#GO-TA-KU

[beautiful-basque-country]

Some new conclusions regarding the Hand of Irulegi

The stippled text can be read as follows:

sorioneku ⋅ kunekebeekiŕateŕe/ /n oTiŕtan ⋅ eseakaŕi eŕaukon ⋅

The script used for the text on the Irulegi hand clearly belongs to the family of the Palaeohispanic semi-syllabaries. 18 different signs can be discerned. The presence of the T sign in a non-numismatic text is highly significant, because it demonstrates that this sign was used in multiple epigraphic contexts and because it confirms the existence of a graphic subsystem that, considering its geographical distribution and the increasingly solid linguistic evidence associated with it, must be described as a ‘Vasconic script’. Where and how such an adaptation occurred are aspects about which we currently know very little.

None of the words identified can be directly related to Vasconic or Iberian anthroponyms. The remarkable similarity between the first word in the text, sorioneku, and the Basque word zorioneko—‘of good fortune’, a flection-derivation of the sequence zori ‘fortune’ + (h)on ‘good’—could be taken to be a coincidence, were it not for the evident symbolism of the artefact and its findspot at the heart of Vasconic territory. Both words are of early date within the Basque vocabulary; even the union of both elements is recorded in the oldest Basque documents (e.g. zorionean ‘fortunately’ used by both Joan Perez Lazarraga and Bernat Dechepare in the 16th century).

The sgraffito version, however, offers sorioneke. The reason for this difference is obscure; the final -(e)ke may be the ending of some Basque-Aquitaine divinities recorded in Latin inscriptions on altars, such as the theonyms Larrahe and Herauscorritsehe. This word could mention the divinity, be it Good Fortune or another deity, to which the inscription would have been dedicated.

In line 3 it is possible to isolate oTiŕtan. This could be interpreted as a toponym given the possible presence of a formative suffix ta [da] in its lexical structure, (which is identical to that of the well-known toponym iltiŕta = Ilerda) as well as the Vasconic locative -n desinence. Depending on the value given, it would be the toponym Osserda or Ol(l)erda in its Latin transcription.

Among the rest of the words identified, eŕaukon is the most likely to be a verbal form, both because of its form and its final position. Its form recalls the Basque form of the past tense of the auxiliary verb zeraukon, used in eastern dialects; it is a form of *eradun—causative of *edun—‘to make have’ > ‘to give’, marginally used as an autonomous verb still in the sixteenth century, prior to its use as an auxiliary. The meaning of this verb would make sense in the case of a votive dedication, although several aspects are debatable.

The rest of the inscription on the Irulegi hand remains quite obscure. While here are problems in relation to the Basque words adduced as parallels, the inscription can be interpreted as a dedication to a divinity named at the beginning (sorioneke /-ku), with a dedication verb at the end (eŕaukon) whose object would go immediately before (ese-agaŕi). A place (oTiŕtan) may likewise be indicated, leaving the expression of the individual making the dedication and some other specification in the obscure line 2.

The inscription provides support for a growing awareness that the ancient Vascones knew and made use of writing, at least to a degree.

The use of sorioneku or sorioneke at the beginning of the text, isolated from what follows as an introduction admits comparison with Basque zori (h)on (‘good fortune’), and other elements, such as the verbal form eŕaukon or the locative in -n of a place-name, suggest that the inscription is in the Vasconic language, the longest and earliest known to date.

The implications of the discovery of the Irulegi hand for the epigraphic and historical understanding of the Vasconic territory, as well as the possible linguistic connections between the Vasconic, Iberian and modern Basque languages, require further in-depth analysis. Given the scarcity of other firm evidence, the Irulegi hand and its inscription will henceforth constitute an indispensable starting point for the establishment of a linguistic map of the region and any debate on the origin and development of the Vasconic language and script.

Full article

Eskerrik asko @glendathegoodone for sharing this!

[panikea]

Ile razy w życiu kąpałe(a)ś się nago w morzu o wschodzie słońca? To nie jest pytanie, czy polecisz z dyndająca między nogami pangą do morza, ku radości publiki dogorywającej na piachu.  To pytanie, kiedy ostatnio zrobiłeś coś, zrobiłaś coś czego się bałeś, bałaś.  Co stawiało cię w niekomfortowej sytuacji.  Pewne problemy mimo, że wydają nam się unikalne są przypisane do wieku.  Ktoś ma 20 kilka lat i piekło randek.  Ktoś jest po 30 i przechodzi przez pierwszy rozwód.  Ktoś ma dzieci, dzieci chorują i płaczą, zabierają stary świat i dają nowy.  Rodzice z funkcji opoki do osób potrzebujących opieki.  Ludzie żonglują tymi piłkami, regularnie podrzucanymi przez życie i często brakuje im rąk. Oddechu. I wewnątrz narasta takie przekonanie, że coś poszło nie tak.  Pojawia się niechęć do zmiany  Pojawia się brak spontaniczności Pojawia cię strach.  Bo głupio tak. Zakochać się ? Eee jestem za stara.  Bo co ludzie o mnie pomyślą (ludzie o tobie nie myślą, mają Cię w d..). Ludzie w realnym, nie internetowym życiu pytają mnie często co mają zrobić.  Odpowiadam, że nie wiem. Czasami mówię, co ja bym zrobił na ich miejscu. Popełniłem więcej błędów niż ktokolwiek, ale czasami wyciągałem z nich wnioski, więc można powiedzieć, że wiem jak to jest utknąć w czymś, albo coś spieprzyć.  Kiedyś dużo grałem w gry (w Diablo, Starcrafta albo w Heroes III) W czasach, kiedy można było jeszcze tam nacisnąć pauzę, bo grało się rzadko on-line.  Strasznie podoba mi się ta idea pauzy.  Kilka dni temu poszedłem na targ w Madrycie w samym środku miasta. Pokręciłem się moment.  Obok jakaś nieszczęśliwa morda, sprzedawała browar z kija. Nikt się koło niego nie zatrzymywał. Żal mi się go zrobiło.  Czy jest sens kupić piwo o godzinie 11 rano? Czy jest sens zapłacić za szklankę browaru w mega turystycznym miejscu 10 euro? Oczywiście nie ma sensu. To się nie opłaca. Ale warto.  Kupiłem browar za 10 euro, dałem dwa napiwku. Siedziałem, patrzyłem na ludzi i czułem spokój. Bo zrobiłem coś, czego nie zrobiłem dawno.  Wcisnąłem pauzę.  Wszyscy potrzebujemy pauzy.

Piotr C. pokolenieikea.com

[paizau]

"Akka-są́: a Brief Introduction to the Native Script of Ngįout"

Akka-są́ [ɑ̈k.kɑ̈ sʰɑ̃ː] is the native writing system of Ngįout. It is an abugida, but through historical sound change it has become more complicated.

A glyph has an inherent vowel a ("A-Type"), or is modefied with a diacritic for the vowels e i o u (E-Type). This reading however only surfaces when a character stamds on its own - <T*> ta, <Kᵘ> ku, <Bⁱ> bi. The main event is happening when glyphs are put together. (Picture 1) shows the script in its native ordering, the rows the different consonants, and the columns the plain form and with the 4 diacritics.

(*a note on transliteration in this post: consonants are capitalized, and the vowel diacritic is superscript. <T> = the T glyph with the inherent vowel a, <Tᵘ> = the T glyph with the u diacritic)

When reading, glyphs are grouped into pairs, starting from the beginning of a word. A final odd-numbered glyph joins the previous pair as a third. Those pairs represent syllables: the 1st represents the onset consonant, the 2nd the coda consonant if there ia one, and the vowel is interpreted from a combination of them both. here are some examples, also shown in (Picture 2):

<KⁱT> kẹt. Onset k- from 1st <Kⁱ>, coda -t from 2nd <T>, vowel -ẹ- from the CⁱC sequence.

<LᵉNᵘ> lön. Onset l- from 1st <Lᵉ>, coda -n from 2nd <Nᵘ>, vowel -ö- from the CᵉCᵘ sequance.

Now all this is very nice and simple when both glyphs are Strong, but only <P, T, S, M, N, NG> are. All other glyphs do not have a consonantal value when weak, but a vocalic one, influencing the vowel of the syllable in a particular way.

One of them is vowel nasalization. When 2nd, <B, D, G, J> nasalize the preceding vowel, and have no consonantal value. The quality of the nasal vowel is determined by the vowel of the 1st, not a combination of both. For example, also shown in (Picture 3):

<TSᵘ> tos because <CCᵘ> gives the vowel -o-

<TJᵘ> on the other hand is tą, because 2nd <Jᵘ> only nasalizes the previous vowel, and has no effect on its quality.

This quality of vowel nasalization creates the current state, where each nasal vowel can be written in a lot of different ways. This is what the this picture shows - the 16 different ways the syllable tą- can be written.

This is a very incomplete and rambly even introduction to Akka-są́, and it has taken me a very long time to write, because I still have a lot to orgenize in my head on how to lay out the order each part of the system works. It all feels so intertwined and I'm not sure how to go about it. Anyway, I hope this was interesting and understandable, if you have any questions I'll be haply to answer them :)

