Narcosis

Despite the title, this isn't a horrible VN. It is basically a rehash of Himesama Gentei which was a near-nukige all-moege about a protagonist 'romancing' (I have to wonder if you would really call a bunch of princesses falling in love with one idiot and him deciding on one or a harem route 'romancing') princesses. I can actually enjoy some of the heroines' routes... but the premise is so ridiculous and so unrealistically presented that it goes beyond suspension of disbelief, even for a moege. Understand, ridiculousness in moege settings is par for the course... but the classic 'the heroines are all my sisters because my dad really got around' premise is one of the more annoying ones.
 
That isn't to say there isn't some good stuff... Maika, for instance, is one of those rare tsundere who becomes supremely adorable after you enter her route and never goes back to being tsun, and Io's 'boke-boke' statements made in absolute seriousness are fairly funny. However, I've played so many other VNs in a similar vein that are so much better... it makes me wonder why I stole an hour here and an hour there over the past five days in between my work schedule to push through with finishing this game.
 
The routes really don't escape the templates for their 'princess' types, so I honestly can't say that I was surprised by anything I found in this VN. There is also too much H early in this VN... so much that I would have been tempted to call this a nukige, if it weren't for the fact that the writing and character development are fairly solid, at least for a VN of the type.
 
Overall, this VN isn't something to get excited about, but if you like 'princess' heroines it is a decent choice...
 

Why is this month so bad so far?
It isn't that it is bad... it is just that there is a disproportionate amount of second-rate VNs being released for September. So far, there is nothing that I would have called VN of the Month material, though if Seikishi had toned down the H and worked harder on solidifying the story in general, it might have been one. Most of the good stuff that was supposed to get released for September got delayed, so I suppose it is only natural... but still, I don't like having all the good stuff concentrated in one or two months of the year. That tends to cause kusoge-exhaustion after a while, lol.

This rant stemmed from a conversation on Twitter. I'm posting this here purely because posting this line by line on Twitter seemed retarded, and I'd disable the forum notifications for this post if I could. You can dig through my recent Twitter replies if you want to see the context. Have fun.
***
The problem is a bit more complicated than "some people don't like what I have to say". Sure, there's that, but the majority of detractors don't like how I raise my voice to be heard through the din. The majority of eroge fans are content to stay within their walled communities and gossip amongst each other. A few bloggers have appeared, but again they keep to themselves and expect their audience to come to them.
I've challenged this status quo. I've decided to be the black sheep that actually promotes his content: after all, why would anyone devote any amount of effort to writing for the smallest audience possible? I write to make a difference. I write to be recognized as a community leader. I'm not content with just being heard by a single insular community of hardcore fans. I can't accomplish anything like that.
I consider myself an industry activist. I do what the industry refuses to do: market and promote itself. In a community where freeloading is the norm, active promotion is very much frowned upon. Yet spurring people to buy stuff is incredibly important if eroge fans want to have a say in English localization. I want to be the facilitator that bridges the gap between eroge companies and the VN community. I want to be the voice for eroge fans when companies cross the line, thinking that sales are more important than the wishes of the fanbase. I can't do all of this by just whining in threads on Fuwanovel about the success of the Sakura series while games like Seinarukana remain in obscurity.
Mainstream activists make a living off what they do. I do what I do almost entirely for free, with the simple request that people click my affiliate links when they buy a game because of the content I provide. I would say that criticism of me is hypocritical, yet I realize that only a year ago I'd probably have said that what I do is distasteful. If things would get done without me, I'd be willing to pass the baton and go back to an online life of obscurity. If good content promoted itself, I wouldn't need to try to so hard to get the word out. But well, life isn't fair, honest effort isn't necessarily rewarded, and mediocrity is the formula for success. If I don't promote my content, no one else will. That's just how it is.
Long rant. I'm not going to post this on Twitter line by line.
Note: This is meant to be a conversation between me and my followers. If you say something unconstructive or just piss me off, I'll start deleting comments without warning. You have been warned.

There’s no getting around it. If you’re looking to edit visual novels, at some point you’re going to have roll up your sleeves, put on the rubber gloves, and get elbow-deep in some H. The good news is that if you come prepared, practice your technique, and set some clear boundaries, it can be a pleasurable experience for both you and the reader.

First, a disclaimer: I don’t like pineapple on my pizza, and I don’t like H-scenes in my VNs. It’s not a prudish thing; it’s a narrative thing. They’re rarely well crafted — you can feel all the hallmarks of the B-team being brought in to write them — and they almost never add plot/characterization that couldn’t have been handled better some other way. (I’ll pause here so you can mention Amane’s route from Grisaia, an exception that helps prove the rule.) Let’s be honest: they’re shoehorned in to help sell product. It’s built into the economics of the eroge genre. And honestly, that’s fine. I try to be sanguine about it and think of H-scenes as banner ads or TV commercials. They’re profit centers that help support the content I’m actually interested in. (I suspect more than a few developers feel the same way.)

Long story short, H-scenes ain’t going anywhere. So how do we deal with them? Go in with a game plan.

[Warning, there will be some NSFW language from this point forward. Sorry! It’s all part of seeing how the sausage is made.]

1. Do your research
In raw translation, sex scenes from a Japanese visual novel tend to be far from erotic. More often than not, they read like an obsessively detailed transcript of a gynecological exam. That’s not because the Japanese writing team suddenly forgot they were supposed to be penning a passionate sex scene. It’s just that what’s erotic in one culture isn’t always as erotic in another. It’s your job (along with the translator) to help bridge that cultural divide and come up with something that feels faithful to the original, yet still sexy in English.

