#Japanese Officials

[dunmeshistash]

Dungeon Meshi - Female Dwarf beards

[christadeguchi]

happy year of the dragon from this guy…

[haru-dipthong]

Gendered pronouns in Japanese vs English

In Revolutionary Girl Utena, the main character Utena is a girl (it says so in the title), but very conspicuously uses the masculine first person pronoun 僕 (boku) and dresses in (a variation of) the boys school uniform. Utena's gender, and gender in general, is a core theme of the work. And yet, I haven’t seen a single translation or analysis post where anyone considers using anything other than she/her for Utena when speaking of her in English. This made me wonder: how does one’s choice of pronouns in Japanese correspond to what one’s preferred pronouns would be in English?

There are 3 main differences between gendered pronouns in Japanese vs English

Japanese pronouns are used to refer to yourself (first-person), while English pronouns are used to refer to others (third-person)

The Japanese pronoun you use will differ based on context

Japanese pronouns signify more than just gender

Let’s look at each of these differences in turn and how these differences might lead to a seeming incongruity between one’s Japanese pronoun choice and one’s English pronoun choice (such as the 僕 (boku) vs she/her discrepancy with Utena).

Part 1: First-person vs third-person

While Japanese does technically have gendered third person pronouns （彼、彼女） they are used infrequently¹ and have much less cultural importance placed on them than English third person pronouns. Therefore, I would argue that the cultural equivalent of the gender-signifying third-person pronoun in English is the Japanese first-person pronoun. Much like English “pronouns in bio”, Japanese first-person pronoun choice is considered an expression of identity.

Japanese pronouns are used exclusively to refer to yourself, and therefore a speaker can change the pronoun they’re using for themself on a whim, sometimes mid-conversation, without it being much of an incident. Meanwhile in English, Marquis Bey argues that “Pronouns are like tiny vessels of verification that others are picking up what you are putting down” (2021). By having others use them and externally verify the internal truth of one’s gender, English pronouns, I believe, are seen as more truthful, less frivolous, than Japanese pronouns. They are seen as signifying an objective truth of the referent’s gender; if not objective then at least socially agreed-upon, while Japanese pronouns only signify how the subject feels at this particular moment — purely subjective.

Part 2: Context dependent pronoun use

Japanese speakers often don’t use just one pronoun. As you can see in the below chart, a young man using 俺 (ore) among friends might use 私 (watashi) or 自分 (jibun) when speaking to a teacher. This complicates the idea that these pronouns are gendered, because their gendering depends heavily on context. A man using 私 (watashi) to a teacher is gender-conforming, a man using 私 (watashi) while drinking with friends is gender-non-conforming. Again, this reinforces the relative instability of Japanese pronoun choice, and distances it from gender.

Part 3: Signifying more than gender

English pronouns signify little besides the gender of the antecedent. Because of this, pronouns in English have come to be a shorthand for expressing one’s own gender experience - they reflect an internal gendered truth. However, Japanese pronoun choice doesn’t reflect an “internal truth” of gender. It can signify multiple aspects of your self - gender, sexuality, personality.

For example, 僕 (boku) is used by gay men to communicate that they are bottoms, contrasted with the use of 俺 (ore) by tops. 僕 (boku) may also be used by softer, academic men and boys (in casual contexts - note that many men use 僕 (boku) in more formal contexts) as a personality signifier - maybe to communicate something as simplistic as “I’m not the kind of guy who’s into sports.” 俺 (ore) could be used by a butch lesbian who still strongly identifies as a woman, in order to signify sexuality and an assertive personality. 私 (watashi) may be used by people of all genders to convey professionalism. The list goes on.

I believe this is what’s happening with Utena - she is signifying her rebellion against traditional feminine gender roles with her use of 僕 (boku), but as part of this rebellion, she necessarily must still be a girl. Rather than saying “girls don’t use boku, so I’m not a girl”, her pronoun choice is saying “your conception of femininity is bullshit, girls can use boku too”.

