No.39670
I think, that in all technological aspects, the 200th decade improved greatly (at least aesthetically) upon the last. Essentially, it was to the 90s as Windows XP was to Windows 98. I really like that Japan, being so behind the times, isolated on their little island continues to use many of those technologies. It's like a miniature alternate history world, or divergent technological evolution. I have a vague feeling that my love for very slightly old technology and Japan has been warping my view though, since that naturally means I consume Japanese media from that era, and end up in this echo chamber of things like CLAMP works, Chobits alone going over and beyond satisfying my computer fetish.
Putting that aside, please discuss very "2000"s things here. I'll start with DVD players, and especially the introduction of shitty practices like "Mandated Viewing" previews dedicated to advertisements and "Thank you so much for purchasing this disc!" portions that really make you wish that you stole it instead. As for GOOD things, there's the bonus features and craptastic DVD games that often get thrown in kids' movies. I think something like bonus features still get put in anime BDs, but I'm only a fledgling buyfag, so I can't really tell.
Sorry if this post's kind of incoherent, I actually stopped for a few hours mid writing.
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No.39678
I'm really fascinated by how bishoujo games and visual novels developed in the 2000s, and how they started to influence anime and otaku culture more in turn. I'm learning Japanese mostly to play more of them.
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No.39683
>>39678
im learning Japanese to talk to Japanese Babes
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No.39684
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No.39686
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No.39698
>>39678
It seems like a lot of the most influential or most popular VNs came from this time period from 2000-2005. Kanon, Air, Clannad, Utawarerumono, ToHeart2, Higurashi, Tsukihime, Melty Blood, Fate, Saya, Muv Luv. I'm probably missing a few but you get the idea.
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No.39707
>>39698
There's also a few from the late 90s like the original ToHeart, Doukyuusei, Yu-No and arguably Sakura Taisen and Tokimeki Memorial, and there's Umineko if you expand the window a little more in the other direction. The most interesting thing about that time, to me, is how these works from small studios and sometimes even individual creators could become huge sensations.
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No.39708
YouTube embed. Click thumbnail to play.
On a related note, this is also a good documentary to watch if you can get past the English speaking host. My favourite person they talked to other than Ryukishi07 was the guy with the Konomi-chan poster.
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No.39711
>>39708
God, I hate documentaries about subcultures. It's a bunch of normalfags trying to display something weird on a very superficial level so that other normalfags can laugh at it.
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No.39712
>>39711
Unfortunately this one has this flaw quite heavily. I think the people they interviewed are quite interesting and I would've liked to get to know them more without the whole "aren't they so weird" angle that the movie has to present for the normalfags, but alas.
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No.39823
YouTube embed. Click thumbnail to play.
I don't know whether what I'm talking about is just Japanese developers, but games in the 2000s just had a certain bizarreness and great sense of humour to them that nothing made lately has come close to emulating them. I feel like this, in part, might have to do with the limitations of the hardware, the graphics give off this kind of eidetic sense, kind of eerie, but also very light-hearted and endearing, and I guess it makes a kind of impression on either the scriptwriters or the players, probably both. I'm talking about the kind of stuff you see in PS/PS2 and DS games like Metal Gear Solid, Silent Hill, or Flower, Sun and Rain. The entire era had this kind of stuff, even some western games. Does anybody know what I'm talking about? I don't feel like I have a totally solid grasp on it, but I definitely think I'm talking about something real, and not imagined.
I think that modern developers keep trying to copy the humourous, quirky things from that era, but end up getting it all wrong, trying to appeal directly to this braindead Reddit crowd who'll shriek in joy whenever a game "breaks the fourth wall" or references the player directly, people have this kind of weird obsession for this kind of stuff which developers try way too hard to appeal to.
It really all could just be in my head, but I love that "feeling". Some things which I think illustrate it perfectly are Metal Gear's famous codec feature, fixed-angle camera views, and the bizarre easter eggs you'd just find sometimes that lead nowhere. A big issue nowadays is that developers capitalise on famous old ones, drawing this big whole plotline around it, or just put too many ridiculous, big ones everywhere which aren't meant to make you think "now why the hell would they do this", but instead "HAHA, easter egg! I've got to tell my friends about this and post it to my Did you Know? page!".
I really hope somebody can find sense in what I'm saying, I don't want to just look back on this delusional, rose-tinted past, I want to see whether it's something other people agree with, and if we can identify WHAT exactly it is, start doing more of it.
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No.39825
>>39823
You're not the only one who feels this way.
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No.39828
>>39823
I think the biggest problem with genuine secrets these days is that everyone will know about them really quickly anyway.
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No.39833
>>39828
It's not really important whether it's secret, just whether the game gets sidetracked in a weird way, I think.
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No.39844
>>39833
That's true. I just think there's something fun about discovering secrets like that on your own. One particular kind of secret I enjoy is hidden characters on arcade fighting game select screens, especially when some had particularly obscure methods of discovering them.
