#her first name references the word for sense which is 感覚 | Explore Tumblr posts and blogs

gyakutengagotoku · 4 years ago

Text

GS4 vs AJ:AA - Episode 1, Part 1

Look, guys! I’m being productive again! Hooray, it feels exhausting just as I remember it did!

As done before, every post I make will contain differences between the source Japanese and localized English versions of the same game, as well as further details about them, up to the following “To be continued...” screens and eventually the ending credits. As always, there are so many ways the localization can dress up certain lines in the original script to make them into jokes or at least more colorful, so I’m not going to pick out every one. It would take us an eternity longer than my hiatuses to finish otherwise.

To think it took a freakin’ indie game that's like Mafia but with astronauts and tasks to bring me back to the Ace Attorney community and back to my blog’s roots. Is this what they mean by “Circle of Life”? All I know is that I’m constantly running around in circles, both metaphorically and literally.

> Court Lobby

<Kristoph> やれやれ。ずいぶんカタくなってるみたいだね。 You look tense, Justice. Wound up tight.

<Apollo> そ。そんなコトないです！カンゼンに大丈夫ですから、オレ！ W-Wound up, sir? No! I'm loose! I'm fine!

<Kristoph> 声がウラ返ってるよ‥‥ まあ。ムリもないかな。 That screeching noise... Is that your voice? I suppose it's to be expected...

初めての法廷が、殺人事件とは。まさしく“オドロキ”ってヤツだね。 Your first trial, and it's a homicide. I guess "Justice" doesn't start small, eh?

Enter Apollo's signature "I'm fine!" catchphrase, or as it's originally known, "Daijobu desu!"

In the third box, "ウラ返ってる" from 裏返る (uragaeru) in this context is translated fairly, though it specifically refers to a "crack in falsetto" kind of squeak or screech. (Yes, squeaky Apollo.) Now, it's interesting to note uragaeru in a different context can also mean "to double-cross". To be fair, it's also a common phrase, like being "betrayed" by your own cracking voice, but the foreshadowing power...

In the fourth box, yes, they changed the name puns to suit the localized name. Kirihito (Kristoph) is just saying what a "surprise" it is for his first trial to be a murder case.

<???> たしか、きみは‥‥ So, you're...

<Apollo> あ、ハイ！オレ、大丈夫ですッ！ Fine! I-I'm fine!

<???> ああ‥‥“大丈夫くん”か。 Ah... Mr. Fine, is it?

<Apollo> え。 Uh.

<???> 変わった名前だとは覚えていた。 I did remember you having an odd name.

<Apollo> （さっそく、ゴカイされちまった） (Well, we're off to a great start.)

I'm just putting this here to assure everyone that Nick does first call him "Daijobu-kun".

<???> そろそろ時間だ。‥‥行こうか。 It's time. Shall we?

<Apollo> は、はいッ！ Y-Yes, sir!

<Apollo> （‥‥そうさ。　今は、とにかく集中するんだ） (...OK. I need to focus.)

（オレの‥‥王泥喜　法介の、　初めての法廷に！） (First trial, here comes Justice!)

I want to comment on how catchy Apollo's other lesser-known catchphrase is. Poor Odoroki doesn't have anything as cool as this.

> Courtroom

<Kristoph> 弁護士は、依頼人の希望を最優先させなければなりません。 A defense attorney must always cede to his client's wishes.

この王泥喜くんは、依頼人のご指名なのですよ。 And my client specifically requested Mr. Justice.

<Judge> ふむう‥‥わかりませんな。 Well, of course he wants justice!

現在、最高の弁護士と言われる牙琉　霧人（がりゅうきりひと）。 But to entrust his case to this greenhorn... Why?

それをさしおいて、こんなワカモノがねえ‥‥ I do not exaggerate when I say that you're the best defense attorney in town, Mr. Gavin.

<Apollo> （だ、大丈夫。発声練習の量なら、　先生にも負けないさ！） (OK, so Gavin's got trial experience, fine. But does he have Chords of Steel!?)

I just love this line from Apollo. Perfect timing and delivery. Odoroki's line is good too, though comes off as a tad more innocent: "I-It's fine. When it comes to vocal training, even Sensei can't beat me!" Though I have to say the image of Kristoph screaming during voice training is too funny to pass up.

> Enter Defendant

<Judge> まことにザンネンです。 This is truly an unfortunate turn of events.

ひさしぶりの対面が、このようなカタチになるとは。 I'm sorry we had to meet again under these circumstances.

‥‥成歩堂　龍一（なるほどうりゅういち）くん。 Long time no see, Mr. Wright.

<Phoenix> 忘れてほしいですね、ムカシのことは。 Let's put the past behind us, shall we?

今のぼくは‥‥そう。しがないピアニスト、ですから。 These days, I'm merely Phoenix Wright, piano player.

I may have mentioned it before, but I'll make a note here that the Hobohodo meme has its own version in the JP fandom: "ピアニート" (piani-to or pia-NEET), which is portmanteau of pianist and NEET, the most famous of Japanese government welfare programs for the unemployed. It's also slang for "hobo".

<Payne> これが、被害者の命を奪った凶器。 ‥‥グレープジュースのボトルです。 This is the weapon that took the victim's life. A bottle of grape juice.

彼のお気に入りで、いつも飲んでいるようですな。 Grape juice is apparently our defendant's drink of choice.

Many of you already know, but just in case: The localizers never censored Nick's fave drink. It was the JP devs who had to work with such censors back home, but eventually they just kept it as a running gag to put non-alcoholic fruit juices in fancy wine bottles. It wasn't until SoJ when the devs could get away with featuring a bit of alcohol. Their previous game was slapped with a CERO-C (15+) due to graphic images, so Eshiro and co. were pleasantly surprised to see SoJ get the classic CERO-B (12+) again.

Not to mention, very expensive high-quality fancy fruit juices do exist in Japan and can cost way more than your usual middle-grade wines. Japan and their fancy fruit culture and all. (I forget exactly, but I recall there were plenty of group pictures of the devs on their blogs and Twitters over the years where someone had gotten them fancy bottles of fruit juice as Christmas gifts. The memes live on.)

> After 1st testimony, decline tutorial

<Apollo> 先生が出るにはおよびません！ここは、オレでじゅうぶんッ！ No need for help here, sir! I think I've got this one covered!

<Kristoph> ‥‥“手下”みたいなセリフだね。大丈夫ですか？ I think you'd better do more than think. You know it, or you do not.

<Apollo> （大丈夫！　　発声練習は積んできた！） (I'm fine! The Chords of Steel are ready for battle!)

The differences here are subtle enough that I hesitated on including this, but Kirihito straight-up calls out Odoroki: "Sensei, you won't need to step up here. I'm enough for this!" "...Sounds like something someone unreliable would say. Are you going to be fine?"

> Press 4th statement

<Judge> ふむう‥‥ Hmm...

ポーカーといえば、５枚のカードで “役”を作って勝負するゲーム。 As I recall, in poker you make five-card "hands".

たしかに、イカサマが起こりやすいのでしょう。 I can see how it would be easy to cheat.

<Phoenix> フッ‥‥ “役”を作るゲーム、ねえ‥‥ Heh... Yes. A game of "hands".

<Apollo> ‥‥？ ...?

Now that I find this dialogue again, it's even deeper than I'd ever thought. In both JP and EN, Phoenix's line works just as well as the other despite having different double entendres. In EN, he makes a pun between the poker hands and people's hands; while in JP, the term used is "yaku", which is normally used to refer to hands in a card/mahjong game, but in more general cases, it means "role" or "responsibility". Naturally, in this case, there are a lot of hands and roles being exchanged rather quickly.

This case is dang amazing and I regret forgetting so much of what made it spectacular.

> Press 5th statement

<Phoenix> 賭けていたのは、ただひとつ。おのれの“プライド”だけだよ。 The only thing at stake in our game... was pride itself.

<Judge> ほほう。なんだか、カッコイイですな！ Ho ho! Well put, Mr. Wright.

私も“ポーカー”でヒト勝負したくなってきました。 I've got a mind to play a hand of poker myself...

<Judge> あなたの“有罪”を賭けてッ！ The stakes: your fate!

<Apollo> （“ヒト勝負”感覚で　決められてたまるかッ！） (Um... Can we get back to the trial now?)

For once, I'm gonna go with Odoroki's line as the cooler one: "(As if we're going to decide this trial like a game of "life-or-death"!)"

> 1st witness, before testimony

<Olga> 逆居　雅香（さかいまさか） ‥‥と申します。 My name... is Olga Orly.

レストラン《ボルハチ》でウエイトレス‥‥していますの。 I am employed as waitress in Borscht Bowl Club restaurant.

<Judge> しかし‥‥なぜ、カメラを？ Then... why the camera?

<Olga> もちろん、《ボルハチ》ジマンのボルシチもお運びいたします。 Of course, it is my pride to serve borscht that is naming restaurant.

でも、ワタシ。他にも、いろいろサービスをいたしますのよ。 But I also perform -- how it is said? Other service.

Just making a note here on how well Olga's lines are written. They really make it obvious that she's "not a native speaker" (for now). While in EN, they just made her English a little broken, in JP, she speaks in a very stiff and formal Japanese, as she is a waitress, but also on the occasion can sound a little off to a native speaker without being broken, per se. She also has a distinct "watashi" among a few other common words that are written in katakana to show a sort of accent.

<Payne> さて、証人。事件当時は、どこに‥‥？ Now, witness. Where were you at the time of the murder?

<Olga> ワタシ、あの部屋にいたんです。 ‥‥《ナラズモの間》。 I was in room. The Hydeout, we call it.

<Apollo> “ならずものま”？ Excuse me? The Hydeout?

<Olga> 伝説のギャング“ナラズモ”がタイホされたというお部屋。 It is room where famous gangster "Badgai" was arrested.

‥‥事件があった小部屋ですの。 Is room where murder took place.

<Apollo> なんだってェェェ！ Whaaaaat!?

<Olga> ‥‥そのビックリしたカオ、ステキです。 Your look of utter surprise... It is lovely.

あとで法廷の前に張り出しておきますので‥‥ I will post by courtroom door later for you!

ほしい写真の番号を、みなさまお書きくださいね。 Dah, dah, photos will be numbered, and you will write which ones you want copy of.

Okay, everyone knows how bad/obvious/cringe the name puns can be in Khura'in or certain ones from AAI, but please, does anyone not remember "Badgai" here? (Tbf, I forgot too, so I'm not one to talk...)

Btw, his original name is "Narazumo", literally "ruffian", and it's completely in katakana, which makes me think it's a codename or alias. She also specifies that he was a "gangster", not yakuza as we'd assume. Japanese gangs are a bit closer to gangs that we know of in the West, especially that they're more known for foreign influence to their styles than the much more traditional yakuza.

Also, I'm disappointed there was no Odoroki pun here. Sure, she doesn't know him, so it wouldn't make sense, but still a missed opportunity. Also also, she actually talks to the rest of the court when she says "you", so she's selling photos of Apollo's freakout to everyone. Classy...

> 1st Witness Testimony, press 3rd statement

<Apollo> “ロケット”‥‥？ His "locket"...?

<Olga> あのお客さまにとっては大��な“お守り”のようでした。 I believe it was good-luck charm, dah?

何度か握りしめながら、勝負をされていましたから。 He gripped it many times as he played that night.

<Judge> なるほど‥‥大空へ飛び立つチカラがみなぎるのでしょう。 Yes, he must have felt as though it might carry him to the moon and the stars!

なにしろ《ロケット》ですからな。 Though if it were small enough to fit around his neck, it wouldn't have much lift...

<Apollo> ‥‥あの。ちなみに “ロケット”というのは‥‥ Um... The defense would like a clarification: this is a locket we're talking about?

写真を入れたペンダントのコト、なんですけどね。 I mean, a pendant with a picture in it, right? Not a "rocket"?

