How the fuck did you people manage to allow frit-kun to post the equivalent of slowpoke on this board? gosh.
-
Hey, guest user. Hope you're enjoying NeoGAF! Have you considered registering for an account? Come join us and add your take to the daily discourse.
Persona Community Thread |OT4| The Golden Number
- Thread starter Dantis
- Start date
How the fuck did you people manage to allow frit-kun to post the equivalent of slowpoke on this board? gosh.
TurnipFritters
Member
A lot of people have preconceived notions re: shoujo stuff, and I think that's why Madoka works. When it comes down to it, it really isn't breaking new ground* (for comparison's sake: The 90s were full of messed up shoujo stuff - Magic Knight Rayearth, Revolutionary Girl Utena, Vampire Princess Miyu, and Sailor Moon), but since so many people think they know what shoujo stuff is all about it's kind of shocking when they actually sit down and watch it.
Yup, Sailor Moon is pretty dark, and I think a lot of that misconception comes from the dub which tried to make it all light and fluffy because somebody thought of the children.
Messed up there, meant to say I had pre-concived notions about Madoka, not shoujo. I expected a cliche grinder, like say... Firefly. Thankfully it wasn't that.
Even subverting tropes or expectations wasn't why I ultimately ended up loving the show though. It was the characters that sold it for me.
Even subverting tropes or expectations wasn't why I ultimately ended up loving the show though. It was the characters that sold it for me.
snow in jamaica
Member
hashino might as well have said nothing but "we'll do things a bit differently obv."
It's been interesting to look at the reception to the article on the various sites my translation has popped up on in terms of what people think of what Hashino has to say. TurnipFritters isn't the only person to say they didn't really enjoy reading that interview because they were looking for more concrete information on Persona 5, which is a valid sentiment to take, although I think given the timing of the article's original publication, it was pretty inevitable knowing Japanese games media that he wasn't going to be talking about that sort of stuff so soon after the game was just announced. Had the interview been in my eyes just a rehashing of that other existing information, I wouldn't have bothered translating it since that's largely how the Persona magazine has functioned in years past. I'm short on time these days as I focus on moving back to Japan, which is looking to become more of a real thing more and more by the day.
I mostly translated it for the same reasons that people like CJ and Flux have cited; there's insight into what Hashino and his team are going for with all of these games, not just Persona 5, and I thought it would be worth translating considering how rare it is for any Japanese developers to talk more abstractly about game development outside of trade magazines and one-on-one interviews done long after a game's release. And like I've mentioned before in this thread, Hashino speaks pretty earnestly in Japanese; I don't know how much that came across in my translation, but he definitely gives off that impression in his native language. It's hard to convey when doing an English translation specifically, but when you speak in Japanese, there's a lot in the grammar and vocabulary that has to be inferred in terms of a speaker's actual intent. It's just considered correct and okay to be mum on certain things when you feel the listener has a solid grasp of the context and customs going into a conversation and fully comprehending sentiments in Japanese means that there's a massive amount of subtext you have to read between the lines. You can't just take at face value the things that people say in Japanese as being all that they're actually saying; what they don't outright say because of those linguistic mechanics matters much more than it does in many other languages. That is definitely going in what Hashino says in Japanese. Perhaps I didn't convey that the best way I could in my translation. I can try and bridge the gap to some degree, but the reality is that Hashino's audience for that interview was never originally intended to be anybody outside Japan and it shows in the way he carries himself, for better and for worse.
