#artist: ああもんど

[animepopheart]

★ 【ああもんど】 「 カンナ(1年) 」 ☆ ✔ republished w/permission ⊳ ⊳ follow me on twitter

[ellebastonart]

Happy Lunar New Year! 🐇🍓 (1/2)

[moonbaby26]

I don’t know the original artist’s page to credit them/reblog. Stumbled upon this cuteness on Pinterest.

But how I cannot express the way I think Doffy would be so soft for his mom in any AU they could interact again. He’s still a total momma’s boy. Demon hellspawn or not. 💗🥺

Edit - Artist is here:

[vivicantstudy]

30 Of My favorites Compliments in Japanese to Praise Artists and Their Work

I love complimenting artists; I like them to know that their work is always amazing, and I enjoy motivating them. Since I started creating pixel art, I have become very close to Japanese artists and realized that it is much easier to compliment them in Japanese, as it seems to make them feel more comfortable! That’s why I put together a list of compliments! Feel free to use them and correct me!

1. 素晴らしい作品ですね。 (Subarashii sakuhin desu ne.)

“It’s a wonderful piece of work.”

2. ��ても感動しました。 (Totemo kandō shimashita.)

“I was very moved.”

3. あなたの才能に驚かされます。 (Anata no sainō ni odorokasaremasu.)

“I am amazed by your talent.”

4. 色使いが本当に綺麗ですね。 (Irozukai ga hontō ni kirei desu ne.)

“The use of colors is really beautiful.”

5. 細部まで丁寧に描かれていますね。 (Saibu made teinei ni kakareteimasu ne.)

“The details are drawn so carefully.”

6. ユニークなスタイルですね。 (Yunīku na sutairu desu ne.)

“You have a unique style.”

7. 本当に才能がありますね。 (Hontō ni sainō ga arimasu ne.)

“You truly have talent.”

8. 見ていてとても楽しいです。 (Miteite totemo tanoshii desu.)

“It’s very enjoyable to look at.”

9. 構図が素晴らしいです。 (Kōzu ga subarashii desu.)

“The composition is amazing.”

10. こんな作品を作れるなんて信じられません。 (Konna sakuhin o tsukureru nante shinjiraremasen.)

“I can’t believe you can create such a piece.”

11. とても独創的ですね。 (Totemo dokusōteki desu ne.)

“It’s very creative.”

12. あなたの作品はいつもインスピレーションを与えてくれます。 (Anata no sakuhin wa itsumo insupirēshon o ataete kuremasu.)

“Your work always gives me inspiration.”

13. 表現力が豊かですね。 (Hyōgenryoku ga yutaka desu ne.)

“Your expressive power is remarkable.”

14. 見るたびに新しい発見があります。 (Miru tabi ni atarashī hakken ga arimasu.)

“I discover something new every time I look at it.”

15. あなたの作品には心がこもっていますね。 (Anata no sakuhin ni wa kokoro ga komotteimasu ne.)

“Your work has so much heart in it.”

16. あなたの作品には魂が宿っています。 (Anata no sakuhin ni wa tamashī ga yadotteimasu.)

“Your artwork has a soul in it.”

17. 発想力がすごいですね。 (Hassōryoku ga sugoi desu ne.)

“Your creativity is amazing.”

18. あなたのスタイルはとても独特です。 (Anata no sutairu wa totemo dokutoku desu.)

“Your style is very distinctive.”

19. 作品に強いメッセージ性を感じます。 (Sakuhin ni tsuyoi messe-ji sei o kanjimasu.)

“I feel a strong message in your work.”

20. この作品を見ると、何かを感じずにはいられません。 (Kono sakuhin o miru to, nanika o kanjizu ni wa iraremasen.)

“I can’t help but feel something when I look at this piece.”

21. あなたの作品を見ていると、とても幸せな気持ちになります。 (Anata no sakuhin o miteiru to, totemo shiawase na kimochi ni narimasu.)

“Looking at your work makes me feel very happy.”

22. どの作品も心に響きます。 (Dono sakuhin mo kokoro ni hibikimasu.)

“Every piece of your work resonates with my heart.”

23. この作品の雰囲気がとても好きです。 (Kono sakuhin no fun’iki ga totemo suki desu.)

“I really like the atmosphere of this piece.”

24. あなたのアートはとても洗練されています。 (Anata no āto wa totemo senren sareteimasu.)

“Your art is very refined.”

25. この作品からインスピレーションをたくさんもらいました。 (Kono sakuhin kara insupirēshon o takusan moraimashita.)

“I received a lot of inspiration from this piece.”

26. あなたの技術は素晴らしいです。 (Anata no gijutsu wa subarashii desu.)

“Your technique is superb.”

27. これからの作品も楽しみにしています。 (Korekara no sakuhin mo tanoshimi ni shiteimasu.)

“I’m looking forward to your future works as well.”

28. 色彩の使い方がとても巧みですね。 (Shikisai no tsukaikata ga totemo takumi desu ne.)

“Your use of colors is very skillful.”

29. こんなに素晴らしい作品を見たことがありません。 (Konna ni subarashii sakuhin o mita koto ga arimasen.)

“I’ve never seen such an amazing piece of work.”

30. あなたの描くキャラクターはとても魅力的です。 (Anata no kaku kyarakutā wa totemo miryokuteki desu.)

“The characters you draw are very captivating.”

Some observations made by my Japanese study friends!

1. あなたの作品には魂が宿っています。

This phrase is correct, but it’s quite poetic. If you want a simpler expression:

あなたの作品には力強さを感じます。 (Anata no sakuhin ni wa chikarazuyosa o kanjimasu.)

“I feel strength in your work.”

2. 発想力がすごいですね。

Correct and commonly used.

3. あなたのスタイルはとても独特です。

Correct, but for a softer tone, you could say:

あなたのスタイルはとても個性的ですね。 (Anata no sutairu wa totemo koseiteki desu ne.)

“Your style is very unique and individual.”

4. 作品に強いメッセージ性を感じます。

Correct, but slightly formal. You could also say:

作品から強いメッセージを感じます。 (Sakuhin kara tsuyoi messe-ji o kanjimasu.)

“I feel a strong message from your work.”

5. この作品を見ると、何かを感じずにはいられません。

This phrase is fine, but can be made simpler:

この作品を見ると、心が動かされます。 (Kono sakuhin o miru to, kokoro ga ugokasaremasu.)

“When I look at this piece, my heart is moved.”

6. あなたの作品を見ていると、とても幸せな気持ちになります。

This is correct and conveys the intended meaning well.

7. どの作品も心に響きます。

Correct and natural.

8. この作品の雰囲気がとても好きです。

Correct and natural.

9. あなたのアートはとても洗練されています。

This is fine, but “アート” (āto) is a bit casual. Using 作品 (sakuhin) might be better for a more formal tone:

あなたの作品はとても洗練されています。

10. この作品からインスピレーションをたくさんもらいました。

This is correct. Another way to say it:

この作品にとても刺激を受けました。 (Kono sakuhin ni totemo shigeki o ukemashita.)

“I was very inspired by this piece.”

11. あなたの技術は素晴らしいです。

Correct and natural.

12. これからの作品も楽しみにしています。

Correct and natural.

13. 色彩の使い方がとても巧みですね。

Correct and suitable.

14. こんなに素晴らしい作品を見たことがありません。

Correct, but sounds slightly dramatic. A softer version:

こんな素敵な作品を見たことがないです。 (Konna sutekina sakuhin o mita koto ga nai desu.)

15. あなたの描くキャラクターはとても魅力的です。

Correct, but can be shortened for a more natural tone:

あなたのキャラクターは魅力的ですね。 (Anata no kyarakutā wa miryokuteki desu ne.)

16. あなたの作品には魂が宿っています。 (Anata no sakuhin ni wa tamashī ga yadotteimasu.)

Correct, but it’s quite poetic and intense. A simpler alternative could be:

あなたの作品には強い感情を感じます。 (Anata no sakuhin ni wa tsuyoi kanjō o kanjimasu.)

“I feel strong emotions in your work.”

17. 発想力がすごいですね。 (Hassōryoku ga sugoi desu ne.)

Correct and natural for complimenting creativity.

18. あなたのスタイルはとても独特です。 (Anata no sutairu wa totemo dokutoku desu.)

Correct, but “独特” (dokutoku) can be interpreted neutrally. For a more positive tone, use:

あなたのスタイルはとても個性的です。 (Anata no sutairu wa totemo koseiteki desu.)

“Your style is very unique and individual.”

19. 作品に強いメッセージ性を感じます。 (Sakuhin ni tsuyoi messe-ji sei o kanjimasu.)

Correct, but it can be simplified:

作品から強いメッセージを感じます。 (Sakuhin kara tsuyoi messe-ji o kanjimasu.)

“I feel a strong message from your work.”

20. この作品を見ると、何かを感じずにはいられません。 (Kono sakuhin o miru to, nanika o kanjizu ni wa iraremasen.)

Correct, but it’s a bit formal and literary. A simpler alternative could be:

この作品を見ると、心が動かされます。 (Kono sakuhin o miru to, kokoro ga ugokasaremasu.)

“When I look at this piece, my heart is moved.”

21. あなたの作品を見ていると、とても幸せな気持ちになります。 (Anata no sakuhin o miteiru to, totemo shiawase na kimochi ni narimasu.)

Correct and natural. No adjustments needed.

22. どの作品も心に響きます。 (Dono sakuhin mo kokoro ni hibikimasu.)

Correct and natural.