<Judge> 知ってます！ Of course! I knew that!

ロケットのカタチをしたアレでしょう。 It was probably a pendant shaped like a rocket. That's why she called it that.

<Apollo> ちがいますよ！カタチはカンケイないんです No, a locket's a locket! It doesn't matter what shape it is!

<Kristoph> ‥‥深追いしてはいけない。それが、社会のルールです。 It's considered bad form to poke fun at the hard-of- hearing in our society.

<Apollo> （モヤモヤするなあ） (Hard of hearing, or hard of understanding?)

This entire conversation is just a joke on how "locket" and "rocket" are written the same way in Japanese, and I'm surprised how well it still works in English.

To clarify, Kirihito's line at the end is a bit different: "...Refraining from pursuing a line too far is a well-known rule in our society." "(Doesn't make me feel any better.)"

> After 1st Present, just before new statement added

<Apollo> （ヤレヤレ‥‥ 　慎重すぎるんだよな、先生は） (There's such a thing as thinking too much...)

（イシバシを叩いて　コワすタイプ？） (This horse is dead, let's stop beating it!)

<Kristoph> 聞こえてますよ、オドロキくん。 There's such a thing as thinking aloud too much, too.

It's conversations like this that make me wonder if characters can actually hear what the MC is saying/whispering or if they're breaking the 4th wall to hear their thoughts. Here, it's even more ambiguous in JP than the usual between Nick and Maya in prior games. Or are they suggesting that even when Apollo is thinking, he's still loud?

> After 2nd Witness Testimony, before cross-exam

<Judge> なるほど‥‥ Ah, how many times have I heard these words:

『むしゃくしゃしてやった。　今は後悔している』‥‥ "I done it in a fit of anger, Yer Honor, and now I regret what I done".

‥‥の、パターンですな。 ...A common tale, but true.

<Apollo> （成歩堂さんは、ハッキリ言った。　『７年間、負けたことがない』） (Methinks the judge watches too many old court movies.)

（‥‥この証言には、ゼッタイ　“何か”あるはずだ！） (Mr. Wright said he hasn't lost in seven years, so this testimony must be wrong!)

I don't usually include entries for examples where the localizers dress up the text from the original, but this one here really bugs me. I'm not sure if it's a reference to some classic film or just a tip of the hat to classic American court drama movies in general.

If someone could help me pinpoint this one, please do.

> Press 2nd statement, press further

<Apollo> チップについて、くわしく話していただけますか？ Maybe you could explain a bit about these "chips"?

<Olga> そ。そう言われましても‥‥ E-Explain? What is there to be explained?

<Objection!>

<Payne> チップはチップです。 Poker chips are poker chips.

いつまで待っても‥‥ キップにはなりませんぞ！ They're not fish and chips, not a chip off the old block, not a motorcycle cop, not a...

Okay, the "motorcycle cop" bit got me. I swear this was a popculture reference (was it a song? It sounds so familiar), but I don't remember exactly where it was from! Someone plz help.

As for the original script, Auchi makes a silly pun. "[Poker] chips are [poker] chips. No matter how long you wait... they won't become tickets!" (chips = chippu, ticket = kippu)

<Apollo> ‥‥はあ。 ...Thanks.

（セッカクだ。　なにか聞かないとソンだな） (Now that I've pressed her I'd better ask something...)

たとえば‥‥そのチップ。 “円”ですか？　“ドル”ですか？ What are these chips worth? Are they in dollars? Or rubles, even?

<Olga> ‥‥あの。先ほども申しましたけれど‥‥ ...Nyet. As I have been saying before, it was game, not gambling.

ギャンブルではございませんでしたから‥‥ Hard perhaps for capitalist to understand.

<Olga> “１０００点”と “１００点”の２種類。 Two types of chip: 100 points chip and 1,000 points chip.

おカネではございませんの。 It is not money, dah.

<Kristoph> ‥‥オドロキくん。 ...Justice.

<Apollo> はいッ！ Sir!

<Kristoph> 今の証言‥‥ ちょっと、おもしろいですね。 Don't you find her comment... interesting?

<Apollo> え‥‥ In more ways than one, sir.

<Kristoph> 私ならば‥‥そう。証言に加えていただくところですが。 I'd have it added to her testimony, myself.

As funny as that capitalist line is, it's not found in the source, sorry, guys. Her text in Japanese is very formal, so it takes an extra box just to complete her sentence.

Also, worth to note that Odoroki here mentions yen and dollars, but not rubles, despite the restaurant being Russian-themed. Whether it's writer oversight or just Odoroki being uncultured will remain a mystery.

Lastly, Apollo's last line here makes him seem quite confident, but in the original, he seems just as confused as ever. This is made clearer when Apollo later presses the new statement.

> Press new statement

<Apollo> あの。小さい方が１００点、大きい方が１０００点‥‥ Um. The small ones are 100, and the big ones 1,000...

で、いいんですよね。やっぱり。 Uh? Right? Right. Of course.

<Payne> フン！　聞くまでもないでしょう。 Hah! Don't waste our time!

<Apollo> はあ‥‥ *sigh*

‥‥‥‥‥‥‥‥‥ ...

<Judge> 終わりですか？　それで。 Is that all?

<Apollo> ええ、まあ。 Um... Yeah. *gulp*

（くそ。牙琉先生のせいで　ハジをかいちまったぞ‥‥） (Great. Mr. Gavin made me stop her, and now I'm the one who looks dumb.)

<Kristoph> オドロキくん。 Oh, Justice?

<Kristoph> 私にハジをかかせないでもらえますか？ Please try not to embarrass me like that.

<Apollo> え！　オレがですか！ Huh? Who? Me!?

The subtleties of this joke conversation were lost in translation. After Apollo wastes time with that question, he grumbles to himself: "(Damn. Thanks to Garyu-sensei, I've made a fool of myself.)" "Odoroki-kun. Would you please not pin this embarassment on me?" "Huh! Me!?"

> After Present, select "Number of chips"

<Apollo> おかしいのは、チップの枚数‥‥ ですよね、先生？ The odd thing here is the number of chips... Right, Mr. Gavin?

<Kristoph> ‥‥なぜ、私に？ ...Why are you asking me?

<Apollo> その。念のため、というか！ Uh... Just in case?

<Kristoph> ‥‥オドロキくん。もう少し、キチンと考えましょう。 Justice... It's your case I'm concerned about.

チップなら、写真を見ればすべて、写っています。 If you're wondering about the chips, just look at the photograph. It's all there.

老眼の裁判長さんでもカンタンに数えられますよ。 Even our judge with his failing eyesight could count them.

<Apollo> （‥‥あの裁判長なら、それでも　まちがえるような気がする‥‥） (That's not the only thing failing the judge.)

Damn, what a burn. Odoroki in the OG script simply went: "(...Knowing this judge, he could get even that wrong...)" which is a fair effort, but not a wildfire level of damage.

> 3rd Witness Testimony, press 4th

<Apollo> 口論の内容は、おぼえてますか？ Do you recall what the men were arguing about?

<Olga> そうですね。たしか‥‥ Dah, I believe so...

被害者サマが『イカサマだッ！』と叫びましたの。それに対して‥‥ The victim, he shouts, "you are cheater!" and then...

“異議がある”というようなコトを被告人さまが‥‥ ...the defendant shouts something like, "I have objection!"

<Payne> ‥‥出ましたな。おトクイの《異議あり！》が。 Shouting objection, eh? Old habits are hard to break!

まったく‥‥ハッタリづくしの人生ですからな。被告人は。 First he bluffed his way through the courtroom, now he bluffs his way through life!

<Objection!>

<Apollo> しかし！　勝負の結果は、成歩堂さんが“負けている”！ However! Mr. Wright lost the hand!

むしろ、アヤシイのは、勝った被害者・浦伏さんでしょう！ That seems to cast the shadow of doubt on Mr. Smith!

<Olga> “イカサマをやった上、　勝負にも負けた”‥‥ Humiliation from losing even when cheating...

そのクツジョクが、被告人の方のココロに、火をつけたのですの。 That is what set fire to defendant's heart!

<Judge> ‥‥そして、火のついた被告人は、どうしたのですかな？ So what did the flaming defendant do next?

Oh my God, as soon as I saw that "異議がある" (igi ga aru) my mind flashed back to those ridiculous Google Translated trailers of Gyakuten Saiban & Kenji on Nico Douga. Imagine if the devs at the time decided to play with Google Translate to see how "異議あり！" would look after switching it from Japanese to English and back. It would be one of the biggest brain plays by a game developer ever... which probably means it wasn't how it went, but it's fun to think about.

Anyway, I also like this snippet of dialogue for the judge's "flaming defendant", clearly alluding to "Phoenix" Wright. In JP, the bit about setting fire to his heart is just a common idiom in the first place, but who knows? “Phoenix Wright: Ace Attorney” had been selling fast in the West, so they could have been inspired.

> After Present, point out on the cards, examine victim's hand

<Apollo> 裁判長！　見てください！被害者のカードには、１枚‥‥ Your Honor! Look at this! One of the victim's cards...

ウラの色がちがうカードがまぎれこんでいますッ！ The back is a different color!

<Payne> え‥‥ええええッ！ Eh...? Ehhhhhh!?

<Olga> そ。そんなバカなッ！ Th-That's impossible!

アタシがシカケたのは、成歩堂のほうなのに‥‥ But I put that card in Wright's hand...

あッ！ Ack!

<Kristoph> ‥‥今、なんと言いましたか、証人。 ...What was that, Ms. Orly?

<Olga> い‥‥いえ‥‥その。アタシ‥‥わ、私は、ええと‥‥ No... Ny-Nyet! Er, I merely said, eh... Dah, I have, eek!

It's at this point when Olga's cover is blown, and in JP, it's more obvious because she stammers between using "atashi" vs "watashi". It's not very common to hear beginner Japanese students refer to themselves as the cutesy "atashi", though one who's a bit more well versed in the language or in anime may pick up on it.

> After Phoenix takes over the court, select when the cards were swapped, select "Olga Orly" who swapped them

<Phoenix> たしかに、あのゲームでは赤・青の２種類のカードを使っていた。 Mixing a card from the wrong deck... when the backs are different colors?

しかし‥‥逆居　雅香は、カードを配っていた張本人。 Remember that you're talking about Olga Orly... She was the dealer.

‥‥そんなミスをすると思うかい？ Do you really think she would make such a novice mistake?

<Apollo> （まあ‥‥オレでも　まちがわないだろうな） (Actually, I have trouble imagining even the judge making that mistake.)

This is another case of the localizers dressing it up. Odoroki says here: "(Well... even I wouldn't make such a mistake.)" as if implying that he's the lowest common denominator here, haha!

> Back to Court Lobby

<Phoenix> 人間の思考・感情というものは ‥‥かならず。 Try as they might to conceal it, everyone reveals their true thoughts in the end.

身体から“情報”として発信されている。 Their body language can become a valuable source of information.

<Apollo> そ。そんなバカな‥‥ You're kidding!

<Phoenix> たとえば。あの証人‥‥ 逆居　雅香を思い出してごらん。 That witness, for instance, Ms. Orly.

<Phoenix> 彼女は、ある証言をするとき‥‥ かならず“首筋をさする”。 She would touch the back of her neck during certain parts of her testimony.

‥‥気がついていたかい？ Did you notice?

<Apollo> い。いえ‥‥ （それどころじゃないよ、フツー） Uh... No. (C'mon, who'd notice that!?)

<Phoenix> “クセ”“コトバ”‥‥ それらが発する情報を読み解くこと。 Words, habits, twitches... It's all information for the reading.

それが、勝負に勝つ “鉄則”だよ、オドロキくん。 That's the secret to winning, Apollo.

まあ‥‥ぼくも“ある人物”に教わったんだけどね。 Someone taught me, and now, I pass the secret on to you.