Through translation, gendered assumptions need to be made, sometimes about real people. Remember that he/they, she/her, they/them are purely English linguistic constructs, and don’t correspond directly to one’s gender, just as they don’t correspond directly to the Japanese pronouns one might use. Imagine a scenario where you are translating a news story about a Japanese genderqueer person. The most ethical way to determine what pronouns they would prefer would be to get in contact with them and ask them, right? But what if they don’t speak English? Are you going to have to teach them English, and the nuances of English pronoun choice, before you can translate the piece? That would be ridiculous! It’s simply not a viable option². So you must make a gendered assumption based on all the factors - their Japanese pronoun use (context dependent!), their clothing, the way they present their body, their speech patterns, etc.

If translation is about rewriting the text as if it were originally in the target language, you must also rewrite the gender of those people and characters in the translation. The question you must ask yourself is: How does their gender presentation, which has been tailored to a Japanese-language understanding of gender, correspond to an equivalent English-language understanding of gender? This is an incredibly fraught decision, but nonetheless a necessary one. It’s an unsatisfying dilemma, and one that poignantly exposes the fickle, unstable, culture-dependent nature of gender.

Notes and References

¹ Usually in Japanese, speakers use the person’s name directly to address someone in second or third person

² And has colonialist undertones as a solution if you ask me - “You need to pick English pronouns! You ought to understand your gender through our language!”

Bey, Marquis— 2021 Re: [No Subject]—On Nonbinary Gender

Rose divider taken from this post

[asia-japan]

[splatoonusna]

We hope you are staying cool during this hot summer. The sunlight is so strong that it could turn you into a dried fish, but the young people of this region seem to be used to it.

Don't forget to take precautions against the heat and enjoy the summer!

[mirai-e-jump]

スヌーピー“顔を出す”シュークリーム

[keepthedelta]

just an austrian giant clutching a little blonde twink by the waist, soaked in champagne, hoping that this feeling never ends

[a-titty-ninja]

[project-sekai-facts]

Here's 25-ji, Nightcord de.'s artworks from the 3rd anniversary site!

[pinkrose05]

Soooooo very normal about this skit btw

[hotwaterandmilk]

The Wedding Peach PC-98VX game was released in 1996 and features an original story played out using card battling mechanics. The game draws its visuals from the animated series thanks to designs by Watanabe Mayumi and features 11 different seiyuu (including all the anime leads reprising their roles).

I haven't talked about this game in any detail before, but today I was re-scanning all its packaging in 1200 dpi and thought why not give it a bit of a summary and a ramble?

Dark Angels

The two original characters on the cover of the game (above) are the Kuroba siblings, Valzov and Neana, who have been charged by Reine Devila to defeat the loves angels on Earth. The Kuroba are from a much maligned devil clan, treated differently because they have similar wings to angels, albeit in a dual white/black colouring.

Because the Kuroba clan have never been truly accepted by other devils, they rely only on one another and have an extremely deep familial bond. Despite the mission posing a significant personal risk, Valzov (as the head of the family) takes it on, believing that defeating the love angels will allow his clan to finally be seen as true devils.

Neana, valuing her brother with a possessiveness that goes beyond that of a sibling, heads to Earth with him to find the love angels. Following a lead they find early on in the game, Valzov and Neana begin attending Saint Hanazono as transfer students (Tooru and Nina) in the hopes of finding and destroying the love angels once and for all.

Of course the love angels aren't just going to accept being challenged by a whole clan of devils (including Kuroba compatriotes Miligal, Entran, Julad and Swyswi). Through the eyes of Momoko, Yuri and Hinagiku the player has to figure out what these "Dark Angels" are up to and challenge them via card battles (which allow you to unleash familiar attacks as you gain the upper hand).

Why talk about this game?

The Wedding Peach PC-98VX game is the only Wedding Peach video game with narrative emphasis, playing out like an extra anime arc complete with music, voices and visuals that could have been lifted straight from the television series. It is also the only Wedding Peach game that gives us something genuinely unique with the Kuroba clan.

The Kuroba have struggled in the devil world because of how they look. Their devil peers see them as not being true devils because they have wings that look almost angelic. The love angels also notice this, hence the moniker of "Dark Angels" (straight up "Yami Tenshi").