23. この作品の雰囲気がとても好きです。 (Kono sakuhin no fun’iki ga totemo suki desu.)

Correct and natural.

24. あなたのアートはとても洗練されています。 (Anata no āto wa totemo senren sareteimasu.)

Correct, but the word “アート” (āto) is a bit casual. Using “作品” (sakuhin) might be more appropriate for a formal tone:

あなたの作品はとても洗練されています。

“Your work is very refined.”

25. この作品からインスピレーションをたくさんもらいました。 (Kono sakuhin kara insupirēshon o takusan moraimashita.)

Correct. Another way to say it:

この作品にとても刺激を受けました。 (Kono sakuhin ni totemo shigeki o ukemashita.)

“I was very inspired by this piece.”

26. あなたの技術は素晴らしいです。 (Anata no gijutsu wa subarashii desu.)

Correct and natural.

27. これからの作品も楽しみにしています。 (Korekara no sakuhin mo tanoshimi ni shiteimasu.)

Correct and natural.

28. 色彩の使い方がとても巧みですね。 (Shikisai no tsukaikata ga totemo takumi desu ne.)

Correct and suitable.

29. こんなに素晴らしい作品を見たことがありません。 (Konna ni subarashii sakuhin o mita koto ga arimasen.)

Correct, but it sounds slightly dramatic. A softer version would be:

こんな素敵な作品を見たことがないです。 (Konna sutekina sakuhin o mita koto ga nai desu.)

“I’ve never seen such a wonderful piece.”

30. あなたの描くキャラクターはとても魅力的です。 (Anata no kaku kyarakutā wa totemo miryokuteki desu.)

Correct, but can be shortened for a more natural tone:

あなたのキャラクターは魅力的ですね。 (Anata no kyarakutā wa miryokuteki desu ne.)

“Your characters are captivating.”

This list was quite a bit of work to make, but it was very fun! I would appreciate it if you shared it! Thank yoooooou!

[secretsofdbz]

So I finally caught some sleep (I woke up at 4 am, 20 minutes after the announcement, and slept a bit more after my last post announcing his passing).

First of all, this is going to be my panel: "See ya later guys, when you die we'll meet again!"

The hematoma that's mentioned in the statement announced in his passing implies a head injury (so perhaps he fell, perhaps something fell on his head, and the internal wound may have not be noticed)

The last artwork he did that was published was this new Sandland one to celebrate the upcoming series. It was revealed on March 4th, so after his passing. We don't know if it's the last artwork he did (he may have drawn this earlier and it was revealed later, who knows.

I'd also like to share some other statements, in no particular order:

Toyotaro's:

Masako Nozawa (Goku's VA) statement:

「コメントできる状況にございません」 -> "I am not in a position to comment."

(aka she was too shaken)

Nozawa update:

「信じたくない。考えたくないという気持ちで頭の中が空っぽです。それでも、お会いするたびに鳥山先生がおっしゃってくださった『悟空をお願いしますね』というお言葉を思い出すと、『私の命が尽きるまで悟空のそばにいよう』と気持ちを保つことが出来ます。先生、空から私たちを見守っていてください。どうか安らかな旅立ちでありますように。」 I don't want to believe. My mind is empty because I don't want to think about it. Still, every time we met, Toriyama-sensei said to me, "I'll take care of Goku for you, won't I?" When I remember your words, 'I will stay by Goku's side until my life is over,' I can keep my mind on it. Sensei, please watch over us from the sky. May you have a peaceful departure.

(Mayumi Tanaka, the voice of Krillin who was requested by Tori super early on will probably say something at some point too).

Oda (One Piece author) statement:

It is too early. The hole is too big. Sadness washes over me when I think that I will never see him again. I have admired him so much since I was a child, so I remember the day he called me by name for the first time. On the way home from the day you used the word "friend" for me and Kishimoto, I remember being overjoyed with Kishimoto. I also remember the last conversation we had. I was one of those who took the baton from the days when reading manga made you a fool, and he also created an era when both adults and children could enjoy reading manga. He showed us the dream that manga can go worldwide. It was like watching a hero going forward. For not only mangakas but also creators in various industries, the excitement and emotion of the time of Dragon Ball serialization must have taken root in their childhood. His existence is like a big tree. For the manga artists of our generation who stood on the same stage, Toriyama's works became more and more important to me as I got closer to the same stage. I even felt being scary. But I am just happy to see the aloof man himself again. Because we love him on a blood level. With respect and gratitude for the creative world he has left behind. I pray for his soulful rest in peace. May heaven be the joyous world he envisioned.

And Kishimoto's statement (the autho of Naruto)

To be honest, I don’t know what to write or how to write it. But right now, I want to tell Mr. Toriyama the things I always wanted to ask him and my feelings. I grew up with Mr. Toriyama’s manga, Dr. Slump in elementary school and Dragon Ball in high school. It was natural for me to have Mr. Toriyama’s manga next to me as a part of my life. Even when I was feeling down, the weekly Dragon Ball always made me forget about it. It was a salvation for me, a country boy with nothing to do. That’s how much I enjoyed Dragon Ball! When I was a college student, Dragon Ball, which had been a part of my life for so long, suddenly ended. I was overwhelmed by a tremendous sense of loss and didn’t know what to look forward to. But at the same time, it was an opportunity for me to realize from the bottom of my heart the greatness of Mr. Toriyama, who created Dragon Ball. I want to create a work like Mr. Toriyama’s! I want to be like Mr. Toriyama! As I chased after Mr. Toriyama, the sense of loss gradually disappeared. Because it was fun to create manga. By chasing after Mr. Toriyama, I was able to find new joy. Mr. Toriyama was always my compass. He was my inspiration. I may be bothering Mr. Toriyama, but I am grateful to him without permission. To me, he was a savior and a god of manga. When I first met him, I was so nervous that I couldn’t say a word. But as I met him more and more at the Tezuka Osamu Cultural Prize jury meeting, I was able to talk to him. I will never forget the time when I talked to him about how much fun Dragon Ball was, like a child with Oda-san, as Dragon Ball children, and how he smiled a little shyly. I just received the news of Mr. Toriyama’s death. I am overwhelmed by a tremendous sense of loss, even greater than when Dragon Ball ended… I don’t know how to deal with this hole in my heart yet. I can’t read my favorite Dragon Ball right now. I don’t even feel like I’m writing this text properly to Mr. Toriyama. Everyone in the world was still looking forward to Mr. Toriyama’s work. If one Dragon Ball wish really comes true… I’m sorry… It may be selfish, but I’m sad, Mr. Toriyama. Thank you, Mr. Akira Toriyama, for 45 years of wonderful work. And thank you very much for your hard work. To the bereaved family, I pray that you will find peace and comfort in the midst of your grief. I pray for the peaceful repose of the soul of Mr. Akira Toriyama.

And finally one of Toriyama's close friends Masakazu Katsura (Video Girl AI author) also had this to say:

I feel drained and unmotivated. I don’t want to write a comment like this. But I’ll write something. Once I start writing, I’ll have so much to say that it will probably turn into a long text, but I’ll try to keep it as short as possible. I apologize for the rambling, as my thoughts are still not in order. Looking back, all I have are fond memories of the times we spent together – whether it was visiting your house, having you stay over at mine, or going out on trips. Every time we talked on the phone, we would laugh so hard that we would get tired. You were a funny person. You were perverted, cute, sharp-tongued, and humble. We collaborated on some manga projects, which were also a lot of fun. But 99% of the time, we never talked about manga. As a manga artist, the gap between the way we saw things and our level of skill was too great, and I never really felt your greatness. I know it now. But when I was with you, I never felt it at all. That’s just the kind of person you were. That’s why I still can’t think of you as anything other than a friend, even though you were a great manga artist. Last summer, before I had surgery, you heard about it somewhere and sent me an email. It was really rare for you to send an email, and it was so full of concern for my health. We’ve been friends for 40 years, but that might have been the first time I felt such kindness from you. I thought it was going to snow. You know, you usually only talk about jokes or nonsense. What the hell, you shouldn’t be worried about other people, right? I called you a little before that, and I was feeling sick all over, so I said, “I’ll probably go first, so have a farewell party for me, Toriyama! And make sure you give a speech, because it’ll make me look good!” But you didn’t keep your promise. I really regret not calling you after you emailed me. I just can’t believe that I can’t talk to you on the phone for hours anymore. There are so many things I want to talk to you about. There are so many things I want to say. Even if you don’t care about what I have to say, you can just zone out like you always do. I just want to talk to you again. The last thing you said to me was “OK” in response to my email asking you to contact me again. That’s just not good enough. I’m so sad.

And the Dragon Quest LEGEND, Yuji Horii, too...

I am still filled with disbelief at the sudden news of Mr. Toriyama’s passing. I have known Mr. Toriyama since I was a writer for Weekly Shonen Jump. At the recommendation of my editor, Torishima-san, I decided to ask him to draw the illustrations for the game Dragon Quest when we were launching it. For over 37 years since then, he has drawn countless charming characters, including character designs and monster designs. The history of Dragon Quest is one that has been intertwined with Mr. Toriyama’s character designs. Mr. Toriyama and the late Mr. Sugiyama were longtime collaborators on Dragon Quest. I can’t believe they’re gone… I can’t find the words to express my sorrow. This is truly, truly a tragedy.

Torishima, his "evil editor" (the one the Mashirito from Dr Slump is inspired by), also put out a statement:

"The last time we worked together was on the book we published last year, 'Dr. Mashirito's Strongest Manga Technique.' In that book, 'Torishima and Toriyama Back Then' was the last manga we made together. 45 years, thank you very much. Mr. Toriyama, you were the best manga artist I have ever known."

