#because they spelled recognise with an s instead of a z

[becausegoodheroesdeservekidneys]

Good post about elon musk's twitter acquisition, but why did you spell it gaol instead of jail? I assume jail was what you were referring to.

...

Okay listen. You're not a bad person. I recognise that you are fundamentally well-intentioned, and you most likely did not intend offence with this question, just as I suspect all the other Americans who have seen fit to ask this probably didn't intend offence.

But you must see how incredibly rude this is? You must do. You cannot actually think it's socially acceptable to ask a stranger why they are using their own dialect instead of yours. You must realise how rude it would be for me to send you an ask saying "Good post, but why did you spell it neighbor? I assume neighbour is what you meant."

Here's the thing: I first started reading books in American English when I was nine years old. I loved Point Horror books, and Goosebumps, and the Saddle Club. And as I read those books, in a dialect not my own, with foreign spelling and unfamiliar words I hadn't encountered before, you know what I did?

I dealt with it. I just... coped. I recognised it was a different dialect. And then I spent a while confused as to what a pacifier was because Google didn't exist yet but through context I figured it was a small toy Americans give babies, and then eventually my Dad told me it was a dummy and I went OHHHHH...yeah that makes more sense.

But the point is, I just worked this out. I worked out what a sidewalk was, and galoshes, and teeth-floating in horses, and that 'pants' means something different, and that 'fanny' means something VERY different. I didn't get so confused at words having Z's instead of S's that I felt the need to write to the author and ask them why they did it; because I understood that I was reading a different language from someone in a different country.

I did my time at this particular coalface, is what I'm saying.

I recognise that Americans don't. Harry Potter was an international giant, but it had to be translated into American English so poor little American children wouldn't get confused; ditto His Dark Materials, and I will never understand why the translator for both of those franchises changed the titles of the first books (apparently Americans can't be trusted to understand what a philosopher is, or the Northern Lights.) But even so.

I encourage you, and all other Americans who are feeling the need to weigh in on this, to take some time to ask yourselves why, on seeing an unfamiliar dialectic word, you couldn't just work it out for yourself, but HAD to comment on it and even ask for a justification.

[natequarter]

potential flaws of an english spelling reform:

the biggest problem is dialects. not only does english have a shit ton of dialects, it has multiple prestige dialects. this isn't necessarily a problem for reforming inconsistent consonants, but rather for those goddamn vowels

think about all those splits and mergers! mary-marry-merry. trap-bath. strut-foot. etc. you fundamentally cannot reform english without making it either a) dialectical b) wrong for 90%+ of speakers or c) a dysfunctional mess, which is pointless because english is already that

specific sound changes like yod coalescence and rhotic (or tapped) r can pose a big problem as well. even though we don't pronounce r in all dialects, we generally note it down: warm, car, etc. how do you reform spelling for both rhotic and non-rhotic accents? and yod coalescence. nobody ever brings this up, because rhotic r affects american english (and some british accents, though some have different r sounds entirely) and yod coalescence affects british english, and most youtubers making spelling reforms are american in my experience, but many english people don't pronounce, say, due/new/tune like americans do: /j/ comes in so that due is a homophone of jew in british english, which it may not be in american english. if you reform new to be spelt as noo, then that fails to reflect the pronunciation of new as /njuː/. but i digress

frankly, a lot of spelling reforms are just ugly. please stop

some parts of english do currently reflect the etymology of words. it's a lot harder to see the relationship between oblige and obligation if one is spelt eblàij and the other is spelt obligàshen

people really like getting rid of the letter c and using k/q instead. why? what do k and q do that c can't? get rid of the digraph qu, get rid of k, use c to represent /k/ and use s for /s/ and z for /z/. k and q are rubbish letters

bringing back or finding new letters isn't necessarily useful. yeah, sure, you can revive þ, but is there a need? we already have p/b/d, which all look very similar. adding the thorn in is just confusing, and the digraph th doesn't need a reform. it would be cool to differentiate voiceless and voiced dental fricatives, but a) ð is the superior letter, and b) th literally works fine. nobody is complaining about this except conlangers! th, ch, and sh are all valid digraphs; all you need to do to fix them is eliminate tch, make th/ch/sh have consistent sound values (e.g. spell chandelier as shandelier), and the problem is solved