We discover by the end of the game that the unique wings all Kuroba clan members have in some capacity are likely angelic in origin. Limone speculates that the Kuroba clan are descended from angels who fell into the devil world long ago.

However, Neana has the capacity to project a powerful love wave in the battle's climax which devils can't do. This leads Limone to clarify that Neana has primarily angel DNA (literally "tenshi no DNA"). He believes she was an angel who lost her life in battle before being reincarnated in the devil world (that isn't how DNA works but OK). Neana was reborn as a devil to be alongside Valzov, essentially, as an angel can only reincarnate "where there is love".

It isn't explained how Limone concludes any of this, except that he "checked their DNA" though we don't see or hear him doing that so it really seems to be based on vibes and perhaps angel eugenics who knows. While everyone was kind of weirded out by how close the siblings were earlier in the game, in the end everyone just kind of shrugs about it so I'm not sure where incest falls on the "love" scale here.

Regardless, Neana's existence shows us that at least in this version of the franchise, it is possible for individuals to reincarnate into the devil world. This is not shown anywhere else in the media mix and it underscores just how similar all the worlds really are.

It's also interesting that the Kuroba (angels who fell and assimilated into the devil world) must follow Devila's orders to try to shed their poor reputation, when in the anime (which the game draws from) Devila herself is secretly an angel who was consumed by her own darkness and found herself suited to life in the devil world.

Anyway, it's not a life-changing game by any means but it is the one Wedding Peach game that tries something different and that's worth noting if nothing else. I'll be honest I haven't played it in yeaaaaaaaaaars so I might not be entirely on the mark with all my recollections, but I did flip through the manual again and it was a real trip down memory lane.

Unrelated to any of the above, my favourite part in the character book bundled with the game? Salvia's profile stating "She is a reticent and nihilistic girl."

👑 Yes queen, life is meaningless! All values are baseless and nothing can be known or communicated! Give 'em nothing! 👑

[evilkaeya]

"Live"

"Who you are and where you've come from, might never be known. But even if you don't pass the patterns of all power, you're you."

[saltynachobeliever]

Street Fighter VS Darkstalkers- issue 0 Variant Cover by Panzer.

[haru-dipthong]

I’ve been having trouble putting this idea into words so you’ll have to bear with me, but I was struck when I saw a Japanese news program interviewing foreign tourists in Japan, and some australian women were dubbed over with a stereotypically feminine speech register (lots of のs and わs), and my first thought was “they weren’t speaking that femininely in english”.

A friend of mine from the UK recently mentioned that he noticed that australia has a generally more masculine culture than england - he felt that everyone is a bit more masculine here, including women. This kind of confirmed to me that my impressions of the dubbing were right - the tourists were speaking in a relatively (internationally) more masculine way. Yet their dub made them sound so much more feminine.

It made me wonder. When translating something, do you translate the manner of speaking “directly”, or “relatively” in terms of cultural norms? Maybe this graph will help me explain the question.

A direct appoach in this case might appear to a Japanese person to result in an unexpectedly masculine register, but preserves how the speaker's cultural upbringing has influenced their speech.

The news program translators chose the relative approach - I think I would prefer the direct approach. I think I prefer it because I believe translation should be a rewriting of the original utterance as if the speaker was originally speaking the target language, and the direct approach compliments that way of thinking the best.

Actually now that I type that, I’m second guessing myself. Does it? It does, if for the purposes of the “rewrite it as if they spoke japanese” thought experiment, we suppose the speaker magically learned japanese seconds before making the utterance, but what if we suppose the speaker magically grew up learning japanese - then maybe they would conform to the relative cultural values. But also, maybe they would never have said such a thing in the first place - their original utterance was informed by their upbringing and cultural values, so how could you possibly know what they would have said if they had known japanese from birth? Maybe my initial instinct was right after all?

If you work in translation, I’m very interested to hear if you have come across this problem and how you deal with it 🙏

Further reading: I think this question also ties into this problem I’ve been struggling to answer for a while.

[asia-japan]