Translation: Using Cheat Tools in Pokemon Go is a Crime?

Prepare for trouble

Today’s Asahi Newspaper had an interesting article about the use of cheat tools in popular games like Puzzle & Dragons or Pokemon GO and how some people are being arrested over it. Because the paper only allows you to read the full article if you’re a registered member, I can’t translate it in full, but what follows below is a summary with the most relevant parts directly translated.


Using Cheat Tools in Pokemon GO is a Crime?

(original article by Aya Amano)

“Arrests have been made concerning cheat tools (CT) in the online game Puzzle & Dragons, which is popular both in and outside the country. ” The article then explains to Japanese readers that cheat tools are as “tools that allow you trick [the game],” and goes on to say, “They appeared immediately in the popular Pokemon GO. What’s the problem?”

The article continues: “‘Can anybody be prosecuted just by using it?’ When the incidents were reported, anxiety and doubt swirled all over the Internet.  If you use the same CT that the suspect used, which anybody can, you can easily become invincible and it’s said that over 400,000 people have downloaded it.” It goes on to explain that there about how easily cheat tools can be found on the internet and how people upload videos explaining how to use and download them.

The next paragraph is about the the perspective of one of the companies: “To maker Gung Ho Online Entertainment, the damages are serious. Not only do they lose the chance for people to pay when players cheat, but it leads to players leaving the game because those who compete in the rankings feel it’s unfair. They say that until now, they’ve built all sorts of fixes and taken approaches to stop it, but it’s a back and forth with the cheat makers who take pride in sharpening up their skills and the technology of their cheats.

“Because it’s a problem inside of games, it’s hard for police department’s cyber patrol units to find it. It’s necessary to step carefully when prosecuting it; in the case this time with the Kanagawa Prefecture police, the arrest was made because it was suspected it was a violation of copyright law to develop and distribute a program that can circumvent the maker’s defense program. In addition, in order to stop the overuse of CT, they’ve gone on to start prosecuting users as well.”

Next the article swerves in the topic of how cheats are being used in other games, such Pokemon GO and Monster Strike (which is a popular Japanese mobile game that sort of combines monster battling with pinball). The information will be familiar to many who know of Pokemon GO, with people using false GPS information to trick the tracker. In Monster Strike’s case, the article quotes a Nexon PR representative as saying, “It takes time to track down a new kind of inappropriate use of the game and it’s hard to immediately respond to it.”

Then the article mentions something that has been seen a lot in recent article about Pokemon GO: how in places like Twitter people have been advertising their services to essentially cheat and play these games for you, making money that way.

The writer ends with this thought: “The scary thing about CT is that you can be tried for a crime even if you’re just using it on a whim,” then quotes both Naoto Narita, a 24-year-old employee of CypherTec, who is credited as being knowledgeable about game security, saying that it’s important that parents look over their children so they don’t get these cheats while not knowing that they’re a crime, and an official from the Kanagawa police who says, “There’s a possibility you can be tried for a crime by using a cheat just one time. Absolutely do not do it.”


 

This news reminds me of stories earlier in the century of people being arrested for using game screenshots on their web pages without permission. I haven’t heard of that happening in a long time though.

Today’s Goals and Jobs – 4/11/2016

Here are my goals and the jobs I’m working on for 4/11/2016. Thanks for all your help and support! Remember to follow me on Twitter to get more updates.

What’s Going On:

I met my goal, here are the translations and Fawful Friday articles:

Kisaragi x Velour C

Foleo x Soleil C

Foleo  x Soleil  B

Deere x Joker C

Deere x Joker B

Deere x Joker A

Kisaragi Skinship Lines

Translation: Interview with Keiko Erikawa

Translation: Games are Poison for Children?

Marx/Marks Character Name Poll

Elfie/Elfy/Elfi Character Name Poll

Today’s Goals

  • Translate as much as I can even if I can’t upload it.

Possible Complications: Holy moley! It took me about 20 tries of reloading to get this “add new post window” to finally appear and who knows how many times it will take until it actually posts it. Something in my area seems to be interfering with my internet connection, because I feel like I’m some modem computer scientists used in the 80s or something. I don’t know if it’ll get better today, but if it doesn’t, I’ll be translating in the background, so that I can upload them all in a batch once it gets better.

How you can help out: Err, pray for my internet connection? Or if you’re irreligious, vaguely hope in its direction?

Jobs I Need Done

  • I will always and forever need people to comment on my translations as much they can.
  • Vote! It’s spoiler free. If you’re waiting for the translation patch, these polls aren’t going to ruin anything for you.
  • I’m going to continue to request help for the method of doing in-page links, because nothing I’ve tried so far is working!

As always, there’s a page to discuss matter with others or contact me about how they’d like to help out with the Fire Emblem Fates project. It’s been updated to a new page for April. You can use that page for April to discuss things with other members in a more general nature. Thank you for all the people who contacted me or contributed so far! Much love and respect! As well, don’t forget there’s also a page for you to request any kind of Japanese information you need, regardless of whether it’s about Fire Emblem Fates or not. This page has also been updated for April.

Translation: Games Are Poison for Children? Looking Back on the Children Who Were Forbidden to Watch TV

子供タイム

Here’s an interesting article that was brought to my attention from that is from the parenting lifestyle site Conobie. This site is known for a variety of interesting topics around family and children. The article in question takes up the topic of managing games when raising children from the point of view of a concerned parent who thinks they aren’t as good for her kids. She talks about the issue from a variety of angles, including very interesting story about parental censorship. The full article is translated below:

Games Are Poison for Children? Looking Back on the Children Who Were Forbidden to Watch TV

Digital devices that weren’t around when we were kids. Lately, new things are coming at an increasingly fast pace. How are you using tablets and games as digital tools in your house? Children love games! Are there not women who get annoyed and blurt out, “All they do is play games …”? This time I would like to think about wise ways to get along with digital tools that tend to become seeds of worry when thinking about raising children. (Conobie / Kaoru Kumano)

“I’m trying my best to get them to experience nature, but as soon as they get home they’re on their iPad (cries)”

I heard these concerns from a certain mother. “I’m trying my best to get them to experience nature, but as soon as they get home they’re on their iPad … ” This mother wants her children to get in touch with nature! And in this way, they’re often trying to create these opportunities for their children. Growing vegetables in their yards, going for walks …

She has two children and both are in the early grades of primary school. Of course, you can also see both of them play with dolls and help out with the housework.