overall, there is often a desire to eliminate or introduce letters perceived as 'useful' or 'useless,' but the letters people want to introduce might be confusing to people who are dyslexic or don't recognise it, or the letter people want to remove is... literally fine, and could easily be solved with an accent or two

nobody ever accounts for stress patterns. english has very inconsistent stress patterns, but we could fix this by sticking an accent over stressed letters like in spanish. let's say circumflexes, because circumflexes are cool. attâck. rêquisite. insîstent. ôrange. refûte. obviously these are random examples, but you can easily clear up the issue of stress in this way

some spellings reflect grammar, not pronunciation. this is a bit like the problem of etymology: we spell the endings -ing and -ed to make them regular. -ed isn't necessarily pronounced as it's spelt; it usually ends up sounding more like a /t/ or a /d/. but we spell it like that to make constructing the past tense easier. of course, you could always reform it to -t or -d. then you could have words like laughd, or screamd. but people don't tend to think about that

people need to be able to learn your system! any orthography which becomes transformed or, god forbid, a different script, is going to be impossible to implement. we have too much literature in our current spelling. it would be expensive and unpopular. any change must be something within our limits

ultimately, i think the only plausible spelling reforms are of english's consonants/stress patterns. vowels are just too variable, but we could probably standardise some of those godforsaken silent consonants, irregular stress patterns, or inconsistently spelt consonants without fracturing england as we know it or just scaring the shit out of our audience. reform isn't impossible. it just isn't operable in the way many people want.

[camelotsheart]

You're Australian?

I thought you were British for some reason

its the bbc merlin corrupting my australia-ness

[not-poignant]

As an American, US grammer pisses me off to. What in particular is bothering you?

Actually I have no problems with US grammar in general. (I’m sorry anon, but it’s not my grammar, and aside from the habit of removing inoffensive letters like ‘u’ from colour, it’s awesome). I mean if you’re raised a USian, it’s a perfectly fine set of grammar rules to follow and that’s the way it should be?

So there’s my short answer :D US grammar gets a thumbs up.

The longer answer is more complex. So that’s being shoved under a cut.

What bothers me is the culturally imperialistic attitudes that US grammar should be applied to english-speaking authors from the UK, Canada, Australia and other english-speaking countries. We all have our own grammar rules, they are also each perfectly fine sets of grammar rules to follow, and each have a lengthy history behind them. Not only that, but it‘s what we see in our published books (US folk may not know this, but books written by US authors are often re-’translated’ into Australian grammar (or UK grammar and so on) before being reprinted here under whichever publisher or imprint handles it - this, the job of localisation, is almost always the job of the in-house editors that a publisher hires), it’s what we see in our newspapers, in our dictionaries and thesaurses, and so on.

The internet clouded that a little, with globalisation you get the callous hammer of cultural imperialism. Suddenly most of the blog posts you’re seeing on the internet are in American English, for example. But that’s cool too, that happens - you’ll get marked down though, if you dare to let that slip into your essays or fictional writing at university or highschool or even primary school; so our localised grammar is very much taught strongly to us. It means that the inherent spellcheck for my browser flags words that I know are correct, like colour, globalisation and localised. I have to jump through some hoops to change that, but as long as it stays away from my word processor, I’m okay with it, lol.

So you have this thing called localisation editing. It is a process of editing something to fit local grammar - because if you open up to global english-language submissions (and most publishers do), you also open up to getting a whole bunch of texts following different (but perfectly sound) grammar rules. Usually you can stipulate a couple of rules yourself - times new font in pt 12, margins of whatever width, paragraph indents and not tabbing. Etc. Simple things that authors just about anywhere can generally follow fairly easily.

Localisation is not an easy process. Think about how long you spend learning the grammar of your country, and then think about how jarring it is sometimes to come across obvious differences. Then think about all the things that are invisible to you because you take them for granted. Think that there are huge, encyclopedic compendiums of grammar rules, that people can go to university and study for three years - just that one set of grammar rules, not for any other country - to become an editor, and still be considered a ‘newbie editor’ because there’s so much to learn and so many ways to apply it to texts.

