#casual japanese phrase

[muka-blog8]

Japanese lesson 88

Today`s theme is “get the hang of ~ing”.

今日のテーマは“コツを掴む“です。

（きょうの　テーマは　コツをつかむ　です）

1. I would like to be able to get the hang of skiing until next winter.

（俺は来年の冬までにスキーのコツをつかむねん。）

2. Once you can get the hang of that,you should take action on your own.

（コツを掴んだら、行動に��せ）

3. I have been usually said to be good at getting the hang of something that it has never been done by anyone.

（今まで誰もやったことないことについて、コツをつかむのが得意とよく言われる。）

You should use it!

See you again!

[zhooniyaa-waagosh]

Me, first learning kana: Wow I love how straightforward Japanese pronunciation is, it's really nice to not have to wonder how things are pronounced.

Me, learning kanji: oh what the fuck actually

Me, now learning about the types of keigo and how they affect conjugation and pronunciation:

[the-spaced-out-ace]

using my japanese studies minor and 10+ years studying the language to translate pulp for fun. the target audience is myself.

[listening-to-thunder]

Ace: Here. I wanted to hand you this.

FEELS

(And wow, all that blank space in the background makes me really feel the weight of this moment. It's hanging frozen in time, silent and momentous, none of Oda-sensei's usual detail to distract the eye from this: something important passing from older brother to younger.)

Luffy: See ya!!

FEELS INTENSIFY

[brown-little-robin]

OOOH FUN JAPANESE LEARNING UPDATE

[dksfml]

what would you do if I went to touch you now? - riki

pairing: younger!nishimura riki x older!reader genre: office romance, flirty niki, workplace tension, niki teaches you japanese. summary: despite your best efforts to maintain professionalism, the undeniable tension between you and riki makes it impossible to resist the connection growing between you. it doesn't help that he calls you "noona" at work. warnings: suggestive, kissing, implied smut word count: 2.7k

your professional relationship with riki had been straightforward when he first started. quiet and shy, he took careful notes during meetings, absorbing the work culture like a sponge. as his mentor, you were tasked with guiding him through the ropes, ensuring he understood the nuances of the company.

“make sure he knows what he’s doing,” your boss had instructed, handing you the responsibility like a personal mission. and you took it seriously. riki was younger by a few years, in need of your guidance. at first, he seemed timid, his questions asked in soft tones, his posture always slightly defensive, as if afraid of stepping out of line. you naturally fell into a nurturing role, steering him whenever he seemed unsure, offering advice when necessary. but as time passed, riki's confidence grew, along with a noticeable shift in your dynamic.

it started subtly—small changes in his attitude. his work improved dramatically, and soon he was strutting around with a smirk, leaning back in his chair like he owned the place. his newfound cockiness was relentless, even though you reminded him to stay focused.

“riki,” you sighed, standing by his desk, flipping through his presentation slides. “i told you to cross-reference these with last quarter’s data. this is incomplete.”

he leaned back, arms crossed over his chest, the corner of his mouth twitching into a grin. “i was going to fix it, but i thought i’d leave some for you to correct, noona. keeps me humble.”

you narrowed your eyes, unamused. “this isn’t a game. you can’t slack off just because you’re comfortable. these clients are important, and if we don’t get this right, it’s on both of us.”

his grin faltered, but just as quickly, he masked it with a wink. “got it. i’ll fix it. but only if you promise to let me take you out for dinner when we nail this project.”

you shook your head, suppressing a smile. “this is serious. you missed an email i asked you to forward last week. and calling me ‘noona’ here at work? we need to keep this professional.”

riki straightened, the playful glint in his eyes dimming. “right,” he said, his voice softer. “i’ll keep it professional. but you can’t blame me for trying.”

you couldn’t help but roll your eyes, but deep down, you felt a rush of excitement at his boldness. “i want those revisions by the end of the day, riki. and no more flirting until this is done.”

“yes, ma’am,” he replied, a mock salute on his part, and for the first time in weeks, there was no teasing in his tone.

now, the two of you were working on a critical project, preparing a proposal for a japanese client your company was eager to sign. it wasn’t just a regular pitch; this deal was huge—a make-or-break moment that could lead to long-term collaboration. you had thrown yourself into the task, familiarizing yourself with every detail of the project. but there was one problem: the language barrier. the client preferred to communicate in japanese, and while you had learned some phrases, you were nowhere near fluent.

that’s when it struck you—riki was fluent in japanese. you recalled him casually mentioning it one afternoon, and now that you needed the skill, you struck a deal with him: he’d tutor you in japanese after work, and in return, you’d ensure his involvement in the project didn’t go unnoticed by the higher-ups. a fair exchange, strictly professional, you told yourself.

later that night, during one of your lessons, the atmosphere crackled with unspoken tension. riki sat across from you, leaning forward as you practiced reading a passage. you stumbled over a phrase, and his sharp gaze caught your mistake.

“no,” he corrected, his voice low and firm, sending shivers down your spine. “it’s nihon, not nee-hon. you’re stressing the first syllable too much.”

his tone was both authoritative and teasing, igniting a spark of mischief that made your heart race. “let’s go over that phrase again,” he said, his voice soft yet commanding. you nodded, struggling to focus, but the heat radiating from his body made it impossible to think clearly.

“try it one more time, noona,” he urged, leaning in closer, his breath brushing against your ear. the closeness sent a jolt of electricity coursing through you, and you instinctively shifted, seeking a little more space.

“um, okay,” you stammered, trying to keep your composure, but the way he looked at you—a mix of amusement and something deeper—made your cheeks flush. “i’m trying.”

riki leaned in even closer, his shoulder pressing against yours. “you’re not trying hard enough,” he teased, a smirk playing on his lips. “what’s the matter? feeling a little shy?”

“shy? no,” you protested, your voice barely above a whisper. “i just—”

“just what?” he interrupted, his gaze piercing into yours, his confidence unwavering. “can’t handle a little pressure?”

your heart raced at the challenge in his voice. “at work, i’m your superior, riki. you need to respect that.”

“respect?” he echoed, leaning back just enough to gauge your reaction. “or maybe you need to realize that i’m not the junior anymore. you’re the one who seems to struggle with that.” his eyes danced with mischief, and you felt a thrill race through you.

“riki,” you warned, but your voice faltered, unable to hide the quiver of excitement that danced beneath your words.

“tell me you’re not interested,” he challenged, leaning closer, their faces mere inches apart. the air thickened with tension, and you could feel his warmth enveloping you. “because i know you feel it too.”

before you could respond, the sudden power cut plunged the office into darkness, leaving only the dim emergency lights flickering above. your heart pounded, and the adrenaline heightened every sensation.

“well, i guess that’s the end of tonight’s lesson,” you attempted to joke, but your voice trembled, revealing your unease.

riki’s eyes glinted in the low light, a devilish grin spreading across his face. “no, we’re not done.” he leaned closer again, his hand brushing against yours, sending a wave of heat up your arm.

you pulled back slightly, heart racing. “riki, this isn’t—”

“isn’t what?” he whispered, his voice a low murmur that sent a thrill down your spine. “we both know there’s something between us.”

you opened your mouth to protest, but the urgency in his gaze silenced you. your breath hitched at the finality in his tone. the professional barrier you had carefully constructed was crumbling.

“we should go,” you muttered, fumbling to gather your things. but riki reached out, his hand brushing against yours, halting your movements.

“we could go to your place,” he suggested, his voice dangerously low. “finish the lesson there.”

the implications hung heavily between you. you met his gaze, searching for any trace of the playful riki you’d trained, the one who’d always danced around the line but never crossed it. but there was nothing playful in his expression now—only a raw intensity that made your skin prickle.

you nodded, unable to trust your voice, and within moments, you were heading out of the office together. the ride to your apartment was silent, the weight of what was about to happen sitting thick between you.

the door to your apartment clicked shut behind you, and the familiar surroundings only heightened the surreal nature of what was happening. you barely had time to turn on a light before riki was in front of you, his presence magnetic. the silence between you was thick with everything left unsaid, but his gaze—intense, burning—spoke volumes.

for a moment, neither of you moved, both caught in the tension that had been building for weeks. his eyes swept over your face, lingering on your lips as if contemplating his next move. you stood your ground, refusing to back away even as your pulse raced in anticipation.

“you’re still thinking about work, aren’t you?” his voice was low, teasing. he stepped closer, just close enough that the warmth of his body radiated through the space between you. “always so professional, noona.”

you swallowed, feeling the flutter of nerves in your stomach. “someone has to keep things in check,” you replied, though your voice faltered just slightly, betraying the tug of desire that made your skin prickle with anticipation.

he chuckled, soft and deep. “maybe it’s time you stopped thinking for once.”

before you could react, his hand slid up your arm, fingers curling gently around the nape of your neck as he pulled you toward him. his lips met yours in a kiss that was far from the playful teasing you were used to. it was hungry, intense, like he had been waiting for this moment as long as you had. the taste of him was intoxicating, and before you realized it, you were kissing him back with just as much need.

your back hit the wall softly as his body pressed into yours, every inch of him enveloping you, filling the space around you. his hands trailed down your sides, fingers ghosting over the fabric of your blouse before dipping under the hem, finding bare skin.

“riki,” you whispered, breaking the kiss for a breath, but your voice was breathless, needy. his name left your lips like a confession.

his lips barely left yours as he responded, his voice a raspy whisper. “you keep acting like you’re in control, noona,” he murmured against your skin, his hands now slipping around your waist, pulling you even closer. “but i don’t think you are anymore.”

the challenge in his voice made something inside you snap. you wanted to respond, to assert yourself as you always had, but the heat between you was overwhelming, and before you could muster a reply, his lips were on your neck, pressing soft, hot kisses along your skin that left you trembling.

