Monday, December 5, 2016

Appendix N Authors in the Public Domain

A friend of mine asked me about some of the authors on the Appendix N list, so I have complied a list of all of the stories they wrote which are in the public domain.

Anderson, Poul
Brackett, Leigh
Burroughs, Edgar Rice
Williamson, Jack (Also wrote for Astounding Stories March, April, and July 1931.)

Edit: Nathan Housley pointed out that I had missed Manly Wade Wellman, so I have added him to the list.

Tuesday, November 29, 2016

QuQu Media And Other Updates

My partner in crime, QuQu, wanted a site where he could post his thoughts and opinions right away, rather than after an hour recording audio and several hours more editing video. So, QuQu Media was born. But you're probably wondering what this means for my personal blog, the AltFurry Den.

My plan is to use this blog for updates on my fiction writing, while QuQu Media will be home for my editorial writing. I also plan on posting some short fiction pieces on the site once those are ready. I actually do have a twelve thousand word novelette that I wrote a few months back, which I hope to finish editing sometime next month.

As for the novel I've been writing, I've gotten about two thirds of the way through the first draft as of this time. Though this was before I took a break to work on the next QuQu video. If all goes well, we hope to record this weekend, and if by some miracle I manage to edit the video in one day, it'll be out on Monday morning. Then I'll return to writing the book, which I hope to finish drafting by the end of the year.

Tuesday, October 25, 2016

Bethesda Ends Early Press Copies

Today Bethesda announced that they are not going to send out review copies of their games until the day before launch. This means that the gaming press will not have much time to play through the game before it comes out. Many in the gaming community are upset by this, but I think that it’s a step in the right direction.
At Bethesda, we value media reviews.
We read them. We watch them. We try to learn from them when they offer critique. And we understand their value to our players. 
Earlier this year we released DOOM. We sent review copies to arrive the day before launch, which led to speculation about the quality of the game. Since then DOOM has emerged as a critical and commercial hit, and is now one of the highest-rated shooters of the past few years. 
With the upcoming launches of Skyrim Special Edition and Dishonored 2, we will continue our policy of sending media review copies one day before release. While we will continue to work with media, streamers, and YouTubers to support their coverage – both before and after release – we want everyone, including those in the media, to experience our games at the same time. 
We also understand that some of you want to read reviews before you make your decision, and if that’s the case we encourage you to wait for your favorite reviewers to share their thoughts.

I’d like to think that this will do at least a little bit of good toward ending the hype train. The hype train starts with game publishers releasing teasers and pre-release footage, then the media covers said footage on their blogs and YouTube channels, adding to the hype with every article and video. Consumers should be waiting until some time after launch before purchasing their games, instead of rushing to be the first on their block to own the game.

In this day and age, AAA game releases are bug filled messes on the day of launch, with Bethesda being one of the worst offenders. Anything written in before the game is released, or even just after, is going to be useless to anyone looking to buy the game later down the line. An in-depth look at the game won’t be possible until the game has been out long enough to get several bug fix patches.

There are plenty of overlooked titles out already that one could check out in the meantime, but then that wouldn’t get nearly as much traffic as articles on the latest AAA releases. Bloggers and YouTubers are incentivized to keep perpetuating the hype train, as their ability to make money depends on its continuation. If the hype train were to end, then a strong force for driving traffic would be lost.

The business model internet blogging is fundamentally broken; it needs to be replaced with a new one that rewards quality rather than typing speed and emotional manipulation.

Sunday, October 16, 2016

Yes, GamerGate Is Still Happening

I sometimes hear people talk about how the online movement known as GamerGate has long since run its course, but these claims always confuse me. While I’ve been focusing more on my own projects as of late, I still hear about GamerGate happenings on occasion through the grapevine, and the group would seem to still be fairly active. The latest thing I heard from them was that the creator of a type of VR headsets was getting a several hit pieces written on him because he was dating a Vivian James cosplayer.

So while GamerGate is far from the chaotic fun house that it was in August of 2014, it’s still alive and kicking. KotakuInAction posts still get hundreds, sometimes thousands of upvoats, and posting to Twitter about GamerGate is still a great way of acquiring a large base of followers who RT much of what one says. So long as Twitter users continue to include the #GamerGate hashtag in their tweets, then GamerGate will continue to live on.