What bothers me is when US publishers forego paying their editors by asking for authors to do this form of localisation editing labour for them for free. It takes money from people who have trained as editors to know how to do this. It forces authors into an uncomfortable position of trying to apply what they know of another country’s grammar rules to their own grammar - sometimes this is easy, a search replace for colour to color? Sure. But for punctuation, sentence structure, or even word differences, or the commonality of some cursewords over others for example, no. Is it an em-dash here or an en-dash? Is it a quote or a quotation or something else? Is this italics or underlined? 

That level of localisation is a job for the professionals. Professional authors are professional authors, but they are not professional editors.

So it bothers me when US publishers in the m/m industry in particular, offload this burden so they don’t need to hire as many editors, and foist it upon authors outside of their country.

Also, generally speaking, I just like writing in the grammar rules I was taught. I enjoy Australian grammar. I’m glad that I know our spoken dialogue in fiction is enclosed in these: ‘ ‘ instead of these “ “ and that the latter will get you marked down for ‘Americanisation.’ (The former will get 15 year old Americans coming into your AO3 comment box to explain how you’re ‘doing it wrong’ because of the ubiquity of US grammar rules lol). As far as I’m concerned, outside of arguments over the Oxford comma (for the record, I’m against, lol, even though I think the memes in favour of it are hilarious), I think they are a logical set of rules that help improve the readability of what I write, and they aren’t impenetrable to people who don’t live in Australia. This is proven by y’know, all the people who read my fics who aren’t in Australia. Which is pretty much almost all of you.

(Hi folks you’re all awesome).

So it’s not really US grammar on its own that’s the problem, on its own it’s just an innocuous set of grammar rules. There’s a great book on the subject of American language by the way, by Bill Bryson, called Made in America: An Informal History of the English Language in the United States which is awesome and very entertaining.

Also, there’s places where I do actually Americanise my writing a little. I use pants instead of trousers - that doesn’t come naturally to me and it jars me every time I do it. I tend to use yard instead of garden, I often use sweater instead of jumper, and I occasionally use trash instead of bin. These things - if I had used them as a kid - would have earned a disapproving glower from any adult nearby along with a sharp ‘you’re not an American, don’t use that language!’ Lol. There’s a few others that are probably so invisible to me now I don’t know what they are anymore. Needless to say were I submit that work to an Australian publisher all that stuff would get corrected back to appropriate Australian grammar.

Anyway, mostly, I find it frustrating that there are publishers in the insular m/m publishing bubble that place the burden of localisation editing on authors (which is inappropriate, and also a very incomplete process, and it shows - it’s why m/m editing often comes under fire; probably because they expect authors who haven’t been trained in formal editing to do so much of it for no compensation, while asking editors to do too much for little pay.) It’s also why a lot of m/m authors are turning to self-publishing. It’s not just me that finds this infuriating; I’m not alone. There’s editors and authors aplenty out there who hate it, and are often outraged to find that this is the way it’s done in this particular genre.

But hey, it’s no skin off my nose, self-publishing is a new and incredible frontier, and I know plenty of Australian editors who can look over my work before I publish it (and US betas who can go ‘um what’s a ute?’ - utility vehicle btw and help out on that side of things).

[meichenxi]

<j q x> and <zh ch sh>: an in-depth pronunciation guide

Help! I can’t pronounce <j q x>! AM I FOREVER CURSED??

No! You shall rise from the void of bad pronunciation! The gleaming ladder of linguistics beckons and shall guide you to success!

Alright, let’s go! 

This, below, is your mouth! (simplified, in paint, please use your imagination) The pointy bits are your teeth - the dangly bit at the back is your velum. The bits that are relevant for us today are the alveolar ridge, post-alveolar space and the palate. 

<j q x> are all technically 'alveolo-palatal' sounds. Your alveolar ridge in your mouth is the bit behind your teeth that is very hard, before it goes upwards and gets softer. Your palate is divided into your hard palate and soft palate - the hard palate is the bit that burns when you eat pizza! 