I took a look at the two of them through pictures and thought, “This is good child-rearing time, extremely balanced.” But when she asked me for help about this, I thought, “Hmmm.”

Whether They Get a Chance to Be in Nature, Whatever Their Playing Partner is, In the End Kids Love Games (Laughs)

What made me think, “Hmmm,” is that even for children who get to experience nature in various ways, in the end they pick up on the charm of the games’ freshness and innovation, their colors and sounds. Whether they get a chance be in nature, whatever their playing partner is, in the end kids are attracted to games.

No matter how much a mother warns her kids who get sucked into games, once they know something like exists in the world, when it’s a kid, there are times when they really can’t come to control themselves.

Especially when they see others kids around them getting absorbed into games, that they would want to join in is a constant of human nature.

What Became of the Kids Who Were Forbidden from Watching Regular TV When They Were Younger?

The story will digress for a bit, but … 30 years ago there was a certain child who was raised in a household where it was forbidden to watch TV. Hypothetically, we’ll call that child “Kid A.”

Kid A was of course not only forbidden from watching comedy skits, but dramas and anime too; basically anything that was broadcast on mainstream television. To put it exactly, the parents would censor (laughs) any television program that could be watched and TV that was popular with kids (back then it was The Drifters) was absolutely not permitted to be watched. [Translator’s note: The Drifters were an extremely popular comedy group who appeared in many popular television programs during the 80s. Not that I was alive back then, but even I know about them.]

By the way, Kid A’s household had a Famicom, but it wasn’t for playing Super Mario; it was used to browse the stock market …

When Kid A became a freshman in college, she started watching all the TV she had been forbidden to 24 hours a day, obsessively, in rebellion. She would record all the TV dramas from Monday to Friday. And even when the late night comedy programs would end and the TV would become a sea of static, Kid A still couldn’t turn it off.  To Kid A, everything she saw on those programs was new and fresh.  There was a “space” there that was different from state-run TV, and the very atmosphere and colors used were different.

You might think that’s the end, but Kid A is me. In the end, I continued to be addicted to TV until I was around 26 and then had a reverse rebellion and returned to a life where I don’t watch TV. (laughs)

TV and Games Can Cause Harm, but They Must Surely Also Have Merits

My case may be an extreme example, but for me, somebody who experienced life at both extremes, when you intentionally integrate TV or games into your life, I think there is a merit to it, personally.

It is just but one example, yet when you’ve watched a drama with a truly captivating script, things like the lines, the way the music was used, they can remain in your memory for years and even decades. As well, if you were to take a bad way of looking at it, when you lose and the protagonist’s life is revived in a game, it links to a less serious view of human life. However, if you take a good way of looking at it, that can foster a mental attitude that accepts challenges and knows that you’ll be okay even if you fail.

In TV and games, there is a charm to the sound and the movement that is not there with books or pictures, is there not?

Of course, you can taste those charms in other things. For instance, you can listen to good music, watch a play, or play sports. Even in books, you can imagine that “space” from the voices of the dialogue, the scenery and the colors coming from the prose.

There is a certain logic to that, I think. However, I think you can’t say that because “I don’t play games” or “I don’t watch TV” that this ability to appreciate such things will not be cultivated.

Why Should We Watch TV or Play Games? Let’s Have Our Children and Parents Think of the Merits and Demerits Together

In the end, TV and games are digital devices and a medium where information comes flying at you from somewhere else.

Of course, you can get into them in a very involved way at your own will, but it’s possible to become a passive agent easily. As well, I think it’s also a medium where the possibility of addiction is strong … where you want to stop, but can’t.

Why should our children experience games and TV? Should we let them use iPads and game applications? I think it’s important for yourself and other spousal units to think about the merits and demerits of digital tools. Of course, I recommend that once your children have come to an age where they can think about it, that you do it together as a family, parents and children.

“Why do you want to play this? What types of good things does it have?” I think if you ask these questions, you will get to hear the surprising feelings of your children and it won’t just be “because it’s fun.”

Whatever the Rule, Be Careful of These 2 Things!

When you decide what axel your family will follow around the use of digital tools, then it’s just putting it into practice. Because these are family rules, there’s no need for you to be led astray by the opinions around you.

However, I’d like to warn you about 2 things, not just for kids, but for adults as well.

1. It’s best to stop using digital tools 2 hours, if possible 3 hours before sleeping

The backlight from digital devices (basically the light that hits from behind the TV or game console, PC or smart phone) stimulates the nerves in the sympathetic nervous system which governs things like excitement and nervousness. For human beings, unless the parasympathetic nervous system of nerves that governs relaxation and drowsiness is not in a good condition, it will not let you enter into sleep. In other words, if you’re touching digital devices just before you go to sleep, it can lead to you not getting to sleep.

2. The angle of your neck

Not just with TV, but with tablets and smartphones, it’s likely that you tend to use them with your neck facing down. If you’re facing that way for a long time, it can become a factor in headaches or shoulder cramps, to the extent that there are now symptoms named “smartphone neck.” If you try to use them with a posture that’s facing straight on, you won’t get worn out.

In Conclusion

 How about it? It’s best if you use digital tools like tablets, games, TV and such well to fulfill your lifestyle like a modern person and aren’t used by them. Talk about it with your family, keep in mind the things that you need to be careful of and wisely interact with digital tools!

We often hear so much about GAMES WILL DO to your children and not much about what PARENTS CAN DO for their children with games, don’t we?

Translation: An Interview with Keiko Erikawa, the Pioneer of Games Marketed Toward Women

Keiko Erikawa

Keiko Erikawa has one of the longest careers in video gaming, having been around since its early inception and is still active today. She’s done many, many interviews, but I thought this one by Famitsu done on June 29th of 2015 asking about the Angelique series and her neologistic Neo Romance genre, which many overseas gamers are not aware of, would be of most interest. So brew up whatever drink you prefer, settle down in your favorite sitting device and learn how one of gaming’s pioneers pretty much single-handedly created the otome genre of romance games about pretty guys marketed toward women, as I translate the Famitsu interview in its entirety below.

An Interview with Keiko Erikawa, the Pioneer of Games Marketed Toward Women, Is There Going to Be “Surprising Announcement” Sometime This Year!?

Last year Koei Tecmo Games’ “Neo Romance” brand faced its 20th anniversary. We had Keiko Erikawa talk to us about the path from the birth of its first game Angelique to today and the future developments of Neo Romance.