I would even go as far as to say that GamerGate will never die, that it will live on as long as Twitter and Reddit continue to exist. And there is a very specific reason why the group will continue on forever, which I will get to a little later. But first I must explain how we came to the current situation in regards to GamerGate.

The first step was to brand anyone who dared discuss the GamerGate controversy in anything beyond mockery as a GamerGator; these ‘Gators’ were then banned from most popular video game discussion platforms. It wasn’t just those who wished to destroy all the gaming blogs and blacklist the SJWs from the industry who were forbidden from posting; even the most vanilla of moderate voices was also cast out. Just look at when Boogie2988 got banned from NeoGaf, when all he really wanted was for everyone to get along with each other again.

The second step was to outgroup those who actually wanted to start a revolution, those who wanted all the corrupt gaming sites out of business, those who wanted an industry-wide practice of refusing to hire SJWs. This was done by tightening the rules for discussion communities on Reddit and 8chan, branding all discussion communities that didn’t follow suit as Not GG™, and making lists of supposed Bad Actors who are to be shunned as Turncoats. This left the True GamerGate Movement™ with only those moderate and neutral observers who had the GG label unwillingly thrust upon them and people who were just in it for the fake internet points.

The third and final step is to force the GamerGate label on any dissenters within the larger gaming community, like when Beamdog blamed GG for “launching a negative review campaign” against Siege of Dragonspear. That way, a gaming company can censor any harsh criticism of their product simply by branding their angry customers as “GamerGate Harassers.” This has the effect of discouraging users from criticising their false narratives, or else they will be forever branded as GamerGators, with all the negative baggage that comes with that label.

The narrative among SJWs is that GamerGate is a harassment group, a new name for one that has always existed since the dawn of gaming, the last dying screeches from the “Traditional Gamer.” There is no way of convincing SJWs otherwise, short of GamerGate discussion platforms censoring all criticism directed at anyone who is not a straight white male, no matter how minor. The only option is to continue mocking and ridiculing SJWs until everyone else can no longer take their rhetoric seriously.

Beyond that, however, the general public will still be shy about being lumped in with GamerGate. We just wanted to play video games, so how can we expect anyone else to feel otherwise? No one wants to shunned from their current gaming communities just to join some stupid “movement.”

Next month, when Watch_Dogs 2 comes out, I’m predicting that criticism against the game will be labeled as GamerGate racism. Anyone who does not like the game will have the GamerGate label thrust upon them and thrown out of their discussion communities. This will be used not only to censor criticism of their game, but also to drive sales of the game from people who follow SJWs.

So you can see why GamerGate will go on forever and ever, like an autistic phoenix that’s reborn every other week. The label is too useful as a deterrent from certain behaviors that video game publishers do not want their customers engaging in. And so long as Twitter lives on, GamerGate will continue to be the whip the gaming industry uses to keep Gamers in line.

Monday, September 26, 2016

Changing Tactics

I’m sure many of your remember a certain controversy a couple years back where many gamers discovered that the gaming press was giving positive coverage to video games made by those whom they have close relationships with. A good example of this would be Danielle Riendeau writing not only a review of Gone Home, but a separate opinion piece as well, right after going on a podcast with Steve Gaynor, the game’s creator.

The solution proposed to fix this problem was a reformation of the industry, with the replacement of corrupt writers with more honest ones. In hindsight though, it’s obvious that this was an impossible task, with how easy it is for the new blood joining the industry to become corrupt as well. It also ignores how one could simply put on a public face of renewed honesty while simply making their corruption more hidden.

Beyond that, it distracts from the core aspect of the issue while focusing on the less important parts. The problem is not simply that game devs are in bed with the press, but that their relationships allow them to sell awful games while their competitors, who are often much more skilled at game development, get ignored. No one would actually care about corruption of the gaming press if the games they were pushing were any good.

This is why it wasn’t possible to convince fans of Gone Home that the issue of corruption in the gaming press was worth caring about. They liked the game and got their money’s worth, so why would they be upset that the Polygon writer who promoted it wasn’t completely honest? The solution to this issue should not have been to convince people that ethics in video game journalism was an Important™ issue worth caring about, but that the narratives these individuals were pushing were false. Instead of documenting known instances of collusion between developers and press, it would have been much more worthwhile to show in detail how the games that they are pushing aren’t very good. The video QuQu and I made on Gone Home is actually a great example of this.