Alveolar sounds in English are /t d s z n l/ etc - feel how your tongue is tapping off that hard ridge in the first two. We just have one palatal sound in English, made when your tongue approaches the hard palate - <y>, which is usually written /j/ in linguistics. (<this> means spelling, and /this/ means phonemic pronunciation). 

Post-alveolar sounds are sounds which are made when you retract your tongue a bit from the hard alveolar ridge. We have quite a few - /ʃ/ as in 'shot' <sh>, /ʒ/ as in 'vision' <s>, /tʃ/ as in 'church', and /dʒ/ as in <j>, 'jam'. Congratulations, because these all exist in Chinese! If you're a proficient English speaker or your language has them, pinyin <zh> , <ch> and <sh> should be straightforward (though <sh> especially is a little bit more retroflex, i.e. your tongue curled back, than the English). T

Alveolo-palatal sounds are made with your lips spread wide, with the back of your tongue raised to your palate (like in <yes> as in ‘yes’) and the tip of your tongue resting along the back of the teeth. 

Compare the two pictures. The first is the pronunciation of the post-alveolar sounds, so pinyin <zh ch sh>, and the second is the pronunciation of <j q x>. Notice how in the second picture the body of the tongue is much higher, and the tip of the tongue isn’t curled back, but resting behind the teeth. 

In the picture for the English sounds above, please note that this isn’t totally accurate - Chinese <zh ch sh> as well as <r> are more retroflex - they are pronounced with the tongue curled further back in the mouth - but while your accent may sound ‘off’ if you pronounce them in the English way, it’s close enough that it’s unlikely to be mistaken for anything else, so we’ll leave it there for now. The picture below shows the difference. 

In pinyin, <j> <q> and <x> are written with separate letters to <zh> <ch> <sh>. This is really helpful for us, because they are different sounds, but technically speaking we could write them all the same. What?? Because they are actually linguistically speaking in complementary distribution with each other. 

Think about it. 

Do you ever say ch+iang or q+ang? Or q+an or ch+ian? Or pronounce ch+u with the German umlaut vowel ü, or q+u with the normal <u>? You never do!

The consonants <jqx> and <zh ch sh> are always followed by different vowels to each other. Knowing these vowels will help you tell them apart in listening, and aid you, eventually, in production.  

Look at this diagram below of standard Chinese monophthongs (single vowels). The pointy bit is the front of our mouth, and the lines represent height and ‘backness’. The dots are where the highest point of your tongue in your mouth is when you pronounce the vowel. We only need to worry about <u> and <y> for now. 

The /u/ is the <u> we get after <zh ch sh> - e.g. chū. This is familiar to most people with knowledge of Romance languages - it’s a long, clear sound without any change of the vowel (careful native English speakers; we’re not very good at this one). The /y/ is the German <ü> or French <u>. 

The /I/ here is the high ‘ee’ sound that we get in qi, ji, xi etc. This sound doesn’t exist after <zh ch sh>, but also <s r>. Instead, we have what’s often analysed as a ‘syllabic consonant’ - if you think about it, there really isn’t much ‘vowel’ in 是 shì or 日 rì. The first is just a long <shhh> sound - but this is a complex topic best left for another day. 

Why do we get the high sounds (if you make the sounds in your mouth, you can feel that ‘eeee’ and ‘üüü’ move your tongue higher up than the other two) after the alveolo-palatal consonants and not the others? If you remember, <y> or /j/ as in ‘yes’ is a palatal consonant. This sound is actually incredibly similar to that high ‘eee’ - try saying ‘eee’ and then ‘ehhh’ (as in ‘yes’) and notice that when you switch vowel, you automatically say a <y> sound without even trying. If you are making a palatal sound like <y>, or like <j q x>, your tongue is already in the position to make <ü> and high ‘ee’ very easily. And humans are lazy - it’s much easier to follow a consonant with a vowel that’s in the same place, than to change the place completely. Technically speaking this is called ‘ease of articulation’. So when we want to say <qu>, the <u> gains some of the characteristics and is pronounced more similarly to the <q>. 

