Digital Initiative

I was at Sakuracon for a few hours this weekend, and a few overheard conversations reminded me of a longstanding debate within the anime community about subtitled or dubbed shows. Essentially, the debate boils down to whether it’s better to watch a show in the original Japanese, with subtitles, or with English voiceovers.

I came into anime at some weird times. The first was when I was young, too young to really appreciate terribly much nuance in my entertainment, so truly horrendous voice acting was lost on me. I then stayed out of anime for nearly a decade, coming back to either obviously dated shows or newer shows with higher budgets and quality English voice acting.

As a result, the debate is somewhat lost on me. Terrible voiceovers are going to grate on me whether they’re in Japanese or English, and subtitling is going to annoy me. I feel like, in a lot of higher-budget anime, the voice acting and translation have long since gotten good enough that subtle nuances of tone and wit are able to be expressed.

I’d much rather watch a show with good voice acting in a language I can understand (because I don’t speak Japanese) than try to imagine the spoken tone matching up with the text I’m reading. In a show I’ve been watching recently, a major plot point centered around a character’s continual use of a particular phrase, one that I didn’t pick up on at all over the entire preceding 15-20 episodes of the show because the linguistic nuance in Japanese was utterly lost on me.

In the meantime, I’ve also watched some of the Persona 4 anime, with English dubbing, and I’ve found the voice actors do a fantastic job both nailing the characters and hitting clever nuance and jokes where they’d otherwise fall flat. A few characters pull off some deadpan humor that I think works really well if you speak the language but would be really hard to pick up on otherwise.

The whole subbed vs dubbed debate seems like a relic of a largely bygone era to me. Perhaps I’m wrong, and that poor dubbing is still rampant, but most of the anime I’ve seen that’s from the last five years or so has really excellent English voiceovers. Maybe it’s because I only watch high-production-value anime, I don’t know.

I feel like there’s a healthy contingent of anime fans who got into it when dubbing was really bad, because it was most low-budget imports, and that as dubbing has improved there’s been a shift from subtitles being the only way to get a coherent story and overall experience to a general belief that subtitles are the only “authentic” way to view anime.

I do know a number of people, mostly those with some background in Japanese (whether they speak it or not), who prefer the subtitles for various reasons, which I think is fine. It does bother me somewhat to see anime fans at conventions criticizing one another for their choice in viewing options, though. I’m not sure when being a nerd became so divisive. Maybe it was always this way.

Either way, there’s some good anime out there, that’s probably worth your time. It’s an incredibly diverse medium, I keep finding, with both creative plays on existing concepts and new, really bizarre ideas. The nice part about animation as a medium is that it allows you to do really high-concept stuff without breaking the bank, budget-wise, for things like special effects and scenery. There’s a lot of really neat genre fiction and explorations of topics I would never have thought would make a good show. Apparently one of the big shows lately has something to do with soccer players? It’s fascinating.

Source: Digital Initiative
Dubbing vs Subbing

I’m not a morning person. I don’t like getting up early and never have.

Due to having recently moved from the East Coast to the West Coast, not to mention my kind of weird schedule currently, I’ve been sleeping (and waking up) at weird hours. Sometimes I’ll fall asleep at 3am and sleep till 11. Sometimes I’m up until 6 and wake up past noon. Other times I’m tired at 9pm and go to sleep then, only to wake up in the ridiculous hours of the morning.

I’m writing this at one of those times. It’s 4:30 am, and I’m awake. There is no alone like waking up in your bed by yourself at 4:30 am. Even River, ever hyper and prone to waking up at a moment’s notice, is completely asleep. It will still be a while yet before anything opens, so I can’t very well get up and get breakfast– even the late-night places are closed at this hour.

It’s not a time I see very often on the waking-up side. Usually, if I am awake at this time, it’s because I’m catching a flight. I associate this time with that little thrill of anticipation, of an adventure not quite hatched, but right now there’s not really any adventure waiting.

Perhaps fittingly, it’s also a time I associate with conversations. Being awake at a silly hour with someone else and talking; some of my most cherished conversations are borne of this hour. It’s when I get wordy and philosophical– I’ve been accused of brooding, which is probably accurate (I am writing this post, aren’t I?).