It's this quiet moment between the two of them that really parallels with how Mia used to talk with Phoenix, and it's beautifully poetic. And I'd like to note that even Phoenix's speech pattern throughout this convo is quite reminiscent of how Mia talked, but with a bit of Phoenix's own style. Though in that last line, he could possibly have meant Mia, but more likely meant a certain someone with a similar power to Apollo. Ya'll know who I mean, (W)right?

<Phoenix> ああ。それから、もうひとつ。今回の事件だけどね。 Ah, almost forgot. One more thing. About this case...

ぼくはまだ、誰にも “本当のコト”を話してないんだよ。 You should know, I haven't told the truth to anyone yet.

<Apollo> えええええッ！（や、やっぱり‥‥） Whaaaaaaaa--!? (I knew it!)

<Phoenix> もちろん、“理由”がある。これからアキラカになるだろう。 I have my reasons, of course. All shall be revealed.

そして、ぼくの作戦には‥‥ きみが必要なんだよ。 And Apollo... I need you to be there, defending me.

きみの“能力”が、ね。 I need your power.

<Apollo> オレの、のうりょく‥‥ （声のデカさ、か‥‥？） My, um, power? (I had no idea my Chords of Steel were that special...)

The translation here is close enough, really, but Odoroki specifically describes it as the "intensity" of his voice and it's only the best answer.

Welp, I guess it’s back to the drafting board again and I may make this out as a daily or every-other-daily upload. We’ll see. I assure you, you won’t be waiting until next month, though!

#gsvsaa #gs4 #ajaa #turnabout trump #part 1

21 notes · View notes

kaialone · 4 years ago

Text

Spirit Tracks Translation Comparison: The Lokomo Sword

This will be a comparison of the original Japanese version and the US English localized version.

Specifically, this will cover the scenes of obtaining the Bow of Light, the Lokomo Sword, and the Compass of Light.

You can also watch the main cutscene for yourself in English and Japanese. If you want, you can check out the EU English version, too.

For the comparison, the usual points apply:

Bolded is the original Japanese text, for the reference.

Bolded and italicized is my translation.

Italicized is the official NOA translation.

A (number) indicates that I have a specific comment to make on that part in the translation notes.

As you read this, please keep in mind that with translations like these, it’s important not to focus on the exact literal wordings, since there is no single “correct answer” when it comes to translations.

Rather than that, consider the actual information that is being conveyed, in which way, and why.

Characters in this part who had their names changed between versions:

Mallador = Malladus, Kimaroki = Cole, Sharin = Anjean, Dego = Byrne

Getting the Bow of Light:

Text Box:

光の弓矢を手に入れた！しばらくタッチし続けると聖なる光をためて発射できるぞ！

You got the Bow of Light! If you touch and hold for a bit, you can charge with sacred light, and then fire!

You got the Bow of Light! Tap and hold to charge and fire bolts of divine light!

Zelda:

これが光の弓矢ですか… 何か聖なる力を感じますね…

So this is the Bow of Light...? I can feel some sort of sacred power from it...

So this is the famous Bow of Light... I sense a strange power coming from it...

Zelda:

マラドーたちの動きも気になります

I also wonder what Mallador and Kimaroki are up to. (1)

But I'm awfully worried about what Malladus and Cole are up to.

Zelda:

早く戻ってシャリン様に報告しましう！！

We should hurry back and report to Lady Sharin!!

Let's hurry back and tell Anjean what happened!

Reporting to Anjean:

Zelda:

シャリン様！光の弓矢を手に入れました！

Lady Sharin! We have the Bow of Light!

Anjean! Anjean! We got the Bow of Light!

Zelda:

もうマラドーなんて余裕ですわ！！

Now Mallador will not stand a chance!!

We won't have any trouble defeating Malladus now!

Anjean:

うむ！その弓矢で奴を打ち倒すのじゃ！

Indeed! With that bow, you can take him down!

Good! An arrow from that bow is sure to fell him.

Zelda:

はい！

Right!

Zelda:

シャリン様！マラドーの居場所を教えて下さい！

Lady Sharin! Please, tell us where Mallador is!

Now all we need is to know where Malladus is.

Anjean:

分からん

I dunno.

I'm sorry, but I can't help you there.

Zelda:

…シャシャリン様…

...L-Lady Sharin...

But, Anjean...

Anjean:

いや何度も探ってみたが…

I really tried to find them, honestly...

While you two were busy obtaining the Bow of Light,

I have been searching for the Demon Train.

That's the train that Malladus used to escape.

Anjean:

奴ら完全に気を隠しておっての…

But they've completely hidden their presence... (2)

But he and Cole have hidden it too well...

Byrne:

…捜し出す方法はある

...There is a way to find them.

There is a way to find it.

Anjean:

ディーゴ… おぬしまだ動いては…

Dego... You shouldn’t be moving just yet... (3)

Byrne? I didn't realize you were awake...

Byrne:

マラドーが復活した場所を覚えているな？

Do you remember the place where Mallador was resurrected?

The area where Malladus was resurrected...

Byrne:

あの祭壇の下には通路が隠されている…

There is a hidden passage under that altar...

Below that altar is a hidden section of tracks.

Byrne:

そしてその奥に奴らが乗る魔列車の位置を示す道具…

光のラシンバンがあるはずだ

And further inside, there should be a device that can show the location of the Demon Train, the one those two are on...

The Compass of Light.

Somewhere down there is the Compass of Light.

Only it can lead you to the Demon Train.

Zelda:

…ディーゴさん…

...Mr. Dego...

Byrne...

Byrne:

魔列車は闇世界の存在だキマロキも位置を知らなかった

The Demon Train is from a dark world. Even Kimaroki didn't know its location. (4)

The Demon Train comes from the Dark Realm.

But even Cole didn't know its exact location at first.

Byrne:

そこで私が塔の力を利用してラシンバンを作ったのだ

それを使い魔列車を見つけたがラシンバンは聖なる力で作った物

魔族であるキマロキには触れることすら出来なかった

So, I created a compass, using the tower’s power.

With it, we found the Demon Train, but that compass was created with sacred power.

Being a demon, Kimaroki could not even touch it.

He had me build a compass using the spirits’ power

to find the Demon Train in the Dark Realm.

Since the compass uses the power of the spirits,

Cole and Malladus can’t touch it.

Byrne:

ラシンバンは今もあの場に置き捨ててある…

The compass is still at that spot where we discarded it...

That's why it should still be where we left it.

Zelda:

…ありがとう…

...Thank you...

...Thank you.

Zelda:

リンク参りましょう

Link, let us depart.

Let's go, Link.

Zelda:

一刻も早く光のラシンバンを手に入れなければ

We must get the Compass of Light as soon as we can.

We must get the compass as soon as we can.

Anjean:

リンクよおぬしに渡したい物がある

Link, there is something I wish to give to you.

Before you go, please take this, Link.

Anjean:

今のおぬしなら扱えるはずじゃ

You should be able to handle it now.

I think you're the one who is meant to use it.

Anjean:

この剣の名はロコモの剣…

天上のお方から授かった魔を打ち倒せる伝説の刃じゃ

This sword is called the Lokomo Sword...

It's a legendary blade, bestowed by the Heavenly One, which can vanquish the demonic.

This Lokomo Sword was a gift from one of the spirits.

As such, it is filled with sacred energy.

It has felled many evil creatures in its lifetime.

Anjean:

この剣を意のままに出来るのは天上のお方のみじゃったが…

Only the Heavenly One was ever able to properly wield this sword, but...

Until now, only the spirits have wielded this blade...

Anjean:

おぬしならきっと大丈夫じゃ… 存分に使いこなしておくれ

I'm certain you can do it... Make sure to fully master it.

Use it wisely!

Anjean:

リンクゼルダ… よろしくたのむ

Link, Zelda... I'm leaving it in your hands.

Link, Princess, it's in your hands now.

Getting the Compass of Light:

Text Box:

光のラシンバンを手に入れた！世界を光で照らし出し邪悪な闇の世界の場所を示してくれる

You got the Compass of Light! It illuminates the world with light, and reveals the location of the evil Dark World.

You got the Compass of Light!

It shines light upon the world, revealing places linked to the Dark Realm.

Zelda:

見てリンク！光のラシンバンが…

Look, Link! The Compass of Light is...

Look! It's the Compass of Light, Link...

Text Box:

森の大地の石版があやしく輝き出す！

The lithograph of the Forest Land glows ominously!

The Forest rail map has started to glow ominously.

Text Box:

光のラシンバンの力により闇へと続く線路が現れた！

By the power of the Compass of Light, tracks leading into the darkness appeared!

The Compass of Light has revealed a track leading into the darkness!

Zelda:

リンク！魔列車を追って闇の世界へ向かいましょう！

Link! Let us follow the Demon Train, and head for the Dark World!

Follow those tracks to the Dark Realm! Let's find that Demon Train.

Zelda:

待ってなさい！私の身体！

Just wait for me, body of mine!

I want my body back, once and for all!

Translation Notes:

In Japanese, Zelda actually says マラドー達/Maradō-tachi here, with the suffix 達/-tachi essentially meaning “that person as well as one or more additional people”. Given the context, she would most likely just be referring to Malladus and Cole, which is why I adapted it the way I did.

What I translated as “hidden their presence” would more literally translate to “hidden their ki”. The idea of “hiding one’s ki” is a somewhat common Fantasy trope in Japanese media. It makes you undetectable by individuals who can track your “ki” in some form, or in other words, people who can track the energy inside living beings and the like.

Anjean’s line here is a bit difficult to translate, since she doesn’t finish it, but given the context, I am fairly confident in my adaptation.

The location called “the Dark Realm“ in English is called 闇の世界/Yami no Sekai in Japanese, which translates to “World of Darkness”, which is actually the same name as the “Dark World” from A Link to the Past. But note that in this one specific line, Byrne actually says 闇世界/Yami Sekai, literally “Darkness World”, instead, which is why I adapted it the way I did.

Comparisons & Thoughts:

The main cutscene here is the one with the Lokomo Sword, which has a few differences I want to point out, but they are mostly related to prior alterations.

The dialogue from when Link receives the Bow of Light and the Compass of Light doesn’t have any huge differences either, but I still included these scenes, since I felt they might still be interesting to see.

I can’t help but be slightly amused that when Link picks up the Bow of Light, the English version actually uses the phrasing “divine light”, rather than just “sacred light”, but then in the next line from Zelda, they change “sacred power” to “strange power”.

This could just be for the sake of text space, since “strange power” is shorter than “some sort of sacred power”, and it’s not really an issue, obviously.

A small detail, but slightly too long for the translation notes.

My adaptation of the Japanese text has Zelda “wonder” about what Malladus is up to, while the English version adapted it as her being “awfully worried“.

Both are actually possible translations of the original line, which makes use of the phrase 気になる/ki ni naru, which is used to refer to something being on one’s mind. Both in the sense of something concerning, or simply something one is curious about.

Considering the topic, it makes perfect sense to translate it as “worried“ here, though “awfully worried” is a bit strong.

I ended up going with “wonder” instead, but it’s not really more correct, just so you know.

When Zelda rushes towards Anjean, there is a difference between versions that becomes even more drastic when you watch how the moment actually plays out visually.

At the start of this scene, Zelda is full of energy, she’s excited, since they now have the bow, which should make Malladus quite a lot easier to defeat.

So Zelda, clearly ready to keep this streak of success going, and defeat Malladus once and for all, eagerly asks Anjean where they can find him.

To which Anjean replies with a flat “I dunno”, instantly killing Zelda’s momentum completely, in one swift motion.

This is, in my opinion, pretty funny, though of course it’s a bit less funny when I have to explain it like this.

But I’m sure you get what I mean. Zelda is being all heroic and confident, and then Anjean subverts the expectation that obviously she’d know the answer, being the wise sage person of this tale.

And she does it in such a blunt manner that it literally causes Zelda to fall down in utter disbelief.

