cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
edited September 2007
I play both Western and Eastern games. I've always been into the Vampire The Masquerade/Bloodlines mythos, I'm practically obsessed with Shin Megami Tensei.
Each kind of RPG tells a different kind of story in a different way with a different system. I like trying different things.
You can't say that one culture's writing or scenarios is universally above the other, because that's just being shallow.
There's bad Western games and there's bad Eastern games, and when they're good, they're good.
The East can make good action games, and the West can make good RPGs. I don't really see why it has to be a culture clash. You either like one, the other, or both. Or maybe neither, but good luck with that.
I play both Western and Eastern games. I've always been into the Vampire The Masquerade/Bloodlines mythos, I'm practically obsessed with Shin Megami Tensei.
Each kind of RPG tells a different kind of story in a different way with a different system. I like trying different things.
You can't say that one culture's writing or scenarios is universally above the other, because that's just being shallow.
There's bad Western games and there's bad Eastern games, and when they're good, they're good.
The East can make good action games, and the West can make good RPGs. I don't really see why it has to be a culture clash. You either like one, the other, or both. Or maybe neither, but good luck with that.
STOP USING REASON YOUR MAKING MY MIND GEWAUAHHAHHAHH
Tell you what. Tsukihime, ONE, Planetarian, Wind, Gadget Trial, and Ever17 are all fully translated and easily purchased. Pick one. Play it. Then we'll have something to argue aside from you guys just assuming things suck because you can't be bothered to find out for yourself.
Hey, guess what. I've played at least 20 of these translated J-Games since True Love '95 and even Cobra Mission. Sure, they've gotten better. Hell, sex stuff aside, I found Cobra Mission to be a rather engaging RPG. I actually completed it.
I've noticed that in the last 12 or so years, these games have gotten less and less interactive. They have, however, gotten better translations. I have not seen anything on par with Planescape: Torment, as one example. Or Gabriel Knight: Sins of the Fathers, or as funny as Sam and Max, or as interesting as, say, Vespers (indie IF game), or as engaging as Spider and Web or Legion (another two extremely interesting indie IF games).
How about, since you're the one making the positive claim here (that Japanese writing surpasses American writing), you go do the research and play some of these others. Go play Spider and Web, for instance. Shouldn't take you more than a few hours. It's not even a particularly long narrative. But it is a perfect narrative and it is something, at the very least, new.
I've not seen a single J-Game that doesn't rely heavily on cliche and melodrama.
So, no, I haven't played any of the specific examples you've mentioned here, but I've played dozens of others and I don't find your comments to be true in the slightest. Some of them are not bad. I remember one - can't recall the name off-hand - where you were a spy or something. That wasn't bad. And hell, Kana Little Sister is kind of troubling but well-written in my opinion. I'm not saying that Japanese writing is necessarily inferior to American writing, in games, but your assertion that it is necessarily SUPERIOR to American writing is nothing short of absurd.
I play both Western and Eastern games. I've always been into the Vampire The Masquerade/Bloodlines mythos, I'm practically obsessed with Shin Megami Tensei.
Each kind of RPG tells a different kind of story in a different way with a different system. I like trying different things.
You can't say that one culture's writing or scenarios is universally above the other, because that's just being shallow.
There's bad Western games and there's bad Eastern games, and when they're good, they're good.
The East can make good action games, and the West can make good RPGs. I don't really see why it has to be a culture clash. You either like one, the other, or both. Or maybe neither, but good luck with that.
Basically, my top-ten games list has both Planescape: Torment and Shin Megami Tensei: Digital Devil Saga vol. 1 in it.
I'm pretty sure that this whole ridiculous east vs. west bullshit started with FF7, when illiterate teens found out about it and thought it was the most profound literature ever written and the proceeded to get on the Internet. Backlash ensued, etc.
Man, I wouldn't raise IF as some amazing bastion of quialty fiction either. There are a couple of really strong stories (Shade, Shrapnel, Photopia), but the vast majority are just two lazy-ass genre cliches wrapped around a buch of unplayably hard puzzles. Even today, most of them are puzzle games first and stories very much second.
Tell you what. Tsukihime, ONE, Planetarian, Wind, Gadget Trial, and Ever17 are all fully translated and easily purchased. Pick one. Play it. Then we'll have something to argue aside from you guys just assuming things suck because you can't be bothered to find out for yourself.
