The Inside Story: Four Leaf Studio releases Katawa Shoujo

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This isn’t a secret, but I’m not sure it’s something obvious either: I don’t write any of my own article titles at the Daily Dot. Sure, my editors take my suggestions and often ask for input, but they’re more adept at choosing headlines that will catch peoples’ attention and get their eyes on the page.

That might be especially clear with one of my stories today, 4chan’s Four Leaf Studio releases erotic, dating simulation game. While it’s a perfectly true statement, it’s clear we’re playing up the sex angle here. And personally, I don’t think that’s the part of the story that makes the game in question- Katawa Shoujo– so interesting.

I’ve been waiting to write this story for two years. After I read Leigh Alexander’s story on Katawa Shoujo in early 2010, I was fascinated. I’d never played an eroge before, but I immediately downloaded and played this one. My review- Katawa Shoujo: Empathy or Exploitation?– went up a month shy of two years ago from today.

I wrote about the game again in 2011 for Japanator’s yearly Ero Week- Katawa Shoujo: How an eroge changed my mind. I’d been working with a disabled teen for a reporting project in between writing these two articles, and it shows. In this opinion piece, I asserted that Katawa Shoujo does not fetishize disability, but presents it as one of many defining character traits.

Originally, I’d thought that I found this game so fascinating because it, as Alexander asserts, “combines the sincere with the unsettling” in its treatment of disability and sexuality. I’ve always been interested in disability rights, but I was especially immersed in 2010 as I completed a project about muscular dystrophy for graduate school.

However today, I realized that the most engaging- and impressive- part of Katawa Shoujo is its status as a fan project. Katawa Shoujo appears to have as high production values as any studio-produced eroge, but everyone on staff is an amateur. They’re just 21 people who banded together on 4chan, decided to make a game, and worked together for five years to do it.

And in the end, they simply gave the game away. This speaks volumes about their purpose: it was never their intent to become professional game developers. It was never their intent to do anything other than express their fandom for this doujinshi page of five disabled, hand drawn girls.

I interviewed 2DTeleidoscope for the story both because of his involvement with the game as well as his articulacy; I knew if anyone could express why my mainstream audience should care about the accomplishment of Katawa Shoujo, it was him. And he didn’t disappoint. Here’s what he wrote to me:

“Think of every novel that never gets written, every Internet community that dies in flames. Realize that Four Leaf Studios endured five years of rewrites, revisions and personal drama to produce this product, shuffling through staff like cards in a game of Old Maid. And yet the idea survived. The work is done. This is great and worthy of our admiration, no matter what you think of romance with disabled girls.”

 

What I’m Watching: Mawaru PenguinDrum

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What else did I expect from the director of Revolutionary Girl Utena? I’m on episode 15 of Mawaru PenguinDrum and I can safely say that this is really, really weird. However, it’s also very engaging. As a result, I sound like I’m psychotic when I try to recommend the show to my friends:

“Guys, there’s this great show you have to check out. It’s like if Eden of the East had turned out better. Also, trippier. And there’s this dying girl, Himari, who’s possessed by a stuffed penguin hat. There’s also a crazy stalker, but she’s a protagonist, not a psycho. And incest, but don’t worry about it. Guys? Guys!”

Anyway, I watch this show to relax but I keep getting hung up by the particulars. It’s almost like watching The Matrix in that every little detail seems to be there for a reason. I’m convinced that the whole show has some underlying message about the Beatles: there’s a character named Ringo (I know that means “apple” in Japanese, but I’m not convinced there isn’t a double meaning), and for some reason, whenever Himari is possessed by the penguin hat (see above), she yells, “IMAGINE!” When I googled this, the Mawaru PenguinDrum wiki found about ten other ties to the Beatles.

But in spite of all these WTF moments, I’ve never doubted the course of the plot. Mawaru PenguinDrum takes place in one mixed up universe, but it’s a universe that’s seamlessly assembled. Invisible penguins that do chores and can only be seen by Himari and her family? Sounds legit. A hospital corridor filled with gifts from character’s ex girlfriend? It could happen. As my friend Andrew would say, (this guy speaks purely in aphorisms), this is just one of those shows for which you have to turn off your bullshit sensor first. And after that, just enjoy the ride.

Watch with me: Unfortunately, Mawaru PenguinDrum has not been licensed… yet. You’ll need to watch it streaming or get a torrent.

What I learned about blogging in 2011

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Not everything has to be perfect

In April, I decided my blog’s appearance didn’t reflect me at all. It didn’t resonate with my content the way it used to. It got to the point where I decided to stop blogging altogether until I could devise a redesign.