[ultraamanarc]

i tried to look more into the boonboomgers' names because despite being obvious puns on car parts, all of them have kanji characters and therefore they technically do have specific meanings .,!!! copy and pasted this off of discord so the formatting is bad and also the spelling and grammar might be really off too so sorry about that! all of the kanji meanings are taken from a kanji dictionary under the cut

taiya - taiya's full name consists of the kanji 範道 大也 (handou taiya). 大 (tai) is a kanji that has a generally consistent meaning, which is "grand"/"big"/"great", but it can also mean "excellence" and "respectful" (the quality of being respectful, not having the respect geared towards them). 也 (ya) varies depending on its readings, but when read as 'ya', it means "will it be (so)?" or "is it so?" 範 (han) means "model" or "example". 道 (dou) has many different meanings, but the ones that are most relevant to taiya's character "road"/"path", "skill"/"technique" and especially "guide"/"lead" ishirou - again, but this time with 鳴田 射士郎 (meita ishirou). his first name consists of three kanji ,. 射 (i) is usually used in names to mean to "shine", but this particular kanji also means "shoot", "strike" or "aim" which is suspiciously fitting for him (professional sniper 😭 😭 ). 士 (shi) in general means a person with a duty (particularly a samurai) but it also just means "a man" in general and in a name it's usually used with another kanji to mean "a man of _". 郎 (rou) actually just means the same thing as the former, refers to a male. with the kanji in mind, ishirou's name basically means "a man that shoots" but also could be interpreted as "a man that has a clear aim" 鳴 (mei) can mean "to make/produce a sound" but it also means "to reverberate" in the sense that a person's reputation 'echoes' and is widely known. 田 (ta) is a fairly common kanji in last names that means a few things but in surnames it almost always refers to a "field" or a "countryside" ishirou's nickname 'shasshiro'/'chasshiro' refers to a chassis. the kanji 射 (i) can also be read as 'sha' mira - kind of like ishirou's except it's her last name that has 3 kanji 志布戸 未来 (shifuto mira). 未 (mi) has 4 completely different meanings, which are "not yet", "sheep", "south"/"southwest", and "time" (specifically referring to "2 PM and 2 hours before and after"). 来 (ra) is usually used in names to refer to the act of "bringing" something or for something to "come" (ex. combining it with a character for something like 'joy' so the name means "to bring joy") but is also used similarly to refer to something "in the future". interestingly, 未来 (mira) can also be read as "mirai", literally the word for "future", and in tandem with her surname her name could be read as "shifting future" which can refer to how she constantly changes jobs 志 (shi) can either mean "aspiration" or "resolution" (as in a goal) but can also mean "record" or "document" and thus "memory". 布 (fu) means 3 completely different things but can either mean "cloth", "spread" or "currency". lastly 戸 (to) is again one of those kanji that mean multiple, completely different things, being "entrance", "house", "name" and "amount of alcohol" (???) jou - jou's first name consist of 4 kanji, 3 going into his last name and only 1 for his first name 阿久瀬 錠 (akuse jou). 錠 (jou) means "lock", but also refers to the state of being "fixed" or "locked" into place. likely refers to his unmoving heroism but also how he views his job as a police officer ("lock" implies security and protection) 阿 (a) is another one of those kanji that mean several different things 😭 "hill", "cove", "eaves" (like roof overhangs), "to approach", and "endearment". 久 (ku) can mean "long lasting" or "ancient" but the meaning i found most relevant to jou's character was "to remain unchanged". 瀬 (se) means "shallow water", "rapids" and "position"

genba - genba's name consist of 4 kanji, 2 for his first and last name 振騎 玄蕃 (bureki genba). 玄 (gen) is a fairly common kanji for names although it usually appears as its kunyomi reading 'kuro' instead. means a couple of things like "black"/"dark", "north" and "heaven" but the meanings that seemed relevant to him were "mysterious"/"profound" and "distant". 蕃 (ba) has a couple different meanings but its most common ones are "to grow"/"to flourish", "to expand" and "to increase" 玄蕃 "genba" is also a pun based on the word 工事現場 (kojigenba) meaning "construction site" in reference to his suit motif and his mecha being based off of machines you'd find in a construction site 振 (bure) can mean "to stir up" or "to rouse" (foreshadowing..........) but also refers to the physical action of "shaking". it can also mean to "rescue" or "help" (interesting paired with his catchphrase that basically means "looks like you need some help"), "flock" (of birds) and "gesture". 騎 (ki) means to "ride"/"mount"/"straddle" (a horse), but can also refer to the horse itself (used to refer to specifically horse for horseback riding) or a cavalry (soldiers riding on horses) if you have more to add onto this PLEASE tell me about it

[ninelanguages]

Kanji for "under", "below", "lower pain", "inferior", "go down"

下 = shita / shimo/ sa•geru/ kuda•ru/ o•rosu/ moto/ ka/ ge

下手な - hetana - clumsy/ awkward/ unskillful - へたな

下着- shitagi - underwear/ underclothes - したぎ

テーブルの下- taabulu no shita - under the table - テーブル　の　した

靴下- kutsushita - (a pair of) socks/stockings - くつした

下宿する- gesyukusuru - to room (board, lodge) (at a person's house) - げしゅくする

下げる- sageru - to lower/ to drop/ to let down/ to hang - さげる

_______________

Kanji for "new", "novel", "fresh"

新 = arata•shi/ ara•ta/ nii/ shin

最新の- saishin no - the lastest/ up-to-date - さいしん　の

新たな- arata na - new/ novel/ fresh - あらた　な

新しい- atarashi - new/ fresh/ recent/ up-to-date - あたらし

新幹線- shinkansen - a bullet train/ a high-speed train - しんかんせん

新宿- shinjuku - Shinjuku (ward of Tokyo) - しんじゅく

新しい車- atarashiikuruma - a new car - あたらしいくるま

_______________

Kanji for "company", "firm", "society", "social", "shrine"

社 = yashiro/ sha

本社- horiginnsha - the head [main] office - ほんしゃ

社会人- shakaijin - a member of society - しゃかいじん

神社- jinja - a Shinto shrine - じんじゃ

社交的な- shakoutekina - sociable -しゃこうてきな

社会- shakai - society/ the public - しゃかい

新聞社- shinbunsha - a newspaper publishing company - しんぶんしゃ

_______________

Kanji for "world", "age", "generation"

世 = sei/ se/ yo

世の中- yononaka - the world/ life/ the times/ the age - よのなか

世界- sekai - the world/ the earth/ the globe - せかい

世代- sedai - a generation - せだい

世話のする- sewa (w)o suru - to take care (of)/ to help/ to look after - せわ　の　する

浮世絵- ukiyoe - ukiyoe (wood-block prints of Edo period) - うきのよえ

二十一世紀- nijuuisseiki - 21st century - にじゅういっせいき

_______________

Kanji for "world", "cirlce", "bounds", "boundary"

界 = kai

限界- genkai - a [the] limit/ limitations/ bounds - げんかい

政界- seikai - the political world - せいかい

世界- sekai - the world/ the earth/ a world/ one's world - せかい

世界中に「の」- sekaijuuni[no] - all over [throughout] the world - せかいじゅうにの

世界一- sekaiichi - the best in the world - せかいいち

世界的な- sekaitekina - world/ worldwide/ international/ global - せかいてきな

_______________

Kanji for "work", "labour", "serve"

働 = dou/ hatara•ku

働き者- hatarakimono - a hard worker - はたらきもの

労働- roudou - work/ (manual) labour - ろうどう

働く- hataraku - to work/ to labour/ to serve (at)/ to operate - はたらく

本屋で働く- honyadehataraku - to work at a bookshop - ほにゃではたらく

重労働- juuroudou - heavy labour - じゅうろうどう

働き- hataraki - work/ labour/ ability/ action/ a function/ operation - はたらき

_______________

Kanji for "endeavor", "make efforts"

勉 = ben

猛勉強する- moubenkyousuru - to study [work] hard/ to grind (away) - もうべんきょうする

がり勉- gariben - studying hard/ grinding/ a nerd/ a swot - がりべん

勉強家- benkyouka - a diligent student/ a hard worker - べんきょうか

勉強- benkyou - study/ work - べんきょう

勉強する- benkyousuru - to study/ to prepare/ to do one's lessons - べんきょうする

勉強中- benkyouchuu - while studying - べんきょうちゅう

(This kanji is pretty much only used for refering to studying. It's (as far as I know and learned) only used together with the upcoming kanji for "strong", "strength", "powerful" as you can see in the examples above)

_______________

Kanji for "strong", "strength", "powerful"

強 = kyou/ gou/ tsuyo•i/ tsuyo•maru/ tsuyo•meru/ shi•iru

強い地震- tsuyoijishin - a big [severe] earthquake - つよいじしん

強いる- shiiru - to compel/ to press/ to force/ to enforce/ to coerce - しいる

力強い- chikaradzuyoi - powerful/ strong/ mighty/ reassuring - ちからづよい

がまん強い- gamandzuyoi - patient/ enduring - がまんづよい

歴時に強い- rekijinitsuyoi - be good at history - れきじにつよい

強気の- tsuyoki no - assertive/ bold/ aggressive/ strong/ firm - つよきの

_______________

Kanji for "move", "motion"

動 = dou/ ugo•ku/ ugo•kasu

箱を動かす- hako (w)o ugokasu - to move a box - はこ　を　うごかす

自動ドア- jidoudoa - an automatic door - じどうドア

動く- ugoku - to move/ to shift/ to stir/ to shake/ to work - うごく

運動- undou - exercise/ athletics/ sports/ games/ a campaign - うんどう

動物- doubutsu - an animal - どうぶつ

感動する- kandousuru - to be moved [touched] (by) - かんどうする

_______________

Kanji for "prefecture", "territorial divisions"

県 = ken

県- ken - a prefecture - けん

石川県- ishikawaken - Ishikawa prefecture (of Chubu area) - いしかわけん

山口県- yamaguchiken - Yamaguchi prefecture (of Chugoku area) - やまぐちけん

県庁- kenchou - a prefectural office - けんちょう

都道府県- todoufuken - Japanese prefectures - とどうふけん

県立の- kenritsu no - prefectural (hospital, school, etc) - けんりつ　の

_______________

Kanji for "paper"

神 = shi/ kami

表紙- hyoushi - a front cover/ a binding - ひょうし

紙- kami - paper - かみ

手紙 - tegami - letter - てがみ

(''Tegami'' literally means hand-letter. Supossed to represent a letter writen by hand.)

手紙を書く- tegami (w)o kaku - to write (to) a person/ to write a letter - てがみ　を　かく

神部来る- kamibukuru - a paper bag [sack] - かみぶくる

折り紙- origami - origama (the art of folding paper) - おりがみ

新聞紙 - shinbunshi - (a piece of) newspaper - しんぶんし

(This word is actually written without the ''paper'' part as well, also meaning ''newspaper''.)

_______________

Kanji for "parent", "relatives", "intimate", "familiar"

親 = shin/ oya/ shita•shii/ shita•shimu

親指- oyayubi - the thumb - おやゆび

(Literal meaning would be parent-finger.)

