Talking Shop: Carpe Fulgur On Recettear

The demo of Recettear: An Item Shop’s Tale is one of the best things I’ve played in a while. A Japanese indie game pitching an RPG shopkeeper as the star… well, you can read all that in the last post. Given the slightly unusual nature of the project – it’s only available here thanks to a third-party translation company- I thought I’d chat to said translators about the why, how, who and what next. Interesting stuff – there’s this whole vein of (slick) indie gaming that we otherwise hear nothing about. Take it away, Carpe Fulgur’s Andrew Dice.

Why set up a business translating Japanese indie games? Love, profit, bit of both?

A bit of both, really. Should Carpe Fulgur prove very successful we do hope to take it beyond “just” indie stuff, although the Japanese indie scene is mournfully overlooked. There is a lot of what might be termed “naughty” content being produced by the Japanese indie scene, but it’s also where some of Japan’s future best and brightest are starting to make their mark and it’s almost criminal that localizers on this side of the pond won’t even give them a first look.

As far as “why set up a translation/localization business”… well, I’ve wanted to do this ever since I was in grade school. It was the old Square RPGs on the SNES – Final Fantasy “II”, “III”, Secret of Mana and the like – that really convinced me that a “video game” could involve so much more than just jumping on an enemy’s head, and that this medium could have actual narrative depth and engage the user. And once I heard of Ted Woolsey, the man who was in charge of making those games sound as good as they could in English (well, as good as he could given the hardware of the day)? My destiny was pretty much set. I knew exactly what I wanted to do with my life. If I could be a part of helping deserving games reach Western shores with the best scripts possible, that’d be a wonderful way to earn my living.

Are there tons of interesting games like Recettear that we’ve just not heard of in the west? I.e. is it a long-term business model for you guys?

Well, just like any medium, Sturgeon’s Law applies to the Japanese indie scene in part at least – there are a lot of bad and/or creepy games out there. There’s also a lot of untapped or under-appreciated talent out there, though, and it seems like every year someone new shows up at Comiket (Tokyo’s massive indie-focused convention) with an awesome project to show off.

There are other problems with some indie games in Japan, though – it’s a bit of an informal “rule” that large companies don’t go after fan works that use established IP characters (often because the games make so little money there’s no point to it). Obviously, we can’t use anything with existing IP in it, since Western companies tend to be just a liiiiittle more serious about that sort of thing. That’s one of the reasons EasyGameStation was such an excellent group to partner with – they moved away from IP-based stuff and began developing their own concepts several years ago. While there are still… references and a bit of parody in their games, there’s nothing that’d be illegal inside. A lot of otherwise awesome titles, though, are licensing nightmares here in the States – Battle Moon Wars is fairly spiffy for example, but it features multiple IPs from one company on top of Werk’s own, well, work, so it’s not really something we can consider.

Assuming Recettear does at least okay, there are two more projects from EGS that we’d like to pursue. After that, we’ll keep our ear to the ground for any more particularly excellent indie projects that don’t have any red strings of copyright death attached to them, and get in touch with their developers. If we manage to make a bit of a name for ourselves, though, we’re giving thought to trying to get some “big name” work as well – several publishers sometimes rely on third-party localization houses to handle certain titles, and we wouldn’t mind doing that kind of work at all, especially if the title’s worth our time.

What are those other projects you’re hoping to work on?

Well, it’s still a little early to think about that – we need to get Recettear out the door after all – but if we let our heads drift into the clouds, we’d like to do EGS’ upcoming project Territoire. It’s really interesting and is rather like the illicit lovechild of Civilization and Final Fantasy Tactics. We’d also like to work on our own release of Chantelise, the game EGS made prior to Recettear. It’s a bit more of a traditional, Zelda-64-esque dungeon experience, but it’s still very well made and the music is incredible. DHM Interactive did their own version for Europe, but we’d like to take a stab at a dedicated English version.