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No.40072
YouTube embed. Click thumbnail to play.
I love that these crazy bastards managed to turn a sprite viewer into a central game mechanic. Tangentially related to the topic.
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No.40934
>>39823
I've had exactly the same thoughts that you're describing. I thought I was the only one, but it seems that other people feel this too. I'm usually pretty good at describing things to people, but I don't have the words to characterize the early-mid 2000s era of gaming. It feels like games back then had so much more depth and artistry to them. It was a time of exploring new ideas and games being developed to the point where they felt like living, breathing worlds. I don't know the exact term you'd use to describe this, but it's more than just a feeling.
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No.41030
>>39823
The problem is that studios can't afford to make such games anymore.
The only ones who could fill the hole would be indie devs, but they would rather do some generic metroidvania, or copy some other shit.
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No.41049
>>41030
We could fill that hole! (a ha haha hahahaha)
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No.41135
Early Web 2.0 was fun. It had an already declining Slashdot, imageboards large and small (AnonIB and 8chan are remarkably similar), RapidShit, public directories with hard sub anime, power-tripping forum mods and just enough AJAX to spare your F5 key. The imageboards didn't mention Gaia or Ebaumsworld nearly as often as today's mention Reddit, which has nice. It surprised when Facebook took over. Up until 2008 I was hoping Western countries would develop a somewhat mainstream culture of anonymous online discussion like Japan had.
The long reign of Windows XP had interesting consequences. It made software compatibility and upgrading less of an issue. You could, for the most part, simply use software and play games from the previous 15-20 years. But it was a bummer when a Japanese game didn't work with only the language for non-Unicode programs set to Japanese. I never bothered to install Japanese-language XP. Did anyone here run it?
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No.41142
Japanese tech standards. Things like, just the fact that servers don't automatically redirect web browsers to the www TLD.
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No.41249
YouTube embed. Click thumbnail to play.
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No.41255
>>39670
>>>/cow/
fuck off federov
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No.41257
>>41255
Funny enough, I was a part of the whole WakeFoot catastrophe. There's way more to this culture than some particularly autistic twink you know, but it's not very /jp/-friendly.
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No.41261
>>41257
>>41255
You lost me, what does this have to do with anything here?
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No.41263
>>41261
Just a subculture aroundthe kinds of things I mentioned in the OP. Somehow, most of them hate anything Japanese.
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No.41473
>>41135
>Up until 2008 I was hoping Western countries would develop a somewhat mainstream culture of anonymous online discussion like Japan had.
I had held that hope up until mid to lateish 2007.
But well, by that time myspace type things were already crazy popular. And the rise of both fagbook and the iPhone (Computers for the rest of us! Integration is revolutionary!) seemed to add to that beyond belief.
Through that, the value of posted content fell wayside to the value of posters themselves, for whatever reason.
A sad time and sad outcome for sure.
But yeah, I do love the longstanding monolithic software platform that x86 and Windows have built up. Even if they're both giant clusterfucks with excessively complex functionality and APIs respectively, carrying a ton of legacy support. They're amazing for amassing such a large library of software.
But I'm really not sure how much they can squeeze out of it.
ARM is a lot more efficient for electricity cost and heat production. Though not nearly as powerful.
It's just that without the massive library of software from x86's absurd legacy, it can't really take hold of the "power for power's sake" market and make strides there. Though an x86→ARM compatibility layer could help that, and Microsoft is working on such a thing with Windows 10.
I have hopes, of some sort, for the future there. Moreso than mobileshit is providing.
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No.41606
Firestarter's found a new surge of popularity. I'll be interested in seeing the community grow.
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No.41788
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No.41789
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No.44826
>>39712
>>39708
>>39711
I disagree, besides some rare offensive bullying from the cameramen, the documentary is respectful and tries to get to the core of the motivations of the people in the subculture, not shallow at all. The interviewers ask how these people's childhoods were like, what drove them to be where they are.
We get to see both the angle of horny clients in a maidcafe, who just want to see cute girls treating them like a girlfriend, as the client and his friends put it, while we also get to see the maid's angle, one studying in a university yet plans to work there forever, as she was never able to bond outside of it in her life, shy and awkward as she is.
She describes how the whole atmosphere is different from normal, how everyone is just trying to have a good time, unlike other restaurants where people complain about food and there is no intention of creating an atmosphere or bond.
Sure, they could have asked more questions in many parts, but saying this was superficial is untrue. They even create a narrative by connecting all these people and showing how they all found something special and worth living for in this electric town. Kids learning about computers and shopkeepers eager to spread knowledge to them.
Or am I missing something and it was subtly disrespectful besides the jabs from the cameramen?
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No.44879
>>44826
I was mostly talking about those jabs from the cameraman. I do like the content of the documentary quite a bit, and the stories of the people they talked to.
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