In the English version, Zelda’s initial line is changed to her making the the statement that they need to know Malladus’ whereabouts, and Anjean’s response is changed to the much more elaborate “I’m sorry, but I can’t help you there.”

This is a very typical alteration for the English localization, making Anjean more serious and reliable-sounding in moments where she is being blunt and sort of informal in Japanese.

But in this moment it really clashes with the intended mood.

Watching this scene in English, something just feels off about the way Zelda just falls over the moment Anjean starts talking, since her line and her getting to the point just takes too long for it to warrant such an instantaneous reaction.

I’m guessing this is another result of the translators probably not getting to watch the footage as they were working on this game, but I can’t say for certain.

In the Japanese version, Anjean talks about having tried to find Malladus and Cole over and over, but being unable to, since they have “completely hidden their presence”, or rather, their “ki”.

In the translation notes, I explained the concept of “hiding one’s ki” like that, which is a common trope in Japanese fiction.

For example, “hiding one’s ki” is actually the concept that was infamously translated as “hiding one’s power level” in the English dub of Dragon Ball Z.

Because of how this concept works, we can safely assume that Anjean tried to find them by sensing their energy, rather than physically looking for them.

In the English version, this dialogue is altered in multiple ways.

Anjean instead says that she has been searching for the Demon Train, thus we get the mention of its name a bit earlier here. This also implies Anjean knows what the Demon Train is, which isn’t impossible, but not explicitly mentioned in the Japanese version.

Adding to that, Anjean now says that Malladus and Cole have hidden the Demon Train too well, rather than their presence or energy.

Because of that wording, one could assume that Anjean was physically looking for the Demon Train in the English version, but it could be interpreted either way.

My best guess is that these changes were made here to avoid mentioning the concept of “hiding one’s ki”. It’s a stock concept that pretty much everyone knows in Japan, but might require additional explanation in English.

And having Anjean look for the actual Demon Train, instead of Malladus and Cole specifically, was probably a means to make Anjean trying to track them down more plausible, if there wasn’t going to be a mention of sensing energy.

When Byrne speaks up, Anjean responds with a line I adapted as “Dego… You shouldn’t be moving just yet…“ in my version.

In the Japanese version, she doesn’t get to finish this line, so the “shouldn’t be” part isn’t actually included, but it seems clear from the context that this is what she was getting at.

If you watch the actual cutscene, you can also see Byrne shake his head in response to her, as if to say “it’s fine”, or something like that.

The English version adapted this as “Byrne? I didn’t realize you were awake…”, instead.

This could’ve been an intentional rewrite, but it could’ve also been a translation error.

In the Japanese version, Byrne mentions that there is a “hidden passage” under the altar.

In the English version, he instead says there is a ”hidden section of tracks“, which is incorrect.

I’m pretty sure that this one was a translation error. They likely confused 通路/tsūro, meaning ”passage”, with 線路/senro, meaning “tracks”.

Since the English version has already had Anjean explain the Demon Train at this point, the part where Byrne was originally the one to provide this information is removed.

This slightly works against this moment, since here we have the first instance of Byrne helping out our heroes, by revealing everything he can to them.

Him explaining the Demon Train, and how finding it will allow them to find Malladus and Cole, is part of that.

Of course, Byrne still has plenty of information to share in English, so it’s not a terrible difference.

But still, in the Japanese version, Byrne’s contribution feels huge, since Anjean and the children didn’t seem to have a single possible lead that could help them.

Like I mentioned in the translation notes above, in the Japanese version, Byrne calles the Dark World 闇世界/Yami Sekai rather than 闇の世界/Yami no Sekai in the main cutscene here.

I’m not sure if that was a typo, or a shortening for space, but I decided to adapt it as “a dark world”, to have a bit of both possibilities reflected.

But aside from this one instance, the place is called 闇の世界/Yami no Sekai every time it’s mentioned, so I adapted that as “Dark World”, since it’s the same name as the Dark World from A Link to the Past.

This location also breaks the naming theme of the others, as the four main areas in this game are called “Forest Land”, “Snow Land”, “Ocean Land” and “Fire Land” in Japanese, making “Dark World” the odd one out.

In the English version, they chose to adapt it as “Dark Realm”, which makes it follow the same naming scheme as the other “realms”, and also removes the connection to a past game.

The Dark World in Spirit Tracks is more than likely not supposed to be the very same one as in A Link to the Past, because that would make very little sense.

But giving it the same name could have been intentional, especially since, from what I recall, Malladus was the first character in the Zelda series to have the title “Demon King” who was not Ganon/Ganondorf.

In any case, I think the English version missed out by not adapting the name as “Dark World” here, too.

In the English version, Byrne says that it was Cole who had him create the Compass of Light.

This would also imply it was Cole’s idea to create it, and possibly even that Cole was the one who knew how such a device is made.

In the Japanese version, Byrne simply states that he created the compass to find the Demon Train.

This makes it seem more likely that Byrne came up with the idea on his own, and that he knew how to do it himself. Since he’s a Lokomo, this would make sense for him.

This change in the English version was of course another one of those that exist to make Cole appear like the one in charge between the two of them.

The Japanese version instead fits with its own portrayal that Byrne was likely the one in charge, even if Cole was just using him.

Aside from that though, the Japanese version more directly shows us that Byrne can be resourceful, and is possibly mechanically inclined.

An additional small detail here is that the Japanese version says the compass was built with "the tower’s power“, while the English version says it was created with “the spirits’ power“.

I get the feeling the English version actually just changed this to avoid a phrasing like “tower’s power” or “power of the tower”, since these can sound a bit awkward.

And in all fairness, the tower’s power is just the power of the god, or spirits in this case, anyway - so the English version is just being slightly less specific about it.

It’s another small detail but I want to compare this small section:

Being a demon, Kimaroki could not even touch it.

Cole and Malladus can’t touch it.

The English version again avoids mentioning “demon” or any equivalent, but that’s not what interests me here.

In the Japanese version, Byrne’s line is in past tense, and refers to just Cole.

Which could imply that Cole might have actually tried to touch the compass at some point. And failed.

And that’s kinda funny.

Adding to that, the different phrasings here lead to slightly different explanations for why Byrne is certain the compass is still at the tower:

The compass is still at that spot where we discarded it…

That’s why it should still be where we left it.

In Japanese, it comes across as Byrne just knowing that the compass is still there.

Since he did mention that Cole can’t touch it, there is the indirect implication that Cole couldn’t have taken it at any point, but it’s not really the focus of this sentence.

In English, the implication seems to be that Byrne is saying that Cole and Malladus couldn’t have gone back and taken the compass.

This is a bit strange, since Malladus and Cole deciding to go back to the tower after just getting away from it seems like an unlikely scenario, especially considering how long the way to the compass actually is.

Even if Byrne says that they can’t have done that, it just feels a bit off for him to even assume that Zelda and Link might think Malladus and Cole could have done that off-screen.

Lastly, we have the Lokomo Sword.

When Anjean is about to give the Lokomo Sword to Link, she says “You should be able to handle it now” in the Japanese version.

This merely suggests that Anjean believes Link is now ready to use it, considering how strong he has become.

In the English version, she says “I think you’re the one who is meant to use it.”

This phrasing implies that there might have been some sort of prophecy or the like that foretold of someone who should wield the sword, which is not mentioned in the Japanese version at all.

I believe the change in the English version was probably another translation error, since the original Japanese line ends with the suffix はず/-hazu, which is used in the sense of “should” or “must be”.

In the case of this sentence, this is meant in the sense of “You should be able to use it”, but in the English translation process this might have been misinterpreted as something along the lines of “You are the one who should use it” instead.

But as usual, that’s just speculation on my part. It just seems more likely than a deliberate change here.

Unintentional or not, as a result the English version does throw an implied prophecy at the audience here, which I have occasionally seen complaints about.

The Lokomo Sword’s appearance still comes out of nowhere in the Japanese version, so it’s not exactly free of criticism, but at least Anjean brings it up in a more natural manner.

Continuing from that point, in the Japanese version Anjean states that “Only the Heavenly One was ever able to properly wield this sword”, which explains why she didn’t hand it over to Link until she was certain of his skills.

In the English version, she instead says “Until now, only the spirits have wielded this blade", which would suggest her reason was more to uphold tradition, even though she already went against such rules with the train she gave Link.

A curious detail in Anjean’s English dialogue here is also that she says the Lokomo Sword was “a gift from one of the spirits.”

It’s interesting for the English version to imply the sword was specifically from a single individual among the enigmatic “spirits”.

I think this was actually their interpretation of “the Heavenly One“ in this instance, which in Japanese just seems to be a specific title that Anjean often uses to refer to the god of this land.

Looking at this sword segment as a whole, it can be summed up like this:

In the Japanese version, the Lokomo Sword is supposedly hard to master, and only the god of this land was ever able to really use it. That’s why Anjean only decided to give it to Link now, after he has gotten considerably stronger, making her confident that he can master it.

In the English version, the Lokomo Sword has only ever been wielded by the spirits, but Anjean decided to give it to Link now, since she believes he is the one who is meant to use it. We don’t get an elaboration of what this means, it could imply an unseen prophecy, or simply refer to Anjean’s confidence in Link. It’s just more vague than the Japanese version was.

Now, like I said earlier, the differences in the main cutscene here overall are mostly related to general changes we’ve seen already.

The changes to the Lokomo Sword’s background are among the new ones.

While I think the Japanese version makes a lot more sense here, the sword really does not affect the overall story a lot, outside of being a physical symbol of Link proving his worth.

The idea that the god once wielded it does open some room for imagining what they might have been like, but the English version retained that aspect surprisingly well, even if it’s now applied to only a single one among the multiple spirits from that version.

With that said, I actually would like to take the time to talk a bit more about my thoughts on Anjean in general here, since we have seen a lot of her dialogue at this point, as well as how it tends to differ between versions.

The humorous “I dunno” moment from this cutscene is just a small moment here, but it’s a good example of the kind of general changes made to Anjean in the English version, as we have been seeing.

Basically, in the Japanese version, Anjean feels like she is meant to be a bit of a subversion of the “wise sage” trope often used in fiction, including the Zelda series.

She really is a wise sage, and she can act like it when she needs to, but she also often does not. This leads to moments where she might be expected to offer sagely advice, but she ends up being blunt or casual about it instead.

I personally like the way this works out.

Since she is not a complete parody, like a completely useless character or something, the children and the audience keep wanting to rely on her, and she is reliable often enough that it feels reasonable to do so.

And because of that, her subversive moments don’t become too repetitive or annoying. Instead, they actually work to flesh out her character more, making her feel a bit more multi-layered.

I don’t know if it’s an intentional reference, but something about her attitude reminds me of those old ladies from the very first Legend of Zelda game, the ones who would say “Pay me and I’ll talk”, but just replied with “Boy, you’re rich” if you gave too much money, only giving actually useful information if you picked the medium amount.

This general idea of character’s still being earnest, but also not taking themselves completely seriously is very much in the spirit of the Zelda franchise, and it’s nicely done with Anjean, in my opinion.

In the English version, Anjean is not exactly a flat character either, and even if there’s less direct subversions, her more openly caring nature is still different from the average “wise sage” trope, too.

But it still makes for a characterization that ends up feeling quite different in the end. Particularly if you go by text alone, since some of her Japanese portrayal still shines through in her mannerisms and such.

As usual, I think people are going to have different opinions on what they prefer, but I think that the English version’s portrayal of Anjean is a bit too “reserved” or “proper”, if you will.

The Japanese version let’s her have tender and serious moments as well, in addition to her laid-back side, so to me it feels a bit like the English version took away a portion of who Anjean was as a whole. It’s like they tried to make her a bit softer, but there is also a bit less substance as a result.

And of course, this isn’t helped by the fact that the moments where her relationship with Tetra is brought up have been changed too, if not outright removed, unintentionally or not.