(this is what he's talking about)

Jackie Chan statement:

"Akira Toriyama-sensei, thank you for creating so many classics, they will always be with the world, farewell 🙏"

French president Emmanuel Macron:

the tweet reads "To Akira Toriyama and his millions of fans who grew up with him",

The authograph says "for Ma-ku-ro-n president" (to President Macron); the hand-drawn parts are the little Goku and the dragon balls surrounding him, alongside the autograph. It was drawn over a printed paper (as per custom when getting an autograph)

The date indicates it was given to him during the Olympic Games in Tokyo.

Yabuki Kentaro (To Love Ru's author) (link to the tweet)

Takao Koyama (screen writer for 90% of the episodes and the movies) says Toriyama was sick for over a year at this point. He himself is pretty badly sick as well.

Hiroki Takahashi (Makafushigi Adventure, first DB opening)

Hironobu Kageyama (Chala Head Chala and everything else)

"Singing 'CHA-LA HEAD-CHA-LA!' is the biggest medal in my life! The loss of the sun is too much to bear But the power of Toriyama-sensei's works Will continue to be a strong light And may it illuminate people all over the world. May you rest in peace."

(some more of the Editorial department of Jump can be found here, with a good browser extension you should be able to get the gist of it)

Feel free to reblog with your favorite manga panels, interviews, trivias, and let's pay a homage to his life and work, alright??

[notfreetoday]

My Personal Weatherman Ep 1 Subtitle Corrections

So I've been analysing the way MPW uses language to showcase the dynamic between Segasaki and Yoh - something that I suspect is not quite coming through with the English subs - and decided to watch Ep 1-3 again, with Eng subs this time. I am now going to complain about some of the subtitle and translation choices and edit them way too literally because I'm nerdy like that.

Disclaimer: Everyone translates differently for different audiences. This is not meant to disrespect the official translation team in any way because they are subbing for a more general audience and have different pressures, so don't come at me or them for our different priorities. I'm talking to the particular group of viewers who like this show and/or like Japanese and want to go a step further in interacting with the characters. That said, I'm happy to discuss MY translation choices so please feel free to drop in about any line.

Under cut because this GOT REALLY LONG.

I'm translating directly from the Jp, so sometimes my subs differ only slightly - I will lean towards a more literal translation here because that will allow me to explain my language analysis better in a follow up post so some phrasing may be awkward. Big changes/missing info have been italicised and bolded. Explanations of nuances/connotations have been added where I feel they add to the understanding of the character/scene, and the relevant phrase is marked with * in my translation and the Jp.

Ep 1

[S: だから、漫画つずけりゃいいじゃんって　衣食住の金は保証してやるから　おれんとこに来い。んで、その代わり　*俺の言うこと全部聞け]

Original: I said, just keep drawing manga. I’ll take care of your food and lodging *expenses, so come to my place. And in return, you’ll do everything I say.

Mine: I said, *it's fine (for you) to continue (being a) manga (artist). I'll take care of the expenses for your *food, clothing and lodging so, come (live) at my place. And, in exchange for that, (you must) *listen to everything I say.

*This whole paragraph is extremely blunt and direct. Every sentence is worded as an order, and this last line especially - the word "listen" is used here to mean "obey" - so this line really translates to, "in exchange for that, (I want you) to obey my every word". The reason it's not been translated this way is that it sounds so strong it borders on corny in English. In Jp though, the connotation of "obey" comes across not in the words but in the extremely strong/direct delivery of the line (contrasted with the extremely nonchalent tone), so it sounds more shocking/overbearing than it does corny. The original translation here works very well actually.

Technically Segasaki introduces himself here as 気象解説員 (weather forecaster) as opposed to 気象予報士 (meteorologist), but in the show's character bios, and when Man-san talks about him later, he's called a meteorologist anyway, so this difference is of absolutely no importance (I'm just anal like that). FYI, in Japan, all qualified meteorologists (who must pass a national exam) can be forecasters, but not all forecasters have this qualification.

[Y: 明日も雨…か*] Original: More rain tomorrow Mine: There'll be rain again tomorrow, huh? *Said with a falling tone, the "huh" here hints that Yoh is likely a little down/disappointed about the rain continuing, and lays the ground for his reaction later about the rainy season.

[M: 人を沼に召喚しといて　何なの？その態度 S: いや　むしろ　万さんがかなり能動的に突っ込んできた印象しかないんだけど M: ごちゃごちゃうるさい　ややこしいオタクめ S: ごめん　ややこしくて]

Original: M: Why summon someone into your otaku pit and act like that? Y: No, it’s more like you actively intrude into my life M: You’re being noisy and complicated, you complicated otaku Y: Sorry for being complicated…

Mine: M: (You’re the one who) dragged me into this fandom, (so) what’s with that attitude? Y: No, on the contrary, I have the distinct impression that it was you, Man-san, who pretty much jumped right in of your own volition M: (You’re) babbling nonsense (you) troublesome otaku Y: Sorry for being troublesome

[S: めし　なに？ Y: あ、しょーしょうがやき]

Original: S: What do you want for dinner? Y: Stir-fried ginger

Mine: S: What's for dinner? Y: Sho-shogayaki

Shogayaki is a style of cooking meat, usually pork, where you stir fry the meat with ginger. Unless the type of meat is specified, it refers to Pork Stir Fried with Ginger, or Ginger Pork Stir Fry. Very common home cooked dish.

[S: あ、そ] (A, so?) S: Oh, is that so?

"I see" is a totally ok translation too. "A, so" can mean "Oh I see" or "Oh is that right" or "Oh is that so" etcetc but it has the air of a really bored "Oh, really?/Sure/If you say so" This is why Yoh's reaction after this is "if you aren't interested then don't ask!". This is the first of many times that Segasaki will use this phrase, as we will see in the following episodes, so I'm highlighting it here for now.

No translation issues here - but I just want to point out that it's reeaaally difficult to make tasteless shogayaki hahaha If you've had ginger stir fried in anything you'll know - it's not a meek herb at all. Canonically, Yoh is apparently a really bad cook. This will be pointed out again later, when he makes curry, because again, it's gotta be some kind of talent to make bland japanese curry; it's r*eeeeaally *easy. Anyway, the sauce that Segasaki asks for here is Soy Sauce, which is different from the sauce that he asks for later! Seems like a few people think they're the same thing (also pay attention to the sauce rack position here - Yoh'll will move it closer to himself by their next dinner hahaha)

[Y: ちかいんだよ、いちいち*] Y: He (leans in) so close, every (damn) time*!

*Not sure if this comes across, but the word for "every time" here is usually associated with slight annoyance, but the way "close" is said here implies Yoh's a little bashful about it.

[Y: 雨、多いな*] (ame, ooi *na...) Y: Rain...so much of it*

*This has the same feel as the "there'll be rain again tomorrow...huh" that we first saw earlier this episode. The ending particle "~na" bakes in a sigh and a sense of disappointment here (if you didn't notice the utter depression on Yoh's face lol)

[S: めし、まだ？] S: Food's not ready yet?

See, you don't notice it with the Eng translations because even the most basic Eng grammar will form a complete sentence. In Jp though, Segasaki is once again taking "man of a few words" to the extreme. He has taken out every single part of the sentence he possibly can whilst still keeping it grammatically complete. So this line is literally just "Food, not yet?". He's done this throughout the episode btw - it's why he comes across as so cold/distant.

[Y: やっぱ　わかんねえよな] Mine: As I thought, he doesn't understand...

[Y: 結局　従ってしまう自��の従順さが憎い*] Original: I hate my obedience, always giving in Mine: In the end, the obedient part of me that always ends up following his orders - I hate* it

*the word used for "hate" here is "nikui" which is different from the word Yoh uses when he says he "hates (dai kirai)" Segasaki. "dai kirai" is simply the opposite of "dai suki" - to really like, so is more accurately "really dislike" than it is "hate" (even though it is frequently translated as such). "Nikui", which is much stronger word, bringing to mind the idea of a "strong rejection of/detest/disgust for" something.

If you didn't already know, the word "embrace" aka "抱く" here is a euphemism for "to sleep with (somebody).

Shoyu = Soy Sauce. Sauce = worcestershire sauce, unless you're in a tonkatsu shop. Then sauce = tonkatsu sauce (which is a slightly different variation). Don't look at me, I don't make the rules.

(This is very long but I'm going to write the whole monologue here)

[Y: 晴れ予報の度に抱かれて 晴れ　なんて単語は　暗いなかで湿っぽく行われる　それとは　ちぐはぐなイメージなのに。。。 まるでやらしい言葉みたいに　頭に刷り込まれていって わかってんのか？　あんたの口から　予報をきいて　どんな気持ちになるか わかんないんだろうな　一生考えもしないだろうな だってあんたは　恋人でもない俺に　平気でこんなことができる]

Original: Every time there’s a sunny forecast, he does it with me The word sunny feels out of place for such activity in a dark and damp room It’s as if it’s such a lewd word being forced into my mind Do you understand, how I feel when I hear that word from your mouth? You probably won’t understand or even think about it for your entire life You have no problem sleeping with someone you’re not even going out with

Mine: (He) embraces (me) every time the forecast is sunny A word like “sunny” … (brings up) a completely different image from that damp, humid activity taking place in the dark And yet (to me) it seems like a lewd, obscene word, searing (the image of) itself into my brain Do you understand? How exactly I feel when I hear the forecast from your mouth? You probably don't understand, do you? Probably won't ever think about it your entire life, right? Because you're able to do this with me, (someone)who isn't even your lover, without any issues at all

This line was ad-libbed btw, if you didn't already know (link leads to Kouhei's 16th Aug IG livestream, and his explanation starts around 07:20 mark) They've talked about this a few times on both their IG lives, and Kouhei seems to get prouder about it each time hahaha. In the linked IG, Kouhei said:

(reading a fan comment) "More" was an ad-lib?? I'm gonna die

Kouhei: Yea it was…ah that was…um, Mashiko-kun… Acchan (his nickname for Atsuki) gave me a really good expression so…somehow, (by the time) I realised (what I had done), yes, (by the time) I realised it,I had said it. Well probably saying "by the time I realised it" is weird but… yes. By the time I realised it... "even more"…(I'd wanted him) to open his mouth more so. Yes. That's all.