Talking about the trails that lead to cultivating a new genre and the development from here on

Angelique, Harukanaru Toki no Naka De (Amidst Faraway Times), La Corda D’oro … … the series of women-marketed games that Koei prides itself on is called Neo Romance. The Ruby Party, or the development team where the female staff of the same company gather, has worked on these games and they’ve been known, with their high quality and media mix features, for capturing the hearts of many fans and developing from there. In September of 2014, it faced its 20th anniversary.

Games marketed toward women didn’t exist 20 years ago. What kind of work and struggles were there in creating a new genre and continuing to work in it? On top of that, what kind of new development are they thinking of from now on? We asked Ms. Keiko Erikawa of Koei Tecmo Games.

*This interview was published in the 2015 June 25th edition (on sale June 11th) of Weekly Famitsu Magazine.

Koei Tecmo Games CEO and Honorary President Keiko Erikawa

A business woman who supported Koei Tecmo Games and it’s predecessor Koei from the time they were founded. The woman who gave birth to New Romance and started up the Ruby Party development team at Koei Tecmo games. Currently, while she is involved in management on one side, she’s also deeply taking part in game making.

She Had Held onto the Concept of Games Marketed Toward from 30 Years Ago

――Congratulations on 20 years of Neo Romance. Today I think I’d like to inquire about all sorts of stories to you, Ms. Erikawa, as someone who was able to see the birth of games marketed toward women from then until today. To begin, please tell us what you think the impetus was to create the first Neo Romance, Angelique, around 20 years ago.

Keiko Erikawa (below, Erikawa)  Angelique went on sale in September of 1994, but the impetus was well before that. It was over 30 years ago that I developed The Investment Game and Combat together with Erikawa (Yoichi, also CEO and Honorary President of Koei Tecmo Games), but at that time all the customers were men.

Games were seen through men’s eyes. That’s when I came to think, “I’d like to create games marketed toward women” for women.

――Well before Angeliqe went on sale, you had the plans in mind for games targeting women then.

Erikawa Yes. At that time, in the development offices, there was only one woman, so I thought first we’ve got to hire more women. So then around the time right after we had released Nobunaga’s Ambition in 1983, we began looking for female developers. At the time there were only a few women who who were learning programing in the sciences, so we hired women from the humanities. Of course, we left up the scenarios to women.

――So you’re saying 10 years past since you started hiring women to the time that Angelique was finished?

Erikawa It took some time for the female staff to get used to making games. Because at the time it was common place for everyone you hired to have never developed a game before. So it took quite some time from the place where we started hiring women to the time when we could start up the Ruby Party development team.

――Certainly just because you’ve hired women doesn’t mean you can expect them to immediately take on the development of an unknown genre. As you continued to feel your way along, how did you come to develop Angelique?

Erikawa At first I thought if we’re going to make a game marketed toward women, we’d better put our whole weight into making it for women. The protagonist had to be a cute girl and her clothes had to be red. The interiors should be girly and pink. I myself actually don’t really like pink, but my daughter absolutely loved it. Then, because we wanted to have all sorts of lovely men appear in the game, we set the theme as Greek myth and created male characters with a ton of individuality. But it wasn’t much of a game. It had become something that wasn’t very fun if you looked at it as a game. (laughs)

――And why was that?

Erikawa Even though we were finished with the scenario, it wasn’t a romance game. We had done a weak job of creating gameplay where you achieved goals and compete. From there on it was time for Erikawa the game-making pro to make her entrance. I had them decide on a game system, and Angeliqe became a game where you could enjoy romance by competing with your rivals while you gained the cooperation of the guardian saints.

――What kind of reaction was there to Angelique when it went on sale back then?

Erikawa  Because as a game, there had been nothing like it before, it’s not like it sold like gangbusters. But from all around us, the praise was amazing. Saying, “There’s finally a game for women!” we were taken up by all sorts of media. “This is a great job you’ve done here for us,” we received a lot of letters from female users like that. I was glad we had piqued the interest of a lot of people. Except, like I said before, it didn’t become a big hit like the stuff for guys. But because I had understood it would be that way, that’s why I thought it should have a media mix from the very beginning.

――Before you even released the game?

Erikawa Yes. I thought that we couldn’t express everything in this setting we had gone through so much work to create in just a game. We released a drama CD around the same time that the game went on sale. Moreover, we thought around that period that we wanted to do anime and events too.

――You had thought to awaken female users to the new genre for them by preparing all sorts of content.

Erikawa That’s right, even if just a little of them were there, I wanted all of the female players to have fun. Within the company, there were opinions like, “The market is small and therefore even if we created games marketed toward women, they wouldn’t sell,” but I thought, “There is a market.” I’m glad that I kept holding on to that thought till it got through.

A Storm of Controversy From Fans in the First Held Event

――Speaking of the media mix in Neo Romance games, the events with the voice actors holds a special impression.

Erikawa The first event we held was in 1995. It was at a hall in Roppongi called Velfarre and was graciously sponsored by NEC. It was pretty nuts on the day of the event.  Customers were lined up in looooooong lines and even the police had to come.

――It was a time when even the management of such events was something you were feeling out.

Erikawa We thought of doing all sorts of things for the content of the event, but decided on a good atmosphere of combining ballet and music. The opinions from customers were split.  Some said, “It was totally great!” Others said, “This is totally different from what I expected!” The latter thought that it was different from the hardened image they of Angelique they had developed in their minds. So then our staff got scared away. They said, “There’s so many opinions against it, let’s not do another event.”

――What, they said to just limit it to one event?

Erikawa  There were some who said, “I want to do another event,” and even though it might need a little brushing up, it was said that “the customers will get angry with us.” Nobody would address a plan and I pushed it forward with an order from the top. I thought it’s quite difficult to create content marketed toward women when there’s no previous example.

――However, with you as the pioneer of Neo Romance, there has been a great deal of events with the voice actors until now.

Erikawa At the time, nobody had ever heard of the idea of doing a media mix among other game makers. The troubles of that time spur our liveliness now, I think.

Female Game Developers Increase from the Opportunities Brought by Neo Romance

――It’s been 20 years since you started up Neo Romance games, but how do you think the situation of female users changed since then?

Erikawa  Now with consoles and smart phone games, there’s lots of games aimed toward women and we have made a place for women to enjoy games. To the same extent, the way we look at games for women has improved, I think. The hurdle for male voice actors has risen and I think it’s rather tough for the voice actors.