Having lived in Japan previously, I believe him when he says Persona 5 is tackling a different sort of freedom than the games have focused on up until now. It's hard to be entirely certain what's on his mind since, yeah, he's obviously being vague in the original Japanese, too, but when he speaks of making a game about people feeling shackled and wanting to be free, as a Japanese developer, that tells me he has people like my Japanese friends over there, a lot of people who feel a lot of existential emptiness because of the structure of that society and what it's become in a post-bubble economy. If his intent is indeed to keep the setting in high school, he has a lot of material to work with in terms of social issues that the other games haven't covered up until now; I can't begin to tell you how serious depression and suicide is becoming among that demographic because of a variety of factors and the ensuing apathy that continues in people's work lives over there if they manage to get through all of that. Knowing that, if Persona games really are a series about freedom at their core, then having seen and experienced what I have over there, the freedom to live in the moment or be yourself like what Persona 3 and 4 depict is a very different sort from what could potentially be the freedom to actually want to exist and grow like what he's saying Persona 5 focuses on. It's hard to articulate exactly in English what I felt when I first read that interview and I didn't want that bias to enter my translation since it's all speculation at this point; I'll just say that, in terms of philosophical history, the rhetoric about what freedom means has taken a different path to entering the Japanese consciousness and isn't ubiquitous in the same way many western takes have become. It might not feel like a big deal to a lot of westerners what Hashino is potentially proposing, but it might make a real splash in Japan if he and his team are remotely successful at satisfying their ambitions.
I'm not writing this to discredit any opinions that the interview wasn't worth reading or anything; it's an honor to have any of my writing read by people, let alone so widely, but I always do so never hoping or expecting everything I work on to win widespread approval. I just thought I'd chime in yet again about what that interview says to me as the translator when I read it in Japanese and hopefully it sheds at least a little light on why I personally bothered to work on it when, like I said, I've got other things to do as well. No need to agree with me regardless even after all that. Just wanted to be heard as the one who worked on it.
I mostly translated it for the same reasons that people like CJ and Flux have cited; there's insight into what Hashino and his team are going for with all of these games, not just Persona 5, and I thought it would be worth translating considering how rare it is for any Japanese developers to talk more abstractly about game development outside of trade magazines and one-on-one interviews done long after a game's release. And like I've mentioned before in this thread, Hashino speaks pretty earnestly in Japanese; I don't know how much that came across in my translation, but he definitely gives off that impression in his native language. It's hard to convey when doing an English translation specifically, but when you speak in Japanese, there's a lot in the grammar and vocabulary that has to be inferred in terms of a speaker's actual intent. It's just considered correct and okay to be mum on certain things when you feel the listener has a solid grasp of the context and customs going into a conversation and fully comprehending sentiments in Japanese means that there's a massive amount of subtext you have to read between the lines. You can't just take at face value the things that people say in Japanese as being all that they're actually saying; what they don't outright say because of those linguistic mechanics matters much more than it does in many other languages. That is definitely going in what Hashino says in Japanese. Perhaps I didn't convey that the best way I could in my translation. I can try and bridge the gap to some degree, but the reality is that Hashino's audience for that interview was never originally intended to be anybody outside Japan and it shows in the way he carries himself, for better and for worse.
Having lived in Japan previously, I believe him when he says Persona 5 is tackling a different sort of freedom than the games have focused on up until now. It's hard to be entirely certain what's on his mind since, yeah, he's obviously being vague in the original Japanese, too, but when he speaks of making a game about people feeling shackled and wanting to be free, as a Japanese developer, that tells me he has people like my Japanese friends over there, a lot of people who feel a lot of existential emptiness because of the structure of that society and what it's become in a post-bubble economy. If his intent is indeed to keep the setting in high school, he has a lot of material to work with in terms of social issues that the other games haven't covered up until now; I can't begin to tell you how serious depression and suicide is becoming among that demographic because of a variety of factors and the ensuing apathy that continues in people's work lives over there if they manage to get through all of that. Knowing that, if Persona games really are a series about freedom at their core, then having seen and experienced what I have over there, the freedom to live in the moment or be yourself like what Persona 3 and 4 depict is a very different sort from what could potentially be the freedom to actually want to exist and grow like what he's saying Persona 5 focuses on. It's hard to articulate exactly in English what I felt when I first read that interview and I didn't want that bias to enter my translation since it's all speculation at this point; I'll just say that, in terms of philosophical history, the rhetoric about what freedom means has taken a different path to entering the Japanese consciousness and isn't ubiquitous in the same way many western takes have become. It might not feel like a big deal to a lot of westerners what Hashino is potentially proposing, but it might make a real splash in Japan if he and his team are remotely successful at satisfying their ambitions.