Your first stop? Research. Read some English-language erotica so you can get a better sense of what works and what doesn’t. Sites like literotica.com even have stories broken out into fairly specific categories, so if you know you’ll be editing BDSM, threesome, and footjob scripts, you’ll have no problem finding what you need. (If you have all three in a single scene, you still might be in luck.) There’s also a category called “First Time,” which is more broadly useful, given how fixated many VNs are on virgins.

Read, read, and read some more. Pay attention to the verbs, the nouns, the pacing. Try to quickly form a model of what makes a sex scene successful, then look to carry those techniques over to your VN script.

2. Pack a box lunch
If you take nothing else away from this post, remember this: bring a big bag of dicks; you’ll need them. Better pack a few pussies while you’re at it.

By the time you’ve edited your third or fourth H-script, you’ll find you’ve run dry of good synonyms for the male and female genitalia. In KoiRizo, the raw script mostly used the word "thing" for the protag’s package, which ended up sounding childish and/or ambiguous in English. (I only kept it in a few instances where such a reaction might be appropriate — for example, when the route partner catches her very first glimpse of Lil’ Protag: “Is that your ... thing?”). The remainder of the original script was a mix of the clinical ("my mucous membrane”) and the hilarious (“my soiled meat stick”). As for ladyparts, the original script relied heavy on metaphor and indirect reference — lots of openings, entrances, gates, doors, depths, special places, overflowing pots of nectar, etc.

So what’s missing from the above? The common English erotica standbys: “dick” and “cock” for men, “pussy” for women. There’s a reason for that. KoiRizo complicated things by using the Japanese equivalents of these very sparingly, reserving them mainly for shock effect in dialogue — “e.g., OMG, she just said ‘cock!’ Things must be getting real.” Moreover, when these words were finally hauled out, the devs bleeped the VO and censored the text string (e.g., “p*ssy”). That meant it was very obvious when those words were being used and when they weren’t.

All of which presented quite a challenge to the team: if we were to preserve those “shocking” character moments, we couldn’t use the most common English terms 99% of the time. And so, I fell back on a shortlist of alternate references: pole, rod, erection, hard-on, manhood, etc. By the time I was done editing, however, this list felt far too limited; those words were overused pencils worn down to their nubs.

This is one of those areas where, in hindsight, I feel like I could have done a better job with KoiRizo. The takeaway: If I ever tackle a VN this H-heavy again — doubtful — I’ll come packing a much longer list of euphemisms.



3. Bring a raincoat
Compared to its English counterpart, Japanese erotica seems downright obsessed with fluids: saliva, vaginal secretions, semen, urine — you name it. The look, the sound, the feel, the taste, the smell, the volume. You’ll be describing a lot of liquids in a lot of ways, so get ready to break out the thesaurus. And an umbrella.

4. Embrace the improbable
Let’s admit it: VN sex is over-the-top ridiculous. In a matter of seconds, sheepish virgins turn into seasoned pornstars, cramming 20 orgasms and 40 positions into a quickie broom closet hookup. (Oh so much cramming.) This is the nature of the genre, so don’t fight it; embrace it. Trying to force realism onto a typical H-scene would be like trying to force realism onto a Dragon Ball Z fight: everyone still looks constipated, but no one’s having any fun. If you’re that desperate to edit sadly mundane sex scenes, wait for the VN version of Michael Winterbottom’s 9 Songs to come out. Till then, work with what you have.

I remember a tiny dustup a while back when another TL team supposedly wrote lubricant into an H-scene because they felt the acts described would be difficult or painful without it. It’s a minor thing, but if the original writer left the lube out, I’m inclined to do so too. These portions of the script are wish fulfillment at their best/worst, so just leave them be.

Except ...

5. Reject the impossible
... Except when the improbable becomes the impossible. More often than not, this is either the result of a mistranslation or an error by the original writers. (As an example of the latter, KoiRizo was haunted by an entity we dubbed “phantom Riho.” A couple of times, the devs would forget they were writing another girl’s scene and use Riho’s name for a line or two instead. We fixed this in our version, but still ...)

Anyway, as editor, it’s your job to keep an eye out for the impossible. Is the protag’s penis simultaneously in someone’s vagina, anus, mouth, and ear? Did the heroine’s hymen suddenly regenerate? (Starfish Girl is mah waifu!) Did a corded vibrator suddenly become a battery-operated one? Ask to have the TL double-checked and, if that still doesn’t resolve the issue, use your best judgement to fix the error while causing minimal disruption to the surrounding lines.

6. Set your limits
This is important. Know what you’re comfortable with going into a project and make those boundaries abundantly clear. Some VNs can venture into very unpleasant territory — rape, abuse, gore, catgirls, etc. — and it’s best to ask yourself up front if you could, in good conscience, commit to editing that sort of content. Set your limits early on, then make sure your team’s fully aware of them.

7. Have a sense of humor
At the end of the day, VNs are entertainment. Unless you’re editing Saya no Uta 2: Vom Harder, it’s probably okay to approach your H-scripts with a subtle sense of play. A decent chunk of your audience will either be fast-forwarding through these scenes outright, or paying far more attention to the visuals than the script.

So think of these times as exhibition games in your script editing schedule. They’re opportunities to spread your wings a little bit, try a few stylistic experiments — maybe even slip in a sly joke or two. And even if everything doesn’t quite work, we’ll still respect you in the morning.

Since I get asked questions constantly on this subject, I'll go ahead and list a few pieces of advice I felt apply to most beginners.
 