[S: そこそこ高給取りになる予定*だから] Original: I'm planning to *become a high earner Mine: It's likely* that I'm gonna be drawing a pretty decent salary so...

*The exact wording here is actually "(it has been) planned that (I will) become (someone) drawing a pretty decent salary so" - the way this is phrased indicates that this conversation probably happened in Segasaki's last year of university, probably right before he graduated when he already had a job lined up for himself. In Japan, your final year of university is spent interning at companies and if they like you, you'll stay on as a salaried worker, so most graduates will have something lined up before they officially leave university.

[Y: 流されるな] Y: Don't get swept away (by this) This phrase is usually used to warn people not to let themselves be swept away/caught up by the latest trends/public perception/societal expectations/their own emotions/panic etc Here, together with his insistence that he's just Segasaki's slave and so obeying him is a natural consequence, and so is sleeping with him (as opposed to Yoh doing it because he likes/wants to) - Yoh is basically telling himself "don't get swept away" by the situation/his feelings because their relationship doesn't mean anything.

[Y: じゃあ、しばらく…ないのか。*slaps face* しばらくしなくていいんだ！]

Original: So, it won't be happening, for a while huh? *slaps face* I'm fine without it for a while, right?

Mine: So then... there won't be... for a while, huh... *slaps face* (It should be) "I don't have to do it for a while!"

Again, you can see, Yoh's literally spent this entire episode trying to convince himself that he's not actually in love with Segasaki, and everything he does for Segasaki, be it listening to him, or sleeping with him etc, he does simply because he is fulfilling his end of the bargain as "a slave".

OMFG I FINISHED THAT WAS TOO DAMN LONG.

I will finish Ep 2 & 3 before I do the language analysis post. But first... I need a break....

[haru-dipthong]

Really good anime translation: コタローは一人暮らし

I complained in a post a while ago about how I mostly think english translations of anime aren’t very good, and @japanwords asked me if there were any anime I know of that have good translations. I don’t actually watch that much anime so I didn’t have a good answer, but recently I found one that really fit the bill: 『コタローは一人暮らし』or “Kotaro lives alone”

For those who haven’t seen it, it’s a show about a 5 year old kid who lives alone without any parents or guardians, and makes friends with his neighbours in the apartment complex (a lazy manga artist, a woman who’s a hostess at a local nightclub, and a scary yakuza who finds Kotaro unbelievably cute). These friends end up helping Kotaro when he needs someone to act as a guardian, such as when he enrols at the local kindergarten.

The other thing you have to know about Kotaro is he speaks like a Japanese feudal lord.

This really is the crux of what makes the translation so good, because how the hell do you translate that?! The way they chose to do it is by using archaic english phrases. He kinda speaks like a Victorian era gentleman, and he sometimes even verges on sounding like a stereotypical medieval knight. This works perfectly, because Kotaro is actually imitating a character from his favourite cartoon: a samurai hero/feudal lord. Let’s look at some examples:

「放すである」 "Unhand me!"

A simple example to start with, I thought it might be interesting to compare how a 5 year old might actually say this, and how I would translate that:

「放してー！😭"」 "Let goooo! 😭"

Even though the japanese uses the same verb (放す), the english translation is completely different. The choice here to make it “unhand me” (much more evocative of a time period) instead of just “let go of me” (simply a longer way of saying it) is a perfect example of the care this anime puts into its translation.

狩野：「美月さん、アイス食べます？…… あれ？」 “Hey, Mizuki. Would you like an ice cream cone? …… Hello?” 美月：「アイスをもらうけど私、狩野くん誘ってないんだよなぁ」 “While I appreciate the ice cream, you know you weren’t actually invited, Karino.” コタロー：「お邪魔である」 “Interloper.”

邪魔 is a notoriously difficult word to translate, and the natural-sounding corresponding english phrase will vary quite wildly depending on the situation. In non-feudal lord speech, it usually gets translated to something like “you’re getting in my way” or “get out of here” or even “you’re a burden” (my least favourite).

Here, it’s creatively translated as “interloper”! A great way of sneaking in some archaic english while deftly handling a classically difficult-to-translate word.

コタロー：「わらわは写真が大の苦手なのだ」 “I am ill-disposed to having my picture taken!”

Here we have a slightly longer sentence which shows us a bit more of Kotaro’s unusual speech pattern. He uses the archaic first-person pronoun わらわ（妾）and often ends his sentences in なのだ. なのだ is not a particularly odd grammar structure to use, but it is unusual to use it unabbreviated (i.e. not shortening it to なんだ and/or adding よ to the end) especially when using it in speech rather than in writing. Not abbreviating it (as would be expected in a formal situation), but immediately contrasting that formality with the informal だ rather than です causes the speech to sound archaic without actually using any archaic vocabulary.

Now, if this show only translated the old-timey speech pattern well, I’d still call it a good translation. But the attention to detail and focus on natural sounding language extends to the other characters too!

Let’s take a look at an example of Karino’s speech. This is from ep 3; we already know a fair bit about who he is - a manga artist who doesn’t leave the house much (mostly works from home), usually wears comfortable clothes around, leaves things til the last minute and is generally a pretty lazy guy. I say this because the following translation doesn’t “work” (that is, the english and japanese wouldn’t mean the same thing) if it was spoken by a different kind of character.

phone rings 狩野：「担当さんかー」 “Oh great, it’s my editor” 狩野：「お疲れ様です、狩野です。… はい … 今日原稿を？はい、わかりました。じゃあ、後で」 “Hello, this is Karino. How may I help you? … Yes … Wait. Now, now? … Uh-huh, yes. Okay, thank you, I’ll be there soon.” コタロー：「どこか行くのか？」 “Do you need to go somewhere?” 狩野：「仕事。出版社に行く。��回もダメ出しされんのかな？」 “Yeah, I gotta go to work. There goes my day. … I’m sure he’ll just rip it apart like he always does.” 狩野：「あの人結構グサグサ刺さる事言うんだよなぁ」 “The way he criticises, it’s actually pretty hurtful.”

I really like this translation, it feels very clever and results in very natural sounding english. I said this wouldn’t work for a different character, but I think even for the same character, this translation wouldn’t work on ep 1 - the audience wouldn’t have the context for the translation to omit the specific words it does and get away with it.

For example, the line 「今日原稿を？」 directly refers to a manga draft, but the draft isn’t directly referred to in the english. But it ends up being ok, because we can infer that he’s handing in some sort of draft for review from a later line (”I’m sure he’ll just rip it apart…”). Also, 「出版社に行く」 directly states that he’s going to the publishing house, but the english simply refers to it as “work”. But we can infer this too - he’s going to see his editor, and since most of his work is drawing and writing, which he does at home, we know that when he says he’s “going to work”, he’s actually going to the publishing offices.

Prioritising the natural sound of the script over the specific details is a bold choice that really pays off, imo. This is some of the most natural english I’ve ever seen in an anime translation. I recommend checking it out if you’re interested!

[rikeijo]

Yuuri's VA new song for Yuuri was released! I bought it online, so I still don't know the official lyrics 🤣 and I'm not very good at recognizing sounds that are heavily modulated?... like what he does at the end of words, so it still contains some mistakes, I'm sure.

But the song.... The LYRICS... It really made me cry... 😭😭

It's 10000000000% worth the money, so consider supporting the artist!

((Forgot the title... It's 氷上の翼 Hyoujou no Tsubasa (Wings on Ice)))

Kimi (you) - Toyonaga -> Yuuri

Anata (you) - Yuuri -> (most likely) Victor

-------------------------------------------

独り　暗い　落ちこんでるの I Hitori kurai ochikonderu no? I Still not sure about this line, I can't catch the last sounds of the words... "Alone, in the dark, are you feeling down?" But I'm not sure if it's a question or what 🤔 Anyway, this part is Toyonaga -> Yuuri.

山の頂　夢もまた夢さ I Yama no itadaki, yume mo mata yume sa I The top of a mountain, but dream is just a dream.