And if you think about the rest of the pinyin table - this pattern of <q j x> being associated with ‘high’ vowels doesn’t stop with <u> and <i>. You get <chang>, but you don’t get <*qang> (* means ‘wrong’), but <qiang> with an extra palatal <y> /j/ sound in there. You get <zhang>, but not <*jang>, but <jiang>. You get <shang> but <xiang> etc etc. There are essentially no overlapping areas where only the consonants and different, but the vowels are the same. This is hugely helpful for learning to recognise the difference between the two sets of consonants, and also for people understanding you, the terrible, unforgivable second language learner - since there are no contexts in which the two sets can be confused with each other, as long as you pronounce the vowel afterwards correctly, what you want to say should be clear. 

With that in mind, let’s get onto the actual pronunciation!

This is where you want to pronounce <x>. It’s similar to, but not quite the same as, the German palatal fricative written <ch> as in ‘ich’ (NOT as in ‘ach’), so if you have this sound in your inventory, you’re already winning! When you pronounce <sh>, the body of the tongue (the middle bit) is sunk down quite low; when you pronounce <x>, you need to raise the tongue towards your palate (the ‘palatal’ bit of the sound) and bring the front of your tongue under the back of your teeth, almost like you’re going to whistle. It’s helpful for all of these to put your tongue behind your lower front teeth, though you can also make the sound with it behind your upper front teeth as in the diagram below. 

When you say <x>, without any vowels following it, it should sound higher pitched, and your lips should be spread wide. When you say <sh>, it sounds lower pitched and your lips are not stretched - in fact, they’re bunched. Watch videos of native speakers pronouncing them in isolation, and try to copy their mouth shapes. 

<j> vs <q>

Most people can get away with some approximation of <x> because of the difference in vowel sounds, and while it may be wrong, if the rest of your pronunciation is ok, it won’t make a huge difference to people’s understanding of you. Many people, however, struggle hugely with <q> and <j> - and there’s no handy vowels to tell these apart. 

First: Chinese doesn’t make the distinction between voiced and voiceless consonants like many languages like Spanish or Russian, but instead between non-aspirated and aspirated consonants, a little like English. This means that English natives often actually sound more natural when they are pronouncing te de or bo po than other foreigners. For speakers of languages without this aspiration difference (the difference between a consonant with a puff of air and without), this is difficult to get used to, but doesn’t usually cause difficulties with comprehension. What it does mean, though, is that the biggest difference between <q> and <j> is aspiration - <q> is aspirated, while <j> is not. Hold out your hand and try to feel the difference. You should feel a thin stream of air hit your hand in consonants like <t p q>. 

Youtube for practicing:

Grace Mandarin - https://www.youtube.com/watch?v=05BMKdxHjp8 Mandarin Blueprint - https://www.youtube.com/watch?v=FxIL11PcNXE Yoyo Chinese - https://www.youtube.com/watch?v=_K1RTPxWiI0

BUT - BUT IT’S STILL SO HARD!!! HOW CAN I MAKE IT EASIER??

Firstly, this vowel difference afterwards is incredibly important. Your pronunciation won’t be CORRECT if you only make this vowel difference, but it will go a LONG way towards helping you a) distinguish the correct pronunciation of other speakers, and b) copying them more accurately. What we’re all doing now, as second language learners or learners who have grown up without as much input as we’d like, is retraining our brain to the contrasts that are important. English doesn’t have a contrast between <q> and <ch>, or <sh> and <x>, so naturally if you’re a monolingual native English speaker it’s going to take some time. Be patient with yourselves. When we’re very young babies, we can make a difference between all phonemic distinctions in the world. And then at about 10 months we just lose that ability essentially instantly, because we’ve already established which contrasts are important and which aren’t. That’s not to say kids can’t learn it - because they clearly do - or adults can’t, but that you are LITERALLY RETRAINING YOUR BRAIN.

