND WOULD USE THIS MONSTROSITY RATHER THAN EVEN A TECHNICALLY NOT APPROVED BY LIKE ANY STYLE GUIDE SPACED DASH?
THE BIMAN 1 TL IS CONFIRMED SHIT. THANKS FOR COMING TO MY TED TALK ON LIVING IN A MOTHERFUCKING SOCIETY
BOTTOM TEXT:
UPDATE: MORE CRIMES AGAINST TYPOGRAPHY HAVE BEEN FOUND: BEHOLD THIS RIDICULOUS DOUBLE SPACING:

I'm sure there are legitimate complaints to be had about the biman 1 translation that cummed out today, but who has time for that shit when you see THIS?
PLEASE IGNORE THE FACT THAT THIS IS A MEME PATCH WITH THE NAMES WRONG RIGHT (thanks @HMN), THE OTHER TEXT BITS WILL BE THE SAME OKAY.
YES THAT'S RIGHT, THAT IS THE MOTHERFUCKING DOUBLE HYPHEN STANDIN FOR A PROPER EM DASH. THIS IS POSSIBLY THE UGLIEST PUNCTUATION SHORTCUT IN EXISTENCE. WHO IN THEIR RIGHT MIND WOULD USE THIS MONSTROSITY RATHER THAN EVEN A TECHNICALLY NOT APPROVED BY LIKE ANY STYLE GUIDE SPACED DASH?
THE BIMAN 1 TL IS CONFIRMED SHIT. THANKS FOR COMING TO MY TED TALK ON LIVING IN A MOTHERFUCKING SOCIETY
BOTTOM TEXT:
UPDATE: MORE CRIMES AGAINST TYPOGRAPHY HAVE BEEN FOUND: BEHOLD THIS RIDICULOUS DOUBLE SPACING:

Today, we’ll be continuing our agon… I mean, out adventure through the world of free VNs by ebi-hime. While the earliest games we’ve covered, like Dejection and Is This the Life? were very visibly ebi’s early works, simple on the technical side of things and featuring minimalistic artwork, today we’re jumping straight into very recent projects, all released not earlier than 2017. Mostly staying true to the general climate of heavy, existential topics and endings that are never the typical happy, wish-fulfilment scenarios, these games are once more not far detached from ebi’s commercial projects and while smaller, could easily have a modest price tag attached to them, with few people being able to claim they didn’t get their money’s worth (especially in the cases of Lynne and Six Days of Snow). But what are they exactly about?
 
Where the Sun Always Shines

Where the Sun Always Shines is another bittersweet story, although in a wholly different climate than Lucky Me, Lucky You. Featuring a 32-years old writer, suffering from a deep depression after losing his wife, and a teenage girl from his neighbourhood with whom he forms an unlikely friendship with, the game explores themes of grief, inspiration and moving on after losing one’s feeling of purpose, but is also maybe the only title on this list that provides a truly positive, hopeful conclusion. Before it gets to that point however, it presents to the reader rather convincing descriptions of writer’s block, anxiety and self-pity of the leading character, along with interesting interaction with Sunny, the aforementioned teenager, who first visits him out of pity, but then forms a bond of sorts over their mutual interest in musical – all that accompanied by very decent artwork. In a way though, it’s maybe the least impactful of the ebi’s stories, being overall solid and enjoyable to read, but lacking any interesting twists or highly emotional moments from the previous games. Definitely a worthwhile VN, but not necessarily a must-read.
Final Rating: Recommended
Read the full article at evnchronicles.blogspot.com

This article contains major spoilers for Saya no Uta, gratuitous re-interpretation of canon, and probably a lot of words. Be warned.
 
 
 
 
 
When Saya no Uta first started showing its true colors – when Urobuchi first decided to throw a spanner of Lovecraft into a work that had been entirely plausible as a sci-fi story – I was a bit disappointed. Sure, the old L-C is cool and all, but the whole going mad from the revelation kind of thing never felt right to me. And honestly, don’t you think the “true” ending is kind of unsatisfactory? The aftermath is certainly implied to be a horror by the tone of the novel, but we’re never really shown its effects in detail to let us judge by ourselves. Let me fix that, and give you one heaven of a take.
But really though, scale back the layers and think of any magic you see as merely technology you cannot comprehend. How did Ougai contact Saya? Through some kind of communication unknown to current science, accessed by the occult artifacts and knowledge he gathers. The transport of Saya to Earth? Through that same network. Her home planet’s motivation? Efficient spreading of their superior culture throughout the universe – the ends very much justifying the means for the dull, foolish population of the planet we live on.
Let us ponder the method: detecting an occult signal is a surefire sign of intelligence, which indicates habitability by an intelligent species; genetic modification of the host species ensures ability to keep unique environmental modifications (though terraforming also occurs). It is also possible that teleportation is only possible through occult conduits, and Transformer probes such as Saya can only be sent if the other side invites them.
Modification is also significantly more humane than another viable choice: eradication and founding of a new colony.  While it can be argued that some of the humans transformed by the gene-modifying spores released by Saya in the good ending would consider themselves to have “died”, and the transformation process is likely to be distressing (though likely tempered by its relative rapidity in most locales as well as communal development), I cannot agree that the elimination of 7 billion humans through some means is preferable.
As for any generations birthed after transformation, there should be no argument that them being of Sayan heritage is preferable to them being human by any sane measure. From Ougai’s notes as well as her own feats, Saya’s intelligence and ability to learn is markedly superhuman. Saya’s species is also sure to be able to create supertechnology far beyond the reach of our current civilization if they are able to precisely teleport anything.
There’s only one conclusion: Saya no Uta has only one good ending, and it’s the one where humanity is turned into tentacle monsters from beyond the void. The two others are horrible losses of potential, and we can only hope that a world-conquering probe such as Saya will be summoned to Earth once more, this time to succeed.

View the full article