――Because it’s an age where they’re expected to have presentation skills, sing and perform.

Erikawa It really is tough! But when I see voice actors splendidly rise to my expectations, I feel like I’ve seen the possibilities of voice actors in a whole new way.

――From the perspective of a creator, how has the situation for women changed?

Erikawa It’s really changed for female creators. Perhaps it’s best to say it has the feel of a generational leap? There are many people for whom Neo Romance was the impetus for them to enter engineering departments and many who aimed to enter the industry because they liked Angelique, and they come to try out for our entry tests. It’s a story that makes me grateful.

――You’re saying that Neo Romance became a motivating factor for women developers in the gaming industry to increase.

Erikawa Yes, it’s quite a happy thing.

――Ms. Erikawa, you’ve said for a while, that you “want to support women in their progress in wider society,” did you mean that among the backdrop of making games marketed toward women, you wanted to urge the hiring of women?

Erikawa  That’s true. Among the world, when it comes to how much women are venturing out into wider society, Japan is one of the countries that is very late. If women work well with men in their jobs, 1+1 can become not just 2, but 3. There are a lot of Japanese women who hesitate a lot, and there some men who aren’t good at working under women, but if women contribute more to society, it can become a nice society. I do want to create more managerial roles for women in our company. I want the women reading this article to be active, whether they’re doing jobs or raising children. In order to do that, I want them to learn more about their bodies and think hard about how they want to live their lives. I’ll be supporting them.

Aiming For Even More Accomplishments At the Crossroads of 20 Years

――From here on out, I’d like to ask more about Neo Romance games in the future. After facing a 20 year anniversary, what do you think you’d like to challenge yourself on in terms of plans from now on?

Erikawa Not long ago, we held an orchestral concert to commemorate the 20 year anniversary. We prepared videos related to the titles, called the voice actors and meticulously prepared every part and the reception was absolutely amazing.  I thought these events really have been accepted. From now on, at the crossroads of 20 years, I’d like to open up a new avenue for events and hold those. I want to try plans like traveling around the holy places in La Corda D’oro or Harukanaru Toki no Naka De (Amidst Far Away Times) where you can have a real experience. I want to create content that both men and women can enjoy.

――You’ve been planning Angelique Retour as a 20th Anniversary title, tell us about what this is.

Erikawa It’s a remake of the first Angelique. I’ve been creating it, thinking I want to fly to ever greater heights without betraying the setting.

――It looks like there are characters who didn’t appear in Angelique.

Erikawa Please look forward to it, because I want people who are touching Angelique for the first time and those who have long enjoyed it to have fun.

――Other than Angelique Retour, there are some expecting a new Neo Romance title, thinking it’s about time, how about it?

Erikawa I want to create new IPs. Because our company’s mission is to always keep creating new things. We’re continuing our plans for it, but because we’re trying all sorts of things, it will take 2 or 3 years. Even though it only takes other makers about a year to create them.

――But I think it’s because you put that amount of effort in making them well that the Neo Romance series has continued for 20 years.

Erikawa Thank you. There truly is so much I want to create. But because there is a limit to how many employees we have, I can’t do it all at once. Of course, I’d like to develop Angelique and comparatively new IPs like FabStyle and Geten no Hana (Flowers Under Heaven).

――It looks like there’s various plans in progress, so we’ll look forward to it. What is it that you want to especially pour your strength into?

Erikawa For me, it’s the progress of Geten no Hana (Flowers Under Heaven). I’ve been thinking I definitely want to do this. Then next, a new collaboration. I think I might be able to guide us to some projects that will surprise everyone. Please do look forward to them.

Erikawa is always interesting to listen to. As one of the people who’s been around since the dawn of the gaming industry, there’s a lot more she’s been involved in and has had an important role in, but those interviews will have to come at a later date.

Translation: There’s No Future in the Current Environment Where Criticism is Swallowed Down Without Any Skepticism, The Game Industry Has Started to Fall Down the Path to Hell

Tracer

Damonge, another Japanese gaming site which tends to have some strong focus on international news, recently published an editorial about one of the many controversies to rock the gaming world about female characters, specifically the Blizzard issue with Tracer and Overwatch. I’ve translated the article in full below:

There’s No Future in the Current Environment Where Criticism is Swallowed Down Without Any Skepticism, The Game Industry Has Started to Fall Down the Path to Hell

The Dangerous Censorship of Expression Seen in Blizzard’s Response.

By BIG MON on April 3rd, 2016

The Social Justice Voices Swallowing the Game Industry

These days, voices are shouting their opinions from on high to attack the portrayal of female characters in games and as they put pressure on game creators, throughout the world people involved in games are being swallowed into it.

Maybe it’s announcing the policy decision that Dead or Alive Xtreme 3 European and North American releases would be canceled, or Street Fighter V making changes on its expressions due to bashing. All of these are companies’ responses related to the radical feminism (third-wave feminism) that is stirring up a whirlwind in Europe and North America.

This movement claims that “games spread misogynistic attitudes toward women,” and it has progressed on this basis, to the point that not even now huge worldwide corporations can’t ignore its voice. One incident that symbolizes that is probably the example of Blizzard.

Bringing the Influence Over Even Worldwide Corporations

In March Blizzard announced a decision to delete and change a pose from its new game Overwatch, receiving criticism that “a pose that unnecessarily emphasizes female sexuality” existed in the game.

Blizzard is a game company under the helm of Activision Blizzard, and according to a market report done in 2015, they are an elite company ranked 5th among the world’s game corporations. Even that type of corporation, if they receive one driblet of criticism about the portrayal of female character, will be forced into changing things as a response.

Of course, the act of making changes to expressions in general is not a bad thing. If there’s a bigoted portrayal going on, that should probably be corrected, but I cannot bring myself to think that in this case with Blizzard that there was any problem at all with the portrayal.

I want to precede this by saying that I feel a sense of crisis in this current climate that whenever anyone screams, “there’s a problem,” that’s all it takes for a strong and forceful guilty verdict creating pressure to change it.

When you look at the current situation in which famous huge corporations are one after the other getting weak-kneed and running around like chickens with their heads cut off to put out the flames, all that’s waiting for a game industry that continues to drink down the criticism without skepticism is death. Right now the game industry has begun to turn a ship’s wheel that will guide it on a slow and drawn out suicide.