The online political sphere is actually having a field day with this process, as not a week goes by without some big narrative push which is very quickly debunked. You can see this with the story that the Charlotte riots are simply a peaceful protest, or the various cover ups surrounding Hillary Clinton’s health. So if this is such a phenomenon in politics, then why don’t gamers partake in it more often?

Sure, there are a few examples of gamers countering the hype machine, such as the backlash against Sunset or Mighty No. 9 or No Man’s Sky. But those are few and far between, in an industry with new games pushed on gamers every week. If you only focus on the high profile disappointments, then you’re ignoring the many indie releases that are pushed on the gaming community.

There’s a large audience of people who watch Let’s Play gaming videos, and many of these media personalities to influence their purchasing decisions. Most of these YouTube creators never pretended to be journalists now that it’s no longer convenient for them, so their coverage is even easier to sway than that of blog writers. This means that it’s all too easy to throw some swag their way to get them to promote a particular video game, leaving much better titles ignored and unplayed.

The vast majority of YouTube’s gaming content are advertisements much akin to the old infomercials on TV, and quality video game criticism has become somewhat rare these days. All it would take is for a few gamers to show in detail how these games aren’t particularly good, while giving examples of much better titles to contrast with. Then these criticisms could spread throughout the gaming community, while also giving much needed attention to games that are more deserving of it.

So you should be able to look forward to seeing more actual video game criticism from QuQu’s channel sometime in the coming weeks, and if all goes well, it will likely become a regular thing.

Monday, September 12, 2016

The Amazon Kindle Is Not Your Savior

When Amazon opened up their Kindle Direct Publishing platform, they opened the door to millions of writers to finally sell their books on the open market. No longer would they be at the mercy of the Big 5 New York publishers. Now they could write whatever they wished, with no genre or subject matter off limits.

At the moment, Amazon is in a position where they allow pretty much any book to be sold on their service, with the possible exception of those breaking US law. But the problem is, this will likely change the moment that it no longer becomes the most viable business model for them. All it will take is for a group of SJWs bloggers to start a witch hunt against Amazon for being complicit in the sale of books with “problematic” content that is “harmful” to whatever minority group they're championing that day of the week.

That’s not to say that I think we should return to the impossible task of trying to get published by one of the Big 5 New York publishers. The research we’ve done into their staff has shown that they’re fairly incompetent at their jobs, and primarily interested in publishing memoirs by famous people you’ve never heard of. But we need to have a plan for how we’re still going to stay in the business of writing books when Amazon turns against us.

This is one reason why I still really appreciate print books. Even ignoring simple aesthetic appreciation for printed words on a page, or the rumors of NSA spyware on e-reader devices, physical books have one advantage that digital ones do not. No one can take away your physical books, short of breaking into your home, stealing them, and setting them on fire in the street. Also, the burning of printed literature has been stigmatized in ways which the destruction of digital words has not. If Amazon were to deny the sale of certain books on their platform, there would still be many who insist that such an act is not censorship, that Amazon has every right to refuse certain authors from selling on their platform.

While I wouldn’t agree with the decision to deny the sale of certain books, I wouldn’t want them, as a business, to be forced to sell books which they don’t want to, just like how I also wouldn’t want bakers to be forced to sell cakes which they didn’t want to sell. The issue is that Amazon has, intentionally or not, gotten a big monopoly on the book publishing world. So while one could argue that Amazon deciding not to sell a particular book is not censorship, the negative sales impact of being denied entry onto their platform would still have as strong of an effect.

Besides, I do not want to live in a world in which Amazon deciding not to sell a book can be called censorship in the first place.

Saturday, September 10, 2016

Thoughts on Lying about Writing Quality

Lying about the quality of someone's writing seems like a very bad idea for a few reasons. In our current age of the internet, a reader wouldn't have much trouble finding the sample pages of a particular book online and reading them. Any lies about someone's quality of writing should be easy to disprove by simply reading the work itself.

Beyond that, negative criticism of creative endeavors often has the effect of drawing more attention to said work. This means that not only will people find their narratives to be based falsehood, it will also cause the author to become more popular in the long run. When one is told that a work is of low quality, their expectations will be much lower if they ever decide check out the work for themselves.