期待に 押しつぶされ 今日も 君は萎れてゆく I Kitai ni oshitsubusare, kyo mo kimi wa shiorete yuku I Crushed under other people's expectation towards you, today as well you wither away little by little

周りのせいにしてまで I Mawari no sei ni shite made (??) I I'm very unsure about this line -> probably, "So much that you blame people around you for that"

自分を 信じられなくて I Jibun wo shinjirerarenakute I You can't believe in yourself

心のエッジ　削られてゆく I Kokoro no ejji kezurarete yuku I The edges of your heart are shaven off little by little

独り　暗い　落ちこんでた (??) I Hitori kurai ochikondeta I Alone, in the dark, you felt down (?) (But again, I'm not sure)

奇跡なんて 起こるわけない I Kiseki nante okoru wake nai I It's impossible for a miracle to happen

そんな出会い 信じられない I Sonna deai shinjirarenai I I can't believe for such a meeting (between people) to be possible

後ろ向きな その背中に 翼を生やす人がいる I Ushiromukina sono senaka ni tsubasa wo hayasu hito ga iru I There is somebody who makes wings grow on this back that always faces backward

この氷上で 君は自由になる I Kono hyojo de kimi wa jiyu ni naru I On this ice, you become free

誰も見たことのない　君にしか描けない夢を I Dare mo mita koto no nai kimi ni shika egakenai yume wo I A dream that only you can give a shape to, one that nobody has ever seen

<Next is Yuuri -> Victor>

あなたがいれば、僕は鳥になれる I Anata ga ireba, boku wa tori ni nareru I If you are with me, I can become a bird

もっと高く羽ばたかせて　信じてるから I Motto takaku habakasete shinjiteiru kara I Let me fly higher, I trust you

<This part, I think, is about Victor>

(OMGGGG in this next part strings are more in the front of the music????, just like in Yuri on ICE, when Victor appears in Hasetsuuuuuu.... TOOSHIIII... 💀💀💀💀💀💀 Strings = Victor 😭😭😭😭😭😭😭😭)

光と闇　背中を合わせた I Hikari to yami senaka wo awaseta I Light and darkness standing back to back (Whaaat...? Is Vicchan the light, you mean....? Tosssshi.....)

あなたは 何を求めているの I Anata wa nani wo motometeiru no? I What it is that you want?

笑う顔が ただ見たくて I Warau kao ga tada mitakute I I'd just like to see you smile

見るとなぜか 泣きそうになり I Miru to naze ka nakisouni nari I But when I see it (you smile), for some reason I feel like I'm about to cry

僕よりも僕を信じて I Boku yori mo boku wo shinjite I Believing in me more than I myself believe in me

翼は気まぐれに空を飛ぶ I Tsubasa wa kimagure ni sora wo tobu I The wings fly in the sky at whim (as they want)

この氷上であなたのために舞う I Kono hyoujou de anata no tame ni mau I On this ice, I dance for you

他の誰でもない　あなたと描きたい夢を I Hoka no dare demo nai anata to egakitai yume wo I The dream that I want to give a shape to (paint) with you, nobody else

僕��らできる　信じてくれるでしょう I Boku nara dekiru shinjitekureru deshou I I'm able to do it, you believe that, don't you?

最後まで見届けてよ　変われるから I Saigo made mitodokete yo Kawareru kara I Watch me till the end, because I can change

この氷上で 僕は自由になる I Kono hyojo de boku wa jiyu ni naru I On this ice, I become free

誰も見たことのない　僕にしか描けない夢を I Dare mo mita koto no nai boku ni shika egakenai yume wo I The dream that only I can give a shape to, one that nobody has ever seen

あなたがいれば、僕はどこまでも 飛べる I Anata ga ireba, boku wa doko made mo toberu I If you are with me, I can fly no matter how far (everywhere)

愛をこめて届けるよ そこで見てね I Ai wo komete dotokeru yo, soko de mite ne I I'll deliver it to you, with my love. Watch me from there.

I meaaaan.... Tosshi... OMG 😭😭😭😭😭

[yoga-onion]

[Image above: By Utagawa Kuniyoshi (1 January 1798 - 14 April 1861) was one of the leading Ukiyo-e artists of the late Edo period, who had a wealth of pictorial ideas, innovative design skills, outlandish ideas and secure drawing skills, and produced many works with a broad appeal that went beyond the boundaries of Ukiyo-e.]

Legends of the humanoids

Reptilian humanoids (1)

Dragons, the confederation of nature that protects Mother Earth [Part1]

2024 is the year of the dragon. The year of the dragon has not yet dawned in the lunar calendar, but let's lift the lid on this series from the dragon to coincide with the start of the Gregorian calendar year.

Dragons (including drakes and snake phantoms) are large magical legendary creatures that appear in the folklore of multiple cultures worldwide. Beliefs about dragons vary considerably through regions. Commonalities between dragons' traits are often a hybridisation of feline, reptilian, mammal, and avian features. 

The number of such lore is too numerous to count. We are going to pick out a few of the humanoid dragons in particular, which is the main topic of this theme. But before we go any further, I would like to present in the next blog a brief summary of a very interesting talk about dragons by Matias de Stefano, who is widely known for his memories of past lives and universal information..[Cont.click here]

伝説のヒューマノイドたち

ドラゴン 〜 母なる大地を守る自然の連合体 [その1]

2024年は龍 (ドラゴン) の年。太陰暦ではドラゴンの年はまだ明けていませんが、グレゴリオ暦の年明けに合わせ、ドラゴンからこのシリーズの蓋を開けましょう。

ドラゴン (ドレイク、蛇の幻獣を含む) は、世界中のさまざまな文化圏の民間伝承に登場する、伝説上の大型魔法生物である。ドラゴンに関する信仰は地域によってかなり異なる。ドラゴンの特徴に共通するのは、ネコ科、爬虫類、哺乳類、鳥類の特徴のハイブリッドであることが多い。そうした伝承は数え切れないほどある。その中から、今回のテーマのメインであるヒト型ドラゴンを特にピックアップして紹介するのだが、その前に、前世の記憶や普遍的な情報で広く知られるマティアス・デ・ステファノによる、ドラゴンについての非常に興味深い話を簡単にまとめたものを次のブログに紹介したいと思う…[続き･ここをｸﾘｯｸ]

[animepopheart]

★ 【ああもんど】 「 MULE 」 ☆ ✔ republished w/permission ⊳ ⊳ follow me on twitter

[curetsun]

あすみさんおめでとう🎉🥳💜 初登場の時の強キャラ感すごかったの今でも覚えてる🥰 毎回描いてて思うけど、アース色々難しいw by 幽☆霊 ※If you like this artwork please support the artist by visiting the source!

[dilydilydily-fe]

hello! i've seen your art on twitter and i just wanted to say i really like your art, especially your celica arts! thank you so much for posting your art!

Thank you for finding me among so many artists. I read your message! It made me very happy. Her outfit is modest, simple, and very lovely, isn't it? I've always wanted to draw her properly, so I'm grateful for the opportunity you gave me! Thank you so much. I'm truly happy.☺️

素敵なメッセージをありがとうございます😊英文は翻訳機を使っているので上手く伝わるのか不安ですが、とても嬉しく思っています。

セリカは私もお気に入りで、彼女のシンプルだけど清楚で素敵なデザインはいつかしっかり描きたいなと思っていました！機会をくれた事に感謝します！本当にありがとう。嬉しい。

タグもメッセージも、全部読んで大切にしています。いつもありがとうございます。

[ladycrocy]

He is in your mind, fucking up your reality. He is manipulating you to thinking you need only him. Only he can provide for you. He is making you want him exclusively... what a jerk not being real and shit-

Credit to the artist:

[holespoles]

Octopus is tasty but cute. The image shows an octopus toy drawn by Kyosen Kawasaki , an ukiyoe artist active mainly in the Meiji period. Kyosen was a person who compiled local toys from all over Japan into toy books and other publications.

The one on the left is a paper balloon octopus and the one on the right is an octopus flute, a souvenir from Sasajima. If I found such a cute souvenir, I would definitely buy it. I tried to find out where the paper balloon octopus was a local toy, but I couldn't find it. Some children's toys have developed specialisations since the Edo period, and it is difficult to say which area they originated from. Is Shinojima an island in Mikawa Bay, my home area? Mikawa Bay is still famous for octopus, but there seems to be no octopus flute as a local toy.

タコは美味しいけど可愛い。画像は主に明治に活躍した浮世絵師、川崎巨泉が描いたタコの玩具です。巨泉は日本各地の郷土玩具を玩具帳などにまとめた方でした。

左は紙風船蛸、右は篠島みやげの蛸笛との事。こんな可愛いお土産を見つけたら絶対買っちゃうと思います。 「紙風船蛸」はどこの郷土玩具か調べましたけど判りませんでした。 子供用玩具には江戸期以降専門職業が発達してどの地域発祥かとは言えないものもありますね。 篠島は私の地元、三河湾の島でしょうか？ いまでも三河湾はタコの名産地ですが、郷土玩具としてのタコ笛は存在しないようです。

[ranchstoryblog]

Igusa Matsuyama Interview #2 Original Japanese correspondence

Below is our original e-mail correspondence with Igusa Matsuyama in Japanese. This is provided for the benefit of Japanese readers and fans wishing to translate Igusa Matsuyama’s words on their own. The text is presented mostly as-is, though Tumblr ate some elements like emoji. Sorry about that.

