Mr Poltroon

This will actually be far too brief to make a blog post around, but alas...
What is "overrated"? Many things, apparently, but so far as I can tell the word itself is used to describe something that too many people like, or that is well liked for little reason.
This is an inherently subjective word. Infuriatingly so. At its most basic, it means "too many people have a different opinion than mine", which if phrased that way means nothing. Yet so many people employ the word. There is no such thing as "other people like X too much". It is precisely because people have different opinions that some thing's are successes and others are not, and if something is a success, then it is, for that very reason, not overrated -- if people like something, that something must've done something to deserve it, whether you understand what that is or not, because thousands of people don't like something "just because". And I suppose that's just where the issue lies. Once again, people have different opinions. It's that simple.
Such a shame it doesn't stop me from hating the word. It has no purpose. It's obvious and always implied whenever anyone has an opinion, and it only serves to bring a bad connotation and disagree with other peoples' opinions. "Underrated" at least has a purpose (in this context. Other contexts, more similar to "underestimate" are a different, unrelated, story); not to say people don't "like something enough" or people "dislike something too much", which is also another way to spell "too many people have a different opinion from mine", but to say that not enough people know of a particular thing. "Not enough people know about X", or "Not enough people gave X a chance".
You can use "overrated" properly. "The importance of X is overrated" can be used to describe situations where misinformation is popularly spread. But therein lies the key. Using it in "subjective" matters, in matters of opinion, means little. It's a way of complaining that other people have different opinions. And I dislike that, so I complain about it on forums online.
 
This post was sponsored by that thread asking if CLANNAD deserves its popularity or if it's overrated. I'd say when something makes you ask if it is "overrated", that's because it is popular to a point where it must have done some things the proletariat likes, and therefore can't be overrated.
Of course, that doesn't remove the merit of discussing what is "well done" or "badly done" according to other people.
 

This will actually be far too brief to make a blog post around, but alas...
What is "overrated"? Many things, apparently, but so far as I can tell the word itself is used to describe something that too many people like, or that is well liked for little reason.
This is an inherently subjective word. Infuriatingly so. At its most basic, it means "too many people have a different opinion than mine", which if phrased that way means nothing. Yet so many people employ the word. There is no such thing as "other people like X too much". It is precisely because people have different opinions that some thing's are successes and others are not, and if something is a success, then it is, for that very reason, not overrated -- if people like something, that something must've done something to deserve it, whether you understand what that is or not, because thousands of people don't like something "just because". And I suppose that's just where the issue lies. Once again, people have different opinions. It's that simple.
Such a shame it doesn't stop me from hating the word. It has no purpose. It's obvious and always implied whenever anyone has an opinion, and it only serves to bring a bad connotation and disagree with other peoples' opinions. "Underrated" at least has a purpose (in this context. Other contexts, more similar to "underestimate" are a different, unrelated, story); not to say people don't "like something enough" or people "dislike something too much", which is also another way to spell "too many people have a different opinion from mine", but to say that not enough people know of a particular thing. "Not enough people know about X", or "Not enough people gave X a chance".
You can use "overrated" properly. "The importance of X is overrated" can be used to describe situations where misinformation is popularly spread. But therein lies the key. Using it in "subjective" matters, in matters of opinion, means little. It's a way of complaining that other people have different opinions. And I dislike that, so I complain about it on forums online.
 
This post was sponsored by that thread asking if CLANNAD deserves its popularity or if it's overrated. I'd say when something makes you ask if it is "overrated", that's because it is popular to a point where it must have done some things the proletariat likes, and therefore can't be overrated.
Of course, that doesn't remove the merit of discussing what is "well done" or "badly done" according to other people.
 

Written by Kiririri and edited by fun2novel  and Me
Trinoline
If there ever was a time when the quality of a story was judged purely on its aesthetics then minori’s games would be tough opponents to defeat. Trinoline continues in the same tradition as many other minori games. High-budget top-quality visuals with a ridiculous level of attention to details. This includes blinking eyes and well done lip syncing, top-notch high quality CGs, and unusual camera angles, where you walk and look to the side at a character walking next to you while a long non repeating background scrolls by.  All that and more put this at the top of one of the most visually polished games around. Fortunately, visual novels aren’t judged purely on how good they look. Not usually at least.
Trinoline asks valuable questions and explores some very interesting themes and ideas. It is set in a world where the science has advanced far enough to manufacture real, lifelike androids. Events become more complicated when our protagonist’s little sister dies only to later come back as an android. She is just an android and not his real sister of course, only an illusion of the real thing. However, the twist is that she has all of the little sister’s memories inside her, and the question is, 'does it matter if she is real or not?' Do memories make her his sister or is she just a replacement for what was lost to tragic events? What happens if your loved one comes back in android form? Are they the still the same person? Are androids even capable of love, even if they don’t have a heart? Do they dream of electric ships?
Trinoline features three heroines. Yuuri, the childhood friend, skips school often.  However, nothing is what it seems on the surface. What does she hide behind that cheerful upbeat smile of hers? Her route was the least interesting, and it is a bit of a downer for much of it.
Shirone, plays the role our protagonist’s “little sister”. She is the Trino (android) with the protagonist’s little sister’s memories inside her. It explores how and if love can bloom between a human and an android.
Sara is the other childhood friend. She had a leading role in developing the Trino, a new kind of android. Because of her work, she and the protagonist haven’t seen each other in a long time. Her route is considered the true route and it explores the difficulties of developing an android and the problems in their thinking.
The game is pretty equally divided between the common and all the other three routes, and it touches on very interesting issues.  However, at the end of the day I don’t know how I really feel about it.  I can't help but wonder if I actually enjoyed the game or not.  It doesn’t help how stupid the protagonist acts in some scenes and changes his opinions about androids from one route to the next with no consistency, with no regard for his personality. I wanted to like the game because I thought the heroines are really great. In addition, if it wasn’t iterated enough previously, the game is really beautiful. Unfortunately, the constant depressing atmosphere kept up throughout the game pretty much crushed me and every false hope I had for it. I don’t want to further elaborate on that to avoid spoilers.
The game has a lot of great moments, but it also has many points that will split opinions. If you’re looking for a deep and exhilarating science fiction story, you won’t find it here. The narrative is slow-paced and takes its sweet time to build up. This is a game for those looking for a character driven nakige with some light sci-fi elements. However, it might keep you depressed most of the time, so take care if you don't like that sort of thing.

I'm worried I'll forget about this list someday, or not have enough entries. No more 20 names per entry, that was ridiculous.
honker -- as in a nose be on the fritz soup -- the verb gobbledegook offal gristle sequin credenza merkin truncheon From 19/03/2017 until 19/03/2017

I'm worried I'll forget about this list someday, or not have enough entries. No more 20 names per entry, that was ridiculous.
honker -- as in a nose be on the fritz soup -- the verb gobbledegook offal gristle sequin credenza merkin truncheon From 19/03/2017 until 19/03/2017

Let's get a bit into the exact rules for the words on this list.
One of two things must be true: Either it's the first time I hear a certain word, or that word has more meanings than I knew it had. Simply not remembering a word's meaning, which happens quite often, is not enough to get on this list. What could happen is that I forget I had ever heard a given word before, and in which case it gets onto the list just fine.
sultry suss nugatory crick chiropractor abattoir perennial rum -- as in odd. apostate stiff -- as in, a dead body From 14/03/2017 to 19/03/2017