Hey, guess what. I've played at least 20 of these translated J-Games since True Love '95 and even Cobra Mission. Sure, they've gotten better. Hell, sex stuff aside, I found Cobra Mission to be a rather engaging RPG. I actually completed it.
I've noticed that in the last 12 or so years, these games have gotten less and less interactive. They have, however, gotten better translations. I have not seen anything on par with Planescape: Torment, as one example. Or Gabriel Knight: Sins of the Fathers, or as funny as Sam and Max, or as interesting as, say, Vespers (indie IF game), or as engaging as Spider and Web or Legion (another two extremely interesting indie IF games).
How about, since you're the one making the positive claim here (that Japanese writing surpasses American writing), you go do the research and play some of these others. Go play Spider and Web, for instance. Shouldn't take you more than a few hours. It's not even a particularly long narrative. But it is a perfect narrative and it is something, at the very least, new.
I've not seen a single J-Game that doesn't rely heavily on cliche and melodrama.
So, no, I haven't played any of the specific examples you've mentioned here, but I've played dozens of others and I don't find your comments to be true in the slightest. Some of them are not bad. I remember one - can't recall the name off-hand - where you were a spy or something. That wasn't bad. And hell, Kana Little Sister is kind of troubling but well-written in my opinion. I'm not saying that Japanese writing is necessarily inferior to American writing, in games, but your assertion that it is necessarily SUPERIOR to American writing is nothing short of absurd.
Yeah, uh, I wouldn't consider any of the early 90s hentai games exactly the top of the proverbial visual novel food chain, and very few things with actual writing that aren't a thinly veiled pretense for sex are among what I have classified as the popular stuff. The good stuff tends to have scripts the size of a couple Shakespeare plays put together and scares off the "what can we throw together in a week and then sell to horny teens?" localizers.
And come on, obscure indy stuff as an example of general cultural preference? That they remain indy games is proof that western culture doesn't care about them. Of course there are exceptions. Torment is an excellently written game arguably above a lot of the best Japan has to offer. It's also very clearly an anomaly among western games and was not particularly commercially successful. Likewise with Ananchronox. And Psychonauts. These games with excellent writing exist, and the vast majority of the US has absolutely no interest in them, so the vast majority of the games continue to be puddle-deep affairs that vaunt the moral obligation to choose between saving little girls or eating them.
And as for "Japanese writing is better," it's a chicken vs egg argument. Whether or not it's actually better and thus more popular, or because the style of game (if you'll excuse my oh so terribly inaccurate 'abuse' of the word game) is more popular and thus there's more of it and more chances for there to be great stuff, I find irrelevant. I don't play 99% of the games made. I really barely have a clue what the bottom 75% of the games are on either the western or eastern side of the world. There is an extremely sharp difference between the writing of what floats to the top on the eastern side versus the western though, and as a jaded and quickly bored individual with your regular button mashing and pattern recognition nonsense, that's a facet of entertainment that I find much more attractive than the direction western games have been moving in.
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cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
I'm pretty sure that this whole ridiculous east vs. west bullshit started with FF7, when illiterate teens found out about it and thought it was the most profound literature ever written and the proceeded to get on the Internet. Backlash ensued, etc.
I personally like FF7, by the way.
It also vaulted JRPGs into the mainstream, which is good in that a lot more get localized that wouldn't have had a prayer of getting here ten years ago, but it's bad in that there's a lot more crap coming stateside now.
(See also: anime)
I play both Western and Eastern games. I've always been into the Vampire The Masquerade/Bloodlines mythos, I'm practically obsessed with Shin Megami Tensei.
Each kind of RPG tells a different kind of story in a different way with a different system. I like trying different things.
You can't say that one culture's writing or scenarios is universally above the other, because that's just being shallow.
There's bad Western games and there's bad Eastern games, and when they're good, they're good.
The East can make good action games, and the West can make good RPGs. I don't really see why it has to be a culture clash. You either like one, the other, or both. Or maybe neither, but good luck with that.
Basically, my top-ten games list has both Planescape: Torment and Shin Megami Tensei: Digital Devil Saga vol. 1 in it.
Tell you what. Tsukihime, ONE, Planetarian, Wind, Gadget Trial, and Ever17 are all fully translated and easily purchased. Pick one. Play it. Then we'll have something to argue aside from you guys just assuming things suck because you can't be bothered to find out for yourself.