I'm not writing this to discredit any opinions that the interview wasn't worth reading or anything; it's an honor to have any of my writing read by people, let alone so widely, but I always do so never hoping or expecting everything I work on to win widespread approval. I just thought I'd chime in yet again about what that interview says to me as the translator when I read it in Japanese and hopefully it sheds at least a little light on why I personally bothered to work on it when, like I said, I've got other things to do as well. No need to agree with me regardless even after all that. Just wanted to be heard as the one who worked on it.
TurnipFritters
Member
There's a lot of mood whiplashing too, even in the JP version, so, like, they'll have a character die, then the villain make a comical exit, then another character will die. Which, Madoka really doesn't do that with the comedy (Maybe the new movie does, I don't know).
Yeah. Madoka works as a deconstruction but it doesn't throw all of its eggs into that basket, and even if you go in knowing what to expect it's an excellent show.
Yep, that's the kind of vibe I felt the interview impliedeven though I don't have the Japanese context to back it upand it's a big part of the reason why I think the interview was very far from derivative and disagree that it did not contain anything worth reading.
Poetic.Injustice
Member
Thanks for the interview, It was very informative.
Thanks for the continued notes on your translation Pepsiman. I get the idea that people wanted more concrete info but trying to put down the interview is insane imo. We got some insight into the team's mindset and at this early stage in the PR cycle that's about all we can hope for. I think people are just really hungry for more info and are being impatient about it.
Makoto Yuki
Banned
Yup, Sailer Moon was the awesome though. Probably the first anime I watched, never finished it sadly. I would imagine the original Japanese is better than the English dubs I'm use to.
Once again, thank you for your fantastic work. I appreciate all the time and effort you put into it.
Honestly, the part I put in bold was all I got out of the interview as well. For that alone it was worth reading. It's interesting stuff. Learning about the development process of a game you are excited for is fun in my opinion. Also the insight from Hoshino and his team is definitely worth knowing. While I would have also liked to more information about new gameplay systems and mechanics, It's always nice to sit down and hear what the developers are going for when they are making a game.
SloaneRisette
Member
Really enjoyed the translation, Pepsiman, thanks a bunch for it!
I can get what you mean by how earnest he is, it sort of seems like that just from the snippets I was able to read thanks to the translation. And honestly, I did enjoy a lot of the content from the article, especially about how he won't try to force a message or anything. Really interested to see how things turn out.
I can get what you mean by how earnest he is, it sort of seems like that just from the snippets I was able to read thanks to the translation. And honestly, I did enjoy a lot of the content from the article, especially about how he won't try to force a message or anything. Really interested to see how things turn out.
Very well said Pepsiman, and thanks again for translating it for all of us.
To reiterate, I didn't go into Madoka with the idea of it being a collection of tropes and stereotypes. I went in thinking it was going to be an obnoxious cliche grinder. The whole argument about it "breaking new ground" or it being "the first dark Shoujo" is a separate argument entirely. One I've witnessed many times before even watching the show.
Ever seen the movie Cabin In the Woods? That's a perfect example of cliche grinder, Joss Whedon has become famous for shitting on tropes in his work. In that film, it pokes fun of and points out horror film tropes over and over. It doesn't deconstruct them, it just says "HAHA ISN'T X STEROTYPE FROM SLASHER FILMS DUMB?" and that's it. No actual commentary or deconstruction. (I love that movie, but that's totally what it is)
What's what I expected Madoka to be, a cliche grinder of the Shoujo genre. Obviously it could've done that at points, I wouldn't be able to recognize the tropes of that genre easily obviously, but it's clear that it was never the Director's (sole) intent. That was what was so surprising about the show to me.
To reiterate, I didn't go into Madoka with the idea of it being a collection of tropes and stereotypes. I went in thinking it was going to be an obnoxious cliche grinder. The whole argument about it "breaking new ground" or it being "the first dark Shoujo" is a separate argument entirely. One I've witnessed many times before even watching the show.