As I mentioned in my previous post, I've simply reached a point where playing four VNs from every month's releases is now unfeasible.  However, at the same time, I wish to ensure that the role I set this up for in the first place continues to be fulfilled.
The Original Purpose of VN of the Month
The central purpose of VN of the Month is to give people a general idea of what they can expect going into a VN that is untranslated.  Is it enjoyable?  Who would it be enjoyable for?  What kind of genre is it a part of?  Is there something that makes this VN special? 
The current situation
I no longer have the energy to do everything I have been doing. Doing VN of the Month takes up amounts of time I'd rather be spending asleep, being social, or helping with translation projects.  Moreover, I'm currently in the middle of an apparent rush season for my work, so keeping up with it has become burdensome in the extreme.  However, I remember when all opinions of VNs were basically given off-hand in instant messaging and chat platforms, and no one really had any idea if a VN was any good, because of the troll voting that plagues all database sites.  While there are some English language VN bloggers out there, they mostly concentrate on translated entries and titles by companies everybody is already familiar with (such as Favorite, Pulltop, Yuzusoft, Minori, etc). 
My solution
I want to ask some of the people who regularly play new VNs on Fuwa to take some of the burden off my shoulders... in particular, I'd like to at least offload two of the charage from each month on some people so I can concentrate on VNs I have a standing interest in.  Preferably, I would like four or five people to do maybe one of these VNs each every two months (accounting for other people's reading speed and time constraints).  To be blunt, I have no interest in aiding and abetting another person's burnout by forcing them into handling a VN or two every month on schedule, so that is why I want the greater numbers.
The issue
Japanese readers are still a vast minority here, and I don't know if it is even realistic to expect anyone but me to even consider helping with something like this.  I know a few people who read fairly fast, but I honestly don't want to make a request directly that is fundamentally burdensome.
If you are interested, comment on this blog post and we'll work things out in a PM.
Edit:   Keep in mind that what I want are opinions.  To be blunt, I can write up a blog post based on someone else's opinions in under ten minutes if I need to, even if they themselves are terrible at writing or organizing their thoughts.  It is what I do for a living, after all.  In this way, the focus will shift somewhat... because I'll be handing things over to people who have a preference for the genre they are playing.  That's why I'd like to get some charage players on board.  While I personally strive for as little bias as possible, the fact is that charage reviews should be geared to charage lovers, and that is something I can't provide, sadly.  The same goes for mystery, sports-focused, and denpa types.  I have no taste for those genres, so it is best that I leave them to someone else who does like them. 
Current new Members-
fun2novel: Specialties are mindfuck, mystery, and chuunige.  I'll be depending on him primarily for mystery VNs, which I dislike.  For a start, I've asked him to take over Ouka Sabaki, since I can't bring myself to play it.  He's got a decent level of experience, and he is reasonably fast. 
 
 

I couldn't simply allow this day to pass without trying to do something.
Here's a poem I think I may have tried before, I'm unsure, in all it's incomprehensible glory.
But worry not, there's a second poetry reading, a bit more normal this time.
 

While the principal job of a good VN editor is line editing (making sure that a line reads well and that a script flows), copy editing is vital as well, and copy editing should follow a style which is consistent both internally and with other comparable texts. That said, most VN editors (myself included) are way too lazy to sit and read the MLA, Chicago, or AP style guide cover to cover and actually internalize it, let alone to extrapolate from them what, if any, changes need to be considered for styling a VN, which, being a different medium, may require different stylistic choices than the media covered by traditional style guides.
As is abundantly obvious if you read older officially-localized VNs, VN style has grown somewhat organically over the past decade and, if you compare against works published in only the last year, you'll find that the predominant style has become fairly consistent across the major localization companies. However, fan translations often miss the mark and make many styling mistakes and deviations from this standard, resulting in irritatingly inconsistent texts.
To help solve that, I put together this brief VN style guide a couple months ago and shared it around a number of people, and I've subsequently refined it a bit in preparation for posting it publicly today.
This is not a full prose style guide by any means, but it covers every interesting and potentially divisive topic I've seen come up in styling VNs; it is, I believe, pretty complete, especially given how concise it is. I've tried to avoid topics of grammar and of style that are not generally deviated from in VNs. Basically, I only tried to tackle areas where people actually have issues. This style guide, I believe, more or less represents the state of the art in officially localized VNs. I haven't read a recent official localization which I noticed to be following different rules than the ones I lay out here.
All that said, take this with a grain of salt: I'm not a professional, and I haven't actually read any official MLA/Chicago/AP style guide cover to cover, though I have dabbled in each of them. At the end of the day, this is more a summary of what I've empirically discovered than anything else. But when you're a fan translation editor, you've got to start somewhere; this is a better option than any other that I know of.
https://github.com/FredTheBarber/EditingPublic/blob/master/style guide.md
Feedback is most welcome, whether to offer corrections or to ask questions for areas which I have not covered.
Edit: By popular demand, I've made a markdown version of the document so it doesn't display like shit on github. The link has been updated accordingly.
Edit2: who will edit for the editors?

Despite my constant attempts at widening my vocabulary and introducing some variance to my word usage, it is doubtless that my knowledge remains meagre at best. In English and Portuguese both.
Therefore, I have taken it upon myself to make a series of blog posts detailing the various words, and expressions, that leave me befuddled when I fail to grasp their meaning.
The greatest advantage this method confers is that I'll not only surprise everyone with how little I actually read (Visual Novels are the closest things to books I read in any language -- although I have read some Spice and Wolf), but it'll also forever remain as an archive which I can consult as proves necessary. I guess writing these things down may also help me remember them, but I'm not counting on it.
Without further ado, each post in this series will contain 10 words or expressions:
doddle coltish dingy lunkhead -- though it isn't particularly hard to figure out what something like this means rump sanguine -- I mean the adjective compositing disaffected kecks lush -- as in, a heavy drinker Date: 10/03/17 to 11/03/17

Despite my constant attempts at widening my vocabulary and introducing some variance to my word usage, it is doubtless that my knowledge remains meagre at best. In English and Portuguese both.
Therefore, I have taken it upon myself to make a series of blog posts detailing the various words, and expressions, that leave me befuddled when I fail to grasp their meaning.
The greatest advantage this method confers is that I'll not only surprise everyone with how little I actually read (Visual Novels are the closest things to books I read in any language -- although I have read some Spice and Wolf), but it'll also forever remain as an archive which I can consult as proves necessary. I guess writing these things down may also help me remember them, but I'm not counting on it.
Without further ado, each post in this series will contain 10 words or expressions:
doddle coltish dingy lunkhead -- though it isn't particularly hard to figure out what something like this means rump sanguine -- I mean the adjective compositing disaffected kecks lush -- as in, a heavy drinker Date: 10/03/17 to 11/03/17

