Silk&Cologneさんのレビュー一覧

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[Garumani Exclusive Bonuses] Club Suicide Complete Edition / 【英語版】クラブ・スーサイド 完全版
Celtia
1,320
As graduation nears, a group of boys seek their own deaths. Thus begins a bizarre and horrifying seven days, delving into the hidden feelings and secrets they carry. Now available in this fully remastered Complete Edition!
女性向け音声あり音楽あり
先輩/後輩 同級生/同僚 学校/学園 退廃/背徳/インモラル バイオレンス 女性向け 血液/流血 リョナ

I got the English ver. of this game that's dear to my heart to evaluate its localization. Unfortunately, it reads less like a translation and more like an unfaithful rewrite that repeatedly distorts meaning, tone, and character voice.

For instance:

この恐怖さえ、恐怖さえ無ければ!無け、れば!
If only it weren't for this fear! If only...!

is rendered as:

If only I wasn’t a wuss… If only I was a real man!

This is not a reasonable adaptation; it introduces an entirely different concept while contradicting the character’s previously established views.

Similarly, the basic exchange:

「いただきます」
「……いただきます」

is translated as:

Thanks for cooking, honey.
Me too.

This invents context that doesn't exist. The characters are students eating their own lunches at school, not participants in a domestic scenario. The result is both inaccurate and tonally inconsistent.

Even straightforward lines are altered unnecessarily. A character asking whether they should order something is expanded into:

I guess we should order something before they kick us out for loitering,

despite no such implication in the original text.

These aren't isolated missteps. The localization consistently adds, removes, or reshapes meaning, often at the expense of characterization and narrative coherence. Emotional nuance is lost, and distinct voices are replaced with generic, sometimes incongruous dialogue. Plus, the original Japanese text contains quotations from well-known Japanese writers, yet the localization seems to have completely overlooked them.

More broadly, this reflects a concerning lack of care in handling translated works. Whether due to rushed processes or lack of care, the outcome undermines the integrity of the original script. Subtle, poetic language, particularly concerning for a story that deals with themes such as suicide, is reduced to an empty husk.

It is difficult not to feel discouraged by what this suggests about the current state of localization. When translation is treated as a secondary concern rather than a craft requiring care and expertise, the result is not just a weaker product, it also feels like disrespect for the audience and the original creators.

Localization should aim to preserve intent while adapting for clarity and readability. In this case, it does neither. The result is a version that misrepresents the original work in every way.

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