This was a dumb idea. I’d gotten into this mindset that my blog had to be this perfect version of my online identity. As it turned out, what’s worse is having no online identity at all. Design is only a fraction of it; content trumps all.

I hope to continue updating the look of my blog every two years or as I get tired of it. (At least I’m better than I used to be: at 15, I redesigned my pitas.net blog every two weeks!) But I really don’t want to ever repeat a blogging silence that pronounced.

Ask and receive

The majority of opportunities don’t come to you when you “get discovered,” they happen when you ask for them. I experienced this firsthand in 2011. Over the summer, I wanted to try anime voice acting lessons, but I didn’t have a lot of extra money. So I called up Edge Studio and asked if I could have a lesson in exchange for promotion on my blog. They said yes. Within the month, I was on the phone with Dan Green, the master himself.

Sometimes it’s better to act than to think. I could have sat around wondering if my blog was good enough or well read enough or whether a review from me was “worth it” for the studio. Instead, I took action and let them decide. Even if they’d told me no, I would have taken comfort in the fact that I’d been brave enough to try.

Different platforms for different goals

When I started my NaNoJobMo project, I didn’t entirely understand how Tumblr was all that different from WordPress as a blogging platform. But this year, after I began using Tumblr on a more-or-less daily basis, I realized that it’s more of a step in between Twitter’s micro-blogging and traditional blogging.

As it turns out, Tumblr has never been redundant to my blog. I use it for link sharing, off-topic updates about my life and stuff that’s too short to turn into a blog post. Sometimes, if I write something on Tumblr and still have more to say, I bring it over to my blog. I like being on more platforms because it’s just one more way to connect with more people.

I’ve also changed the way I use Twitter this year, too. Since I started working for the Daily Dot, my follower count has doubled. With 1,100 people watching my every tweet, I try harder to share things I think my followers will find interesting, especially stories I’m reading or writing. It’s a constant temptation to use Twitter as my personal search engine, but I do my best to give as much information as I get out of it.

My blog is not my life’s purpose and that’s okay

Three years ago when I started my blog, I thought it’d be a portfolio builder to help me find a job. But as I got more familiar with the blogosphere, I started having a lot of what-if thoughts. What if I could build my career around blogging? What if I amassed an audience of fifty thousand? What if it started making a profit?

Then I got my job at the Daily Dot and I couldn’t be happier. Gone are the days I used to dream about self employment, because the Dot lets me write about what I want when I want where I want. I started Otaku Journalist because the job I truly wanted, the one I have now— writing about online communities and subculture for a living— didn’t exist yet. I’m certain Otaku Journalist played a role in getting me that job. But in admitting that my blog was a stepping stone to my dream career, I’m admitting that my blog isn’t said dream career.

However, that’s exactly why I continue to blog. Just putting my work out there has opened up a host of opportunities— my guest post on Forbes being just the tip of the iceberg. Who knows what awaits Otaku Journalist in 2012?


Happy New Year’s Eve! My 2012 New Year’s resolution is to revive my blog and write two times a week, every week. For more about how I plan to do that, check back tomorrow.

My 25th birthday

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Photo by Graham Doig.

December 21 marks my 25th birthday, the third birthday I’ve celebrated since starting my blog. Here’s what I wrote on my 24th birthday and on my 23rd.

Looking back, I can hardly remember what it felt like to be the person that wrote those entries. As I get more comfortable with the reality of living life online, my writing has become more personal and less afraid.

For the past two years, I made my birthday blog post about the past year’s accomplishments and the future year’s goals. I guess now, it’s a tradition.

This year I:

Next year, my goals are to:

  • Find my online/offline balance: occasionally read books on paper, write instead of type for a change, knit more socks, go on nature walks.
  • Keep my design and tech skills sharp by undertaking projects that employ them. Maybe edit a vlog, format an e-book in InDesign, or learn and implement HTML5.
  • Resume a consistent blog-posting schedule, with regular weekly features.

This year, I didn’t take time off for my birthday. I just had a quiet dinner with my family and my boyfriend. Honestly, I didn’t feel like I needed a party. After years of angst and uncertainty, I’m finally sure that I’m in the right place and doing what works for me. And that’s a celebration enough.

How to be a model press liaison

Journalism

The exemplary One Piece Podcast interviews Anime USA guest Wendee Lee.

In my last post, I evaluated what I look for in a model press attendee. Thanks for all the understanding and appreciative comments. I have to re-emphasize that most of my press outlets, like the One Piece Podcast crew pictured above, were journalists I’m happy to have as colleagues.