I'm just going to jump right in and give you the answer: imagine you're telling someone a story about something that happened to you a month ago. It's that easy. Ingrain that mindset into your brain, and you, too, can write in past tense without sounding like a madman.
Before I launch into an example, I do want to point out that there's nothing inherently wrong or right with writing in either the present tense or the past tense. Some things come off better in one or the other, and both are common choices in VN localizations. I have a personal slight preference for past tense, even though it's a little harder to write in, even once you know the trick, but either is fine.
That said, I firmly believe that a localization should make a conscious choice for the tense in which the flow of narration proceeds and should then stick to it. All too often, even in professional localizations, there will clearly be an intended tense for the events in the flow of narration, but then the tense will slip back and forth between that choice and the alternative. This reads really unnaturally, and it frankly bugs the crap out of me, keeping me from being able to fully enjoy what I'm reading. It's one thing to intentionally switch, for instance by consciously employing the historic present (https://en.wikipedia.org/wiki/Historical_present), but it's another thing entirely to just be sloppily jumping back and forth because you don't know what you're doing.
So, here, let me make up a story and write it the way I would tell it to you out loud if you were sitting next to me, and then let me write it the way it would hypothetically have been written in some of the localizations I've read recently. After that, I'll break down the pieces and explain why and how I'm doing things differently, and even a little bit of why things that may look questionable are okay, in this example.
Now, here's the way you'd see this sort of thing written in a couple of the localizations I've read recently:
"The night before" vs. "Last night" and "By that night" vs. "Tonight."
This is, honestly, the big one, and the way I snuck in a present tense verb into the very last sentence after "tonight" is a clear sign of the problem (and is exactly how it would have been written in some of the things I've looked at recently, mixed-tense sentence and all). You cannot say "last night" to describe something that happened a month and one day ago; people don't do that. When you write "last night," that "last night" is relative to the person narrating the story, and you're narrating something that happened in the past, so that means "last night" should be, in all likelihood, in the future, relative to the story you're telling. The result is nonsense. The same thing happens with "tonight." The word is relative to the present you, not relative to the past you, and no gymnastics with the verb are going to prevent that interpretation. Trying to write these words into the flow of events in the past tense makes you sound like a madman.
There are a lot of other words with the same behavior, to some degree or other: "now," (probably the very worst), "here," "this," "these," and so on. Picture yourself sitting across from someone, telling a story, and try to use those words in the story, and you'll realize they simply don't work correctly. Take "here" for example: "here" is where you are. If you're sitting in the office, telling your coworker about your amusement park trip a month ago, and you drop the word "here", they're going to naturally expect you mean the office, and when you're trying to use that word to refer to the amusement park, they're going to get horribly confused. Those words all have to refer to something around you at present, not something that was around you a month ago at the time of the story. You have to swap them out for words like "then," "there," "that," and "those." Basically, you need words with an appropriate sense of distance to them. I see this kind of line all the time in VN translations:
Every time I see it, it makes me want to cry. I suspect there are a couple reasons why so many VN localizations fall into the trap of using words like this as part of past tense narration:
They write individual isolated narration lines, often surrounded by long stretches of dialogue. Of course, dialogue isn't rewritten into the past tense, like the narration, but delivered naturally as the character delivered them, so you simply end up seeing lots of dialogue for a while, and you start to get some cognitive dissonance pushing you towards present tense. VN narration is always surrounded by images and voice acting, which lends everything a sense of immediacy. This gives an even stronger push towards the feel that everything is happening "now," unconsciously biasing the writer towards present tense. However, you'll never find this kind of word usage in the past tense in a professionally-published novel, where those two conditions don't apply. You could use those two reasons as an argument for why VNs should be written in present: maybe, arguably, it's just easier on the brain. I personally don't really think so, but ultimately, you can choose what tense you want. If you want to write present tense, go for it. If you want to write past tense, though, you need to overcome all of that and start using the right words.
"Hadn't been able to sleep" vs. "couldn't sleep."
This one kind of sucks because it's more verbose in the past perfect, but this is a necessary consequence you have to accept when the flow of events narrated is in the past tense. How should you describe events which happened prior to the flow of narration? Grammatically speaking, what happened before the past? That's the past perfect tense. "I went to the store, but before that I had gone to the bank to make a withdrawal so I could buy groceries." If you don't put the past perfect tense on events which already happened relative to the past, the order isn't as obvious. Yes, you absolutely can say "I went to the store, but before that I went to the back to make a withdrawal," but when you do this it's more like a mental rewind. You start playing the narration forward with the first clause, but then you say, but wait, before we can do that, I need to actually rewind the narration and tell you about this bank trip. In this example it's fine, but imagine you're telling a long complicated story (like, say, narrating a VN), and at some point you need to refer back to an event that was already narrated, maybe something days in the past relative to the flow of narration. You can't do a mental rewind in that circumstance. You can do a flashback, but usually such thoughts aren't a full-on flashback, which itself is basically that mental rewind that resets the flow of events; these are much more often simply the narrator reflecting on something happening in the past relative to the current flow of events. You need to put that recollected past event relative to your past narration into the past perfect tense.
What's that present-tense clause doing there?
"They've got great thrill rides there" is a particularly interesting clause, being in the present tense, so I want to talk about it for a moment. This is basically an aside (https://en.wikipedia.org/wiki/Aside), and as such it's bound by different rules. It's a statement directly addressed at you, the reader, rather than a part of the narration of the story. In the case of an aside, it's perfectly reasonable to make an observation about the present state of things. That said, in VN writing, I try to avoid this entirely. Of necessity, an aside is breaking the fourth wall. This is fine if you're doing it for a good reason (maybe you're Deadpool and you just love breaking the fourth wall), but not so fine when it's not stylistically important, and it's just making a simple observation. In this circumstance, it would be a needless disruption, in a VN. That said, it does feel perfectly natural when I'm just informally telling a story. IMO, this is one point where the process of telling a story and the process of writing VN narration diverge. The trick isn't completely foolproof; it's just a hell of a lot better than writing without any guidance at all, wandering aimlessly between tenses.

Essentially, a video of me fanboying over a game I found the other day and that I really wanted to fanboy over.
 

Essentially, a video of me fanboying over a game I found the other day and that I really wanted to fanboy over.
 

While the final cause of my chronic insomnia has been a subject of much consternation on my part, the answer was none too subtle last night. Indeed, something weighed heavily on my heart, compounding the recurring problem of Arby's-induced arterial blockage.
If I were to own a cat, would it ever catch on to my laser-pointing diversions? As any former or current participant in this activity can attest, it is very entertaining, such that one should enjoy it in the absence of concerns that it may someday become infeasible. I ruminated on this question after recalling this gif that tangentially addresses the matter.
In other words, may I consider the feline mind analogous to that of a dog who, in a like manner, readily fetches the stick only to endure the same Sisyphean struggle moments later and without cessation?

If I could give you any two pieces of advice, gentle reader, they would be: don’t eat unopened mussels, and don’t proofread anything you’ve edited. Neither will end well for you.

I always scratch my head when I see a visual novel translation project with the same person listed as Editor and Proofreader. Or worse yet, Translator, Editor, and Proofreader. Or (and I know I’ve seen this at least once) Translator, TLC, Editor, and Proofreader. I’m all for DIY, but that's a disaster waiting to happen.

Here’s the rule: If you’ve touched a piece of copy in any one of these roles, it’s tainted for you in all others. Sorry, that’s just how it is. These jobs are meant to be a series of checks and balances to help ensure the quality and accuracy of the content. If a single person takes on two or more of these roles, you’ve got problems. If one or more of these positions goes completely unfilled, you’ve got problems.

It’s not that you wouldn’t be capable — many editors are amazing at proofreading, and tons of translators are wonderful at TLC — but once you’ve worked with the text in one capacity, your familiarity with it makes you far less effective in any other role.

Our stupid, stupid brains
Like so many things in life, it all comes down our stupid brains being more helpful than we want — kind of like an overeager toddler who just handed you your iPhone. In the shower. (Thank god for Applecare+.) Whenever our brains see a gap in content, they try to fill it whether we want them to or not. “Hi, I’m your brain. Hey, is there a word missing there? Can I make a fairly good guess as to what it is? Wheee! I’ll just pretend like it was there and we read it and nothing’s wrong. Now let’s go think about boobies some more! BOO-BEES! BOO-BEES!” And the more familiar your brain is with the work in question, the easier it is for it to fill in those gaps. It already knows what to expect, and it’s just waiting to jump in and save the day.
Our brains must be stopped before they kill again.
The easiest way to do this is, at each step of the creation and revision process, have someone ready look at the content with fresh eyes and no preconceptions. Simple as that. You wouldn't go get a second opinion from the doctor who just provided your first opinion, would you? So don’t do it here. Don't double-up on jobs, and don’t leave positions unfilled. The final product will be better for it.
Yeah, yeah, I know. Easier said than done. Finding good volunteers is tough and people flake out or have RL commitments all the time. So what then?


 
The nuclear option
When I got my first job in advertising, I was an idiot. Thankfully, my first creative director was not. A highly accomplished copywriter, she’d penned dozens of the brand slogans that had littered my youth. Suffice to say, she knew her stuff. (You’d probably know her stuff too, if you saw it.) And this was one of the first things she taught me: “Never, ever proofread your own work. But if you have to ...”