I’ve done a lot of driving at 4:30 am,  getting up for no good reason and driving around aimlessly until the sun comes up, dodging the morning rush. It’s more satisfying on weekdays, I’m not sure why. Things are quieter, maybe.

Now that I’m on the West Coast, 4:30 for me is 7:30 for a number of my friends, and they’re sometimes already up and chatting. It’s an immense relief for me. I sleep with my phone and a tablet next to the bed for that connection, early in the morning. There are precious few people who get to have your attention at 4:30 am, and being in touch with people for whom it isn’t 4:30 am makes that awareness easier. Unless it’s an emergency or some special occasion, most people would not be interested in talking at 4:30 am unless they’re really, really close to you.

Perhaps weirdly, I cherish the moment. The intense sense of being alone makes me appreciate the times when I’m not. It’s a balance thing. I wouldn’t mind for an instant if I didn’t have it, but since it’s here I might as well make the best of it.

I have things to do today, and it’s almost light out. I can probably rouse the puppy and then go get breakfast, turning the 4:30 am melancholy into an actual, functional day. There’s no alone like 4:30 am, but it does make me appreciate the rest of the day.

Thanks for reading.

Source: Digital Initiative
4:30 am

In the heyday of the WWII shooter, I remember hearing a lot of people asking why on earth we were inundated with the same sort of games, and why the really big blockbusters are all so similar. It’s something I was never sure of myself, until I learned about something called Hotelling’s Location Model. Any economists reading this will likely chuckle to themselves, and will probably correct the next bit of what I’m going to talk about in the comments.

Ever driven out into the middle of nowhere? I’m talking miles and miles out, past the boonies into those little towns that don’t appear on most maps, just barely in range of maybe two radio stations, which are both playing the same country music. Ugh, you’d think they’d, y’know, play some different stuff and cover different audiences. Or, you’re checking out local restaurants and realize there are two nearly identical restaurants right next to one another. What are they thinking, aren’t they hurting themselves by being that close?

Here’s how it happens. Say there’s a beach, with a bunch of people spread out on it, more or less evenly, because they all want their space.

The City Council decides that it will issue a permit for one person to sell ice cream on the beach, on two conditions:

1.) The City sets the prices of the ice cream– this is to benefit beachgoers with a minimum of beach crowding, not line some monopolist’s pockets.

2.) The ice cream stall must set up no earlier than 10am, allowing time for the beachgoers to enter the beach and get settled. No parking at the entrance and advertising as people come in.

(What we’re doing here is controlling two variables: price and market. We want to look at WHERE the stall goes.)

So, here’s our beach:

Our ice cream vendor can set up on the boardwalk along the top there. Where along it does our ice cream vendor want to set up shop?

It’s easy– sell ice cream to the most number of people, which means minimizing the distance they have to walk to get ice cream. Right in the middle.

Pretty straightforward. Our ice cream vendor sells ice cream, everyone is happy, except for those people out at the edges who need to walk halfway across the beach to get ice cream. They petition the City Council to allow more vendors, and the City decides to let another vendor set up shop.

Now there are two vendors. Since each vendor is stuck with the rules above, the only way they can make more money is by selling more ice cream, which means being the closest vendor for the largest possible number of people. One of them is, inevitably, going to get to the beach first and set up shop. Where should that first ice cream vendor go?

Answer: Right in the middle. These vendors are competing, they want the most customers. You might be thinking that it’s better for the two vendors to split up, maybe divide the beach in half, something like this:

It’s a good thought, and if the two vendors are colluding, this might happen. If they’re both in it for themselves, though, and the first one takes that quarter-length spot, here’s the best place for the second one:

In that position, the second one is the closest vendor to the biggest portion of the beach, and is going to come out ahead. If the first vendor sets up right in the center, so will the second vendor, just barely off to one side, and each will have half of the beach.

As the model goes, it applies to things other than physical location, too. If a clothing store offers a certain variety of products, and another clothing shop opens, they’re going to stock very similar products, hoping to hit the broadest segment of their piece of the market. If one offers a better selection (read: has a bigger chunk of the beach), it’s going to do better, and both stores will fight to keep up with one another, ultimately winding up very similar. It’s how you get the same country music on the same two stations out in the middle of nowhere, the two coffeeshops right across the street from one another, and years of military shooters, all incrementally different from the previous generation but still in nearly perfect lock-step with one another, until everyone is tired of them and a new kind of blockbuster crops up.