“i’m not the kid you used to boss around,” he murmured between kisses, his breath warm against your ear. “you can’t keep treating me like i don’t know what i’m doing.”

his hands slid lower, and you gasped as his touch became more insistent, his fingers deftly working to unbutton your blouse. his lips returned to yours, and this time, the kiss was slower, deeper, as if he wanted to savor every second. there was nothing hurried about the way his hands roamed your body, exploring with a confidence that made your head spin.

you tugged at his shirt, pulling it over his head in one swift motion, your fingertips brushing over the smooth lines of his chest. he was handsome, undeniably so, but up close like this—underneath the layers of work clothes and the carefully constructed professionalism—he was breathtaking. your hands trailed over his skin, feeling the tautness of his muscles, the way his breath hitched slightly as you touched him.

he grinned against your lips as you pressed your body into his, feeling the hardness of his form against you. “see?” he whispered, his voice rough with desire. “you can’t even resist me now, noona.”

you wanted to argue, to assert your authority as you always had, but the way he looked at you—like he knew exactly how to unravel you—left you powerless.

his hands made quick work of the rest of your clothes, every movement deliberate, controlled. he was no longer the shy, uncertain junior you had once guided. here, in the dim light of your apartment, riki was commanding, confident, and he knew exactly what he was doing.

he lifted you effortlessly, carrying you to the bedroom, laying you down with a gentleness that contrasted with the heat of the moment. and then he was over you, his hands exploring, his lips trailing over your skin in ways that made your breath hitch. you responded in kind, your fingers digging into his back, pulling him closer, needing him closer.

when his mouth found yours again, it was softer this time, but no less intense. his touch was slow, deliberate, as if he wanted to memorize every inch of your body, every gasp and shiver he elicited. you couldn’t help the sounds that escaped you, soft whimpers that only seemed to spur him on.

“don’t think just because i’m calling you ‘noona’ that i’ll let you keep this up,” he teased, his lips brushing against your ear, sending shivers down your spine. “you’re not the only one who can take charge.”

the air between you was charged with desire, thick with the tension that had been simmering for so long. every touch, every breath shared between you was electric, sending waves of pleasure rippling through your body. you had never imagined this—being here, with him, in this way—but now that you were, there was no going back.

and when he finally claimed you, when the last barriers between you fell away, it was like everything else disappeared. there was no work, no professionalism, no rules—just you and him, bodies moving together in perfect sync, lost in the heat of the moment.

the world outside faded into oblivion, and all that remained was the sound of your mingled breaths, the feeling of his skin against yours, the way he made you feel as though you were the only two people who mattered.

and in that moment, nothing else did.

“i still do want to take you on a dinner date though," riki said, breaking the silence with a light-hearted lilt that hung in the air like a sweet melody.

you pulled back slightly, your eyes searching his, as if seeking confirmation that this wasn’t just a fleeting fantasy. “really?” the question slipped out before you could hold it back, a mix of surprise and delight dancing in your voice.

“yeah, really,” he replied, his smile growing wider. “just you and me. somewhere nice. maybe italian? i hear they have the best pasta in town.”

his words wrapped around you like a warm embrace, grounding you in the moment. you could feel your heart quicken, the anticipation stirring something deep within you. “that sounds perfect. when do you want to go?”

“how about friday?” he suggested, his eyes sparkling with mischief. “i’ll even let you choose the place.”

a laugh escaped your lips, the sound light and airy. “i hope you’re ready for my pick then. i might take you to the best italian place in town, and you’ll be regretting it the next day.”

riki chuckled, the warmth of his laughter making your heart flutter. “i’ll take that risk. besides, i have a feeling it’ll be worth it.”

in that moment, as the soft glow of the streetlights seeped through the window, you felt the weight of the week lift, replaced by the promise of something beautiful on the horizon. but just as the excitement began to settle in, you were pulled back to reality by the sound of your phone vibrating against the table, a harsh reminder of the world outside this blissful bubble.

you glanced at the screen, and the moment slipped slightly, the glow of notifications flickering like an unwelcome reminder. it was a message from a friend, checking in about the weekend plans.

“sorry, i should probably—” you started, but riki gently took your hand, grounding you again.

“hey,” he said softly, his thumb brushing over your knuckles. “you can always reply later. right now, let’s focus on us.”

you looked back at him, the connection reigniting. the moment stretched out like an unbroken thread between you, the world beyond the walls of this room fading once more into insignificance. you nodded, your heart soaring as you settled back into the warmth of his gaze, the future bright and inviting.

“so, friday it is?” you confirmed, your voice steady and full of excitement.

“definitely,” riki replied, a grin breaking across his face, as if he had just won a victory.

and just like that, the evening unfolded around you, a delicate balance of playful teasing and soft confessions, a new chapter beginning to write itself in the quiet spaces between your laughter.

[nihongonotabi]

ways to say "only", "just" in Japanese

When I started learning Japanese, I quickly discovered that “only” translates to だけ (dake). Soon after, I learned about しか (shika) and then ばかり (bakari). This led me to wonder how many ways there are to express the idea of "only" or "just" in the Japanese language. I began exploring the fascinating world of adverbs that convey limitation or exclusivity, each with its own specific nuance.

Here are some of the terms I’ve discovered (which I may continue to expand upon):

だけ (dake): Strongly emphasizes exclusivity, meaning that nothing else is included or considered. Example: 水だけください。 (Please give me only water.)

しか (shika) (used with a negative verb): Often conveys a sense of disappointment or limitation, implying that there’s nothing but the mentioned item, often with a sense of restriction. Example: 私は日本語しか話せません。 (I can only speak Japanese.)

ばかり (bakari): Suggests the dominance or prevalence of something, often with a sense of excess or monotony and a negative nuance. It does not imply strict exclusivity. Example: お菓子ばかり食べている。 (I’m only eating snacks.)

ばかし (bakashi): A casual variant of ばかり, used mostly in spoken language. It conveys a similar meaning but carries a more informal tone. Example: 遊んでばっかしいる。 (He’s only playing.)

のみ (nomi): Used in formal or written contexts, conveying exclusivity. It can sound elegant and refined. Example: 本日のみ有効です。 (Valid only today.)

ばかりか (bakari ka): This expression expands the meaning by introducing additional information, indicating more than just "only." Example: 彼は優しいばかりか、面白いです。 (He is not only kind but also funny.)

だけしか (dake shika) (used with a negative verb): This term combines だけ and しか, emphasizing strong exclusivity when used with negative constructions. Example: これだけしかない。 (There is only this.)

こそ (koso): Indicates that the highlighted item is particularly special or the best choice, often implying that nothing else can compare. Example: 今日こそ勉強する。 (Today, of all days, I will study.)

たった (tatta): Implies that an amount is minimal and often inadequate, highlighting a sense of limitation. Example: たった一人で旅行した。 (I traveled with just one person.)

わずか (wazuka): Emphasizes a minimal quantity or degree, often with a sense of surprise. Example: わずか10分で終わった。 (It only took 10 minutes.)

ほんの (honno): Indicates a small or trivial amount, often used to downplay something. Example: ほんの少しだけ食べた。 (I ate just a little bit.)

に限る (ni kagiru): This expression is used to convey that something is the best or only suitable choice for a situation. Example: 夏はアイスクリームに限る。 (Ice cream is the best for summer.)

だけでなく (dake de naku): Similar to ばかりか , this phrase is used to express that there’s more than just one thing happening. Example: 彼女は賢いだけでなく、優しいです。 (She is not only smart but also kind.)

単に (tan ni): Indicates simplicity; often used to clarify or explain something in a straightforward manner. Example: 単に冗談だよ。 (It’s just a joke.)

あくまで (akumade): Suggests that something is true only to a certain extent or in a specific context. Example: あくまで私の意見です。 (This is just my opinion.)

たかが (takaga): Often carries a dismissive connotation, suggesting that something is not very important. Example: たかが試験一回でどうなるものか。 (It’s just one exam; it won’t change much.)

I love discovering all these subtle differences and nuances, even if it can be frustrating at times. If you know of any more, please share!

[kaizokuou-ni-naru]

Hello! In Chapter 1129, Sanji says the false sun god “sounds a bit like a samurai” - can you expand on what this means?

yeah! it's pretty funny. he does adopt a lot of the same archaic vocal affectations that the wano characters use, although he's pretty clearly putting them on in a way that's not super natural to him.

he uses 拙者/sessha, the same humble samurai-specific personal pronoun used by momo, kin and kiku, among others, and ends some of his sentences with でござる/de gozaru, which is likewise characteristic of the old-fashioned japanese used by the wano characters. he uses the archaic 'you' pronouns おぬし/onushi (for hajrudin and the cat) and うぬ/unu (for everybody else).

(unu is also fairly disrespectful, and i'm pretty sure the only character i've seen use it before in manga is power from chainsaw man, who's specifically noted to talk like she does because she's an idiot trying to sound smart and important. so that's also the vibe i'm getting from this guy.)

the reason i say it seems put on is because he slips in and out of it, in particular when he's caught off guard at the start, where he starts with what's clearly going to be ウチのペ���ト/uchi no petto ('my pets!') before correcting to 我が僕達/wa ga shimobe-tachi ('my servants!'). the first phrase is a way more casual and normal way of speaking, while the word choices in the latter are a lot more archaic.

[todomitoukei]

Japanese vs. English Todoroki Family Finale - A 426 Comparison

Just a few days after Horikoshi announced that there were only 5 chapters left, the so-called final chapter for the Todoroki family came out, as always sparking lots of discussion and bringing forth countless questionable takes, followed by the release of the official English translation.

So let’s take a closer look at the Japanese lines, starting with the Todoroki family’s short conversation before going to see Touya:

「来なくて大丈夫って言ったのに！」

「来なくて ; konakute」-> not coming 「大丈夫 ; daijoubu」-> okay; alright 「って ; tte」-> quoting particle (casual of と) 「言った ; itta」-> said 「のに ; noni」-> even though

= “Even though we said it’s okay not to come.”

「それを言うなら貴方たちもよ冬美夏雄」

「それ ; sore」-> that 「を ; o」-> direct object marker 「言う ; iu」-> to say 「なら ; nara」-> that being the case; on the topic of 「貴方たち ; anatatachi」-> you (plural) 「も ; mo」-> also; too 「よ ; yo」-> emphasis particle 「冬美 ; fuyumi」-> Fuyumi 「夏雄 ; natsuo」-> Natsuo

= “On the topic of saying that, you too, Fuyumi, Natsuo.”

What stood out to me here was Rei calling him Natsuo, when usually, everyone else (except Endeavor) calls him Natsu-kun or Natsu. Calling him by the full version of his first name rather than a shortened version might be done to indicate that things have changed, although not necessarily in a negative way. It's more that there has been a shift.

By the way, I am working on a masterpost talking about how the family addresses + refers to each other. Yes, I am going through the entire manga for that (this is a cry for help). Once the manga is finished I will post it (at some point), so look out for that if you’re interested in finding out exactly how many times who gets called what (yes, I am counting and making graphs)!