1) Use translation aggregator and a text hooker, even if you feel like you should be getting out your kanji dictionary, out of a sense of self-reliance. I'll be blunt, it is hard to enjoy something if you have to refer to a kanji dictionary for every other non-particle word. I am sometimes stunned at people bragging about spending 100 hours on an 8 hour moege because they chose not to use a text hooker. That is not an efficient way of using your time, even if you want to learn kanji. It is actually more efficient time-wise to do kanji exercises separately and read your VNs with a text hooker (you'll still be done with both in half the time it would have taken for you to read it using a kanji dictionary).
 
2) There are two methods you can choose to start your untranslated career... you can start off easy and work your way up, or you can smash your head into the walls of text of the harder VNs out there. I chose the latter, and most people choose the former. The walls of text method has the advantage of jump-starting your learning... but in exchange, you'll probably end up sleeping more to let you process all the new information you've gathered and you'll get frustrated more often. If you want to use the former method, I made a list here sometime ago ( http://forums.fuwanovel.net/topic/3493-for-love-of-vns-for-beginners/ ).
 
3) jparser in Translation aggregator isn't perfect, nor is Mecab. They are tools to give you a chance to parse the kanji faster, rather than a translation tool. However, there is a good side-benefit to the frequently weird choices of furigana they make... and that is that you'll naturally learn the path to understanding kanji puns without having to look them up later, and it will become ever more easy to dissect more difficult words even without the tools later on.
 
4) In the end, mastering reading untranslated VNs is an uphill battle for most people. Don't expect yourself or everything you use to be perfect from the beginning, as the very idea is absurd. You'll run into stumbling blocks constantly, and you'll worry endlessly about whether you really understood that last line for most of your first hundred VNs or so.
 
5) If you read slowly in your native language, you will also read slowly in Japanese. Reading is reading, and it is a skill honed by a simple process of practice, practice, practice that never ends. Yes, learning to read fast in your own language will help you learn to read fast in Japanese once you've gotten to a certain level. If you are barely competent in your own language, I'll be frank in saying that this isn't for you, not to be mean but because it is the same skill, regardless of the details.
 
6) Last of all, I'd suggest hitting a wide variety of genres early on, not just your favorite ones. Why? Because that sense of wonder and love for VNs is only going to last through your first twenty-five to forty VNs, and once you've gotten past that point, it is going to be harder and harder to grow beyond your limits on your own.

And now a little something for all you image editors out there. (If you don't speak Photoshop, just keep walking; there's nothing for you here.)
Some visual novels make image edits simple — the UI is mostly flat colors, 90º angles, and 1-bit transparencies. Easy peasy. Meanwhile, some more recent VNs like to store all their UI elements as semi-transparent overlays with full 8-bit alpha channels. If you've ever tried editing these, you know what a pain they can be.
And so, I came to love a command I've never had to use before in all my years with Photoshop — namely because if there's a transparency on something, I'm usually the one who put it there in the first place.
Ready? Tattoo this on your arm: Layer > Layer Mask > From Transparency
Let's look at one possible scenario where it might come into play: Text on paper.

At first glance, doesn't seem like it would be too hard, right? Then you get it into Photoshop and realize it's a mix of transparent elements and fully opaque type.

If you just grabbed the rubber stamp tool and tried cloning out the text right now, you'd end up with something like this.

That's because your cloning source is semi-transparent. The trick here is to separate out the 8-bit alpha channel from the source image so you have an entirely opaque image. So with the source layer selected, choose Layer > Layer Mask > From Transparency, temporarily disable the resulting layer mask, and you get something like this.

From there, it's just a standard retouching job. Once you clone out the type as best you can, you're ready to add new text from your TL team. (In this case, since the type and paper are at two different levels of transparency, you'd also need to do a quick cleanup on the layer mask. If you look closely at the mask thumbnail, you can see the type as pure white on a 60% gray. Just paint over that part of the mask with more 60% gray and you'll be good to go.)

Enable the layer mask again, export as a file with 8-bit alpha support (a PNG, most likely) and you're done. This was a fairly straightforward example, of course, but the basics remain the same no matter how complex the retouching job.
Now rinse and repeat 500 more times with all the rest of the game files. Aren't you glad you decided to take up image editing?

Pop quiz, hotshot.
There’s an untranslated (i.e, romaji) word sitting there in the script you're editing, staring right up at you. It’s been left like that because the TL team figured people ought to know what it means. But will they really? And what are the ramifications if they don’t? You’re running out of time, and patch release day is breathing down your neck. What do you do?
WHAT DO YOU DO?
In the case of KoiRizo, I ended up relying on a journalistic standard commonly called “the first reference rule.” Here’s how it works.
Visual novels for all!
Let’s say you’re a journalist writing an article about efforts to improve educational standards in underdeveloped nations. At some point, you might find yourself needing to refer to The United Nations Educational, Scientific and Cultural Organization, aka UNESCO. But if just you dropped the acronym “UNESCO” in there, most people wouldn’t know what the bloody hell you were talking about. And if you went with “The United Nations Educational, Scientific and Cultural Organization” every time, your prose would be about as ungainly as me at my prom. So a compromise gets struck: you explain the term on your first reference to it, then use the shorter form thereafter.
An example first reference:
“The director-general of The United Nations Educational, Scientific and Cultural Organization (UNESCO), pledged to make visual novels part of the global curriculum by 2025.”
Or:
“The director-general of UNESCO, the UN agency focused on international education efforts, pledged to make visual novels part of the global curriculum by 2025.”
At this point, you’d be free to use “UNESCO” in any future references, since you’ve already explained the term. Everyone wins: the reader understands what you’re talking about, and you only have to use one word instead of eight.