That’s right, she had a trick. A big red button on the wall of her brain that said, “PUSH ONLY IN CASE OF EMERGENCY.” You never want to proof your own work, but sometimes you don’t have a choice. Sometimes you’ve rewritten the copy deck five minutes before the big pitch and there’s no time to send it back for proofreading. That’s where the trick comes in.

Read it backwards.
Start at the very last word and read your way back until you hit the first. This strips away all meaning from the text — your brain isn’t leaping in with a guess as to what comes next — so you can focus on minutiae like spelling, punctuation, repeated words, etc.

This is a relatively laborious process, unfortunately, and it doesn’t scale well to an entire visual novel. But I mention it here in case you find yourself with a few lines or even a short script that needs a proofing pass and you’re the only one around to do it.

.it of habit a make don’t Just.

Full disclosure
By the way, I’ll be the first one to admit that v1.0 of the KoiRizo English patch has typos. In my role as editor, I tried to work as cleanly as possible, but over the course of 36,000+ lines — I figure that’s gotta be at least 250,000 words — a few foxes got into the henhouse. The team didn’t have any proofreaders, and the QC process wasn’t nearly as robust as had initially been hoped. (Zakamutt touches on that here.) But you know what? For all of that, I think the launch product came out comparatively clean. I still want to drink bleach and die every time I see a typo report, of course, but that comes with the territory.

And with any luck, there will be patch updates forthcoming that address some of these lingering issues. Which is good, since I’m running low on bleach. And lives.

Ambiguity is a fascinating element of language, one an editor both struggles with and celebrates regularly. On the celebration side of things, ambiguity is an essential tool in the setup of a lot of short jokes, for one. As an example, an ambiguous statement leads to a misunderstanding, and in a VN said misunderstanding usually leads to an accidental love confession, resulting in the unfortunate victim stammering outrageously while blushing like a sunset. How cute. Ambiguity can also be a powerful tool in foreshadowing, since it allows a single statement to be interpreted in two ways, of which one can be applicable to the immediate present, thus making it a perfectly reasonable line to have in the present, and the other only meaningful when considering future events, usually causing the reader to look back and say, "Ahh-hah, now I see what it really meant." Ambiguity is also absolutely essential in writing clever blog post titles. But on the struggling side, ambiguity is often an enemy getting in the way of your reader enjoying your text.
As you read, your brain furiously analyzes words as they come in, building up and tearing down many possible syntactical structures for the sentence and many possible semantic interpretations of the various words and phrases, before eventually trimming this all down to a single interpretation of the sentence, typically over the course of a tiny fraction of a second. However, there are many stumbling blocks which can lengthen this process or thwart it entirely, notably including actual errors (misspellings, dropped words, incorrect grammar, etc.,), which is probably the chief reason why such errors are so frowned-upon in typical writing. Slowing down the reader's understanding, or preventing it entirely, is generally not the author's goal, assuming said author is not James Joyce.
Setting aside actual errors, ambiguity is one of the main impediments to a reader's understanding. Since one of a VN editor's chief goals is to ensure a script flows well for a reader, eliminating unintentional ambiguity is an important sub-goal. Even outside of intentional usage like in the cases mentioned in the first paragraph, ambiguity in English is still incredibly common, with small ambiguities cropping up constantly while reading essentially any text. Let's take a look at an example of a super-small ambiguity which slows down the reader just a tiny bit, a sentence containing my least favorite word:
Looks fine, right? As a whole the sentence is totally unambiguous. But while you're reading it, you're going to run into "that", and "that"'s a problem. "That" is an incredibly flexible word in the English language: it's a pronoun, a determiner, an adverb, and a relative pronoun. It's actually even more flexible in British English, where it can act as a subordinating conjunction, and even though most VN translations are written in American English, the lines there are pretty fuzzy, and it wouldn't be surprising or confusing to see a sentence like "He asked that she go" in a VN.
Now, in the sentence above, "that" is being used as a relative pronoun, but the prefix of this sentence, "I told you that" is also a perfectly well-formed English sentence in which it's instead being used as a pronoun, and if your brain follows such an interpretation immediately as you read the sentence, it'll take it a few extra milliseconds for your brain to unwedge itself, reorganize into treating "that" as a relative pronoun, and continue on forming the correct interpretation.
All right, doesn't sound like a big deal, does it? You're right. This particular, single instance isn't. But they add up, and you can do better, so you might as well. To put it in super technical jargon I didn't know until I was writing up this post, English has a so-called "zero relative pronoun" which can be used in place of relative pronouns like "that" which are introducing restrictive relative clauses. To give an example, since the previous jargon is so technical as to be basically useless, instead of the above sentence, you can just drop "that" and write:
Now, look, I'm not saying this makes a huge difference, but doesn't this version feel a tiny bit better when you read it? Eliminating usage of overly-flexible words like "that" is a good way to reduce some ambiguity, but keep in mind this is a single example of a specific case. It just happened to be the one which prompted this blog post. However, I assure you, if you start reading your work with a careful eye out for the clarity of each line, you'll find tons of small, unintentional ambiguities popping out at you which you want to correct. Training yourself to look for them and to clean them up is one part of helping your text flow better.
I guess that's that. I hope you got something out of that, and I ask that, if you have questions, comments, or problems regarding this or "that", you leave a note below to that effect.

This is a simple post putting forth my views on what the largest pitfalls are for a fantranslator, both in the immediate sense and the long-term.
Immediate
1. Making promises: Anyone who starts a translation is bound to do something stupid... such as setting a deadline or predicting how long it will take them to do something.  Even experienced translation groups trip and fall into this particular trap.  Nothing good comes of making promises, primarily because rl exists.
2.  Agreeing to translate/edit/proofread something you aren't interested in: This links to motivation.  To be blunt, no fantl will be able to finish work on a VN if they don't enjoy the original or at least prefer the genre it is in.  Fantls are a labor of love not a workplace with a set salary and a boss telling you to get back to work or he'll dock your pay.  Passion about the subject matter is necessary to get anywhere on a fantl project.
3.  Taking on a job you aren't qualified for: This mostly applies to beginner fantls... to be blunt, don't take on something you can't read easily.  If you can't read and fully comprehend the text of the VN you've agreed to translate, don't even make the attempt.
4.  Machine translations: Don't work.
5.  Looking up your name/reputation/etc: Some people get addicted to looking for positive reactions to their work.  Unfortunately, this also means that they stumble across the negative responses and can damage their confidence in ways that can destroy a project. 
Long-term
1. The choice to announce  a project or not: Many who translate VNs use community comments to help them build motivation.  However, choosing to involve the community in your project is a two-sided sword... it cuts both ways.  Negative comments, people asking you when it will come out, and complaints about the translation of any partial you put out can obliterate your motivation and cripple the project.
2.  Internal group chemistry and mechanics:  No matter how you look at it, the translator is the origin and star of any given project.  Without the translator it goes nowhere... but translators can't be the ones going around motivating the group to keep working.  It's inefficient and emotionally draining for the person in question, and it is the number one cause of project failure I've seen related to group chemistry, when the translator finally falls apart.  An editor's role only seems minor to a translator.  It is actually a job that can be equally frustrating to that of the raw translation, and a decent translator's secondary job often becomes tlcing and explaining his own work to the editor.  Thus, my advice to any fantranslator is find an editor you can talk to and get along with, or you'll regret it later.  My advice to editors is: Be patient.  Many translators really don't like going back over their own work, so just keep an eye out for potential signs that they are at their limit. 
3.  Burn-out: This can potentially happen to any fantl position.  It is also related to all the things above, since it is a state where all motivation is lost and the individual in question basically just drops out of the project.  Apathy toward the project and ignoring group members are fairly common signs of this.  Whether it is permanent or not depends on the individual, but it can take years to recover mentally and emotionally once you've reached this stage *speaking from personal experience*
 

Disclaimer: At the end of this post I get pretty salty, so be aware of that. This post endorses MY and MY OPINION ONLY. The numbers about the costs of a translation team were researched before putting them here.
Hello guys. Aizen-Sama here with another spicy rant. Although I haven’t been around the forums as long as other users who have spent their time here several years (I have spent around 7 months more or less at the present time being) I have seen that there’s a huge problem that I’ve mostly seen here, in Fuwanovel, more than any other site that congregates VN fans. In fact, I think that this doesn’t happen anywhere but here, but again, what do I know? I don’t really visit Reddit nor 4chan that much, let alone interact there.