Now, if we let our heads drift above the clouds and toward the Moon… there’s a title coming out this week in Japan called Fate/Extra. Fate is a long-running franchise begun by the gents at Type-Moon, who started out indie themselves and built a company and financial empire, brick by brick, on the back of the relentless quality of their visual novel releases. Fate’s never really been able to find a market in the States or Europe due to, well, the games being visual novels and not something you can “play”. (And yes, I know VN fans would take me to task for saying that, but I’m talking wider perceptions here, guys.) Fate/Extra, which seems styled a little bit after the newest Persona games, but features this nifty simultaneous-initiative combat system, and is a fully playable RPG for the PSP, seems like pretty much precisely what the doctor ordered in this regard and looks fabulous. Marvelous, the publisher in Japan, is supposedly shopping the game around, and while we obviously can’t afford to license the game directly, working with a larger, more established publisher on the title might be an option, especially a publisher that finds itself in need of new, more skillful localization partners…

Of course, given that Carpe Fulgur has yet to actually release a retail product (nor do we even have an actual, physical office yet) it’s probably just a hair presumptuous for us to talk about getting deals with large publishing houses. CF wouldn’t have happened if we weren’t capable of thinking anything is possible, though.

What are the differences between the Japanese and US/European indie design styles of philosophies, as you see them?

Surprisingly little, all told. I already mentioned the Japanese scene’s problematic predilection for taking copyright as more of a “suggestion” than an ironclad rule, and the Japanese scene is famous for taking a bent toward rail-shooters and 2D fighting games (while the West tends a bit toward platformers and puzzle games, perhaps) but beyond that there isn’t that much of a difference. It’s all about taking an idea you have and turning it into something people would enjoy, no matter what country you live in. The approach is fundamentally the same.

With EGS, for example: once we broke the initial ice with them, it was really, really obvious that we were all fundamentally on the same page about how the game worked, what its purpose was, and what kind of feel and message it should have for the player. There was surprisingly little “culture barrier” in development – it’s all about giving the player the best experience you can, regardless of where you are.

What’s translating Recettear involved – how many of you, how much time, native Japanese speakers, working with the original devs, what?

Carpe Fulgur consists of three individuals: myself as project director American-side and lead script editor, Robin Light-Williams as our lead translator (who also handles communication with Japan), and Nicholas Carson, who handled all the art assets in the game that needed to be translated or tweaked for readability. As I said, we don’t even have an office, currently – Robin and I live across the country from each other, in fact, which has made keeping in touch a bit of an adventure on occasion! The editing work for the game was mostly done in free tools, like GIMP and Notepad of all things. (Ironically, Notepad ended up being the best tool for the job when it came to editing the raw script files for re-insertion into the game!) We’re about as “guerrilla-indie” as you can get, without tying a headband around your forehead and hiding in the trees with your laptop.

Recettear has taken about seven months from start to demo release, and we anticipate another month or so of work for the full version (since most of the non-script work for the game had to be finished for the demo to work properly). Truth be told, part of this comes from our non-centralized setup at the moment – Mr. Carson’s had to juggle CF and school, weather has been a factor, various other real-life intrusions have gotten in the way. If or when we can consolidate the group into one location, I anticipate being able to work quite a bit faster than we have.

We don’t have any native Japanese speakers on staff currently… although, watching Robin work you’d be hard-pressed to tell the difference. He’s handled practically everything with alacrity and speed, and I couldn’t ask for a better translator. We’ve also worked very closely with the guys in Japan through the miracle of this thing called “e-mail”, asking them about certain aspects of the gameworld, making sure we get names and details and whatnot just right so that the English version is faithful to the original.

Was this a crazy-huge project or relatively straightforward?

Well, most people would say so, I think, given that we had a five-hundred-plus item list and an 800-KB script plus graphic and interface elements to wrestle with! It never felt “huge” to us, though, I think. Perhaps once or twice when self-imposed milestone deadlines loomed large, but we really just took it one step at a time and before we knew it, we had a demo ready to go.

Do you get to tweak anything beyond translation?

A little; the title theme to the game, for example, is different in the English version at our request. Team m_box, the guys in charge of the music for many of EGS’ projects, were cool enough to provide us with an excellent new mix of the game’s main theme to serve as the title music, where there had previously been a frankly rather weak nondescript single-instrument theme trying to fulfill that role. We also made sure that hat switch support was added into the game client; most American-built PC-compatible gamepads treat the D-pad as a hat switch, and at first those didn’t work with the game at all. We made double-sure to have support for them put into the game.

EGS didn’t have time for a lot, and sweeping changes to the game are a bit beyond the scope of a localization, but if there are little improvements we can make to a game, we like to get those in if we can.

How much is lost in translation? Is the dialogue and particularly the humour we see in the English version pretty much the same as in the original, or do you have to do really significant rewrites?