So not only will readers be pleasantly surprised at how good the book is, despite what they've been told, they will also grow a fondness for it greater than they would have otherwise. This all goes to show how foolish it is to spin lies about the quality of another's creative works, or even just for life in general. As Gabe Newell of Valve once said:

Sunday, July 10, 2016

Is #TorrentialDownpour a sign that #GamerGate failed?

For some time now, I’ve been rather critical of the Twitter hashtag activism campaign: #TorrentialDownpour. Nevermind that its name indicates nothing about their stated goals, or that it uses too many characters. (Compare the eighteen characters in #TorrentialDownpour with the twelve that #ThinkSerious has.) But I realized something today about #TorrentialDownpour (referred to as TD from here onward.)

Is TD a sign that GamerGate failed to save Vidya Games?

The quality of games coming out really hasn’t improved since GamerGate’s height back in 2014, and they certainly haven’t returned to the greatness that was 2004. The big AAA publishers are still mostly focused on maximizing profits by watering down their products to appeal to mass audiences, and the indie scene is still full of people who lack the experiences necessary to make a really great game. And the customers that were driven away by garbage like Gone Home and Depression Quest have already been replaced by the Five Nights at Freddy and Undertale fandoms.

So the situation right now is that most people buying games have yet to develop the taste needed to understand the difference between a quality video game and one that’s not so good. Whereas the older gaming audience has retreated back to playing their old favorites and high esteemed classics. This is likely a big part of why the prices for older, more retro titles are skyrocketing. And what of those who have given up the hobby to pursue other interests?

But there is another option beyond simply sticking to older games to the exclusion of all else. For the most part, non-westernized regions of the world such as Japan or the Slavic nations have yet to become corrupted by the same Marxist social institutions that have ruined the gaming industry for westernized countries. There are plenty of great games coming out from Japan right now, many of which are getting translated from their original language into English. One such title, which I am quite looking forward to the release of, is Mystery Chronicle: One Way Heroics.

The only problem with relying solely on foreign nations for entertainment products is that, when these games come over to the west, their trip doesn’t always leave them completely intact. There are plenty of English publishers which will, for one reason or another, change or remove certain aspects of some games when they bring them over for English speaking audiences to play. This is not a new problem, as Nintendo of America has quite a history of demanding changes for games released on their consoles. It’s just that, with the power of the internet, it has become relatively easy to compare the English gameplay footage with that of the Japanese one.

Of course the solution to this, which QuQu and I proposed months before TD ever started, is fairly simple to understand. Sure, working on fan translations ourselves isn’t easy, but it’s much more conceivable than just complaining to the game publishers until they bow to one’s demands, while still speaking with their wallets that they tolerate such inferior translation jobs. That’s not to say that one shouldn’t voice their concerns about the translation quality of a particular title. The problem is that we cannot rely on some third party to fix the problem for us; if we want to ensure that it’s done right, then we need to do it ourselves.

But the plans QuQu and I made were, of course, ignored by the TD activists, who instead chose to make several infographics whose readability got destroyed by Twitter's image compression algorithm. Another video I made, which QuQu graciously hosted on his channel, comparing the way video games are localized to that of films, was also largely ignored. Part of this is understandable, as I can’t expect QuQu’s fans to be very interested in a video that he doesn’t appear in, and the video isn’t exactly comfortable to watch for more than one reason.

But it’s still disappointing that the idea shown in the video has yet to catch on with the wider gaming community. Film buffs would be furious if someone were to translate an Akira Kurosawa film as loosely as Nintendo Treehouse did with Fire Emblem Fates. Despite many in our community insisting that games are an art form comparable to books or film, Japanese games still seem to be viewed as childish, a view which is narrow-minded at best and outright racist at worst.

If the “Games are Art” crowd could be shown how much of a problem poor localizations are, then they would be a powerful ally in the fight against censorship. Beyond that, this would be a great way to get them on our side, and against those ripping them off with the same sort of crap in the “Modern Art” scene. Though who knows, maybe most of the “Games are Art” crowd already left for greener pastures after realizing how bad most Modern Art Games are. Even people that liked Gone Home, didn’t particularly care for Sunset.

But to get back on the topic, it seems to me that the biggest sign of defeat is that TD’s existence breaks one of the few rules set in the early months: Don’t change the hashtag, though this isn’t just about some dumb Twitter hashtag. As shown by the success of #CyberViolence, creating new hashtags isn’t itself a bad thing, and I’d even say that it should be encouraged. The problem is that the switch from GG to TD wasn’t just swapping out one hashtag for another; it was entirely changing the topic of discussion to something completely different from that of the start of all this. No longer is it about keeping the entirety of video games pure; now it’s just about Japanese games safe from butchering.