「お母さんでも…」

「お母さん ; okaasan」-> mom 「でも ; demo」-> but

= “But mom…”

「それを言うならおまえもだ冷」

「それ ; sore」-> that 「を ; o」-> direct object marker 「言う ; iu」-> to say 「なら ; nara」-> that being the case; on the topic of 「おまえ ; omae」-> you 「も ; mo」-> also; too 「だ ; da」-> be 「冷 ; rei」-> Rei

= “On the topic of saying that, you too, Rei.”

I love that he almost fully copies Rei’s phrase here. This is the first of many unoriginal lines that he has in this chapter. It only goes downhill from here.

「義務感で来たんじゃねぇから！皆そうだろ」

「義務感 ; gimukan」-> sense of duty (obligation) 「で ; de」-> with; by 「来た ; kita」-> came 「ん ; n」-> explanatory particle 「じゃねえ ; janee」-> isn’t 「から ; kara」-> because; so  (used to change the other person’s thoughts etc.) 「皆 ; mina」-> everyone 「そう ; sou」-> so; that way 「だろ ; daro」-> right?

= “I didn’t come out of a sense of duty! Everyone is that way, right?”

Usually, a second phrase would follow up the kara, but can also be left out when the meaning of that second phrase is implied enough. Since Fuyumi said Shouto didn’t have to come (if he didn’t want to, didn’t feel comfortable etc.) there is an implication that perhaps he only showed up because he felt like that was expected of him. Ending his clarification of “I didn’t come because I felt obligated” with kara “so” the implied follow up would be along the lines of “don’t worry”, which then gets wrapped up suggesting that all of them are showing up not because they feel pressured to do so, but because they want to visit Touya - since they basically just went around in a circle letting each other know they didn’t have to come if they don’t want to.

「会話は可能ですが一日に数分が限界です」

「会話 ; kaiwa」-> conversation 「は ; wa」-> topic marker particle 「可能 ; kanou」-> possible 「です ; desu」-> to be 「が ; ga」-> but 「一日 ; ichi nichi」-> one day 「に ; ni」-> at; in 「数分 ; suufun」-> a few minutes 「が ; ga」-> subject marker particle 「限界 ; genkai」-> limit 「です ; desu」-> to be

= “Conversations are possible, but a few minutes a day is the limit.”

I’m not sure how long Touya has been in here, but this line indicates that the staff members have been talking to him and I’d be curious to know what those conversations were like. What did they talk about? What kind of attitude did he give them? What was his reaction when he first regained consciousness? These are the questions we want answered, but alas, the Todoroki family plot simply isn’t about him. All the way to the bitter end it shall remain focusing on the most underrepresented group of them all: rich middle-aged men.

「緩やかに死へと向かっている…それが今の轟燈矢です」

「緩やかに ; yuruyakani」-> slowly 「死 ; shi」-> death 「へと ; e to」-> towards 「向かっている ; mukatteiru」-> to face; to head toward 「れ ; sore」-> that 「が ; ga」-> subject marker particle 「今 ; ima」-> now; current 「の ; no」-> possessive particle; similar to an apostrophe 「轟燈矢 ; todoroki touya」-> Touya Todoroki 「です ; desu」-> to be

= “Slowly heading towards death… that is the current Touya Todoroki.”

The particle e is a directional particle that can be translated as “toward”. Adding the particle to after it adds an emotional emphasis to the part that follows the to particle as opposed to just stating a fact, there is sympathy in this claim.

As for the claim itself - I know that a lot of people are convinced he is going to die because look! Random nameless character #47AAB7 said so, it must be true! But to be honest, I’m not even going to entertain that thought because despite all the criticism I have for this story, Horikoshi isn’t that bad of a writer. If he had wanted Touya dead, he could’ve easily killed him at the end of the last war. It makes zero sense for him to be saved and then pass away quietly and peacefully in a hospital (or whatever that place is).

Even if we were to say that Shouto managed to save him emotionally, so that counts as a win! It’s kind of a shit win if the only difference is that you now get to die “at peace”, which also could’ve been accomplished on the battlefield. At this point, it’s just inefficient and therefore, him dying at this point is not going to happen.

「........ぞろぞろと」

「ぞろぞろ ; zorozoro」-> in droves; swarming 「と ; to」-> adds emphasis

= “....In droves”

Zorozoro is used to describe several beings (can be humans or animals) that appear or move together like a swarm. This certainly is the first time the entire family is together, so it’s not surprising the rare sight is being pointed out in a joking manner, although he undoubtedly means this in a positive way as it contradicts his prior belief of no one in his family caring about him or missing him.

The fact that, upon first waking up after his coma as a teenager his immediate thought was to return and apologize, and now after ten years he finally gets the chance to talk to them and what is the first thing coming out of his mouth? Calling them a swarm. Forever and always the most relatable character.

「ハハ…観光名所じゃねぇんだよ........」

「ハハ ; haha」-> haha 「観光名所 ; kankoumeisho」-> tourist attraction; sightseeing spot 「じゃねぇ ; janee」-> isn’t 「んだ ; nda」-> explanatory particle 「よ ; yo」-> emphasis particle

= “Haha… It’s not a tourist attraction, right?”

If he was a tourist attraction, Hori better drop the location right now. Please. For research purposes or whatever.

「燈矢」

「燈矢 ; touya」-> Touya

= “Touya.”

「今後の話をしに来たんだ燈矢」

「今後 ; kongo」-> from now on 「の ; no」-> possessive particle; similar to an apostrophe 「話 ; hanashi」-> talk, conversation 「を ; o」-> direct object marker 「しに来た ; shi ni kita」-> came to do sth 「んだ ; nda」-> explanatory particle 「燈矢 ; touya」-> Touya

= “I came to talk about the future, Touya.”

Kongo literally means “after now” or in other words, the future.

「俺はヒーローを引退するよ」

「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「ヒーロー ; hiirou」-> hero 「を ; o」-> direct object marker 「引退する ; intai suru」-> to retire 「よ ; yo」-> emphasis particle

= “I am retiring from being a Hero.”

He says as though he has a choice. This is also one of those “This could’ve been an email” kinds of lines.

「元より戦いが終わったらそうするつもりだったが 最早自力で立つことすらままならん」

「元より ; moto yori」-> all along; from the first 「戦い ; tatakai」-> war 「が ; ga」-> subject marker particle 「終わったら ; owattara」-> when it ended 「そう ; sou」-> so; that way 「する ; suru」-> to do 「つもり ; tsumori」-> to plan 「だった ; datta」-> was 「が ; ga」-> but 「最早 ; mohaya」-> already; no longer 「自力 ; jiriki」-> one’s own strength 「で ; de」-> with 「立つ ; tatsu」-> to stand 「こと ; koto 」-> nominalizes prior word/phrase 「すら ; sura」-> even 「ままならん ; mama naran」-> beyond one’s control; unable to do as one wishes

= “Since after the first war ended, I decided to do so, but I not I am not even able to stand on my own anymore.”

Mamanaru combines the words mama “as it is; as one likes” and naranai “to be unable to” to create a word that describes that something is beyond one’s control, one is unable to do as they wish or something is not going the way one wants it to. In other words, a great word to sum up Endeavor’s entire life story.

The way he continuously takes over conversations that are supposed to be about the entire family - aka his victims - and makes it about himself while pitying himself - in front of his victims - never fails to impress me. At least he is consistent I guess, but it would have been great to see him actually change in the end. Surely he is done, oh no, nevermind, he keeps talking- 

「ヒーローエンデヴァーは焼かれて死んだ

おまえの炎は誰よりも強かった」

「ヒーロー ; hiirou」-> hero 「エンデヴァー ; endevaa」-> Endeavo 「は ; wa」-> topic marker particle 「焼かれて ; yakarete」-> burned 「死んだ ; shinda」-> died 「おまえ ; omae」-> you 「の ; no」-> possessive particle; similar to an apostrophe 「炎 ; honoo」-> flame 「は ; wa」-> topic marker particle 「誰 ; dare」-> anyone 「よりも ; yorimo」-> more than 「強かった ; tsuyokatta」-> was strong

= “The hero Endeavor was burned and died. Your flames were stronger than anyone else’s.”

「そっか　ご愁傷様　事が済んでから諂うなよ…卑怯者…」

「そっか ; sokka」-> I see 「ご愁傷様 ; goshuushousama」-> my condolences 「事 ; koto」-> things; matter 「が ; ga」-> subject marker particle 「済んでから」-> after it ended (済む + てから) 「諂う ; hetsurau」-> to flatter; to suck up to; to carry favour 「な ; na」-> na (negative command form) 「よ ; yo」-> emphasis particle 「卑怯者 ; hikyoumono」-> coward

= “I see. My condolences. Don’t suck up to me after it’s over… coward…”

Here is my beef with the official translation: they keep making Touya say the most random words and phrases, but then don’t make him say “don’t curry favour”?? “Don’t be toady”?? “Don’t be toady, Todoroki” would go so hard… wait… you know what… Here’s a little extra from me to you:

Back to business:

「そうだな　燈矢は誰のことをよくわかってる　ずっと見てたんだもんな」

「そう ; sou」-> so; that way 「だ ; da」-> be 「な ; na」-> sentence ending particle; used to seek confirmation 「燈矢 ; touya」-> Touya 「は ; wa」-> topic marker particle 「誰 ; dare」-> anyone 「の ; no」-> possessive particle; similar to an apostrophe 「こと ; koto 」-> nominalizes prior word/phrase 「を ; o」-> direct object marker 「よく ; yoku」-> well 「わかってる ; wakatteru」-> to understand 「ずっと ; zutto」-> continuously 「見てた ; miteta」-> was watching 「んだ ; nda」-> explanatory particle 「もん ; mon」-> because; indicates reason 「な ; na」-> sentence ending particle; used to seek confirmation

= “That’s right, isn’t it. You know everyone so well. Because you have been watching continuously.”