Anyways, what I want to address is a problem that has been going on since the beginning stages of this site, and that problem is the Translation Requests, or what I like to call “e-beggars” (yes, I know this term has been invented already).

First and foremost, the majority of people that make these Translation Request posts are usually new users and I’m fully aware of that. But this has been blowing up lately. I know that 4 posts in the last month and a half doesn’t sound like that much, but the proposals are getting so ridiculous that it’s hard to believe sometimes if the guys asking these things are for real or if they’re straight out trolling.

Let’s take this post as a quick example. You’re scrolling through the forums and see this post, and then the thought comes to mind “Another typical Request Post. Sigh. Let’s see what this guy’s asking for…” and then you see this:

These posts show nothing more than ignorance and arrogance, as well as no interest towards these groups they are begging to translate something for them. Do these people even understand what it takes to translate a medium length VN? A medium length, around the 35-40k line mark in my opinion, could easily take a year. And the guy in this post begged for 5 medium and long length VN’s to be translated, one of them being >50 hours long.

But don’t be mistaken, the worst part about that post wasn’t the amount of VN’s he was begging for nor their length. It was the last statement: “Thanks in advance”. Although it sounds stupid, that’s what triggered me the most. A shitty “thanks in advance” is not something that motivates people to do these things. People have to put themselves in a translators’ shoes sometimes. Not only him, but also the people who aren’t translating, but the ones who edit the text, proofread it, the image editors, the quality checkers, etc… Do they think that the task can be easily done if the guy in question knows Japanese? Not even close.

The secret of a translation project.

I know this is hard to believe for the e-beggars, but the translation of a game requires an enormous amount of time, and one year to finish the TRANSLATION, not editing, of a medium length VN is a very decent deadline. And I’m talking about a medium length game, not a long one. Majo Koi has around 47k lines. Supposing it had one sole translator and the translator in question did 100 lines a day, the game would be finished in around 470 days approximately, this taking into account he diligently does 100 lines a day, no skipping, no nothing. Let’s convert that into hours spent in total, since that tends to shock people more; 470 days doing 100 lines a day, if the translator is an experienced one, meaning that he has done this before or is a professional in the field, he could get rid of that task in about an hour. But an amateur translator, basically the bulk of the community in itself when it comes to fan translations, could take around 1,5 or 2 hours to do the exact same number of lines. That could mean than in total, just translating could take from 470 hours for the experienced translator, which means around 20 full days translating something, to 705-940 hours for the amateur translator, which is around 30-40 days translating nonstop. And this would be just translation, I’m purposely taking out the other processes such as editing and QC’ing. Do you e-beggars understand the amount of work is being put in these projects? This is why Translation Request posts should be completely banned off this site and instantly deleted. Then again, where would I put my insulting memes towards the op’s to gain likes for no reason?

Let’s throw in another question now that we’re shifting towards that matter: Is fan-translating Visual Novels even worth it in the first place?

Before I answer (although it’s probably known what I’m going to say, given my tone) let me address this: I by no means think that fan-translation is bad, in fact, it has been the reason why we’re getting official localizations now and I think that no amount of praise of thanks can equate the amount of work the translators of these projects did in order for this genre to be known better in the Western community.

But, as sad as it sounds, fan translating at this moment is not worth it. Why? I’ll put in some of the reasons:

-          Although some members of the vocal community throw in the occasional thanks once the patch is out that’s all the team who translated the game gets. Nothing more, nothing less. Some people might say that recognition counts as some sort of reward as well, but personally I don’t think that’s the case.
-          No reviews of the translated VN’s are usually made (this is what in my opinion spreads the awareness of these games), only discussion threads are made, which is pretty sad in my opinion.
-          I’m going to quote something that Clephas said in one of my posts, that sums up this next point:  “Another thing is that most people in the community will never even try to experience fantl from the other side of things... they don't realize how much time it eats up, that emptiness you feel when you realize you've used dozens of hours of your personal time only to put out a patch that people bash left and right for 'errors' and other shit.”
-          The work put in to translate the game itself is not worth, meaning that the compensation that the translator/team worked for it is not even close enough to what they should be getting.
Lastly, I want to address the problem that comes with donations, awareness of localization costs/translation costs, and ignorance.

I’ll cut to the chase; for the people that think that with donations alone you can “pay” a translator to do some kind of game, you’re WRONG. Let’s put an example of what could a medium VN translation cost: let’s suppose that the team consists of three persons, to translate a 1.5 million jp character VN (equating to a 45k line count approximately). The translator gets 1 cent per Japanese character, the editor gets 1 cent per English word and the QC gets a quarter of a cent for each English word. In total, the final price equates to 33k dollars JUST FOR THE TEAM TO TRANSLATE A SINGLE VN. And these prices are apparently pretty shitty for a translator, so yeah, there you go. Besides, why donating a random group of guys, who could easily run away with the money and machine translate the game, or not even translate the game at all, when you can just support the official localizers? Contrary to what some people think they are actually releasing more games than ever and the 18+ industry in the scene has never seen so many official releases ever.

Summing up this 3 page-long essay of frustration:

1.       Please for the love of god don’t e-beg or Request for translations. Just no, it triggers people off and it only shows how ignorant you are about what happens behind the scenes.
2.       Fan Translating in this actual moment is NOT WORTH, only people who are very commited and have a strong resolution will be able to start one, and very few out of those will actually finish the project.
3.       Donations are NOT a solution to encourage Fan Translation, it ruins the very concept of it and it’s also ILLEGAL. Don’t support an already illegal activity by paying it.
4.       Before posting retarded shit on the forums please look for other posts similar to what you might want to post. Maybe looking at the responses could enlighten you and help the other users not waste their time by reading the same shit over and over again.
5.       Before criticizing Translations and patches for “errors” and “typos” and being a little whining bitch how about you try to show interest on how much effort people put on the translation of these games behind the scenes? (This goes solely to the people that haven't experienced working on a fan translation and whine non-stop about "how bad the translation of this is" and blah blah blah.)
Anyways, I think that’s all the rage out. For those of you who haven’t dozed off already have a nice day and all of that stuff.

And if you smash that like button you will get your very own… DIES IRAE MACHINE TRANSLATED PATCH. Yes! This is not a scam at all, your own personal Dies Irae Machine Translated patch. If you leave a like you can choose between a Google, Bing, or a Skype translated patch. I’ve invested so many hours on them, it was totally worth though ( ͡° ͜ʖ ͡°).