While that may be a noble goal, and one which I would love to see come into fruition, it still ignores the larger issues effecting the gaming industry. Sure, when the gaming industry collapses in on itself from the weight of years of nonsense, we’ll still be able to play Hyper Dimension Neptunia and Senran Kagura, but such a situation is far from ideal. I still stand by what I said in the video QuQu and I made on Localization, as well as the closing thoughts of our video on Sekai Project. There are two things one must do to ensure that Japanese games continue to be brought over to the west intact.

Stop supporting terrible localizations, and translate the games into English yourself.

If you keep buying these games, you can complain ‘til you’re blue in the face, but companies aren’t going to bother stopping to reflect on their poor behavior, as they know that they can keep getting away with shoddy localization work, laughing themselves all the way to the bank. Why should they put in the effort to produce an accurate translation when everyone will still buy a poor one? There needs to be a demonstrable effect on company profits to cause them to change their business practices. This is why we continue to see games come out with content cut from the original release—because companies know that consumers will still buy their products regardless.

Beyond simply refusing to purchase their products, you can also deal an even bigger blow to them by supporting fan translation projects instead. Imagine if we managed to make the fan translated version of a particular game more popular than that of the “official” translation. Not only would this have a great effect on their profits, it would also deal major damage to company PR. Fan translations of anime are a big part of why most anime coming out these days doesn’t get the 4Kids treatment, so an increased popularity for fan translated video games should produce a similar result.

Thursday, June 16, 2016

How Japanese companies use SJWs to sell video games

It's a bit of a well-known secret that when a video game localizer brings a game over to the west, the original Japanese developers do not see the lion's share of the game's profits after release. Part of this is understandable, as the localizers do much a good bit of work into getting the game ready for US release, though some companies make unnecessary changes to the games so they can get more money from the publishers.

But the point still stands that, when you buy a game (or show or movie or comic book) from the English localizer companies, you're not really supporting the original creators. The only way to be sure that your dollars are going to support the people that actually worked to bring the games to life is to either buy from international branches of the original companies, like Idea Factory and Spike Chunsoft, or you import the original Japanese versions of the games. Though importing comes with a somewhat higher price tag, what with taxes and distribution, but none of that eats into profits earned by the original Japanese developers.

Now this brings me to somewhat of an interesting trend that we've been seeing as of late. It started way back when Bandai closed down their US anime branch, though the most well-known example is when Koei Tecmo decided not to bring Dead or Alive Xtreme 3 to the west. And now we're seeing it with Summer Lesson, an upcoming VR Simulation game by Namco Bandai.

The reason given for why these games aren't getting released is because of the different cultural climate in the west (ie. Social Justice Warriors getting outraged at anything that isn't specifically created to uphold their fringe beliefs.) This then causes a situation similar to that of the Streisand Effect where, after being told that they are not allowed to buy a particular title, consumers everywhere suddenly need to have it. That's how DOAX3 managed to break sales record for Play Asia, and it's how a terrible Seth Rogan comedy movie became one of the most talked about movies in the country for a short time.

The thing is, at least in the case of games like DOAX3, the reaction was unnecessary as there was no real reason to not bring the game over to the west, even just as a download-only title like Koei Tecmo has done in the past. With the success of titles like Hyper Dimension Neptunia and Dragon's Crown, despite or even because of manufactured outraged, it should be clear to everyone paying attention that the threat of SJWs is a paper tiger, and the only thing said outrage does is gain fake internet points or blog clicks for the outraged. No one has ever successfully gotten a game pulled from Valve's Steam store page due to a personal offense and, at this point, it's safe to say that they never will.

So it's quite possible that Namco Bandai isn't being entirely honest with their reasons for withholding their game from western release. Also, keep in mind that this is not the first time that they've done this, what with the closing of Bandai Entertainment USA. It is entirely possible that the real reason why games like Summer Lesson aren't coming over is to boost import sales numbers, cause the Japanese companies make more money from those than from the sale of a localized version.

So I would suggest taking caution with these types of situations and avoiding the impulse to rush out to import sites. Ask yourself if there are similar games that are released in your country that you might find just as much enjoyment from instead. If there’s any doubt in your mind whether the game is worth spending money on, then maybe find a pirated copy somewhere to try before dropping $80 on an import.