Ojousamas for all!
The same holds true for visual novels. Let’s say an untranslated term like “ojousama” shows up in your script. if the reader has consumed a fair number of anime/manga/VNs, they might know this describes a young woman of certain means and refinement. It’s a common VN archetype, after all. But a relative newcomer to these genres would have no way of knowing that. They’d be lost if you just started dropping O-bombs out of the blue.
So the first thing to do is determine context. Is this a one-off reference? If so, you can probably just fully translate the line and be done with it. (“She takes a limo to school? She must be an ojousama” becomes, “She takes a limo to school? She must come from money.”)
In the case of KoiRizo, however, the word “ojousama” is used several dozen times. In fact, a character’s ojousama-ness becomes the focal point of an entire route. It would be a fool’s errand to try and excise it, particularly when there’s no one English word to replace it. So we apply the first reference rule.
The initial mention in the translated KoiRizo script reads:
“Because she's an ojousama, it'd be a given that she wouldn't worry about matters like money.”
It hints at the meaning, but doesn't quite go far enough. So applying our rule, we update it to:
“She's a proper young lady of means — an ojousama — so you'd expect her not to worry about things like money.”
We’ve now defined the word “ojousama” in context and set the stage for its future use. This will make the rest of the VN flow much more smoothly for both new readers and purists who prefer their tropey terms untranslated. If several hours go by without us using the word again, it’s common courtesy to provide a reminder of its definition, but otherwise we should be good to go.

All for gruel!
You can even apply the rule in reverse. Here, two characters are about to spend 50 or so lines talking about a certain home-cooked dish. Original translation below:
A: “Okay ... What's in the pot?”
B: “Rice gruel with egg broth.”
We don’t want to spend the next 50 lines saying “Rice gruel with egg broth.” Nor do we want to just say “gruel,” which sounds like something ladled out in a Depression-era orphanage. In fact, this is a steaming bowl of Japanese comfort food deliciousness. So we apply the rule in reverse, and bring back the untranslated term from the original script:
A: “Okay ... What's in the pot?”
B: “Ojiya — rice end egg porridge.”
Now we can safely use the term “ojiya” for the next 50 lines. This ends up working better on several levels: it makes the dish sound more traditionally Japanese, it strikes the right emotional tone, and it helps us shave extra words from our lines.
P.S. - If anyone knows where I can get a really good bowl of ojiya in New York City, I’m all ears.

I make a living in copywriting, but KoiRizo was my first attempt at editing a visual novel. Suffice to say, there were a few bumps along the way. So in the spirit of this blog, here are just a few of the many, many things I wish I had done differently.

1. I should have started out using a style guide.
From the very beginning, I should have picked one of the major styles guides and made it my bible. Instead, as I came across questions — Should this be hyphenated? Should that be capitalized? — I just googled the answer. As long as I had a browser open, I might as well have gone to Orbitz and bought myself a one-way ticket to Inconsistencyville. Population: this guy.

Thankfully, I quickly realized the error of my ways and was able to minimize the damage early on, but save yourself some pain and don’t repeat my mistake. Pick a style guide. Use it. My formal training is in journalism, so I’m partial to AP style, but most any style guide should do just fine: Chicago, MLA, MHRA, etc.

But if you don’t use the Oxford comma, you deserve to die alone.*

2. I should have (mostly) ignored the VO.
In hindsight, I spent a bit too much time worrying about how the English script would match up to the exact cadences of the voice over. As a result, I kept in far too many ellipses from the original Japanese. So … at times … the script reads … like this. And, as it turns out, most of those VO pauses weren’t even perceptible enough to warrant their inclusion in the English text. Feh.

Lesson learned. Next time, I’ll give priority to the written word. After all, it’s called a “visual novel,” not a “visual audio play.”

3. I should have established character voice cheat sheets early on.
This ranks pretty high on the list of things wish I had done differently when editing KoiRizo. The base translation was very literal, so, at least on the page, the characters’ speech patterns all read pretty much the same. The actual content of their dialogue gave them some level of characterization — oh Yuuhi, you so crazy — but still, I wish I’d been able to give everyone a more distinct voice ...

Next time out, I plan to make up an index card for each main character with notes on speech patterns, vocal tics, and catchphrases. And then, I’ll spend sufficient time with the translator agreeing on how each character should speak. (I'm just an editor. The nuances of untranslated Japanese speech are a bit beyond my pay grade.) Do they drop their “g”s when talkin’? Does one use painfully proper grammar when one speaks? This should go a long way toward making sure each character maintains a consistent voice, particularly if multiple translators and editors are involved.

4. I should have picked a visual novel I liked more.
I know, right? There’s absolutely nothing wrong with KoiRizo. It’s a perfectly fine moege. It’s light and fluffy and inconsequential. (Except for the dramatic bits, which are angsty and fluffy and inconsequential.) I guess that’s partly why I chose it; far easier to hone my craft on lighter titles like KoiRizo, then move onto more substantial fare.

But yeah, it never really clicked for me. (My VNDB rating for it has been hovering around a 6, if that tells you anything.) I tend toward VNs that take more narrative and metatextual risks, whereas KoiRizo is perfectly happy being an average, trope-heavy, cookie-cutter moege. Moreover, it had way too many H-scenes for my taste, often at the expense of plot. While it forced me to learn how to edit those types of scripts very quickly — more on that in a later blog post, I’m sure — it wasn’t something I always enjoyed.