 It’s not just about where to put your tongue, how to shape your mouth. Our brains are effective - they only store which information is necessary for the language, nothing extraneous. Technically speaking the /k/ in <kit> and <car> are two very different sounds, and in some languages they count as different phonemes and are written with different letters - but you probably never even noticed they were different at all! Because in English, all the extra information that says ‘this sound is pronounced more palatal’ and ‘this sound is pronounced more velar’ just doesn’t matter. So when you’re trying to learn these contrasts that don’t exist in your native language, it doesn’t matter if you can make the sound correctly once. What you actually need to do is convince your brain that every single time you hear or pronounce <j q x zh ch sh> you need to pay attention to contrast it previously filed under ‘not important’.

Lastly: be kind to yourself!!!

This takes babies about 10 months to get down - 10 months of solid, constant input with caregivers that are very focused on them. And you’re fighting how your brain has wired itself to disregard that contrast. How can you fix this? Input. INPUT IS KING. You need to present your brain with enough Chinese, enough different voices and speakers, to make it realise that there’s a crucial, important difference between all <qiang> and <chang> and so on. This will take time, but as long as you have enough input you’ll get there. But be kind to yourself. YOU ARE RESHAPING YOUR BRAIN. 

加油！

- 梅晨曦

[lapeaudelamemoire]

Can the US please just fuck right off out of my life, as far away as possible, please? I have nothing to do with you, literally have never been anywhere near you, so please keep your fucking ~American English~ spelling far the fuck away from me.

My fucking Word application suddenly decided that apparently it’s only accepting spelling in American English now, and keeps fucking throwing me up words “spelt wrong” because I used s instead of z and ou instead of just o like someone who grew up spelling in British English and automatically correcting them.

Like, no. Who tf are you to just automatically correct me as soon as I’m done writing ‘recognised’ or whatever?

Also, Word and my laptop are both set to English (Australia) so unless somehow Australia turned into the US in the last few hours, someone fucking explain to me why the absolute fuck it is insisting on being American.

[courage-a-word-of-justice]

SSSS.Gridman 3 - 4 | Double Decker 5 - 6 | Golden Kamuy 15 - 16 | Zombieland Saga 4 - 5 | Merc Storia 3 - 4

Gridman 3

Samurai Calibur is literally what pulled me back into the show – after all, he’s an indicator that despite this show’s serious demeanour, it is campy at heart. So it’s great to see him have a big role, even if he has to look stupid to do so.

Uh…by the way, kaiju (Anti?). What’s so cool about Wolverine blades? I mean, Wolverine himself has healing factor to back that up, but you’re just a kaiju…

That star explosion! There’s the Trigger we know and love!

“A kaiju that eats breakfast with me.”

I always love how anime deal with isolation through framing and other visual techniques. In this case, it’s Utsumi and Rikka in two mirrors of different shapes.

“…over, right?” I thought, as Utsumi said, “…disbanded.” – Close enough.

Literally everyone in this show has blue eyes. It’s striking, but it’s a bit much…? I personally like a mix of eye colours for characters, especially those eyes which seem to have flecks of different colours in them. Not that I’ve ever had an excuse to give any character I’ve created eyes like that (since it’s easier to describe single-coloured eyes), but it would be nice to have an opportunity to. Update: Apparently it’s a homage to something. A Transformers thing, actually.

This ED…hmm, it kinda looks like the Sarazanmai ads I’ve seen around lately. Just without the stylised background people and with Akane and Rikka.

Double Decker 5

“The Derick Special!” – Welp, aside from forgetting the E in “potatoes”, they got the spelling right, LOL.

I wonder if Kirill’s sister looks anything like him?

…Hmm. I noticed the license plate on that blue car has BNY. Maybe it stands for “bunny” or “Barnaby”?

*Kirill headbutts Doug* - Well…uh, that’s one way to use your head…

“My first partner died.” – Wait, but if that’s (Doug’s first partner) not Derick…then who is it??? The one before Derick? Update: Yep, I was right.

I just realised the motorbike (? car?) Max rides has her name on the license plate. At least in the ED it does.

It seems like the next episode is a breather ep…hmm.

Golden Kamuy 15

Kibushi is number 8 on this page.

“Bat man”…? Like the superhero?

I can’t believe I actually don’t mind the Blingee fire at this moment in the season…urgh. Why did I just say that? I might regret it later…

Oh my gosh…woodcock birds are adorable!