Hey, guess what. I've played at least 20 of these translated J-Games since True Love '95 and even Cobra Mission. Sure, they've gotten better. Hell, sex stuff aside, I found Cobra Mission to be a rather engaging RPG. I actually completed it.
I've noticed that in the last 12 or so years, these games have gotten less and less interactive. They have, however, gotten better translations. I have not seen anything on par with Planescape: Torment, as one example. Or Gabriel Knight: Sins of the Fathers, or as funny as Sam and Max, or as interesting as, say, Vespers (indie IF game), or as engaging as Spider and Web or Legion (another two extremely interesting indie IF games).
How about, since you're the one making the positive claim here (that Japanese writing surpasses American writing), you go do the research and play some of these others. Go play Spider and Web, for instance. Shouldn't take you more than a few hours. It's not even a particularly long narrative. But it is a perfect narrative and it is something, at the very least, new.
I've not seen a single J-Game that doesn't rely heavily on cliche and melodrama.
So, no, I haven't played any of the specific examples you've mentioned here, but I've played dozens of others and I don't find your comments to be true in the slightest. Some of them are not bad. I remember one - can't recall the name off-hand - where you were a spy or something. That wasn't bad. And hell, Kana Little Sister is kind of troubling but well-written in my opinion. I'm not saying that Japanese writing is necessarily inferior to American writing, in games, but your assertion that it is necessarily SUPERIOR to American writing is nothing short of absurd.
Yeah, uh, I wouldn't consider any of the early 90s hentai games exactly the top of the proverbial visual novel food chain, and very few things with actual writing that aren't a thinly veiled pretense for sex are among what I have classified as the popular stuff. The good stuff tends to have scripts the size of a couple Shakespeare plays put together and scares off the "what can we throw together in a week and then sell to horny teens?" localizers.
And come on, obscure indy stuff as an example of general cultural preference? That they remain indy games is proof that western culture doesn't care about them. Of course there are exceptions. Torment is an excellently written game arguably above a lot of the best Japan has to offer. It's also very clearly an anomaly among western games and was not particularly commercially successful. Likewise with Ananchronox. And Psychonauts. These games with excellent writing exist, and the vast majority of the US has absolutely no interest in them, so the vast majority of the games continue to be puddle-deep affairs that vaunt the moral obligation to choose between saving little girls or eating them.
And as for "Japanese writing is better," it's a chicken vs egg argument. Whether or not it's actually better and thus more popular, or because the style of game (if you'll excuse my oh so terribly inaccurate 'abuse' of the word game) is more popular and thus there's more of it and more chances for there to be great stuff, I find irrelevant. I don't play 99% of the games made. I really barely have a clue what the bottom 75% of the games are on either the western or eastern side of the world. There is an extremely sharp difference between the writing of what floats to the top on the eastern side versus the western though, and as a jaded and quickly bored individual with your regular button mashing and pattern recognition nonsense, that's a facet of entertainment that I find much more attractive than the direction western games have been moving in.
Few issues.
1. I cannot believe you just aligned shakespeare in any feasible way to a game, even if it was in regards to how long it is.
2. awesome oversimplification of one of many elements of bioshock's story.
3. In psychonaughts case, it wasn't just because people weren't interested - part of it was shitty PR and marketing. And because it wasn't popular in America you are assuming this market has no interest in these types of games. What does japan have to say for itself then? I guess we all sorta let that one slide.
And to be honest - the same can be said about ANY medium - TV or books.
People flock to things like pirates of the Caribbean before memento.
Or how about Dan Brown before picking up Ulysses.
Also - I need to quote this cause it's so ridiculous.
These games with excellent writing exist, and the vast majority of the US has absolutely no interest in them, so the vast majority of the games continue to be puddle-deep affairs that vaunt the moral obligation to choose between saving little girls or eating them.
Dragon Quest, arguably one of the most popular games in Japan...the writing jut isn't that good.
size of a couple Shakespeare plays put together and scares off the "what can we throw together in a week and then sell to horny teens?" localizers.
Shakespeare plays aren't heavy on text, but nice try throwing them in instead of a more readily identifyable metric in order to make yourself perceived as more scholarly!
We can all agree that the vast amount of media most cultures produce is relatively trite (Edit: Hai2u holly/bollywood). Most anime, video games, manga etc. out of Japan fall victims to tired repetition of characters (cliche is too light a word here, I'm pretty sure that guy in my Enchant Arms game just showed up in an episode of Naruto). Most games out of America don't focus as much on story as they do setting immersion, leaving most games pretty bare in plot. For an example of a game that lacks a real story besides "man runs around with guns and magic, popping fucks and gettin itemz" see Bioshock. Bioshock, however, excells at immersing the player in its mythos. Which serves up an interesting avenue of discussion: what are the trends regarding setting vs character driven etc. games?