But still, I never let any of this affect the quality of the output. I work in advertising, and we very rarely have the luxury of actually liking the brands we create campaigns for. You either learn to compartmentalize, or you get weeded out fast. All of which is to say, I always tried to honor both the original authorial intent and the lead TL’s vision for the project as best I could.

__________________

So there you go. Just a few of the many editing mistakes I have made, presented here for your approval. May you go forth and learn from my facepalms.


Because, as Goro says, forewarned is four-armed.

*Or surrounded by cats.

It's here! It's finally here! The Koisuru Natsu no Last Resort English patch release, brought to you by the tireless MDZ and team.

The plot: Soutarou thought it would be a summer like any other, working part-time at his aunt's dilapidated island resort. But then came the night of the meteor crash and the five strange space girls who climbed out of the smoldering crater. With them, they brought an ancient artifact that could doom the entire multiverse ... or save it.

Oh, who am I kidding? There are no space girls. It's just a moege set on a tropical island. I had a fun time editing it. Now go and read the thing already.

In this post I'll attempt to introduce JWPce (for those who don't know what it is)
(* = refer to JWPce User Manual)

JWPce

JWPce (Japanese Word Processor for Windows) by Glenn Rosenthal is a program designed for English speakers who are studying Japanese.



Now, JWPce has BUNCH of functions (13 others) but I'm only going to talk about the DICTIONARY FUNCTION.


Upon searching a word, the dictionary will give you the word in Kanji, the word in Hiragana and the meaning of the word.




The dictionary is not limited to Japanese to English.
Press Ctrl A to search from English to Japanese. (To return to Japanese to English, Ctrl K)






How to use the Dictionary for Learning Japanese through Visual Novels

Rains told me about this program. lol
This is what I'm using to read Raw VNs. (I'm not an expert yet)

After opening the program, press F6.



On the left side, you'll see buttons such as Search, Sort... Click Options.




A window will appear. Look on the left side and check Track Clipboard. Then OK.



Say you have a hooked Japanese sentence on the ITH.





Upon highlighting a word (in the ITH) that you do not know, the dictionary will automatically search that word.



This is the result of the procedure I described above.



If you look at the upper right side of the dictionary, you'll see four stuff you can check or uncheck.



These things are used to limit the search. A matter of one's preference.

Personally, I check them all so that only the needed meanings are shown and the search is fast (but there are disadvantages too).



Basically, you will be reading the text on the ITH which means that parsing (identifying words, particles, etc.) is done by you.

In case no matches are found, a warning is triggered and the default warning sound is annoying. Sound can be made tolerable by changing your Windows theme.

JWPce uses EDICT, ENAMDICT, and other dictionaries (you can add others) at the same time.*

It also has a USER DICTIONARY - a personalized dictionary you can make.*


Note:

☆ JWPce is free under the terms of GNU General Public License Link to download
☆ No romaji in this program. Go learn Kana first.
☆ Radical Look-up (F5) is useful for Kanjis you can't hook
☆ Again, to make the warning sound quite acceptable in the ears, I suggest changing your theme.
☆ There are times when the program crashes. This is because of certain words (it can't search). I suggest moving to the next line of the game and open the program again.

☆ To recognize the kanji more (make it bigger) or for more details about a certain kanji, point the mouse to the kanji (on the dictionary), right click then click Get info.




☆ I suggest reading the User Manual (atleast the section about dictionary)
☆ Some things I said are based only on my observations. Stuff may vary.
☆ credit to rainsismyfav for introducing me to JWPce / ITH method


I will answer questions I can / am willing to answer.
Also please correct me for false information I might have stated.

See you around.

Shiro

Kon


Most of you already know that one of my fetishes is mimikko... and kitsune in particular. So, it shouldn't surprise anyone to hear that I liked this VN. That said, this VN is so straightforward (in a 'in a straight line' sense) that you probably shouldn't expect anything in the way of twists.

The two heroines are Shiro and Kon (see the pics above). Shiro is the little sister, a white-haired loli-kitsune who is totally innocent and carefree. She is straightforward both about what she likes and what she dislikes, and she has no problems going after it. Kon is more mature (definitely the older sister type), with a tendency to tease the protagonist in order to get a reaction out of him.

Overall, this VN has a single purpose... to ease you straight into a romance with one of the two heroines, resulting eventually in love and marriage. There is no room for spoilers because it really is just that straightforward. What drama there is is so mild as to be nonexistent... but considering how warm and cuddly the story feels, it probably won't matter to my fellow mimikko-worshipers.

The motion-animation system that is used for the sprites in this VN is a bit more complex than that used in most boobatron-type and blink-machine ones you see in the average VN, and that does add some life to the characters that otherwise wouldn't be there... especially with the ear movements. Anyway, this VN is definitely a moe-fest... a moe-fest that fits my fetishes, lol.

I'm not going to go into detail like I did with Sumi's path, if only because my love for youkai isn't fulfilled to the same degree in Alice's or Natsuha's paths as it was in that one. Also, another reason is that the progression for both is far less dramatic than it is with Sumi's path.

In Alice's case, the actual events leading up to the end of the main story are really dark and sad, and the path itself tends to be quite a bit more gloomy than the other two. In exchange, there is a lot more focus on the romantic aspects and the 'living together' parts. This is, in many ways, inevitable due to the fact that the bond between Sumi and Tohru was so strong from the beginning that the romance was pretty much predetermined in vector once they got over a few small issues. This is opposed to Alice's path, where both sides have a lot off growing to do... which is done mostly in the after story, rather than the main path. Similar to Sumi's path, this one had a few extra characters added in (whom I will not name in order to avoid spoilers), and as a result, the after story felt a lot like its own VN.