Ever seen the movie Cabin In the Woods? That's a perfect example of cliche grinder, Joss Whedon has become famous for shitting on tropes in his work. In that film, it pokes fun of and points out horror film tropes over and over. It doesn't deconstruct them, it just says "HAHA ISN'T X STEROTYPE FROM SLASHER FILMS DUMB?" and that's it. No actual commentary or deconstruction. (I love that movie, but that's totally what it is)
What's what I expected Madoka to be, a cliche grinder of the Shoujo genre. Obviously it could've done that at points, I wouldn't be able to recognize the tropes of that genre easily obviously, but it's clear that it was never the Director's (sole) intent. That was what was so surprising about the show to me.
I'm still super flattered people even care about me working on it as much as they do. I don't really have a rhyme or reason for what I work on aside from just being interested in something myself and wanting to spread the love in English, so reception tends to be hit or miss. I have a following, but most of the passion projects that I'm really into as a translator have gone under the radar, so I'm not used to being noticed outside that niche I've managed to curry favor with. I did a similar project with a Persona 4 Dancing preview in Dengeki when that first came out and that got around, but nowhere near to the degree that this interview has and I'm still not comprehending it, really. Now I've got foreign language sites translating my translation and it's all... aaaaaah! A bit much for somebody used to just scrimping by on freelance gigs to keep a roof over my head, to say the least, ahaha.
I had my doubts last year about whether what I was doing was really worth it for a variety of reasons and all this madness has been a pretty good rebuttal that maybe I'm actually doing okay for myself as a poor 23 year-old just finding their occupational footing in the world. To have people like it as much as they do when I feel my work can't compare to the people I admire as a translator myself makes me smile to no end. So thanks for the constant stream of kind words. You've done my self-esteem a lot of good.
...and thank you Atlus for not suing my ass. I'm guessing if you didn't know who I was that you do now and I appreciate you not exacerbating my poverty. That's always nice. ;D
Anyway, I feel like I'm going to be perceived as fishing for more attention if I keep rambling on like this, so I think I'll go mum about this and just focus on working on the next project... which will probably just be more Persona Q trailers. I swear I work on things other than Atlus stuff. I'm not some yandere stalker for their work.
Yet. Also got some Super Dangan Ronpa 2 to play. Those feels about despair and hope and bears and shit aren't gonna be had by themselves!
I had my doubts last year about whether what I was doing was really worth it for a variety of reasons and all this madness has been a pretty good rebuttal that maybe I'm actually doing okay for myself as a poor 23 year-old just finding their occupational footing in the world. To have people like it as much as they do when I feel my work can't compare to the people I admire as a translator myself makes me smile to no end. So thanks for the constant stream of kind words. You've done my self-esteem a lot of good.
...and thank you Atlus for not suing my ass. I'm guessing if you didn't know who I was that you do now and I appreciate you not exacerbating my poverty. That's always nice. ;D
Anyway, I feel like I'm going to be perceived as fishing for more attention if I keep rambling on like this, so I think I'll go mum about this and just focus on working on the next project... which will probably just be more Persona Q trailers. I swear I work on things other than Atlus stuff. I'm not some yandere stalker for their work.
Yet. Also got some Super Dangan Ronpa 2 to play. Those feels about despair and hope and bears and shit aren't gonna be had by themselves!
Don't worry about it. You should hang out. You seem cool.
I'm still super flattered people even care about me working on it as much as they do. I don't really have a rhyme or reason for what I work on aside from just being interested in something myself and wanting to spread the love in English, so reception tends to be hit or miss. I have a following, but most of passion projects that I'm really into as a translator have gone under the radar, so I'm not used to being noticed outside that niche I've managed to curry favor with. I did a similar project with a Persona 4 Dancing preview in Dengeki when that first came out and that got around, but nowhere near to the degree that this interview has and I'm still not comprehending it, really. Now I've got foreign language sites translating my translation and it's all... aaaaaah! A bit much for somebody used to just scrimping by on freelance gigs to keep a roof over my head, to say the least, ahaha.