Kanojo Step is the latest VN from Smee, a company famous (or infamous) for making old style first-generation charage (right down to being able to name the protagonist and having him be a non-person, as well as there either being no drama or only weak/easily resolved drama in the story).  As such, I wasn't anticipating a blowout hit, and I didn't get it, of course.  However, it did surprise me a bit in one aspect...
... and that was its comedy.  Ok, most of it is cheesy and 'familiar', but the timing of the comedy (usually emanating from the protagonist, as he is a 'class clown' style protagonist) is pretty much perfect and frequent enough that I spent about sixty-percent of this VN laughing.
Unfortunately, the slice-of-life in this VN and the romance (which make up everything that isn't comedy) are... unimpressive.  They chose to go with heroines that were surprisingly dependent and deredere after they and the protagonist get together, and that wasn't a bad choice.  However, the simple fact is that there is a huge gap in the quality of narration and dialogue between parts meant to be funny and parts that are meant to be semi-serious.  This is the first VN I've encountered in a while where I felt like going to sleep whenever I wasn't laughing... and that isn't even an exaggeration. 
Part of this can be attributed to the fact that the common route pretty much gluts you on everyday slice-of-life, and by the time you hit the heroine routes, it feels like being handed an apple pie after having gorged yourself on six others only an hour before.  Another part is that the way the everyday life parts are sectioned out is almost always the same, leaving you with a somewhat exaggerated sense of  monotony.  This, combined with the frequent meaningless choices and map movement systems (the classic type seen in a lot of older slice-of-life VNs that went out of style because they drove most people up the wall) made this a VN that reflected older styles... in a bad way. 
For all the salt I just spat, this VN is actually fairly enjoyable most of the time... it's just that when it starts to feel monotonous, it really feels monotonous... Given a more story-driven plot combined with this same comedy and the complete elimination of the map movement aspects, it would have probably inched its way up into the top five percent of the charage I've played over the years.  Unfortunately, those aspects made for a VN that was far less than it could have been, at least from my perspective.
Edit: Understand, the people who like the 'warm and fuzzy, devoid of any stains of negative emotion' charage will lap this up.  If I were to design a VN engineered solely to prick at 'mainstream' Japanese VN otakus' desire for 'an ideal everyday  youth' this would be what I would aim for.  However, as a story, it is fatally boring, unoriginal, and lacking in any entertainment value outside of the comedy, which happens to be hilarious.

Hello everyone, Aizen-Sama here. I’ve been only around this community and forums for around 6 months by now, and even though I may not be the most knowledgeable when it comes to VN’s in general, I think that I possess enough knowledge about the translation scene. That’s right, today I’m not writing a post about Luna Translations, but one about my opinion on the translation scene, translation groups, and the community revolving them.

Let us establish how this community and market actually exist in the first place. Piracy and fan translating, they are both mutually exclusive to each other and they are the foundations of what we consider as the “western visual novel community”.
After some years where piracy slowly started to decrease and official releases started to be a thing I can safely assume that there are three types of people now, one who will support every single game localization and buy the Visual Novels instead of pirating them, one who will pirate everything and anything, or one that will mix between these two because either there is no other access to the game in Japanese to apply the English patch (in other words, you can’t buy the game legally because the Japanese market is already a very difficult place to access with Western VPN’s, mostly because Japanese publishers block them to not let people outside Japan buy these games online, which is usually the only way to get them in the first place) or the individual simply doesn’t support some releases or companies that release VN’s in particular (I’ll set people that want to buy legally a game with a fan-translated patch but can’t do it, so they have to pirate the VN even if they don’t want to as an example).
This last example leads to another concerning issue, the relationship between translation groups and the community itself. It’s partly human nature; when a group establishes itself and releases a patch (no matter whether it’s full or partial) we automatically create what is called a “power level” between these two types of people, the users that translate and work on translating games in one way or another (editing, QC’ing, etc…) and the users that simply play the releases made by the first ones.
This so called “power level” is what should be avoided at all costs, sometimes the community must remember that the people that belong to translation groups (whether they are official or not) are part of the community as well, and have their own stances and way of doing things.
Those “power levels” are automatically made, and they are the primary reason of this community’s fragmentation into several “sub-communities”, which is a problem mainly for the translation groups. What I’m trying to say here is that what is constantly happening right now is that what this “power division” has made is to categorize groups by number of patches released (the more they have released the more praised they are) and that has ultimately lead to two things; groups distancing themselves from the community, which is a very bad thing for both of the parties involved, and groups distancing from each other.
What I mean by this last statement is that there is no communication between teams, which leads to what is happening in the actual society that we live in: the individualization of people (Tl-teams in this case). But regarding that aspect, some groups have managed to find a solution to this matter. Let’s put @Arcadeotic's (Euphemic Translation) and @oystein's (Elevator TL) groups for example; both of them have found a way to make the community feel closer to their groups thanks to their “Public Discord Server Policy” (that’s how I call it) and both of them are in the TL Leaders Discord Server (basically a group to try to unite translation teams more, an initiative from Arcadeotic and I). That group has opened my eyes in many aspects regarding team stances towards piracy as well as opinions about the community and it's relation with the Tl teams. This group has also helped me in getting to know people that otherwise I would have never met even if we were active members of this forum and interacted with each other sometimes, like for example Dergonu, Oystein, Kardororororo, and many more.
What I’m ultimately trying to say is that banding together is a rare thing for groups now, and this is the first step to create a community feel again, something that, in my opinion, is being lost little by little and needs to be stopped.
I’ll mention another issue that many people find itchy, and that is the topic of “the sense of entitlement of a loud minority”.
I’d like to make myself very clear about this; I know that there is a silent positive majority, and that compared to the amount of people that complain about things about projects and English patches this majority vastly overcomes the “minority”, but the matter of fact is that this “loud minority” is what gives people that are new to the community a bad impression about it from the start.
I’ll set two examples to demonstrate the last point I mentioned: firstly, I’d like to address the Koiken Otome Project, one that took approximately three years to finish. It’s a topic full of controversy, firstly because people firstly speculated that Flying Pantsu was going to “definitely sell out to the localization companies” and they made a ruckus about it.

First of all, what if they really “sold out” to one of them? That is, in my opinion, a good thing (primarily because I belong to the “buy everything” type of guy instead of pirating unless it can’t be avoided and tend to support official releases), but mostly because, the fact of the matter is that they spent working on an English patch of a game that contains more than 40K lines three years, and the entire effort is theirs, that means that even if they decided to not release the patch for whatever reason, I would have been totally in favor. Why? Because it’s THEIR work and THEY did it, not the people that feel entitled to have the English patch.
Same goes with the problem that revolved around the time of release. Again, I’ll repeat, the matter of fact is that they could’ve released that patch whenever they wanted because since THEY did the patch, they decide when to release it, simple.

The second example I’ll highlight in this post talks about Shinku Translations and the controversy that revolved around the SakuSaku patch. If you don’t know what happened regarding this project I’ll quickly sum it up: Shinku Translations made a deal with Sekai Project to release the game officially, what ultimately made people who were waiting for a fan-patch very pissed. The comments on their website were mostly full of “sellouts” and “I already bought the game in Japanese, now I’ll have to buy it again, gg boys” and many more that blew my mind. That was the perfect demonstration of the entitlement that people slowly begin to have when a project is close to being finished.
 I’ll repeat myself once again, just like Koiken Otome and Flying Pantsu, it was THEIR work, so they had the right to make a deal with Sekai Project and do whatever they wanted to the patch. And, as Akerou explained in one of the comments, it could lead to more titles being localized, which, in my opinion, are good news!
 People have to start realizing that sooner or later, the entire scope if not most of the translation scope will shift towards official releases instead of fan-patches.
As a last argument regarding this matter, I’ll mention a couple of YouTube comments that I found in the official OP video of SakuSaku published by Sekai Project’s YouTube channel, they basically said this:
“That's a low punch SP. That's just low. The guy translating it is almost done. If you buy the translation from him and release it in the next 2 months I might forgive you. If you do it less than a month you are forgiven.”
“Well just pirate the release when it comes out. This is one of the cases when piracy is completely justified.”
These two comments are part of the “entitlement problem” that I’ve addressed before, and I hope they highlight what I’ve been trying to tackle (take into account that these comments are just the surface, just look at the ones in Shinku’s page and you’ll get a grasp of what this community broods sometimes).

