« on: December 20, 2012, 01:49:24 AM »
i don't think so. EGS hasn't been so crazy about secrecy before.
And we... are live. Post away about Recettear and the business!
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Because half a year after release nobody gives a crap about some title and it's sales are negligible in Japan. It makes much more sense to just release it somewhere else for more revenue (as long as translating and publishing costs are lower than projected profits). Unless you can rebrand the same damn thing and re-release it.
Namco is essentially shoving content down the throats of otaku every month and they pay for it monthly more than the game itself in the first place. Almost like subscription, except it's optional.
If they were to release Idolmaster in US with lower price point for both the game and DLC, gullible Japanese otaku would realize that they're being ripped off into oblivion by Namco and would just rage. Sales of Idolmaster games and it's DLC would start to dwindle until Namco would finally give in and did a price drop to equalize it with US prices.
I guess that setting the price for DLC the same as in Japan would make our side of internet rage and go "WTF NAMCO ARE U OUT Of YOUR MIND" and Namco's image would suffer anyway (well the US part at least).
Nintendo games are already way too much popular outside of Japan, and it would be criminal if a mainstream Mario, Zelda or Pokemon title wouldn't be released here (I don't even know how do they price these games in Japan). They seem to be made with entire world in mind.
it assumes that the game would need to have the same price tag in the US as in Japan. For what reason?To prevent reverse-importing from cheaper markets.Other games don't have the same price tag as well.Because those "other games" aren't popular enough for it to make any impact. Idolmaster is Namco's cashcow franchise, which mostly appeals to Japanese audience.And it also assumes that the game needs to sell a lot of (overpriced) DLC to be profitable. I don't see a reason why, especially since a localization wouldn't nearly cost as much as creating the whole game from scratch.It would need to be profitable enough to offset aformentioned potential reverse-importing.additionally: what licensing hell? afaik all the songs in the games are originals made just for the games (and CDs/concerts which are also part of the franchise)
How much of this music is "1st party" and not created by "indie" artists (just like with Hatsune Miku and Project diva)?
They may be made for games...but I thought that copyright in Japan worked a bit different? As in, something like Namco either licensing songs from those artists or just closely co-operating with them, but if you want to license these, you'd have to go through both Namco and those artists. Well it makes sense to me.
just to add to the speculation:Don't get your hopes up.
It would explain the secrecy, but i don't think it would take that long since the shiny festa games don't have that much text compared to the other im@s games.
> Idolmaster was more like a guilty pleasure, but still fun to watch.
The iDOLM@STER hooked people in as a guilty pleasure but turned out to be a geuinely good show.
Remind me which summer?It's the same summer as Usagi Drop. Summer 2011.
Those are the ones that stick out yeah some seasons have a lot of good ones and other seasons only have a few. From last year i rather liked Tiger & Bunny. I think I probably see the upcoming season as one or two I'll watch and the rest don't really interest me. I'll watch a few first eps to reevaluate my opinion and then say " okay this isn't so bad after all"
So ok, it wasn't too bad a summer because Usagi Drop was good, but that was all. I generally expect one to two good ones per season and a handful of mediocre ones. That season had one great series... and that was it.
^I actually found Natsuiro Kiseki quite strong. And hilarious. It does get more serious towards the last third or so and less of the "what will the rock troll them with this time?"
I admit I was under the impression that would be Sylphiel.
Part of my problem with the term "moe-blob" is that we can list out all the other traits of a given character that would strictly not make the term apply... but the conversation almost always devolves into people playing up these traits for characters they like, and dismissing them for characters they don't.
Which ends up making the term equivalent to "characters I don't like". And so when someone laments "moe-blob anime" it ends up meaning "anime with characters I don't like".
Oldschool moeblob's that I can think of?
Sailor Saturn and Mercury
Amelia from Slayers, especially in the first few series
Is there a special subset of female protagonists who, despite being strong, determined and pretty much together emotionally still find the need to cling to the wet-blanket male protagonist who does nothing and yet is somehow central to that girl's imagined emotional well-being? Cuz' I'm getting kind of sick of that. For examples see: EVERY LIGHT NOVEL SERIES EVER. Japan. I love you. But you need to fix this if we're gonna continue seeing each other.
You have absolutely no goddamn idea. The next time we do something like this, we're agreeing on a solid announcement date ahead of time, I swear, because TSU's point about not having announced shit in over a year (our last game announcement was FS back at AX 2011) hits home.
Also, just another gentle reminder to keep discourse civil.