両親- ryoushin - one's parents - りょうしん

父親- chichioya - a father - ちちおや

親子- oyako - parent and child/ parents and their children - おやこ

親切- shinsetsu - kindness/ goodness/ goodwill - しんせつ

親しい- shitashii - close/ friendly/ familiar/ intimate - したしい

_______________

Kanji for "both", "two"

両 = ryou

車両- sharyou - vehicles/ cars/ a (railroad) coach/ a carriage - しゃりょう

両立する- ryouritsusuru - to be consistent [compatible] (with) - りょうりつする

両側- ryougawa - both sides - りょうがわ

両手に花- ryoutenihana - be between two beautiful woman - りょうてにはな

両替- ryougae - money changing - りょうがえ

両方- ryouhou - both sides - りょうほう

＿＿＿＿＿＿＿＿

Kanji for "of long duration", "longstanding", "lasting for a long time"

久 = kyou/ ku/ hisa•shii

永久に- eikyuuni - permanently/ perpetually/ eternally -えいきゅうに

恒久の- koukyuu no - lasting/ everlasting/ permanent/ eternal - こうきゅう　の

耐久性- taikyuusei - durability/ persistance/ lasting quality - たいきゅうせい

久しぶりに- hisashiburi ni - after a long time [absence/ seperation] - ひさしぶり　に

持久力- jikyuuryoku - endurance/ stamina/ perseverance - じきゅうりょく

久しい- hisashii - long/ long-continued/ longstanding - ひさしい

_______________

Kanji for "finish", "complete", "conclude", comprehend", "know"

了 = ryou

了承する- ryousyousuru - to approve/ to accept/ to agree - りょうしょう��る

了解- ryoukai - (an) understanding/ agreement/ consent - りょうかい

終了すること- shuuryousuru - to end/ to be over/ to come to (an end) - しゅうりょうする

修了証書- shuuryousyousyo - a certificate/ a diploma - しゅうりょうしょうしょ

了見- ryouken - an idea/ an intention/ a design/ a motive -りょうけん

完了- kanryou - completion/ finishing - かんりょう

_______________

Kanji for "decease", "die", "pass away", "lose", "perish", "go to ruin", "escape"

亡 = bou/ mou/ na•i

滅亡- metsubou - a fall/ a downfall/ ruin/ collapse - めつぼう

未亡人- miboujin - a widow - みぼうじん

死亡- shibou - death - しぼう

亡くなる- nakunaru - to die/ to pass away - なくなる

亡くす- nakusu - to lose - なくす

亡命する- boumeisuru - to flee (one's country) for political reasons - ぼうめいする

_______________

Kanji for ''musical composition'', ''melody'', ''tune'', ''song'', ''curve'', ''bend'', ''bent''

曲 = kyoku / ma•garu/ ma•geru

曲がり角- magarikado - a street corner/ (an) intersection/ a turning point - まがりかど

曲げる- mageru - to bend/ to curve/ to twist/ to distort/ to pervert - まげる

新曲- shinkyoku - a new musical composition/ a new piece [song] - しんきょく

曲線- kyokusen - a curved line/ a curve - きょくせん

作曲する- sakkyokusuru - to compose/ to set to music/ to write music - さっきょくする

曲がる- magaru - to bend/ to curve/ to be bent/ to turn/ to make a turn - まがる

_______________

Kanji for ''a samurai'', ''a soldier'', ''a knight'', ''an officier'', ''a gentleman''

士 = shi

修士- shuushi - a master/ a master's degree/ a Master of Arts [Science] - しゅうし

武将- bushi - a samurai/ a warrior - ぶし

紳士- shinshi - a gentleman - しんし

学士- gakushi - a bachelor/ a bachelor's degree/ a college graduate - がくし

兵士- heishi - a soldier/ a private/ (the) troops - へいし

博士- hakase - an expert - はかせ

博士- hakushi - a doctorate/ Ph. D. - はくし

(Yeah, the last two use the exact same kanji but a different pronounciation.)

_______________

Kanji for ''change'', ''alter'', ''transform'', ''abnormal'', ''unusual'', ''irregular''

変 = hen/ ka•waru/ ka•eru

変わる- kawaru - to change/ to alter/ to undergo a change - かわる

気が変わる- kigakawaru - to change one's mind - きがかわる

変える- kaeru - to change/ to alter/ to transform/ to reform [amend] - かえる

変化- henka - (a) change/ (a) variation / (a) transformation - へんか

変更- henkou - (a) change / (an) alteration / (a) modification - へんこう

変な- henna - strange/ odd/ queer/ curious/ peculiar - へんな

_______________

Kanji for ''third person pronoun'', ''the other party'', ''he'', ''she''

彼 = hi/kare/kano

彼岸- higan - the equinoctial week (of Buddhist observance) - ひがん

彼女- kanojo - she/ a girlfriend - かのじょ

彼- kare - he/ one's boyfriend/ one's lover/ one's husband - かれ

彼の本- kare no hon - his book(s) - かれ　の　ほん

彼氏- kareshi - he/ one's boyfriend [man]/ one's lover - かれし

彼等- karera - they - かれら

[keroradio]

Ta-da! Today we have the first audio drama, or rather, the introduction, the main story for this CD is on another track. In total there were 10 audio drama CDs, two sets of 5 with each album being tied to a different frog

The uploads for these will have a one day break on either side, as well as a shorter track, partially because writing out the story will take more time, and partially because I calculated how many tracks there are in total and it turns out I started this a little too early; there are some seasonal songs I wanted to post around the corresponding time, and this will pad things out just enough to let me do that

On that note, there's a translation (and notes) under the cut

Hopefully it turned out well, I forgot how hard these guys are to translate by ear (^.^')

--------------- N: When you're listening to a CD, keep the room bright and sit away from the speaker- What? Ah, it's fine? (1)

Alright then, to show our gratitude that you bought this production, our best wishes to you

Well, it's sudden, but this is the Keron army Pekopon invasion base, secretly built deep under the Hinata house

K66: I'm the commander of the Keroro platoon, nobody else could have gathered you today

Private 2nd Class Tamama!

TMM: Yes!

K66: Corporal Giroro!

G66: Hmph, really, it's not that this will be anything but you doing what you want

K66: Gi-Giroro-kun

G66: What is it?

K66: Since this time is audio only, could you change your voice? It's scary, yes sir

G66: I-Is that so? (sweetly) Hello, I'm Giroro~♥

K66: G-Good job

N: That was also scary...

K66: Moving along, Sgt Major Kururu

966: Ku ku, present

K66: And Angol Mois-dono

M: Yes, uncle!

K66: Ah~ As always, you're such a good, honest girl, aren't you?

TMM: I won't lose like this

N: Tamama fretted

TMM: Yes! It's Private 2nd class Tamama~! ♥

K66: Replying once is enough

TMM: Gaan!

N: And then slumped

K66: Well then, everyone's here

D66: Uh, I am...

K66: (Shocked noises) I forgot him

There's no way I'd forget you! A person we value so, so much!

Lance Corporal Dororo!

D66: I've come to participate

K66: That was close, his trauma switch is still off

G66: Just hurry and tell us what in the world this is about! (awkward pausing) Um, what might this be about? ♥

K66: The grey cells of our army, yet also like a grandmother's embrace, Sgt Major Kururu has invented a fearsome new weapon to easily and simply conquer Pekopon

TMM: Fearsome?

G66: New weapon?

K66: And so, keep your eyes peeled and see that new weapon!

Mois-dono 12487 circuit, switch on!

M: Roger! Switch on!

(Everyone makes exclamations of amazement)

G66: Oh! But isn't this just a normal CD?

K66: Your eyes can't see it, can they? Corporal Giroro

G66: What are you saying?

K66: This CD was developed by Sergeant Major Kururu, when it's read by the treasured home sound system of the enemy, we can freely control them through what they hear

(More exclamations of amazement)

966: Ku ku ku ku, I really am the man that makes the impossible happen

TMM: Ooh! Let's try it out right away Mr Sergeant!

K66: Wait, I'm not finished speaking yet!

Gero gero gero gero, it sounds fearsome, right? This Pekopon invasion CD is going to have 5 kinds made

G66: F-five kinds?

D66: That's amazing, good sir (2)

K66: You understand, right? If in this Heisei era recession somebody released a 5 CD, what would happen? How much of a problem would it be?

M: Mois knows! Uncle will make so that people who want to acquire all of these CD will have to aimlessly search all over for them. You could say "Strength in numbers"

K66: Mois-dono~

TMM: I can't lose!

N: Tamama fretted once again

TMM: Mr Sergeant's amazing! It's a miracle you have the popularity to make a 5 part CD set!

K66: (Distressed noises)

TMM: I screwed up

N: And once again Tamama slumped

K66: Setting that aside! All eyes on the monitor!

Behold! Our audio weapon!

G66: Th-this is!

TMM: Oh!

M: It's an original drama CD, isn't it? Uncle

K66: Precisely

TMM: Hmm, the first one is Mr Sergeant's Gunpla diary, the second is Mr Sergeant's poem collection, third is Mr Sergeant's health diary, forth is Mr Sergeant...

G66: (noises of irritation)

K66: How's it? What does everyone think? It's the best, right?

G66: Keroro! You moron! What part of this is a Pekopon invasion CD!? Ultimately, isn't this a CD of your interests!?

K66: However, after all, see, it was fun to make

G66: It was only fun for you!

TMM: Right? It won't sell with titles like this

K66: Gero!

TMM: Since there's 5 in the set, I want to make one "Tamama: The path to hand-to-hand combat, yes sir" volume (3)

G66: I'll make a CD too! One that appeals to the spirit of the Keron army "Giroro: Speeches of rage, yes sir" volume

966: Ku Ku, I've also been thinking, "Kururu: Discover through sound, great field guide, yes sir" volume. How is it?

M: Um, I have something to say. If there's space, I think a "Mois, return to her home town" volume would be good, you could say, feathering your own nest

D66: In that case, I think a "Dororo: A wonderful world of flowers & greenery, yes sir" volume would be nice, good sir. It would have bird songs, & river sounds-

723: Hey! Stupid frog!

K66: Auwah!

723: I heard it from Yoshizaki-sensei. You're making an original drama CD, aren't you?

K66: Uh, that's...

FYK: Aren't you being secretive, sergeant?

K66: Fuyuki-dono too!?

MMK: Hello! Did my Tama-chan come to play?

TMM: Ah! Even Momocchi!

723: For a well made CD, it would be nice to get Mutsumi-san as a guest to do a special talk, wouldn't it?

K66: What?

FYK: In that case, as the Occult Club, we could do an audio report on the 7 mysteries of the world

K66: Well, that's...

MMK: Since he world's 7 mysteries would cover a lot of material, let's release it as a first & second part 2 disc set

K66: W-wait a minute-this is- I'm supposed to be the author of this-

UMMK: What's that? You've got complaints about the 7 mysteries of the world?