Monday, June 13, 2016

The Crowd-Funding Failures of Sekai Project

We've got a new video out in the QuQu's Watching series, this time about a certain infamous Visual Novel publisher called Sekai Project. In it, we go over pretty much every crowd-funding project they've had, and the trouble they faced in actually delivering on them. Of course, all the delays the company has had would be somewhat easier to forgive had they waited until delivering on their previous projects before starting new ones...

Now, there's plenty more we could've said on the topic of Sekai Project, though at twenty-one minutes and forty-two seconds this was the longest video on QuQu's channel not counting livestreams. So there wasn't time to talk about the other aspects of the company.

But before I get to that, I do want to reiterate one point brought up in the video. It's obvious that Visual Novels as a medium have grown much more in popularity over the last few years, and this is all happening as the mainstream entertainment companies have decided to put making as much money as possible, often through globalization, before the quality of the art they're selling.

Because of this, many people have moved on to other interests, myself included. Why, I would go as far as to suggest that Japanese Animation and Comics and Video Games might one day overtake American entertainment, leaving the Big Six media companies crumbling under the weight of all that gray goo they keep pumping out. Time will certainly tell if my predictions are correct, but there's no reason why we can't help things along by voting with our wallets and suggesting to our friends that they do likewise.

Anyway, one thing I find interesting in regards to Sekai Project is the data that Steam Spy has provided us with. Unlike MangaGamer, Sekai Project only uses their personal store page for the titles that they're unable to sell on Steam due to age restrictions. Because of this, we have somewhat of an accurate idea of how well their digital products are selling with the data on their Steam Spy page, something which cannot be said for MangaGamer.

Now obviously, their most popular titles are the ones available as a free download. But what's odd is how popular titles such as Nekopara, which have Adult versions on Sekai's Denpasoft digital store page. This brings some doubt as to the possibility that the unrated version of Fruit of Grisaia sold any better than the one sold on Steam, though I suppose we'll never know for sure unless Sekai releases their sales data. Regardless, I think that much of Steam's userbase has decided that $40 is far too much for Fruit of Grisaia, despite the high reputation for quality and length that the series has.

The title has already been on sale multiple times already, though it still has yet to break even twenty-five thousand owners. This leaves me to assume that many who wanted to read the VN have chosen to download a pirated copy, with maybe some importing the Japanese release to support the original creators. I suspect this is what happened with Clannad as well.

The thing is, I can understand charging $40 for each of the Grisaia VNs, since the last novel in the series came out only three years ago in Japan. Clannad, on the other hand, came out in 2004 before Half Life 2 was even released. The original anime was one of the most popular shows back when it came out, so there's no excuse for its poor sales. Whoever decided that it should be sold at a $50 price point, whether it was someone at Sekai Project or Visual Arts, didn't know what they were doing. Certainly, one could argue that the price is worth it for the quality and length of the story, though it would seem that most don't agree given how the title has sold. But I suppose Clannad is just another victim of the J C Penney Effect, where Steam many users don't buy anything unless it's heavily discounted.

The thing that I find troubling is that high profile titles like Grisaia and Clannad are more than likely not making anywhere near as much money as fluff like Sakura Spirit and Nekopara (though later Visual Novels in the Sakura franchise don't seem to be doing as well as the first two.) This backs up my suspicion that Sekai Project is bleeding money, which explains why they still need to resort to crowd-funding projects to continue bringing titles over to the west. Such a business model is unsustainable, and will likely result in their ultimate demise as a company.

If you look at the video's titlecard, you might notice an odd face in the background, one not from any Visual Novels. That's one of the main characters from the anime Heat Guy J, a show that Geneon paid one million dollars an episode for, and as you can guess, the show didn't do all that well for the company. Now, there's a very specific reason why I chose to feature him in the video's titlecard.

When Geneon collapsed, a number of anime titles went out of print that had to be license rescued by other companies, though some are still are still unavailable in an official re-release like Strawberry Marshmallow. It would be best to avoid a repeat of this with visual novels; we have the history of companies licensing anime for English distribution to look back on, and it would serve us well to learn from it. Otherwise, we're going to find ourselves in a similar situation to the time after the anime bubble popped, before online streaming took off.