A huge part of Anjean’s character role is this indirect connection to Tetra which she provides for both the audience and Zelda, albeit in different ways, so that’s not insignificant. But a bit more on that in the future.

Well, these are just some of my own thoughts here.

I went on quite a bit, but this is the end of the part. Feel free to check out the next one!

< Previous Part | Start | Next Part >

#Legend of Zelda #The Legend of Zelda #tloz #Spirit Tracks #the legend of zelda spirit tracks #legend of zelda translations #spirit tracks translations #my translations #spirit tracks comparisons

5 notes · View notes

voidplus-jp · 5 years ago

Photo

Unknown Image Series no.8 #1 山元彩香「organ」 Ayaka Yamamoto "organ" 2019. 11. 1 (fri) - 11.30 (sat)

void+ではUnknown Image Series no.8 #1 山元彩香「organ」を11月1日より開催いたします。Unknown は、インディペンデント・キュレーターのカトウチカが企画するシリーズの展覧会で、2011年より開催。シリーズ8回目となる本展は、Unknown Imageというタイトルで、5名の作家による連続個展形式のグループ展としてHIGURE 17-15 casとvoid+にて開催する予定です。

初回の山元彩香は、京都精華大学芸術学部で絵画を専攻しましたが、米国への交換留学を機に写真の制作を始めました。近年は、自身の持つ知識、経験、言葉の通じない外国へ赴き、現地で知り合った少女たちのポートレート写真を撮り続けています。訪問先は、エストニア、ラトビア、ロシア、ウクライナ、ブルガリア、ルーマニア、ベラルーシなど東欧各国、今年は初のアフリカ大陸、マラウイを訪問し、精力的に制作活動をしています。

本展では新作となる映像作品と、その他旧作と新作で構成した写真作品を展示いたします。会期中にはDIC川村記念美術館学芸員の光田由里、愛知県美術館学芸員の中村史子をゲストに迎え、トークイベントを開催いたします。

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

＜展覧会概要＞

■タイトル：Unknown Image Series no.8 #1 山元彩香「organ」 ■会期：2019 年11月1日（金）— 11月30（土）14:00-19:00 ・レセプション：11月1日（金）19:00-21:00 ・トークイベント：11月29日（金）19:00-20:30 山元彩香＋光田由里（DIC川村記念美術館学芸員）＋中村史子（愛知県美術館学芸員） ■会場：void+ 東京都港区南青山3-16-14, 1F ■定休日：日、月、祝日 ■入場無料 ■お問合せ：Tel: 03-5411-0080／メール: [email protected]

［主催］void＋委員会／Unknown実行委員会［企画］カトウチカ［助成］令和元年度港区文化芸術活動サポート事業助成［協力］Taka Ishii Gallery Photography / Film、YN Associates ［機材協力］ソニーマーケティング株式会社

・未就学児の入場可能／車椅子ご利用の方は事前にお申し出ください。

Starting on November 1, void+ will present Unknown Image Series no.8 #1 YAMAMOTO Ayaka “organ.”

The Unknown series of exhibitions, launched in 2011, are planned and coordinated by independent curator Kato Chika. This eighth exhibition takes the title “Unknown Image,” and will be staged as a group show by five artists in the format of consecutive solo exhibitions at HIGURE 17-15 cas and void+.

Featured in the first show is Yamamoto Ayaka, who majored in painting at Kyoto Seika University’s Faculty of Arts, but began producing photographs during a student exchange in the United States. Recent years have seen Yamamoto traveling to parts of the world where her own knowledge, experience and language do not apply, and shooting portraits of girls she meets there. She has thrown herself enthusiastically into the project, visiting Eastern European nations including Estonia, Latvia, Russia, Ukraine, Bulgaria, Romania, and Belarus, and this year traveling to Africa for the first time, to take photos in Malawi.

Unknown Image Series no.8 #1 YAMAMOTO Ayaka “organ” will present a new work on video by Yamamoto, along with a selection of photographic works. In conjunction with the exhibition, a talk event will also be held, featuring, in addition to the artist, guests Mitsuda Yuri, curator at Kawamura Memorial DIC Museum of Art, and Nakamura Fumiko, curator at Aichi Prefectural Museum of Art.

■Title: Unknown Image Series no. 8 #1 YAMAMOTO Ayaka ”organ” ■Dates/Hours: Friday, November 1 – Saturday, November 30, 2019 14:00–19:00 • Opening reception: Friday, November 1 19:00–21:00 •Talk event: Friday, November 29 19:00–20:30 YAMAMOTO Ayaka + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)+ NAKAMURA Fumiko (Curator, Aichi Prefectural Museum of Art) ■Venue: void+ 3-16-14, 1F Minami Aoyama, Minato-ku, Tokyo ■Closed: Sundays, Mondays, holidays ■Admission: free ■Inquires: Tel: 03-5411-0080 Email: [email protected]

Organized by: Unknown executive committee / void+ committee Conceived and planned by: KATO Chika Supported by: Minato City Cultural Arts Support Project With cooperation from: Taka Ishii Gallery Photography/Film, YN Associates Equipment provided by: Sony Marketing Inc.

*Preschoolers welcome. Wheelchair users please let us know in advance.

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

「organ」について

2011年に初めてラトビアを訪れたとき、毎朝友人の鼻歌で目覚めた。

それは、言葉になる前の声の連続で、彼女の内部に無意識的に蓄積されている記憶が音のイメージとなって発せられているようにも思えた。

会話とはまた別のレベルで、彼女が辿ってきた時間そのものに触れているような感覚があった。

放たれた声は私の身体の一部となり、自らの声で再び発することで他者へと循環、連鎖してゆく。

organとは、容れ物としての器という意味を持ちながら、臓器や楽器の意味を成す。

遥か昔、儀式に使われていた鈴や鐸はその空洞に響く音によって、それを身につけた人間に見えざるものを憑依/循環させていたそうだ。

空の器としての身体に宿る音により、その奥底にかすかに在る未だ見ぬものに触れたいと願う。

（2019年10月　山元彩香）

About “organ”

When I first visited Latvia in 2011, I was woken every morning by my friend, humming. To me this felt like the continuation of a pre-verbal voice, the emission of memories unconsciously accumulating within her, in the form of sound images. The sensation was one of experiencing the very time she had traveled, at a different level from conversation. Her voice, released, become part of my body, and emitting it again in my own voice causes it to circulate and connect to others. An organ may be a body organ or a musical instrument; in Japanese the character (器) read as ki or utsuwa has these meanings, while also referring to a vessel. Back in the mists of time, the sound of a bell used in rituals, reverberating in the cavity of that bell, would apparently cause the wearer to be possessed by some invisible presence, or have such a presence circulating within them. Hopefully the sounds harbored by the body as empty vessel will put us in touch with glimmers of yet unseen things found in its depths.

(YAMAMOTO Ayaka, October 2019)

--------

organ

一見、古典的な絵画のように見えるその写真には、非現実なまでに美しい「いきもの」が写っている。彼女たちの表情は虚ろでどこか遠くを見つめているか、死者のごとく目を閉ざしている。あるいは仮面やベールをつけて、その表情すら見えないのだが、仮面をつけた身体やベールの奥にかすかに残っているものがある。果たしてそれはなんなのだろうか？

山元は、あえて言葉が通じない国に出かけ撮影する。言葉に頼らないコミュニケーションによって被写体と共同作業でイメージをつくり上げる。個人を形成している様々なレイヤーを剥ぎ取って新たな衣を纏わせていく過程において、最後には被写体の自意識が消えてしまう瞬間が生まれるのだという。今まで纏っていた衣服、名前、記憶、自意識、文字通りすべてを剥ぎ取り新たな姿を与える撮影は、写真が持つ本質的な暴力性を孕んでいる。しかし、作家が被写体の属性をいくら奪おうとしても奥底に残るものがあるのだという。彼女はそこに何を見出したのだろうか。異国の他者を撮影することで何を問い続けているのだろうか。その静謐なポートレートは、作家の問いであると同時に、イメージの謎そのものなのである。

今回の個展で、山元は映像作品（撮影地ラトビア、2019年制作）を展示する。organ＝空の器としての身体は、言葉ではない歌を歌う。映像＝時間の中に置かれた空の器は、いかなる音を宿すのか、さらなる問いを生じさせる。

カトウチカ（Unknown Series キュレーター）

organ

Yamamoto’s photographs, at first glance reminiscent of classical paintings, show “creatures” of almost unreal beauty. The girls appear either to be vacantly staring at some point in the distance, or have their eyes closed as if dead. Or they wear a mask or veil, making it impossible to even see their expression, although something remains in the body wearing the mask, or visible faintly behind the veil. What is it? Yamamoto deliberately sets out to take photographs in countries where she does not speak the language, constructing images in collaboration with her subjects via non-verbal communication. The process of peeling away the layers that go to make up an individual and clothing them in new garb apparently, in the end, creates a moment in which the subject sheds her self-consciousness. Photo shoots that strip away literally everything previous—the clothes the person was wearing, their name, memories, self-consciousness—to give them a totally new appearance, are filled with the intrinsic violence of photography. Yet the artist says that no matter how much she endeavors to denude her subjects of their attributes, deep down, something remains. What has Yamamoto identified there? By photographing strangers from other countries, what question does she continually ask? These tranquil portraits serve at once as inquiries on the part of the artist, and the very riddle of images. In this solo outing, Yamamoto will present a video work, shot in Latvia in 2019. The organ/body as empty vessel, sings a song without words. This generates further questions about what kind of sounds are harbored by the empty vessel placed in a video/time.

KATO Chika (Unknown Series curator)

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

＜作家プロフィール＞　　

山元彩香| YAMAMOTO Ayaka

1983年兵庫県生まれ。2006年京都精華大学芸術学部造形学科洋画コース卒業。言語による意思疎通が難しい状況下での撮影は、写真というメディアが本質的に抱える性質以上に他者との様々な接点を作家にもたらし、以降、暴力的でありながらも魅力的なイメージ生成の場とも言えるポートレートの撮影を続ける。主な個展に「We are Made of Grass, Soil, and Trees」（タカ・イシイギャラリーフォトグラフィー/フィルム、2018）、「Nous n'irons plus au bois」（同、2014）など。主に東欧各地で撮影を行い、国内外で写真展やレジデンスに参加。2019年に写真集『We are Made of Grass, Soil, and Trees』（T&M Projects、2018）が「さがみはら写真新人奨励賞」を受賞。

YAMAMOTO Ayaka Born 1983 in Hyogo, Japan. BFA in painting, Kyoto Seika University, Faculty of Fine Art. In a situation in which communication through words was difficult, photography took on a value beyond its intrinsic nature, serving as a point of contact with others. Since then, Yamamoto has continued to take in a certain sense violent, yet alluring portraits. Solo exhibitions include ”We are Made of Grass, Soil, and Trees” (Taka Ishii Gallery Photography/Film, 2018) and “Nous n’irons plus au bois” (Taka Ishii Gallery Photography/Film, 2014). She photographs mainly in Eastern Europe, and has participated in photo exhibitions and residencies in Japan and overseas. She won the 19th Sagamihara Prize for Newcomer Professionals in 2019 for her photobook We are Made of Grass, Soil, and Trees(T&M Projects, 2018).