 

This returns me to the bit at the top. No one here is being an idiot, the decisions are very carefully considered. The end result doesn’t appear to make sense at first, but it absolutely does once you puzzle it out. All of those military shooters, all of those country music stations, all of those shoe shops are looking out for their own best interests– and any deviation from that is extremely risky.

There’s the saying: “Never attribute to malice that which is adequately explained by stupidity.” It’s a good saying, but I think there’s a followup:

“Never attribute to stupidity that which is part of a system you don’t fully understand.”

A lot of things that seem unintuitive at first suddenly make sense when you see the whole picture, and it’s really, really hard to see the whole picture. Certainly there are mistakes that people make on the individual level, but when you’re talking about really big systems with lots of moving parts (like the video game development economy), there’s a lot of stuff that it’s really hard to see.

This was something I learned about today that I thought was interesting, and thought might be worth sharing. Hopefully you found it interesting too.

Source: Digital Initiative
Everything Happens For A Reason

Part of what I did during my week off was pour a huge amount of time into my second playthrough of Persona 4. It’s basically a high-fidelity visual novel with an elaborate dungeon-crawler minigame. I love it.

It handles social interactions in a really interesting way. Whereas in a lot of RPGs, there’s no real limit to the amount of talking with friends/party members you can do, in Persona talking with someone takes time, and you have a set amount of time (one year, game time) to make friends, build skills, and do… pretty much everything you want. On top of that, everyone and everything has their own schedule and may or may not be available at different times. It’s actually impossible to fully complete the game on the first playthrough, because you have to spend time building up skills like Courage, Understanding, Knowledge, Diligence, and Expression, many of which are necessary when dealing with other people.

My playthrough was a New Game+ run, which lets me start with the money, the weapon unlocks, the stats, and the persona compendium (like a pokedex, except you can summon your pokemon from it for a fee) that I’d built up in the previous run. This saves a LOT of time building up stats and farming equipment, money, and personas, letting me focus on the relationship side of things (Social Links, in-game).

The difference is pretty stark between the normal game and NG+. There are at least five social links I missed entirely on my first playthrough, and several more that I started but didn’t complete. There’s also an entire bonus dungeon that I missed the first time through and a secret boss that I’ve now missed twice, because my timing sucked. Some of the choices you make also pretty heavily influence dialogue, so I got some very different responses from characters than I did in my first run. The structure is all the same, but the second playthrough gives me a lot more freedom to explore, and say things/make choices that I couldn’t have made previously.

All of the time spent with the characters wouldn’t be worth a lot if they weren’t good characters, and P4 has some excellent ones. I think the game suffers a little bit from introducing four party members very quickly, two of which are easily unlikable (one of which I find annoying at the start and despise utterly by the end of the game) and one of which is kind of bland and trope-y. Of the [Yosuke, Chie, Yukiko, Teddie] group at the start of the game, I really only like Chie. The others (not Teddie) get deeper and more interesting later in the game, but it takes a long time, and by then you have other, more interesting party members.

The above song is stuck in my head now. It’s a mild spoiler, but the game tells you up front, within the first few lines, that you’ll be around for a year and then will be leaving. This means that, right near the end (winter in the game), you’ve made a whole bunch of friends and are coming to terms with your dwindling time remaining with them. The overworld theme, that you hear as you run around, is replaced with Snowflakes in P4 Golden (the Vita version), which adds a bunch of content included an extended ending (lasting an extra month).

That extra month serves as a lengthy denouement to the game, bringing you from the final (?) boss to the end of the game, giving you ample time to wrap things up and tie up any loose ends you might have, or just enjoying the company of your friends in the game (even if you’ve maxed out their social links, they have more stuff to do and say in the denouement). It’s savagely bittersweet and one of the best endings to a game that I’ve ever played.

It’s something I’d like to see more of in RPGs. The extended denouement really wraps up the story nicely, far better than a boss battle -> 5-10 minute cinematic -> end credits cycle does.

I’d be a proponent of moving the final boss battle forward about 10-15% in a game, and turning that ending section into post-victory endgame, where you get to spend some interactive time enjoying your victory.

 

 

 

 

Source: Digital Initiative
Binging on Persona 4