「俺に見てほしかったんだもんな

なのに見なかった…」

「俺 ; ore」-> I  「に ; ni」-> at 「見てほしかった ; mitehoshikatta」-> wanted me to look 「んだ ; nda」-> explanatory particle 「もん ; mon」-> because; indicates reason 「な ; na」-> sentence ending particle; used to seek confirmation 「なのに ; nanoni」-> and yet; despite that 「見なかった ; minakatta」-> didn’t look

= “You wanted me to look, right? Despite that I didn’t look…”

If I didn’t know any better I would say this was a conversation with a toddler. I usually like to point out that Horikoshi really nails the sibling experience, but he is also, unfortunately, really good at accurately writing how privileged middle-aged men talk. A mangaka of many talents, but at what cost?

「俺はお父さんの子どもなんだから」

「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「お父さん ; otousan」-> dad 「の ; no」-> possessive particle; similar to an apostrophe 「子ども ; kodomo」-> child 「なんだ ; nanda」-> explanatory particle 「から ; kara」-> because; so

= “Because I am dad’s child.”

「おまえはエンデヴァーじゃない！！」

「おまえ ; omae」-> you 「は ; wa」-> topic marker particle 「エンデヴァー ; endevaa」-> Endeavor 「じゃない ; janai」-> isn’t

= ”You aren’t Endeavor!!”

Yes. That’s why we love him.

「誰が何と言おうと........　おまえの炎（ねつ）は俺のヘルフレイムだ

あの告発映像を毎日見続けている」

「誰 ; dare」-> someone 「が ; ga」-> subject marker particle 「何と ; nanto」-> what 「言うと ; iou to」-> to try to say 「おまえ ; omae」-> you 「の ; no」-> possessive particle; similar to an apostrophe 「炎 ; honoo」-> flames 「ねつ ; netsu」-> heat; rage; mania 「は ; wa」-> topic marker particle 「俺 ; ore」-> I  「の ; no」-> possessive particle; similar to an apostrophe 「ヘルフレイム ; herufureimu」-> Hell Flame 「だ ; da」-> be 「あの ; ano」-> that 「告発 ; kokuhatsu」-> complaint; prosecution 「映像 ; eizou」-> footage 「を ; o」-> direct object marker 「毎日 ; mainichi」-> every day 「見続けている ; mitsuzuketeiru」-> continue to watch

= “Whatever people try to say… Your flames (rage) are my Hellflame. I’ve continuously watched your prosecution video every day.”

This wouldn’t be a translation breakdown if we didn’t have a case of the furigana don’t match the kanji! Essentially what this means is that the furigana - written in brackets - show what the character says out loud, while the kanji shows what the character means. This time, when we get the kanji for flames in the second sentence, the furigana read netsu, which can meat “heat”, but also refer to “rage” or “mania” and since flames are hot, “heat” wouldn’t make it necessary to opt for a different reading, hence Endeavor is saying that the rage of Dabi was, in fact, Endeavor’s Hellflame.

「おどお゙さん見で」

「おどお゙さん ; odoosan」-> dad 「見で ; mide」-> look

= “Dad, look”

You might notice that the words are spelled differently from the normal otousan and mite. Softening the t sounds to a d sound highlights the difficulties he has speaking while being on fire. In addition to the softened t to d, the u also gets changed into an o with dakuten (the two lines on top), which only exist for the sounds that can become softer (t->d, h->b, k->g, s->j), which can’t be done to a vowel like o. In this case, the dakuten suggests that the o is said with emotion and somehow stands out from how it would be said normally.

「これからー」

「これから ; korekara」-> from now on

= “From now on-”

「毎日来る　話をしよう」

「毎日 ; mainichi」-> every day 「来る ; kuru 」-> to come 「話 ; hanashi」-> talk; conversation; chat 「を ; o」-> direct object marker 「しよう ; shiyou」-> let’s do/have

= “I will come every day. Let’s talk.”

「あまりに遅すぎたけれど話そう」

「あまりに; amari ni」-> too much; overly 「遅すぎた ; ososugita」-> was too late 「けれど ; keredo」-> however 「話そう ; hanasou」-> let’s talk

= “I was much too late, but let’s talk.”

Both amari ni and adding -sugiru to the stem of a verb can be translated as “too much” and in combination place an additional emphasis on the verb, in this case, being late, which could be referencing anything from the specific instances he showed up to too late (i.e. when Touya set himself on fire on Sekoto Peak) or in a more general sense him trying to show up as a father too late (the only example would be showing up in the hospital here and the fact he has retired and plans on protecting the family from facing any consequences for all of this, although even that is still more the bare minimum of making up for his mistakes rather than being a father but I doubt he understands the difference).

「心拍数上昇これ以上は負担が」

「心拍数 ; shinpakusuu」-> heart rate 「上昇 ; joushou」-> rising; ascending 「これ以上 ; kore ijou」 - > any more; any further; any longer 「は ; wa」-> topic marker particle 「負担 ; futan」-> burden, load 「が ; ga」-> subject marker particle

= “His heart rate is rising. Any more will (be) a burden.”

The ga would normally be followed by a verb (in this case most likely kakaru = to put), but is being omitted here as the meaning can be understood regardless.

「冷　夏雄　冬美　焦凍が…　残してくれた時間で話そう」

「冷 ; rei」-> Rei 「夏雄 ; natsuo」-> Natsuo 「冬美 ; fuyumi」-> Fuyumi 「焦凍 ; shouto」-> Shouto 「が ; ga」-> subject marker particle 「残してくれた」-> reserved for us (残す+くれる) 「時間 ; jikan」-> time 「で ; de」-> with 「話そう ; hanasou」-> let’s talk

= “Rei, Natsuo, Fuyum. Let’s talk with the time Shouto reserved for us.

Adding -tekureta after nokosu implies that someone did a favor for the speaker. Here, it means that Shouto reserved the time to talk to Touya for them.

「憎いなら…憎いと　なんでもいい　ぶつけてくれ…！」

「憎い ; nikui」-> hateful 「なら ; nara」-> if 「憎い ; nikui」-> hateful 「と ; to」-> speech particle 「なんでもいい ; nandemo ii」-> anything is fine; it doesn’t matter what 「ぶつけてくれ ; butsuketekure」-> throw it at me

= “If you hate me… hate me. Anything is fine, throw it at me…!!”

「燈矢兄私も…！」

「燈矢兄 ; touya nii」-> Touya-Nii 「私 ; watashi」-> I 「も ; mo」-> also; too

= “Touya-nii, me too…!”

「話したい事たくさんあるの」

「話したい ; hanashitai」-> want to talk 「事 ; koto」-> things 「たくさん ; takusan」-> a lot 「ある ; aru」-> to be 「の ; no」-> explanatory particle

= “There are a lot of things I want to talk about.”

This is about him getting piercings and dying his hair isn’t it. Maybe even taking off his shirt on live TV in front of the entire country. If only we could see that conversation…

「今日は止めにしましょう！！また明日にでも…」

「今日 ; kyou」-> today 「は ; wa」-> topic marker particle 「止めにしましょう , yame ni shimashou」-> let’s stop 「また ; mata」-> again 「明日 ; asu」-> tomorrow 「に ; ni」-> at 「でも ; demo」-> or something

= “Let’s stop for today!! (You can come back) tomorrow or something…”

「最後に一ついいですか　聞きたかったことあるんだ」

「最後 ; saigo」-> final 「に ; ni」-> at 「一つ ; hitotsu」-> one 「いい ; ii」-> good 「です ; desu」-> to be 「か ; ka」-> question marker particle 「聞きたかった」-> wanted to ask 「こと ; koto」-> thing 「ある ; aru」-> to be 「んだ ; nda」-> explanatory particle

= “Can I (ask) one last thing? Because there is one thing I wanted to ask.”

The first panel or first sentence ends in the polite form using desu ka as he is asking the employee for permission to ask one more question. The second panel or sentence, on the other hand, is casual as it ends in da, so without even waiting to receive an answer from the employee, he instantly goes to directly address Touya-nii for this extremely important question.

「燈矢兄　好きな食べ物何？」

「燈矢兄 ; touya nii」-> Touya-Nii 「好きな ; suki」-> to like 「食べ物 ; tabemono」-> food 「何 ; nani」-> what

= “Touya-nii. What’s your favorite food?”

Everybody liked that. It was really great when the spoilers came out and as soon as Shouto said he wanted to ask Touya something everyone instantly knew what the question was going to be. Also a lot of pressure for Touya. Wrong answer and his little brother can pull the plug. 

「......体力の限界ですね今日は眠らせてまた…」

「体力 ; tairyoku」-> stamina; endurance 「の ; no」-> possessive particle; similar to an apostrophe 「限界 ; genkai」-> limit 「です ; desu」-> to be 「ね ; ne」-> sentence ending particle; used to seek confirmation 「今日 ; kyou」-> today 「は ; wa」-> topic marker particle 「眠らせて ; nemurasete」-> to let someone sleep 「また ; mata」-> again

= “This is the limit, isn’t it. Let’s let him sleep again for today.”

「蕎麦」

「蕎麦 ; soba」-> soba

= “Soba.”

These lines are always my favorite to break down. It’s not easy translating such complex phrases so please recognize the years of studying it took to be able to perfectly translate this kind of high-level sentence. Thank you.

I can only imagine him going back to his classmates, looking at Bakugo and saying: “You were wrong. It’s soba.”

「おんなじだ」

「おんなじ ; onnaji」-> same 「だ ; da」-> be

= “It’s the same.”

Usually, the word same is written as 同じ and read as onaji. In itself, these two spellings have the same meaning, however, the more standard onaji would be used in the sense of something or a situation being exactly the same, for example attending the same school as someone or facing the same problem. Onnaji, on the other hand, indicates something has very similar properties and is used more in the sense of the same color, taste etc, which is why this spelling has a bit more emotion associated with it.

So Shouto is saying that it’s the same, but he says so with emotion. Rather than stating a fact, them having the same food holds meaning to him. 

「これ以上は平行線だ　交わるよ　無理にでも」

「これ以上 ; kore ijou」-> from here on; any further 「は ; wa」-> topic marker particle 「平行線 ; heikousen」-> remaining far apart; not reaching an agreement 「だ ; da」-> be 「交わる ; majiwaru」-> to cross; to mingle with 「よ ; yo」-> emphasis particle 「無理に ; muri ni」-> forcible; forced 「でも ; demo」-> even

= “From here on it’s parallel lines. I will cross, even if by force.”