In Natsuha's case... you can probably predict the main path from the original game based entirely off what you experienced in the others (the different regrets the protag has in both cases), as in many ways it is like a bringing together of the ideal elements from the other two in order to create a more complete whole. It does have the predictable incest issue, but once you are past that, you are into the after story. Natsuha's after story has the least number of ups and downs of the three, at least in part because there is none of the tension about 'what needs to be done' leftover from the main path, save for the obvious. I did find Natsuha's dreams for the future interesting, and I would have liked to see them achieved as part of the after story... but that is because the after story pretty much felt like a VN in and of itself, lol.

Overall, my thoughts on this VN are positive, save for the fact that there are a huge number of H-scenes (something like seventy) - though most are optional ones that can only be seen through scene jumps - and the fact that the makers were so obviously indulging their disease. I also was a bit exasperated that all three heroines are such... perverts once the protag gets them behind closed doors (just how weird do these guys want their lolis to be?). The VN itself is huge... about the same or maybe a bit longer than Grisaia no Kajitsu. Also, I wish the protagonist had Emi with Sumi regardless of the path (lol)... a little girl that adorable deserves to be born.

WARNING: This VN is unapologetically a lolige, as I said above. I am not a loli fan, so I found that to be one of the biggest barriers to enjoying this VN. I would have been a lot happier with no h-scenes being present in this particular VN.

First, I should state that Monobeno is an unapologetic lolige. The extent the writers went to to make this game a lolige (even in Alice's path) is so ridiculous I had to sigh in exasperation. Sadly, it also has one of the best plots and some of the best characters you can see in a VN. Like this company's previous VN, Gothderi, dismissing it because it is a lolige is a huge mistake.



I played the original version of Monobeno, where all the endings were extremely bittersweet and vague, and what I can say about this is that the after-stories provided give closure and really do remake this into a VN with happy endings, as promised. The actual original story hasn't changed significantly, and thus I'll mostly just note that the events in each path tended to be hectic, and almost universally it ended sadly/badly for certain characters.

This also adds the story of Hishakaku and Tsumi, which was a huge benefit. Hishakaku (also known as Buppougataki Daisannyou Hishakaku) is the umbrella youkai that helped raise the protagonist and Sumi (the akashaguma youkai who is one of the heroines), and he is a natural protector, who reminds me of Auron from FFX, if you added thirty years, grandfatherly love, and a sense of humor. This story is unbelievably beautiful and sad, and it adds a lot of background to Hishakaku, while also leading you into the after stories of the various routes. (I cried a lot for the end of Sumi's after story because of this)

Sumi's route focuses on the youkai/supernatural approach to the main conflict of the story, and as a result it varies greatly from Alice's (who is the other side, which focuses on the scientific approach). The romance, which comes to flower amidst the search for the truth of what is going on, is made more interesting by the fact of the protagonist and Sumi's intense interdependence before their parting years before the story began. The main route's ending is bittersweet, causing tears to fall in abundance before you move on to the after story.

Sumi's after-story is actually about the same length as her original story, with just as many interesting events. Sumi and the protagonist's daughter, Emi, is an adorable little girl who has a nose for trouble and a tendency to run straight toward it... but she also inherited her mother's ability to bless with good luck and it is all directed to herself, so she generally survives it well. The progression of this story is focused on the interactions of humans and youkai, their differences, and why not all youkai can live with humans. A lot of the issues you might not have been able to come to terms with through the original path are much easier to do so here. Most importantly, this brings a full conclusion to the conflict of the original story... and Hishakaku is showed off at his best in a dramatic scene toward the end that had me in tears of mixed happiness and sorrow.

First, the simple basis for understanding the way Japanese think about the supernatural. Simply put, Shinto, which was the country's official religion and is the religion that originated there, is an animistic faith, with a strong tendency toward the personification of nature and objects. Second, Buddhism was the dominant faith in Japan for centuries, when the various shogunates tried to weaken the Emperor's power by strengthening the influence of Buddhism as a rival faith.

Why is this relevant? Shintoism personifies the dead and believes in the concept of living gods. The Buddhist tributaries in Japan generally believe in reincarnation. Both faiths create a belief that there are things in the world that exist alongside us that cannot be seen by 'normal' people. Both have a belief in life after death, and both have a concept of 'lingering' and 'ascension'.

Generally speaking, Japanese spiritualists hold to a belief (or so they say) that if you can see a spirit, you can effect it and it can effect you. It is vital to understand this before anything else when dealing with Japanese spiritualism in general. While the idea of ghosts harming or possessing those who can't see them isn't denied by Japanese spiritualists, those who can 'see' them are thought to be more vulnerable, if left untrained ('training' generally resembling Buddhist asceticism and meditation).

Now, the word 'oni' is perhaps the most overused name for spirits in Japan. This is because it can be taken to be any spirit that can and does cause harm, refer to humans whose souls have fallen into evil, and/or the legendary giant ogre-type creatures like Shuten-doji that litter Japanese legend. Because of this, it isn't uncommon for ghosts, youkai, and even some 'kami' (the animistic idea of gods in the Shinto faith) to be considered 'oni'. This should give you an idea of how useless any attempt to define what an oni is can be, and why it is so conveniently used in VNs, anime, and manga.

A lot of this lack of discrimination comes from the fact that Shinto attributes souls to all things, whether they are humans, animals, natural disasters, or even inanimate objects.