K66: Gero~

723: No matter what, it should be something fun

K66: Well, that's true, but...

723: Then let's all do it

K66: (Noises of frustration)

N: Just then, something inside of Keroro snapped

K66: I don't wanna! I don't wanna! I don't wanna! Everyone's doesn't wanna listen to my ideas and are making their own 5-part CD sets!

G66: What? You're suddenly having a tantrum!?

TMM: "I think you should stop crying "me me me me" like a kid! (4)

K66: No way!

G66: Aren't you embarrassed as an army man?

K66: I wanna make a gunpla diary! I wanna make one!

D66: Everyone, my suggestion-

TMM: More than that, We should do a Private 2nd Class Tama-chan diary!

M: That's good, but so is my "Mois-chan: uncle love-love diary"!

TMM: Burying me under a similar idea, I won't forgive this woman!

N: Again, again, again, again, Tamama fretted

723: More importantly, are you going to call Mutsumi-san as a guest or not?

G66: I-I think if Natsumi says so, we should call him

K66: No no no no! It's my CD! We're doing what I want!

G66: You're crying over a CD!

FYK: I thought the world's seven mysteries was good

MMK: Isn't it? Hey Paul! Give it your all and to back up Fuyuki-kun! Paul! Buy every dictaphone you can find!

P: Yes, miss

M: Then, how about a three-part harmageddon-

TMM: Keep that off this CD!

N: Again, again, again, again, again, Tamama lost it

TMM: I've had it!

723: Call Mutsumi!

Everyone: Unintelligible arguing

966: Ku ku ku, it's already a mess, huh?

N: Any way, in an ugly, hostile environment like this, will the Pekopon invasion CD be born?

____

1-It's a parody of the warnings that started being placed at the beginning of animated shows after flashing lights in the Porygon episode of Pokemon caused photosensitive migraines & seizures. The warnings tell viewers to sit a good distance from the screen and to keep the room well lit since this reduces the photo sensitive effect, but since it's a CD it doesn't really effect anything.

2-Keroro's ending sentences "de arimasu" is derived from military speech and translated as "yes sir" to reflect that, while Dororo's "de gozaru" is both formal and archaic (the modern counterpart is "gozaimasu"), so I translated it as "good sir" to have a similar feel.

3-The pattern for the proposed titles is, of course, modeled off the episode titles, but "volume" ("title" no maki) actually means something closer to roll, a lot of works use this pattern which dates back to when everything was written on scrolls.

4-I had to fudge this one because it doesn't translate neatly; you've probably noticed from listening that Japanese has multiple options for first person pronouns that have different associations and how well a character's categories match to the "I" they use can tell you more about them.

Keroro normally uses "Wagahai" which is an old fashioned and slightly arrogant sounding way of calling yourself (it's a bit like saying "my esteemed self") and is sort of a more archaic counterpart to the modern "Ore-sama". But during his meltdown, he uses "Boku" which it typically used by boys and younger men, in this case to make him sound more childish.

....Either way, it's a little ironic that Tamama's the one complaining about Keroro doing this since he also uses a more childish speech pattern.

[kkulbeolyeonghwa]

Directions in Ainu

Dialect used: Mixed Hokkaido

oske - middle, in (houses) sam - right next to tuysam - along the side mak - after, in front of sa - before, in the back of tum - inside soyke ~ soy - outside kurka - up corkop - below (something) kata - above (something) ritta ~ rikta - above (to) rata - below (to) ka ~ kas ~ kasi ~ kaske - above (a surface) oyak - somewhere else tan - here taan - there toan - over there

To use these words in a sentence, you need to add something like "ta" (in) or "en"/"or un"/"otta" (to)/"orowa" (from) after it. Examples:

Ku=kor ekasi cise soy ta an. - My uncle is in the house.

Tum en paye=an ro. - Let's go inside.

Aca corkop ta an. - Dad is below.

Miyageya oske ta. - In the souvenir shop.

Oyak ta paye=an ro! - Let's go somewhere else!

Kago oske ta an tama - The ball in the basket.

QUESTION WORDS

Inani ~ inan - where Neyta - (in) where Neyne - (to) where

[my-japanese-corner]

10 Countries Names in Katakana Edition (Asia - South/East Asia Edition) - Learning Katakana Script!

<< Part 1

China, Korea & Japan are written in Kanji - so would be skipped from this list :) still I'll write them at the end for anyone who wants to know. I have something bonus at the end of the post hehe!

1. インド (いんど)

2. スリランカ (すりらんか)

3. パキスタン (ぱきすたん)

4. シンガポール (しんがぽーる)

5. べトナム (べとなむ)

6. インドネシヤ (いんどねしや)

7. ブタン (ぶたん)

8. バングラデシュ (ばんぐらでしゅ)

9. ネパール (ねは一る)

10. カンボジヤ (かんぼじや)

bonus!

1. 日本 (にほん)

meaning: Japan

pronunciation/romanji: ni-ho-n

kanji breakdown: 日→に (meaning: Sun) & 本→ほん (meaning: Book, also origin, basis depending on context the meaning changes). The Kanji essentially means "Sun's Origin" or as Japan is also called "Land of the Rising Sun"

2. 中国 (ちゅうげく)

meaning: China pronunciation/romanji: chu-u-go-ku kanji breakdown: 中 -> generally this kanji means "inside, in or center" 国 -> くに (meaning: country). Together we can say these words mean "Center Country" or "Middle Kingdom"

3. 韓国 (かんこく)

meaning: Korea pronunciation/romanji: ka-n-ko-ku kanji breakdown: 韓 -> this kanji is referred to as Korea in both Japanese and Mandarin (I believe) and the kanji is taken from Mandarin into Japanese. I couldn't exactly find the meaning of this particular kanji or why has it come to mean Korea, however, if someone knows please do comment or reblog :) to note: generally Korea is written in Hiragana and not Kanji.

1. インド (いんど)

meaning: India

pronunciation/romanji: i-n-do

2. スリランカ (すりらんか)

meaning: Sri Lanka

pronunciation/romanji: su-ri-ra-n-ka

3. パキスタン (ぱきすたん)

meaning: Pakistan

pronunciation:/romanji pa-ki-su)ta-n

4. シンガポール (しんがぽーる)

meaning: Singapore

pronunciation/romanji: shi-n-ga-poo-ru

5. べトナム (べとなむ)

meaning: Vietnam

pronunciation/romanji: be-te-na-mu

6. インドネシヤ (いんどねしや)

meaning: Indonesia

pronunciation/romanji: i-n-do-ne-shi-ya

7. ブタン (ぶたん)

meaning: Butan

pronunciation/romanji: bu-ta-n

8. バングラデシュ (ばんぐらでしゅ)

meaning: Bangladesh

pronunciation/romanji: ba-n-gu-ra-de-shu

9. ネパール (ねは一る)

meaning: Nepal

pronunciation/romanji: ne-paa-ru

10. カンボヅヤ (かんぼじや)

meaning: Cambodia

pronunciation/romaji: ka-n-bo-ji-ya

I wanted to introduce another Kanji, because I believe it is very effective in learning countries and how to say a nationality together.

人

meaning: person pronounced: ひと (hi-to) kanji breakdown/usage: this kanji is a person indicator, the pronunciation changes depending on context. for the sake of this post, I will only talk about it's "じん" (Jin) usage.

When referring to a person from a country you can say "country name [either in kanji or Katakana] + 人" and that it! You can say your nationality :)

Example:

インド人 - Indian (Indo-jin)

日本人 - Japanese (Nihon-jin)

カンボジア人 - Cambodian (Canbojiya-jin)

Basic sentence from this: I am Indian -> 私はインド人です！[watashi wa indojin desu] - Although people general would just say インド人です (indojin desu) or 私はインド人 (watashi wa indojin)

So, if you made it this far in the post, please do post where you are from / your nationality :)

<< Part 1 | Part 3 >>

[yourultraarchive]

i love love love your blog!! you have a few posts about japanese names, like how to make them and where they fit in but,,, i was wondering how an american name would fit in (like class number, alphabetically, etc.) or how to translate one, if at all. and do you think its a good idea to have an american oc actually attending UA at all? i know you've said you're not an authority, so its totally fine if you dont know. thank youuuu! your templates are amazing btw

Hi, sorry for the late reply! (I actually haven't been on tumblr in like... months. Life and all.)

Foreign/non-Japanese OCs attending UA wouldn't be weird at all--there are canonically at least 3 foreign exchange/transfer/descent/immigrant students (or something of the sort)! Aoyama from 1-A and Pony and Rin from 1-B are all foreigners in some capacity.

As for how they'd fit alphabetically--well, it'd be just like any alphabetical order you'd think of, it's just that it'd be based on the Japanese alphabet instead of English. Here is a good reference for the general rules of that order, including voiced consonants:

In Romaji, these kana are phonetically ordered as: a, i, u, e, o, ka, ga, ki, gi, ku, gu, ke, ge, ko, go, sa, za, shi, ji, su, zu, se, ze, so, zo, ta, da, chi, di/ji, tsu, du/dzu, te, de, to, do, na, ni, nu, ne, no, ha, ba, pa, hi, bi, pi, fu/hu, bu, pu, he, be, pe, ho, bo, po, ma, mi, mu, me, mo, ya, yu, yo, ra, ri, ru, re, ro, wa, wo, n (This is ignoring "little" variants since those are never going to be at the start of a word, but it does determine the order of words that do have them in the middle somewhere.)

It may look weird to people used to the English alphabet (you may think it's strange that "pa" comes before "bi" right?) but do keep in mind that Japanese is... well. Not English. This is normal to them!

For a name that doesn't easily fit the Japanese phonetic structure, you'd have to sound it out with kana (and write it out with katakana, since it's a foreign name). Some examples:

Pony, written as ポニー, is read "po-ni-i" (since long vowel sounds are translated in katakana as a long dash), and since it's a name starting with a voiced consonant (po), it would go after names starting with "he" (and its voiced versions) and before names starting with "ma". (If we were sorting characters by first name anyway.)

Peter Parker, written as ピーター・パーカー, is read "pi-i-ta-a / pa-a-ka-a" (again with long dashes translating as long vowels), and would alphabetically go before Pony (in either case of first or last name, since "pi" and "pa" both come before "po"). Also, in case you didn't catch the pattern, the "er" ending in English is most often translated as a long "a" sound!