＜ゲストプロフィール＞

光田由里｜MITSUDA Yuri

DIC川村記念美術館学芸員。専門は近現代美術史と写真史。近年の主な企画に、「描く、そして現れる―画家が彫刻を作るとき」（DIC川村記念美術館、2019）、「美術は語られる―評論家・中原佑介の眼―」（同、2016）、「鏡と穴－彫刻と写真の界面」（ギャラリーαM、2017）、「ハイレッド・センター直接行動の��跡」（松濤美術館、2008）など。主な著書に、『高松次郎言葉ともの』（水声社、2011）、『写真、「芸術」との界面に』（青弓社、2006、日本写真協会学芸賞）、『安井仲治写真集』（共同通信社、2004、倫雅賞）など。

MITSUDA Yuri Curator, Kawamura Memorial DIC Museum of Art, specializing in modern/contemporary art history and history of photography. Recent exhibitions include ”Painting into Sculpture – Embodiment in Form” (Kawamura Memorial DIC Museum of Art, 2019), “Talking about Art – The Viewpoint of Yusuke Nakahara” (also at KMDMA, 2016), “Mirror Behind Hole: Photography into Sculpture“ (gallery αM, 2017), and “Hi-Red Center: "The Documents of ‘Direct Action’” (Shoto Museum of Art, 2008). Among her published writings are Words and Things: Jiro Takamatsu’s issue(Suiseisha, 2011),Shashin, “geijutsu” to no kaimen ni[Photography, in its interface with “art”] (Seikyusha, 2006; winner of the Photographic Society of Japan AwardsScholastic Achievement Award), and Nakaji Yasui photographer 1903–1942(Kyodo News, 2014, Ringa Prize).

中村史子｜NAKAMURA Fumiko

愛知県美術館学芸員。専門は視覚文化、写真、コンテンポラリーアート。担当した主な展覧会に「これからの写真」（2014）、「魔術/美術」（2012）、「放課後のはらっぱ」（2009）など。また、若手作家を個展形式で紹介する「APMoA Project, ARCH」を企画し、伊東宣明（2015）、飯山由貴（2015）、梅津庸一（2017）、万代洋輔（2017）を紹介。2017年にはタイでグループ展「Play in the Flow」を企画、実施。

NAKAMURA Fumiko Curator, Aichi Prefectural Museum of Art, specializing in visual culture, photography and contemporary art. Responsible for exhibitions including “Photography Will Be” (2014), “Art as Magic” (2012) and “In the Little Playground” (2009), as well as for planning “APMoA Project, ARCH” presenting young artists in a solo show format, which to date has featuredItohNobuaki (2015), Iiyama Yuki (2015), Umetsu Yoichi (2017) and Bandai Yosuke (2017). In 2017, she planned and implemented the group show “Play in the Flow” in Thailand.

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

＜Unknown Image Series no.8 展覧会＞

未知のイメージを創出する

イメージが持つ力と本質を探り、未知のイメージを創出する。

この世界においては、日々膨大なイメージが生まれては消えていくが、ときに稀有なイメージが出現する。今回の参加アーティストは、三田村光土里、横山奈美、鈴木のぞみ、山元彩香、庄司朝美の５名。連続する個展の形式をとる。各回のトークイベントとテ��ストのゲストには、光田由里、梅津元、飯田志保子、中村史子、中尾拓哉らを招く。シリーズの終了後にはバイリンガルの記録集を制作し、本というメディアにおいても新たな表現の展開をはかっていく。

女性たちがつくるイメージ

Unknown Imageのシリーズは、イメージをテーマに、今、注目すべきアーティスト一人一人の作品とその世界を深く掘り下げ、その可能性をさらに見出していく場でもある。今回は、はからずも全員が女性アーティストとなった。

初回の山元彩香は、言葉の通じない国で神秘的なまでの美しさと暴力性をもつポートレートを撮影する。被写体の名前や意識すら剥ぎ取り、空の器にしようとしても残るものとはなんなのか。鈴木のぞみは、写真や時間の原理の静かな探求者である。生命なき事物に「視線」と「記憶」を出現させ、写真に身体のようなものを与える。横山奈美は、絵画の大きな歴史と私的な小さな歴史を交錯させ、日常の取るに足らないものたちの美しさや、明るく輝くものの背後にある存在を描き出す。庄司朝美の描線は、舞台のように見る人を引き込む物語性と、生命と死のエネルギーに満ちた身体的絵画空間をつくり出す。三田村光土里は、このシリーズではもっともキャリアの長いアーティストである。ごく私的なイメージや言葉の数々は、写真、映像、オブジェ、ドローイング、インスタレーションとなるが、それらは個人の物語やアートの枠組みを越えて普遍性を帯び、見る人の心を捉えて離さない。そして、ゲストは性別や年代は幅広いが、いずれも芸術の発生の現場において、極めて優れた批評の言葉を紡いできた方々である。

美術史において、かつて周縁の存在であった女性アーティストたちは、今、最先端にいる。彼女たちがつくるイメージはどのようなものなのか。なぜそれを生み出さねばならなかったのか。参加者の出自やキャリア、テーマ、歴史や現在の状況との向き合い方、その目指すところも様々である。だが、彼女たちの存在と彼女たちがつくるイメージは、それぞれに強く鮮やかだ。その未知のイメージは見る人を深く静かに揺るがし、世界に多様な変化を生み出す力ともなっていくだろう。

＜Unknown Image Series no.8 exhibitions＞

Creating unknown images

Exploring the power and essence possessed by images, to create unknown images.

A vast number of images are generated every day in this world, only to vanish, but just occasionally, some extraordinary images do emerge. The artists in this eighth Unknown exhibition are Mitamura Midori, Yokoyama Nami, Suzuki Nozomi, Yamamoto Ayaka, and Shoji Asami, who will stage consecutive solo shows. Those serving as guests for the talk events for each of these shows, and providing the texts, will include Mitsuda Yuri, Umezu Gen, Iida Shihoko, Nakamura Fumiko, and Nakao Takuya. After the series is finished a bilingual document will be produced, thus extending the exhibition into another form of expression, that of the book.

Images made by women

The Unknown Image series is also an opportunity to delve deeply into the individual work of some of today’s most noteworthy artists and their worlds, identifying further possibilities for each. This time, albeit not by design, all the artists are female.

Yamamoto Ayaka, featured in the first of the exhibitions, travels to countries where she does not speak the language, and takes portrait photographs suffused with a beauty and violence verging on the mystical. What is it that remains even when everything is stripped from her subjects, down to their names and consciousness, in an attempt to turn them into empty vessels? Suzuki Nozomi is a quiet explorer of the principles of photography and time. Endowing non-living things with a “gaze” and “memory” she gives her photos something like a physical body. Yokoyama Nami blends the vast history of painting and small personal histories to depict the beauty of everyday, insignificant things and what lies behind the bright and shiny. Shoji Asami’s lines create a narrative quality that draws the viewer in like a stage, and a corporeal painterly space suffused with the energy of life and death. Mitamura Midori is the artist in this series with the longest career. Her many very personal images and words are presented in photographs, videos, objects, drawings and installations, that go beyond individual stories or the confines of art, taking on a universal quality that irrevocably captures the heart of the viewer. The guests, meanwhile, are a varied lineup in terms of age and gender, but all individuals on the frontlines of art creation, of superb critical talent.

Once a marginal presence in art history, female artists are now at its cutting edge. What kind of images do these artists make? Why have they felt the need to produce them? The artists participating in these exhibitions have different origins and career trajectories, different ways of engaging with their themes, with history and current circumstances, and different aims. Yet their presence, and the images they create, are without exception strong and vibrant. Their unknown images will quietly shake the viewer to the core, and likely serve as a force for many types of change in the world.

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

＜Unknown Image Seriesno.8個展スケジュール＞

#1｜山元彩香［会場］void+ 2019年11月1日（金）―30日（土）トークイベント：11月29日（金）19:00-20:30 山元彩香＋光田由里（DIC川村記念美術館学芸員）＋中村史子（愛知県美術館学芸員）

YAMAMOTO Ayaka @void+ Friday, November 1 – Saturday, November 30, 2019 Talk event: Friday, November 29 19:00–20:30 YAMAMOTO Aya + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)+ NAKAMURA Fumiko (Curator, Aichi Prefectural Museum of Art)

#2｜鈴木のぞみ　［会場］void+ 2020年夏（予定）トークイベント：鈴木のぞみ＋梅津元（埼玉県立近代美術館学芸主幹／芸術学）参加予定テキスト執筆：梅津元

SUZUKI Nozomi @ void+ Summer 2020 (TBD) Talk event:SUZUKI Nozomi + UMEZU Gen (Curator, The Museum of Modern Art, Saitama / Art Studies) TBC Text: UMEZU Gen

#3｜庄司朝美［会場］HIGURE 17-15 cas 2020年9月（予定）トークイベント：庄司朝美＋光田由里（DIC川村記念美術館学芸員）

SHOJI Asami @ HIGURE 17-15 cas September 2020 (TBD) Talk event:SHOJI Asami + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)

庄司朝美《18.10.23》2018 アクリル板に油彩　画像提供：損保ジャパン日本興亜美術館

#4｜横山奈美　［会場］void+ 2021年5月（予定）トークイベント：横山奈美＋飯田志保子（キュレーター）

YOKOYAMA Nami　@ void+ May 2021 (TBD) Talk event:YOKOYAMA Nami + IIDA Shihoko (Curator)

横山奈美《Cross》2019 麻布に油彩　Photo by WAKABAYASHI Hayato

#5｜三田村光土里［会場］HIGURE 17-15 cas 2021年（予定）トークイベント：三田村光土里＋中尾拓哉（美術評論家）

MITAMURA Midori @ HIGURE 17-15 cas 2021 (TBD) Talk event:MITAMURA Midori + NAKAO Takuya (Art critic)

＜その他参加作家プロフィール＞

鈴木のぞみ| SUZUKI Nozomi

1983年埼玉県生まれ。東京藝術大学大学院美術研究科博士後期課程在学中。何気ない日常の事物に潜む潜像のような記憶の可視化を、写真の原理を通して試みている。現前しているが不在であるという性質を持つ写真を事物に直接定着することで、写真に触覚的な身体のようなものが付与され、過ぎ去りゆく時をいまここに宙づりにする。近年の主な展示に「あしたときのうのまんなかで」（はじまりの美術館、2019）、「MOTサテライト2018 秋うごきだす物語」（清澄白河、2018）、「無垢と経験の写真日本の新進作家vol.14」（東京都写真美術館、2017）、「NEW VISION SAITAMA 5 迫り出す身体」（埼玉県立近代美術館、2016）など。受賞歴多数。現在、ポーラ美術振興財団在外研修員としてイギリスにて研修中。

SUZUKI Nozomi Born 1983 in Saitama, Japan.Currently in the doctorate course of Intermedia Art at Tokyo University of the Arts.Attempts to visualize, through the principles of photography, the memories resembling latent images submerged in innocuous everyday objects. Fixing photographs, which have the characteristic of being present yet absent, directly to objects, assigns photographs something like a tactile body, suspending passing time in the now. Recent group exhibitions include “In the middle of tomorrow and yesterday” (Hajimari Art Center, 2019), “MOT Satellite 2018 Fall: To Become a Narrative” (Kiyosumi-Shirakawa, 2018), “Photographs of Innocence and of Experience: Contemporary Japanese Photography vol.14” (Tokyo Photographic Art Museum, 2017), and “New Vision Saitama 5: The Emerging Body” (The Museum of Modern Art, Saitama, 2016). Among her many awards, she was recipient of the POLA Art Foundation Grant for Overseas Research in 2018, under which she is currently studying in the UK.