As editor, I did add in some humour (a very small number of lines were my doing specifically) but by and large, yes, the game was quite goofy in the original script and the interplay between Recette and Tear, for example, worked just as it does in English. The semi-infamous “can I sell my organs” speech by Recette, for example? The only thing I did there was to tweak the end of it to work in the sailor reference (since it felt like it left the obvious pun awkwardly hanging otherwise), but everything else is verbatim from the Japanese. Completely and totally straight.

We did have to update some cultural references, naturally – the door in the original was originally a joke from Doraemon, which is a cultural staple in Japan but is pretty much an impenetrable mystery to everyone outside of Grand Glorious Nippon, for example, so I had to make a reference to something similar that I think many RPG fans should be at least passingly familiar with. There was a fair amount of that, references to explicitly Japanese things (which was a little weird in context, since the city and kingdom Recette lives in is supposed to be this kind of Fantasy Not-France according to EGS) that we had to make work in English. I think we managed to make it all work out in the end.

One of Carpe Fulgur’s ironclad rules is that we don’t cut content unless it’d get the game banned in America – so no explicit sexual acts or anything (which Recettear never featured to start with), but otherwise we leave things alone. So despite the changed cultural references, I can guarantee you that the plot you’re reading is just as it was in the Japanese version. We haven’t messed with what made the game great – that’s why we liked it to begin with, after all!

Let’s do the stats: how much will it cost, when will it be out, will you be on Steam, Impulse, etc?

We’re currently targeting a price of about US$20 for the game. As for a release date… I can’t give a specific one yet, since a lot of it hinges on when (or if) we find a distributor (or several). We’re currently aiming to have the full game completely ready to ship by mid to late August, but beyond that I can’t guarantee any dates currently.

Can you talk about how you share income with the original devs? I’m not looking for super-secret private financial details, just a good sense of how the partnership works.

As for our deal with EGS… well, as you said, I can’t give any details. EGS will be getting a lion’s share of the profits, however, which we feel is perfectly fair (it’s their game after all!) We’re not in this business to make bales of money – we’re in it to do something we love (and hopefully end up with enough change to buy some bread afterward).

Thanks for your time.


  1. pakoito says:

    “We’d also like to work on our own release of Chantelise, the game EGS made prior to Recettear. It’s a bit more of a traditional, Zelda-64-esque dungeon experience, but it’s still very well made and the music is incredible. DHM Interactive did their own version for Europe, but we’d like to take a stab at a dedicated English version.”


    • Dominic White says:

      Err… Chantelise.

      The current version is in French only. A language I speak a bit of, but given the excellent quality of the Recettear demo translation, I’m happy to wait for more EGS releases from them.

      Apparently EasyGameStations next title is shaping up to be even better than Recettear. Territoire, a kinda hybrid of Civilization and a character-driven strategy RPG, according to Carpe Fulgur.

      Anyway, Japan has a pretty huge retail indie scene, 99% of which never comes near the west, simply because there’s nobody willing to translate or distribute. A few get fan-translation patches (which is nice) but It’s good to see more outfits dedicated to bringing the games over to be sold properly.

    • Nick says:

      “hybrid of Civilization and a character-driven strategy RPG, according to Carpe Fulgur.”

      I want this. Much.

    • Alexander Norris says:

      Wait. Why is a Japanese indie team making a game in French?

    • Dominic White says:

      They’re not. There’s another localization group called DHM Interactive who have translated some of EasyGameStations titles into French.

      It’s not surprising – the anime/manga scene in France is waaaay stronger than in, say, the UK/US. People don’t look down on books because they have pictures here.

    • pakoito says:

      I’ve…hum…*found*…a Chantelis version with both Spanish and English for PC, is that possible?

  2. Seyon says:

    Nice Interview. I just read about Recettear on ANN. Nice to hear how one of the smaller companies work.

  3. Heliocentric says:

    Japan like eastern europe is slowly losing the absolutism of its isolated identity but in the mean time we are seeing a different kind of game become more accessible. Its a good thing, more of this please.

  4. Jhoosier says:

    I quite enjoyed the demo. I’d actually like to find the original Japanese game, but no idea how to go about it.

  5. K. says:

    Coincidentally, I played the demo just prior to this interview. Really nice game, hits most of my buttons.
    I was disappointed that it wasn’t already for sale.
    Hopefully RPS will post a release note, so I don’t have to check their site every day.

    Plans for future projects sound interesting, too.

  6. pipman300 says:

    okay who was the wise guy who put that picture of my house before the jump

    • pipman300 says:

      a fairy sold my house and now i live in a cardboard box you got a problem with that?