Richard Grayson, written as リチャード・グレイソン, is read "ri-cha-a-do / gu-re-i-so-n". This is an example of sounds like "gr" that don't translate well in Japanese, so you kind of have to squish two syllables together to get it, with the vowel in the middle being somewhat "silent". The most common "silent" character in Japanese is "u", but I've seen "o" a few times too (see next example).

Mytho or Mute, written as みゅうと or ミュート, is read as "myu-u-to", and can be translated as either of the aforementioned "English" names (because translations aren't a 1-to-1 thing after all). In the example of the "Mute" translation, the silent "o" just kind of sounds better at the end than a "u" does in cases like this.

Thanatos, written as タナトス, is read "ta-na-to-su", and is an example of a name with that silent "u" at the end.

Anthony Stark, written as アントニー・スターク, is read as "a-n-so-ni-i / su-ta-a-ku", and is another example of translating sounds that don't exist in Japanese ("th" in English becomes "s" or "z" in Japanese, and "st[x]" becomes "sut[x]") and the silent "u".

Jason Stryker, written as ジェイソン・ストライカー, is read as "je-i-so-n / su-to-ra-i-ka-a", and is another example of translating sounds that don't exist in Japanese, with "Stryker" showcasing that it uses the "st[x] -> sut[x]" rule AS WELL AS a silent "o" rather than the usual silent "u".

Class number is just based on where they are in the alphabetical order (ie. Aoyama is No.1 because he has the earliest alphabetical character in his surname, "a". Ashido is No.2 because, while she also has an "a" surname, "shi" comes after "o" in the Japanese alphabet).

So for instance, if Richard Grayson was added to 1-A, he would have a seat between Kirishima and Koda since his surname starts with "gu" (in the Japanese writing system!), and his class number would be No.9! Koda and everyone else after him would have their number pushed accordingly. If Peter Parker were added to this same class, he would be between Bakugou and Midoriya!

I hope this helped, and will help others too. Thanks for the ask! (Also thanks for saying so, I feel like no one actually uses the templates at all...)

Anyway, plus ultra and all that!

[memoria-99]

So I'm quite surprised to see pronounciation differs after seeing this post

Here's how I pronounce...

Elias Goldstein: Eh-li-as Gold-stahin(like, style without l sound + sign without s. Like Einstein and Frankenstein)

Luca Orlem: Lu-ka Or-lem

Yukiya Reizen: Yoo-kee-yah Rai(like rice goes)-zehn

Klaus Goldstein: (Santa) Claus

Randy March: Ran-dee March(3rd month of the year)

Serge Durandal: Surge(like surgery) Dew-ran-dal

Azusa Kuze: Ah-zoo-sah Koo-zeh

Joel Crawford: Joe-l Craw-ford

Vincent Knight: Vincent Night

Leon: Leh-on

Cerim Leiado: Seh-rim Lay-ado

Guy Brighton: Guy Bright-un

Glenn Qing: Glen Ching (this kind of alphabet is mostly the one from hanyu pinyin, Chinese prounciation. There q equals ch sound.)

Leslie Roseblade: Lehs-lee Rose-blade

Sigurd Curtis: Si(from sick)-guard Cur(from curve)-tis

Mel Glover: Mel(melon) Glove-r

Zeus Brundle: Zoos Broon-dle

Hiro Tachibana: Hero Ta-chi-ba-na

Alfonse Goldstein: Al-fons

Caesar Raphael: Kai-sar(like car) Rafa-el

Lucious Duller: Lucy-us Dool-ler

Hugo Peers: Hew-go Peers

Hisoka Hagakure: Hee-so-ka Ha-ga-ku-reh

Willem V Rembrandt: Will-lem V Rem-brant

Nox Noir: Nox No-er

Rex Blanc: Rex Blahn(g) (Blanc is French so French style)

Gray: Gray

Ted: Ted(dy bear)

Lars Lagrene: Lars(Mars but with m sound) La-gren-eh

Clive Lagrene: Clive (Cliff but with v sound)

Florin Arden: Floor-in Ar-dehn(like Denmark)

Albert Auburne: Al-burt Au-burn

Light Fildora: Light Fill-dora

Felix: Fell-lix

Vain: Vain (like rain)

Viggo: Vigo(rously)

Randolph: Ran-dolf

Conrad Schuyler: Con-rad Sky-ler

Loran Merculova: Lo-ran Mercul(like mercury)-lova

Carbuncle: Car-bunkle

Taffy: Taff E

Ronny: Ron E

Chica: Chi-ka

Mischa: Mee-sha

Chocolate Cake: Chocolate cake

Hachi: Ha-chi

Nidhogg: Nid-hog(like fog)

Shu: Shoo

+

Amelia: Uh-meel-lee-ah

Eress: Eh-ress (Empress without the mp)

Brunhild: Broon-hild

Saella: Say-la

Aulelia: Au-leh-lee-ah

Claudia: Cloud-ia

[somethingclevermahogony]

An Explanation for Kishic Noble Names and a quick intro of the Kishic counting system

Hello y'all this is meant to go along with the previous post about Ninma. Most Kishic indiviuals only have one name, such as Narul, Istek, or Bira. However within the Kishic Noble tradition, a person's full name typically includes four or five elements depending on the person. These being Number, Given Name, Line, Clan/Branch, and Title.

As an example, Ninma's full name is as follows: Ba Ninma Asheradul Ninjali Ninma's full name in Kishic is shown below, her given name is underlined as is typical in the Kishic tradition

More explanation of the naming structure below the cut!

1 Number and Kishic Numeric system

An individual is named for the order in which they are born into a family and/or clan. Family lines typically follow a patrillineal structure. When a family branches or splits forming a "clan/branch" the count is restarted for that particular line. As an example, Ninma is the third person given her name within her direct family line, thus Ba. However, should Ninma have a daughter also named Ninma, because that would no longer be in the direct patrillineal line, the count would restart thus her daughter would be Un, and would mark the first member of a new clan/branch.

1. Un 2. Se 3. Ba 4. Ta 5. Su 6. Tu 7. De 8. Teti 9. Sekesh(a) 10. Bet(a) 11. Ku-Bet(a) 12. Se-Bet(a) 13. Ba-Bet(a) 20. Shet(a) 21. Ku-Shet 22. Se-Shet 30. Bat(a) 31. Ku-Bat(a) 40. Taset(a) 41. Ku-Taset(a) 50. Suset(a) 51: Ku-Suset(a) 60: Tuset(a) 61: Ku-Tuset(a) 70. Denet(a) 71: Ku-Denet 80: Tetet(a) 81: Ku-tetet(a) 90: Seket(a) 91: Ku-Seket(a) 100: Kid(a)

2 Given Name

Noble names originate from a prescribed list, The Decreed Callings, created during the era of the united Kishic empire by King Tamel as a way to easily differentiate the noble from the mundane. This list was carved into stone, and typically left as stelae or rock monuments in the majority of Kishic city's thus, explaining the relative homogenity of spelling between much different cities. The literal meanings of most of these names stem from a dialect of Shabalic now almost entirely forgotten, and thus the actual meaning of each name is of little importance if it is remembered at all. There are exceptions, for example, Ninma, coming from the adjective for small or dimunitve Nina and the word for woman, Ma, quite literally translates to "Small woman". Certain names are more common or traditional within a family.

The majority of names, though not all, have both a feminine and masculine equivalent.

While typically only nobility are permitted to bear these names, if one rises to the ranks of nobility they must choose or have a name from this list given to them, conversely, they may lose the name and replace it with another, often a slightly different version. Eg. Zatar (noble) and Zatur( peasant).

Some peasants, particular those of near noble status, purposely choose these near noble names as a symbol of wealth or status.

Included below are the masculine and feminine equivalent of the thirty-one noble names and some examples of peasant equivalents.

M: Hut(a)bari F: Hut(a)bara (Peasant Hubaru, Hubara)

F: Nin(a)ma (Peasant: Nunima)

M: Zata(a)r ( Peasant: Zatu(u)r)

M: Kotu(u)s F: Kota (Peasant: Kod(o)os, Kata)

M: Akar(a)d F: Akad(a)a (Peasant: Karadu, Karada)

M: Kuru(u)sh F: Kuruma (Peasant: Karu(u)sh, Kurudi)

M: Asher F: Asherta (Peasant: Asher, Aserta)

M: Barunaki M: Baruna (Peasant: Burunaku, Buru(u)n, Buruna)

M: Adakur (Peasant: Adakar)

M: Hiru F: Hiruha (Peasant Shiru, Shiruha)

M: Ladaru F: Ladara

M: Mushadi F: Mushadira

M: Atab F: Atbira (Peasant: Akab, Bira)

M: Adikur F: Adikka ( Peasant: Wa(a)dikir, Wadika)

M: Tizanu(u)sh F: Tizanuma (Peasant: Dizana(a)sh, Dizanuma)

M: Ku(u)bir F: Kubira ( Peasant: Ka(a)dir, Kadira)

M: Enakamer F: Enkama (Peasant: Enkam(i)ish, Enkima)

M: Nas(i)ib F: Nasiba ( Peasant: Na(a)sh, Nashiba)

M: Ham(a)an F: Hamana ( Peasant: Han(a)an, Habana)

M: Ta(a)mel F: Ta(a)melha ( When talking about Ta(a)mel the founder, typically referred to as Ja(a)lT(a)amel or Great Tamel) ( Peasant: Da(a)mul, Da(a)melha)

M: Semaki F: Sema (Peasant: Si(i)m, Suma)

M: Gelabi F: Gelaba ( Peasant: Galari, Garabi) 

M: Mosiru F: Mosira (Peasant: Misiru, Misira)

M: Faru(u)t F: Farutima

M: Keri(i)m F: Kerima

M: Ba(a)lek F: Balekira

M: Fi(i)fnu F: Fifina

M: Nabiru F: Nabira

M: Bazu(u)s F: Baza

M: Uridush F: Uriduma

M: Zeni(i)t F: Zenita (Zeniit is both feminine and masculine in Shabalic)

3 Line

Most noble families trace their ancestry back to a single famous individual, typically a legendary or influential figure. It is not uncommon for nobles to rename their familiy line as a way to improve their standing, nor is it common for families to claim descendancy from mythical figures. Additional it is often the case that multiple families may claim descendancy from the same ancestor.

On rare occassions, a person may choose to start a new line, with themselves as its root, though this is very rare, and typically reserved for kings and usurpers.

