#I feel like I['m missing some but

[musubiki]

lately ive been thinking about the contrast going on in Early Lime where hes like "tbh im pretty sure i could have any girl i wanted including mochi i mean i guess if she wanted we could give it a shot one day but i dont really care lol" and then very easily becoming completely unhinged for her the second he gets a tinge of romantic affection

[recursivetransformarray]

[flagellant]

perhaps this is in bad faith, but don't you think it's plausible that ms appleton was just a government food scientist who was sent to japan as sort of U.S. ambassador and given a generic, americanized name? we know that resources were scarce during the war and that many changes had to be made, or simply were made to cut costs, in the production of lots of things at the time. it just makes sense when you break it down that traditional shoyu is time and labour intensive to make but improves the taste of even outright bad dishes. at a time when people were forced to eat whatever food was available to them demand was likely very high to the point of unreasonably outweighing supply. either officials at kikkoman reached out to american food scientists for a solution or they offered one up themselves, given the fact that food science was undergoing a huge international renaissance led by the americans during the 30s, 40s and 50s. americans have a tendency to synthesize food. they also tend to feel strongly about imposing their culture on other countries. it seems more to me like this is a story about the american government taking extra steps to obfuscate the story of how they semi-successfully tried to be the final nail in the coffin of widespread, traditional shoyu production. less like some kind of yakuza conspiracy somehow centred on one woman. just the perspective of someone who's felt compelled to do their own research. it's my opinion that the way you're presenting your findings leaves massive gaps as well as leaps to get over them. i can't speak for the things you haven't shared publicly, obviously, but it feels a lot like you're dancing around the point. good luck to you in your research, regardless of my own feelings.

I think I agree that you're either arguing in bad faith or simply aren't really paying attention to a wider picture here. It's common knowledge that postwar economics in Japan were heavily influenced and remain to this day connected to organized crime and the Yakuza as an old tool of the imperial/noble order. We also know for a fact that the CIA worked with the yakuza during American occupation in order to manipulate political culture and economic structures.

It's also a common conspiracy in Japanese circles (or at least so it appears, and I want to be clear I am not voicing this as more than preexisting theory/belief, so I will not directly source to give complete credibility; consider this as context for why I might be interested in investigating further, just in case) that Empress Michiko and the Seifun Milling Company had close under-the-table connections with America, which would further influence the traditional shoyu brewing culture.

Like, I feel as though if you seem to be aware enough that America's treatment of Japan was one of extreme hostility and cruelty with little-to-no care about the nation or its people, solely using it as a means to enforce American/Western ideals and principles onto an unwilling populace and using violence and illegal organized crime syndicates to fulfill those goals...then why are you acting as though it's sus of me to look at a single woman in 1947 having this much power/control over Japanese-American relations when you have said yourself that shoyu is the single most important ingredient for Japanese food of all time, and only moreso during war rations/scarcity times?

[fictionadventurer]

Potential September Reading

The Hobbit by J.R.R. Tolkien (ideally in audio)

An English Squire by Christabel R. Coleridge

A Sherlock Holmes story (and/or a screen adaptation)

C.S. Lewis nonfiction

A sensation or mystery novel

A piece of one of the Psmith stories

Some kind of nonfiction book

[anderscim]

✦ language, sentence structure and footnote #5 in the new DRDT MV

//spoilers for the new “Literature Girl Insane” music video posted by DRDT

//also spoilers for DRDT up to chapter 2 part 1

i think i’m pretty clever for using this frame, am i right? (-∀-)

alright, here is my 2k+ word rant regarding some things i noticed with the word order and translations in the new video—as well as its connections with some of the footnotes.