「焦凍…　ごめんな…」

「焦凍 ; shouto」-> Shouto 「ごめん ; gomen」-> I‘m sorry 「な ; na」-> used to say something emotionally

= “Shouto… I’m sorry…”

If only… Shouto had heard this… and they could’ve talked about this… that would be crazy, right? No, why don’t we focus on the main character again, instead of getting a conversation the entire story has been building up to.

「俺はここまでだわ　悪いけど気持ち変わんない　俺はもう付き合わない」

「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「ここ ; koko」-> here 「まで ; made」-> until 「だ ; da」-> be 「わ ; wa」-> 「悪い ; warui」-> sorry 「けど ; kedo」-> but 「気持ち ; kimochi」-> feelings 「変わんない ; kawannai」-> unchanged 「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「もう ; mou」-> already 「付き合わない ; tsukiawanai」-> don’t associate with

= “For me it’s (ending) here. I’m sorry, but my feelings haven’t changed. I won’t associate with you anymore.”

The particle wa is used when reflecting one’s view toward a situation after coming to a conclusion. There is a nuance of confidently affirming the phrase or regretting the situation, depending on the tone, which we don’t have here, but this reads more as a confident statement than one of regret, although it might just be a little bit of both.

「ああ」

「ああ ; aa」-> Ah

= “Ah.”

「彼女と籍入れたい　式は挙げない紹介もしない」

「彼女 ; kanojo」-> girlfriend 「と ; to」-> with 「籍入れたい ; seki iretai」-> to get married; to want to have a name entered in the family register 「式 ; shiki」-> (wedding) ceremony 「は ; wa」-> topic marker particle 「挙げない ; agenai」-> to conduct 「紹介 ; shoukai」-> introduction 「も ; mo」-> also 「しない ; shinai」-> won’t do

= “I want to enter the family register with my girlfriend. We won’t conduct a ceremony and I also won’t introduce you.”

Normally, to talk about marriage or getting married you would use the word kekkon (suru). Here, Natsuo specifically uses the term “to enter in the family registry.” While these two words can be used to mean the same thing (= getting married), entering the family registry differs in that one person enters an already existing family registry rather than creating a new one upon marriage, which is why this can also be used for when a child gets adopted by a step-parent or if a child takes on their other parent’s last name after a divorce.

Again, this can just be treated as a synonym for getting married, but it might also be to emphasize this as an act of removing himself from his father rather than an act of love. It surely feels like an odd time to be thinking of marriage, with the current situation not having him in the right mental or emotional state for such a big step to be smart (he already did the whole “cutting my hair during a crisis” so he should follow that with dying his hair or something else that is going to affect his life less than marriage).

Let’s face it: had he said this while they were with Touya, his big bro’s heart monitor would have gone crazy before he would have broken out of that machine to talk some sense into his little brother.

Also, not to insult Natsuo because he is very sweet, but I just have to mention the irony of him getting married as a means to solve his issues when that was also his dad’s first step. It’s obviously different, but still worth pointing out.

「ああ…分かったな」

「ああ ; aa」-> Ah 「分かった ; wakatta」-> understood 「な ; na」-> sentence ending particle; used to seek confirmation

= “Ah, I get it.”

「姉ちゃんは？仕事やめたんだろ？」

「姉ちゃん ; neechan」-> big sister 「は ; wa」-> topic marker particle 「仕事 ; shigoto」-> job 「やめた ; yameta」-> to quit 「ん ; n」-> explanatory particle 「だろ ; daro」-> right

= “What about you, big sis? You left your job, right?”

I do like the symbolism of him standing in the middle of the street, ready to use the crosswalk, while the rest of the family remain on the side of the road, but I am also worried he is going to get hit by a car.

「うんでも　生徒のお母さんが新しい職場紹介してくれてねサポートしてくれるって」

「うん ; un」-> yeah 「でも ; demo」-> but 「生徒 ; seito」-> student 「の ; no」-> possessive particle; similar to an apostrophe 「お母さん ; okaasan」-> mom 「が ; ga」-> subject marker particle 「新しい ; atarashii」-> new 「職場 ; shokuba」-> workplace 「紹介してくれて ; shoukai shitekurete」-> introduced me (as a favor) 「ね ; ne」-> sentence ending particle; used to seek confirmation 「サポートしてくれる ; sapooto shitekureru」-> support (as a favor) 「って ; tte」-> quoting particle (casual of という)

= “Yeah, but the mom of a student introduced me to a new workplace. So she’s being supportive.”

Similar to before, the -tekurete suggests that this introduction as well as the support is seen as a favor.

「........正直責任は果たしたと思う　罰も受けたと思う…もういいんじゃねーの？」

「正直 ; shoujiki」-> honestly; frankly 「責任 ; sekinin」-> duty 「は ; wa」-> topic marker particle 「果たした ; hatashita」-> accomplished; carried out 「と思う ; to omou」-> to think 「罰 ; batsu」-> punishment 「も ; mo」-> too 「受けた ; uketa」-> received 「と思う ; to omou」-> to think 「もういい ; mou ii」-> that’s enough 「ん ; n」-> explanatory particle 「じゃねー ; janee」-> isn’t 「のか ; noka-> question marker particle seeking an explanation

= “Frankly, I think we’ve fulfilled our responsibilities. I think we already received our punishment. That’s enough, isn’t it?”

This line has gotten some negative attention as fan translations have this line directed toward Endeavor, whereas the official English translation has this line be directed toward the entire family. As you can see in the breakdown above, there is no explicit human subject in this sentence to clarify who is being addressed here, in addition to the fact that he has his back turned to us readers with no indication as to who he is looking at.

However, the last person he directly addressed was Fuyumi, who was also the one speaking right before this line. Furthermore, the next line is Endeavor saying that he will ensure to take the blame and whatnot from here on out so that they do not need to face any more consequences for this.

With that being said, to me this reads as him talking to the family, specifically as a response to Fuyumi suggesting that her former student’s mother introducing her to a new workplace and supporting her is somewhat of a favor. While we don’t know exactly why she left her job, there is still a suggestion that this situation has impacted her negatively and that people showing support is somehow worth noting. And yes, Japan has a culture of blaming the entire family when a family member commits a crime, however, Natsuo’s line then seems somewhat frustrated at this, feeling as though they all already faced consequences (like Fuyumi leaving her job), and that they shouldn’t have to face consequences for the rest of their lives, let alone feel overly grateful for any person that still treats them as individuals rather than an accomplice for something they had nothing to do with.

Overall, this line reads more like he wants them to be able to move past this, rather than have this now haunt them after they have already been struggling their whole lives by growing up in the Todoroki household.

「犯した罪の賠償と謝罪を一生をかけて続けていく

見ていなくていい子どもたち（おまえたち）に降りかかる火の粉をできる限り俺が受け止める　生き延びた意味があるとすればそれだけなんだ」

「犯した ; okashita」-> committed 「罪 ; tsumi」-> crime; sin 「の ; no」-> possessive particle; similar to an apostrophe 「賠償 ; baishou」-> compensation; reparations 「と ; to」-> with 「謝罪 ; shazai」-> apology 「を ; o」-> direct object marker 「一生 ; issho」-> whole life 「を ; o」-> direct object marker 「かけて ; kakete」-> make; put out 「続けていく ; tsuzuketeiku 」->to continue from now on (続ける+いく) 「見ていなくて ; mitenakute」-> not looking 「いい ; ii」-> good; okay 「子どもたち ; kodomotachi」-> children 「おまえたち ; omaetachi」-> you (plural) 「に ; ni」-> to 「降りかかる ; furikakaru」-> to happen; to befall 「火の粉 ; hi no ko」-> sparks 「を ; o」-> direct object marker 「できる ; dekiru」-> to be able to 「限り ; kagiri」-> limit; degree 「俺 ; ore」-> I  「が ; ga」-> subject marker particle 「受け止める ; uketomeru」-> to catch; to stop the blow 「生き延びた ; ikinobita」-> survived; lived long 「意味 ; imi」-> meaning 「が ; ga」-> subject marker particle 「ある ; aru」-> to exist 「とすれば ; to sureba」-> then; if so; if 「それだけ ; soredake」-> that much; to that extent; only that 「なんだ ; nanda」-> explanatory particle

= “From here on out I will continue to make reparations and apologize for my committed crimes for my whole life. I will catch as much of the sparks that fall on you kids who don’t have to watch. If there is any meaning in my survival, it is just that.”

Again, he says “you” but means “children”. The miteinakute ii is used to say that “it’s okay not to watch”, in other words he does not expect them to keep in touch with him or anything along those lines.

The -teiku after tsuzukeru is used to imply that something will continue from this moment forward. While he didn't make up for his mistakes, from now on he will.

「........地獄だぞ」

「地獄 ; jigoku」-> hell 「だ ; da」-> be 「ぞ ; zo」-> emphasizes the speaker’s will or opinion; can be inviting to the listener

= “........It’s hell.”

「ああダンスの誘いを受けたんでな」

「ああ ; aa」-> Ah 「ダンス ; dansu」-> dance 「の ; no」-> possessive particle; similar to an apostrophe 「誘い ; sasoi」-> invitation 「を ; o」-> direct object marker 「受けた ; uketa」-> to accept 「んでな ; ndena」-> explanatory particle

= “Ah, I did accept the dance invitation.”

「…初めてだよ　お父さんの事　かっこいいって思えたの」

「初めて ; hajimete」-> first time  「だ ; da」-> be 「よ ; yo」-> emphasis particle 「お父さん ; otousan」-> dad 「の ; no」-> possessive particle; similar to an apostrophe 「事 ; koto」-> nominalizes prior word/phrase 「かっこいい ; kakkoii」-> cool 「って思えた ; tte omoeta」-> to seem; to appear 「の ; no」-> explanatory particle

= “It was the first time that you seemed cool.”

 Natsuo has called Endeavor by many (disrespectful) names. This is the first time he calls him by the standard/polite term for father. This is not to say that he likes him now. With the whole marriage talk in mind, this feels more like him letting go of his feelings for a second to make a somewhat neutral statement. Neutral in the sense of being able to recognize and view something his dad has done in a positive light rather than letting his feelings completely take over his judgment.

「焦凍は？学校戻るんだろ？」

「焦凍 ; shouto」-> Shouto 「は ; wa」-> topic marker particle 「学校 ; gakkou」-> school 「戻る ; modoru」-> to return to 「ん ; n」-> explanatory particle 「だろ ; daro」-> I think; right?