I'm actually developing a game that will try and be as "Japanese" as possible, yet with an American stuck in the center as the protagonist. The Japanese-like gameplay and environment is actually is a core component of the game. I'm actually working on the UI right now, and when it comes down to brass tacks, the US and Japanese input systems and graphical presentation are worlds apart. In my case, the interface helps you "think" Japanese in order to speak it in the game.
I have a development blog below that documents all this. (Sorry, a little site whoring, but still, I thought it would be relevant to the thread)
I'm actually developing a game that will try and be as "Japanese" as possible, yet with an American stuck in the center as the protagonist. The Japanese-like gameplay and environment is actually is a core component of the game. I'm actually working on the UI right now, and when it comes down to brass tacks, the US and Japanese input systems and graphical presentation are worlds apart. In my case, the interface helps you "think" Japanese in order to speak it in the game.
I have a development blog below that documents all this. (Sorry, a little site whoring, but still, I thought it would be relevant to the thread)
So... Lost in Translation/Megatokyo: the game?
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PunkBoyThank you! And thank you again!Registered Userregular
edited September 2007
A while ago, I remember someone posted a translated conversation from a Japanese gaming forum on the differences between Western and Eastern gaming. It was kinda interesting to see their view on this whole issue. Anyone still have that translation?
PunkBoy on
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A while ago, I remember someone posted a translated conversation from a Japanese gaming forum on the differences between Western and Eastern gaming. It was kinda interesting to see their view on this whole issue. Anyone still have that translation?
To make a constructive comment: one noteworthy difference is western games tend to have situation-driven plots, where as eastern games tend to be charcter-driven.
Baldur's Gate II (a random example) has a dozen well-characteried characters, but they're almost entirely irrelevant to any part of the story. You can abandom the lot of them in the starting dungeon and beat the game solo, and the plot scarcely notices. On the other hand, FFX (another random example) would fall apart entirely if Yuna left the party, because nearly everything that happens is a reaction to the things she sees and the decisions she makes.
I like freedom in my games, but I like an involoving story more, so I tend towards the J-side of RPGs.
Was that the one where they said American games consisted of old men in powersuits?
:whistle: Ironyyyyyyy :whistle:
Oh man, I remember that!
"i don't want to play Half-Life 2! It's just old men in powersuits shooting at things! Give me an interesting character such as Cloud or SEPHIROTH over them any day!"
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PharezonStruggle is an illusion.Victory is in the Qun.Registered Userregular
Was that the one where they said American games consisted of old men in powersuits?
:whistle: Ironyyyyyyy :whistle:
Oh man, I remember that!
"i don't want to play Half-Life 2! It's just old men in powersuits shooting at things! Give me an interesting character such as Cloud or SEPHIROTH over them any day!"
So on this whole writing thing in v. novels; Rumbling Hearts apparently has a 3meg script in notepad, while the regular v. novel/H game/whatever has at max a 1meg script. This is apparently why no one wants to translate it ever, despite it apparently having an awesome story. Also I really wish Key weren't a bunch of moneygrubbing cunts and would allow someone to pick up the rights to translate their v. novels for less then a couple million.
More Japanese people than Americans seem to get motion sickness when playing FPS games so there are less FPS games in Japan.
But is that because they never play them in the first place because they do not enjoy them? So in turn they are not used to the camera and get sick?
This. The OP mentioned highschool games/dating sims, but are these games not translated into English because there's no audience or do they have no audience because they're not translated? I think the success of Persona three suggests a significant untapped audience in America.
An interesting thought that came from that article:
The Japanese audience and developers are more influenced by manga and anime.
The American audience and developers are more influenced by film.
What will we see in five to ten years, when both audiences and developers are heavily influenced by videogames themselves?
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ShadowfireVermont, in the middle of nowhereRegistered Userregular
edited September 2007
I remember reading one of the folks inside Capcom talking about Japanese gamers not enjoying high levels of difficulty... it was something that American gamers preferred over the Japanese. They were talking specifically about Devil May Cry 3, and why the difficulty was increased for the US release.