I had my doubts last year about whether what I was doing was really worth it for a variety of reasons and all this madness has been a pretty good rebuttal that maybe I'm actually doing okay for myself as a poor 23 year-old just finding their occupational footing in the world. To have people like it as much as they do when I feel my work can't compare to the people I admire as a translator myself makes me smile to no end. So thanks for the constant stream of kind words. You've done my self-esteem a lot of good.
...and thank you Atlus for not suing my ass. I'm guessing if you didn't know who I was that you do now and I appreciate you not exacerbating my poverty. That's always nice. ;D
Anyway, I feel like I'm going to be perceived as fishing for more attention if I keep rambling on like this, so I think I'll go mum about this and just focus on working on the next project... which will probably just be more Persona Q trailers. I swear I work on things other than Atlus stuff. I'm not some yandere stalker for their work.
Yet. Also got some Super Dangan Ronpa 2 to play. Those feels about despair and hope and bears and shit aren't gonna be had by themselves!
You've been so great to the Persona community, I feel like we ought to be thanking you more. So thank you for your wonderful translations, and here's to a bright future for the Persona franchise.
Cheers ♪
You've earned the kinda words, Pepsiman. As others have pointed out, you did what basically no mainstream gaming outlet in the west bothered to do in translating that interview. Regardless of how some may complain about Hashino's vagueness, we now finally have some ideas about where they're going with P5. Rather, much more than we did previously.
You should come on the podcast, I'd love to hear more about all the work you put into these projects.
You should come on the podcast, I'd love to hear more about all the work you put into these projects.
InsaneElite
Member
Your translations and further elaborations are always a treat to read, Pepsiman. Looking forward to seeing more of your work in the future.
Also a belated happy birthday to Gazoinks!
Also a belated happy birthday to Gazoinks!
Heh, must be pretty good to get that recognition if one's after a localization job.
Knowing you're 23 and I used to read your translations on GB three years ago or so must mean you had gone to Japan, or at least learned a fair amount of Japanese, when you were 20. Impressive. Or maybe I've just got very little done for being 20 myself, heh.
God, it's all a blur. By 20... I would have been to Japan once to study in Tokyo for a summer, but would have still been working on heading back there that next year. But yeah, I studied Japanese pretty constantly since more or less the start. I didn't take breaks even during the summer so that my brain could stay fresh and I think if I work out the numbers it's come out to something like... two, three months' worth of time overall? A few thousand hours since I started at 18. 20 was when I started getting serious about doing translation as a hobby because I felt like I had finally waded through all of the essential stuff to be able to really articulate myself and could just switch gears on learning the more nuanced stuff that you only find in certain contexts.
I think that review I did for Catherine like three days after its Japanese release around that time was the first substantial game I played to completion in Japanese after I started learning it. There were a handful of imports I'd fumbled my way through before I started learning it, but a lot of games are pretty doable without knowing the language if you just bash your head enough on them, so I tend not to count them. I do obviously read a lot of literature and make sure my Japanese stays sharp in terms of how well I can consume and enjoy other mediums, but I will admit that games like Catherine are usually the best at getting me motivated to practice outside formal studies. My fluency still isn't perfect, especially since I've been back in the States and don't really get much exposure to socializing in Japanese beyond chatting with friends online, but I've been happy that it's been good enough that people find it worth paying me for on occasion at least. I did the math based on fluency certification numbers a while back and it turns out my demographic of a 20-something American bilingual in Japanese as a non-native is a pretty lonely one and has affected my job search, so any chance to put my knowledge to use is a good one to me.
Honestly I feel I haven't accomplished all that much at my age, either, but maybe that's just the state of the job market exacerbating things or something. I'll probably never get used to any compliments I might get about this sort of stuff because to me it just feels normal to be able to do all of this and what I'm most interested in is what I can't do yet, ahaha.
Makoto Yuki
Banned
I swear I work on things other than Atlus stuff. I'm not some yandere stalker for their work.
You may not be, but I am.
All joking aside, keep doing what you love. Pursue it.
Well, that was a whole hell of a lot and well-said to boot.
Thank you, Pepsiman. I really think you said it all. I think understanding an artist's motivation is key to enjoying and really understanding their work even more than you normally would without that context.