庄司朝美| SHOJI Asami

1988年福島県生まれ。2012年多摩美術大学大学院美術研究科絵画専攻版画領域修了。「線が引かれる。それは必ずしも天と地を分割するような境界線ではなくて、地を這う生き物が砂／泥へ残した痕跡のような、動くことで開かれていく空間がある。私たちは誰かの想像した世界を連綿と引き継いで生きている。」庄司の絵画には特定の物語がないにも関わらず、見る人はそこに様々な物語を見出す。また、絵画の空間的体験によって、自由な身体感覚が循環する生きた絵画空間が誕生する。主な個展に「明日のまみえない神話」（gallery21yo-j、2019）、「泥のダイアグラム」（Cale、2018）、「劇場の画家」（gallery21yo-j、2017）、「夜のうちに」（トーキョーワンダーサイト渋谷、2017）などがある。「FACE2019」損保ジャパン日本興亜美術賞で大賞受賞。

SHOJI Asami Born 1988 in Fukushima, Japan. Earned her MFA in printmaking in 2012 from Tama Art University (Tokyo). ”A line is drawn. It is not necessarily a borderline of the kind dividing heaven and earth, but perhaps a space that opens up through movement, like that of a creature that crawls along the ground, leaving a track in sand or mud. In our lives we are continuously inheriting a world imagined by someone.” Despite not having a specific narrative, Shoji’s paintings reveal various stories to the viewer. They also spawn a living painterly space of circulating free physical sensation, through the spatial experience of painting. Solo shows include”Tomorrow’s Unseen Mythologies” (gallery21yo-j, 2019), “Diagram of the Mud”(Cale, 2018), “A Painter in the Theater” (gallery21yo-j, 2017), and “During the Night” (Tokyo Wonder Site, Shibuya,2017). Grand Prix winner at the “FACE 2019” Sompo Japan Nipponkoa Art Awards.

横山奈美 | YOKOYAMA Nami

1986年岐阜県生まれ。2012年愛知県立芸術大学大学院美術研究科油画版画領域修了。捨てられる寸前の身の回りの物や、ネオン管の裏側に隠された器具や配線といった主役にはならないものに光を当てることで、そのものが持つ役割の枠を取り払い、すべてのものに備わる根源的な美しさと存在意義を表現する。近年は、「LOVE」の意味を問いかける油画とドローイングを続けて発表している。主な展示に、アペルト10「LOVEと私のメモリーズ」（金沢21世紀美術館、2019）、「日産アートアワード2017」（BankART Studio NYK）、「手探りのリアリズム」（豊田市美術館、2014）、「Draw the World-世界を描く」（アートラボあいち、2013）など。主な受賞に「日産アートアワード2017オーディエンス賞」などがある。

YOKOYAMA Nami Born 1986 in Gifu, Japan. Earned her MFA in painting in 2012 from Aichi Prefectural University of Fine Arts and Music. By shining a light on things that never take center stage, such as familiar objects in the moment before their discarding, and the fittings and wiring hidden behind neon signs, Yokoyama does away with the parameters of the roles played by these things to express the fundamental beauty and raison d’etre possessed by all things. Her recent drawings and paintings continue to question the meaning of love. Solo and group exhibitions include “Aperto 10: Memories of Love and Me” (21st Century Museum of Contemporary Art, Kanazawa, 2019), “Nissan Art Award 2017” (BankART Studio NYK), “Reaching for the Real” (Toyota Municipal Museum of Art, 2014),and “Draw the World” (Art Lab Aichi, 2013). Recipient of the Nissan Art Award 2017 Audience Award.

三田村光土里| MITAMURA Midori

1964年愛知県生まれ。1994年現代写真研究所基礎科修了。「人が足を踏み入れられるドラマ」をテーマに、日常の記憶や追憶のモチーフを、写真や映像、日用品、言語など様々なメディアと組み合わせ、私小説の挿話のような空間作品を国内外で発表。近年の主な個展に、グラン・カナリア（スペイン）での「If not here, then I'm somewhere else」（Galeria Manuel Ojeda、2018）、「Art & Breakfast」（CAAM – Atlantic Center of Modern Art、2017）がある。展覧会ではイギリスの「フォークストン・トリエンナーレ2017」関連企画「Leaving Language」、国内では、「あいちトリエンナーレ 2016」（愛知芸術文化センター）など。2019年にはウィーンで、日本−オーストリア国交150周年記念展「Japan Unlimited」に参加。

MITAMURA Midori Born 1964 in Aichi, Japan. Completed the fundamentals course at The Institute of Contemporary Photographyin 1994. Taking as her theme “dramas that people can step into,” Mitamura combines motifs of everyday memories and reminiscences with various media such as photography and video, household goods and language, presenting in Japan and further afield spatial works that resemble an episode of an autobiographical novel. Recent solo exhibitions include ”If not here, then I'm somewhere else.” (Galeria Manuel Ojeda, 2018) and “Art & Breakfast” (CAAM – Atlantic Center of Modern Art, 2017）both in Gran Canaria, Spain. Among her group show participations are “Leaving Language,” a collateral program of the Folkestone Triennial 2017in the UK, and Aichi Triennale 2016 (Aichi Arts Center) in Japan. In 2019, she will participate in “Japan Unlimited,” an exhibition staged in Vienna commemorating 150 years of friendship between Austria and Japan.

＜その他ゲストプロフィール＞

梅津元｜UMEZU Gen

埼玉県立近代美術館学芸主幹。専門は芸術学。同館での主な企画（共同企画を含む）に「DECODE/出来事と記録ーポスト工業化社会の美術」（2019）、「版画の景色　現代版画センターの軌跡」（2018）、「生誕100年記念　瑛九展」（2011）、「アーティスト・プロジェクト：関根伸夫《位相ー大地》が生まれるまで」（2005）、「ドナルド・ジャッド1960-1991」（1999）、「＜うつすこと＞と＜見ること＞ー意識拡大装置」（1994）など。ギャラリーαMでの企画に「トランス／リアルー非実体的美術の可能性」（2016-17）がある。美術手帖や展覧会カタログなどに寄稿多数。

UMEZU Gen Curator, The Museum of Modern Art, Saitama, specializing in art studies. Exhibitions he has organized/co-organized at MOMAS include ”DECODE / Events & Materials: The Work of Art in the Age of Post-Industrial Society” (2019), “A View of Prints: Trajectory of the Gendai Hanga Center” (2018), “100th Birth Anniversary, Q Ei” (2011), “Artist Project: Toward the Emergence of Sekine Nobuo’s Phase – Mother Earth” (2005), “Donald Judd 1960–1991” (1999), and “Visualization in the End of the 20th Century” (1994), as well as “Trans / Real: The Potential of Intangible Art” (2016-17,Gallery αM). He has contributed a great number of essays to the art magazine Bijutsu Techo, as well as to art catalogues and books.

飯田志保子｜IIDA Shihoko

キュレーター。1998年の開館準備期から2009年まで東京オペラシティアートギャラリーに務める。主な企画に「ヴォルフガング・ティルマンス―Freischwimmer」（2004）、「トレース・エレメンツ―日豪の写真メディアにおける精神と記憶」（東京オペラシティアートギャラリー、2008／パフォーマンス・スペース、シドニー、2009）など。2009-2011年クイーンズランド州立美術館／現代美術館で客員キュレーター。その後、国際展のキュレーターを歴任。2014年度から17年度まで、東京藝術大学美術学部准教授。「あいちトリエンナーレ2019」ではチーフ・キュレーターを務める。

IIDA Shihoko Curator. Worked at Tokyo Opera City Art Gallery from 1998, when it was preparing for inauguration, until 2009, where her major exhibitions included “Wolfgang Tillmans: Freischwimmer” (2004) and “Trace Elements: Spirit and Memory in Japanese and Australian Photomedia” (2008/Performance Space, Sydney, 2009). She was a visiting curator at Queensland Art Gallery/Gallery of Modern Art in Brisbane from 2009 through 2011, and has since co-curated successive international art exhibitions. Associate professor at Tokyo University of the Arts for the academic years 2014–2017. She was Chief Curator (Head of Curatorial Team) of Aichi Triennale 2019.

中尾拓哉｜NAKAO Takuya

美術評論家。博士（芸術）。近現代芸術に関する評論を執筆。特に、マルセル・デュシャンが没頭したチェスをテーマに、生活（あるいは非芸術）と制作の結びつきについて探求している。2014年に論考「造形、その消失においてーマルセル・デュシャンのチェスをたよりに」で『美術手帖』通巻1000号記念第15回芸術評論募集佳作入選。2017年に単著『マルセル・デュシャンとチェス』を平凡社より出版。主な論考に「50年あるいは100年後の鑑賞者ー日本・マルセル・デュシャン論再考」（『美術手帖』2019年2月号）など。

NAKAO Takuya Art critic. PhD in art. Writes criticism on modern and contemporary art. In particular, has been exploring the connections between living (or non-art) and creative practice from the perspective of chess, in which Marcel Duchamp was also engrossed. His 2014 essay, “The Plastic, in Disappearance: From Marcel Duchamp’s Chess” received honorable mention in the 15th (1000th Issue Commermorative) Bijutsu TechoArt Writing Competition. His book Marcel Duchamp and Chesswas published by Heibonsha in 2017. Recent published writings include “One’s Public, Fifty or One Hundred Years Later: Reconsidering Marcel Duchamp Studies in Japan”(Bijutsu Techo, February 2019).

--------

photo: Ayaka Yamamoto, “organ”, 2019

#Unknown #Unknown Image #Unknown Series no.8 #Ayaka Yamamoto #void+#exhibition #山元彩香 #展覧会