If you missed our English translation yesterday, you can find it here:

Ranch Story の皆様へお待たせいたしました。まずは質問の答えを順番にお返事しますね。

Anonymous asks: 牧場物語幸せの詩の女神様とリオンはどのような関係ですか？

リオンは確か妖精という扱いだったと思います。

女神さまと接点があるかどうかは、私もちょっとわかりません。ごめんなさい。

Tomato asks: 牧場物語ワンダフルライフforガールの主人公の衣装なんですが、I love Kumaのコーデを見ると、Mezzo Pianoというレディースアパレルブランドを思い出しますが、どこからインスピレーションを受けましたか？

春らしい色合いにしよう！と思っていただけだったと記憶しています。（それぞれ春夏秋冬のイメージで作っていました。）いろいろなイベントが予定されていたダーちゃんが、ほとんど活躍しないと知って、せめてマスコット的存在をアピールできればと、シャツのデザインに入れました。

Pansy Asks: まつやまさまがもし、制限無しという条件で、自分の牧場物語の作品を作る機会があれば、どのよう作品にすると思いますか？

私は犬が大好きなので、犬だらけの世界が舞台の牧場物語を作ってみたいですね。

おそらく、叶わない夢ですが。

Anonymous asks: 牧場物語は昔からあるゲームで、時間が経つほど大きく変わりますね。昔のベーシックなデザインと、最近の密度が高いデザイン、どちらの方が作るのが難しいですか？

昔はゲーム上では再現できないことが、とても多かったです。

髪型や服装に関しても、色数や模様の制限などがありました。その制約の中でやりくりするのは難しかったですが、同時に楽しかったです。

最近はその逆で、ほぼそういった制限なくデザインできるようになりました。そして昔とは違って、模様や飾りのようなパーツを増やして欲しいと頼まれます。

ただ、欲張りすぎると、イラストの作成を頼まれた際にとても苦労します。どちらもそれぞれに難しさがあるなと思っています。

Anonymous asks: まつやまさまのイラストのおかげで、牧場物語がすてきなゲームになったと思います。 まつやまさまからすごく刺激を受けています！ 牧場物語のキャラクターで、ワンダフルライフのロックが1番好きです。 21年前のロックのデザインと、リメークしたロックのデザイン、インスピレーションはどこからきたか教えていただければ嬉しいです！

遊び人風の青年とのことだったので、なんとなくああいうデザインになりました。リメイク版では元のイメージはあまり変えずに、更に遊ぶのが大好きな人に見えるよう、服をゆったりめにしました。日本のスタッフの中にも元のロックらしさを好きな人がいて、私もなるべく変えたくなかったので、お互い意見を交換しながらあのようなリメイクになりました。

Jerome asks: Special Comicの130ページに、そこ以外見たいことのないスーパーファミコンのキャラクターが出場すると思うんですが、全身のキャラデザインが気になっていまして、Marvelousかまつやまがなもし立ち絵などまだ手元にあれば、見せていただけないでしょうか？ 彼らについて何か教えていただけることがあれば聞きたいです https://i.imgur.com/Sh5nvqm.png

ニーナの両親、エレンのお母さん、アンのお父さん、マリアの両親（町長夫妻）など、全員スーパーファミコン版の『牧場物語』に登場するキャラクターたちです。

スーパーファミコン時代のイラストは、ただいま行方不明になっておりまして・・・ごめんなさい。

Raven Bloom, Ryan, and Moth ask: 原作の牧場物語ワンダフルライフのマシューは、若い時のBruce Campbellという有名なアメリカ人の俳優に似ていて、いいなと思っていたのですが、まつやまさまはリメークした男性結婚候補はどのように思われていますか？もともと結婚候補じゃなかった男性たちがそうなった時、どう思われましたか？ https://i.imgur.com/FAQGmOz.jpeg

マシューは、日本の『ワンダフルライフ』での名前はマッシュとなっております。この名前を初めて聞いた時、真っ先に浮かんだのが『EVIL DEAD』シリーズの主人公であるアッシュ。

そう、ブルース・キャンベルさんをイメージしてデザインしました。

私は今も、ブルース・キャンベルさんが大好きです。

最初の『ワンダフルライフ』制作当初は、女性主人公のバージョンは作らないと聞いていたので、彼は恋愛対象ではなく個性的なキャラクターとしてデザインしていました。

リメイク版では男性結婚候補として登場することが分かった状態での再デザインだったので、幅広く好かれるようなデザインに変更しました。

懐かしさ以上に、パワーアップした新作として楽しんでいただければ嬉しいです。

Salmon Axe and Anonymous ask: 個人的にドラえもん版の牧場物語が大好きなんですが、将来牧場物語以外で、コラボでも、イラストを担当してみたいなと思う作品がありますか？ゲストアーティストとして出たいなと思う作品はありますか？(もしかしてポケモンとか？)

『ドラえもん』の漫画は、子供時代から大好きです！

ゲストアーティストをやりたいか？と言われれば・・・ゲストではなくメインの仕事の方がありがたいので、特にないです。『Fallout』『Far Cry』『Border Lands』など、プライベートではいろんなゲームを楽しんでます。

Anonymous asks: 噂のワンタタンの隠されている顔なんですが、着ぐるみなしのデザインはあったりしますか？

ワンタタンはワンタタンという生き物だと思いながらデザインしたので、着ぐるみなしのデザインはありません。

Idris asks: まつやまさまが流行に敏感で、今のデザインは昔のと大きく変わったように感じます。牧場物語の新しい作品で、昔みたいなベーシックなデザインを使おうと思われたことありますか？ まつやまさま的に自分のデザインの魅力はなんだと思われますか？

『牧場物語』の仕事におけるデザインのこだわりは、作品内容に合った頭身と雰囲気のキャラクター作りだと思っています。まずクライアントの希望を聞いて、それに沿ったデザインを考えます。

最近はゲーム内のビジュアルも豪華になってきたので、なかなか頭身の低いキャラクターが登場できないですね。

私にとってデザインのこだわりは「遊び心」でしょうか。

綺麗やかっこいいというものよりも、親しみやすかったり楽しかったり、そんなキャラクターを生み出すことに喜びを感じています。

MacGyver asks: わださまが前に一番最初に出たスーパーファミコンの牧場物語の開発がどれほどケオスだったかの話し聞いた事あるのですが、まつやまさまはあの時の思い出話はありますか？

今となっては、笑い話ですが・・・どこまで話していいのか分からないので、ご容赦ください。

あの時、和田さんがいなかったら、『牧場物語』シリーズは生まれなかったと思います。

Toyherb asks: 牛のデザインが豊かになりましたね。 どれを描くのが1番楽しいですか？

私は子供の頃から、動物の絵を描くのが大好きでした。

なので、どの牛の絵も大好きですよ。

描きやすいのは鼻の大きな牛ですけどね。

Anonymous asks: 主人公と異性のキャラクターデザインは、描いたけど最終的に使われなかったのはありますか? 例えば、牧場物語3・牧場物語シュガー村とみんなの願いの女性版の主人公とか、牧場物語ワンダフルライフまで、ノンバイナリーの主人公などです。 よろしければ、その絵も見せていただけたらすごく嬉しいです!

ボツになったデザインは山ほどありますが、設定自体がボツになったようなキャラクターは、特になかったように記憶しています。（後述の親指姫を除きます。）

Koharu asks: スーパーファミコンのエレンが牧場物語2に出たように、他の作品に出るつもりだったスーパーファミコンのキャラクターはありますか？ 例えばですが、牧場物語2のマリーは髪の毛が黒ですが、青色のマリーが載ってるマガジンも見たことあります。 もともとスーパーファミコンのマリーが64に登場するつもりだったのかなと思って、聞いてみました！

他の作品のキャラクターを登場させるなど、シナリオや設定を作る立場にはないので、私にはわからないです。でも昔のキャラが登場したら、私も楽しいなと思います！

Bunbun asks: 最近発表されたクレアのねんどろいどがすごく楽しみです！ 牧場物語2のキャラクターのねんどろいども出たらいいなと思います。 まつやまさまのブログに、フィグアよく見かけますが、自分がデザインしたキャラクターをうちのコレクション��入れるのはどんな気持ちですか？ クレアの他に、このキャラクターがフィギュアになれたらいいなと思うキャラクターはありますか?

クレアのねんどろいど！

私もとても楽しみにしているんですが、いつ発売されるのでしょうね？

可能であれば、ぜひワンタタンをお願いしたいです。

Chickee asks: 牧場物語2の噂の紫色の髪の毛のお姫さまなんですが、最終的に登場はしなかったけど、もしかしてまつやまさまがそのキャラクターをデザインしましたか？

おそらく「親指姫」だと思います。

とても小さなキャラじゃなかったですか？

一応デザインはしたものの、最終的には登場しませんでした。『牧場物語2』のキャラクターといえば、ペットに亀を入れて欲しいと無理なお願いをしたのですが、最終的には置物として登場。

『ワンダフルライフ』の際に、再度お願いしてスカーフ付きのリクガメをデザインしたのですが、ペットにはなれなかったものの池のそばを歩く野生の亀として登場しました。

いつかゲーム中で、カメをペットとして飼える日が来て欲しいものです。

Emery Flower 147 asks: 牧場物語ワンダフルライフの女性たち3人がチームを組んでいて、ムームーが銃声を持っていたりするマンガが目に入って、オーマイガー！！と思いましたが、他に誰かチームを組んでかっこよく活動しそうなキャラクターはありますか？

『ミネラルタウンのなかまたち』の攻略本の時には、ポプリ、マリー、ラン、エリィ、カレンの5人をコロボックルにして活躍してもらいました。あとは

ピート（昔の男主人公）とサラ（ゲームボーイ版の女主人公）、そしてクレアの3人は、攻略本の時に好き勝手に描きました。かっこいいかどうかはわかりませんが、この3人を動かすのは楽しかったです。

Ixur asks: 私が住んでいる地域で、牧場物語 オリーブタウンと希望の大地のキャラクターの多く、例えばベス、みさき、クレメンス、ラーシュ が結構人気です。 それ、まつやまさま、Marvelousも認識していることですか？

マーベラスとはそういったお話をあまりしないので、先方が認識しているかは知りません。私はSNSをやっていないので、どのキャラが人気なのかは知りませんでした。でも、どのキャラでも気に入っていただけるのはとても嬉しいです。ラーシュのシャツの模様は私の愛犬がモデルなので、彼のシャツも気に入ってもらえると更に嬉しいです。

