Do you think you'll have white hair when you finish DC3 translation?

Nah, it might take a majority of this year, but I'm not that old and it won't take that long.

Latest answers from Kouryuu

Best Star Trek Captain?

In my opinion, it'll always be Jean Luc Picard. New Generation is the series I watched most fondly growing up, and I appreciate that finding a peaceful solution to problems is much more challenging than fighting, bickering, and opting for a violent resolution.

How great is Mikoto? Is she worth you translating PP and With You after the horrors of DC3 to grant us unworthy masses the Mikoto route?

Hmm... to me she came off as something of a gag character. She's head over heels for Suginami and super devoted to him, so even though Suginami's completely disinterested in her, it still feels kind of like stealing a girl away from the man she loves (based on my limited experience with DC3R.)
There's an interesting triangle going on with her though, she likes Suginami, and Suginami wants the protagonist, Kiyotaka. So Mikoto thinks you're trying to steal Suginami away from her and start a homoerotic relationship. She does warm up to you a bit if you pursue her steadily in DC3R, but yeah, her lack of route is a joke in the game.
With You tempts me, but more because of Ricca, who is best girl. Platinum Plus seems like it would be a slice-of-life moege focused around the present-day DC3R cast. Which to me, sounds like a perfectly fitting epilogue to the epilogue in DC3R. I couldn't see working on PP without DC3R getting a good reception though.

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Why does every supposed kamige have this 'you must read X philosophers' works to understand this'. No one ever says that about great works for literature. Have you ever heard someone say "You should really read Kant before Hamlet" or "Plato is required reading before the Odyssey"?

There's several reasons that aren't necessarily requirements. One of things that makes a story and a game great, is atmosphere, world-view/world-setting, and it's ability to make you think.
A good atmosphere is what allows for better reader-immersion. When every element--text, sound, visuals--all come together to generate a solid feeling or emotion, readers feel the most immersed in the tale, and fully into the game.
A thorough world-view or world-setting is the backbone for that atmosphere. A setting close to home (Japanese high-school for the target audience of most games) is a short-cut that works by evoking all the knowns from a reader's own experience, but then the challenge is making the unique elements stand out and gain prominence. To create a (good) original or unique world setting though, you have to put in a fair amount of research and work into establishing it--often on elements readers may never see or hear. Like, if you're fighting armies, what's their tech and training level? What are their beliefs and why do they fight? A good backbone will have a lot of detail on that, even if readers only ever glimpse the surface result.
Any good tale that makes you think has conflict, and often conflict comes from either danger or clashing ideologies. Danger is simple to grasp, but even so, methods of responding to it and solving it will vary as widely as there are ethic viewpoints, and honestly, knowledge of philosophy is good background for developing those viewpoints and ideologies--especially believable ones. Still, these are things that inform the writing, and not necessarily obligated for readers to know--but knowing adds to understanding and increases depth of enjoyment. So I think that's where a lot of "you must read Kant" comes from--people recommending the title want others to have the full experience.
That all being said though, I absolutely have had people say "You must read X before Y"--in fact, when I was in school, that was part of our required reading for English! In my English clashes we were required to read up on the Bible and Greek Mythology, with mini-reports and assignments due on each prior to moving onto works and literature that drew on both of those. Reading Milton sure wouldn't make much sense without a background in Christanity and Greek Classics!
But that's because all works of literature are inevitably based around a general assumption of shared cultural knowledge--Shakespeare and Milton wrote their works knowing and assuming that most educated people in European cultures had studied Greek Classics and philosophies at least in passing, and that everyone grew up with Christian teachings from the church. This whole idea of drawing on shared cultural knowledge frankly goes back to that idea of creating your world-setting backbone: by drawing on common knowledge, you can take shortcuts, showing your reader actions and behavior befitting those philosophies instead of explaining new ideologies.

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Kouryuu localize diabolik lovers please o(â•Ĩīšâ•Ĩ)o

Mmmmn... even if we were to acquire that game, I'd rather leave it to some of our female staff members who have an outspoken preference for such titles. That way we can have someone who enjoys it and knows more about it working on it.
That's basically what we're doing with Miss Lonesome right now--we have a staff a member who requested 18+ Otome games chipping away at it while @Good_Haro works on her old favorite, Naked Butlers.