Last but not least, I’d like to address Fuwanovel as a platform for translation projects and my opinion about it as a Leader of a translation group (in this case, Luna Translations).
Don’t get me wrong when I say that. I love Fuwanovel as a site. It’s one of the principal, if not the main responsible for the appearance of a community that revolves around Visual Novels in general. I love this site, and I appreciate the people that back this site paying monthly (I hope I can do it as well when I get the chance) and the mods for doing their jobs correctly and every other person that supports this site. But, I’d like to tackle the issue of trying to host translation projects in a forum-based website.
 I’d like to point out that the system created in Fuwa worked very VERY well at the beginning stages of the creation of this community. Basically, the “Fan Translator Skills” thread and the “Translation Projects” thread were probably very useful and effective back when the community was niche and not a lot of projects and teams crowded the scene (I’m not directing this towards the “Fan TL Discussion” thread, by the way).
But, as a leader of a translation team (and I’m sure that many people will agree with me on this) I just think that Fuwa’s way of hosting projects is not as effective as it was probably two or three years ago.
What I’m trying to say here is that, just like VNDB exists, a platform that focuses solely on helping teams and individuals to work on projects will certainly appear at some point, or at least needs to appear at some point. Summing up, Fuwanovel as a forum focused on the discussion of Visual Novels and the fan translation scene is a very good and positive website, and it’s totally needed for the community to keep growing, but! Fuwanovel (the forums) used as a platform to support projects and teams may have been very effective in the past but not anymore, since now the scope is very broad and more complex compared to when all of this started.
Finally, to close this rant, I’d like to say that if I had to sum up things probably the most important issue would be that the community is losing the sense of being together, and groups, as well as individuals, are distancing themselves from each other, which is something that has to be avoided at all costs. I’ll personally try to do whatever I can about this matter and little by little this problem will hopefully be solved in the future, because together we can do great things.
Let’s try to make the translation world great again, as Trump as it sounds.
 
 
 

For better or worse, the VN localization industry in America and other Western nations is expanding rapidly, primarily due to the efforts of aggressive localization companies such as Mangagamer and Sekai Project, but also due to the increased interest on the part of at least some Japanese VN companies in making a few extra bucks through localization. 
I say 'for better or worse' because the increase in localizations has actually begun to outline what some of the biggest problems with VNs are, for those living in the West.  What I've put down below is basic guidance... not all of which I follow myself, but which is mostly common sense (which a surprising number of new Fuwans seem to be ignorant of).
 
Ethical/Legal problems
1. Piracy- To be blunt, prosecuting consumers of pirated games is a waste of time, and most companies are quite well aware of this.  So, most of the fallout for this kind of thing is going to keep hitting the websites and individuals who promote the distribution end of things.  A few examples will most likely be made of outspoken pirate consumers (the idiots, in other words), but the problem here is almost entirely ethical for most.  Tell me, do you think it is right not to pay for content if you happen to have the money needed to pay for it?
2. Lolicon content- Seriously guys?  When I saw that Maitetsu was getting a localization, even though it was an all-ages one, alarm bells went off in my head.  Someone is inevitably going to put up an h-patch for the game, and that is going to cause a huge amount of controversy later on that could be a huge blow to the industry, in the short run.  Loli content is one of the two nuclear bombs of Japanese eroge, and it is the one that honestly bothers me the most personally (not so much morally, as in a pragmatic sense).
3. Rapegames- I'm going to be blunt... considering the degree to which Western culture has come to consider rape a mortal sin, do you really think games focused around rape and extreme sexual situations (ie the entire Maggot Baits game) are safe for the industry to localize, if you consider their potential to backfire?  There is no conceivable way that these games could be considered anything other than obscene by any reasonable critic (not a community one, in other words), and in the long run, games like these have an enormous potential to castrate the localization industry.
4. School-based games- Sadly, the excuse that 'all the heroines are over eighteen' is only going to take you so far in some countries... to be blunt, a judge is unlikely to listen to that kind of protestation if, for whatever insane reason, you end up dragged into court.
Common sense issues
1. I don't think anyone has any business telling us we can't import Japanese games, including VNs.  However, as a matter of common sense, you should probably avoid importing anything with a lot of content linked to the numbers 2 and 3 in the section above.  I don't mean to piss on your bonfire, but if you are going to buy something with that kind of material, at least have the sense to use digital download purchases and/or don't display the packages for that type of eroge where casual visitors can see them.
2. Figurines and other side-junk- Within reason, there is no reason why a fan of a particular bit of otaku media shouldn't order figurines, statuettes, oppai mousepads, etc to decorate their room or gaming space.  However, keep it within reason... I've seen otaku friends of mine go insane and overpurchase, even going into debt, over buying swag.  If you aren't rich, have the sense to focus on the main material first, then expand at a reasonable pace into the swag.  To an extent, the same can be said of the games themselves, considering the costs of the actual purchases plus import costs.
3.  Anonymity is your best friend.  Don't pull stupid crap like linking your Facebook profile to your dlsite or getchu account... for that matter, don't link them to your Fuwanovel account, if you are a fan of 'deep' eroge content.  Leaving that kind of data around for casual skimmers to find is just plain stupid.
4.  If you are a fantranslator, number 3 applies emphatically unless you are about to go 'legit' by handing your translation to a localization company.
5.  During scandal times (like when the media is making a big deal over an eroge-related issue such as during the infamous Rapelay incident) have the sense to take cover and avoid conversing on rapegames and lolige publicly. 
6.  Know the difference between being open about your libido and being excessive *remembers Steve*
 
A final comment
Needless to say, almost all the issues above revolve around controversial sexual content.  Part of that is that many people, both inside and outside the VN fanbase, have trouble marking the difference between fiction and reality when it comes to otaku media (an insanity that I can understand but am long past).  As a legal argument, it (as in the argument that figments of an artist's or writer's imagination, as opposed to real women, cannot be considered underaged and cannot be considered victims in any way, form, or fashion) actually has a lot of merit... but that doesn't mean that they'll rule in your favor, in the end, lol.  The West is prudish, to the extreme.  There is no telling when religious interests will slip a noose around our necks, and general moralists are just as bad.  I'm not perfect about taking my own advice.  I'm a VN junkie, and I really don't have any morals when it comes to my search for good VN stories.  I might be disgusted by some content, but that won't prevent me from experiencing the story, lol.  However, a lot of the people around me seem to be utterly unaware of the risks of being an eroge reader... and I felt I had to put this out there, for the 'public' good, even though I'm certain I've already pissed off the anti-censorship and pro-piracy parts of the community, lol. 

SO I WAS PLANNING TO HAVE A PERFECTLY COMFORTABLE EVENING WITH THE ASSISTANCE OF MY GODDAMN LAMP

AND THIS THING GETS SO HOT THAT IT BURNS ITSELF AND MELTS THE PLASTIC
YOU CHINESE PEOPLE GOTTA PUT MORE EFFORT INTO DESIGNING SHIZZLE

Last time I talked about trade-offs in editing and high-level motifs; macro-scale stuff. This time, I want to talk about a micro-scale topic: how to make an individual line better. As before, I'll be demonstrating this with examples drawn from recent editing experience. Before writing this post, I went around looking for other people talking about similar things, and I found this reference: http://kristensguide.com/Writing/powerful_sentences.asp. Frankly, it's great; probably better than what I have, especially in terms of breadth of topics. Give it a read and get your editing learning on. For this post, I'm going to deep dive into one single topic mentioned there, though, for which I've been saving up examples: putting the first and last words of your sentence to good use.
The first and last words of a sentence are powerful. They're memorable. Forgetting the middle of a sentence is natural, so put a word at the end of a sentence when you really, really want that one word to be remembered.
Okay, so what did you get from that last paragraph. I hope it was "first", "powerful", "memorable", "forgetting", and "remembered", because that's the point of this blog post.
Anyway, let's look at some examples from my recent edits to Majo Koi Nikki, some to the prologue patch we're about to release, and some later. I'll point out other things that I changed as well and why, but this one point is going to be the running theme.
 
Original:
  Looking in the mirror, she pondered for a second and answered with a shy smile on her face.
Potential problems:
- "on her face" is extraneous
- that extraneous phrase is squatting on valuable real estate at the end of the sentence.
Mine:
  Looking in the mirror, she pondered for a second, and then she answered with a shy smile.
Changes:
- drop "on her face" (for both reasons above - it's less verbose, and now I get "smile" as the last word in the sentence, which is great)
- the comma after "she ponders for a second" is intended to give the reader that same mental pause as "she" has, to better set up the last part
- "then she" somehow pushes you out of that mental pause and into the most important part: that shy smile, lingering at the end of the sentence.
 