Anonymous asks: まつやまさまがデザインしたキャラクターをコスプレされるのはどんな気持ちですか？

とても嬉しいです！私は裁縫がとても苦手なので、自分で服を作ってしまう人を尊敬しています。私がデザインした服を実際に作ってもらえるなんてとても光栄ですし、皆さんがキャラクターを演じて楽しむのも素敵だと思います。

Afro Fae asks: キャラクターデザインする時に、色選びはどうやってしてますか？ 色の雰囲気をキャラクターの性格に合わせるか、なんとく選んでいますか？

クライアントからイメージカラーを伝えられた時は、それを意識してデザインします。こんな色の方が似合うのでは？と思った時は、こちらから提案することもあります。遠くから見てすぐにどのキャラかわかるように、色もそれぞれに特徴が出るよう気をつけています。ただ、家族などは逆に共通のカラーを入れたりして、まとまりを持たせたりする時もあります。

また質問に答えてくださるのは本当に嬉しいです。 何を聞けばいいか分からないけど、とにかくまつやまさまの絵が好きだ！！と言っているファンたちもいて、それも伝えたかったです。 今までデザインしたキャラクターが好きだし、これから制作するデザインもお楽しみにしています！！

こちらこそ、本当にありがとうございます。皆様に喜んでいただけるのが、なによりも嬉しいです！感謝のイラストを添付しました。これからも頑張りますので、どうぞよろしくお願いいたします。 まつやまいぐさ

[notfreetoday]

MPW Ep 2 Subtitle Corrections

Subtitle Corrections: Ep 1 here

Cultural/Language Tidbits: Ep 2 here

Same translation disclaimer applies. Thanks to everyone reading the first post and geeking out with me in the notes, I really appreciate it XD Ok, Ep 2, let's go! Sorry in advance for the length!

If you're wondering why Yoh's freaking out about the rainy season even though they've been together for 3 years, the manga artist posted a clarification on twitter:

By the way, “it’s been 3 years since then” – that phrase refers to it being 3 years since that conversation regarding the slave contract. As for living together, they’ve only just started (to do so) around Mar/April*, so (at this point) it’s only been a few months (for them). What if (I) got it wrong…. I remember making a note of it, but the file that I wrote it in and passed over (to the crew) couldn’t be found right, so… (was it) a dream?” *Japan's rainy season comes around June/July, so this means that this is the first rainy season these two have been experienced together.

[Y: まずっ] Y: Tastes bad In case the original "that sucks" sounds like Yoh might be talking about the news of the young forecaster - he's really just talking about the food here.

[S: 遅くなるからいらねぇっつっただろう] Original: I told you not to bother since I returned late Mine: I told you I wouldn't need it cause I'd be late right? This is actually a pretty harsh sounding line tbh. It's sort of inkeeping with Segasaki's curtness, but still pretty harsh - so this tells us he's tired after a long day, and explains the frown on his face that Yoh just wipes away with his cuteness

Nikujaga literally means meat and potatoes. It's a stewed dish and a very well-loved comfort food. Super easy to make too (link goes to an easy to follow recipe, and the site also explains a little about the dish).

[Y: 本当、顔だけはいいよな] Y: Really, it's only his face that looks good.

I've talked about this in my cultural/language tidbits for this episode (linked up top) but I'll add it here for completion's sake

[Y: あ、いや。なんでもない…です*] (Ah, iya, nandemonai…desu*) Y: Ah, no, it's….nothing* Yoh let's his sentence trail off before tacking on a "desu" at the end. "Desu" is an ending verb characteristic of "polite" speech, which Yoh doesn't use frequently with Segasaki (in fact, by this point, he has not used polite speech with Segasaki at all, except for maybe saying the full form of the word "welcome home", and even that's pushing it). Here he adds it at the end as an afterthought (the polite form of "iya" would be "iie", if he had wanted the whole sentence to be polite from the get go), which tells us that Yoh's feeling a little off-kilter here, and does introduce the slightest distance between him and Segasaki. We'll see this distance increase as the episode goes on.

[Y: いや、どう考えても食べ過ぎだろう] Y: No but, no matter which way you look at it, (he's) eaten way too much hasn't he? Btw, if your hair started standing at the spoon scraping the pot - in the manga artist's post about visiting the shooting venue (as well as during Ep 1 twitter space) it was mentioned that Mashiko, the actor, can actually cook, so during filming they had to tell him what someone who can't would likely do, and also asked him to do the housework poorly (because Yoh's not supposed to be good at cooking or housework hahaha)

この人*、明日も朝早いんだよな。たぶん。 Original: This guy, has an early morning again tomorrow. Probably. Mine: This person*, has (to leave) early tomorrow morning too. Probably. *The word here is "kono hito", literally "this person". There's actually nothing wrong with the translation "this guy" tbh because that's a fairly neutral term in English, but I'm highlighting it here because in his monologues, Yoh usually refers to Segasaki using much rougher language, such as "koitsu, aitsu", except when he addresses Segasaki directly in his head. I'll talk more about how Yoh addresses Segasaki in the analysis post, but for now - this sentence hints that Yoh has clocked Segasaki's tiredness (subconsciously or not) and is feeling a little bad for him. Then again he quickly hides that by adding on "probably". (Adding the word "probably" behind your sentence is a common way to express doubt/negate what you just said, and incidentally is commonly used by comedians to deliver a punchline).

[Y: あの*…あの…寝るなら部屋でとおもって。] Original: Um… Hey… You should go back to your room. Mine: Um*... Um... if you're going to sleep then, (it would be better to sleep) in your room - at least that's what I thought...

*"あの…" (ano…), translated as "um" here, is a common sound you use when you want to get someone's attention but don't want to sound too demanding - it actually isn't being polite per se, but it does show the hesitancy with which Yoh approaches him. Contrast this with the way Segasaki gets Yoh's attention (so far it's just been "Yoh" or "Oi" - the latter of which you would NOT use unless you were close to the person, or looking for a fight).

As a general rule of thumb, the level of politeness in Japanese is directly correlated with the length of the sentence and just how far you can beat around the bush. So, Yoh's suggestion that Segasaki goes to sleep in his room is literally just "if sleeping, then room..." and everything else in that translation is assumed. He may not being using polite speech forms here (that would be "to omoimashita" instead of "to omotte") but this is still a common way to be polite because he's making a suggestion that is so mild Segasaki can choose to ignore it. This is a great example of Brown & Levinson's "negative politeness" which we'll revisit when analysing their speech patterns, and which you can read about in entirely too much detail here (free to read).

[Y: じゅあ、俺は寝るので** あの、その、そういうことで、おやすみ] Original: Then, I’ll go to sleep. That…sort of thing. Good night. Mine: So then, I'm going to bed, therefore**... Um... that... with that... night!

"Therefore" is an awkward translation for the word ので (node), which is more often translated as "so". I've chosen to use that word because "node", whilst again not a polite form per se, is less colloquial than the more commonly used "から(kara)", to mean the same thing. It tends to pop up more in writing than in speech. "Therefore" doesn't make a sentence polite/formal in English, but it's definitely less colloquial than using the word "so". The use of "node" is just that tiny bit out of place in this sentence paired with the informal pronoun "ore" for "I" as opposed to the more formal choice of "boku".

Again, Yoh answers Segasaki properly here with a "はい (hai)" as opposed to his usual "un" (which is a sound that expresses agreement), when told that Segasaki will be late again. There actually aren't very many moments where Yoh does speak politely to Segasaki (he's definitely rude when he talks about Segasaki in his head hahaha), so these moments stand out. This whole short exchange, together with the random -desu he added earlier, just make Yoh's sentences a little more stilted/awkward, and more distant. Individually they don't deserve much mention at all, but together, and in the context of his jealousy, show just how unsure Yoh is about where he stands with Segasaki.

[Y: あの人の帰宅が遅くなり] Y: That person returned home later and later

"That person" - similar to the above usage of "this person". This sentence is incomplete - the verb form of the last word - 遅くなり (osokunari) indicates that there should be a second part to the sentence (the "completed" form would be osokunatta). But after he says this, there is a pregnant pause, as Yoh puts his phone down and continues cooking alone. The pause continues all the way into the next scene, before the sentence continues, highlighting the loneliness that Yoh feels.

[Y: 当然、触れられることもないままに] Original: Of course, he did not touch me at all Mine: (and) of course, (I) remained untouched (by him) as well

The literal translation for this would be "(the situation in which I) was not touched (by him) continued on as well". Yoh uses the passive form of the word "touch", which places the emphasis on Yoh "receiving" the action of being touched as opposed to placing the emphasis on Segasaki "carrying out" the action of touching Yoh. Consider the difference between the sentences "I was hurt by him" and "he hurt me". The former is the passive form, and is super common in Jp, much less common in Eng. If this is confusing - welcome to Jp grammar just know that the emphasis of this line is more on what Yoh does not have, rather than what Segasaki has not done. It accentuates Yoh's feelings of emptiness and loss.

Y: すっかり日々は過ぎて Y: The days pass by completely ...

Similarly, this sentence is "incomplete", and is instead continued by Segasaki walking in and telling Yoh he'll be late again. (This whole bit just hurts my soul tbh, Yoh is so lonely. )

This is a teruteru bouzu aka a charm of sorts for good weather. See the cultural tidbits post for Ep 2 linked up top for more info!

This is said really strongly, and gives the "what the hell are you doing" feel. Yoh's truly upset here.