An interesting point from that 1up article, it mentions that there are in fact thousands of hard core Halo/Ghost Recon/Xbox fans in Japan, they're just a niche market, very much like a jrpg's and the like are over here.
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HenroidMexican kicked from Immigration ThreadCentrism is Racism :3Registered Userregular
I remember reading one of the folks inside Capcom talking about Japanese gamers not enjoying high levels of difficulty... it was something that American gamers preferred over the Japanese. They were talking specifically about Devil May Cry 3, and why the difficulty was increased for the US release.
Yep, I remember reading the same thing.
This article is pretty neat, and it makes a lot of sense (still reading through it; only at the part where they're comparing uniforms). I have a question about this sense of freedom bit though (which seems to be the driving point at why the gamers in each culture are different) - Where does Metroid fall in this? :P
I remember reading one of the folks inside Capcom talking about Japanese gamers not enjoying high levels of difficulty... it was something that American gamers preferred over the Japanese. They were talking specifically about Devil May Cry 3, and why the difficulty was increased for the US release.
Yep, I remember reading the same thing.
This article is pretty neat, and it makes a lot of sense (still reading through it; only at the part where they're comparing uniforms). I have a question about this sense of freedom bit though (which seems to be the driving point at why the gamers in each culture are different) - Where does Metroid fall in this? :P
Posts
Each kind of RPG tells a different kind of story in a different way with a different system. I like trying different things.
You can't say that one culture's writing or scenarios is universally above the other, because that's just being shallow.
There's bad Western games and there's bad Eastern games, and when they're good, they're good.
The East can make good action games, and the West can make good RPGs. I don't really see why it has to be a culture clash. You either like one, the other, or both. Or maybe neither, but good luck with that.
STOP USING REASON YOUR MAKING MY MIND GEWAUAHHAHHAHH
Hey, guess what. I've played at least 20 of these translated J-Games since True Love '95 and even Cobra Mission. Sure, they've gotten better. Hell, sex stuff aside, I found Cobra Mission to be a rather engaging RPG. I actually completed it.
I've noticed that in the last 12 or so years, these games have gotten less and less interactive. They have, however, gotten better translations. I have not seen anything on par with Planescape: Torment, as one example. Or Gabriel Knight: Sins of the Fathers, or as funny as Sam and Max, or as interesting as, say, Vespers (indie IF game), or as engaging as Spider and Web or Legion (another two extremely interesting indie IF games).
How about, since you're the one making the positive claim here (that Japanese writing surpasses American writing), you go do the research and play some of these others. Go play Spider and Web, for instance. Shouldn't take you more than a few hours. It's not even a particularly long narrative. But it is a perfect narrative and it is something, at the very least, new.
I've not seen a single J-Game that doesn't rely heavily on cliche and melodrama.
So, no, I haven't played any of the specific examples you've mentioned here, but I've played dozens of others and I don't find your comments to be true in the slightest. Some of them are not bad. I remember one - can't recall the name off-hand - where you were a spy or something. That wasn't bad. And hell, Kana Little Sister is kind of troubling but well-written in my opinion. I'm not saying that Japanese writing is necessarily inferior to American writing, in games, but your assertion that it is necessarily SUPERIOR to American writing is nothing short of absurd.
Basically, my top-ten games list has both Planescape: Torment and Shin Megami Tensei: Digital Devil Saga vol. 1 in it.
I see no problem here.
AMERIKA UBER ALLES!
I personally like FF7, by the way.
Yeah, uh, I wouldn't consider any of the early 90s hentai games exactly the top of the proverbial visual novel food chain, and very few things with actual writing that aren't a thinly veiled pretense for sex are among what I have classified as the popular stuff. The good stuff tends to have scripts the size of a couple Shakespeare plays put together and scares off the "what can we throw together in a week and then sell to horny teens?" localizers.
And come on, obscure indy stuff as an example of general cultural preference? That they remain indy games is proof that western culture doesn't care about them. Of course there are exceptions. Torment is an excellently written game arguably above a lot of the best Japan has to offer. It's also very clearly an anomaly among western games and was not particularly commercially successful. Likewise with Ananchronox. And Psychonauts. These games with excellent writing exist, and the vast majority of the US has absolutely no interest in them, so the vast majority of the games continue to be puddle-deep affairs that vaunt the moral obligation to choose between saving little girls or eating them.