    • DJ Phantoon says:

      Your joke is absolutely terrible, and you broke rule number 1 of joketelling: Never explain the joke. It’s kinda like being a magician. Also, you live in a world where people’s eyes look like that? You should call the Doomguy to get you out of that hell dimension post haste. Unless you’re a demon. That’s more likely, actually, and then he would just blow your face off. Or give a bizzare impromptu speech about pollution after murdering hundreds of the damned in the face. He’s kind of a nutjob.

      You being a nutter aside, that is probably one of the most depressing things I’ve seen all month. She lives in a box and has a despairing, defeated look. What the hell is wrong with these people?

    • DeepSleeper says:

      There’s nothing “wrong” with “these people”. That’s the game over screen. That’s what you’re trying to avoid. It’s not a desirable outcome.

    • pipman300 says:


      yeah so what if i do you want to fight about it?

      also the doom guy < hard gay

  7. Bioptic says:

    Really interesting reading – exactly the sort of thing I’d like to see more of. I actually never saw localisation as being such an issue for getting foreign indie projects distributed in western markets – I always thought it was difficulties in licensing and distribution.

    Quality localisation can make a game really shine (as the umpteenth version of glorified visual novel Phoenix Wright can attest), so seeing a team dedicated to bringing across the original meaning in a natural and interesting way is heartwarming.

  8. Miko says:

    Wait, they’re working on finding a distributor? I thought indies could basically just go “Hey Valve, we want to put this on Steam, thanks”. I’m baffled by the idea that some of the awful $9 crap I’ve bought from Steam required a third party’s involvement to get on there.

    Also I really want this on Steam. I loved the demo and Steam has made me so lazy I can barely be bothered to open a box and put a disc in the drive, never mind futz with some external web shop.

    • Dominic White says:

      “Wait, they’re working on finding a distributor? I thought indies could basically just go “Hey Valve, we want to put this on Steam, thanks”.”

      Apparently not. It took the guys behind Aquaria (which as a pretty big indie hit and well known around the internet) *months* for Valve to even respond to queries. Even with the vastly improved opportunities for digital distribution, it seems there’s still some notable hurdles to jump.

      Valve apparently won’t publish anything made using Game Maker, either, because it doesn’t play nice with Steams DRM system. Not anything to do with this, but it’s another tangential issue.

    • Dominic White says:

      Oddly enough, getting two articles on RPS (which is on Valves blog-roll) and just recently having been Slashdotted will probably help them a lot, actually.

    • Miko says:

      Well, that’s disappointing. I was labouring under the false impression that Steam was a godsend to indie developers as a means of distributing their game and minorly getting it out there, at least to people who habitually browse the “new releases” tab. I do hope Valve picks up on this. I mean, I’ll send cash money and a self-addressed envelope if I have to, but I’m hoping to persuade a few other people to pick Recettear up as well.

    • qrter says:

      Not sure if RPS has that much influence. RPS-darling The Spirit Engine 2 couldn’t get itself on Steam.

  9. Lanster27 says:

    Fuck yeah. About time someone took up this business.

  10. Buemba says:

    Territoire sounds really interesting. Hopefully Recettear does well enough to justify localizing it too.

  11. Torgen says:

    Just played the demo straight through. Valve, get this little gem on Steam!

    Do Want!

  12. Memphis-Ahn says:

    I played the Japanese version when it was first released on the torrents, it was pretty fun but I didn’t get very far due to not knowing what the heck was going on a lot of the time.
    I’ll definitely pick this up when it’s released though. And I’ll be looking forward to their other projects, I have a bunch of games I want to see translated like Chantelise and Crescent Pale Mist.

    Also, Doraemon was a semi-known series in Portugal (and Spain?), for the younger crowd. So I wouldn’t call it an impenetrable mystery.

  13. TCM says:

    Played the demo, and I have to say, the only thing I am unsatisfied with is that the full game isn’t out yet.


    [Also, if they somehow COULD localize Battle Moon Wars properly, by getting the rights from both Werk and Type-Moon, that’d be awesome. The translation patch is good and all, but…]

  14. Wulf says:

    This gives me hope that we might see more utterly bonkers Japanese stuff on Western shores. I used to love Japanese games, way back when, when they were colourful, and absolutely barmy. The Shining series being the exemplars of this trend. It continued even into the Playstation2 era a bit, but by then I could all ready see that more ‘sane’ games were being picked for Western audiences, because our fragile wee little minds couldn’t handle the strangeness.