Examples:

The Line of Asher- Asherdul

The Line of Tamel ( The most commonly claimed line, 1 in 10 noble families use this title)- Tameldul

The Line of Lat (An entirely fictional character)- Latdul

The Line of Akard- Akarddul

4 Clan/Branch

As was previously explained, a branch most typically forms as the result of a deviation from the direct patrillineal line, in these instances the branch name is typically merely a second number. Typically the direct family line does not have a branch or clan name.

In cases of adoption or as recognition for a particular trait or achievement from a member of line, or conversely as a mark of punishment, a new name may be awared/inflicted on an individual and thus their descendants forming a "clan". Clan's are typically signified by the ending -di.

The creation of new clans (not branches) must be approved by the highest authority of that particular city-state, usually the monarch. A member of that line does not have to be the one to produce a petition for the recognition of a new clan, though they must be noble.

Examples: Den Kotus Ladara(a)dul Hirudi Ekiku The Clan of Hiru (A famous warrior) Se Atab Ku(u)birdul Ba Unku The third branch of the Line of Ku(u)bir Un Barunaki Farutimadul Gomandi Kikunku The Large (fat) Clan (This was unlikely chosen willingly, and was likely the result of a petty squabble or some afront)

Title

Held by many but not all nobles, this is simply a reflection of their job or ranking within a city-state's hierarchy.

Examples Jal/Jali- King/Queen Ninjal/Ninjali- Prince/Princess Unku/Unma- (Generic) Lord/Lady literally One Man/Woman Ekiku/Ekima- Horse man (Mounted warrior/horse keeper) Ekijalku/ma- Charioteer (typically more esteemed than Ekiku) Kikunku/ma- Master of Grain (can refer to those in charge of both granaries/and the production of beer for a royal household) Shukalajal/i- Spearmaster literally Great Spear (Typically the senior guard and champion of the monarch)

@patternwelded-quill @flaneurarbiter @skyderman @blackblooms @roach-pizza @illarian-rambling @dezerex @theocticscribe , @axl-ul

[hellishere7980]

After Happily Ever After

He always knew it would be a bad idea. Even when she was Ladybug. He first saw her on a screen on Tim’s laptop. Gorgeous blue eyes. Freckled skin like chocolate chips on a cake. A deep commanding look on her face, which he usually saw on the faces of seasoned heroes like Batman or Superman or Wonder Woman. She looked around his physical age. Not that it was a true measuring unit. He'd been around for a couple of years and still looked 18. Yeah, but the first thing that came into his mind when he saw her was the word ‘pretty’. More specifically, that she looked pretty.

But he never had an opportunity to directly talk to her. Wonder Woman, Zatana and John were in charge of the communication from the Parisian heroes and the Bats were only backing up as detectives, aiming to find her villain. He first had the opportunity to meet her when she first stepped into the tower as ‘Lady Miracle’, finally defeating her villain.

They were all standing around in the watchtower as she and Wonder Woman walked in. His surprise must have shown on his face because Rob was trying to elbow him in his gut to get his mouth closed and Clark and Jon were smirking at him.

Wonder Woman gave them a quick review of the situation in France and then the main founders left for their meeting while the ‘sidekicks’ hung around as so helpfully said by Green Lantern(Hal- the git). The younger school-going superheroes were also sent back. Yeah, but it gave the young heroes a perfect opportunity to chat with Lady Miracle. Which Bart helpfully emphasized by running up to her first.

“Hey, what's up? How are you doing?” Bart said, shaking her hand. Classic speedster style.

If Lady Miracle was shocked by it, she didn't let it show on her face. “Yeah, I'm doing good. Defeated my villain and all. Finally my schedule was cleaned up a bit.”

And of course, that had to catch Nightwing’s attention. “You mean to tell me that you didn't drop out of school?”

“Why would I?” Lady Miracle asked.

“So how did you take care of the akuma-ta-ta?” Bart asked.

“First of all, it's Akuma. Come on, say it with me a–”

“A–” Repeated Bart.

“Ku–ma”

“Ku-maai”

“Close enough.” Lady Miracle said with a smile.

“Anyway, getting back to the topic.” Red Robin said. “How the hell did you manage that?”

“I made up excuses like– ‘Miss, I wanna go to the bathroom.’ or ‘I need to help my parents out at the–their business’ or something.” Lady Miracle said, shrugging her shoulders.

“So you mean to say your parents know?” Nightwing asked.

“WHAT? No. They don't know. Hopefully they'll never find out.”

“But why not?” Superboy(elder) asked.

“I really don't like talking about it, sorry.”

“No problem.” Superboy answered before one of the detective boys could jump in and insist on an answer.

“We all have something we don't want to talk about, right Red?” He said, giving the boy in question a pointed glare.

“Yeah, right. Totally.”

This was a bad idea. He had a sinking feeling he would be back on that question the moment he got the chance. But there was a really pretty lady in front of her and maybe he would not get a chance to ask her out later on, so-he-probably- shoulddoitnow. Why on Earth was he rambling? He was supposed to be the smoothest talker in his team for God's sake! He stopped as he felt a touch on his forearm. He lived up to see Lady Miracle smiling at him curiously.

“You were rambling.”

He gulped. Quite visibly. This fact was verified by the snickers from his team. Whole herd of betrayers, that lot.

“Are you fine?” Lady Miracle asked.

“Sure. Why wouldn’t I be?” He replied, trying desperately to gain some swagger back.

She certainly let go of his arm as she heard the door open. More specifically the meeting door. “Let’s go see my new room.” She said, slightly tilting her head over the door where all the senior founder members were coming out of.

“Wait a minute, You're joining Young Justice?” Superboy asked, looking down at her and confusion.

“Yeah, didn't you hear, Wonder Woman? Wonder Woman is supposed to take me to the Young Justice headquarters.”

Apparently his lack of awareness was too much for his so-called teammates (Betrayers, as he had previously established) because those goons burst out LAUGHING.

“Ah, I've never seen Kon so FLUSTERED in my life.” Red said, trying to get his laughs under control, pretending to wipe a fake tear. Dude wore domino masks! And his (Robin’s) life was about to get VERY short.

“Ohh I'm gonna enjoy having you around.” Cassie said, lightly patting Lady Miracle’s arm.

The meeting got over and they were all on their way to the Young Justice cave. Correction Batman, Wonder Woman, Lady Miracle and the Young Justice were on their way to the Cave.

Although it wasn't clear enough from Lady Miracle’s face, it was easy enough to tell that she was excited. No, excited wasn’t the word. Terrified? Yeah, that was closer. And to be fair, they were the upcoming heroes who were eventually gonna be the new Justice League. That makes them sound like rich kids ‘heirs to huge empires’ club. Whatever.

Jon’s mind was distracted. Will she date him? She was very pretty smart, and he was pretty sure many heroes would try to ask her out. Not that he owned her, but he really really wanted to date her. He tried to ease his mind as he heard Lady Miracle’s gasp as she first saw the cave.

And the days flew by.

Surprisingly, Lady Miracle, fit right in with Red Robin and Superboy. They were all around the same age group. She and Red Robin, specially bonded over coming up with ridiculous ideas during battles. It didn’t help that her superpower only spurred them on. Stupid polka-doted stuff that made everything more risky. They would come up with ridiculous angles and what not to take down simple villains! Too bad, he loves them. He did, because those mini-heart attacks were never easy on the kryptonian.

I won’t bore you with the fluffy details. This story isn’t about that. The story isn’t about the happily ever after. It’s about what comes after the happily ever after.

So let’s turn up the speed of the story.

Lady Miracle and Red Robin went on a couple of dates, but they decided they were better off as friends. Sometimes, when people have too much in common, it doesn’t fit right. After that Kon finally picked up the courage to ask her out, and it was a whirlwind from there. Happy days, passionate nights (or days, depending on their mood). Meeting the parents. Well Connor’s parents. Lady Miracle’s parents, as she told them, didn’t believe her, and they had a fall out. Something personal she said and they dropped it. Meeting Martha and Jonathan. Meeting Jon. Meeting Lex, Clark and Lois. Her revealing her identity. Her story. Kon getting down on one knee. Both of them, laughing in their wedding pictures. Marinette with their baby boy in her arms. Jon and Tim’s awed faces as they finally held baby Andrew. Tim crying as Kon and Marinette asked him to be the Godfather. It all flew by in a whirlwind.

Their are happily ever after.

Wise men say that there is a definite point, a decision that turns one fates’ around.

And to understand that point, you need to look at the line before and after it.

So, let’s start at normal speed. A few hours before they are happily ever after ended.

[na-uvi-nuu]

Ta Niku'u Mayu/When Mother Got Sick

Mom tells me about the first time she came to the United States. "Ñuuyo titsi ra vatsi/I carried you in my womb and came," she begins. She remembers sitting at a Burger King in Nogales, Arizona to barely disguise having crossed, "That's what the coyotes told us." From there, she and Dad were picked up by strangers who took them to Santa Maria, California. Uncle Enrique and Tía Gisela had crossed with them, but both went to separate places. She remembers her early days working in the fields picking strawberries and tasting food she had never eaten, "It was very hard to work in the fields. I couldn't stand it. Nikuniyu ntanchiko/I wanted to go back. I didn't know anything about pizzas or burgers. I had to get used to that." She didn't know how to cross the streets because there are no traffic lights in her hometown. Her first time in an elevator and escalator was in the Santa María shopping center where the ups and downs were very scary. "Yu'u nchu'a/I was very afraid," she repeats as she tells her story. 

A few months after crossing she began to feel itching all over her body that out of fear and because she did not speak Spanish she did not mention her symptoms to the doctors during her delivery. "In yoo ta nikakú ra ntukuaan ntuchinuu/One month since you were born, my eyes turned yellow. Yu'u nchu'a ku'unyu nu to'o stata tsa ña ntsiniyu a kutunininayu/I was very afraid to go to the doctor because I didn't know if they would understand me. Kue ni tsituniniyu ña ka'anna ta nikakuku/I didn't understand what they were talking about when you were born," she tells me as a lump forms in my throat. Dad says something that makes the lump bigger, "Nikaan maku ña ku nkui/Your mom thought she was going to die. 'Kotova'a se'eko,' kacha/'Take care of our son,' she said. Ntsiníkue nchi ku saakue/We didn't know what we were going to do." Dad lost his sense of hearing on his left side as a child which made it difficult for him to learn and understand Spanish. Both attended elementary school in their respective hometowns, but because they had to work or help take care of their families' animals, they did not complete all their studies. In my ini, my inner being where we Na Ñuu Savi/People of the Place of Rain keep our thoughts and emotions, I feel anger and sadness when I think about the few resources my parents had when they arrived North from Oaxaca, Mexico where they felt that they had to leave to survive poverty. Since my childhood I have seen how migrants from the municipality of San Juan Mixtepec share with each other advice, suggestions, and resources to be able to overcome their difficulties due to the linguistic and cultural barriers they face outside their place of origin. 