I try not to care about some of the subs in these side conversations because they don't add much to the main story and these posts are already too long, but this sentence should really be "Dammit, maybe I should (go) troll the chat" (and the previous sentence should be "If this was broadcasted in a certain country it would be instant death" aka N.Korea ^^;) and I just think it was a nice touch to hint at the fandom wars/flaming that goes on between fans hahaha

[Y: しんどい] Y: This is too draining The word here used is "shindoi", which is a term used when you're feeling mentally/physically exhausted/drained, and carries a sense of frustration (at feeling this way) and sometimes (emotional) pain.

This. Is. Huge. Segasaki does 2 things here - one, he rejects an after-work meal, which you rarely do because Japan is all about the group and rejecting a group invite, to welcome a new member, can make you seem like you aren't a team player - two, the guy who invites him is his senior, which you can tell because Segasaki sticks to polite speech forms whilst the other guy does not. It's still relatively casual, so you can tell he's got a good working relationship with them (probably why he's not worried about rejecting them) but still. In Segasaki's world, Yoh is the No. 1 priority.

This is more accurately "WTF". There are many sounds in Japanese that aren't exactly words, but carry a lot of meaning - "Haa?!" is one of them, and is a very rude way to express a lot of anger and shock. Please, never say this in real life. You will royally piss off whoever it's directed at and if you are outside a Shibuya bar you will get punched.

The word used here is てめぇ (temee), which is a really rude way to say "you", and has the same energy as "you bastard". Segasaki usually uses the informal pronoun "omae" for "you" when he talks to Yoh, he's definitely pissed off here.

This is the same word, "shindoi" again.

I'm going to put the rest of the whole argument here with just my translation because it's too long to screencap the whole thing.

[S: 何なんだよ？このエロい惨状は Y: うるさい。 Y: 俺は売れっ子エロ漫画家になるんだ S: なんだそりゃ。おい *takes away beer can* Y: 売れっ子さんが　シコリながらネーム描くと　いいのができるって言ってた S: なんも描けてなかったぞ。 S: おい、だめだっつってんの S: 飲みすぎ　出すもん出して　寝てただけだろう Y: 黙れ！ Y: 俺はエロくて　抜ける漫画描いて　いっぱい稼いで Y: 早く　こんなとこ出ていくんだ S: はあ？　おい、お前　どういうつもりだよ Y: どうもこうもないよ！ Y: 平気で抱かれてると思うなよ 。 Y: 俺のこと、好きでもないくせに Y: 便利な奴隷としか思ってないんだろう？そんなにやりたきゃ隣のキャスターとやってろよ S: お前　さっきから　何を... Y: 俺はあんな風に笑いかけられたことない]

Breakdown: S: What's up with this? This lewd disaster of a scene Y: (You're) annoying! ["うるさい (urusai)" is often translated as "shut up", but it literally means someone is being "noisy", and here is more of a complaint that Segasaki is being bothersome] Y: I'm going to become a hot-selling erotica manga artist! [the word used here is 売れっ子 (urekko), which literally means "someone who gets huge sales" and mostly refers to idols, entertainers, TV personalities etc. So Yoh is not just saying he's going to become popular, he's saying he's gonna be like a celebrity manga artist, which is why Segasaki snorts a little at this] S: What's with that? Hey. *takes away beer can* Y: The hot sellers say that if you jerk off whilst drawing your storyboard, you'll come up with good stuff [urekko-san is a pretty cute way of referring to these popular artists] S: You've not drawn anything, you know? [this is said with a really indulgent air, which contrasts directly with the more authoritative tone of the next line] S: Hey, I'm telling you no more *grabs beer can* S: You drank too much. You just shot what you shot and then went to sleep didn't you? [And this is back to an indulgent tone - also, everyone knows Segasaki is talking about cumming here, he just doesn't actually say it so directly] Y: Shut up! ["黙れ (damare) - contrast with "urusai" earlier. The former is used much less commonly and really does mean to "be quiet". This is why Segasaki pauses and looks at Yoh. Up until now Segasaki just thinks Yoh's gotten drunk and is whining cutely, but this word means things are serious.] Y: I'm going to draw manga that is erotic, that you can wank off to, and then earn lots of money [this is a call back to the conversation with Man-san over the phone in Ep 1, which I did not include earlier because I didn't think it was important to the story when Yoh says "the work that was released last month was amazing! There was a big buzz around the topic "I can't wank off (to this)" - Yoh was being sarcastic here, meaning that he got reviews that his work wasn't erotic enough] Y: and leave this sort of place soon! S: What? Hey - what (the hell) are you thinking? [Again, "haa?" here shows he does NOT like what Yoh's saying, but he does soften the end of the sentence with a "yo"] Y: I'm not thinking of anything! Y: Embracing me so easily - don't think you can (keep on) doing that [again, this is the passive form, so the emphasis is on Yoh being embraced, and here has the nuance of "don't think I'll just (keep on) being fine with being embraced (by you) like it's some sort of norm"] Y: when you don't even like me [this line has quite a bit of bitterness in it - the emphasis here is strongly on Segasaki and his apparent "non-liking" of Yoh my english is dying.] Y: You think of me as just a convenient slave, don't you? Y: If you want to do it that much, go do it with that forecaster next to you! S: You... from the start... what have (you been saying?) Y: I have never been smiled at like that before [again, this is in passive voice]

It's obvious from the acting alone that this entire argument is pretty emotionally charged - this is also reflected in the language because Yoh uses the pronoun "ore (I)" a lot. Pronouns are frequently dropped in Japanese - often you can go an entire conversation without ever uttering the words "I/me" or "you", in part because the pronouns are assumed and also because emphasis on an individual can come across as too selfish/narcissistic or direct. Segasaki uses them often enough with Yoh, which fits his personality, but Yoh normally doesn't. So, when he uses "ore" here it stands out - his plans to be successful and leave, his feelings, his interpretation of Segasaki's actions - all of the emphasis is on his own self. The message is very clear - Yoh is hurting a lot more than he is blaming or accusing Segasaki.

[Y: もう疲れた。あんたといると疲れる。嫌いだ S: お前　酒入るとめちゃくちゃしゃべるんだな Y: ねぇ、何で雨の時はだめなの？ S: はあ？　だって、お前が言ったんだろう] Y: (I'm) tired out. When (I'm) with you, (I) get tired. Hate it. [We've lost the "I" pronouns here, because the emphasis is on the extreme sense of physical and emotional fatigue as opposed to Yoh himself, and on how much he dislikes that feeling. Of note, "hate" here is closer to "detest/really dislike" - the word is "kirai" - which is not as strong as the word "nikui" which we talked about in Ep 1 when Yoh said he hated the part of him that always listened to Segasaki. Also, this is the first time Yoh has addressed Segasaki with the pronoun "you" out loud - he uses "あんた anta", which he also used in his head in Ep 1, after they did it. Again, we'll talk about this in the analysis post in the future, but for now just know that this term is usually used between older couples.] S: You... once you start drinking you really start talking huh? [literally, you "become able to talk"] Y: Hey...why is it when it rains, (we) can't do it? S: What? Because, you said so didn't you? [the last "haa?" from Segasaki! This time expressing his surprise and slight indignation.]

[S: 俺は優しいんだ] S: I. am. Kind. Great example of Segasaki's use of the "ore" pronoun here to quite literally emphasise how great he is. "優しい (kind)" in Japanese carries the connotation of being thoughtful, anticipating the other person's needs and wants and then meeting them etc. It's a characteristic that people often say they look for in their potential partners.

[S: そもそも、なんだ先の言いぐさは 好きじゃないだの　出ていきたいだの お前　俺のプロポーズを受けといてよくそんなことが言えんな S: 養ってやる*っつってんだ　プロポーズ以外になに] S: In the first place, what was with those things you said earlier? That you don't like me, that you want to leave... You... that was rich, saying all that after accepting my proposal. S: I was saying I'd provide and care* for you. If that's not a proposal than what is? ["養ってやる" is a pretty possessive way to say I'll provide for you - it's the same word used when referring to parent providing for a child, or an owner providing for a small animal. It's not rude per se, but it does imply a power imbalance. Segasaki actually sort of has a point here because... this is not something you say to someone else unless you're in a relationship ^^;]

S: ていうかお前、俺のこと嫌いなんだ S: どうなの S: Actually about that... so you hate me huh? S: Which is it?

S: ふーん。あ、そ S: Ohh..? I see. ふーん (Ohh..?) - Segasaki says this a lot, especially in this episode. This is another one of those sounds that isn't a word but carries a lot of meaning. It has a dismissive sort of tone to it, like you've already assumed something or when you're pretty nonchalant/not impressed about whatever the other person has said and are just playing along with them by giving them some attention (so again, if you use it wrongly, it can piss people off). Segasaki uses it whenever Yoh goes mute or shy, as a way to tease Yoh - though Yoh seems to think Segasaki is dismissing/not interested in his answer. あ、そ (A, so) - again, Segasaki says this a lot - can be interpreted as "oh really?/I see/is that so?" - Combined with the above, you can see why Yoh often thinks Segasaki isn't interested in his answer, and even when he does recognise it as teasing, he gets too flustered to do anything about it.

This seems to have gotten longer, if you reached the end - congratulations! I hope this makes it a little clearer why it's so obvious to us as the viewer that Segasaki is really quite patient with Yoh, and is waiting for him to come to terms with his feelings, but at the same time so confusing for Yoh, because of the way many of these interactions can be read both ways. In Ep 3, we'll really be able to get into their dynamics because they've got so much more interaction together.