(take all of this with a grain of salt)

i noticed recently that the DRDT dev pays very, very close attention to lyrics and lyrical structure in japanese—and that is seen in the way they order certain words.

let’s take this screen, for example:

i’m not sure if you all noticed, but in this part, the lyrics show up in a very specific order.

instead of each word appearing in an order similar to how you would read it in english (“look, aside from that, give me the usual medicine”), they do this:

look -> aside -> from that ->the -> usual -> medicine -> give me

and surprisingly, this isn’t random. the words appear in an order that aligns with the sentence structure for the japanese lyrics.

in japanese, the lyrics are as follows:

「ほら、/ それより / いつもの / 薬 / を出して」

if you translate these separately, “medicine” (薬) comes before “give me” (出して, in this context), “the usual” (いつもの) comes before that—and so on and so forth. interestingly enough, the dev subtly threw that detail in the video, instead of just going by the alignment of the english translation.

and, if you didn’t know, in many cases (more often than not), japanese sentence structure wildly differs from english sentence structure—which is exactly what makes it so hard to translate. (;- -)

this also happens in other spots, by the way! here’s another example:

“even if you have a heart full of ambition” appears in reverse order here—but that’s also because of japanese sentence structure.

“向上/の/心/だって/持ったって” -> “ambition/of/heart/even/if you have” this is a rough translation by the way sorry (_ _;)

i can come up with more examples if needed, so let me know (*´ω`*)

however, this isn’t the only way that the dev is being attentive to specific details in japanese. they also seemed to be aware of some literary references that were legitimately within the lyrics, and put their own spin onto it.

for example, this:

at first, the (turbatus) may seem out of place, but trust me, it isn’t. the original japanese lyrics also reference “ego cogito ergo sum” (i think, therefore i am), but put their own spin onto it—the dev somehow managed to translate the lyrics in a way that kept the same modification.

the japanese equivalent to “ego cogito ergo sum” is as follows:

“我思う故に我あり”

however, the japanese lyrics for bungaku shoujo insane put a small modification to the very end:

“我思う故に悩み”

悩み (nayami) is to be worried/troubled/etc.²¹

but basically, the dev also managed to keep that same modification by adding “turbatus” (which translates to “disturbed, disoriented, upset”) to their rendition of the lyrics. though this is me speaking from personal experience, 悩み usually has a different (more lighthearted and flexible) connotation compared to something as heavy as turbatus—so i wonder if this specific word choice might be telling us a lot more.

…okay that was a huge tangent. moving on. what i basically wanted to say is, well… the DRDT team is very attentive and pays very close attention to minor details in japanese, and a lot of it is actually successfully conveyed in their video. however, this pretty much indicates that anything they “botch” in the translation is intentional.⁵ (i’ll get to that later.)

buuuut before we get to that, how ‘bout i switch topics to something else: there is one specific part that they weren’t able to manipulate the translation, even if they wanted to.

i think you know which few frames i’m referring to.

(the other two have the same issue as well, but these first two are easier to explain.)

the thing is, the reason why there’s no translation here is that there’s no way to translate these lyrics without messing up the original japanese sentence structure.

let me break it down. “革命家” (kakumeika) is the japanese translation for a revolutionary. Xander, as the ultimate rebel, is the perfect image for this. “気取り” (kidori) is used in this context to mean that they’re “pretending to be / having the air of” a revolutionary, rather than actually being one.

“馬鹿” (baka) is “idiot,” “鉛” (namari) is lead (as in the metal), “切符” (kippu) is “ticket,” and “与える” (ataeru) in this context is “to give” (but more in a “feeding something to a pet” context than an actual “gifting something to a person” context). “与えよう” (ataeyou) is just a different tense, as in “let’s give,” and so on and so forth.

however, if you were to translate these two lines into english, this is what you would get (rough translation):

“let’s give the idiots pretending to be revolutionaries tickets of lead.”