= “What about you, Shouto? You’re returning to school, right?”

「うん」

「うん ; un」-> yeah

= “Yeah.” 

「乗ってけよ姉ちゃんも」　

「乗ってけ ; notteke」-> I’ll give you a ride 「よ ; yo」-> emphasis particle 「姉ちゃん ; neechan」-> big sis  「も ; mo」-> also; too

= “I’ll give you a ride. Nee-chan, too.”

「ありがとう」

「ありがとう ; arigatou」-> thanks

= “Thanks.”

「親父　お母さん　俺にはA組（みんな）いるから大丈夫だよ！　俺は自分でなりてえようになれるから！」

「親父 ; oyaji」-> dad 「お母さん ; okaasan」-> mom 「俺 ; ore」-> I  「には ; niwa」-> as for 「A組 ; e gumi」-> class A  「みんな ; minna」-> everyone  「いる ; iru」-> to be  「から ; kara」-> therefore  「大丈夫 ; daijoubu」-> alright  「だ ; da」-> be 「よ ; yo」-> emphasis particle 「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「自分 ; jibun」-> myself  「で ; de」-> with 「なりてえ ; naritee」-> want to become (casual of naritai)  「ようになれる ; you ni nareru」-> to reach the point where; to come to; to begin to 「から ; kara」-> because; so

= “Dad, mom. I’ll be okay because of Class A (everyone). I can reach the point of being what I want to be!”

Just like before we get furigana that differ from the kanji. Shouto says that he will be alright because everyone is there, but he specifically means Class A when he says that.

「地獄でも」

「地獄 ; jigoku」-> hell  「でも ; demo」-> even though

= “Even though it’s hell.”

「おーう早かったな！！大丈夫だったかあ！��」

「おーう ; ou」-> Ooh 「早かった ; hayakatta」-> early 「な ; na」-> sentence ending particle; used to seek confirmation 「大丈夫 ; daijoubu」-> alright 「だった ; datta」-> was 「かあ ; kaa」-> question marker particle

= “Oh, you’re early! Was it alright!?”

「おなかすいた」

「おなかすいた ; onaka suita」-> I’m starving

= “I’m starving.”

「見てる人がいる」

「見てる ; miteru」-> looking 「人 ; hito」-> person 「が ; ga」-> subject marker particle 「いる ; iru」-> to be

= “There is someone who is watching.”

Me. I’m the one watching. But at what cost? The family’s two most used words have got to be “hell” and “to look” . Someone please teach them some more words.

That concludes the Todoroki family interaction in this chapter and supposedly for the story (everyone disliked that). Personally, this does not read as a conclusion so I am going to just treat this as the beginning of the conclusion, instead. And perhaps the final in the sense of the whole family not getting together anymore because Natsuo isn’t going to be around Endeavor anymore.

Personally, my biggest issue with this chapter is the fact that while it’s called final and set up as though the family and we finally get closure by everyone reuniting with Touya, it’s just another episode of self-pitying with a grown-ass man that has still not changed or understood anything despite everything. Yes, he finally managed to talk to Touya, to apologize and acknowledge both Touya’s pain as well as his own accountability in the entire affair. However, the rest of the family could have been left out of this chapter entirely since they said nothing other than “we have lots to talk about” which is obviously a beginning, but I’m sure we all have been waiting patiently to get an actual conversation not just hear them say that they want to talk at a later point, which we then won't ever get to see.

The soba part is amazing, of course, but it could and should have played a bigger role in this chapter.

People have been expressing various opinions in regards to the family’s current situation and their future, though - again - it would be great to see more of that because this chapter only briefly touched on various interesting points and then didn’t explore these points more because if there is one thing this world needs more is privileged people whining about how hard their life is and the many sacrifices they have had to make (= barely facing consequences).

That being said, we’ll see what the final 4 chapters will offer and whether we will see the Todoroki family make another appearance.

And no, Touya won’t die.

[muka-blog8]

⭐️Resume posts⭐️

※Please click likes,coz I‘d like to recognize how many people want to look at my post even now!!!

It has been a while!

(久しぶり！）

How are you everyone?

(皆さん元気にしてますか？)

I apologize for not being able to post for a while

,because I have been super busy for a work…

(仕事が忙しく、しばらく投稿ができずごめんなさい…)

I am resuming posts from today!

(今日から投稿を再開するよ！)

You are interested in casual Japanese phrase?

(カジュアルな日本語について興味ある？)

Let me know If you have questions and impressions about my blog and Japanese phrase you want to know anytime!

(投稿に関する感想や質問、希望があればいつでも聞いてね！)

I am going to reply it absolutely!

(絶対に返信するから！)

[a-land-lacking-sleep]

A brief thought on the parallels of the Subway Bosses, The Tao Trio, and Warden Ingo's place

@waywardstation just made an amazing post on her thoughts of Warden Ingo's parallels to Kyurem. Nothing in the game directly connects the two, just like nothing in the game connects the Subway Bosses to the Dragons in Generation V. But the connections are still there regardless, because Game Freak made sure to fill Unova with so much symbolism.

These are the basic thoughts that connect each Man to their Dragon.

Subway Boss Ingo - Ideals; Aspire to greatness, never give up in your journey

Subway Boss Emmet - Truth; You are who you are, there is no need for a mask

Warden Ingo - Void; What is there when you lose who you are? No drive for greatness, nothing to mask. Ideals, Truths, nothing matters except the ground beneath your feet.

In each game that they appear, Ingo and Emmet are relatively flat characters. In Gen 5, they have enough personality to stick in your mind, and nothing past. And in PLA, Ingo's whole personality is "I lost my memory and am depressed, but have hope". Instead, we end up looking at word choice, and in the Subway Bosses cases, other media.

Subway Boss Ingo, across most media, embodies Ideals. He has his eyes to the future, always pushing himself and others to continue onwards. He frames battling and training as a journey ("What can I see after winning, winning, and winning? Where is my destination?"; "Your talent has brought you to the destination called Victory!"; "There is no terminal called End in your life!"), most often when he is victorious. He seeks to create his Ideal self, and wants to push others to do the same.

This comes up in Pokemon Masters EX as well, where the "no terminal" line returns (in an appropriately spooky tone), he also spends time in the Day With Ingo story event talking about how he seeks to better himself and "break through the mold of [his] past self". This event is also the first time he mentions the phrase "greater heights", which appears another 6 times in various snippets in Masters. And finally, we have a triple whammy of travel metaphors for growth in his level up lines.

For Subway Boss Emmet, his connection to Truth is admittedly a bit more tenuous. He doesn't have any tendency for truth-seeking or investigations (outside of the famous behavior in the manga where he likes to eavesdrop on drama, which gossip isn't exactly truthful), but what he has is a strong showing of being truthful, even if he ends up being blunt or disrespectful.

As a consequence of his writing in Japanese giving him a very casual way of speaking, the English translation has him speak in shorter clips, just the bare essentials. The naked truths of his thoughts. He doesn't seek the Truth, or give a Universal Truth; Emmet is True to himself and to those around him. (As a side note, I love when people give power to other usages of the word True through Reshiram. I did it in my fic with a turn of phrase, but I've seen it done beautifully in other works too).

In Pokemon Special, Emmet doesn't hide the truth of why they asked White to train on the Battle Subway ("We're studying you as an example of a Trainer who gets overwhelmed and loses every battle!" "That's not nice, Emmet."), not because he is intending to be rude (Ok, a little bit), but because that *is* what they are using her for. In the games, he speaks of how Pokemon battles can be decided on luck ("I won against you. But I think I just got lucky."), because the Truth of the matter is, you can be highly trained and just have a bad day or get hit by a critical hit. But, most importantly, he believes that battles must be serious for them to be fun. Because what fun is there in putting up a fake fight, when you could just be True to yourself?

Now, to speak on the connection of Warden Ingo to Kyurem, we must first understand what Kyurem is to Zekrom and Reshiram. On a surface level, it is a Husk, a leftover revenant that can be reassembled into a simulacrum of the Original being. But looking into the actual symbolism of them all is where you find threads of connection to the Warden.

Reshiram, the Dragon of Yin, is representative of a more static element, receptive of change but passive in how it does so. It is a recursive existence that reaches out and pulls back towards itself - Everyone has an individual Truth, but that is still able to be changed by The Truth. However, one does not go out and change The Truth, only altering the perception of it while it passively exists. You cannot change what is already there, only create something new. In comparison, Emmet is never really shown to focus on the future, but rather on the present. He knows of the Truth in his life, and while it can be changed by present actions, he knows that he cannot go back to change it, so there is no need to try, or to hide it.

Zekrom, the Dragon of Yang, is active, ever expanding, and pushes up against those around it in it's search for Ideals. Ideals cause you to seek out a goal, to leave your home, your comfort zone, and push away from the past. To represent Ideals is to be in constant flux; Settling into a form makes you into a Truth, as an Ideal is a goal, something attainable, yet unreachable. We've gone over Ingo's future-forward gaze, constantly thinking about what is to come. Life is a journey, and every step you take in life is a step to self-improvement.

Kyurem is a Husk, a Shell. According to Bulbapedia, it is representative of Wuji ("Without a roof"), the absense of Yin and Yang, or "The Ultimate Nothingness". For this reason, I personally also attribute to it Mu, a concept of non-existence and negative space, specifically the lack of something normally there (modern Japanese actually uses "mu-" as a prefix the same way English has the suffix "-less"). Interestingly, the Japanese transliteration of Wuji is "Mukyoku" (lit. Non-polar, another translation of Wuji), connecting the two concepts neatly. In short, Kyurem represents Nothing and Everything.

Kyurem was supposedly the Original Dragon, the deity of Unova that represented Truths and Ideals in unison, a embodiment of Yin and Yang's harmony. In a sense, the Original Dragon was an embodiment of Everything, Unova's spirit of unity. Then, with the war between the Twin Princes (another pair also frequently compared to Ingo and Emmet, in case you think I forgot my boys), it was split into 2, but secretly 3, parts. This third secret part became Kyurem, a being lacking in its original qualities, leaving Nothing but the Husk.

