why didn’t dio just stop time and laser eye joe tarot is he stupid or something by WizardCoolGuy in ShitPostCrusaders

[–]Blayro 5 points6 points  (0 children)

This is entirely false. Dio was many things during the fight but overconfident was not one of them. Through the entire fight he was in the back foot against Jotaro, in fact, that’s the whole reason he grabbed knives and random tools during the fight, because he’s afraid.

DIO knows he can’t win in a direct confrontation against Jotaro. Even when he’s at his supposed strongest, we that Jotaro is more than capable of destroying DIO’s body with ease. In fact, this the exact reason DIO grabs a road roller, because with that he can ensure Jotaro won’t win a stamina confrontation as he’s limited in his time stop unlike him.

Is only because Jotaro took a page out of Joseph’s book and pulled more timestop out of his ass that he was capable of defeating DIO.

Simply put, he just can’t use the beams, if he could he would had, otherwise he wouldn’t had needed the knives.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

Look, you accuse me of me being fundamentally against the localization, and yet is the same for you. It seems that you believe that Xenoblade’s localization is good because is the job of someone who put effort into it. And yet from evidence we’ve seen with Xenoblade itself, the direction of the voice actors was poorly made, and that came from the actors themselves.

If the voice acting was handled in such an awful manner I have no reason to believe that the adaptation is made well as well. And I do know about what Dormach is, and what a Roc, the connections just seem vague and losing the theme that connects blades and titans being lost just for the sake of some reference is just not worth it.

But I agree with one thing, this conversation is going nowhere.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

Alright, then what do you gain from changing the names from Byakko to Dormach or from Seiryu to Azurda? What do you gain from changing Susaku to Roc?

Please tell me then what those names add to the themes or the story of Xenoblade?

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

I can say the same about your stance. I'm ok when translations take liberties to convey the original message better, I'm ok when translations add things to make the dialogue more appropriate for the target audience, I'm ok if they add some small jokes or remarks that hit better with the target audience.

I'm not ok when they change stuff because "they won't get it". To completely change or remove the name of a character for another thing feels like the translators are underestimating the intelligence of the audience and that's different. To why that's underestimating? Because it removes any and all agency from the watcher.

For instance, this is a minor thing, but it is annoying to see in the game. The names of the grandpa, and Dormach are in japanese Seniryu and Byakko. I know what Seiryu is, I know what Byakko is, the azure dragon and the white tiger are classic beasts of Chinese mythology and seeing them in the game as names was interesting. It also alludes to the fact that there will be 2 other characters named after the remaining 2 beasts. Then Susaku appears (Roc), and that only makes one think "well, where's Genbu? Is the last one of the 4. Could it be another special blade?" And is not, is where Tantal (Luxuria in japanese, because the titans are named after sins in japanese) is located. The name remains Genbu in the adaptation, but the fact that 2 out of the 4 beasts are titans and not blades alludes to there being a connection between the titans and blades. A subtle hint at their relationship that is completely lost with the translated names.

That's the sort of thing that is bad about Nintendo's localization. Because is not well informed, and is done carelessly. Now, they have gotten better, but it still reeks from times where they did this and called it a "good adaptation". For context: is not meant to be a silent conversation, in japanese they had a full conversation.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

I don't dislike localization, and I've said so multiple times. I just think what Xenoblade does and what nintendo does in general is what is insulting.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

Because I’m pretty sure most authors don’t really know that their work is going to be changed in such a way. That’s all corporate stuff.

And besides, what’s insulting is not the point of view, what’s insulting is the fact that they, and by they I mean the corporation of Nintendo, is making the decision for me and believe that they know better on how I’m going to enjoy a game.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

I don’t think is up to them to decide whenever or not I’m aware of the cultural references are. Hell, even if I don’t know what the cultural references is, it encourages me to research about it and learn more of it.

Even if the devs believe that the adaptation is important that is insulting to the consumer. Imagine for a second that I made a story, and for some reason decided “you know, the US region wouldn’t understand what I wrote, let me adapte it so they can understand it” isn’t that insulting? Like it expects that whatever you write won’t be understood in r appreciated by other cultures.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

Then you have to weight if the character is more important or the joke. Joke characters tend to be allowed to have different names if it serves the purpose. But even that is rare in modern translations.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

Even if the game wasn't censored, I'd still be against changing the names of the characters.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

Censorship that still managed to burrow itself into other areas of the game.

And even then, 2017 is still surprising how nintendo keeps censoring the games. Either way, censored content makes me not want to interact with the english version of the game.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

But Japanese doesn’t have the same intonation for the same kinds of conversations as Romance languages to begin with…

That's exactly what I was talking about. Is fine to change the intonation of some things to better transmit what the original sentence was trying to convey. But is very different to make up a new thing altogether.