Original:
  Tokeizaka-san irritatedly flips through the book, but her hand stops suddenly.
Potential problems:
- With the benefit of spell-check, "irritatedly" => irritably
- "suddenly" is often overused
I actually really like the original; if you left it alone, aside from the spell-check correction, I wouldn't fault you for it. The verbs are great, "irritably" is a good use of a modifier, and the sentence communicates multiple events very concisely. But there's always room for improvement.
Mine:
  Irritated, Tokeizaka-san flips through the book, until her hand suddenly stops.
Changes:
- Drop "suddenly." "Stops" is strong enough to carry that feeling of suddenness on its own, so "suddenly" is only making things weaker. I've also noticed a tendency for raw JP translations to overuse "suddenly", which makes me especially biased to remove it. It's the typical problem of overuse: if everything is happening suddenly, it might as well all be happening normally.
- Move those good words, "irritably" and "stops" to the memorable points of the sentence. "Stops" we got for free, "irritably" requires a small bit of juggling. Unfortunately, Tokeizaka-san's family name is a bit unwieldy at best; better to bury it in the middle of the sentence and let the nice, emotive words take pride of place.
- Swapping "but" for "until" made for a clearer plot to the sentence, I thought.
 
Original:
- The colorful beauty article are displayed neatly.
Potential problems:
- Engrish
- Passive voice
- Not flashy enough
Mine:
- Iridescent beauty products dot the shelves, arranged with flawless precision.

On that last potential problem: normally my style is pretty spare. My typical goal is to drop adjectives and adverbs, and make verbs and nouns stronger to carry the weight of description, without going overboard on vocabulary. More often than not, I'm trying to make long sentences shorter and punchier.
I didn't do that here.
For context on why, it would help for you to hear the ridiculously high-brow BGM accompanying this scene and see the gorgeous background art. So, here:
Background:


BGM:
 
Equally important for context, you need to know about the surrounding narration: basically, the narrator is currently marveling at just how amazing this beauty parlor is.
One of the benefits of generally being spare with your adjectives and adverbs is that they then work a lot better when you actually do pull them out. A good mental model is that you have a budget: don't spend your nice words if you don't need to. Only pull them out when you're going for the razzle dazzle. The analogy breaks down fast, but basically, if you're constantly using flowery language and overdecorating the ordinary scenes, nobody's going to be impressed when something extraordinary happens, just like the overuse of "suddenly" I mentioned earlier. Since this actually is an extraordinary moment for our narrator, I'm spending a few nice words now.
And again, I want to call attention to the first and last words of the sentence. Those are strong places in a sentence (or, especially in the case of a VN, a line). Previously there were pretty weak words there ("The colorful" and "neatly"); now we've got "iridescent" and "precision". Good words in good places.
 
One last thing to mention. I wrote each of these up in the middle of editing, and then later edited that up into a blog post. I made changes to the edited line itself in the process of writing all this stuff up, which made it better. In fact, I even noticed a problem while writing up this blog post and further refined the line. You'll never know what it was (probably). The point being, simply spending time reflecting on an edit, and especially writing down your observations and motivations for certain choices, will help you do better work. You don't have to be this thorough all the time (I certainly am not), but every time you do an exercise like that, you'll learn from it, and then you can write up your own blog post and teach me something.
 

First, let me say this outright... I have absolutely no problem whatsoever with the romanticization of war in fiction.  I love bloody epic war stories even more than I love sushi and ice cream.  However, one thing I've noticed as I've read various historical fiction and fantasy is that the bloodier and more horrid a war is, the more it gets romanticized. 
Western Examples
The Hundred Years War- The Hundred Years War is perhaps the most obvious example of a war being romanticized in the Christian West.  Joan of Arc, the Black Prince... and dozens of other villains and heroes who have made their way from history into fiction and legend from that era.  However, the introduction of massive mercenary armies of this era scarred the continent for centuries to come, and millions died during this era from the war and diseases that spread as a result of the war.  It was also a period of the rise of French and English nationalism and the creation of professional standing armies, both of which are mixed blessings at best. 
The Revolutionary War (US)- Now, I'm American... so naturally I instinctively take pride in our nation's war for independence... but as an amateur student of history, I am quite well-aware that the Revolutionary War was not a clear-cut conflict of freedom-seekers versus monarchists.  To be honest, just reading the original, pre-US constitution tells me everything I need to know about the motivations behind the delegates at the convention.  The self-interest, prejudice, and greed inscribed between the lines is fairly disgusting, considering the bluster that ended up in the papers at the time. 
The Trojan War- This is a genocidal war that started because a married princess took a liking to a foreign prince, had sex with him, then ran away with him.  An entire civilization vanished because of this... a fact that I find unbelievably disgusting, looking at it from an objective point of view.
World War II- I'm frequently fascinated by the degree to which this era is romanticized, despite the fact that there are still living witnesses to it.  It is the deadliest war in recorded history, but memories of the reality are already fading in some parts of the world less than a hundred years later. 
Eastern Examples
The Fall of the Han and the Three Kingdoms Era- This era is frequently portrayed as an era of military and civic heroes that eventually led to the rise of a great dynasty... but it was also a period that killed countless millions from famine, bandit raids, military plundering, and battles as massive as any seen in WWII.  In the last census taken before the fall of the Later Han Dynasty, there were over fifty-six million citizens of the empire... and in the first census after the rise of the Jin Dynasty, there were only slightly more than sixteen million.  This is perhaps the most romanticized conflict in history, and yet it is also the second-deadliest recorded war in human history as well (WWII being the deadliest). 
The Sengoku Jidai- I've mentioned that this period of civil war in Japan is highly romanticized over there... and that is actually an understatement, when it comes down to it.  It was a period where power and influence were in a constant state of flux, with the Ashikaga Shogunate proven incompetent to rule and various warlords seeking to carve out their own pieces of the pie both for Clan and individual gain.  However, very few of the 'heroes' of the age are seen as 'evil'.  Nobunaga, while he was a social progressive, was also known for his ruthlessness and cruelty, as well as disregard for traditions and religion.  Tokugawa, while he was a repressive social conservative, was also a builder of cities and a brilliant administrator.  Hideyoshi, while he was a brutal conqueror, was also an example of a man clawing his way up from the cesspool to the heavens.  Similar contradictions defined most of the great warlords of the era, with the Imagawa being both military expansionists and great cultural patrons, and the Hojo being great architects and engineers as well as highly ambitious nepotists.  This is an era that has so many highly colorful characters whose actions were recorded in detail that it couldn't help but be romanticized... but the reality of it was that it was an era of starvation, desperate poverty, and immense uncertainty. 
The Bakumatsu/Meiji Restoration- I don't think I need to go into the degree to which this era romanticized the samurai culture and fed Japanese nationalism, because its result was Japan's policies leading up to and during WWII.  This was essentially a large and brutal civil war between two factions (further split into many smaller factions) within Japan that disagreed violently over how to deal with foreign influence in the face of Ming China's rape-by-colonization on the mainland.  Assassinations, political terrorism, and brutal oppression defined this period.  In the end, what you got was a country who presented a strong face to the world but was still unable to come to terms with what it wanted to do at home. 
As a conclusion
Human beings have a fascination with war that leads to its romanticization, and I honestly am no exception to that rule.  I enjoy war period historical fiction immensely, and I have absolutely no objection to fantastical speculation on the capabilities and personality of individuals living in those eras.  However, the immense cost - both economic and human - of war is almost always forgotten afterwards... and I intensely dislike it when someone chooses to forget just what those costs are.  Fiction is harmless, but ignoring the lessons of history isn't.