There’s No Future in a Game Industry That Continues to Swalllow Criticism WIthout Skepticism

In Overwatch, if you ask what guided Blizzard to the point they decided to change things, it was due to the criticism that claimed a pose that gave off an impression of bright activity for one female character to those who saw it, was actually emphasizing women’s sexuality.

It’s a situation where the first user who criticized the pose claimed it did not fit the character and said, “It’s an unnecessary sexual appeal,” and Blizzard unquestioningly accepted that claim. The Overwatch director is apologizing to people for making them feel uncomfortable.

If you ask what the problem is to this response, it is that a huge worldwide corporation is affirming that if it is shouted and screamed that a character takes actions that don’t suit them, they should be changed.

It was written in the post of the person who brought forth the criticism that it’s a problem that a bright and active character takes a sexual pose, and that they had no plan on touching on the poses of characters who are sexy and voluptuous.

If there was a policy that if all of the characters appearing in the game showed even a slightly sexual pose that it would be removed, I couldn’t accept it, but I would understand the consistency. But nothing was said of characters who originally were positioned to emphasize their voluptuousness.

This is equal to saying that any speech or action taken by a character that does not fit them is a sin.

The Claims That Will Allow Only One-Sided Portrayals

If Blizzard is going to remove speech and action that don’t fit characters in response and affirm these opinions, then the final resting place is going to be a world where only one side is ever allowed to be portrayed.

For instance, if there is a character who is “full bright and active energy,” then it is not to be allowed to have anything but that image, and all other images they could have would need to be changed and removed. Tracer (the criticized character in this instance) is boyish, bright and active, if she shows even the slightest bit of eroticism in a pose, it becomes a taboo image that instantly criticized.

So if a character comes to be seen in one way, any other way of looking that character becomes unforgivable. What an unimaginable hell!

A Plan to Destroy Bigotry is in the Process Becoming Bigotry Itself

So one character who houses a personality with contradictions, who surprises with their dynamism, which is said to be, in somewhat otaku vocabulary, “gap moe,” someone like “a character who gave off a gruff and mean impression, but actually also had a more gentle side” is not to be allowed.

And in this construction, are they not becoming the very stereotypes that feminists claim to be aiming for when they try to break down the long-ingrained thoughts of “like a guy/like a girl?” This character is only allowed these actions and words, pushing that view, pushing a stereotype onto the image of others is the very definition of racism itself.

Right now, the game industry is regressing back to an age where the world thought “black people = slaves.”

If diversity and dynamism is lost and only a one-sided portrayal is allowed, one day it will probably be visited upon us, a day in which the entertainment born from a storm of inexplicable criticism and shrieking will lose the charm it had and disappear.

Stand up for the criticism you should accept, but running around like a chicken with your head cut off to extinguish flames without distinguishing the validity of criticism will lead at last to a crushed and pulverized game culture.

It’s quite a strongly-worded article, don’t you think?

Interview Translation Part 1: I Want to Create Soul Food for the Fans. An Interview With Star Ocean 5 Creators Shuichi Kobayashi, Hiroshi Ogawa and Akiman

Star-Ocean-5

Earlier this week, the infamous matome blog Hachima Kikou posted an excerpt of an interview from 4Gamer about Star Ocean 5 in which the consideration of certain female characters’ designs was raised. It was revealed that their clothing has been changed both due to internal Japanese pressure and overseas feedback. Miki’s clothing change received a lot of attention, but personally I must admit I found it odd that Fiore’s clothing change received comparatively little.

The actual interview though, is much longer and covers much more than that, and as I received a request to translate it all, here is the first part. As the entire interview is gigantic, I’ll post part 2 later. For now, this first part covers mainly the beginning stages of development and character design.

I Want to Create Soul Food for the Fans. An Interview With Star Ocean 5 Creators Shuichi Kobayashi, Hiroshi Ogawa and Akiman

Star Ocean 5 – Integrity and Faithlessness (below, SO5) is about to release on March 31st (the PS4 version, the PS3 version is on April 28th).  The latest entry in the series that meshes science fiction and fantasy together in one setting features a system that seamlessly links movements on the field with battle and private actions (events that occur between characters).

We shall deliver the contents of a chance we got to speak to this game’s producer Shuichi Kobayashi, director Hiroshi Ogawa and character designer Akiman. Since this release comes after a seven year gap from the previous Xbox360 verson’s release, it appears as if there was various troubles and effort involved in starting up the plan for the game and its development work.

4Gamer: Thank you for speaking with us today. I think you’ve still got work left to do on the PS3 version, but I want to hear your feelings right now as you’re about to release the PS4 version.

Akiman: It’s been a while since I’ve been in charge of the graphics all the way to the in-game UI, so I’ve been happy to be able to be involved with the game in every respect. I’m not good at depicting heaps of people, so this job, where I have to draw seven people certainly was a study for me.

Hiroshi Ogawa (below, Ogawa):We still have work left to do, but the feeling of “immense relief” has been huge with this release. Part of that is because I’ve been involved with the series since 2003’s release, Star Ocean Till the End of Time, and when this title was announced, the reaction was more than I anticipated. I’m glad to be putting a period on the project, because I’ve always felt this nervousness and pressure involved with the job, thinking, “I have to create it with a genuine sense of meticulousness.”

Shuichi Kobayashi (below, Kobayashi): I want to look back on it as something of a difficult pregnancy, but after the PS3 version, we have to work on the overseas version, so I don’t feel like it’s “finished.” In the first place, there’s so much we still want to do with Star Ocean, so once the development work has a period put on it, I believe it becomes the “thinking” turn in the battle. Once SO5’s jersey has been retired after every player’s impressions and the sales come out, it’s time to think about how to continue the series.

4Gamer:Just then, used the word difficult pregnancy, but from the first announcement there was a delay of one month for the PS4 version and two months for the PS3 version.  What part of development needed that delay? In this one, the game enters events and battle seamlessly from the field and on top of that in battle a maximum of seven characters can participate, so I imagined that tuning that bit would take some time.

Kobayashi:We did do some balance tuning, but we received some time to add in some new elements in response to feedback we got from our demo at Tokyo Game Show 2015. To put it more concretely, during battle we added the ability to “step,” and while moving in the field the ability to “dash.”

4Gamer: So you were still adding new elements even during that period? Now development is at its climax.

Kobayashi: Well, yes. I had argued with Ogawa quite a bit, that adding the step move would not be for adding tactics to battle, but as an improvement to the feel of play, and that’s how we brought it in.  And because of that, it’s not like you could say the gameplay has greatly changed.