my brain is fried so i can’t go too far into details right now, but essentially, the translation completely switches around the sentence structure and jumbles the order of the words. if the dev wanted to specifically distribute the lyrics to those two frames in a way that fit those specific images, they would have to warp existing grammar rules and write something that’s… well, obscure. my horrible attempt at a literal translation with the same structure: “assuming the air of revolutionaries / these idiots, tickets of lead should be given to them.” however, this would be too obscure and it gives this lyric a largely different tone (_ _;) especially since david probably doesn’t want to call xander an idiot (/hj) the lyrics would have been extremely difficult to rewrite while getting a similar message across, it was actually more fitting to instead keep the original japanese lyrics and fit them to the two frames in a way that best mirrors each character. …by the way, this is part of the reason why i was (jokingly) suspecting whether or not the dev was actually japanese. some of their attention to wording, sentence structure… even if they’re not japanese, they’re insanely dedicated. massive kudos to them. o(≧▽≦)o okay this has been plaguing my mind for a little bit, side note and small tangent: Xander (at least, i think it’s him. based on the glove) is holding his assigned weapon, a gun, in the first frame here. however, as we know—Xander’s gun is actually nonfunctional, and does not work. the fact that he’s holding it and having his finger on the trigger, despite it being unable to fire, could actually reference the “air of a revolutionary” in the original lyrics, as he may pretend to be someone that can use action to make change in the world but actually can’t. however, that doesn’t necessarily mean it’s true. this video is from david’s perspective, so this may actually be more of a reflection of david’s philosophy regarding how the world can’t change, rather than xander himself. this would match the “unreliable narrator” angle i’m seeing in this video—which i’ll get to later. i also unfortunately do not have a clear answer regarding who the person with the envelope is, but my bets are on it being a teacher of some sorts, or one of the adults that formally invited the students (including xander, david, and the rest of the students) to hope’s peak in the united states. after all, they’re handing out a “ticket of lead,” as seen in the lyrics. lead can cause poisoning to the body, and is known to accumulate over time. by even joining this school in the first place, the drdt cast is unknowingly signing themselves up for something that will traumatize them / corrupt their minds for the coming years. and i don’t know if this is just me, but some aspects of the embossing stamp of the envelope (including the justice scales, the shield(?)-esque pattern, the wings), seem very suspiciously similar to a logo for a school like that. i’m done with the tangent for now ( ´ ▽ ` )

what’s incredibly interesting (and ironic) about this frame, however, is the footnote. out of all places to put it, the dev placed footnote #5 in the one place where there isn’t a translation.

for those of you that aren’t aware, by the way, this is footnote #5:

As the translation has been intentionally botched in many parts, it should not be considered accurate.

and, actually—this is true. not necessarily botched, though, just maybe slightly manipulated.

here’s a couple of examples:

switching out pronouns in some of the lyrics (changing “i” to “you,” for example). most clearly seen here:

original lyrics: “今僕は何故泣くの？ / 今僕は何故暴れ出すの？” most of the lyrics are the same, except for one thing: “僕” (boku) is used when one wants to refer to themselves. (in other terms, it should be: “right now, why do i cry? / right now, why do i go insane?”). however, the lyrics use “you” instead. side note: this “botch,” and the roman numerals combined—david spinning the narrative so he’s directing those questions towards others, and not towards himself as a form of deflection? the unreliable narrator theory becomes stronger and stronger （＾ν＾） /j

another example is here:

original: “満足したなら / 消えて行け！” -> “if you are [now] satisfied / go and disappear!”

again, another pronoun switch, but this time it’s flipped—while the original lyrics are directing this at someone else, david (or whoever “???” is) is talking about himself. it almost seems like a response to the original lyrics. either way, this is one thing to think about. there are other examples, and i might bring them up later—but for now, these are the main ones i can think of.