Now that I’ve cleared my head a bit, it’s time to evaluate my own performance.

Press releases

I’ve always thought this part of PR was super sleazy. In journalism school, I would laugh with my classmates and professors at the notes the public relations class before us would leave on the whiteboard. It all seemed like a sidestepping swindle designed to fool journalists into writing stories about non-news events.

Now that I’ve played for the other team, however, I’ve realized press releases are only spam in the wrong hands. Over the year, I’ve learned to carefully curate a list of media outlets until I’ve learned which groups would be interested in which news. While I sent the same releases everywhere, Anime News Network picked up our Make-A-Wish Partnership announcement, while the Washington City Paper wrote about our event details.

As a journalist, the last thing I want to do is PR spam the media sites I like and read. My goal for 2012 is to make a more detailed press spreadsheet so I can send out releases more thoughtfully. For the rest of 2011, however, I’ll be working on another spreadsheet — all our press coverage. There are a lot more spreadsheets in PR than in journalism, I think.

Press outreach

In 2010, we only had nine press outlets attend Anime USA. In 2011, we had 43. I credit this spike to improved communication with press.

I put up the Press Policy in the spring and the webmistress gave it a more prominent position on our site. I sent formal invitations to press groups that had done a good job in 2010 and whom I wanted to return. Everyone else, I Googled before responding to make sure they matched the quality Anime USA expects of their press outlets.

In the end, I generally made acceptance and rejection decision on the group’s politeness (or lack of) in their correspondence with me. I didn’t want press acceptance to be based solely on audience. After all, Anime USA accepted me as press when I was a student with no credentials, and no (anime-related) writing samples. It was this opportunity that gave me the confidence to become a fandom reporter. It also got me on staff. So I have a weakness for student and startup applicants.

Press relations

In order to set a professional tone right off the bat, I designed a branded press kit with information, rules, and our press conference schedule.  I had to update it twice while our guests played musical chairs all the way up until November 14. While I’m not generally a fan of killing trees (web journalist, blogger and all that), I think making print copies of these cleared up a lot of potential confusion. I handed these out with press badges.

Even though I spent most of Friday and Saturday in the Convention Operations room greeting members of the media with press kits and badges, I definitely did not personally meet all 91 press attendees. So it gave me peace of mind to know that they knew how to contact me regardless.

Press conferences

This was my grand experiment. Last year, I watched Saint Tom Stidman schedule one-on-one interviews for every press group that wanted an interview. The scheduling, the logistics, everything, was a hassle. So I decided to take a cue from Anime Boston. They hold press conferences there, and if they didn’t, an unknown like me would have never had a chance to sit next to Nobuo Uematsu. I thought conferences would be more democratic.

There was a little pushback from press at first. Professionals were okay with it; actual reporters are used to conference style interviews. A few bloggers from small sites were upset. I assured them that there’d be a professional journalist — either me or Patch.com’s Tyler Waldman — moderating every conference and making sure everyone got a turn to talk.

Nothing went the way I planned. Only two to four groups attended each press conference, even though sometimes as many as 15 requested interviews with the same guest. I adapted to the situation and deferred to my press groups on what they’d prefer to do. Overwhelmingly, they preferred one-on-one interviews, even if they’d each only get 15 minutes with the guest. The other outlets would wait their turn, sitting and listening. This led to a huge decrease in repeat questions.

I’ve listened to what the press wants, and next year, we’ll divide conferences into 30 minute one-on-one blocks, all in the same room. That is of course, unless we snag somebody on Nobuo Uematsu‘s level.

Anime USA official blog

As you can imagine, my duties as press liaison forced me to dial back a bit on promoting the Anime USA official blog. Last year, I gamified blog visitations with an elaborate QR code campaign.

I promoted one of my 2010 bloggers, the talented Mike Fenn, to Lead Blogger. He moved the blog from WordPress to Tumblr, which made the blog instantly more social. It also allowed bloggers to update from their smart phones, netting us tons more posts than last year. We received a total 640 unique visitors (out of 5,000 attendees), so there’s definitely still work to be done.


I hope my recap has given you some insight into how I run press at Anime USA, as well as an understanding of just how hard we volunteers work to staff the convention. I’m still far from becoming a model press liaison, but I am feeling pretty good about how I handled myself this year.

I also sent this post to my colleagues Chad and Nick, press liaisons at Katsucon and MAGfest respectively, so I’m looking forward to their comments especially.

Thank you to everyone I’ve worked with this year at Anime USA, whether you’re a member of the press, a staff member or an attendee. You’re not only the reason I do this, you’re the reason I love it.