Good Job! Media – Summer 2016


With Spring mostly over, here are our picks for Summer 2016.

First up is Orange. This will be an in-house original translation project. The studio’s staff for the show looks very good, and I hear the source material is also pretty great. Looking forward to it.

Our other project will be Rewrite. We’ll be doing this as a joint project with Asenshi. Given the latest Key track record, we’ll just hope for the best here. Rewrite was a decent VN though, so who knows?

Other than that, we’ll be working on yet more Akagami and Erased, and I’ll be fighting my never-ending battle to reach the end of GJM’s BD backlog!

Hope you’ve all enjoyed the ride so far, and that you look forward to our Summer shows!


Good Job! Media


  1. I’ve already read the Orange manga, so I’m not really interested in the anime. Even though, both should be nice choices. Orange wasn’t that bad as a manga (i’ve read much better shoujo though), but I expect much better from Rewrite. It’s an anime original, additional to the VN, by Romeo… Well, you better not fuck up the TL. Please don’t. I want to appreciate Romeo’s writing as much as possible. But I’m happy I don’t have watch Rewrite from some bad groups (i don’t want to name) or simulcast.

    • Didn’t we already learn from ShokoMeza that “Romeo’s writing” really isn’t a thing? It’s a bad meme.

      • That’s what you should tell moogy. He’s nuts on Romeo the most.
        I just believe what he says. And he’s probably not wrong with his idea there is a certain appeal to his writing.

        • Yeah, an appeal no nonspeaking reader/viewer would ever catch the nuance of.

          Anyone who isn’t fluent in Japanese who creams themselves over “muh romeo writing” is just memeing.

    • >appreciate romeo’s writing
      >romeo’s writing

      I can redirect you to my neighbor’s son high school essay. It should be a better read.

  2. Thank you, you always have the best picks for every season! Love you<3

  3. Oh nice, original TL for Orange—that’ll sure be exciting to see, considering it’s one of the four series I’m interested in for the next season (still kind of a bland year so far, to be honest). Good luck!

  4. This. If you want anything writing-wise more specific than the general plot and the writer’s creativity when it comes to plot development and maybe characters to an extent, you should probably just learn the language. Majority of the time stuff like prose and writing style gets lost in translation. Hell, even plot stuff like foreshadowing using wordplay and such gets lost in translation a lot of the time unless it’s something that happens to work in English without sounding too awkward, just look at a number of arcs in the Monogatari series.

    • I agree with you entirely. Translation is VERY VERY VERY rarely ever 1:1. It’s doubly worse with a medium like anime where we’re constrained by the fact that the exact audio is sitting there and constricting our freedoms, too.

      A lot of written media that gets translated has a lot more room for interpretation because very few people will ever see the original source. Any localisation team will tell you that, I’d bet.

      • Working in translation business, can confirm. This is also why dubs typically take a lot more liberties with the script and translate as much as possible (so you won’t find “onii-chans” there). 1:1 translation between different language families is strictly impossible for anything beyond the shortest/simplest bits of text.

        • Yeah, very understandable. I advocate maximum localisation when possible so I have a hard time with anime as a medium when editing.

          Having the source language constantly in your face makes creative freedom really difficult to attain.

          Sometimes I wish I’d gone into the VN or manga scenes instead. :P

          • I support that. Naturally, a good localized script works wonders if the translation team manages to find compatible cultural codes, idioms, type-token relations, and map-territory relations in the target language. In such case the translation could, ideally, affect the target audience virtually the same way the original work affected its own audience, which is really the end goal of any translation (as opposed to, say, fan fiction where the end goal is to expand/improve upon the original body of text). Then again, I’ve seen so many attempts at localization fail when editors didn’t exercise due diligence or fell victims to their own uninformed choices made earlier… This is neither easy nor gracious. Take a complex enough piece, and you’re guaranteed to fuck something up.

            Japanese is, of course, also one of the trickier cultures and languages to handle for a foreigner due to its long history of seclusion—in contrast with the wide cross-pollination of Western cultures. Eg. you can’t adequately express the concept of shame that drives mentally stable people to a ritual suicide without a second thought because we Westerners don’t have anything like that in our past nor present culture, so we can’t really think of it in the same terms. Similarly, most of us have never been conquered by a country belonging to a drastically different culture in the recent times, so we really have no clue why Japan is so insistent on negatively referencing the USA or the elements of its corporate or military culture in one way or another in manga/anime (certainly not only because of the destruction caused by the A-bombs), or, say, negatively referencing aspects of industrialization (Tetsuo the Ironman’s iconic penis drill has been referenced how many times already?). Likewise, most of us have no clue about the reasons for mindboggling prevalence of mecha and other anthropomorphic robot imagery in Japanese sci-fi, or the popularity of coming of age motifs in the surprisingly wide variety of genres—this, and other things like this, is the result of them continually struggling with their identity crises which we’ve never had to deal with the same way they have. Accurately translating works whose narrative is deeply embedded in this unique cultural context is incredibly challenging, unless you’re willing to write an explanatory essay accompaying every release. It never ceases to amaze me how there are people willing to tackle this for free for some cheesy cartoon shows. :p Cheers!

  5. I’m sure I’m just not being fair going off a couple sentences but boy is that description for Orange on MAL triggering my Glasslip PTSD something fierce.

      • I agree, I watched the live action and I want to finish reading the manga before summer season, and I can already say that Orange will be absolutely great.

  6. I’ve read the manga for orange and it’s excellent, so great pick with that. They got the character designs spot on and the background art plus music in the pv were perfect (same duo who did Cross Game’s OP/main theme song is doing orange’s main theme/ED song). Rewrite I’m also very excited for, so I’m glad it’s being done by GJM-Asenshi. Would of been nice to see planetarian there as well (maybe as a GJM-Vivid project or something) but oh well, just hope another good group picks it up at least. Also glad you’re trying to get rid of the BD backlog, can then finally watch Charlotte and a few other of your shows then.

  7. I was planning to watch pretty much anything you decided to pick, but I’m glad they’re both shows I’ve been looking forward to watch. To be perfectly honest, the single anime I truly look forward to this upcoming season is Koe no Katachi. My anticipation grows with each passing day, and I’d be infinitely grateful if a great group like yours were to release it.

  8. heroine fansub is already planing to orange. I wish if you something else instead like fate khalied 3rei or Regalia

    • But Heroine announced later. Why can’t they be the ones taking responsibility and doing Illya instead of Orange? :^)

  9. AoKana still getting finished correct? Fate\Kaleid sorry but got to say is beautifully done but tastes are different and you’re opinion is just, I just hope S4 does just as well or better.

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