That network gave them lodging and that's how they came to live with a cousin of Dad's. It was from that Indigenous migrant support network that Mom finally went to the doctor. Auntie, seeing Mom's eyes, said, "Yu'u nchu'a nchee ntuchinuuku/I'm so scared seeing your eyes. Kutsi nchi ntuu/Who knows what's wrong with you. Tsiniñuu ko'on nu doctor/We need to go to the doctor. ‘Comezon’ ku ña ‘kata’ ra na ntantuko nixika kacho takua na kuncheenayo/’Comezon/Itching’ is the same as ‘kata’ and let's see what else we can say so that they see you." They went to a clinic where – between Mom, Auntie, and a nurse who speaks Spanish – they managed to make the English-speaking doctor understand that they should do an ultrasound on Mom. "I just remember they said something was wrong with my liver. I needed to go to a hospital. They asked me if I knew anyone with a car to go immediately. The nurse who helped me communicate with the doctor took me to the hospital after telling me that we as women are the first caregivers of our children and that I needed to get better to take care of you. Ntsintuñá tsiu ncha ta nikee ra ntasiañáyu ve'e/She sat with you until I left the hospital and took me home," she tells me. They advised her not to breastfeed and prescribed medication to take for seven to eight months. 

"I can't believe you left me with a stranger," I say jokingly. Mom laughs and replies, "Well, yes. I had no other choice. Va'a nchu'a iniñá/Her inner being was very good. I never knew what happened to me. I didn't understand what the doctors said and I didn't ask any more, although it still happened to me when your siblings were born. What am I going to ask? What am I going to say? How am I going to respond? These were things that I was thinking about and I didn't say anything." She recalls the long road she has faced since arriving to the United States, "Now I can communicate. Now I'm used to farmwork. I treat it like a sport. I run, I lift, that's how I make my boxes." Mama's story is not unique and although it has been 30 years since she arrived in the United States with fear of not being understood, the situation in hospitals has improved, but there is still a lot of work to be done. How many other people have gone through and continue to go through the same or worse because of the lack of interpretation? Because of the fear of not receiving support in the language they understand best? How many have been able to count on  similar support that the nurse at the clinic gave Mom? Having worked in an organization that advocates for the linguistic rights of Indigenous communities (Comunidades Indígenas en Liderazgo) my hope is that institutions will seek out the leaders of these communities to come to understand us and our needs better so that one day we all receive the support that we deserve as human beings. 

[mentalhells]

詩人狩り- Poet Hunting

A E I O, U and I are but ghosts

Ka Ki Ku Ke, conjured by the power of words, hey

Sa Shi Su Say, that’s right

Ta Chi Tsu Te, that’s how it it is, even if our blood sleeps standing up*

アイウエ俺たちは幽霊さ

カキクケコトダマの幽霊さ　ほら

サシスセそうだろ

タチツテ血は立ったまま眠ってるとしても

Aiue oretachi wa yuurei sa

Kakikuke kotodama no yuurei sa hora

Sashisuse soudaro

Tachitsute chi wa tatta mama nemutteru to shite mo

Na Ni Nu Ne, not a single thing that I can become

Ha Hi Hu He, haven’t got a choice but to dig this grave up, hey

Ma Mi Mu Me, muster on a bit longer

Ya Yi Yu Ye**, Yet drenched in ink at the break of dawn

ナニヌネ何者にもなれないさ

ハヒフヘ墓を掘るしかないさ　ほら

マミムメまだまだ

ヤヰユヱ夜明けのインクでずぶ濡れさ

Naninune nanimono ni mo narenai sa

Hahifuhe haka o horu shika nai sa hora

Mamimume madamada

Yawiyuwe yoake no inku de zubunure sa

If you’d rather shed brilliantly red blood than shed tears

Rather than reading the room with a laugh, read me some unreadable words

If you really want to impress me, then without fear of feeling something

Go and read it out!

涙を流すぐらいなら真っ赤な血を流すから

空気を読んで笑うより読めない言葉読んでくれ

感動させろというなら感じるのを恐れずに

さあ読んでくれ

Namida o nagasu gurainara makkana chiwonagasu kara

Kuuki o yonde warau yori yomenai kotoba yonde kure

Kandou sasero to iunara kanjiru no o osorezu ni

Saa yonde kure

Search for a poet, Search for a poet, Search for a poet, Search for a poet,

Search for a poet, Search for a poet, Search for a poet, it’s a poet hunt

詩人を探せ　詩人を探せ　詩人を探せ　詩人を探せ

詩人を探せ　詩人を探せ　詩人を探せ　詩人狩りさ

Shijin o sagase shijin o sagase shijin o sagase shijin o sagase

shijin o sagase shijin o sagase shijin o sagase shijinkari sa

A E I O, U’ve got nothing a red pencil

Ka Ki Ku Ke, can’t use an eraser in the great beyond***, but

Sa Shi Su Say, isn’t that right?

Ta Chi Tsu Te, the hands of the clock can never turn back, isn’t that right?

アイウエ赤鉛筆しかないさ

カキクケしゴムはもういらないさ　でも

サシスセそうじゃない

タチツテ時計の針はもう戻らない　そうじゃない

Aiue aka enpitsu shika nai sa

Kakikuke shi gomu wa mou iranai sa demo

Sashisuse sou janai

Tachitsute tokei no hari wa mou modoranai sou janai

The manuscript paper is but a life in 400 characters

Use someone’s words to fill in where you’ve buried someone’s body

You’re the one who’s hurting, not just anyone, but you

So go ahead and find me

Search for that corpse

原稿用紙ぐらいなら　四百字詰めの命

誰かの言葉で埋めて　誰かの身体埋めて

傷ついてるのは君さ　誰かじゃなくって君さ

見つけてくれ

死体を探せ

Genkou youshi gurainara yonhyakujidzume me no inochi

Dareka no kotoba de umete dareka no karada umete

Kizutsuiteru no wa kimi sa dareka janakutte kimi sa

Mitsukete kure

Shitai o sagase

Words are such lonely things, even more so as we exchange them

On the other side of this page is where I want to be killed, so

言葉なんて孤独さ　交わせば交わすほどに

ページの向こう側で殺されたいのさ

Kotoba nante kodoku sa kawaseba kawasu hodo ni

Peeji no mukougawa de korosaretai no sa

Kill a poet, Kill a poet, Kill a poet, Kill a poet

Kill a poet, Kill a poet, Kill a poet, Kill a poet

詩人を殺せ　詩人を殺せ　詩人を殺せ　詩人を殺せ

詩人を殺せ　詩人を殺せ　詩人を殺せ　詩人を殺せ

Shijin o korose shijin o korose shijin o korose shijin o korose

Shijin o korose shijin o korose shijin o korose shijin o korose

Search for a poet, Search for a poet, Search for a poet, Search for a poet,

Search for a poet, Search for a poet, Search for a poet, Search for a poet

詩人を探せ　詩人を探せ　詩人を探せ　詩人を探せ

詩人を探せ　詩人を探せ　詩人を探せ　詩人を探せ

Shijin o sagase shijin o sagase shijin o sagase shijin o sagase

Shijin o sagase shijin o sagase shijin o sagase shijin o sagase

A E I O, on the hunt for U!

アイウエお前を探せ

Aiue omae o sagase

TRANSLATION NOTES

“Words, Words, Words!” - Hamlet; Shakespeare, and also Temma Matsunaga in live performances of this song. about the same caliber of genius i'd say.

GENERAL NOTES: because kana characters are generally sounds that combine what we’d think of in english as consonants and vowels, they’re split up into groups based on that, and this song plays with that (there’s probably actual terms and a more concise way to say that but i’m no linguist lol). aside from where it coincides pretty well with the english vowels of AEIOU, i tried to keep the alliteration of the original lyrics, so this translation is a little more liberal and vibes-y!

*: “Blood Sleeps While Standing” or『血は立ったまま眠っている』 is an early play by playwright, poet, and all-around multimedia auteur Shuji Terayama

**: this verse uses historical kana characters not used in modern japanese, just a fun lil tidbit

***: this is a fun pun; combining shigo/しご/死後 meaning after one’s death, and gomu/ゴムmeaning eraser

[linkemon]

Hayakawa Aki x Reader

Resztę oneshotów z tej i innych serii możesz przeczytać tutaj. Zajrzyj też na moje Ko-fi.

Some of these oneshots are already translated into English. You can find them here.

ᴘʀᴏ́ʙᴀ ᴘᴏʀᴀᴅᴢᴇɴɪᴀ sᴏʙɪᴇ ᴀᴋɪᴇɢᴏ ᴢᴇ śᴍɪᴇʀᴄɪᴀ̨ ʜɪᴍᴇɴᴏ. sᴘᴏᴡɪᴛᴀ ᴘᴀᴘɪᴇʀᴏsᴏᴡʏᴍ ᴅʏᴍᴇᴍ, ᴛᴏᴋɪᴊsᴋɪᴍ ᴘᴏʀᴀɴᴋɪᴇᴍ ɪ ᴏʙᴇᴄɴᴏśᴄɪᴀ̨ [ʀᴇᴀᴅᴇʀ]. ᴅᴏᴅᴀᴛᴋᴏᴡᴇ ɪɴғᴏʀᴍᴀᴄᴊᴇ: ᴏɴᴇsʜᴏᴛ ᴢᴀᴡɪᴇʀᴀ sᴘᴏɪʟᴇʀʏ ᴅᴏ 1 sᴇᴢᴏɴᴜ ᴀɴɪᴍᴇ (ᴛʏᴍ sᴀᴍʏᴍ ᴅᴏ 5 ᴘɪᴇʀᴡsᴢʏᴄʜ ᴛᴏᴍᴏ́ᴡ ᴍᴀɴɢɪ).