Inkarmat likes Cikapasi’s cover story? Even the bit about…boob-grabbing…?

I like the technique where it appears Nagakura and Toshizou have deaged. It really gives the scene emotional impact and emphasises the fact this episode is called “Let’s Talk About the Past”.

Zombieland Saga 4

I always imagine Lily’s voice to be extremely high pitched. So high pitched, it’s almost silly…but maybe that’s just what happens when I turn off the volume and try to imagine their voices that way.

Chatsumi means “tea picking”. As in picking tea leaves.

Bikubiku just means Junko is trembling from fear. She probably has a fear of heights…

Hey wait, I thought slapping Saganship Z on people who aren’t zombies is called “administering medicine”…

The CGI…I don’t think it’s entirely hideous, but it’s still vaguely obvious.

Marutchi/Tamatchi -> Yes, it’s another Tamagotchi joke from Saki.

Merc Storia 3

Oh my goodness…this (the queen) is the fairy I got hyped for way back when this show first had its ED showcased! She’s basically the anime version of a Shirley Barber fairy! She’s gorgeous!

Princess, didn’t the tale of Excalibur teach you not to pull swords from stones?

There are a lot of princesses in this, to the point where it makes me feel like a kid again. Then again, all good anime makes me giggly like a kid. Not to mention this actually is aimed at kids…

Who’s a healer, Merc? Jamo? (Yeah, yeah, I’m kidding, but seriously, get Merc to do a better indication of who she’s talking about.)

Oh, how did I not think of this? Yuu’s name is Yuu because he’s you, geddit? The player character?...Okay, stop booing…

Seriously, all the fairies, regardless of their gender, are gorgeous…! Except the bartender and the butler. The bartender looks like Tank from Brave Beats and the butler’s just an old guy. The background characters are only decent looking, too, but I’m talking about (most of) the main characters here. The princess is kinda cute, but not enough to awaken a moe instinct in me, y’know?

I didn’t notice this until now, but Paristos has pointy ears…hmm.

Wait, that was a dude fairy??? The black one, i.e. “one that knows the land”??? Update: Sorry. I listened to his voice and then realised…that is a dude. Sorry. He even kind of sounds like Ume…Update 2: A-hah! That’s why The One That Knows the Land (that is literally what he’s credited as) sounded familiar. It was Junichi Suwabe! Update 3: His name is in the next ep, it’s Zephrodai.

SSSS.Gridman 4

I noticed Akane has a Surume card. It’s probably a pun on Suika (Watermelon) cards. Apparently the pun is that tapping the card on and off is like water swishing (sui sui), hence the name. Update: It would be also nice to say they were a pun on Hong Kong’s Octopus cards, but the visuals on the cards are all wrong…

See? They’re (Namiko and Hass) using their phones like normal kids. So why didn’t Rikka remember to use her phone last ep?

Rumour has it Borr is a dude, which makes the fact he’s questioning why girls like older guys make a lot more sense. Then again, you could just headcanon him as a lesbian instead. I’m not going to stop you from thinking that way if you do.

Honest to stars above, this feels like Kiznaiver Round 2. I didn’t mind Kiznaiver but though it could be better. The drama felt a little too…melodramatic, y’know?

See? This episode just proves Calibur is best boi…until further notice, when they introduce that other Neon Genesis bishonen for real.

So if Borr -> Buster Borr, Max -> Tracto Max and Samurai Calibur -> Calibur, then Sky Vitter…either Sky or Vit. I already know the answer is “Vit” because I saw it on the wiki, but it makes a bit more sense now. Anyways, I was wondering…what happened to the 3 dudes from Arcadia? Max is the strongest, eh? So many questions, not enough time, y’know???

Double Decker! 6

“Good Noodles”, LOL.

The line that appears when the subs say “Let’s take this to our car” actually says something along the lines of, “For the moment, let’s take this to our car, shall we?”

Interestingly, the word “guinea pig” (as in, the “we’re being tested on” sort) translates directly – you can read the word morumotto (guinea pig) in the text.