And I never realized, but yeah, JP devs don't really comment on that type of thing until long after a project is done. I think that's part of why people rally around guys like Kamiya and Mikami so much. They tell you how they're feeling as they feel it. I really appreciate that.
If you could make the time you should definitely come on our podcast. I'm sure you could teach us some things.
Thank you, Pepsiman. I really think you said it all. I think understanding an artist's motivation is key to enjoying and really understanding their work even more than you normally would without that context.
And I never realized, but yeah, JP devs don't really comment on that type of thing until long after a project is done. I think that's part of why people rally around guys like Kamiya and Mikami so much. They tell you how they're feeling as they feel it. I really appreciate that.
If you could make the time you should definitely come on our podcast. I'm sure you could teach us some things.
Levito has already graciously invited me. I definitely want to do it, but all I have to work with in terms of a mic at the moment is a webcam and I know that's understandably typically looked down upon in a podcasting context. I definitely want to go buy a proper headset once I have more money coming in, but I don't know if what I have will otherwise be kosher in the interim. I don't know. I replied to Levito's PM saying I'd love to come on eventually at least!
That's good to know and there's no rush, as I'm sure Levito is telling you. We'll keep talking about it. There no hurry at all.
cj_iwakura
Member
I used my laptop's mic when I was on. You'll be fine.
Good to hear! I'll definitely stay in touch, then. I remain distinctly unemployed at the moment, so I'm definitely not lacking for time to come on and chat for a while at least, ahaha.
SloaneRisette
Member
Man if I accomplished as much as you had by 20 I'd be really successful a year ago.
Hahaha, I'm 26, and I feel pretty unaccomplished by comparison. XD
Wait, WHAT? They don't pay? Wow. Kris is an acquaintance of mine. Seemed like he wasn't there for very long and I understand why.
I apologize in advance for unsolicited advice, but have you looked into patent translation at all? It'd be pretty dry compared to most translation jobs, I'm sure, but it'd be work.
cj_iwakura
Member
Interns. Not that surprising. Sad, but not surprising.
Green Mamba
Member
I couldn't really tell you, I kind of work on and off on them. I'm a pretty unfocused artist. I've always been pretty bad at estimating time, but maybe three and a half to four hours condensed, going from rough concept to finished product? Ehhh... I don't know if that's right. But in that neighborhood I think. It varies from pic to pic too--King Moron took easily the longest due to it essentially consisting of four detailed characters, whereas Yamano was probably the most difficult to just plainly draw.
it's the way of things. I did a six month internship for a magazine company for free, but I at least got uni credit out of it.
hipsterpants
Member
So I've only got three more campaigns left in P4A, and most of these are pretty lame. So much stereotypical anime "we've just met but we'll be your friends!" crap. Like Labrys and some of these characters have exchanged maybe like one line of dialogue and I'm supposed to believe they're heartbroken about
It's also helped me decide that I need to roll with the bro-squad of Yosuke, Kanji, and Naoto when I play through P4 again. And that I'm totally friendzoning all the girls not named Naoto because they all hate on my boy Kanji and I'm not down with that.
Also holy shit Akihiko is awesome.
her leaving lol.
It's also helped me decide that I need to roll with the bro-squad of Yosuke, Kanji, and Naoto when I play through P4 again. And that I'm totally friendzoning all the girls not named Naoto because they all hate on my boy Kanji and I'm not down with that.
Also holy shit Akihiko is awesome.
Makoto Yuki
Banned
Yup, while it sucks not being payed, having experience definitely helps open doors in the future. I did one for a year, worth it, for the most part.
Chet Rippo
Member
I've heard unpaid internships are better for an actual learning experience.
8-4 is a pretty small company re: full-time employees. They've mentioned having multiple interns recently, which makes me think they must be churning through them trying to give a lot of people experience as soon as possible (as well as having extra muscle on their work). Of course, I also wouldn't be surprised if they're just trying to get more workers for free for short-term periods of time, but so long as they straight-up tell you they don't pay (and they do), I don't see significant problems with it beyond the standard interns-dun-get-paid thing.