Now, the two attitudes 'traditional' people in Japan take toward ghosts tend to be: 'seal them up' or 'banish them'. While Shinto can be said to be nature-worshiping, it is at its heart a pragmatist's faith. 'Cleanse people's souls so they don't do bad things'. 'Cleanse a place to prevent possible disaster'. 'Worship a god so it doesn't squish you'. Simple, isn't it? Of course, there are a lot of deeper details, but that is what you should keep in mind as a core reality of the faith and its view on spiritualism.

In otaku-media, it is extremely rare for fantasy anime that deal with ghosts, spirits, or demons to take a single-faith approach to it. You'll almost always see a multi-faith approach, with one or more being dominant (including Christian ones at times). Shinto is dominant the most often, though Buddhism tends to dominate when you get into stuff based a few centuries in the past. Onmyoudou, one of the original types of 'spiritualism' in Japan is very much a fusion of Buddhist and Shinto ideas, if you want an example, since it is extensively used in various anime.

What does this all come down to? Basically, traditional Japanese viewpoints on ghosts and spirits tend to be ones of rejection, and this is something to keep in mind when reading a VN or watching an anime that deals with ghosts, youkai, or other supernatural beings.

A few bits of vocab:

kami- While it is a term that is also used for the Christian god, it is a universal term for all supernatural beings that have worshipers or need to be be/have been worshiped. By Japanese standards, angels and demons would be considered to be kami under the right circumstances, as the Japanese consider 'enshrining' a harmful existence to be a way to keep it from harming them.

akuma- Simply, demon. This is a relatively modern term made of the kanji for evil and the kanji for 'that which is outside/heretical'.

oni- both a name for a specific type of ogre-type youkai and a generalized umbrella term for evil spirits, humans who have fallen into evil ways to an extreme degree, and aspects of certain kami.

youkai- spirits of Japanese legend. The most common are nature spirits, animal spirits, dragons, and 'object spirits' (Tsukumogami). It isn't uncommon for beneficial or powerful ones to be raised up as 'kami' and enshrined to gain the benefit of their blessing and prevent them from doing harm. Whether they are seen as having physical form varies based upon the individual viewpoint.

Reibaishi- An almost identical concept to the Western 'medium'... basically someone who can see spirits and/or communicate with them and makes a living off of it.

Jorei- Exorcism, though it is usually of spirits rather than demons.



PS: This isn't complete... I'll be adding to it later, lol.

The fandisc for the entire series actually brings all the characters - plus a new cast of one protagonist and three heroines - together, including extensive after-stories for both the first and second generation of characters (Gakuen being the second generation and the others the first). The new cast is based in an era fifty years after the events in the second generation, when most of the characters are elderly or deceased (with the exceptions of near-immortals like Suiku). The three heroines are the endlessly greedy baphomet (demon) Meti, the shy chimera tapir-girl Lettuce, and the dryad (whose name I didn't bother to remember).

Overall, like most of the entries in this series, the standout aspects are the writing quality and the comedic character interactions. It is especially hilarious to see the casts of all the VNs (including the nukige) from the first generation interacting with one another to bring about the setting of Gakuen. Since the main story doesn't change at all (except for h-scenes) depending on which heroine you pick for the new protagonist, I went with Meti... and didn't regret it. I've always liked weird/insane heroines, and she definitely fits the bill.

That said, the story in this VN is structured really weirdly, due to the fact that the protagonist and his friends are basically looking into the past and interfering with it... and if you aren't paying attention, it can be easy to miss important details. However, that is the mark of a well-written story in any case, as a detailed story usually means a good one, though not always.

There is one VN in the series I haven't touched, other than the Alraune nukige... the mermaid one, but that is supposedly based after the events in all these games (though I only got that through some vague hints) so I am not all that focused on it (in total the games so far have covered over seventy years of history, after all).

Final thoughts

To be honest, I never expected to see this much detail out of what is essentially a low-cost series created by a company that originally produced only nukige. From a visual perspective, the VNs aren't excessively impressive, and the backgrounds are reused in each game where appropriate, for instance. Nonetheless, it is an impressive series of games purely from the perspective of writing, and if you don't mind feeling like you want to puke at some of the H scenes... this is a great choice for an experienced reader who is bored with normal romance and moege romance.

Well, the answer to the above question is simple... I saw the monster girl anime for this season's first episode and got curious about what kind of content these games had... to be honest, I was planning to drop it inside the first few hours, using it as a break from more serious content before starting Baldr Force.. but I was surprised to find just how good the writing in these games is.

That said, the early games (the Lamia and Alraune games) are nukige, as presented... and the H scenes are kind of guro in a lot of cases (to be honest, I can't get into the H in this series at all, lol). However, I was kind of stunned at how good the writing is in the ones I've played and how they created a sense of connection and continuity between all the VNs in the series. First, you have to understand that all the VNs prior to Monmusu Gakuen are written in the same general period of the setting's history and Gakuen is written in a period fifteen to twenty-five years after those (the kids from three of the VNs are heroines in Gakuen).

The most solid of the VNs as a whole is the Arachne/Harpy/Cyclops VN, which focuses on Hibiki, a guy who basically gets summoned from Earth by Ariane the Arachne on a whim... The speed with which he adjusts to his new lifestyle is a bit unreal, but the interactions between him and the heroines are endlessly amusing... and the actual story of each path is touching enough emotionally that I cried, despite the fact that I had to skip past the H to keep from being ill in some cases (you can tell that the writer is basically acting out his fetishes with enthusiasm...).