Maybe I’m not familiar with terms aside from keiji/keibu etc. for policemen, but I’ve never seen a policeman being referred to as “omeguri-san”…

If we’re talking about noticing things…a post for this episode already spoilt for me that “Kirill now has a brother”, although I don’t know whether that comment was made in jest/deception or not. Also, that “sister” sure didn’t have any…er, secondary reproductive characteristics on the torso, to put it lightly.

Reminder, dear cowatchers: Doug is…kind of…an asshole.

*Milla’s disappearance involves getting on one of those double decker buses you see around Lisvaletta* - Welp, that puts another meaning to the name “Double Decker”, eh?

Apple Bieber (LOL) is so tsundere when people actually call him “Doctor”, haha.

Holy sisters, Batman! Milla even sounds like a man. I may be terrible at identifying voice actors from their voices alone, but heck if I can’t tell this “Milla” is a man! (The voice of “Milla” sounds familiar…who is it, though? I’ll skip forward and check. Update: Okay, it’s a name I don’t recognise, but it is a dude! The VA’s name is Yuki Fujiwara. But now that that’s established…I like Valery (sic…?) already. He’s definitely my type~.)

Soooooooooo…yeah. Kirill really does have a brother. Sorry for the spoilers.

Golden Kamuy 16

…Wait, so he’s (Shiraishi) actually getting captured this time?

I find it interesting there is a Japanese equivalent to “Kamuy” which means “residence of the gods”, to translate it somewhat loosely.

Shiraishi had such stupid faces in everyone’s heads…LOL.

I find Tsurumi wearing a proper outfit coloured like the 7th division (albeit more Chinese-looking) kinda strange. Tsurumi suits red more, methinks.

Opium, eh? I assume this talk about poppies and England has something to do with the Opium Wars.

Arisaka’s probably as bad as Brook from One Piece…at least, when it comes to skull jokes in the OP manga. Or like a group of dads having a meeting.

Nikaidou’s so petty…LOL. But it is a good idea to weaponise a fake leg – I mean, Toshizou could have the same advantage if he put a sword in his cane…but I think Toshizou thinks too highly of his Izuminokami Kanesada to do such a thing.

I laughed pretty hard when I learnt Ogata is meant to be part of the 27th. Probably because it wasn’t much of a coincidence in the first place.

Zombieland Saga 5

Wowee, what just happened to Tatsumi’s leg??? “The second you let your guard down, it can all fall apart!” – I think he was talking more about his leg rather than competitive baseball…Update: I swore the ball went through his leg. If you didn’t interpret it the same way, then…sorry.

So I heard you like KFC. Well, we’ll just grab Saga’s equivalent to KFC so you can have chicken in your anime while you eat chicken…or something like that…?

Shouldn’t that be “principles of Drive-In Tori”?

The fish eyecatch seems to involve a Karatsu-kun-chi…according to the banner in the back.

Google Translate tells me “Bonjour, Saga jeune” means something to the effect of “Hello, Saga youngster.”

They really like their live-action segments on this show, huh?

Seriously, which of these girls does Ookoba-san remember??? Is he the driver from episode 1’s Truck-kun? Update: It’s Junko, so that makes sense. If it were Policeman A recognising Junko, Ai or Sakura…we’d be in trouble.

I forgot why they were panicking, but then I remembered…they didn’t have their makeup on. Ah.

Eh? You’re kidding…the Gatalympics is legit!

Yugiri literally poledanced on that rope! Yipe, that’s stiff competition…

What is Tae eating in these in-between scenes, anyway…?

I believe I cannnnnn…*music cuts immediately* Fall…So much for the “I Believe I Can Fly” parody…

Merc Storia 4

Gah, that necklace looks like a Sims gem…

Okay, if I figured out what the next country is it won’t be so interesting. It’s the “country of the clan of few people”.

You can see Salodeah in the ED…and Fruedling (sp???)…but there are some other characters you don’t see in these fairy episodes. Now I’d like to meet the lady riding the spider and the blonde guy (you see them in the same screenshot). You can also see the dog girl from the animal in the ED (I forgot her name though, LOL). I’d also like to see the angel country…

I just realised the next ep previews are called Merc Yokoku (Next Ep Preview) Storia…hmm.