Now for a while there at my mag our latest intern was our social media guy, which is remarkably short sighted lol. I used to be the website monkey during my internship, and when it was up the site basically died. The intern they've got this year is even paying his own insurance, so he's paying hundreds of dollars to work for free. Madness.
Now for a while there at my mag our latest intern was our social media guy, which is remarkably short sighted lol. I used to be the website monkey during my internship, and when it was up the site basically died. The intern they've got this year is even paying his own insurance, so he's paying hundreds of dollars to work for free. Madness.
Regarding work stuff, I've been meaning to look into patent translations, but definitely need to get my legal Japanese up to snuff before I consider doing it. I'm no super genius when it comes to the obtuse stuff like I think what Aeana does in her work. My mother has her JD, so I'm not without some knowledge of legalese, but I'm not confident that my existing fluency is that niche enough to make me employable in that particular market. Damn if the rates aren't more alluring than what I often get as a freelancer, though, I'll admit.
I do actually have an interview with JET next week for a CIR position, so if I got hired through them, I'd probably at least be doing translation and interpretation stuff for the Japanese government or some nonprofit at least. Not exactly where I want to be heading, but at this stage, I'm just looking for a work visa that'll take me back there and then I'll work on shifting to wherever I end up wanting to work.
If I do get hired for JET and end up somewhere in the neighborhood of Tokyo (very unlikely because of the nature of the program, but not impossible), I've thought about hitting up 8-4 for that internship position. My main concern at this point is just having a sustainable income so I can start paying off my school loans, so if I can get that settled, a free internship sounds all right as something new and interesting to do on the side. Certainly I'm interested in learning the nuts and bolts of game localization; 8-4 and Atlus were some of the reasons I even decided to get into fan translations to begin with.
We shall see! I know about as much as you all do at the moment as to what I might end up doing in the hopefully near future!
I do actually have an interview with JET next week for a CIR position, so if I got hired through them, I'd probably at least be doing translation and interpretation stuff for the Japanese government or some nonprofit at least. Not exactly where I want to be heading, but at this stage, I'm just looking for a work visa that'll take me back there and then I'll work on shifting to wherever I end up wanting to work.
If I do get hired for JET and end up somewhere in the neighborhood of Tokyo (very unlikely because of the nature of the program, but not impossible), I've thought about hitting up 8-4 for that internship position. My main concern at this point is just having a sustainable income so I can start paying off my school loans, so if I can get that settled, a free internship sounds all right as something new and interesting to do on the side. Certainly I'm interested in learning the nuts and bolts of game localization; 8-4 and Atlus were some of the reasons I even decided to get into fan translations to begin with.
We shall see! I know about as much as you all do at the moment as to what I might end up doing in the hopefully near future!
You seem to have a pretty good handle on what you want to do in life, which a lot of people (myself included) haven't figured out yet.
I kind of want the thread to turn into a string of Yandere faces.
Which one did I come from indeed? Ahaha... ;____;
My deadline for starting to repay stuff isn't until July unless I defer it all (again), which by then is when I'm hoping one of these crazy plans for finding work will pan out, so it's not hanging over my head quite as badly as I could. It's an ongoing issue, but I'm not at least homeless and have some savings to work with, so I don't necessarily have it as bad as some of my friends. If nothing else, all this craziness with the Hashino stuff is getting people starting to send in inquiries to my freelance account for quotes on jobs to do, so maybe things will look up before long. One can hope!
My deadline for starting to repay stuff isn't until July unless I defer it all (again), which by then is when I'm hoping one of these crazy plans for finding work will pan out, so it's not hanging over my head quite as badly as I could. It's an ongoing issue, but I'm not at least homeless and have some savings to work with, so I don't necessarily have it as bad as some of my friends. If nothing else, all this craziness with the Hashino stuff is getting people starting to send in inquiries to my freelance account for quotes on jobs to do, so maybe things will look up before long. One can hope!
Makoto Yuki
Banned
TurnipFritters
Member
Unpaid internships are a great way for companies to get free labor.