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The Doujin Scene and Underage Girls: God, Why?

 
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Adilegian
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Joined: 05 Dec 2006
Location: Q*Bert Killscreen Nightmare

PostPosted: Sat Jan 06, 2007 9:38 am        Reply with quote

Still reading through this thread, but I wrote in my Segagaga blog about this very subject! It baffled me. Here's the permalink:

http://www.1up.com/do/blogEntry?bId=7464447&publicUserId=5772603

EDIT: This isn't self-promotion, honest. There're some resources in there that I haven't seen mentioned thus far in the thread, and those resources might be useful.

FURTHER EDIT:

klikbeep wrote:
Man, I don't want to WIN. I just want to know what's going ON. Nobody EVER tells me what's going on. It's pretty much a recurring theme. I feel like the only man without a peg leg at the Pirate Disco.


The best way to relieve this social awkwardness is to make a necklace out of the peglegs of pirates whose whaleroad trawlers you have scuttled. If at all possible, have each one of them scrawl his name upon the base of the pegleg before his life finally dribbles over the hilt of your rapier which, at the time of pegleg removal, should be firmly wedged between one aorta and its corresponding ventricle.

Note, however, that the above suggestion applies only to literate pirates. How to tell which pirates are literate and which are not? A tough call. If the painful sea over which you and he make lusty swordplay comes with close-captions for the hearing impaired, try speaking in Japanese. If he stops and stares at your belt, trolling his eyes horizontally left to right (that's his left to right, your right to left), then he is reading the subtitles. These are the pirates whom you should make sign their oaken stave-calves when you send them to the Great Plunder, as the Christian pirates are wont to call the hereafter.

This necklace will serve as the equivalent of bling medallions that promise women in normal discos a chance to succor the sexual energies of a sun god.
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Adilegian
Rogue Scholar


Joined: 05 Dec 2006
Location: Q*Bert Killscreen Nightmare

PostPosted: Sat Jan 06, 2007 11:57 am        Reply with quote

Persona-sama wrote:
Adilegian wrote:
Still reading through this thread, but I wrote in my Segagaga blog about this very subject! It baffled me. Here's the permalink:

http://www.1up.com/do/blogEntry?bId=7464447&publicUserId=5772603


If you're at that part of the script, you're pretty close to the end of the game, right? I recall moe-heavy conversation first starting up around the third development sector - or is that more towards the middle?

Good work with that though. Segagaga needs to see the light of day in America, even if we won't get half the jokes.


Thanks for the support!

On the placement of that conversation in the script... we're not exactly hitting the translation material in sequential order. We're tackling it one batch at a time, as it appears in the code. The text that that particular moe conversation comes from is designated, by its placement in the code, as (1) a Control Room Conversation that (2) might or might not occur according to what has happened to the player during the game.

From the long view, I'd say that the moe-heavy stuff comes more toward the late middle of the game.

We're a in kind of a pickle with the localization, though. No one's (to my knowledge) seen or heard of our erstwhile programmer! All this jText with no one to code it into the game!
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Adilegian
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Joined: 05 Dec 2006
Location: Q*Bert Killscreen Nightmare

PostPosted: Sat Jan 06, 2007 6:12 pm        Reply with quote

BenoitRen wrote:
JamesE wrote:
I don't know who Ken Akamatsu is

He's the author of the mangas Love Hina, AI Love You and Negima.
Triton wrote:
If they aren't masturbating to lolikon, they would be to the JCPenney catalog.

Lolicon are the men who are into lolis, which are young girls.




lol shame

Though it is a clever pun. Mix up the Ls and Rs in "Rally" and you get "Lolly."
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Adilegian
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Joined: 05 Dec 2006
Location: Q*Bert Killscreen Nightmare

PostPosted: Sat Jan 06, 2007 9:32 pm        Reply with quote

BenoitRen wrote:
What does that have to do with my post?

By the way, I think it's pretty stupid to label a person looking at drawings of fictional lolis a pedophile.


Sorry, I should have clarified my meaning. And by "clarified" I mean "stated."

"Lolicon" is a truncation of "Lolita Complex." "Lolicon" ends with an "n" because it's the only consonant in Japanese that stands on its own, and it kind of sounds like the "m" sound in "Com."

"Lolicon" refers broadly to manga, anime, and videogames that exploit the image of pre-pubescent girls for the sexual pleasure of their readers. "Sexual pleasure" does not equal "masturbation." Sexuality takes many strange, banal forms. "Lolicon" refers to a genre, rather than the person who enjoys the genre.

"Lolly" is a further truncation of "Lolicon." Example: "Are you into loli?" Take that one for a spin on 4chan, and I expect people will read it as, "Are you into Lolicon?"

An identical term is sometimes used to refer to a specific girl drawn in the Lolicon genre. Example: "That's my kind of loli!" In this instance, "Loli" is being used as a short form of "Lolita."

I presented the picture as an amusing example of the term "Lolly" in actual context.

And, no, a person who regularly looks at drawings of sexualised prepubescent girls is not a pedophile. He is, however, pedophilic.
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Adilegian
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Location: Q*Bert Killscreen Nightmare

PostPosted: Sat Jan 06, 2007 9:53 pm        Reply with quote

Other responses too!

Persona-sama wrote:
Ah, updating myself on your 1up blog, I see what you mean about where you are in the game. I wish you much good fortune with the project as you continue on - despite disappearing programmers! Who knows, maybe he went to have an affair with a woman, and will come back home with his tail between his legs like the programmers in the simulation side of SGGG do!


To be honest, I'm concerned for his well-being. I've always wondered what happens to acquaintances on the internet when they die, and it would jar me to learn that he had been incommunicado because of paralysis or death. He was user SixFortyFive on the IC boards, so if anyone knows how to get hold of him, please drop me a line.

Not to spread rumors of his death, mind.

Persona-sama wrote:
I have a question about how you're approaching the project though: Have you finished translating everything yet and are now going back and giving things a good gloss, or are you translating areas batch by batch while sometimes going back and finalizing parts you've already gone through once? Most translation projects I've seen finish their first draft translations before going back and really polishing everything to its finalized form and I was wondering how you were approaching it in comparison.


Well, we've got one of the main batches of text translated into first draft form. I get that draft from my head translator, work it into a first draft, and then consult my redactor on nuances in the text. This is basically to get everyone on the same page, so to speak, and bring everyone up to speed on the content.

Now that there's plenty of text on hand to get a feel for the various characters, I'm working on their voices. (I wrote about the tonal considerations in the latest blog, posted sometime back in October.) This is mainly to make future work smoother. It'll be easier to polish future work from halfway good text that's in-character, rather than having to review the WHOLE OH MY GOD BODY OF TEXT and nurse all the lines into character.

Persona-sama wrote:
EDIT:
Also, those articles about Tom Kalinske are really interesting. I'm more familiar with Bernie Stolar and Peter Moore's history with Sega so it was interesting to see how things were for Tom back during the earlier years.


Thanks! It's weird... on the Kalinske material... I have a vague concern in the back of my head that Sega might sue me for exposing the slant-ways libelous caricature of Kalinske, moreso than they'd care about copyright infringement!

Mister Toups wrote:
This is really interesting! Thanks for posting it.


Thank you very much! It makes me happy to know that people care about the real work we're putting into this.
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