2. verb tenses! specifically, these two frames:

the original lyrics: “大事なものなら / 壊れて消えたよ” this is also pretty similar, except using the ending “た” (ta) at the end of a verb, instead of “る” (lu/ru), puts the verb into past tense. (this is from personal experience, however. take it with a grain of salt)

so in reality, the lyrics are: ”if something was important, / it already broke and disappeared”

which is… interesting. because it actually does imply some things regarding david’s philosophies. given that this was likely intentional, this may be an indication of david manipulating his own thought process—from regretting what he lost in the past, to spinning that into “it was going to be lost anyways, regardless of what happened” (after all, for him, “if something is important, it will break away and disappear”). basically, it loops him into an almost pessimistic way of coping. from his perspective, if something is important to him, it will be lost, no matter what—which is hopeless, yes, but it prevents him from forming any other relationships that are “important” and/or getting emotionally attached to them in the expectation that they’ll get burned away eventually.

3. i don’t even know what to call this… like, re-contextualization? specifically, here:

the original lyrics:

“そうして忘れてゆくのでしょう / はい”

however, despite keeping the same literal meanings, this translation completely reconstructs the context of the lyrics. “はい” in this situation is actually used as an interjection, as in “yeah, / okay,” rather than a direct “yes” or an answer to a question.

additionally, “そうして忘れてゆくのでしょう” isn’t exactly a question—more so, it’s more of a “but then you’ll forget anyways” sort of… i guess “throwaway phrase.” my brain is dead, so sorry if this is a bit unclear. the true translation would be closer to “but then, i bet, you’ll forget about it.”

either way, just one thing is clear: the original lyrics were made with no intention at all to be read as a conversation, yet the translation was intentionally spun in a way to fit that. this “botch” also seems to be very important, especially with the fact that it’s labeled with the 19th footnote—as for why, however, i’m not too sure. it could be an indication that david has the idea that people will forget what has happened (and never try to change it the next time around) so ingrained into his head that it affects the way he hears conversations, events, and certain interactions—or it could be that he’s just an unreliable narrator and this is his way of proving his philosophy even in the most minor of word choices, or both, or neither. to be honest, i don’t know what the exact purpose is. (￣ー￣ )

there’s probably other “botched translations,” but those are all i have for now. but yeah, the fact that outside of these “slips” the dev was very attentive about the translation and sentence structure is what gives clear confirmation that these mistakes are absolutely intentional. they’re likely there to provide some insight into not just david’s character and philosophies, but also about his coping mechanisms and how he spins his own narrative to prove his worldview right.

as for why the corresponding footnote is placed at the one place there isn’t a proper translation in the mv… well…

(/hj) i’ll figure it out soon. (( _ _ ))

either way, feel free to reblog or send in an ask if there’s anything you want to say regarding my noticings (whether that’s refuting them or adding evidence)!

and as always, take this with a grain of salt

[bayfuzzball7050]

I miss my Pinterest account

[stormofdefiance]

Lonesome Transcendence

[stormyoceans]

vv brainrot continuation:

and again the hangover pill is a hangover karbonak

you're deeply and passionately in love (dude, did you lose your twin puen at birth?)

august’s interview reminded me so much of puen’s interview in ep12

day and talay "i don’t think anything about him, but i’ll come to him with a guitar to sing love songs to say how important he is to me" (day doesn’t have a guitar yet, but he behaves in such a way that he’ll now start singing love by paradox)

in all universes, seat belts are a source of great tension.

puen’s methods of influencing day and talay are the same (you don’t run with me bcs you think about me differently. who were you thinking about when i directed the scenes? about a guy named tun?)

bed scene (fandee na talay)

why are you smiling mork? (talay is your smile)

can you tell me about rung (p'peng, you can tell me about the life of tun)

smells (we've discussed this many times, but why not say it again)

cover your ears (idk it just reminded me of the childhood fuss of puentalay when they were filming a video message to joob)

you're doing this bcs of the car (the theme is “falling in pretend love to return to your universe”)

we're bf now (at least they didn't have to kiss 40 times before they verbally admitted it)

wedding (leave your drinking yogurt and bring a bag of chips or it's not canon). soft pink balloons (i'm already crying) i'm beaten out like a dusty carpet. how are you doing with brainrot, monica?