Now, finally, we can get to everyone's favorite uncle, Warden Ingo. His connection to Kyurem is probably the least intentional of them all (which is saying something, because I'm honestly convinced that the Subway Bosses' own connections aren't intentional, but rather just a result of how Unova games were written with Truth vs. Ideal being ingrained heavily), but there still is one. As Wayward says in her fateful post, "Warden Ingo is an empty husk of who he once was ever since he was separated from his life, and from Emmet." Ingo as the Subway Boss may not have embodies the Everything that the Original Dragon has, but pairing with Emmet so closely still meant that Truth and Ideals mixed so cleanly that it might as well have been Everything.

However, the most important connection for Warden Ingo are the concepts of Wuji and Mu. To be "the Ultimate Nothingness" or "Non-Polar" means to be devoid of Everything, yet still have the capability to be far more than Nothing. The singular concept of Mu may mean that Warden Ingo is missing who he is and was, but that is not who we grow know in the game; We connect with a man who is slowly piecing together his sense of self, remembering facets of his past and growing happier with who he can be. Thus, the Mu transitions into Wuji, a void that isn't Empty so much as lacking.

The importance of distinction is that Mu is by nature Empty, while Wuji is Empty and Everything, limitless and confined. Similarly, Ingo is devoid of what made him him (His drive for self-improvement is impaired, even while he pushes the player to climb to greater heights), but becomes something new in the meta-narrative of the story. His actual, plot-related story ends when you quell Electrode and he becomes a challengeable NPC at the Training Grounds, but he becomes something of a kindred spirit in the greater plot of the game. He's like you, a Faller who has lost themselves, and also like you, an avid battler who pushes the system to it's limits (especially in the Path of Solitude).

In short, the connection between Kyurem and Warden Ingo isn't anything in the text, as Kyurem has no explicit in-game theming attached to it like Zekrom and Reshiram, and Warden Ingo doesn't have strong philosophical points that seeps out of the words he says to you. But when you look at the meta-theming for Kyurem, and subsequently Warden Ingo's meta-narrative, the connections become clearer.

Does some of this make no sense? Of course! A lot of this is extrapolating what was said in Wayward's post, and what came from my head as I thought of it. A lot of the connections of the twins to the Dragons has been discussed since 2010, but for all intents and purposes, Warden Ingo is a different character from Subway Boss Ingo. Narratively, he is the same person, hence why his appearance is a tragedy in Legends Arceus, one which we never get to solve. But on a meta level, he functions so differently, and lives so differently, that the themes he inhabits do not match up to the Subway Boss in any way. To end this on a sad note, Warden Ingo is exactly like Kyurem - Broken. He has lost what made him whole, and we've been shown that just reinserting Ideals isn't enough. Hopefully, if Game Freak decides to touch upon the Warden once more, we can find a way to reinsert his Truths as well.

[yuurei20]

I've got a question if you wouldn't mind answering!

I saw that the voice actor for Grim commented that Grim always ends his phrases with the word "zo", I was wondering if it had any meaning? Or if maybe it's just something to make his character more unique? Similarly, I've noticed Ruggie tend to use a lot of "su" at the end of his phrases, and I was wondering the same thing, if it had any meaning at all or if it's just supposed to be a character quirk!

Ty for your hard work and don't feel pressured to answer this if you don't want to! 🫶🏻

Hello hello! Thank you very much, you are so kind! ^^

Yes yes, Grim's Sugiyama comments on how difficult Grim's "zo" was for him in his interview (published in vol. 1 of the fanbook).

"Zo" can have a meaning of its own (I liked this explanation on jlptsensei.com, for those who may be curious), but it is generally not used in the way that Grim is using it 🐱 He adds it just to everything!

And verbal ticks like this come up a lot in all kinds of Japanese-language media! Videos games, manga, anime, TV dramas, comedians, etc.

Ruggie's "su" is also kind of a verbal tic, and also has its own meaning:

Discussed in more detail in another post (ref: Idia's "degozaru"), the Japanese language has the word "desu," which has different forms depending on how polite you want to be!

Grim and Jade use the word in two of its more normal (least slang-like) ways, casual for Grim (da) and more polite for Jade (desu).

Ruggie is also using it in a casual way, dropping the "de" part and only using the "su," but it all means the same thing ^^

A verbal tic is even the catalyst of Spectral Soiree!

While not as often as Grim, Malleus is also known to end his sentences in "zo."

He keeps this speaking pattern even during Spectral Soiree, when he is pretending to be possessed by the ghost of an emperor.

But he then slips mid-conversation, saying "zo yo."

Leona noticing this inconsistency starts a domino effect that ultimately compromises Malleus' charade, leading to Malleus' confession (more here).

So verbal tics can be very important! ^^

Crowley's "since I am kind" might also be considered a verbal tic, as it is generally repeated in the exact same way throughout the original game (original-game-to-EN comparison here!).

I think I will add a deep dive into the various speech patterns there are to my TODO list because this post keeps getting longer ww But here are a few pick-ups for right now:

・Idia's use of "degozaru," "-shi," otaku-/net-slang and his stutter are unique to his character.

・Ace will often say "papatto," for getting something done quickly.

・Epel has many things going on with his various forms of speech, and his "kana" might count as a verbal tic?

・Vil will often say "choudai" (apologies for the twitter link)

・Lilia will often use the adjective "rippa," which is similar to admirable/splendid/impressive/respectable/etc. in English!

・Riddle will often end questions with "dai"

・A line that Riddle also says before battles, Riddle will often say "ii dokyo ga oari dane," which is something like "to have some nerve." Other characters will say variations on "ii dokyo" (usually Vil and Leona), but this full phrase is unique to Riddle.

・Riddle will also often say "owakari dane," usually to mean "You understand?," as in, "if you don't do as I say, you understand what is going to happen to you, yes?" (re: he is going to behead someone).

・Maybe my favorite, Rollo will often end his sentences with "kane."

In the way Rollo is using it, it is just another verbal tic, but then there is the Bell of Salvation from the event or 救いの鐘 in Japanese:

Sukui no Kane. "Kane" means bell!

Rollo is ending so many of his sentences with the word "bell" ^^ It is wordplay!

Language is personalized to each and every character in the game, to the point that most of the time (on JP) you can tell which character is speaking before they even enter the room based upon verbal tics and honorifics ^^ It is all very interesting, but unfortunately all very impossible to put across on EN!

[pikahlua]

I have literal zero horse in this race so good faith question: does "koi" (come) sometimes have the same potentially negative connotation as "come on/come here"? while you occasionally hear adventure-y protagonists say "come on" in an excited "come join me/let's go!" kind of way, the only way I've ever heard it used irl is in annoyance, like "come onnnn [implied hurry up], or a curt "c'mon let's go." as someone with limited Japanese skill and who knows Bakugou usually takes the shortest way to say stuff, the only thing that bothers me about the translation is the excessive ellipses the localization team uses in general—though here it feels like maybe it's meant to soften the negative implication mentioned above? also Bakugou being Bakugou him not saying hurry up or saying let's go actually feels like it's prioritizing Deku as an equal and a natural place to end. like there's no more doubt, it's just a direct statement to come join him/everyone because Deku deserves this.

MY WISH CAME TRUUUEEEE

(I know you're not the same anon though, and you are far more polite about it ❤️)

Gosh you've given me so much to respond to as well. Gonna break it down for you.

1. Potential negative connotations in "koi"?

Technically, yes, the word "koi" in Japanese does have negative connotations! That's because the verb is conjugated into imperative form, which is also known as "command form." Commands in Japanese are considered to be rude. It's about more than just a casual way of speaking--telling someone to do something is considered outright rude. The more polite way to phrase this word would be in request form as "kite."

But it's Katsuki. EVERYTHING he says is in the rudest form possible. That context is super important. It's why all his classmates have to warm up to him for talking like a wannabe yakuza all the time, even to older people. At some point, they all just accept Katsuki talks like this regardless of what he ACTUALLY thinks about the people around him. And to be clear, this applies to more people than just Katsuki. It's one way socially-equal guys talk to each other in Japanese. The casual/rudeness can easily be heard as dude-speak too (I'll address this more in a moment). So the fact that Katsuki is the one saying this otherwise rude word doesn't come across as actually malicious but rather as just familiar and casual and masculine.

To further elaborate, this "koi" Katsuki speaks is meant to show a change between him at the end compared with back in the summer camp arc. The "Stay back, Deku" he says before he disappears in Kurogiri's portal is ALSO spoken in command form as "kunna Deku." ("Kunna" is actually a contraction of "kuruna" btw.) It's command form of the exact same verb "kuru (to come)" but also in NEGATIVE form. The literal translation of what he says there is "Don't come, Deku," compared with at the very end where he says "Come, Deku." Now obviously those phrases just sound WEIRD in English, so of course the translators had to localize them a bit to make them sound like something an English-speaking teenager would actually say, hence we get "Stay back," and "C'mon."

And to round it all off, I'll address the dude-speak part now. Katsuki isn't the only character who says "koi," so we actually can see how consistent the translator was with this word for an entirely different character!

The dudest of the bros, KIRISHIMAAAAAAAA!

And yes, Katsuki reaching out for Izuku and saying the exact same thing Kirishima said is absolutely a parallel, and it's the most-obviously-on-purpose parallel Horikoshi ever drew.

2. Potential neutral connotations in "c'mon"?

Now, one may argue "Wait, it's not a consistent translation! Because 'come on' is not the same as 'c'mon'!"

To which I say, "Your regionalism is showing."

Anon, I'm gonna be real, I have a real hard time believing you have only ever heard "c'mon" spoken in an annoyed or curt way. I absolutely believe that's the way you hear it the most often, but I have a hard time not believing you've heard it in other contexts but your brain just interpreted those moments for you as "come on" despite the speaker using the contraction.

But! Because I truly believe that's what you do in your head without realizing it (our brains are fantastic at quickly correcting other people's mistakes in pronunciation and grammar that don't match our internal models of our fluent languages), I'm not mad at you or anything. I just want to bring it to your attention that either that's the case or else you live in a particular region where no one uses the word "c'mon" in other contexts. But this is such a silly specific thing to hold the translator to (and you clearly don't, so kudos to you). And even if "c'mon" is ONLY spoken in an annoyed fashion, well, @bakuhatsufallinlove says it best:

even if c'mon could sound annoyed......... it's kacchan........... his love language is gremlin fury he's a tsundere....... "C'MON DAMMIT" he yells flustered and embarrassed about how bad he wants to hold hands

It's still in-character for Katsuki to say something affectionate in such a rude manner! We just established this above! If anything, it's consistent for the translator to have contracted the word to "c'mon" because that's what they do to translate Katsuki ALL OVER THE PLACE in the story.