Ogawa:We added an element where you can start a new battle with the character you ended the previous battle with. When we initially announced it, it was something that we wanted to put in, but there were problems with that and a seamless system, so we weren’t able to realize it at the time of the demo. We got a lot of opinions from people who played it, so we thought to implement it in that time period.

Kobayashi:When the development had reached a climax and we had come to a point where we saw the remaining number of things to do, we were able to reach a decision and say, “If we had a month, we could add this.” At the beginning, we had too much to do and couldn’t see that far forward. I was the one who came out with it, but the actual work was tough and in the midst of it, honestly I regretted the delay. (laughs) It was one hellish month.

4Gamer: Just because you’ve delayed it, doesn’t mean you’ve got the time to relax, I’d say it on the other hand it means the things you have to do have increased.

Kobayashi:In the titles up till now, if you fixed a certain part, like battle or events, then it was all good, but this time because it’s all connected together seamlessly, if you add a change to one part, that influence comes out in other areas you don’t predict.

4Gamer:Ah, that sounds like it takes lots of time and hands.

Kobayashi:On consoles, there are people who aren’t connected to the internet, so I thought I wanted to squash as many bugs as humanly possible and checking everything was a pain.

Offering Akiman, “the designer with the will and the power,” the job twice

4Gamer:In the last interview we heard the story of how you’ve been involved with this title’s character design from the first days of development, but I would like to hear how you decided on hiring Akiman from all the other designers you could choose.

Kobayashi:All right, this time I thought I wanted to continue development jobs in a different style than what has been usual up to this point and and have the character designer and 3D model production unit play catch with each other, reflecting each other for the game and illustrated characters. And that’s why, I thought I’d like to work with designs that have “the will and the power,” and what immediately came to mind was Akiman.

Akiman:Actually, the first time I got an offer from Kobayashi, it didn’t fit into my schedule and I totally turned him down. After that, I received another offer, and I was a little surprised, because until now there weren’t really many cases like that.

Kobayashi:The first time I met him, I had talked one-sidedly of our schedule, and I felt as if I had only spoken of my situation, and so I thought to offer again, by asking what kind of thing might work?

Akiman:And the second time, it had just been around the time that I had lost a job I thought I would have to put all my energy into.

Kobayashi:And then we had a little more detailed conversation and it was at that point that we got his attention. Inside my head, I had already decided I would pester him at least three times.

4Gamer:It’s the “Three Acts of Gratitude.” (laughs) [Translator’s note: This refers to a famous scene in Sangokushi or Romance of the Three Kingdoms and is an expression wherein someone pays special reverence and politeness to someone to get them to do something.] So that’s how enamored you were of Akiman. Now I’d like to ask you Akiman, for the designs you did in this game, if you have a character you are most partial to, or there’s a character that took a particularly long time to develop, please tell me about it.

Akiman:I had a little trouble with Miki. I pretty much designed all the other characters from scratch, but with Miki there was a certain basis for her design. There were various levels of trial and error with that.

Ogawa:For Miki, we had already implemented a prototype for the basis of her character model in early development.

Akiman:It’s probably best to use the series other works for reference when designing characters, but when I looked at Star Ocean 4, the lines used to draw the characters were so intricate ……

4Gamer:The characters from 1-3 weren’t all that complex though.

Akiman:Yeah, that’s true.  In the end, my illustrations became quite complex with line work, but it took a long time to get it all to come together. When you’re illustrating and have a lot of lines, it can become a bottleneck. (laughs)

4Gamer:You took the illustrations from 4 in your hands and that just happened to connect to the character illustrations of this title.  Speaking of that, in the last interview, we heard about Kobayashi’s reservation about odd-numbered title’s having a main character with blue hair, so he asked you to do that, didn’t he?

Akiman:Yes. I gave Fidel blue hair like he had in the planning documents. For every character, I first start by choosing their color. Since 7 of them will be acting all together at once, that was in order to suggest which one is which by one glance. For instance, for the smallest character, Lilia, I made her a yellow so that would stand out.

4Gamer:Certainly, when I look at the official site, it’s easy to understand.

Akiman:Because if the player think “where is he?” for even a second, the game’s fun is lost. Today’s console’s games have such a great power to express things, we could have brought out a black-type character that we couldn’t have done before, but instead I didn’t and chose colors that would stand out.

4Gamer: Certainly, if there’s that many characters, black might be hard to see and not stand out. Is there anything else Mr. Kobayashi asked of you, Akiman?

Kobayashi: “How does this character act and what do they do?” I wanted him to make it so you could tell from their appearance.

4Gamer: Like someone looks like a magician and someone looks good at martial arts … that kind of thing?

Akiman: We truly made Fiore feel like a traditional magician, but when I presented the rough draft to them they were absolutely delighted about it, and I thought, “I’m really on the same wavelength of this development team.” (laughs)

4Gamer: Now that you mention it, Fiore’s design really makes an impact.

Kobayashi: It was OKed on the first try. (laughs)

4Gamer: Had you been holding on to a design like that for a while?

Akiman: No, I just got the idea on a whim. This series’ magic users are typically erotic* or so I’ve been told, and that’s where the idea was born. Lately in the game industry, if you put out a female character with lots of skin showing, you’ll have to eat up time to correct it, so I then decided to go with the principle of, “She’ll be erotic, but won’t be revealing too much skin in terms of total area.” … It actually turned out we got a CERO C!

*The setting is that Fiore shows off her pride in her high level shaman magic by exposing her skin and the runes she has on it.

4Gamer:Whoa, wait a minute, the reason for the rating couldn’t have been just Fiore’s clothes, right? (laughs)

Ogawa: Nope, most of the reason was Fiore’s clothes. (laughs)

Kobayashi: And then, from overseas, we had this feedback about Miki, “it’s not good for teens to be wearing sexual underwear,” and so we increased the amount of cloth covering her.

Ogawa: That was really a shame. I felt bad about it. (laughs)

Kobayashi: When we designed the 3D models from the base of Akiman’s design, and added texture to it, the voluptuous quality of it increased and I was bit surprised.  “I wonder if this is okay for  inspection?” I thought. (laughs)

Ogawa:That’s because when we put them up in their 3D model form, their proportions were a little squashed and the feeling of body fat being emphasized became really strong.

Akiman:When something based on geometry gets stuck onto something that was organic, that will happen. (laughs)

4Gamer:Akiman, you’ve been involved with games since the time they were pixel graphics, but as the power to express things in these consoles has grown, I bet the methods of production and character design have changed.