And as for "Japanese writing is better," it's a chicken vs egg argument. Whether or not it's actually better and thus more popular, or because the style of game (if you'll excuse my oh so terribly inaccurate 'abuse' of the word game) is more popular and thus there's more of it and more chances for there to be great stuff, I find irrelevant. I don't play 99% of the games made. I really barely have a clue what the bottom 75% of the games are on either the western or eastern side of the world. There is an extremely sharp difference between the writing of what floats to the top on the eastern side versus the western though, and as a jaded and quickly bored individual with your regular button mashing and pattern recognition nonsense, that's a facet of entertainment that I find much more attractive than the direction western games have been moving in.
It also vaulted JRPGs into the mainstream, which is good in that a lot more get localized that wouldn't have had a prayer of getting here ten years ago, but it's bad in that there's a lot more crap coming stateside now.
(See also: anime)
Few issues.
1. I cannot believe you just aligned shakespeare in any feasible way to a game, even if it was in regards to how long it is.
2. awesome oversimplification of one of many elements of bioshock's story.
3. In psychonaughts case, it wasn't just because people weren't interested - part of it was shitty PR and marketing. And because it wasn't popular in America you are assuming this market has no interest in these types of games. What does japan have to say for itself then? I guess we all sorta let that one slide.
And to be honest - the same can be said about ANY medium - TV or books.
People flock to things like pirates of the Caribbean before memento.
Or how about Dan Brown before picking up Ulysses.
Also - I need to quote this cause it's so ridiculous.
Dragon Quest, arguably one of the most popular games in Japan...the writing jut isn't that good.
Shakespeare plays aren't heavy on text, but nice try throwing them in instead of a more readily identifyable metric in order to make yourself perceived as more scholarly!
We can all agree that the vast amount of media most cultures produce is relatively trite (Edit: Hai2u holly/bollywood). Most anime, video games, manga etc. out of Japan fall victims to tired repetition of characters (cliche is too light a word here, I'm pretty sure that guy in my Enchant Arms game just showed up in an episode of Naruto). Most games out of America don't focus as much on story as they do setting immersion, leaving most games pretty bare in plot. For an example of a game that lacks a real story besides "man runs around with guns and magic, popping fucks and gettin itemz" see Bioshock. Bioshock, however, excells at immersing the player in its mythos. Which serves up an interesting avenue of discussion: what are the trends regarding setting vs character driven etc. games?
I have a development blog below that documents all this. (Sorry, a little site whoring, but still, I thought it would be relevant to the thread)
So... Lost in Translation/Megatokyo: the game?
I would be very interested in seeing this.
Baldur's Gate II (a random example) has a dozen well-characteried characters, but they're almost entirely irrelevant to any part of the story. You can abandom the lot of them in the starting dungeon and beat the game solo, and the plot scarcely notices. On the other hand, FFX (another random example) would fall apart entirely if Yuna left the party, because nearly everything that happens is a reaction to the things she sees and the decisions she makes.
I like freedom in my games, but I like an involoving story more, so I tend towards the J-side of RPGs.
:whistle: Ironyyyyyyy :whistle:
Oh man, I remember that!
"i don't want to play Half-Life 2! It's just old men in powersuits shooting at things! Give me an interesting character such as Cloud or SEPHIROTH over them any day!"
OLOLOL SNAKE
Nowhere near a Korean-style MMO?
It's a chinese mmo. Lol!
p.s. lol at sephiroth and cloud being interesting
http://www.1up.com/do/feature?cId=3155815
I dunno, I find gravity-defying hair pretty interesting.
That is pretty interesting now that you mention it.
Thank you. This is exactly what I was looking for.
"If americans encounter a bear, they shoot it. Japanese would probably get scared."
You think that's bear you're hunting?
This. The OP mentioned highschool games/dating sims, but are these games not translated into English because there's no audience or do they have no audience because they're not translated? I think the success of Persona three suggests a significant untapped audience in America.
0431-6094-6446-7088
The Japanese audience and developers are more influenced by manga and anime.
The American audience and developers are more influenced by film.
What will we see in five to ten years, when both audiences and developers are heavily influenced by videogames themselves?
Yep, I remember reading the same thing.
This article is pretty neat, and it makes a lot of sense (still reading through it; only at the part where they're comparing uniforms). I have a question about this sense of freedom bit though (which seems to be the driving point at why the gamers in each culture are different) - Where does Metroid fall in this? :P
Isn't Metroid more popular over here?
http://www.audioentropy.com/