But if it matters to you, no, I do not read the word "c'mon" in an annoyed or curt manner. I read it as fairly neutral if a bit casual.

3. Ellipses

I'm not mad at you or making fun of you when I say this, but I just have to say it.

watch them come back at you and be like "IT WAS THE ELLIPSES I WAS TALKING ABOUT" XD

I JUST HAVE TO SAY I CALLED IT!

Really, I'm serious, I am NOT making fun of you. The reason I suspected this would be some people's major gripe is actually quite fascinating. Younger generations have come to see the ellipses in casual conversation as rude or sarcastic:

For many older adults, using several dots between sentences acts as a natural break or a means to distinguish different ideas. In contrast, younger generations often perceive this habit as puzzling, finding it confusing or even off-putting. "It drives me up a wall," remarked one Gen Z user, echoing a sentiment shared by many who encounter this texting style.

No, I'm not about to say MHA was translated by Baby Boomers. I'm laughing because I too am of a young enough generation to see the ellipsis as awkward in a casual text-based conversation. It has a certain "tone" to me. But it's funny because there's something else going on here with MHA entirely.

This isn't casual text-based conversation. This is formal publication.

The ellipsis has an ENTIRELY DIFFERENT meaning in formal publication. The ellipsis used here in chapter 430 of MHA is about formatting consistency. Somehow, the people who complain about the ellipses in Katsuki's final line fail to see that the ellipses ARE USED FUCKING EVERYWHERE IN MHA. LIKE IT'S A FUCKING INFESTATION OF ELLIPSES.

Do you know how many ellipses are present in the translation of MHA chapter 430? 75, and only 8 of which are actual ellipses considered "spoken" by a character. The rest?

They're bridges connecting sentences spoken across multiple speech bubbles.

Hell, on the same damn page as Katsuki's "C'mon, Deku," ALL MIGHT DOES THE SAME THING!

This is not meant to be read as "You've also... ...earned this power fair and square!!" You're meant to ignore the ellipses. All they tell you is that this is a single sentence broken up into pieces on the page. It's the SAME for Katsuki's line! For the purposes of reading Katsuki's final line, those ellipses are effectively not there. They're bridges for the visual m-dashes or commas that the multiple speech bubbles might represent.

So don't knock the translator for consistently following a standard formatting convention. That's, like, his actual job lol.

[psink]

Gothic - Rifuta Imu 2/2

[part 1]

Rifuta Imu: The elegantly embroidered lace, the black pannier that highlights her slender legs, and punkish leather accessories that aren't too harsh.

Rifuta Imu: Sigh~...Love...Is this love?

Saiki Kusuo: I don't know.

Rifuta Imu: This is partially your fault Saiki-senpai, you know?

Saiki Kusuo: Huh?

Rifuta Imu: Kokomi-senpai isn't paying attention to me at all and it's making me want to pursue her a little...

Rifuta Imu: It's all because of this painful love triangle situation!

Saiki Kusuo: That's why I don't know.

Rifuta Imu: If you feel responsible, please introduce me to a wonderful guy.

Rifuta Imu: Introduce me to a super wonderful handsome guy who can erase Kokomi-senpai from my heart! Rifuta Imu: Someone kind, dependable, who will forgive a little selfishness, a super wonderful guy with great generosity...

Saiki Kusuo: I know just the right one.

Takahashi: What...You've got something to say to me...Eh!? You!? W-W-What is it!?

Rifuta Imu: Urghh, heeeey! Are you blind!? A handsome guy! Ha-nd-so-me!!

Rifuta Imu: Were you listening!? Please search seriously!!

Rifuta Imu: Not a gloomy mob character who's like someone you can find anywhere!

Saiki Kusuo: That's rude. Everyone loves Takahashi-san.

Rifuta Imu: is that okay!?

Rifuta Imu: Someone strong in fights, dependable, with a manly style.

Rifuta Imu: With a face a little on the wide side, like with a half-Japanese look.

Rifuta Imu: But his personality is super kind. In time of crisis, he'd protect me first.

Rifuta Imu: With a sexy duck face and a hairstyle that's not too long, not too short, styled in a trendy, loose and fluffy perm that lets you play with the hair ends.

Takahashi: ......

Rifuta Imu: That's not it!! Seriously, that's wrong!! That's not loose and fluffy, it's broccoli head! That isn't a duck mouth, it's a lip monster!!

Rifuta Imu: Geez...Saiki-senpai, you've got 0% sense.

Saiki Kuusuke: Hey, looks like you're having fun.

Saiki Kusuo: What are you doing, idiot big brother?

Rifuta Imu: Huh....Oh...Big brother!? (I knew it! A once-in-a-lifetime handsome guy has appeared!!)

Saiki Kusuo: Don't just casually show up. Now things are even more complicated. Make a U-turn and leave immediately.

Saiki Kuusuke: It's rare to see you in a place like this, Kusuo~ Did something fun happen?

Saiki Kusuo: No, nothing. You should go enjoy a tea party with this goth girl in the English garden. Saiki Kusuo: I'll be over there eating super sweet sweets, and playing some VR fighting game in my room...

Saiki Kuusuke: That's not happening. Anyway, this bitch probably made unreasonable demands to introduce her to a handsome guy, so you're planning to set me up, right♪?

Saiki Kusuo: That phrasing.

Saiki Kuusuke: That aside, Kusuo...How about a competition with me in that huge English garden maze over there?

Saiki Kusuo: I refuse. Saiki Kusuo: When I'm around you, nothing good ever comes of it. So could you move away a bit? Or rather, just disappear.

Saiki Kuusuke: Don't say such things~ I've hidden a king macaron in that garden maze, let's go♪

Saiki Kusuo: I can clear a huge maze in seconds. Saiki Kusuo: You're inviting me despite knowing that, right?

Saiki Kuusuke: Just once in your life, try believing in your kind older brother♪

Saiki Kusuo: How many lives do you think you have...

Rifuta Imu: Wha...What was that... So he's just a psychopath brocon with deceptive appearance, huh?

Rifuta Imu: I just... It's just that I thought he looked a little cool.

Rifuta Imu: I have Kokomi-senpai! Kokomi-senpai~~~~♪♪

END

[alexa-fika]

Yo! Love your work dude! It's actually awesome and so creative!! 😭😭 and i would love to see how mihawk punishes his kid, I have an slight idea like training with wooden swords but would love to see it in detail! Anyways your officially one of my favorite humans beings to have ever existed! ❤❤

Repercussion Stance (Mihawk x male!child!reader)

A/n THANK YOU SO MUCH FOR YOUR KIND WORDS, now I feel bad cause this is kind of a flop…im sorry but thank you so much for your kind words, they mean a lot

Reader here is replaced by Dokucha which means Reader in japanese

Dividers by @/saradika

Update: @iloveanimenamiismyfav I forgot I had already done one, that was actually a COOK

“Dad, my hands hurt. Can I stop now?” The boy asked, putting the wooden sword down, heavy breaths escaping him as the straw dummy before them fell apart at the continuous strikes

Not far from him sat Mihawk, casually reading the newspaper and, without looking up from it, simply stated

“No”

“But look, the dummy is all but gone now!”

“I do not care how much of it is left; you will continue until I say that you can stop,” he said bluntly, not glancing up from his newspaper

“Then what am I supposed to strike then?!”

“You can strike the air. I do not care, and watch your tone, boy,” he said, his tone showing slight irritation

“Ugh, this is so fucking stupid!”

He glanced up at the boy in irritation and glared.

“Are you done with that phrase?” he asked sternly, still not standing up from his chair

“Give me two laps”

“What?!”

“You heard me; two laps now

One running, one flying.”

“Bu-

“Four.”

“I'm going!” He exclaimed, beginning to run towards the castle

He roughly landed back where he started panting heavily

“Four laps,” He confirmed

“Keep striking the dummy.”

“Are you ser-ah?” His outburst is quickly silenced by a simple glance of his father’s glaring eyes

“Okay…” He said, walking towards the dummy and, grabbing the sword, and beginning to strike the dummy

“Dokucha” He called

“Hah?” He said, panting, looking his father’s way

“Come here,” he said, looking at him

He dropped their sword quickly, making his way over to him, sitting crisscross-apple sauce in front of him, trying to avoid his heavy stare

He remains quiet for a moment, his stare still as heavy and intense as it was when he first called dokucha over, before finally speaking up again

“Why did you curse at me?”

“I just got mad…”

“So that means it was okay to curse at me?”

“No. It wasn’t, I'm sorry.”

He just nods at this, his expression softening a bit as the intensity of his gaze falters.

“Don’t do it again, understand?”

“I won’t, Dad, promise.”

“Good,” he states simply, smiling towards them before patting them on the head gently.

“Your stance is getting a better; good job.”

How can I improve guys?

Taglist:

@imaginarydreams

@amethystviolin

@h0n3y-l3m0n05

[ilcantodelsoleil]

what's always been so interesting to me just from a linguistic standpoint about satosugu is the cultural idiosyncrasies of the japanese used for them. if you don't know it you can't understand the depths of their relationship. in ao no sumika for example, where the 恋 (koi) kanji– one generally associated with youthful, naive and fleeting yet EXPLICITLY ROMANTIC love as opposed to being in a married, committed, deeply loving relationship as in 愛 (ai)– is used. the title itself, "where our blue is" is another direct reference to their 青い春 (aoi haru) or "blue spring," a period of adolescent passion typically depicting having your first love. it shares characters with 青春 (seishun) or "spring time of youth," the happiest time of one's life that has youthful connotations but can occur at any time. and all of these writing choices were PURPOSEFUL??

also the betta fish above.. if u don't know The Lore two males cannot be in the same tank without fighting each other to the death. this isn't a new revelation but the symbolism in jjk especially linguistically floors me every time because japanese, mirroring the culture itself, is such a subtle, beautifully symbolic language which turns expressions of concepts like love into poetry. a lot of things get "lost in translation" as japanese is, again, extremely nuanced, but if you ever have doubts about how satosugu felt for each other remember that there are three main phrases used to convey love (大好き (the most casual dependent on context)、恋してる and 愛してる) and the one used to describe them is solely romantic and its connotation directly relates to their youthful naivete.