    Gods damn you, boring publishers, I crave the strangeness! That’s really one of the two things that’s been missing from gaming for me, the barmy Japanese, and the equally barmy bedroom coders of the British home computer era. Perhaps just recklessly inventive development processes, period.

    We are seeing a bit of a return to that, though, since perhaps boring, been-there-done-that game design isn’t selling as well as it once used to. The indie scene is offering up the likes of VVVVVV and Recettear, both of which are a breath of fresh air, and on the more AAA end there’s Guild Wars 2, which is shaking things up enough to catch my interest.

    I’ve been hit with a gaming malaise lately due to a lack of purposefully eccentric design, things these days are mostly so boring, so dull, so… sane. D: I know I’ve gone over this rant a hundred times, but things like this actually give me hope. The only thing I wonder is why there’s so little of it. One can but hope that games like Recettear will sell well enough to make further forays into such fields worthwhile.

    Gaming is far too sane these days, if there’s anything I’m nostalgic for, it’s for when it wasn’t. It’s a personal viewpoint, of course, as all viewpoints are. Still, I’ll celebrate any game which manages to make me smile, inside and out.

    TL;DR: Yay Carpe Fulgur! More please.

    /wanders off back to his cardboard box, since that damn fairy took his home, too.

    • Vinraith says:

      More insane games, and for that matter more insanely hard games, would be great. The other thing I’d love to see from a Japanese revival is the return of the Wizardry/Might&Magic style dungeon crawl RPG. I bought a DS specifically for the Etrian Odyssey games, I still break out Wizardry 8 from time to time, it’s a PC genre dammit and we should have it back on PC!

    • Dominic White says:

      On the subject of barmy Japanese games that need official translations (although in this case, it has gotten a fan-translation that was surprisingly great):

      link to

      Touhou Soccer. Take an entire dimension of super-powerful magical beings, witches, goddesses, vampires and other such stuff, and introduce them to football. Also point out that there’s a rule against using your hands… But no rules against using earthshattering cosmic powers.

      It plays out as a semi-realtime 1 or 2-player RPG, with team management bits inbetween matches. It’s very funny and very silly. I normally have no interest in football, but when a special shot can knock half the enemy team flying and blast a hole through the net, and sometimes even destroy the moon, I can’t help but like it.

    • TCM says:

      Touhou in general needs an official American release.

    • Wulf says:


      Indeed. I loved Wizardry 8, but mostly for being so… odd, I have vivid memories of it. There were the Rawulf, but they were support role types, all about piety and being humble, which meant they worked great as Priests. Though, I admit, I had one Rawulf who was a bard, which wasn’t optimising to his class at all, but… I had to do it. I simply had to do it. In a fantasy game, given the choice, I would be a bard.

      I still have fond memories of Betrayal at Krondor allowing me to caterwaul randomly at inns, usually getting chucked out for not being very good at it. My Rawulf in Wizardry 8 was probably like that, since he wasn’t really suited to the whole bardic thing, but he tried anyway, and usually he was the crux of my party, stopping them from falling over.

      Mostly though it was just an excuse to put the thespianic voicepack on a Rawulf. Which also had to be done, someone had to do it, and I was that someone!

      I also had Scottish lizardfolk. I’m not sure why I thought that the Scottish voicepacks suited them so much, but it just clicked for me, in my version of the Wizardry Universe, they were Scottish, and that was that, that was final. My Felpurr bloke, by comparison, was fairly run of the mill. Except for perhaps some bizarre memories of him being a gypsy. I imagine this it not something to do with the game, but more to do with the roleplaying overlay my mind tends to apply to any RPG I play.

      I also remember arguing with an easily irritated sentient spaceship.

      I loved Wizardry 8.

      @Dominic White

      I simply must play this, now. Haha, I must. I’ll try and track down the fan patch to give it a whirl with.

    • Vinraith says:


      …and sometimes even destroy the moon

      Sold! They badly need an English US release of that.

    • Dominic White says:

      At least two character have shots that blow up or otherwise badly damage the moon. A lot of them have shots that blow large chunks out of the stadium. One can summon giant robots onto the pitch. Others can stop time, etc etc.

      It’s Fantasy Football in the best possible sense. I’m slowly hacking my way through the campaign. I’m still fairly early on – currently trying to win the NetherWorld Cup, which is actually one of the lower leagues.