AkimanIt has changed. Back then, you’d draw illustrations to help players’ imagination. “On the screen right now is a collection of dots and that’s supposed to be a girl,” that type of thing.

These days the amount of information in games is so huge, if you don’t include as much information into your illustrations as time allows for, then they’ll be overshadowed by the environment around them on the screen.

Kobayashi:Just a while ago we were talking about how the 3D model team and and the character designers played catch with each other, but to put it more concretely, first Akiman would draw a character, based on the 3D model of the character that would be created, it would be returned to Akiman, Akiman would draw illustrations of them standing or for PR use based on the 3D models … it was that type of back and forth.

4Gamer:From the stance of an amateur, they’re probably thinking why take the time to do things twice, why take such an approach?

Akiman:I wanted to make the difference between the in-game characters and their illustrations as small as possible. As well, because there were others who added details to characters beside myself, I thought it best to unite all of the feeling we were trying to bring about.

KobayashiI asked him to get near to the balance we’d have with the 3D models when drawing the illustrations. When you do it that way, when the player sees the Fidel shape they recognize it as Fidel, whether that’s an illustration or 3D model. That way we can perhaps keep it like past series entries where you don’t feel the difference.

4Gamer:So when you first designed the characters and when the final design came through, what parts changed?

Akiman:If we’re talking Fidel, it was his hair. At first, it flared out more and the behind was like Cyborg 009’s Joe Shimamura with wild shaved spiky hair, something like that. When it became a 3D model, while they did accept that image, the prickly parts were smoothed out into a more natural feeling and from then on, the illustrations followed that kind of hair style.

4Gamer:So both the 3D modellers and the illustrators gave each other influences and it became like it’s current form.

Akiman:That’s right. SO5’s 3D models have a unique charm to them. It’s not photo real, or comical. The illustrations I draw are have tall proportions, but when they become 3D models, they are squeezed and shrunk and it feels like the amount of visual information per unit increases. Since the screen is longer on the sides, I suppose it’s also best that they shrink. Seeing the character I’ve drawn be reborn, I think I’d like this new power too. (laughs)

4Gamer:Of course. To return the discussion a bit, Akiman said there was a base for the prototype of Miki’s character model from the days of early development. Why wasn’t that Fidel?

Ogawa:It had been a while since the last game when we decided to start work on the sequel, so the first hurdle was deciding how we should approach making the visuals. Should we make them photo real, or like cartoons … we’re talking about the direction of how to represent them materially. When you think of that from that point, the most appropriate decision is to start thinking of this problem with a girl, because when it comes to getting the size of their eyes, the balance of their parts and the amount of defined features in their faces, the hardest characters are them.

Akiman:When we say it’s photo real or toon, that’s to make it easy to understand, but actually, for each work, the most appropriate art style ends up changing slightly.

I personally think cartoonish manga is the type of drawing that has evolved to involve the least amount of effort when you want to tell a story. Is it best to represent things in a manga art style where you draw each frame by frame, or would it be best represent them with computeristic expressions … you always have to think about stuff like this.

For SO5, I thought it would be interesting not just to aim for a simple cartoonish thing, but search for the most appropriate art style, and I like this way of doing it.

4Gamer:And with an aim to search for those points that can’t be expressed in words, Akiman and the design team’s back and forth boiled those character design’s down.

Akiman:That’s it. Perhaps after SO5 is released, we’ll have words to express what the art style is like.

KobayashiThere’s an easy part to toon shading, but I noticed that the type of drawings that make players excited have things that are different from that. Especially, when the it’s a setting for adventure, you want the background to be dense with detail. We argued quite a bit how to depict this. Of course I oversaw each character, but until the “final form of the pictures” came out with all the background and lighting, I couldn’t confirm that the choices I made were right and there was a time spent being quite anxious.

When I showed Akiman the test version of an event scene between Miki and Fidel, he said, “This Miki is cute,” and I remember being incredibly relieved.

Akiman:When Fidel started moving around in-game and the remaining 6 characters came running out of the woodwork, I thought it felt so fun … like the type of fun you have when on the way home from school you all go to a department store and buy stuff to eat.

That’s it for now. Tune in later for Part 2.

Translation: Behind the Spectacular Sales of the North American version of Fire Emblem if Lies Discontent with its Localization

On February 25th, Japanese site Automaton, which tends to have a greater focus on overseas news than other gaming sites, reported on the Fire Emblem Fates situation in the context of the Torrential Downpour controversy one week after the game went on sale in North America. This wasn’t the first time Automaton has covered the Fire Emblem Fates controversy, but the translation for this particular article is below:

Behind the Spectacular Sales of the North American version of Fire Emblem if Lies Discontent with its Localization. Material was Cut Under Careful Consideration

By Minoru Umise x 2/25/2016

Nintendo of America reported that Fire Emblem Fates (Japanese name: Fire Emblem if) sold over 300,000 units in its first week. While these sales only account for the three days after it’s February 19th release date, it’s a record that is near five times above that of the previous release Fire Emblem Awaking (Japanese name: Fire Emblem Kakusei) and it’s reported that this is the most favorable opening in the franchise’s history. In Japan, this is the same game that was already on sale in 2015, and even as in Japan, two versions were separated and sold, Birthright (Byakuya Kingdom) and Conquest (Anya Kingdom) and it is said that Birthright has sold somewhat better. It has already fared well in overseas reviews, and it would appear the targets of such praise are such elements as the connection between characters, the careful game balance and the My Castle feature.

Fire Emblem is the long-running Nintendo simulation RPG series that has continued since 1990. If your compatriots die once, they won’t come back to life, a limited amount of enemies meant the amount you could level up was limited as well, etc.; it gained popularity for it’s high difficulty, known as “simulation with teeth.” The previous release, Fire Emblem Kakusei broke with the, until then, hardcore style and added phoenix mode where dead units can be revived, a free map where you can level up freely, etc.; there were measured approaches to make full-bodied features for beginners and it gained many new players and reignited the series’ popularity. Fire Emblem if had favorable sales in Japan, but even in America it has had a brisk start. Although the game content may be praised on one side, it appears the localization for the North American market has bought the criticism of a certain group of fans.