PINKYBRAAAAAIIIIIIIIIINNNNNN!!!!!!!!!!!!!!!!!!! OH MY GOD IM SO HAPPY TO HEAR FROM YOU AGAIN!!!!!!!!!! BUT WHAT DO YOU MEAN THAT YOU SENT ME THE BRAINROT FOR EP 6 AND I DIDN'T GET THE MESSAGE 😭😭😭 TUMBLR MEET ME IN THE PIT IM GONNA FIGHT YOU

i may have gotten a little bit worried ;;;;;; im so glad you're okay tho!!!!!!! and i know it's really annoying to write down something all-over again but if you ever felt like rewatching ep 6 and trying to send me a new brainrot, i'd love to read it!!!!! (but no pressure, of course!!!!)

ANYWAY. BACK TO THE CURRENT BRAINROT. 'BEATEN OUT LIKE A DUSTY CARPET' IS ACTUALLY A PERFECT DESCRIPTION OF HOW I FEEL ON A PSYCHOLOGICAL EMOTIONAL SPIRITUAL MENTAL AND PHYSICAL LEVEL AFTER THIS EPISODE. ESPECIALLY WHEN I THINK ABOUT THE PUENTALAY PARALLELS LIKE CAN YOU BELIEVE WE REALLY GOT A MARRIAGE PROPOSAL ONE???????? INSANITY DERANGEMENT LUNACY MADNESS THEY'RE DOING IT ON PURPOSE AND NOT EVEN P'AOF HIMSELF COULD CHANGE MY MIND

my brainrot pretty much looks like yours tbh, however the cover your ears scene immediately made me think about puentalay pinching each other's cheeks in ep 4

I JUST LOVE OUR SILLIES SO MUCH

also!!!!! kind of a reach, but the way the almost kiss at the end of this episode was framed reminded me very strongly of the puentalay one in ep 5

and both of them were interrupted, one by a phone call and one by. Pain.............

but honestly the dynamic between mork and day in this entire episode was so puentalay coded to me like the way mork was pursuing day while day played hard to get but you could still tell he was enjoying every second of it is just. it's puentalay. like idk what else to say it's THEM

THE PARALLEL UNIVERSE THEORY HAS NEVER BEEN MORE REAL

[killjoy-prince]

Ok, this scene is still great. He really used k-drama antics to solve his problem

[uitzinnigmp3]

,

[enekorre]

.

[doushiteworld]

Proseka friend told me that both God-Ish and All I Need Are Things I Like are being added to the game on JP covered by Nightcord (God-Ish) and Wonderlands x Showtime (All I Need Are Things I Like) and oh boy am I scared. They're also adding (Not) a Devil but it's not covered so I'm not worried about that

[bedardconnor]

on todays episode of the veteran nhl players on bedsys team wont pass to him while he's wide open, we see how the veteran nhl players on bedsys team wont pass to him while he's wide open

[thevalicemultiverse]

Fact Core: Shapeshifters becoming Embraced will depend on the breed.  Garou, Ajaba, Bastet, Gurahl, Ratkin, and Rokea may all become vampires, although Ratkin decay like normal corpses and Rokea immediately go insane. However, they lose Gnosis whenever they violate their tenets unless they submit to the Wyrm. If they lose all of their Gnosis, they become little more than animals. An Embrace of an Ananasi, Camazotz, Grondr, Nagah, or Nuwisha simply fail.  Corax and Mokole die at sunrise regardless of if they are hidden from it, although Mokole will go insane like the Rokea do. Kitsune will immediately burst into flames when Embraced, which may kill the attempted sire.

Alice: ...thank you for that. I don't suppose you have any facts on how I can solve this bloody laser puzzle, do you?

[msburgundy]

is 9:30 too early to go to bed?

[pepprs]

im home and already swallowed by despair. can you believe i was in CHICAGO a few hours ago. and now im here. lol