1 note · View note

benikoumori · 8 years ago

Text

The Fate of the Phoenix 16

CHAPTER 5 THE COMMANDER woke to a strange sense of unease. She had slept only on the first level, which was tantamount to waking—the light sleep-watch, in a chair. She had kept the nightwatch over James and knew that he was safe. What, then, did she sense? Treachery from the Doyen? Always possible, when the matter of Trevanian came down to the wire—but doubtful before. Someone ready to violate the honor of the Doyen’s house by attacking a guest? The Doyen’s own political enemies? Possible. But the Commander had a chilling sense that it was none of those. Omne? It seemed too soon for him to be here. And yet there was that uncanny way in which he seemed to be everywhere… She got up and checked the locks, the weapons, everything which she could check. It was pointless and worse than futile to go roaming through the corridors of a strange palace, let alone a hostile one, at night, trying to check a vague premonition. She considered waking the Doyen. But how could she warn the Doyen against a man who was dead, much less a dead man who had been some kind of friend…? The Commander tried to shake it off, but it would not shake. In the end, she sat up, watching James, watching him sleep with that terrible innocence… “Why did you let her do it?” “You do not regard custom as a sufficient answer?” “No.” “Nor do I. What answer occurs to you?” “None.” “Don’t be sullen.” “Why not? You—handed me over.” “You moved with some alacrity.” “You command here.” “Yes.” “You wanted me to see what it would be like—as a princeling, really—no exceptions, no exemptions, no accommodation to my Human frailities or my stiff neck or my private customs …” “Close.” “And you wanted to see if I would take you up on it, make the most of it.” “Closer.” “We have a saying: ‘What’s sauce for the goose is sauce for the gander.’ ‘ “I trust it does not refer to cooking one’s own gander.” “You speak English too well.” “You do not think in Romulan. It can be fatal.” “I did what you wanted.” “No.” “What you ordered.” “Yes.” “If you had challenged tonight, it would have been to the death?” “Yes.” “Don’t scare me like that again. I suppose—It wouldn’t kill me.” “Don’t bet on it.” “Oh. That’s why you would have challenged? To save my delicate neck?” “Do you think so?” “No.” “You liked it that I would challenge.” “I—loved it. Don’t ever do it again.” “Don’t make me.” “Don’t let me see you look at him.” “The artwork?” “The masked marvel. Leave him to her. Let her hide him in the hills.” “For their sake?” “No. For mine.” “It is for your sake that I cannot. She could betray you at any time. He is your life.” “He is not. You are. The challenge tomorrow is not to the death?” “No.” “What if she uses It to kill you? Or even—an accident?” “Then you will be hers. Live and prosper. Spock will find you, eventually.” “I would not prosper nor live long. And it would be more likely that Omne would find me first.” “She would keep you, even from him.” “It would not matter. You are not to die. If she kills you, I will kill her, or die trying. You are to know that in any moment when you might weaken.” “I forbid it.” “If you die, you will be in a poor position to command.” “Be still.” “Is that an order… ?" In the dark of dawn Trevanian brought breakfast. The Commander slipped out without waking James to take it. “Thank you, Trevanian. That was not necessary.” “It was. I have come to ask you not to meet the Doyen in challenge. I will go with you now. I know a secret way. Your James will be safe.” “Why do you come?” “It is a death matter—for you and for her. You may kill her even if you do not intend it. If you do not, but are winning, she may kill you, or try.” “She has no word?” the Commander said. “Her word is bond. I have not known her to break it. If she would break it, she would do it over this. But if she would not, there are others not so scrupulous. She could be caught in it. Come with me now. She will not attempt to destroy you while I am with you.” The Commander shook her head. “If I were her, I would do nothing else until I had you back. It is one thing for her to yield you for a time to an honorable opponent who guarantees to give you back reasonably intact. It would be another to come after a word-breaker who accepted guest-friendship in her house and used it to steal you.” The Prince sighed. “I will tell you that I grow tired of honor.” She chuckled, remembering a similar sentiment. She reached out and lifted his chin. “I will not kill her unless I must, and I will not betray her. Who is it who is not so scrupulous?” “The War Minister burns for her. But also—there is—the other one.” “Who?” “The dark one. The giant.” Trevanian swallowed and set his jaw. “The—dead one.” The Commander stood very still. “You mean—there was.” “I mean—is.” He looked solidly into her eyes. “You believe you have seen him? Omne?” He shook his head, but the solidness did not waver. “I have not seen him. But—there was always an aura about him, a power. I have experienced such ah awareness with no one else, but with him it was certain. I always knew when he was here. As if I could sense his presence. I sense it now. Since the middle of the night. I offer no explanation. I accept your word that you saw his body. Nevertheless, I know that he lives.” “Trevanian,” the Commander said, “if you wish any of us to live through this day, say nothing of this to anyone—especially not to the Doyen. Can you do that?” He smiled slightly, and somehow she liked the smile very much. “Seldom,” he said. “However, I will.” The Commander looked at him speculatively. “So you would protect her by silence—and even by leaving with me?” He lifted his eyes from the proper lowering and for a moment looked directly at her. She saw the primordial male, untouched by training or culture, and not to be denied his ancient right to protect and defend. “With my life,” he said simply. Then he lowered the eyes again. “My lady.” “You will find that I will take a very dim view of deception—of your lady—when I am.” “I don’t doubt it.” She thought that she caught just a trace of irony in the fine, strong, sculptured mouth below the mask. “You had better leave before you are missed,” she said. “It is more than likely that what you are sensing is merely the tension of impending events, or the presence of someone who would like to alter them. However, we will take precautions.” The eyes did not quite rise to directness again, but they met hers. “If that is what you must tell me, so be it. I know what I know.” “Trevanian,” she said, “to whom are you bound?” He looked down, and finally up from lowered eyes. “To you, my lady.” “Name the right.” “You named it. I have been awarded to you by lawful right by the Council during the incapacity of the Doyen. By ancient law even she cannot revoke that obligation. Nor can I. However, you must understand that she has—no choice. I believe you do understand.” He looked toward the room where James slept. “Because I understand and because the Doyen does, I accept the challenge,” the Commander said. “Else I would have taken you at once. Go now and be bound by silence.” “My lady,” he said and bowed his head and left. CHAPTER 5 >は奇妙な不安に気づいた。彼女は起きているに等しいファーストレベルでの睡眠を保っていた -- 浅い眠りを取りながら見張りをしていたのだ椅子の中で。彼女が警備を続ける限りはジェームズは安全であると彼女には解っていた。では彼女が感じたのは何だ? 長老が裏切ったか? 可能性はある、トレヴェニアンの事がいよいよとなったなら -- だが疑わしいと言うだけだ。長老の家のゲストを襲撃し名誉を冒涜しようという誰かがいるのか? 長老の政敵か? 可能性はある。だが指揮官の感じる恐ろしさはそういった物ではなかった。オムネか? 彼が此処に来るにはあまりに早い。しかし、奇妙な事ではあるが彼はありとあらゆるあるような感覚が... 彼女は立ち上がりロックと武器と、彼女にチェック出来る物は全て行った。漠然とした不安をチェックしようと夜に見知らぬ宮殿の通路を歩き回ると言うのは敵対的であるのは言うまでもなく無意味であり無駄な事でもあった。彼女は長老を起こす事を考えた。だが死人である事は言うまでもなく何らかの友人でもある男の事について長老にどう警告すると言うのだ...? 指揮官は振り払おうとしたがそれは離れなかった。とうとう彼女は立ち上がりジェームズを、恐ろしく無邪気に眠る彼を見つめた... "何故君は彼女にあれをさせた? " "慣習と言うのは答えとして充分ではないか? " "そうだ " "まあそうだろうな。どんな答えが貴方の心に浮かんでいる? " "何も " "不機嫌になるな " "何故いけない? 君は -- 私を手渡したんだぞ " "貴方は幾らか乗り気だったな " "此処での指揮官は君だ " "そうだ " "君は私に望んだ、どの様な物であるか気づく事を -- 本当の小公子と言うものを -- 私の人間的な弱さや頑固さや個人の習慣に妥協も免除も例外も設けず... " "近いな " "そして君はあれを最大限に利用し君のそれを私が受け入れるかどうかを見たかった " "より近くなった " "こういう諺がある。 ' What's sauce for the goose is sauce for the gander (男女に差はない) ' " "それは自分の物への言及ではないと私は思うが " "君の英語は上手だな " "貴方はロミュランとして物を考えていない。それは生命に関わる事だ " "君が望むならばするさ " "駄目だ " "君が命じるのであれば " "それでいい " "もし君が今夜決闘をしていたら、それは死ぬまでと言う事になっていたのか? " "そうだな " "2度と私を脅えさせないでくれ。恐らく -- 私が殺される事はないのだろうが " "それはどうかな " "ああ。では何故君は決闘をするんだ? 私の繊細な首を護る為か? " "そう思うか? " "いいや " "貴方が好きな決闘を私もするだけだ " "私 -- 私は確かに好きだ。もう2度とはせんがね " "私がさせない " "彼を見る様に私を見ないでくれ " "芸術品の様にか? " "変装とは素晴らしい。彼は彼女の元に残してくれ。彼女は彼を丘にでも隠しておくだろう " "彼等の為か? " "違う。私の為にだ " "貴方の為であるとしても私には出来ないな。彼女は何時でも貴方を裏切る事が出来ると言うことだからな。彼が貴方の生命だ " "彼ではない。君がだ。明日の決闘は死ぬまでではないんだな? " "ああ " "もし彼女がそれを使って君を殺したらどうなる? あるいは -- アクシデントと言う事もあるだろう? " "その時は貴方は彼女の物になる。長寿と繁栄だ。やがてスポックが見つけてくれるぞ " "私には繁栄も長寿もない。それにオムネが先に私を見つけてしまうだろうな " "彼女は貴方を彼からも護るだろう " "それは重要な事じゃあない。君は死なないでくれ。もし彼女が君を殺せば私が彼女を殺すだろう、死を賭してだ。君が弱った瞬間にはその事を思い出すんだ " "私はそれを禁じている " "もし君が死んだら、そんな哀れなポジションから命令をする事になるんだ " "静かに " "それは命令か...? " 明け方トレヴェニアンが朝食を持って来た。ジェームズを起こすこと無く指揮官は滑り出た。 "ありがとう、トレヴェニアン。必要の無い物だったんだが " "実は。長老との決闘を取りやめて貰いたく、お願いに上がりました。私は貴女と共に参ります。秘密の抜け道があるんです。貴女のジェームズも安全です " "何故そんな事を? " "死に関わる事だからです -- 貴女と彼女の。貴女が意図したのでなくとも貴女は彼女を殺してしまうでしょう。もし貴女がそうしなくては彼女が貴女を殺すでしょう、勝ちを求めて " "彼女が誓を破ると? " 指揮官が言った。 "彼女の誓は固い。それを破った彼女を私は知りません。もし彼女がそれを破るならば、これでやる筈です。彼女がそれをしないとしても余り良心的ではない人物がいるのです。私と来てください。貴女が私と居る限り彼女は貴女を滅ぼそうとはしません " 指揮官は頭を振った。 "もし私が彼女であれば、君が私の元に戻るまでは何もしないだろう。それはたったひとつ、完全な状態で君が戻される保証をした敵への敬意で暫く我を折ると言う事だ。ゲストとして彼女の家を使い君を盗んだ違約者が戻ると思うか " 王子は溜息をついた。 "私は名誉と言うものに疲れているのです " 彼女は似たような感傷を思い出しくすくすと笑った。手を差し出した彼女は彼の顎を持ち上げた。 "私がしなくてはならなくなる迄彼女を殺しはしないし、彼女を裏切る事もない。さほど良心的ではない者と言うのは誰だ? " "彼女の破壊を担う軍事大臣。それもさることながら -- 居るんです -- もうひとり " "誰だ? " "黒い。巨人です " トレヴェニアンが唾を飲み顎に力を込めた。 "-- 死者です " 指揮官は立ち尽くした。 "其れが -- 居ると " "つまりは -- そうです " 彼が彼女の眼をじっと見つめた。 "君は彼に会ったのか? オムネに ? " 彼は頭を振ったが固さは揺るがなかった。 "私は彼に会ってはいません。ですが -- 彼の力の様なオーラが常にあるのです、他の誰からも経験した事のない、彼だけの物が。彼が此処に居た時、私には分かりました。彼の存在と言う物を私が感じていたのであれば。今私はそれを感じています。真夜中頃からです。説明する事が出来ないのです。私は彼の身体を見たと言う貴女の言葉を受け入れています。それにも関わらず、私には彼が行きているとわかるのです " "トレヴェニアン " 指揮官が言った、"君が願っているのが今日を私達が生きると言う事であるならば、この事を誰にも何も言うんじゃない -- 特に長老には。君にそれが出来るか ? " 彼は僅かに微笑んだ、それを彼女はどういう訳かとても好ましく思った。 "滅多にしない事ですが " 彼は言った。 "やります " 指揮官が探る様に彼を見た。 "その沈黙によって君は彼女を護るんだな -- 私と共に去ろうとさえもして ? " 相応しく眼を下げていた彼がその瞬間彼女を真っ直ぐに見つめた。古代の権利に護られ否定をされず文化や訓練に触れる事のなかった原初の男を彼女は見た。 "生命ですがら " それだけを彼は言った。そして彼の眼は再び伏せられた。 "マイレディ " "君は察したか、私にほの暗い欺きがある -- 君のレディへのだ -- あの時に " "私は疑ってはいません " 彼女は仮面の下の彫刻の様な口から出る力強い炎に皮肉の跡を捉えた。 "居ない事を気付かれる前に戻った方が良い " 彼女は言った。 "恐らく君の感覚は差し迫った出来事への緊張から来るものかそれに代わる様な存在感のある誰かと取り違えたかだ。しかしながら、予防措置はとっておく事としよう " 再び上げられる事のなかった眼が彼女の物と出会った。 "貴女が私に告げるべき物がそれであるなら、それでも良いのです。私にも考えがありますから " "トレヴェニアン " 彼女が言った、"君が束縛を受けるのは誰だ ?" 彼の伏せられた眼が漸く上がった。 "貴女です。マイレディ " "名ばかりの権利だな " "ありとあらゆるものをです。長老が無力となり、議会による正当な決議によって私は貴女に与えられました。古代の法律による義務は彼女にも取り消す事は出来ません。私にも出来ません。けれども、貴女は理解しておかなくてはならない -- 彼女には選択肢が無いと言う事を。貴女は理解して下さるものと私は信じます " 彼はジェームズの眠る部屋を見やった。 "彼女がそうするだろう事も理解の上で私は決闘を受け入れた " 指揮官が言った。 "さもなくば私が君を連れて行ってしまうからな。行きなさい、束縛は沈黙だ " "マイレディ " そう言ったかれはお辞儀をして去って行った。

#The Fate of the Phoenix #Star Trek TOS #Japanese translation

0 notes