Deletions that Lack Consistency

The same sex love in Fire Emblem if was seen as problematic and in the European and American versions, part of it was deleted; this has already been conveyed by us before, but the deleted content wasn’t those expressions only. The most drastic example would be the abolishing of the skinship system. In this game, between story missions at My Castle, you can indulge in skinship with whatever character you like. This is a mechanic in which in the bottom screen, the character’s face is displayed, and if you slide or touch certain places, hearts will appear and if a certain level of hearts are reached, the character’s affinity level will be increased. In skinship, the character’s reaction is really only limited to their face. There is no special option to touch their chest and get what could be interpreted as a sexual reaction. However, during skinship, characters’ breath will quicken and they’ll give what could be described as sighs, so it is a fact that it isn’t a simple expression of “petting.” It is thought that perhaps the reason this content was deleted was out of fear over these vocal expressions. In place of such a skinship mode it appears there is a feature where one can blow and wake up a sleeping character, but in a game where the connections of characters through romance and marriage is seen as important, a skinship mode is a tantalizing feature, and the price for this “deletion out of fear” is not a small one. On the other hand, it appears that things like the hot springs where characters can bathe in bathing suits, and accessories like the shell swimsuit or the cloth of darkness that have a lot of exposed skin and are more extreme have not been deleted, and thus doubts remain about the consistency of the motive to delete sexual content.

As well, there have been changes enacted in the “support conversation” mechanic in which characters who have come to know each other more intimately on the battlefield talk and deepen their bonds. This includes not only a great deal of aforementioned same sex love dialogue, but support conversations beside it have been deleted. One that sticks out is a conversation that occurs between the Dragon Knight Belka and the ninja Saizou, a part of which has been deleted from the DLC “Invisible Kingdom.”

There are support conversations prepared from C rank to S rank, but what has been changed is the portion where the two characters begin to come closer together in the C rank conversation. Belka and Saizou are each characters who have repeatedly killed for their jobs, and it is this backdrop as peddlers of the same industry that their conversation begins. The conversation content is such that in contrast to Belka who claims from a certain period she does not remember the number of people she has killed, Saizou spills out that he cannot forget the human voices and faces he’s killed while conversing with Belka. It would appear this conversation has been completely deleted out of the North American version, neither say a word to each other and the conversation ends in this silence. Belka and Saizou aren’t talkative characters, so it’s not as if it breaks with their characters, but if you know the original writing, one feels a certain world weariness for the whole situation.

I’m not going to deny that a conversation about counting the number of people you’ve killed is a pretty extreme one, but this conversation isn’t one that affirms and encourages murder, but it could be said it is one in which you can see a flicker of Saizou’s inner conflict. As well, in Fire Emblem if, killing people is an act that cannot be avoided and in the Anya Kingdom version, that fact in particular weighs upon the player character. There is no internal logic in deleting a conversation that contributes to the question proposed by the game’s theme throughout its course.

Changes that Cannot Win Over Fans

It’s not just deletions, but changes in Fire Emblem Fates are also a part viewed as a problem. There are voices that raise the portrayal of Zophie as a potent example, saying that a part of the text does not portray the character’s charm correctly in the translation. In the Japanese version, Elfy is said to be strong, gluttonous, a little shy, but nice; in the North American version while she remains strong and gluttonous, she’s drawn as a boisterously bold older sister type. As well, in regards to Hisame, who is cool and collected in the Japanese version, the character says things to the effect of “I’m more stubborn than pickles,” which is some sort of attempt to use pickle expressions to paint the character as some kind of pickle addict. In this manner, if you were to compare the North American version and the Japanese version, it has been pointed out that there is a lot of awkwardness in the translation.

On top of that, an option to play with Japanese audio that existed in the previous game Fire Emblem Awakening isn’t featured in this one and the fact that a method to play as close as possible to the Japanese version doesn’t exist is another factor that is contributing to the discontent. Beside these, there are rumors that are trickling out such as, “the North American voice files are only 60% of the Japanese version’s” or “among the costumes, a rather sexy one has been deleted.” As time passes, it’s predicted that even more changes and deletions will be discovered.

It is in response to these types of changes and deletions that a certain group of fans appear to be preparing a specific patch for Fire Emblem Fates. Even in our country Fire Emblem fans are known for being extremely enthusiastic, but foreign enthusiasm isn’t any less heated. After the Japanese version went on sale overseas, a fan translation that would translate the scenario and support conversations from Japanese to English was created without waiting for the North American release. In order to use this fan translation and play something closer to the expression of the original Fire Emblem if release, development on a patch continues.

Emblemers and the Fate of Localization

Behind the hit sales of Fire Emblem Fates, a certain segment of Emblemers have pent up frustration at a localization that is too careful in its consideration of sexuality and violence and carelessly changes characters’ personalities. It should go without saying that the removal of the skinship system would meet criticism, but the Fire Emblem series has been supported by not only its gameplay systems, but its characters, and therefore, in a localization, even though there may be a wall between languages, when it comes to changes in personality and conversation tone, these tend to be scrutinized strictly. It’s true that even with the last release Fire Emblem Awakening and other games in the series, in the history of the North American localizations, there are any number of things that have been pointed out up till now and that a conflict between Emblemers and the localizers has existed before.

As well, the fan frustration toward “Treehouse,” the group in charge of Nintendo’s localizations may also be related to this incident. In 2015, in addition to changes to Xenoblade X and Zero: Maiden of the Black Water that were done to address concerns of sexuality, in The Legend of Zelda: Triforce Heroes net slang was added, and along the two axes of censorship of expression and translation, Nintendo is buying complaints from its user base. In regards to censorship of expression, various Western countries are particularly strict when it comes to it and thus there’s a certain sympathetic voice to be found, but translations that sometimes crush the nuance of the original text with their own special memes seem to be split in reception. However, it should be said the final rights to change things in localization belong with Nintendo. It’s probably not the case that it’s just by TreeHouse’s decisions only that these localizations are made.

It’s not an easy feat to localize a game like Fire Emblem if with its huge amount of text without destroying some of the character’s appeal. It’s also a fact that to change a few of the expressions in the Japanese Fire Emblem if and still have a measure of consistency is a mission with a high level of difficulty. However, putting aside the question of whether some of the sexual or violent expressions went too far, it can’t just be the Americans who live in North America who wish for a localization that upholds the quality of the release in its original country. I wish that when a localization occurs, that deletions or changes could be the thing that is “toned down.”

Interesting that at the time of this writing, that was more than a month ago and much of it still holds true. Certainly, it isn’t an easy thing to localize a game like Fire Emblem if, but we’re trying here!