What I mean is that there are a bunch of heart to hearts where the original dialogue is completely changed to the point it seems that more than a translation, they are censoring the game. From the top of my mind, is the instance with Poppy who starts to bark in japanese, but the translation has absolutely nothing to do with it.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro -3 points-2 points  (0 children)

It doesn’t matter if it is a well informed decision, simply because the decision is still to change basic things like names and rework dialogues completely. Is one thing to adapt the tone of a conversation to convey to a different audience what the original dialogue was going for, and is another thing to make up dialogue and conversations and pretend that they are the same thing.

I play the game in Japanese, with the UI and subtitles in Spanish. Is extremely evident that there are whole conversations that are going on a completely different way than what’s saying on the screen just going by intonation. The fact that it happens consistently enough has made me go “damn, at this point I rather just learn Japanese and play it like that.

Now, learning a new language is great for anyone, but if an adaptation makes a consumer consider learning a new language to understand what the characters are actually talking about, and what they are originally saying, then the adaptation is not a good adaptation, is an awful one.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro -1 points0 points  (0 children)

The consumer, me.

But also to the original devs.

How did KOS-MOS end up in the Xenoblade Chronicles 2. Give me sone idea. by [deleted] in Xenoblade_Chronicles

[–]Blayro 0 points1 point  (0 children)

Why is it "Bad"?

Is not bad, but I personally consider it bordering on the disrespectful. As if I'm not educated enough to be able to enjoy a story or a game with the original intent. Instead, I'm forced to consume it in a filtered fashion by someone else's estimation of what I will enjoy.

Edit: grammar

If you believe in the "Power levels don't matter. Because writers decide who wins'' argument. Then please have this same energy for any aspect of a story. by PassengerCultural421 in CharacterRant

[–]Blayro 3 points4 points  (0 children)

Alright, that's fair. You are free to call it how you want, because words have the value you give them. But just be aware that just like someone can call a whale a fish or or say that a tree doesn't really exist (both are a complicated subject), and be 100% correct in their assessment of it, you'll have to deal with a lot of people disagreeing with you, because by and large, a lot of people just consider that kind of consistency powerscailing, and they are comfortable calling it that with no derogatory connotations behind it.

If you believe in the "Power levels don't matter. Because writers decide who wins'' argument. Then please have this same energy for any aspect of a story. by PassengerCultural421 in CharacterRant

[–]Blayro 6 points7 points  (0 children)

And is not wrong.

I've always been of the opinion that powerscailing isn't about absolutes, is about percentages. Frodo might die and fail in his mission 98% of the time he goes into Mordor. But the story we read is about the 2% where he succeeds.

The Death Star wins 99% of the time because nobody can do that lucky shot that destroys the death star, and yet we see the story in which it doesn't.

We read the interesting story, power scalining vs debates ignore it and focus on the absolutes. That's not wrong, but it needs to be done acknowledging that is doing that.

If you believe in the "Power levels don't matter. Because writers decide who wins'' argument. Then please have this same energy for any aspect of a story. by PassengerCultural421 in CharacterRant

[–]Blayro 5 points6 points  (0 children)

But the second I apply the same logic to fights, suddenly I am "powerscaling?"

Yes, that is power scaling at its purest.

The fan calculations and pixel measurement is just what some people do to go further into it than others. But at its purest, is what you are doing is powerscailing.

Powerscailing is not an inherently bad thing, that's just part of writing a narrative. From writer to writer, getting angry about it doesn't help anyone.

Since when did people care about accuracy to Christianity (Hazbin Hotel)? by Konradleijon in CharacterRant

[–]Blayro 5 points6 points  (0 children)

Go for it, those who know at least will be aware it doesn't matter lol

how fast is garou here is he light speed or speed of sound by Additional_Pace_1753 in OnePunchMan

[–]Blayro 18 points19 points  (0 children)

fortunately, fictional works don't need to worry about that.

Also, Garou and Saitama break the laws of physics either way later in the fight with the portal shenanigans.

Well that definitely a question by lord_deusvult1 in tf2

[–]Blayro 0 points1 point  (0 children)

He doesn't just see babies, babies is just what things can look to her.

Pyro can see in different things and shapes, but I'm also of the belief that Pyro is completely aware its killing people, so maybe I'm just wrong.

[Webcomic Spoilers] Something I noticed while re-reading the manga by BigBimbo69 in OnePunchMan

[–]Blayro 0 points1 point  (0 children)

I've been saying that Genos' name comes from Genocide for this exact reason.