Aki zaciągnął się papierosem i wypuścił kłąb dymu w powietrze. Mdłe światło poranka powoli przebijało się przez szarugę otaczającą miasto. W oddali z cichym świstem przemknął shinkansen. Przedmieścia Tokio budziły się do życia. Było spokojnie. Wszystko na swoim miejscu. A jednak wcale tak się nie czuł.   

— Dopiero niedawno wyszedłeś ze szpitala. Już fajka? — Znajomy głos wybił go z rytmu. Papieros zastygł w połowie drogi do ust.  

Nie potrzebował się odwracać, by wiedzieć, że to [Reader] stała za jego plecami. Najwidoczniej zapomniał zamknąć za sobą drzwi, gdy przyjechał. Będzie musiał to zrobić. Power i Denji na pewno go w tym nie wyręczą. Jak znał ich obydwoje, to po powrocie z misji będzie to ostatnia czynność, o której będą myśleli. Ich priorytetem zawsze było zdemolowanie mieszkania, by dołożyć mu pracy.  

— Co tu robisz? — Odważył się rzucić spojrzenie w jej stronę.

Wcale się nie zmieniła. Wyglądała jak w czasach, gdy jeszcze we trójkę z Himeno działali w Publicznej Dywizji Łowców Demonów. Zanim [Reader] przeszła na prywatną działalność. Żałował, że druga kobieta nie zrobiła tego samego. Może wtedy ona też budziłaby się teraz do pracy, tak jak on. Może wciąż by żyła.  

— A jak myślisz? — Kobieta oparła się o poręcz małego balkonu.  

— Przyjechałaś, bo — drżenie w głosie Hayakawy było prawie niezauważalne — Himeno nie żyje.  

— Po części tak. — Pokiwała głową.  

Podobnie jak on zapatrzyła się w szarawą dal. Nie był w stanie się domyślić, co chodziło jej po głowie.  

— Daj bucha.  

Posłusznie przekazał jej papierosa. [Reader] zaciągnęła się dymem, po czym wypuściła go leniwie.  

— Nie mogę uwierzyć, że ta suka nie żyje — stwierdziła. — W naszej robocie to niby takie oczywiste, ale… jakoś tak nigdy nie myślałam, że ją to spotka.  

Aki doskonale zdawał sobie sprawę z tego, że nienawidziły się z Himeno. To była dziwna relacja, która polegała na współpracy, kiedy musiały. Nigdy jednak nie osiągnęły takiej zażyłości między sobą jak on sam z nimi obiema. Zawsze miał wrażenie, że była między nimi jakaś kość niezgody. Ilekroć próbował dowiedzieć się, co je tak naprawdę dzieli, zmieniały temat. Tak trudno było to z nich wyciągnąć, że po jakimś czasie przestał pytać. Dopiero ostatnie listy, które przekazała mu siostra zmarłej, nakierowały go na potencjalny powód.  

Okazało się, że zgadnął poprawnie. Powodem, dla którego kobiety nigdy się nie polubiły, był on sam. Uczucie, którym obie go darzyły, doprowadziło do głębokiej rywalizacji między nimi dwiema w różnych sferach życia. Szczególnie zawodowej. Hayakawa Aki był tym, co je dzieliło, ale też w pewien sposób łączyło.  

[Reader] spojrzała na niedopaloną końcówkę papierosa. Mężczyzna nigdy nie dowiedział się, jak po pijaku pobiły się o niego. Skrzywiła się na samo wspomnienie. Pociągnięcie za włosy bolało jak cholera, podobnie strzał prosto w policzek. Może jako łowczyni powinna być przyzwyczajona do bólu, ale to było jednak coś innego niż walka z demonami. Koniec końców wylądowały obok siebie, dysząc, i zawarły pakt. Akiemu podobała się Makima. Którakolwiek miałaby wyjść kiedyś zwycięsko z tej rywalizacji, co było mało prawdopodobne, przynajmniej w tej kwestii się zgadzały. Jego wybranka zwiastowała kłopoty. Było w niej coś tajemniczo przerażającego i niebezpiecznego. Zamierzały zrobić wszystko, by z nią nie skończył.  

Strzepnęła popiół. Był taki czas, że się wycofała. Ku dość dużej radości Himeno. Praca prywatna była mniej stabilna od rządowej, ale dawała większe szanse na przeżycie. Zostawienie Hayakawy na pastwę rywalek nijak jej nie cieszyło. Nie miała jednak w sobie tyle determinacji, by porywać się na najcięższe zlecenia dzień w dzień. Chciała mieć choć trochę spokoju, więc musiała się od nich oddalić.  

— Wyrżnęli ostatnio tyle osób, że szukają kontraktów z prywaciarzami. Najlepiej takimi jak ja. — [Reader] usiadła na balkonowej poręczy.  

Zdziwienie odmalowało się na twarzy Hayakawy. Czy naprawdę przyjechała tu, by wstąpić z powrotem do miejsca, z którego uciekła?  

— Myślałem, że masz już dosyć narażania życia.  

— Powiedzmy, że zmieniłam zdanie.  

Wcale mu się to nie podobało. Nie potrzebował kolejnej osoby w swoim życiu, która spocznie kilka metrów pod ziemią. Z takim samym jak reszta łowców białym krzyżem, na bezkresnym cmentarzu. Miejscu, gdzie jedyne, co można było usłyszeć, to czarne kruki lamentujące nad brakiem pokarmu.  

— Nie wracaj — skwitował pewnie, gasząc jej papierosa w popielniczce.  

Wyglądała na bardziej oburzoną faktem, że odebrał jej źródło nikotyny, niż tym, co powiedział.  

— Tylko nie wyjeżdżaj mi z sentymentalną gadką. Jeśli nie chcesz mnie w Czwartej Dywizji, to po prostu powiedz i podpiszę kontrakt z inną. W Tokio zostanę tak czy siak, więc gówno mnie obchodzi twoje zdanie.  

— [Reader]… — Cokolwiek chciał powiedzieć, ugrzęzło mu w gardle.  

Był zmęczony. Tak zmęczony ostatnimi dniami, że nawet nie miał siły się z nią kłócić. Wciąż nie był bliżej celu. Demon Broni Palnej zdawał się oddalać od jego woli zemsty. Z Denjim mógł naprawdę mieć jakieś szanse, ale czuł, że już nie daje rady. Śmierć Himeno była czymś w rodzaju gwoździa do trumny. Granicy, po przekroczeniu której coś wewnątrz niego się zmieniło.  

Nastała cisza przerywana jedynie odgłosami budzącego się do życia miasta. Miał ochotę na kolejną tego poranka fajkę. Jego nałóg był jeszcze jedną rzeczą, którą jego nieżyjąca partnerka pozostawiła po sobie.  

— Zostały mi dwa lata. — Waga tych słów zawisła w chłodnym powietrzu.  

[Reader] po raz pierwszy podczas tego spotkania zwróciła głowę w jego stronę i naprawdę mu się przyjrzała. Na jej twarzy malował się smutek, złość i współczucie, którego nienawidził. Dobrze wiedziała, ile życia poprzednio pożarła mu katana. Teraz pozostały mu czas skurczył się jeszcze bardziej. To była jego ostatnia karta przetargowa. Po co miała tu zostawać? Nawet jeśli udałoby się im przetrwać i ułożyłaby sobie życie, to z nim nie miała na co liczyć. Za chwilę już go tu nie będzie. Podążał tą samą ścieżką, co Himeno. Wprost do grobu.  

— A więc zostanę tu na dwa lata — oznajmiła pewnie.  

Dopiero gdy dotknęła jego twarzy, zorientował się, że płacze. [Reader] delikatnie ścierała słone krople ściekające po jego policzkach. Aki nie wiedział już, dlaczego właściwie się rozkleja. Opłakał przecież Himeno w szpitalu. Może to wciąż było za mało? A może tęsknił za rodziną? Za czasami, które już nie wrócą? Za przyszłością, w której mógłby normalnie żyć? Za utraconymi latami?  

— Obiecałam Himeno, że się tobą zajmę.  

Hayakawa przemilczał, że to prawdopodobnie pierwszy raz, gdy nazwała ją po imieniu. Nigdy wcześniej nie słyszał, by użyła tej formy. Suka dużo częściej pojawiała się w jej słowniku. Zresztą kobieta nie była jej dłużna.  

Ciepły uścisk, w którym został zamknięty, wcale nie pomógł. Miał wrażenie, że przez to rozkleił się jeszcze bardziej. Czarne włosy wydostały się z kitki i opadały mu teraz na twarz. Obejmował [Reader], jakby od tego zależało jego życie. Palce mocno zacisnęły się na materiale jej koszuli. Wiedział, dlaczego to zrobiła. Objęła go, żeby nie patrzył na jej twarz. Ponieważ ciche szlochy wydobyły się także z jej gardła. Mogły się nienawidzić, ale ona też za nią tęskniła.  

— Jeszcze jedna fajka? — spytała [Reader], śmiejąc się przez łzy.  

Pospiesznie otarła twarz. Płacz do nich nie pasował. Wyciągnęła ostatnią sztukę papierosa z paczki. Tej samej, którą palili, gdy jeszcze byli we trójkę. Poznał po opakowaniu. Ogień unoszący się znad zapalniczki zatańczył jasnym płomieniem i od razu zgasł. Znajomy zapach poniósł się w górę wraz ze smużką dymu. Himeno powinno smakować. 

[astrobornus]

Letni promyk wysokiego słońca

Po mej bladej idzie skórze,

Delikatnie mnie łaskocze,

I zachęca ku podróży ,

Gdzie mnie ciągnie?

Tam gdzie dotyk,

Cieplejszy od włóczni słońca ,

Przypomina gdzie jest serce gorejące,

Tam to do niej za horyzont,

Gdzie ta gwiazda wkrótce zniknie,

Bo to stamtąd czuje zew,

Serca bijącego samotnie,

Rytm ten niesie się po lasach,

Płynie razem z strumykami,

Niesie sarna go galopem,

Wraz z innymi zwierzątkami,

Pędzi polem, w górę w dół,

Kupidyna skrzydła dostał,

Dotyk, całus, oko, węch,

Zmysł szaleje jak po prochach,

Bo to bęben niesie dźwięk ,

Żywy krwią napędzany,

Pokonuje każdy lęk,

Nadawany choć z oddali,

Już na zawsze te dwa echa,

Żywej tkanki w obu nas,

Będą razem hymn tworzyły,

Nie zagłuszy go nigdy czas.