The Scylla/slime VN is the second most solid, with a somewhat... free-spirited pirate as a protagonist. The slime is a total moron who believes anything the scylla maid says... which wouldn't be so bad if the scylla's hobby wasn't making her look like an idiot. I spent most of this one just laughing... endlessly laughing. I laughed until my jaw hurt with this one. The general absurdity of the VN's premise doesn't in any way take away from the comedic character dynamic or the emotionality of the heroine paths (there is pretty much nothing emotional until you actually get on those two paths).

Monmusu Gakuen is the weakest of the three I completed (three VNs in two days) and it retains a lot of the atmosphere of the other two... but in exchange, the H is even more guro and the number of heroines kind of dilutes the emotionality of the paths in several cases. Nonetheless, it is easy to get attached to them, simply because of the protagonist's point of view as their teacher.

I came out of curiosity and stayed for the writing.

I'm just curious... why is it that some of the best VN writers are the weirdest kind of pervert?

Edit: I almost didn't write anything on these... but I felt I owed it to the people who might actually be interested in this kind of interracial romance story to at least say something about my experience. I just also felt the need to warn you that... if you have imaginings about the H, it is actually probably a bit worse than you imagined.

To be honest, the harvest for this year so far has been kind of... less than impressive, to say the least. The best VN I've played this year so far was Silverio Vendetta, and even I think it would have been much better if it had only contained Vendetta's path. I'll come straight out with it and say there aren't any solid candidates so far, even though the year is almost half-over. Last year, by this time, there were four solid candidates - though the later part of the year blew most of them out of the water, and all the candidates from 2013 were concentrated around the beginning of the year.

It is kind of worrying how little in the way of exciting VNs has been released so far this year, and while I am holding out hopes for the new game from Tigre Soft and one or two other possible releases, my experience so far this year is that all the major companies seem to be trying to spit out games that will make them a quick buck for small amounts of effort (fandiscs, shorter games than usual with fewer cgs, using newbie writers, etc). To an extent, that was true last year as well, but it has gotten worse since this year began. For someone who is basically plowing through an average of four or five new VNs every month (or six or seven, like last month), this is not just a minor issue but a real problem. While I found Silverio Vendetta in February to be immensely fun, there really hasn't been anything that blew me out of the water so far.

Understand, this isn't a case of my standards being too high (normally, I would suspect that, but looking at the ones I've played so far objectively...). Rather, it is a case of the bar being lowered overall, by the companies doing the releasing. As an example, Giga released yet another visually impressive but somewhat subpar moe-battle VN near the beginning of the year with an obvious eye toward imitating (poorly) some of Majikoi's more enjoyable aspects, combined with some from the Ikki Tousen anime's concept. Normally, this VN would have been exciting, and it did have all the elements necessary to make a good VN... put together in such a manner that it turned out to be surprisingly bland.

Sanoba Witch, which I had some rather high hopes for, also disappointed me somewhat. For all Yuzusoft's flaws, that company has always tended to understand where the line between serious and joke needs to be drawn in each of its games (ie Dracu-riot). Unfortunately, there was only one path in that game that I could unreservedly praise, and it definitely wasn't kamige material.

Combine that with a poor showing by Minato Soft and barely acceptable works by Pulltop and a few other companies, and I have to wonder exactly what is going on in the eroge business right now.

I know I sound unnecessarily condemnatory, and you would be right to say I'm being pessimistic. However, the fact remains that it hasn't been a good year so far, and six months without a kamige is downright depressing. Of course, you usually can only expect one or two kamige in a given year... but most of the best companies have been producing disappointments, so I think my pessimism is well-deserved, personally.

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I wrote previously about a display bug in Dual Tail's strategy eroge Venus Blood -Hypno- that prevented interface text from displaying correctly in non-Japanese Windows. Fan hacker binaryfail generously donated a patch that fixes the issue. I sent this patch to Ninetail (parent company of Dual Tail) via Twitter, requesting that they include the fix on their official support page. Project manager and game designer Keimaru responded to me in broken English. His response, edited by me, is as follows.

Original:




I thanked him and went my way. A commentator on Reddit later informed me that Keimaru had posted a much longer comment in Japanese. This comment showed such sincere and thoughtful consideration of the issue, from a Japanese developer's standpoint, that I decided it needed to be relayed to the English audience.

Japanese eroge developers are well known for their reluctance to get involved with the Western market. Packaging and splash screens prominently declare "For sale in Japan only". Westerners tend to dismiss this policy as apathy for foreign fans, even regarding the practice with contempt as just another manifestation of Japanese isolationism and xenophobia. When eroge companies block foreign IPs, they automatically assume that the company has closed its doors to Western release (despite abundant evidence to the contrary). "The companies are just being xenophobic," they say with bitter contempt. "Might as well just fan translate their titles, since they'll never officially release their games in English. They don't want dirty gaijin playing their games."

It's about time that we get the other side of this story. And who better to deliver it than a prominent and well-loved Japanese developer--one puzzling over how to respond to a bug that prevents foreign fans from playing his games? I provide my translation of Keimaru's Twitter comments below. I regret that my translation skills could not fully convey the honest simplicity of the original message, but I did my best to at least get across the ideas and intent.
I don't know about you, but Ninetail just earned one new (very loud) fan. For an example of one of Ninetail's outstanding games, see my Venus Blood -Gaia- review! (NSFW version, SFW mirror)

Special thanks to those of the Fuwanovel community who provided feedback on the translation, especially Majikoi fan translator dowolf.