  15. DJ Phantoon says:

    “and the Japanese scene is famous for taking a bent toward rail-shooters and 2D fighting games (while the West tends a bit toward platformers and puzzle games, perhaps)”

    Nobody else noticed this?

    We make man-shooters! Man shooters with the newest bloom effects to round out all the damn brown that seems to be so pervasive.

    That guy has spent way too much time in Japan or something!

    • Dominic White says:

      I’m fairly sure he’s talking about the respective indie scenes. There’s a couple of indie FPS projects out there, but not that many.

  16. Susan Taylor says:

    I second this! Steam need to nab this one so we can all too!

  17. Internet Friend says:

    The demo was really great, as was this interview.

    $20 seems pretty expensive though. The game felt like something you could master in 3-5 hours, and then never return to. It does have that leveling up system, so I’m probably just ignorant.

    • Dominic White says:

      Word is that the main story alone is 15-20 hours long (that’s assuming you don’t lose and restart at all). After that, you’ve got a whole ream of post-game content, and some other playmodes unlock, including infinite survival mode, where each week you get a higher debt to repay forever until you finaly go bankrupt.

      $20 sounds pretty damn fair.

    • Internet Friend says:

      I was thinking more about the mechanic getting old than the length. Though 15 hours of smart text and plot does sound very good.

      I’m just nervous about how the demo will expand into a full game. If 7 hours on I’m doing the stuff from the demo, I’d like it to be cheaper than $20. And I’d like a space ship. And cure for internet entitlement.

    • Dominic White says:

      The official site shows that you end up running a much larger store later on, and have to juggle a lot more elements, like what kind of customers you attract with different kinds of items. Word is there’s even vending machines to automate the sale of smaller items, as you’ve got a lot more to juggle.

      There’s something like 5-6 dungeons, each with several sections/bosses, and a bunch of different heroes each with unique moves and stats/skills.

      The demo is just the tutorial, pretty much.

  18. Dr Snofeld says:

    I just managed to pay the debt in time purely through buying and selling… because I couldn’t figure out how to get to any of the dungeon stuff. -_-

    • sana says:

      Yeah, dungeons are surprisingly hard! How many floors of the Hall of Trials do you have to beat to reach the exit?

  19. Hyudra says:

    You need to get to the fourth floor of the hall of trials. If you’re finding it tough, just sprint for the exit and avoid enemies. Alternately, bring restorative items (ie. walnut bread) and use esc-item-[select bread]-use to restore health if you need it.

  20. TeeJay says:

    AN AN AN
    tottemo daisuki


  21. SuperNashwan says:

    Excellent interview and I wish them luck. I really miss even the trickle of interesting, slightly crazy Japanese games I enjoyed from owning a PS2, so any chance of some of that creativity finding its way to PC in English is very welcome.

  22. テイ says:

    I like anime, but not the style of games like this one, or to be honest, the style of the dialogs. Is like the dialogs are hand-controled, you have to type space/next/z to move to the next sentence. I read fast, so is.. argghh.. before really playing this game, my hand hurts.

    • テイ says:


    • Hyudra says:

      Have you tried turning up the text speed in the options?

      I’ve been a speed reader since I was 7, and I have no problem with the text speed turned up.

  23. Torgen says:

    Ok, has anyone gotten to level 5 and tried the fusion before the demo runs out? I collected all sorts of mysterious “ingredients” with Louie in the dungeon, but didn’t make level 5 until Day 8, which is where the demo ends.

  24. Diji says:

    In addition to changing the text speed in options, holding down button 2 (X by default) skips through stuff faster than pressing button 1 when text ends.

  25. Nolor says:

    Yeah, I managed to make a Romantic Cape before the end — it’s value was around 15k and its stats were remarkable.

  26. Marcus says:

    Guys, guys… seriously. Why would you rather talk to the guys who TRANSLATED it instead of the guys who MADE it?? “They only speak Japanese”? Well then, just ask the TRANSLATORS to TRANSLATE your INTERVIEW with the GAME DEVELOPERS. Christ.

    I mean, I’m not saying it can’t be interesting to interview translators, but it’s obvious it’s the game and the Japanese scene you’re interested in, in this case.

  27. Arcname says:

    Well, they’re the guys that’re making the effort to bring over the more innovative indie titles from Japan, which’s not something that’s exactly commonplace, is it?

  28. Devon says:

    Recettear releases on Impulse, Steam, and GamersGate on September 10, 2010.