Has working on a project for as long as you have with DC3R fatigued you to the extent that it blunted your enjoyment of it, or would you say that being responsible for such a huge endeavor only makes you appreciate it more?

Depends on when you asked me this question! During the early half, when I was near the end of the Common Route and it felt like I would never be done, I definitely faced a lot of fatigue and pressure (that I put on myself) towards it, so it was wearisome and difficult to keep moving forward at times. I certainly didn't find it enjoyable then. But as I started on the individual routes I started having fun with it again.
Now, I definitely take some pride in managing to finish it, and I'd say I do have an appreciation for how rough such long endeavor can be.
I only hope that fans enjoy it too, and that people appreciate how much work went into it.

Why is Dal Segno considered hard to translate? I haven't read it, but I am curious. Any kind of summary of the difficulties would be fun to read, as an aspiring translator.

Dal Segno isn't particularly hard to translate. The language in that, and the Da Capo series as a whole, is actually not that complex. It's rather typical of what you would expect from conversation--there isn't much in the way of complicated sentence constructions, but it has all the breaks, cuts, tangents, and broken rules typical of actual speech. So the challenge lies less in understanding it, and more in making sure you comprehend where the speech and thought processes are shifting or jumping, and making sure you don't create a tone or style that's too complex. With this style of writing, you also have to deal with the unique challenge of trying not to make what are typically set-phrases common to Japanese and frequent in the scripts come off as odd, strange, or out of place in English. Lots of そうか、よろしく、ãŖãĻã„ã†ã‹ã€ãã†č¨€ã‚ã‚ŒãĻも, etc. to try and wrestle into something English speakers would use in similar contexts despite lacking set phrases ourselves.
That said, probably the greatest challenge of Da Capo 3 R's script was just the sheer length of it. But I have a few thousand words already drafted up on that experience to share through our Blog when the game gets closer to release.

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You mentioned talking with the translator of Dal Segno about the world setting. What is the relationship of the world in Da Capo 3 R to the world in Dal Segno?

Both games actually take place in the same world. The specific locations and settings are very different (though still both in Japan), but they share the same worldview and world history.

Are you going to be the one translating Dal Segno?

Thank god, no.
Translation on Dal Segno actually started before I was finished with Da Capo 3 R, about a month before Anime Expo. It's being handled by one of our newer translators who already finished working on the translation for Funbag Fantasy.
Don't worry, though. The editor on Dal Segno is the same one that worked with me on Da Capo 3 R, and I've been speaking to both of them about the world setting and little things like that to make sure we produce our best.

Monster-Girls, what's up with them huh? They need love to, what type is your personal favorite if you have one. Also how would you explain your new found friend...to your parents?

Honestly, I'm rather fond of the strong, tight, enveloping nature of Lamia hugs, as well as imagining all the things that can be done with such an extra long tongue. The idea of being rendered helpless or hopelessly aroused from a good bite is pretty hot too. The sweet craving for warmth and intimacy their nature leaves them with is just further icing on the cake.
Ironically, this actually goes against my usual fear and loathing of real snakes. As well as my appreciation of legs.
(Addendum: I've always enjoyed stories with succubi and vampires too, but they're more traditional than the current "monster girl" boom.)
The Holstaurus have lots of great appeal too.

I remember long ago that DC2 didn't take nearly as long as DC3 did. If it's possible, can you give a rough estimate on how many lines each game was, from DC, to DCPC, to DC2 to DC3R? (Maybe add in DC3PP and DS?)

I couldn't give you an answer with regards to DC2's length, but we had multiple translators on DC2 way back then. Not to mention that Da Capo 3 R ~ X-Rated~ combines the base Da Capo 3 game with four different bonus arcs added over time through the various re-releases of Da Capo 3 by Circus, in addition to adding multiple H-scenes which weren't present in the original Da Capo 3.
Overall, Da Capo 3 R ~X-rated~ is roughly 80,000 lines, and about 2/3 of that is what comprises the base game before all the bonus additions.
I imagine most of the others in the series were a little shorter than the base DC3 alone.

Language: English